Well, this phase of life is coming to a close with this being my last Youtube Video response.. a little saddening.
I digress.
Singer #27 -- Piero Cappuccilli, baritone singing Nemico della patria from Andrea Chenier..
(Not sure on the story line behind this opera, or I would have spoken to that...)
The performer exhibited an extremely powerful voice that was clean and clear and matched well the intensity of the orchestra. The aria was interpreted beautifully and even the calm sections were most effective in defining the passion of the music. Facial expressions and stage presence helped greatly in creating a mood.. The passion of the music was most apparent at the forte sections -- Just how it should be!! Each pitch sounded as if it had purpose. I think he took his time on the inhalation, and used the exhalation incredibly efficiently.
His throat lacked tension from the looks of the video and spin was evident on every pitch. Sometimes, it sounded as though he was doing a little bit of covering -- perhaps he did that intentionally?
Singer #28 -- Jerome Hines playing Sarastro in The Magic Flute by Mozart.
I think God might sound a little like Jerome Hines- I'll let you know when I get there. This voice is rich in tone and character. The power and strength were more than enough to balance the orchestra, even when Mr. Hines was singing in his lower register. I understand this guy was still making music into his 80's, so he must have been doing something right! His breath support was consistent and his tonal placement right where it needed to be... When considering his massive voice, I am impressed with the sense of comfort that he exudes even when singing softly in the Sarastro role. Each pitch had 'spin' and each phrase forward motion. I'd like a choir of bass voices as such. If there ever were a father figure, here he is. A strong, supple voice as someone else put it. A nice way to end this experience. Thanks Jerome.
Saturday, May 1, 2010
Youtube Singers #25/#26
Singer #25...
Nicolai Gedda, tenor singing E lucevan le stelle from Tosca by Verdi...
Isn't it interesting how haunting, (seemingly that's my word for the day) a simple clarinet melody can be...
Wow. What an absolutely stunning voice, dripping with emotion and drama. I was impressed with his beautifully controlled upper register, particularly when considering the powerful tone needed for this tenor aria. He clearly understood the mood of the Italian text and expressed it beautifully in perfect balance with the orchestra. His high tones were distinct and powerful. His intake of air is unhurried, and each breath was full... His 'eh' vowel is pretty spread, but the others are tall and spacious. I wonder if he is using any neck strain to sing those upper pitches -- my sympathetic resonators tell me he might be, but I don't think the tone would sound as full and rich if he were creating tension?
** I actually watched him sing this piece as a younger man, and then again as a more seasoned singer, and found the differences interesting. The performance when he's a bit older didn't seem quite as polished as the 'opera scene' performance..
** I know so little of Tosca... I guess I should get on that, eh?
Singer #26...
Peter Schreier, tenor..
Singing three lieder by Mendelssohn...
1. Auf flugeln gesanges
2. Neue Liebe
3. Gruss
This was an absolutely wonderful rendition of three romantic lieder by Mendelssohn. The first selection clearly demonstrated the singer's ability to sing fluid and legato lines. The harpist helped greatly in expressing the idea of 'wings of song.' The second song was in a quicker tempo and contained a lot of text that was delivered effectively. The singer seems to understand completely the nuances of the German language. In the third piece, Gruss, Mr. Schreier demonstrated a mastery of line and dynamic contrast, floating to the top of his voice periodically in a well controlled manner. Wonderful. The tone is supported and expresses the text beautifully. I feel that he is purposely singing to express the text, not simply to hear himself make music. The facial expression and stage presence were clearly in line with the mood of the music. His diminuendo at the end of phrases makes my heart smile. I heart tenors.
The conductor's gesture was very high and he gave a double prep at the beginning of the second piece. He did however seem sensitive to the singer.
Nicolai Gedda, tenor singing E lucevan le stelle from Tosca by Verdi...
Isn't it interesting how haunting, (seemingly that's my word for the day) a simple clarinet melody can be...
