This was the reason why Chopin advised all of his students to sing; he wanted his students to mimic the impassioned speech of opera when playing his music. I find that this type of rubato works well in many unexpected places in Chopin, though (for example, 25/12, where it's commonly thought to be inappropriate). It just has a totally different effect. I've also found that polyrhythm exercises are great for developing the ability, too, such as the TN etude in F minor, because they teach you to effectively separate the melody hand from the accompaniment hand (unless you take the less-musical route of constantly thinking about exactly where each note should fall).

After a very tearful listening, particularly of the F# minor, I can only say "God bless you!" Your playing moved me beyond measure. What is your real name?

Rich,

I just listened to both Nocturnes. I think your approach is sophisticated and very beautiful. The flow is excellent. I do not know these nocturnes well, but from the standpoint of someone who just wanted to listen to something presented in an interesting way, your communication of the lines was very successful. Your shading is gorgeous for the most part.

The E flat major nocturne seemed a bit richer and consistent in terms of tone throughout.

Congratulations on your performance.

Kaila Rochelle

Now I come to think of it, I remember when I was still learning the teacher (French school) did mention just this in relation to Chopin's Prelude in d. That the secret to a good performance of that one was to keep the left hand steady and in perfect time while playing the right hand with much fantasy and singing was mentioned to illustrate what playing with fantasy meant.