She is preparing singers for careers, and she is a realist. One summer Horne herself lost 50 pounds-the right way, with good eating and exercise-and she is convinced her middle register promptly went flat and her voice got a size smaller.īut she recognizes that singers now have to be thin, or at least thinnish, to be hired and that not all singers who are overweight can slim down and keep their voices beautiful. She worries about the emphasis on singers’ appearance in the era of HD broadcasts. (When you’re singing correctly, according to Horne, it sounds good to the audience but not to you.) She worries about talented singers working with incompetent teachers, the kind who make singers sound good to themselves. The proper way to teach voice is something she thinks about a lot, as well as the future of the art form to which she’s devoted her life. (Its activities were folded into Carnegie Hall’s Weill Music Institute last year.) Horne herself has been director of the voice program at the Music Academy of the West, an eight-week summer program in Santa Barbara that she attended as a teenager, since 1997. Founded in 1993, the Marilyn Horne Foundation continues to nurture young artists and encourage opportunities for song recitals. Though she spoke about her past with great relish, she lit up talking about her work with other singers. (To give a sense of how much classical music has changed, she moved in during a summer in which she made five different recordings.)
Horne was wearing a bright yellow sweater and sitting on a bright yellow sofa in her apartment near Lincoln Center, which has wide views of Central Park and where she’s lived for 34 years. She will be celebrated in the Metropolitan Opera Guild’s annual luncheon today, featuring a musical tribute by fellow mezzo Stephanie Blythe. Meanwhile she was blazing artistic trails to the notice of opera’s purest fans with performances in little-known bel canto operas. The ’70s were glory years in Horne’s long, distinguished career, which stretched over five decades, from dubbing Dorothy Dandridge’s singing voice in Carmen Jones in 1954 to appearances on The Odd Couple and The Tonight Show that made her, for a time, the public face of opera in America. It wasn’t stupid to have thought that anyone would have invited her anywhere. I was stupid, right? To have thought that she would invite me.” “I probably should have called and asked if I could have visited her. “I think my problem with Callas-I think I should have paid homage to her,” she went on.
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