emmashapplinrules@h... wrote:
> Thanks Gina for the info. Do most sopranos have 2 or 3 octaves > then, is that the norm? I'm thinking how in the world are these > people counting the notes? Seems far out to me.
Like Isabelle said, there's a difference between squeaking out any type of sound and being able to really sing. And in any case - so what? The composers whose music is sung by classical singers write for the typical range of a trained voice. If a singer has more notes, or even octaves on either side, what good would it do the singer or the audience? Now in pop singing, there might be a market for the freak value of an extraordinary range, because people don't put as much value on the quality of the tone, and because of microphones.
> Yeah, I was thinking Celine was more of a lyric than dramatic, if > she were to sing opera. She doesn't even have that dark timbre to > her voice. I guess when I heard her sing just scales. I think she > has the same voice specialist or teacher as Pavarotti. I don't get > how people can say stuff like that, if they heard true dramatic > sopranos like Birgit.
I can see where someone with little opera-going experience might use the term "dramatic" to refer to Celine Dion - I think someone like that might be using the term because of the feeling of drama they get from her singing - that terrific intensity she has - rather than what we who know opera think of - the sopranos who sing roles like Brunhilde or Isolde, etc.
Peggy
-- Margaret Harrison, Alexandria, Virginia, USA "Music for a While Shall All Your Cares Beguile" mailto:peggyh@i...
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