Lisa-Marie Olson wrote:
>I just watched a
>program on PBS of opera singers performing on the Ed
>Sullivan show. It had the best singers from the 50's
>and 60's, and although I heard some amazingly
>beautiful sounds, some fabulous technique, some
>gorgeous legato, only ONE singer caught my attention
>and kept it (guess who?) yes, it was Maria Callas.
>She was the ONLY singer on this show who was "in
>character", she never looked at the camera or the
>audience once, and yet I couldn't take my eyes away
>from the TV. I think that good singing takes so much
>concentration, it gives many singers the license to
>just sing and make faces indicating happy, sad, (or
>maybe not even that). But, it can be done. I can't
>wait until my technique catches up to my performing
>ability (if it ever will).
I agree with you. I once posted that on the list ( the real and returning
one! BTW, thanks Karen, thanks Lloyd, thanks all the other that had and are
having such a hard time putting this temp list on and bringing Vocalist back
alive ). I think that's the great problem about technique in music: how to
achieve perfection and sound human at the same time. It's not just a problem
for opera singers. It's a problem to instrumentalists too. Classical music
is deemed to lack emotions too. As a singer, I see the problem with opera
singers much better: there's some kind of standardized emotional expression
among those singers, something like: 'How to express sadness'. Chapter I,
page 1. And it's generally so dramatic! So Italian! As natural as those
blondes on RAI! There must be something in between, but I think that it
might end up not sounding like opera has always sounded. Opera with a
popular music approach, maybe. I can only think of Zizi Possi, a Brazilian
singer who recorded some CDs in Italian, as maybe a specimen of that kind.
If you listen to her cd 'Per Amore' I think you'll have a glance at what I
mean.
Hope to get feedback on this cause I'm not sure I've made up my mind on
that.
Best regards,
Caio Rossi
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