In a message dated 5/8/2001 2:49:58 PM Eastern Daylight Time, toda@m... writes:
<< I remember a section in Vennard that shows waveform diagrams of famous singers singing opera and "concert" music, and there was a distinct difference in the amount of vibrato used (more for opera), even for the same singer.
That probably is because greater volumes generally require more vibrato, and greater volumes are generally required in opera. Not sure that would qualify as a different technique altogether, simply a single technique being used appropriately in different venues.>>
the lieder recordings of kipnis, hotter and siepi (i have only heard 'live' concert recordings in the case of siepi) support this notion. there is a richness in all three voices that is lost when singing opera. (that may be a subjective observation but, there is a difference that would be noticed by anyone).
<<There are techniques that some lieder singers use that some bel canto purists frown upon - like feigned voice and breathiness, simply because it wouldn't work in opera, and it is not properly "on the breath". To that I say "who cares?" A singer should always use their various abilites to best effect in every situation. Efficient production doesn't necessarily equal beautiful artistry.>>
obviously (to anyone who knows or, is sick of me), i join you in the "who cares?" sentiment. with regard to efficient production, a production is only efficient if it produces the desired result. to judge a singer's production for the sake of performing by one set of criterions by a different set of criterions, that may be necessary for another type of performing, is absurd. succeeding in the execution of that production (of the former) can only result in the judging of the purpose, not the method. considering the health of a particular production, whatever it may be and independent of its purpose, is a consideration of health, not art.
mike
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