Caio Rossi wrote:
> i've got a question: is their technique BAD,or is their technique NOT
> OPERATIC only?
My probably stupid
> question is: what tells exactly what's opera singing and what's not?
I really liked Ciro's answer to this one. It's not that the technique is
necessarily bad
(though I'm concerned for the kid, Church), it's that it's not adequate to sing
opera in
the opera house, on the stage, with the orchestra, sound good, and be heard in
the
farthest reaches of the house. The criteria are simple, really - does the
paying opera
audience want to hear the singer in opera?
> I'm still to here an opera singer who can deliver a song without
> cliched emotions
Are you speaking based on your experience with opera-singing in the opera
house? In my
opinion (not universal, I must add) the only real way to assess opera singing,
including
its dramatic impact, is in the opera house, in an opera. I can't count the
number of
wonderful, dramatically successful opera performances I have seen in my 10+
years of
serious opera-going.
If the opera where you are isn't like that, I can assure you that dramatic
effectiveness
is very much emphasized here in the USA. Some vocal "purists" think that's not
a good
thing for singing. But it certainly is a golden age for dramatic impact in the
opera
house.
And, to avoid excessive posts, Tako also wrote on this thread:
> According to my definition: "opera singer = someone who sings opera",
> Brightman is the only actual opera singer.
Actually, Bocelli has been doing a lot of opera singing lately - in fact I
think he's far
more an "opera singer" than Brightman (can anyone cite a live opera she's
done?). Last
season, Bocelli sang the title role in "Werther" opposite Denyce Graves in
Detroit. I
heard a little on the internet radio-broadcast. Reports on the opera list and
in the
press were that he gave a vocally respectable though otherwise unremarkable
performance.
Peggy
--
Margaret Harrison, Alexandria, Virginia, USA
"Music for a While Shall All Your Cares Beguile"
mailto:peggyh@i...
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