Are you from This Is Opera ? I agree the Bjorling/Merrill version sets the standard for this duet, and they have a beautiful natural sound
@evan-dunn9 сағат бұрын
Thank you for watching and commenting! I am not from This is Opera. However, I did learn my technique from Jeremy Silver who also taught the people from that channel.
@livrowland1717 сағат бұрын
@@evan-dunn Ah, ok 😊 No problem
@evan-dunn5 сағат бұрын
@@livrowland171 Are you familiar with them or with Jeremy? I love to meet new people and gain new perspectives!
@loboestepario24244 күн бұрын
Kauffmann's technique is appalling. I have seen him twice as Don José and Cavaradossi (in Naples of all places!) and I couldn't believe how small and constricted his voice was. I guess that, as Netrebko, being pretty was enough to make a big career, regardless of technique. And Ludovic Tézier is just hoofy and boring.
@evan-dunn4 күн бұрын
Each singer has things they are working on! Part of the journey 🥰
@loboestepario24244 күн бұрын
Netrebko is a lyric soprano with limited coloratura, as Freni was. She's also quite hedonistic and lazy, so she didn't work to get the principles that were lacking early on in her career.
@evan-dunn4 күн бұрын
Thanks so much for watching and commenting! I think it is helpful to remember that each person who sings is a person who has worked hard at their craft. They bravely go out in the arena, even if they have things to work on vocally. I can have empathy for them, just as I try to have empathy for myself ❤. Thanks again!
@hartmutlorentzen96594 күн бұрын
And again : quot capita, tot sententiae
@evan-dunn4 күн бұрын
It's a beautiful thing, isn't it?! Thanks for watching! ❤
@caninbar5 күн бұрын
I hear core in Podles voice, but her chest, lowest notes, are much more emphatic than Cossotto's. Two different voices.
@evan-dunn5 күн бұрын
Cossotto uses her head voice lower, that is true. But she carries more chest into her head voice. That is why she has more core throughout her range. Thanks for watching! I appreciate you taking the time to comment.
@draganvidic20396 күн бұрын
Ewa Podles had an absurd voice. Could be fascinating but strangely ”developed” or actually undeveloped.
@evan-dunn6 күн бұрын
Thanks for watching and commenting. Although not developed very much, it is helpful that her voice at least has some chest and some head! But it takes a lot more than that for a voice to be completely developed as you are aware! 😍
@michaelpapadopoulos54506 күн бұрын
Podles always sounded like a male alto falsettist to me.
@Thearchivebeyondimagination6 күн бұрын
Podles was a true mezzo and bot absurd at all.
@evan-dunn6 күн бұрын
@@Thearchivebeyondimagination Thanks for watching! Were there any helpful take-aways for you?
@liedersanger16 күн бұрын
Your thumbnail says that Caballe is the the source of the quote. I'd like to know where or when she said that please.... And you should know! Thanks.
@evan-dunn6 күн бұрын
Hello! Thanks for watching. All of my thumbnails have nonsense words in the speech bubbles. Just my aesthetic of singers saying dramatic things that are obviously untrue 😝. Sorry for any confusion ❤
@liedersanger14 күн бұрын
@@evan-dunn In other words, misinformation! Like we need more of that.
@evan-dunn4 күн бұрын
@@liedersanger1 Thanks for sharing your concern. In English, it isn't a quote unless there are (") quote signs around it. Just a bit of fun. But again, sorry if the humor is not to your liking!
@liedersanger14 күн бұрын
@@evan-dunn Oh come on. The voice "balloon" suggests it's a quote.
@danielhanson32006 күн бұрын
Did Cossotto have good technique throughout her career or is there a certain time period you recommend? Odd that Jeremy never posted sbout her.
@evan-dunn6 күн бұрын
I'm not familiar with her whole career. But she demonstrates great skill in this clip! There are thousands of singers worth studying in since recorded history began. There certainly isn't time to discuss all of them in depth!
@Thearchivebeyondimagination6 күн бұрын
At a certain period. Later, she was flat, opaque, and ingolata. A short soprano, but a large voice for sure.
@evan-dunn6 күн бұрын
@@Thearchivebeyondimagination I'll have to listen to some more recordings and see what I can learn from her. But Vocal decline can happen!
@alleviation912 күн бұрын
@@ThearchivebeyondimaginationI wouldn't say short as she had a usuable C6. She, like MANY "mezzos" (Simionato, Stignani, Zajick, Verrett, Ludwig, Baltsa, etc), were really just large-voiced sopranos, or very high-set mezzos, which is a very different thing from a "natural mezzo," (Stevens, Cernei, Sinysvskays, Amparan). Great singers, though!
@Thearchivebeyondimagination2 күн бұрын
@alleviation91 Simionato, Stignani and Ludwig are mezzos for sure. Verrett was a very obvious soprano.
@nadiamoiseyeva98196 күн бұрын
Elena Carnei
@evan-dunn6 күн бұрын
So fabulous!
