I suppose that the role (like that of Wotan!) sounds more impressive with a
big heavy voice - more inherent authority - though in the St. John Passion
I think a more 'Everyman' kind of sound would fit the character and the
situation: here is an idealist who, at the trad. age of 33 is willing to
let the system totally do him in to make a point - too much authority, and
too little vulnerability and he becomes a sort of Fafner-figure :)
On the subject of Wotan - I though James Morris was very impressive, but
I'm fairly sure Wagner had a lighter voice in mind, and most especially for
Rheingold which has even more of a tessitura difference from die Walkuere
than St. John Pass. has from St. Matt. Pass. john
At 09:18 AM 6/16/00 -0700, you wrote:
>On Thu, 15 Jun 2000, John Alexander Blyth wrote:
>> Also, despite Jesus' lower tessitura in John vs. Matt., his only
>> really low notes are on unstressed syllables, lightly accompanied and
>> rather scarce, hardly rock solid.
>
>You're right about all of this, but I didn't mean that the F had to be
>loud - only that he has to sit on this note. It is a far cry from the
>low G which is only touched upon in the bass aria "Eilt" later.
>
>I can't remember the exact words, but I remember being struck by the
>appropriateness of the low notes to the text when I first heard this
>passage. If it had been produced in strohbass, instead of an open chest
>tone, it simply would've lost its effect.
>
>-Tako
>
>
>------------------------------------------------------------------------
>Find long lost high school friends:
>http://click.egroups.com/1/5535/5/_/843894/_/961172245/
>------------------------------------------------------------------------
>
>To unsubscribe from this group, send an email to:
>vocalist-temporary-unsubscribe@o...
>
>
>
>
John Blyth
Baritono robusto e lirico
Brandon, Manitoba, Canada
|
|  |
