> > << At 5/17/00 03:05 AM , I wrote: > > >I know auditioners have NO WAY > >of knowing how one USUALLY performs the aria, so who cares really? > And Eva Zuber responded:
> Fiona, I do not know for whom you auditioned, but, generally, most auditors > DO KNOW and care how a particular aria should go. >>
and then Lee Morgan wrote:
> > I don't think you read the original quote the way it was intended. I > think she was saying that the people hearing auditions have no way of knowing > how well or how badly a particular auditioner sings a particular aria. I > don't think she was saying they don't know how the aria should be done.
Well to be truthful, I'm not sure I meant that the auditioners have no way of knowing how well/badly a singer performs, if it's their first time hearing him/her. I sang a fairly obsecure aria... well maybe not obsecure, I should say. But honestly, I was the only person to sing it that day (a day full of auditions, all 5 minutes apart) according to the panel. And the pianist said he had only played my aria a handful of times in his life (and this is someone who has played for opera singers for a long time!!!). And I still think - it's safer to go w/ leaving out the high notes/extra frills, and sound good, rather than stick in high F's everywhere and sing them badly. Sometimes, it's rather anticlimatical to continuously be showing off one's upper range (this is just what I think - please, no flames!!) - I always prefer to leave that maybe for one or two select spots in the aria, perhaps at the end. My point was more that for me, personally, if I have it all planned to sing a set number of cadenzas/high notes, and if I leave some out (even if it is a rehearsed back-up plan - which I think is a good idea) then I sort of feel like I cheated myself!
Just my opinion.
Fiona
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