Laurie Kubiak wrote :
<< I would caution against citing Battistini as an example of 'normal'
nineteenth century voice production. A little listening among his baritone
contemporaries shows that he was the exception, not the norm.>>
<<I think a 'light registration' is often confused with a light voice.
Taking
the case of Battistini, if it is true that he employed some variety of
falsetto-mix for his high notes is it not curious that he never sung above
A?>>
Thanks for your insights into Battistini's voice! I just ordered a complete
set of his recordings, so that I can compare them with De Luca's, Sammarco's
and Ruffo's!
I was under the impression that Battistini developed, or perhaps inherited
and maintained an older bel canto tradition, since it suited his light lyric
voice better than the more common technique of his time. But he may have
been a "rare bird" with a high and light voice, just like Camille Maurane
among French post-war baritones. A heavier voice can certainly not learn
much from listening to Camille Maurane. Of course, his is a lesson of style
and diction, but these style and diction are made possible only because of
Maurane's light voice.
Among the "early" baritones, De Luca may be the best example of a bel canto
technique, kind of "Battistini with a voice"?
| Alain Zürcher, Paris, France
| L'Atelier du Chanteur :
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