Karen:
>Sometimes I wish we could take all those "non-specialized" listeners and
ship them off to a desert island for a month with nothing but recordings
by Bjoerling, Corelli, Caruso, Thill, etc. Then, when they return, we can
play them those Bocelli, Amante, and Watson CDs again, and they can
realize for themselves exactly what the difference is between the REAL
opera voices they were immersed in for a month, and the "mockera" voices
they used to mistake for the real thing.
Sorry, but I think it wouldn't be enough for you to achieve your goals. I
think we're talking about TASTE here, so even if people could put a finger
on what makes a REAL opera singers they might prefer their "pseudo-opera"
singers anytime, even if singing the same repertoire and with the same
arrangements.
Once I was talking to my speech therapist about the risks of using that
"distorted timbre" typical of hard rock/heavy metal ( Steve Tyler, from
Aerosmith, for example ) we were talking about in that rock singers thread.
She said she recommended her clients who sang that kind of music to avoid
too much stress by alternating it with a "clean timbre", and that she was
sure the audience would then enjoy that distortion even more because it
would be a highlighted feature for special parts of the music. I told that
to a friend of mine who's into that kind of music too and he said: "She
doesn't like rock, does she?".
So I'll paraphrase him: "You don't like pseudo opera, do you?" hehe
Hugs,
Caio
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