Started by zamyrabyrd, July 26, 2011, 07:22:58 AM
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Quote from: Harry Powell on August 03, 2011, 08:02:00 AMPay attention to the way she colors a simple "a" on the word "Ariadne", according to the changing harmonic function of the notes.
Quote from: Harry Powell on August 03, 2011, 09:36:35 AMWell, this is a broader issue. My point is you can't say that in most of Sutherland's roles music should serve the words. As the Godfather of Italian melodrama, Rossini was very definite about this: quite the opposite. "If a composer follows step by step the sense of words, he will create non-expressive music: poor, unconnected, vulgar, ridiculous." For Rossini, words were mere imitation of feeling while music was pure feeling. In coloratura parts the very writing tells us that words are second to music. Of course, as words achieved greater prominence through Donizetti, Bellini and Verdi, Sutherland was less at home in their operas. Still, I feel her diction wasn't that bad. Leontyne Price's was much worse and she sang roles where words were much more important.In Lieder it's obvious you must take greater care of diction.Kasarova would be fortunate if her problems were limited to diction. Bad diction in her comes from a false technique. An unbearable singer.
Quote from: knight66 on August 05, 2011, 11:59:48 PMNow this messa di voce that almost no one uses: my reading still does not get me to understand exactly what I am listening out for......though I kind of expect that when I do 'hear' it, I will go....oh that. Can you give me any Lieberson Youtube experts where you can specify the minute/seconds when she deploys it? I have most of her later recordings and can go through them to find more examples.......what live singer uses it? Mike
Quote from: knight66 on August 06, 2011, 03:00:21 AMWell, that is most beautiful, it is different from the famous Baker version:http://www.youtube.com/watch?v=qZ3JROJHloEwhich I find just as beautiful. HL has a tendency to slide between notes and not move cleanly between them: not a technical deficiency, but clearly an interpretative decision to in part create an undisturbed atmosphere. But contra to that with her distinctive phrasing I think she also breaks the line more often. I can't be hacked digging out my score to see where the phrasing lies; but my reading of this piece is to provide a thread of sound across the arc of the song as unbroken as possible. It is an oasis of calm, a balm.Mike
Quote from: zamyrabyrd on August 06, 2011, 04:52:31 AMI was just want to add a PS to the previous post. I was looking for the name of HL's voice teacher at the Boston Conservatory but couldn't find it. But without that information, it can be surmised that her being proficient in another instrument, the viola, surely had a positive impact on her singing. She was an excellent musician to begin with, was even part of a modern music chamber group.ZB
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