>>vtyc> All I know is that even a good Mozart coloratura-singer (of any
voice type)
>>vtyc> isn't necessarily going to kick out the Rossini cleanly!
>And the reverse can be true as well. I find Mozart's coloratura lines to
be
>more demanding on me than Rossini's. The Rossini just pours out; the
>Mozart does not. They are most definitely different.
>Vicki
Actually, what is with mozart's tenor writing??? I find it extraordinarily
hard. Harder than Verdi, or any of the Romantics. (I'm going to be flamed
for what I'm about to say, but i'll say it anyway). I don't think Mozart
totally understood the voice, especially the tenor voice. It's just like
he's written a melody (take dalla sua pace) and thought.."ok, tenor range is
roughly between this note and this note", and just proceeded to write
between those two notes. Whereas someone like Verdi, or Donzinetti and the
later Romantic bunch wrote realistically. They have higher notes than
mozart, but the tessitura is more organic and realistic. It's much more
thoughtful. (ok, so 'Lola' from Mascagni's Cavalleria Rusiticana isn't a
good example, but you know what i mean.)
I find it relatively much easier to sing any Romantic tenor aria (they're
still bloody hard though, of course). The singer is not constantly in his
passagio... , and that's just better vocal writing in my mind. Mozart's
vocal lines are more like piano melodies to me. I don't think they are
particularly idiomatic to the voice. I know some people are going to
disagree with me. But that's how I see it at this point.
Mirko
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