In a message dated 10/10/2001 1:19:09 AM Central Daylight Time,
lolipastor@a... writes:
<< um, what's the point of singing higher than E above high C? There are
VERY
few opera roles that would take you past this. I can only think of one off
hand.
As a mezzo with a fairly comfortable upper range, I don't see the point of
whistle tones. I would NEVER need to go above high C... so, why would I
want
to spend time practicing something that I would never use? >>
Two, if you think of both Queen of the Night AND Cunegonde. But there are
more than several roles with high Es in the cadenzas - Lucia, for one, and Ds
abound - Baby Doe. I always like to warm up at least a major third in excess
of the highest note I have to sing. So if I'm singing a role with Bs in
them, as a mezzo, I'd want to vocalize up to a D#. It stands to reason that
if a very high soprano is going to sing a role with a D in it, she's going to
want to be able to at least tap an F#.
Christine Thomas
Wauwatosa, WI
<A HREF="http://hometown.aol.com/mezzoid/myhomepage/profile.html">
http://hometown.aol.com/mezzoid/myhomepage/profile.html</A>
"Pace, mio Dio, pace, mio Dio."
-- La forza del destino, Giuseppe Verdi
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