In a message dated 2/2/2002 8:20:18 AM Pacific Standard Time, Mezzoid@a... writes:
> I personally feel that von Stade often takes up chest too high - I've heard > a > very chesty sound on F4 that hasn't sounded that pleasant to me. That > said, > I LOVE FvS as an artist and a singer. I don't care if every note isn't > perfect.
I think the fact that it was distracting means that she wasn't mixing properly, and had to cover up a hole there by using her chest in a way that wasn't appropriate. That, to me, further illuminates my sense that she is mixing from top down, which in my own personal experience, does create holes in that lower middle voice area from not having the column open enough. One has the dilemma of a hollow-sounding F that is too heady and weak, or a harsh sounding F that is too chesty and disconnected from the balanced column of real bel canto technique. And I agree with you completely about her artistry. I adore her. As for Bartoli, I have the opposite reaction to her. I never find her technique to be distracting, and I find her soulfulness so complete, that it transcends technique. For instance, on her recent Vivaldi disc, (amazing disc; one of a very select few classical desert island CDs for me), on track 4 in the recit, her emotion is so out there that her voice has distortion and grit similar to what one hears only rock or pop recordings. I love it. I have never heard any classical singer do that. Ever. And I hope that more do, as those sounds are as much a part of the voice as "beautiful" sounds are. TinaO
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