In a message dated 9/30/2001 9:10:41 PM Central Daylight Time,
Greypins@a... writes:
Greypins@a... writes:
> as far as what is healthy is concerned, i have had a number of older
> female students who exhibited pronounced wobbles. everyone of them had
> been
> singing in 'head' voice their whole singing lives. as soon as i taught
> them
> how to sing in their 'chest' voice (or what i prefer to call their
> 'speaking'
> voice) and mix into their higher range, the wobble disappeared, instantly.
>
> none of them looked any younger but, they all sure sounded younger.
>
> however, i'm not sure that what i suggest as a healthier way for the
> female to sing, would ever fly in an opera. the style is what it is.
Well, Mike, I believe that the style USED to be more of what you (and I)
champion, which is a speech-based, solid column that is the true bel canto
technique: one register (some call it modal) from bottom to top, chest voice
(or speech) mixed from bottom to top, head voice mixed from top to bottom.
Caballe sang that way. Sutherland sang that way. Horne sang that way. The
style nowadays for some reason is leaning more towards the heady style of
production, (eg: Fleming, Susan Graham) and yet at the same time people
wonder where all the dramatic voices are! The dramatic or big sounds rely on
a lot of chest mix to give them that power, but since so few teachers are
training singers in this way today, we are short on things like Verdi mezzos,
and flooded with light mezzos.
TinaO
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