LISTSERV mailing list manager LISTSERV 15.5

Help for OPERA-L Archives

OPERA-L Archives

OPERA-L Archives


Next Message | Previous Message
Next in Topic | Previous in Topic
Next by Same Author | Previous by Same Author
Chronologically | Most Recent First
Proportional Font | Monospaced Font


Join or Leave OPERA-L
Reply | Post New Message
Search Archives

Subject: Technique
From: R PRADA <[log in to unmask]>
Reply-To:R PRADA <[log in to unmask]>
Date:Mon, 11 Dec 2017 22:12:48 -0500

text/plain (47 lines)

Technique implies a learned tracing of first, support, then placement and diction.

Flagstaff approached every attack gently and immediately swelled the note. This is the best preservation of the voice. It is neither a natural attribute, nor is it a choice to learn technique the way it would be for a champion swimmer, golfer or tennis player.

I was once playing a game of Who is this? With some distinguished scholars. One of them said Flagstad did not have a recognizable voice but I pointed out this characteristic gentle attack and they heard it. As a matter of fact it changed their assessment of her art.

I do not expect you will all agree but that kind of finesse prevents harm to the voice. On top of that, as the body develops the support must be learned and trained. This strength must be built. It keeps stress off the voice.

I know a young girl, eighteen, who is slender and rather underdeveloped muscularly. She is going to college and she is being encouraged to sing before her body is remotely ready. I suggested she spend last summer on Pilates. Instead she did workshops. Hina always said, piano, piano so va lontano.

She is pretty, and she looks grown up. She is only a slip of a girl. Pitch problems now, wobble later?  I hope not. But this is how the trouble starts. she sings with a top. Daddy speaks in basso range. Mommy sounds like a foghorn. I do not see soprano in her future. You can’t force rep on a young voice.

We always need big voices. But fat does not mean big. If the strength is not there the voice may develop a wobble. I would suggest the sufferer has to drop everything and do the wood-shedding, and plenty of it. A couple of years out of the limelight.

Ever see someone lift weights and the body begins to tremble from the exertion?  In singing it would be a wobble.

JB Faure studied music from the age of five, in a choir school. At adolescence, when his voice started to break, he studied an instrument and let his voice develop.

Hina Spani debuted at the age of fifteen as Juliet in Gounod’s Romeo et Juliette.
She learned a lot of recital music and advanced slowly, apace with her voice in the years that followed. With time she sang much heavier roles, but she never forced her voice.

Viardot sang everything, had a short career despite her spectacular artistry. She never allowed her students to sing everything. Callas sang everything, too. Short career.

These days one hears people in charge, who should know better, training singers in roles the might look good on them but they are years away from being able to sing safely.

This a long story. I am passionate about it, though usually I think the people on this site are more interested on aesthetics. So I don’t mention this sort of thing.

I hope this helps.

Sent from my treacherous iPhone

>> One difference, which might or might not have anything to do with it, was
>> the sheer ease and effortlessness with which Flagstad sang

OPERA-L on Facebook:
To UNSUBSCRIBE, send a message to [log in to unmask]
containing only the words:  SIGNOFF OPERA-L
To stay subscribed but TURN OFF mail, send a message to
[log in to unmask] containing only the words:  SET OPERA-L NOMAIL
Modify your settings:

Back to: Top of Message | Previous Page | Main OPERA-L Page



CataList Email List Search Powered by the LISTSERV Email List Manager