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Subject: Re: Nilsson on Corelli and Turandot
From: robert levine <[log in to unmask]>
Reply-To:robert levine <[log in to unmask]>
Date:Thu, 16 Nov 2017 12:17:11 -0500

text/plain (44 lines)

Cracking doesn't damage the voice; it's a reaction against and protection
from strain. The throat just refuses to do what is  not good for it.
I still maintain that he was a pushed up baritone who had the top three
notes "borrowed" - I felt the same way about Jessye Norman as a soprano.
She just wasn't.

On Thu, Nov 16, 2017 at 11:52 AM, David Kubiak <[log in to unmask]> wrote:

> I certainly don't want to start up the Domingo wars again, but this comment
> reminded me of a question I have had since Sirius started up and we have
> heard so many live Domingo performances.  Almost invariably there are
> places
> where he cracks and goes hoarse very badly.  As a listener I practically
> get
> a sore throat myself hearing things like his attempt at the end of 'Celeste
> Aida' or in 'Ora e per sempre' at 'รจ QUESTo il fin.'.  You would think that
> all this straining and cracking over such a long career would inevitably
> cause damage to the voice, but it never really did. When he got back below
> the staff he continued to produce beautiful legato singing (I refer to his
> main career, not this bizarre tail end).  Any thoughts about how he avoided
> permanent damage to his instrument?
> David Kubiak
> _______
> >Domingo's Des Grieux? Almost invariably strained, but one of the few roles
> >he NEVER called in.

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