Greypins@a... wrote:
Greypins@a... wrote:
> i believe the original point was to question the validity of the use of
> straight-toned singing in earlier music. the use of straight-toned singing
> seems to apply to females singing parts that were originally sung by either
> boys or castrati.
There are plenty of male baroque singers who use a straightER tone.
>as there are no legitimate models (one can't take
> moreschi as a model of baroque and earlier periods being too recent. isn't
> that a 'given'?)
Sorry, Mike, with respect I find that sentence so confusing that I'm not
sure what you're asking me - do you mean that "Moreschi is no help as an
example" is a 'given'? If so, I'd say that the fact that he was also
very old when he was recorded contributes to that.
>, then any attempt at an historical rendering of this music
> is an educated guess. we know what forte-pianos sound like as they are
> still around. we can't say the same thing about the singers of previous
> eras.
But we do have some other evidence. We have the instruments they would
have been singing with. We have the buildings they would originally have
performed in. And we certainly have a lot of writing from the period on
which a lot of the research has been based. That's what an educated
guess is. It's not the same as a shot in the dark. And those musicians
who have researched have so often gone for voices which were naturally
smaller and straighter (that _doesn't_ mean they're not capable of
tremendous subtlety) when they felt the circumstances called for it.
They had plenty of opportunity to use modern "over-vibrant" voices had
they so chosen.
cheers
Linda
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