Wow. What an absolutely stunning voice, dripping with emotion and drama. I was impressed with his beautifully controlled upper register, particularly when considering the powerful tone needed for this tenor aria. He clearly understood the mood of the Italian text and expressed it beautifully in perfect balance with the orchestra. His high tones were distinct and powerful. His intake of air is unhurried, and each breath was full... His 'eh' vowel is pretty spread, but the others are tall and spacious. I wonder if he is using any neck strain to sing those upper pitches -- my sympathetic resonators tell me he might be, but I don't think the tone would sound as full and rich if he were creating tension?
** I actually watched him sing this piece as a younger man, and then again as a more seasoned singer, and found the differences interesting. The performance when he's a bit older didn't seem quite as polished as the 'opera scene' performance..
** I know so little of Tosca... I guess I should get on that, eh?
Singer #26...
Peter Schreier, tenor..
Singing three lieder by Mendelssohn...
1. Auf flugeln gesanges
2. Neue Liebe
3. Gruss
This was an absolutely wonderful rendition of three romantic lieder by Mendelssohn. The first selection clearly demonstrated the singer's ability to sing fluid and legato lines. The harpist helped greatly in expressing the idea of 'wings of song.' The second song was in a quicker tempo and contained a lot of text that was delivered effectively. The singer seems to understand completely the nuances of the German language. In the third piece, Gruss, Mr. Schreier demonstrated a mastery of line and dynamic contrast, floating to the top of his voice periodically in a well controlled manner. Wonderful. The tone is supported and expresses the text beautifully. I feel that he is purposely singing to express the text, not simply to hear himself make music. The facial expression and stage presence were clearly in line with the mood of the music. His diminuendo at the end of phrases makes my heart smile. I heart tenors.
The conductor's gesture was very high and he gave a double prep at the beginning of the second piece. He did however seem sensitive to the singer.
Youtube Singers #23/#24
Singer #23 -- I chose Marilyn Horne, mezzo singing the Habanera from Carmen by Bizet...
I love this rendition and Miss Horne was right on the money with her interpretation. Her expression (use of portamenti and beautifully produced tones in both low and high registers) truly presented the feeling of confident love in this famous aria. She sings the lower pitches with a sultry tone.. love it. Her french is impeccable (umm.. based on my minimal knowledge of French text and pronunciation) and the collaboration between singer, conductor and orchestra was magnificent. Her stage presence and facial expression complemented the music nicely.
The conductor in this presentation did not use a baton, and conducted left handed, but was very good at not upstaging the soloist. Nice combo platter.
** I actually watched two versions of her singing this piece, and she's equally as captivating in both. I would like to age so gracefully.
Singer #24 -- I watched Michael Chance sing Erbama dich from Bach's St. Matthew Passion..
Countertenors... an interesting mix of stuff...
First off, I had forgotten how much I loved this aria... The balance between the solo voice and ensemble was rather impressive to me.
Mr. Chance sang with a very clear and pleasing vocal quality. His vowels are very vertical, and his facial expression complemented the musical line.. but then he rarely looked at this music which most certainly helped in projecting his voice. His German diction was very good and he sang 'in the tower of sound,' as we've discussed in class. His flexibility was commendable and noteworthy as he negotiated the melismas beautifully. His concept of line is pretty incredible. I could consistently pick out the peak of the phrase.. Hearing Mr. Chance sing this piece is kind of refreshing after hearing so many other larger voices sing opera arias... the lack of crazy vibrato in his voice suits this music perfectly.
The camera panning so that one can see the space this performance took place in makes it even more hauntingly beautiful...
I love this rendition and Miss Horne was right on the money with her interpretation. Her expression (use of portamenti and beautifully produced tones in both low and high registers) truly presented the feeling of confident love in this famous aria. She sings the lower pitches with a sultry tone.. love it. Her french is impeccable (umm.. based on my minimal knowledge of French text and pronunciation) and the collaboration between singer, conductor and orchestra was magnificent. Her stage presence and facial expression complemented the music nicely.
The conductor in this presentation did not use a baton, and conducted left handed, but was very good at not upstaging the soloist. Nice combo platter.
** I actually watched two versions of her singing this piece, and she's equally as captivating in both. I would like to age so gracefully.
Singer #24 -- I watched Michael Chance sing Erbama dich from Bach's St. Matthew Passion..
Countertenors... an interesting mix of stuff...
