LISTSERV mailing list manager LISTSERV 15.5

Help for OPERA-L Archives


OPERA-L Archives

OPERA-L Archives


View:

Next Message | Previous Message
Next in Topic | Previous in Topic
Next by Same Author | Previous by Same Author
Chronologically | Most Recent First
Proportional Font | Monospaced Font

Options:

Join or Leave OPERA-L
Reply | Post New Message
Search Archives


Subject: Re: Gerald Finley
From: Kenneth Bleeth <[log in to unmask]>
Reply-To:Kenneth Bleeth <[log in to unmask]>
Date:Fri, 13 Jan 2017 11:06:09 -0500
Content-Type:text/plain
Parts/Attachments:
Parts/Attachments

text/plain (116 lines)


And Finley, unlike many singers, is equally at home in opera and in the
song repertoire. If you don't know the latter side of his art, I recommend
the CD of Britten songs, which includes a marvelous performance of the
challenging Blake settings (and a version of "Tom Bowling" that will break
your heart).

On Fri, Jan 13, 2017 at 10:44 AM, Max Paley <[log in to unmask]> wrote:

> Frank, I think you said it beautifully.
>
> He is definitely a "thinking person's" singer. He's subtle and understated
> but knows how to build performances of cumulative effect.
>
> More broadly thinking, it had occurred to me that one big part of dealing
> with two problems opera people are dealing with now, drawing in younger
> audiences and getting away from constant comparisons to long dead
> performers, lies in the approach to the singing itself. So far, the focus
> has been almost purely on the visual, both in stagings and in the
> appearance and movements of the singers.
>
> Singers are, for the most part, approaching the instrumental part of their
> work and, mostly, even the vocally interpretive, in pretty much the same
> way as their predecessors. But, frequently, the voices themselves are
> different in size, timbre and fluidity than singers of the past. So the
> results are of trying to do the same thing the same way but with vocal
> means that are less adequate when deployed that way.
>
> It seems to me that, as a singer, Finley has found his own very
> distinctive approach to the vocal art that fits his persona and voice. It
> is different enough, at least in the roles I've seen him do, from anyone
> else that it tends to make past comparisons irrelevant.
>
> It would be very interesting if we heard a soprano, who would clearly need
> to have superb control of her instrument, apply the freshness of thought to
> her singing of Aida as Finley does to his Iago.
>
> Max Paley
>
> Sent from my iPad
>
> > On Jan 13, 2017, at 06:06, Frank Cadenhead <[log in to unmask]> wrote:
> >
> > My general thought, which I was ineffectively trying to express, is that
> singing
> > should be a summary of both vocal color and ability along with the
> singer's artistic
> > side, the seriousness of his approach, his effort to "expand" the art of
> opera with
> > serious repertory choices, etc. Not to just seek applause, but to
> challenge the
> > audience to hear and think. Those qualities affects my choices of
> favorites.
> >
> > Frank Cadenhad
> >
> > On Thu, 12 Jan 2017 14:36:04 -0800, Maxwell Paley <[log in to unmask]>
> wrote
> >> I like the clarity and bite of his timbre and the "honesty" of his
> singing - i.e., no
> > artificial coloring or darkening. He doesn't have the velvety plush of a
> Terfel or
> > James Morris.
> >> But I have a hard time with what the criteria is for a "great" or
> "major league"
> > voice. I remember similar criticisms made of Janet Baker, whose recitals
> and
> > symphony appearances were some of the highlights of my musical
> experience. I
> > thought it was a superb instrument even if not as gloriously loud as
> Obraztsova or
> > Cossotto (or even Christa Ludwig, who might have been a closer
> comparison).
> >
> > **********************************************
> > OPERA-L on Facebook:
> > http://www.facebook.com/groups/25703098721/
> > ------------------------------------------------------------
> --------------
> > To UNSUBSCRIBE, send a message to [log in to unmask]
> > containing only the words:  SIGNOFF OPERA-L
> > ------------------------------------------------------------
> --------------
> > To stay subscribed but TURN OFF mail, send a message to
> > [log in to unmask] containing only the words:  SET OPERA-L
> NOMAIL
> > ------------------------------------------------------------
> --------------
> > Modify your settings: http://listserv.bccls.org/archives/opera-l.html
> > ------------------------------------------------------------
> --------------
> **********************************************
> OPERA-L on Facebook:
> http://www.facebook.com/groups/25703098721/
> --------------------------------------------------------------------------
> To UNSUBSCRIBE, send a message to [log in to unmask]
> containing only the words:  SIGNOFF OPERA-L
> --------------------------------------------------------------------------
> To stay subscribed but TURN OFF mail, send a message to
> [log in to unmask] containing only the words:  SET OPERA-L NOMAIL
> --------------------------------------------------------------------------
> Modify your settings: http://listserv.bccls.org/archives/opera-l.html
> --------------------------------------------------------------------------
>

**********************************************
OPERA-L on Facebook:
http://www.facebook.com/groups/25703098721/
--------------------------------------------------------------------------
To UNSUBSCRIBE, send a message to [log in to unmask]
containing only the words:  SIGNOFF OPERA-L
--------------------------------------------------------------------------
To stay subscribed but TURN OFF mail, send a message to
[log in to unmask] containing only the words:  SET OPERA-L NOMAIL
--------------------------------------------------------------------------
Modify your settings: http://listserv.bccls.org/archives/opera-l.html
--------------------------------------------------------------------------

Back to: Top of Message | Previous Page | Main OPERA-L Page

Permalink



LISTSERV.BCCLS.ORG

CataList Email List Search Powered by the LISTSERV Email List Manager