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...
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