First off, I had forgotten how much I loved this aria... The balance between the solo voice and ensemble was rather impressive to me.
Mr. Chance sang with a very clear and pleasing vocal quality. His vowels are very vertical, and his facial expression complemented the musical line.. but then he rarely looked at this music which most certainly helped in projecting his voice. His German diction was very good and he sang 'in the tower of sound,' as we've discussed in class. His flexibility was commendable and noteworthy as he negotiated the melismas beautifully. His concept of line is pretty incredible. I could consistently pick out the peak of the phrase.. Hearing Mr. Chance sing this piece is kind of refreshing after hearing so many other larger voices sing opera arias... the lack of crazy vibrato in his voice suits this music perfectly.
The camera panning so that one can see the space this performance took place in makes it even more hauntingly beautiful...
Youtube Singers #21/#22
Singer #21... Judith Blegen, coloratura... singing L'elsir d'amore sung in English..
Wow. What beautiful control! This is most evident when she sings melismas and soft passages in her higher register. She is not only a beautiful vocalist but a rather pretty woman. Most of the diction is discernible but on occasion the text is hard to understand which is problematic when singing in English, especially. Her breath support is so activated and this coupled with an incredibly clean and clear tone spells success. It is apparent that she understands not only the music, but the voice as well. Her tone seems so heady, in a good way... It seem to ring just where one would want it. However when she sings a fewer pitches in the lower register it seems grounded. Love it. I want to be her. My sympathetic resonators have no 'problems' when she sings!!
Singer #22... Barbara Bonney, lyric soprano... Singing Oh! Quand je dors by Franz Liszt.
What a great feel for the French language. No problem with the nasal vowels... Her voice is powerful, and yet clear and pleasing to my ear. Her facial expression is right on the money but I could have used less of a dramatic stage presence (less is more). She is able to negotiate registers in a most beautifully relaxed manner - impressive. Her ability to sustain notes in the upper register in an unforced way is certainly attributed to her use of breath support. There were a few times when I hear more breath than tone in her sound, but perhaps that's for effect?
She seems to understand the nuances of the French language, and expresses it well. Remarkable.
Wow. What beautiful control! This is most evident when she sings melismas and soft passages in her higher register. She is not only a beautiful vocalist but a rather pretty woman. Most of the diction is discernible but on occasion the text is hard to understand which is problematic when singing in English, especially. Her breath support is so activated and this coupled with an incredibly clean and clear tone spells success. It is apparent that she understands not only the music, but the voice as well. Her tone seems so heady, in a good way... It seem to ring just where one would want it. However when she sings a fewer pitches in the lower register it seems grounded. Love it. I want to be her. My sympathetic resonators have no 'problems' when she sings!!
Singer #22... Barbara Bonney, lyric soprano... Singing Oh! Quand je dors by Franz Liszt.
What a great feel for the French language. No problem with the nasal vowels... Her voice is powerful, and yet clear and pleasing to my ear. Her facial expression is right on the money but I could have used less of a dramatic stage presence (less is more). She is able to negotiate registers in a most beautifully relaxed manner - impressive. Her ability to sustain notes in the upper register in an unforced way is certainly attributed to her use of breath support. There were a few times when I hear more breath than tone in her sound, but perhaps that's for effect?
She seems to understand the nuances of the French language, and expresses it well. Remarkable.
Youtube Singers #19/#20
#19... Jose Carreras singing Una furtiva lagrima from D'Elisir D'Amore by Donizetti...
This presentation truly defined Carreras as a master of the vocal line. His voice demonstrated a total understanding of the text and the mood of the aria. His interpretation was more reflective than rejoicing and in my opinion matched well with the opening line (a furtive tear in her eyes burst forth). His use of legato singing and dynamic contrast were in perfect harmony with the nuances of the Italian language. The sense of drama and the resulting passion inherent in the piece were reflected in the way that he bridged registers and sang perfectly controlled high notes. Although not having the strength of other singers I've listened to, his warmth and interpretation more than make up for it. His facial expression and posture complimented the music and didn't get in the way. A stunning presentation.
