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Subject: Re: Tosca and Puccini
From: E R B Forman <[log in to unmask]>
Reply-To:E R B Forman <[log in to unmask]>
Date:Sun, 18 Jun 2017 19:42:34 +0100
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This does seem to me to be a misprint worth turning into a new thread.
What do listers consider would be the ideal exemplars of a BREL CANTO style
within the normally accepted operatic canon? (I agree that Brel was quite
good at tapering - so perhaps it wasn't even a misprint ...)
Edward Forman

On Sun, Jun 18, 2017 at 7:04 PM, R PRADA <[log in to unmask]> wrote:

> Puccini does not write in Brel canto style, with phrases that taper to
> begin and end.
> Puccini marks his scores heavily and asks for phrases that amp up in
> volume and intensity at the end. The lyric voice is happier in the tapered
> phrase. The orchestral settings adhere to that esthetic as well.
> It takes intense sound and steely determination in some Puccini roles.
> Mimi and Musetta are quite ok for lyric voices, but Tosca is more
> demanding. It needs a. If, meaty sound, like Manon Lescaut and Minnie.
> Turandot is best left to dramatics. Liu is lyric, but even there the
> ending phrases are flat out singing.
> It is just that the role is short and has few outbursts.
>
> RP
> Sent from my iPhone
>
> > On Jun 18, 2017, at 1:06 PM, OPERA-L automatic digest system <
> [log in to unmask]> wrote:
> >
> > It's just that with lyrics including Gheorgiu I feel the whole role, not
> > just a high C, is constantly at the limit of their vocal stamina and
> powe=
> > rs
>
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-- 
Dr E.R.B. Forman
Senior Lecturer in French
School of Modern Languages
University of Bristol
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