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Subject: Re: Marnie
From: Jon Goldberg <[log in to unmask]>
Reply-To:Jon Goldberg <[log in to unmask]>
Date:Sat, 10 Nov 2018 20:30:18 -0500

text/plain (39 lines)

On Sat, 10 Nov 2018 19:19:28 -0500, Idia Legray <[log in to unmask]> wrote:

>Okay, I'll attempt it.
>I am definitely not the one to do this fairly because I admittedly am 
>prejudiced against the English language in opera. 

I assume your response is to the too-familiar conversational sound of the language you 
speak seeming out of place, rather than the sometimes unforgiving sounds English can 
present to singers. (Though languages like Czech are even more unforgiving, IMO.) 
What's odd to me, though, is how some people can feel right at home listening to a lyrical 
American songbook ballad, such as "All The Things You Are" or "How Deep Is The Ocean" 
or "Over The Rainbow," yet somehow operatic pieces like Dido's Lament or "Must The 
Winter Come So Soon" might seem labored and awkward. Why is that? I personally can't 
imagine operatic rep without Purcell, Britten, Menotti, Floyd, and others, who most often 
have no problem making the English language "sing" effectively and beautifully. 

>I know, maybe it's just me, but I am so annoyed about a typical style used 
>in modern music.  Instead of just singing a final note: (Example:) "No, I 
>won't!"  "Yes you will!" and ending the last word with a single note, they, 
>instead embellish that note 3 or 4 times before ending it.  (It's hard to 
>explain -- am I getting through to you?)

And yet when Mozart and the bel canto composers employ very similar techniques, it's 
fine?? ;-)

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