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Subject: Re: Gerald Finley
From: Vesna Danilovic <[log in to unmask]>
Reply-To:Vesna Danilovic <[log in to unmask]>
Date:Fri, 13 Jan 2017 16:50:55 -0500
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To add to all that was written about Finley's fine artistry, there also
must be a wonderful humane side to his personality. I remember a short
video of him singing a few lines from Hans Sach's aria at the top of
Kilimanjaro which he climbed (and reached the top!) for the charity "Help
Musicians UK." For those who can access Facebook, it's still there:

https://www.facebook.com/OfficialGeraldFinley/videos/787910177898651/

Bravo!

Vesna

On Fri, Jan 13, 2017 at 11:06 AM, Kenneth Bleeth <[log in to unmask]> wrote:

> 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).
> > >
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