lloyd wrote:
<<
And such acting will inform the singer more naturally how to color the voice
for emotional innuendo>>
lloyd, i would go one step further to say that if the singer will make the
point their character is trying to make, as if they themselves ARE that
character, they don't have to color their voice, it will be colored for them
by their own reaction to being involved in what they have to say.
<< Because it is "organic", that is, comes from the singers emotional
understanding, it will speak volumes, if the listener will allow such
subtleties to be noticed. I am afraid that many listeners today expect to be
overwhelmed at every emotional moment. They expect the music to come to them
with force rather than they going to the music with a quiet mind. >>
as the punchline of a joke goes 'you can lead a horticulture but you
can't make her think'. if opera got advertised as the 'latest in subtle art
forms', they'd come as you'd like. opera advertising amounts to the three
tenors pitch and 'the blind guy' (he must be shemp). a lot of things would
improve if everyone in advertising were killed.
singers are guilty of the problem too. they become paranoid about
pronunciation of a foreign language at the expense of actually saying
something in that language.
mike
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