#20... I thought I'd take a look at a performance by Ms. Beverly Sills, since I haven't listened to her yet.. This performance of Vilja was absolutely fantastic! The woman obviously loves what she does and you cannot help but be mesmerized with her presentation. Her tone is stunning, her stage presence is impeccable, and the ability to make a consistent sound from top to bottom is impressive. The shift between registers is uninterrupted. If you closed your eyes and imagined what she might be doing, you would not be surprised when viewing her. The knows how to make music and move people in the process. The vibrato is pretty full, but I hear it on most notes, so perhaps it's healthy to state she has a supported tone, and that's the cause of the vibrato?
This presentation truly defined Carreras as a master of the vocal line. His voice demonstrated a total understanding of the text and the mood of the aria. His interpretation was more reflective than rejoicing and in my opinion matched well with the opening line (a furtive tear in her eyes burst forth). His use of legato singing and dynamic contrast were in perfect harmony with the nuances of the Italian language. The sense of drama and the resulting passion inherent in the piece were reflected in the way that he bridged registers and sang perfectly controlled high notes. Although not having the strength of other singers I've listened to, his warmth and interpretation more than make up for it. His facial expression and posture complimented the music and didn't get in the way. A stunning presentation.
#20... I thought I'd take a look at a performance by Ms. Beverly Sills, since I haven't listened to her yet.. This performance of Vilja was absolutely fantastic! The woman obviously loves what she does and you cannot help but be mesmerized with her presentation. Her tone is stunning, her stage presence is impeccable, and the ability to make a consistent sound from top to bottom is impressive. The shift between registers is uninterrupted. If you closed your eyes and imagined what she might be doing, you would not be surprised when viewing her. The knows how to make music and move people in the process. The vibrato is pretty full, but I hear it on most notes, so perhaps it's healthy to state she has a supported tone, and that's the cause of the vibrato?
Monday, April 5, 2010
Youtube Singers #17/#18
Singer #17.. Angela Gheorghiu singing the Habanera from Carmen..
Oh my goodness. Why I haven't heard of this woman before, I don't know-- and it is unfortunate, cause she's fabulous. Her French pronunciation is fabulous, and she doesn't seem to have many 'clicks' that get in the way of her singing. This is probably the best example of a singer keeping all of her sound in the same vertical column of all I've listened to for this class. Even when she sings I Could Have Danced All Night from My Fair Lady her vowels are all very tall, and she seems to blend into the orchestra as a singer should. Her singing sounds grounded to me... And her control is stunning. The fact that I hear an even crescendo and decrescendo shows how incredible her ability to use the breath is. She effectively displays the text through her physical gestures and facial expressions. This woman has the music in her.
Singer #18... Well, I might as well listen to a classic so Luciano Pavarotti it is. How about a little Nessun Dorma for a Monday...
Luciano, as I might call him here, surely has a steady sound to his voice... my sympathetic throat feels open; his sound appears to be carried on the breath. His interpretation of this piece is really intimate.
I also listened to Una Furtiva Lagrima -- Oh... I've not heard r's rolled like that. Wow. Yummy. His voice sounds always grounded, even on the upper pitches. He really milks the moments when he can sing melismas, it seems. Sometimes his vibrato is pretty wide...
(I can't believe I'm mentioning anything not optimal about Luciano.) I also listened to La donna E mobile from Rigoletto. His dynamic contrast is impressive, for sure. What an even voice. His register shifts sound rather smooth... Sometimes though his voice gives a little screamer effect. Maybe that's the way tenors do it? His singing does give me goosebumps though. Maybe I'll name my someday child Luciano.
Oh my goodness. Why I haven't heard of this woman before, I don't know-- and it is unfortunate, cause she's fabulous. Her French pronunciation is fabulous, and she doesn't seem to have many 'clicks' that get in the way of her singing. This is probably the best example of a singer keeping all of her sound in the same vertical column of all I've listened to for this class. Even when she sings I Could Have Danced All Night from My Fair Lady her vowels are all very tall, and she seems to blend into the orchestra as a singer should. Her singing sounds grounded to me... And her control is stunning. The fact that I hear an even crescendo and decrescendo shows how incredible her ability to use the breath is. She effectively displays the text through her physical gestures and facial expressions. This woman has the music in her.
