LISTSERV mailing list manager LISTSERV 15.5

Help for OPERA-L Archives


OPERA-L Archives

OPERA-L Archives


View:

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

Options:

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


Subject: Re: Flagstad
From: Les Mitnick <[log in to unmask]>
Reply-To:Les Mitnick <[log in to unmask]>
Date:Thu, 8 Mar 2018 00:11:08 -0600
Content-Type:text/plain
Parts/Attachments:
Parts/Attachments

text/plain (56 lines)


In her book (The Flagstad Manuscript), Flagstad herself is unable to give an explanation as to how or why her voice grew to such monumental proportions with such an overwhelming sound and power.  She actually admits that she knew very little about how her voice worked.  She almost admitted that she never pampered or babied it.  She just simply lived with it.  She doesn't allude to any technical lexicon about voice production, or even how often she practiced, especially in those years from 1941 through the end of 1946, when she wasn't singing at all in public, save for a few very isolated appearances in Sweden or Switzerland.

     It's also important to note that when she made her Met audition for Bodansky in San Moritz in 1934, she was not heard under the best of circumstances.  The salon in which the audition took place was thickly carpeted, with heavy draperies surrounding the entire room, and the acoustics were, to say the least, totally inadequate.  She was nevertheless hired based on the voice that she was still able to produce.  When she arrived in New York the following January (of 1935), she was heard on the Met stage in a rehearsal of "Gotterdammerung".  It was then that workers and employees came flooding into the hall to hear the wonder of the voice.  Gatti was phoned from the theater and told to come down to hear "the miracle of the century".  It was at that point that the full glory of the Flagstad voice was really experienced.  And the rest is history.

> On March 7, 2018 at 8:46 PM "Max D. Winter" wrote:
> 
> 
>     Max Paley wrote:
> 
>     "Max, you say it as if this were the simple answer. Anything but. No other voice suddenly
>     turns into that size and power just because it’s subjected to hard work. Otherwise, there’d
>     be more Flagstads. Most voices, in fact, suffer from fatigue from intense work like this. Very
>     few “grow under the pressure." "
> 
>     I don't know whether the answer is "simple" or not. I'm just quoting Flagstad herself. I
>     think your argument is with her, not me.
> 
>     As for voices developing with "hard work," what happened with Flagstad clearly is that her
>     intercostal muscles developed significantly while she was working on Isolde and Brunnhilde.
>     Those muscles are the foundation of breath support, and apparently that development
>     enabled her to produce the extraordinarily powerful, rich sound for which she is known.
>     Again, I think we have to take Flagstad at her word on how and why this happened. And I
>     don't think one can use how "most voices" develop as a yardstick for Flagstad; she was sui
>     generis.
> 
>     The fact is, while Flagstad's singing was admired before she made her Met debut, no one
>     was falling over themselves about how she was the greatest Wagnerian soprano in history.
>     That suggests, to me, either that people weren't listening very carefully, or that her voice
>     changed significantly in the year or two before her Met debut. I think the latter is more
>     likely.
> 
>     MDW
> 
>     **********************************************
>     OPERA-L on Facebook:
>     http://www.facebook.com/groups/25703098721/<hr style="height: 0; border: 0; border-top: 1px solid #aaa; margin: 8px 0;">To UNSUBSCRIBE, send a message to [log in to unmask] mailto:[log in to unmask] .org
>     containing only the words: SIGNOFF OPERA-L
>     ---------------------------------------------
>     To stay subscribed but TURN OFF mail, send a message to
>     [log in to unmask] mailto:[log in to unmask] .org containing only the words: SET OPERA-L NOMAIL
>     ---------------------------------------------
>     Modify your settings: http://listserv.bccls.org/archives/opera-l.html<hr style="height: 0; border: 0; border-top: 1px solid #aaa; margin: 8px 0;">
> 

**********************************************
OPERA-L on Facebook:
http://www.facebook.com/groups/25703098721/
--------------------------------------------------------------------------
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: http://listserv.bccls.org/archives/opera-l.html
--------------------------------------------------------------------------

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

Permalink



LISTSERV.BCCLS.ORG

CataList Email List Search Powered by the LISTSERV Email List Manager