South Transcript
SOUTH dir Morgan Quaintance [Yusef Komunyakaa] An island is one great eye, gazing out, a beckoning lighthouse, searchlight, a wishbone compass, or counterweight to the stars. When it comes to outlook and point of view, a figure stands on a rocky ledge peering out towards an archipelago of glass on the mainland, a seagull's wings touching the tip of a high wave, out to where the brain may stumble. [Faint crackling static] [Melancholic solo cello] [Intertwining string melodies] [Melodies soaring higher] [Melancholic cello theme returns] [Theme soars then descends] [Low string melodies] [Sombre dying cadence] [Music ends] [Echoing footsteps] [Audience members clearing throats] [Piano cadence] [Baritone sings aria in Italian] [Singing continues, accompanied by piano] [Dramatic climax] [Music ends] [Female voice] Once you can speak, you can learn to sing. [Dramatic piano cadence] -Oh, I began teaching in er... 1971. -[Soprano singing in background] I returned to Vienna and then I built up a choir. But I had a forty voice choir. And this choir was so professional, they sang in about seven languages. Because I taught them to sing in German, in Italian, in French and even Russian. So, the first thing I asked them to do, I say sing anything [chuckles]. And then when I hear where the voice is I know whether it's a low voice, or a middle voice, or a high voice; I can tell. [Soprano and piano continues] The power, actually, you can use in the right way. Because you don't always have to sing very loud, you can control the singing, sing softly but yet that could reach out beyond.
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