@Slaptothefuture6 күн бұрын
the great Elena Cernei
@evan-dunn6 күн бұрын
She really was great, wasn't she?!
@ApotheosisMystica6 күн бұрын
Yes…
@ann-mariedvardsenalexis849110 күн бұрын
Bravissimo!!!!!
@evan-dunn10 күн бұрын
❤❤❤
@ann-mariedvardsenalexis849110 күн бұрын
I want to tell you that when I hear you sing, all my hairs stand on end! So lovely to hear these free sounds with all the overtones vibrating!!! Keep up the good work!!!
@evan-dunn10 күн бұрын
What a lovely thing to say! Thanks for listening and supporting.
@Thearchivebeyondimagination10 күн бұрын
Obraztsova was opaque as well
@evan-dunn10 күн бұрын
Thanks for watching. How do you define opaque in a singing context? Thanks!
@Thearchivebeyondimagination10 күн бұрын
@@evan-dunn muddy/unclear. She wasn't the best representation of technique. Developed registers? Sure. The rest? Questionable.
@evan-dunn9 күн бұрын
@@Thearchivebeyondimagination Everyone has things they're working on, right? ❤
@Yves_Ka4 күн бұрын
To be honest, you can call her what you like - she was riveting in the flesh
@truesoundchris13 күн бұрын
Try to sound like this, not like the wobbling crows in your video: kzbin.info/www/bejne/aYXGiX2vhd5rl80 Also follow other examples by singers who were active before 1914. The Great War toppled not only various Emperors but also the whole culture that created opera. Later examples like those you show in the video are usually already degenerate, out of the proper tradition. Best stick to singers born before ca. 1875 whose technique is uncompromised by verismo and modernism. Among sopranos, the obvious ones (by far not the only ones, though) are Patti, Melba, Gadski, Eames, Calvé, Nordica. None of whom has a noticeable vibrato.
@truesoundchris13 күн бұрын
Good singing has no consciously perceptible vibrato, just the quick fluttering that indeed happens naturally with the proper amount of tension on the vocal apparatus. Like a trill but less wide, well within the same note rather than alternating two notes. Any vibrato you can modify by conscious bodily action is not a vibrato but a tremolo. But whatever you call it, its beat must be twice as fast as the shortest note you plan to sing. That means, six vibrations per second is the rock-bottom lower limit. 8 to 10 sound better. And the width must not exceed a semitone, ideally stay well inside that limit, or the vibrato will sound as a "chronic trill" (like the great tenor Leo Slezak put it). As a rule of thumb, the straighter and less contaminated by vibrato your tone, the more musical the effect.
@evan-dunn12 күн бұрын
I like to say that a great vibrato doesn't call attention to itself. So true! Have you ever listened to Leo Slezak's vibrato slowed down? You might be surprised that even his vibrato sounds wider than you might suppose! But you are correct about speed and width of about a semi-tone. But that width does change as you go higher and lower in the range. The same thing happens with a violinist, it gets wider on higher notes, and less wide on lower notes so that is matches the frequencies of the overtones. Thanks for watching!
@albertconstantine543213 күн бұрын
My ears are bleeding a little. Thank you. My male voice approaches the middle range with some of the same stressors, and the advice is equally apt for me.
@evan-dunn12 күн бұрын
Thanks for the comment. It is so true that the male voice has some of the same issues. I'm glad this was helpful!
@danielhanson320013 күн бұрын
It is unclear what collapsed head voice is. Thanks for the example with a famous American mezzo who was always nasal and inglotta.
@evan-dunn13 күн бұрын
My pleasure. It is impossible to learn about all the complexities of a concept like collapsed head voice in a two minute video. However, overtime, I'll try to explain more! Essentially collapsed headvoice is when the registers are *NOT (edited for typo) coordinated properly so the singer has to come up with ways to cover up the weakness. They usually do it with types of nasality or thickness. Hope that helps!
@danielhanson320013 күн бұрын
@@evan-dunn *not coordinated properly. I love your videos and look forward to more of them. Thanks for sharing your expertise and time.
@evan-dunn13 күн бұрын
@@danielhanson3200 🤣 *NOT, thank you, I'll edit the comment.
@draganvidic203913 күн бұрын
It’s ok to like bad singing like Horne here just don’t think it’s good singing.
@evan-dunn13 күн бұрын
@@draganvidic2039 Everyone likes different things, right?! Thanks for your comment. For myself and my students, I try not to think of singing as being good or bad. I like to think of it as being developed or underdeveloped. It might be a matter of semantics, but it helps me to take the pressure off myself as a performer.
@marylambcarter13 күн бұрын
Horne had a huge beautiful voice on stage !!! did you see her live???
