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Subject: Composing for the voice
From: R PRADA <[log in to unmask]>
Reply-To:R PRADA <[log in to unmask]>
Date:Sun, 15 Jan 2017 01:10:07 -0500

text/plain (31 lines)

In olden days composers wrote for specific singers.
Verdi, even though from time to time intended certain roles for certain singers, began to write for a generic voice type. 

An example for this are roles like Otello and Lady Macbeth, that are frequently the kids of death.

I heard Cura preparing to sing Otello and he was shouting. I don't know if he ever sang the role, but lots of good stuff gets left in its wake.

I was sad to read that that super snazzy German, Jonas Kaufman plans to finish his season with it. Eek!

There are good characterizations of voice types, their capabilities and ranges. However they are seldom taught to composers.

This week I read a book that purports to be for singers and leaves a lot of necessary information about voice types on the drawing board. Very sad that the level of teaching is so slipshod in many cases.


Sent from my iPhone
> Voice seems to
> be a second thought for many opera commissions

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