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Subject: Proper Faching.
From: Charles Handelman <[log in to unmask]>
Reply-To:Charles Handelman <[log in to unmask]>
Date:Sun, 11 Jun 2017 08:44:58 -0400
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What the Fach!!!!!!!!!!!!!!!!!!!!!!
What artists can successfully essay a large variety of roles without hurting
their voices? I have always admired Alfredo Kraus for his refusal to push
that voice into heavier repertory, but the great Jose Carreras was unable to
delve into heavier repertory without damaging his gorgeous LYRIC voice.

 Think of how Caruso could do Elisir AND La Juive, or Richard Tucker in the
Juive AND Cosi Fan tutte. I do not think that Jonas Kaufman,now singing
Otello, could sing the beautiful Tamino he once did. On the other hand, I
would love to live long enough to hear Michael Fabiano some day as Manrico
.
  Had Callas been able to improve her technique, she would not have become
almost unlistenable after 1960;on the other hand, Virginia Zeani went from
Puritani to Aida, and Shirley Verrett could do practically any mezzo (or
soprano) role. Netrebko is now taking on heavier repertory, but the voice is
still essentially best suited for Onegin or Traviata, but NOT Aida (coming up).

  Who are the artists,past and present, who excell in MANY vocal fachs? Was
Caruso that unique? I think not, as we know the incredible Carlo Bergonzi
was capable of many different roles, but he was technically able to perform
Elisir, as well as Trovatore, singing without forcing.

There is surely nothing wrong with Tito Schipa staying in his "own fach,"
but when Cesare Valletti, essentially a light tenor, attempted Manon, there
were big problems.

 Placido has done an enormous number of roles (forget the present), and was
able to excell as Otello or Rodolfo or Parsifal, despite the problems he
always had in the upper register. He still had the technique (and still
does,at 75) to accomplish a tremendous variety of successes.

 So, who of today's artists can we see in a "Caruso career?" Imagine him,
passing away at only 48, in Otello! The last recording session he did with
the Africaine aria sounding so baritonal, but still retaining the amazing
squillo on top, might be a good example.

 I was reminded of this topic especially as Michael Fabiano,as guest on the
2017 auditions,played on radio Saturday, sang the Luisa Miller aria with
great dramatic, but also lyric tone. Time will tell.

Your voice can be as lyric as the great Gigli, who sang L"Amico Fritz AND
Forza del Destino, but the approach is what counts. I saw one of his
farewell concerts in 1955, and I saw a Bergonzi,then 77, in a recital, and
these two incomparable singers ofered us a veritable "singing lesson," so we
would never be able to say, "Gee..what happened to...?"

       Add your comments,please..... BUT Michael..Forget Tristan!!!!!!!!!!!!!

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