Singer #18... Well, I might as well listen to a classic so Luciano Pavarotti it is. How about a little Nessun Dorma for a Monday...
Luciano, as I might call him here, surely has a steady sound to his voice... my sympathetic throat feels open; his sound appears to be carried on the breath. His interpretation of this piece is really intimate.
I also listened to Una Furtiva Lagrima -- Oh... I've not heard r's rolled like that. Wow. Yummy. His voice sounds always grounded, even on the upper pitches. He really milks the moments when he can sing melismas, it seems. Sometimes his vibrato is pretty wide...
(I can't believe I'm mentioning anything not optimal about Luciano.) I also listened to La donna E mobile from Rigoletto. His dynamic contrast is impressive, for sure. What an even voice. His register shifts sound rather smooth... Sometimes though his voice gives a little screamer effect. Maybe that's the way tenors do it? His singing does give me goosebumps though. Maybe I'll name my someday child Luciano.
Tuesday, March 23, 2010
Blog #6 Goerne/Pears
Matthias Goerne singing Wanderers Nachtlied by Schubert...
Wow. This is a serious blog we're doing here... I've not sung a one page Schubert piece ever in my life, so this is interesting that you have to fit it all in in one page... First, I do hear a sensitivity to each note on the page, and I find it extra tender that the accompanist is equally as sensitive. Secondly, he seems to genuinely BE the character he is portraying. Love it. Thirdly, I don't hear anything extraordinarily getting in the way.. his breath management, which seems in tact considering he can carry those long phrases to San Francisco and back, vowels and where they're placed, nor clicks in the sound between registers. A fine example of a singer who, as Ms. Moulson would say, "just sings." No over thinking needed. Each note sung by Mr. Goerne sounds, and with my sympathetic throat, feels, supported and forward moving, with spin, as though each has a destination.
Peter Pears singing O Waly, Waly...
I've never heard Peter Pears, so this is a day of firsts for me...
Wow. Mr. Pears sings equally as tenderhearted as Mr. Goerne, though in an old school way... His tone is beautiful, and supported, though sometimes sounds a bit covered to me... His vowels are sung so purely, and I am sure when we reach the 'b' section or the second verse (?) as his sound is more supported, as though he knows personally the struggle of which he sings...
Now that I know more of Benjamin Britten, I hear his quirky chords in the piano accompaniment, which I've come to expect!! Great to see him playing confidently over there...
Both of these gentleman move around quite a bit when they're singing, which is interesting to me since perhaps a stillness is suggested by many voice teachers in a performance setting... I think it aids in their performance of the repertoire myself...
Wow. This is a serious blog we're doing here... I've not sung a one page Schubert piece ever in my life, so this is interesting that you have to fit it all in in one page... First, I do hear a sensitivity to each note on the page, and I find it extra tender that the accompanist is equally as sensitive. Secondly, he seems to genuinely BE the character he is portraying. Love it. Thirdly, I don't hear anything extraordinarily getting in the way.. his breath management, which seems in tact considering he can carry those long phrases to San Francisco and back, vowels and where they're placed, nor clicks in the sound between registers. A fine example of a singer who, as Ms. Moulson would say, "just sings." No over thinking needed. Each note sung by Mr. Goerne sounds, and with my sympathetic throat, feels, supported and forward moving, with spin, as though each has a destination.
Peter Pears singing O Waly, Waly...
I've never heard Peter Pears, so this is a day of firsts for me...
Wow. Mr. Pears sings equally as tenderhearted as Mr. Goerne, though in an old school way... His tone is beautiful, and supported, though sometimes sounds a bit covered to me... His vowels are sung so purely, and I am sure when we reach the 'b' section or the second verse (?) as his sound is more supported, as though he knows personally the struggle of which he sings...
Now that I know more of Benjamin Britten, I hear his quirky chords in the piano accompaniment, which I've come to expect!! Great to see him playing confidently over there...
Both of these gentleman move around quite a bit when they're singing, which is interesting to me since perhaps a stillness is suggested by many voice teachers in a performance setting... I think it aids in their performance of the repertoire myself...
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