What's wrong with voice amplification, by the way? Why the fuss, the gripe?
We're talking music, colours, here ("a palate to brush with"). Why
stubbornly refuse to grant the vocal field the additional spectral shades
today's technically increased audible range provides? Because it turns out
that most musicals have been written at the dawn of sound-engineering? How
about rebuilding Greek theatres, backing the singers with harp and
tambourine only, and writing monophonic stances on scrolls then? Is
(artfully) sticking to yesterday's limitations giving the truest-to-life
rendition of a musical play (supposed to be lively entertainment)? Just
because most musicals composers back then usually expected the lead singers
they wrote for to deliver nothing but a one-fold, lumpy sonic front (either
operatic or belted or whatever) for obvious projection needs, today's
audiences should accordingly be fed their own alleged nostalgia of that
beloved want of nuance! As if most musicals plots weren't already culturally
dated, sometimes even remotely credible, namely crying for their scores to
save the day! Well I take it zealous purism won't have it any other way...
BJJA
|
