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From:  Greypins@a...
Greypins@a...
Date:  Mon Mar 26, 2001  8:57 pm
Subject:  Re: [vocalist] a tenor who is grumpy with mozart


In a message dated 3/26/2001 2:34:16 PM Eastern Standard Time,
zdivina@g... writes:

<<
As for other dramatic singers - historically - they all were trained to
sing coloratura - and for the most part did it marvellously: Muzio,
Ponselle, Eva Turner, Cigna (probably the greatest Norma ever), Cerquetti,
Eileen Farrell, Stignani, Simionato, and countless others. Even Tebaldi, not
easily associated with coloratura singing, had an excellent coloratura
technique - as evidenced on her early recordings - a technique of which
today's dramatics can only be envious. >>

mariella,

covering the male side of things...there were, towards the end of the
last century a number of lower voiced males, karl ridderbusch, siegmund
nimsgern and wolfgang schone who, in addition to being regulary sought after
for wagnerian roles, were making quite a few recordings of bach's vocal works.

i think graham sanders, our resident heldentenor, mentioned singing
either bach or mozart to make sure his technique was 'in line'. other
dramatic voices (i think several in hines' 'great singers on great singing')
mention singing bach and mozart as tests for technique as there are fewer
places to hide in the works of these composers.

perhaps it is easier for more lyric voices to develope coloratura skills
than dramatic voices (just as it is easier for dramatic voices to take the
paint off the walls) but, the examples you have cited are just some of the
dramatic voices that developed coloratura skills. marilyn horne had
astounding coloratura skills and, had she not developed them, may have been
considered to be a more dramatic voice than she was.

mike




agoldhammer@y...
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10622 Re: a tenor who is grumpy with mozart agoldhammer@y...   Mon  3/26/2001   2 KB

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