@evan-dunn13 күн бұрын
Thanks for watching and commenting. This is my favorite recording of Marilyn Horne. Have you heard it? kzbin.info/www/bejne/n6HGqaBod7miirs
@draganvidic203913 күн бұрын
@@marylambcarter Ugly voice very nasal
@Yves_Ka4 күн бұрын
I heard her sing Rosina and Amneris and 2 recitals. The voice was disappointingly small and her Amneris didnt carry over the orchestra most of the time. Ideal for recording studio.
@evan-dunn4 күн бұрын
@@Yves_Ka Interesting. Her technique was especially clear when she was younger and training as a soprano. I'm not saying that she was in fact a soprano instead of a mezzo. But she changed her technique drastically while singing mezzo repertoire.
@Yves_Ka4 күн бұрын
@@evan-dunn yes - the whole color changed totally. As a soprano she did not have a distinctly individual timbre. But that changed dramatically when she swopped to Mezzo
@nigelbatie705824 күн бұрын
Lawd, what is that horrid sound at the very beginning? Yikes.. Thought I was going to hear Birgit or Ghena but instead it was you-know-who... She should have stayed away from that repertoire..
@evan-dunn17 күн бұрын
Thanks for watching! The first singer is not actually "you-know-who." This singer is very well accepted in the dramatic repertoire. It just goes to show that even though rep choice is important, developing a solid technique is even MORE important to longevity.
@golden-6329 күн бұрын
*When I was merely an aspiring opera singer in music school, I did not have good technique at first. I had to work hard at it. Thanks to my teacher, I eventually developed a solid technique and an attractive, decently large voice. As a result, I ended up surpassing my classmates who had lovely voices, but substandard technique. And whenever the voice went astray, I was able to figure out what was wrong and how to fix it. A solid technique frees you to make music and to concentrate on one's acting, musicality, etc. and not how you're going to make that high note.*
@evan-dunn28 күн бұрын
Thanks for sharing and keep up the good work!
@JacquelineLanceTenorАй бұрын
World of difference and a wonderful showcase of growth! 😊
@JacquelineLanceTenorАй бұрын
I just realized I've said "world of difference" on two of your videos. I need to get a new line 😂
@evan-dunnАй бұрын
@@JacquelineLanceTenor 🤣
@evan-dunnАй бұрын
Thanks for your support!
@HLLTAFАй бұрын
Ya got a new sub
@evan-dunnАй бұрын
Thanks for being here!
@ohthatmooneyАй бұрын
This is a fascinating thread, and for what it's worth I am 53 and came back to singing only in the past few years. I can hit notes I could *never* as a tenor in his 20s and 30s, and I chalk it up to knowing my body and not treating my voice as a Faberge egg. Snging is an athletic endeavor and when I treat it as such, I give myself permission to take chances. Coming back to music in midlife was one of the best things I ever did for myself. And fun fact: my mother and Beverly Sills both studied with Estelle!
@evan-dunnАй бұрын
NO WAY! Thanks for sharing about your journey. I am CHEERING you on from afar.
@golden-6329 күн бұрын
Yes! Singing is just like being an athlete!
@theoneandonlymariahcarey3020Ай бұрын
Would you do a video of Sumi Jo? As she has one of the best techniques
@evan-dunnАй бұрын
Thanks for watching! I would like to do a video about Mariah Carey 🤩
@edwardbeckwithАй бұрын
For me the greatest of all=Mirella Freni!
@evan-dunnАй бұрын
Beautiful!
@SilfredoSerranoАй бұрын
You have a picture of Caballe on the front, but considering she sang from 23 to 49 exceptionally well, and only then started to lose it, I think she did quite well for herself.
@evan-dunnАй бұрын
I completely agree! Notice that I used her as an example of fabulous singing at the end of the video ❤
@kaochloe1Ай бұрын
it is sad to read "Some people still have giant careers, even with their technical issues" because technical issue will shorten their career. sigh. A lot of the theaters nowadays, MET in specific, want "Super Star" with strong social media presence rather than "opera singer", we will have less and less operas to go to
@evan-dunnАй бұрын
Totally, but I'm glad that people are still able to do what they love, even if they have technical issues! It's just that I want to avoid as many technical issues as I can for myself and my students.
@amarasingsАй бұрын
Why did my brain immediately notice the clorox wipes 🤣🤣
@evan-dunnАй бұрын
Literally same 🤣
@amarasingsАй бұрын
Go Evannnnnn 🎉 I'm finally doing my homework and binging your channel 😂🙈
@evan-dunnАй бұрын
Wahooo!
@doperasingerАй бұрын
🙄🙄🙄🙄I wish ppl would leave Netrebko the fuck alone…she wasn’t going to stay in pretty lyric roles.
@BravilorАй бұрын
The ending of the Tebaldi aria in that recording (not heard here) is ecstatic. Actually in part thanks to the imperfect sound which makes the percussion sound more desperate! kzbin.info/www/bejne/rYDOYYeLaZKjh6M&ab_channel=adolfocagorno Would have liked to hear how long the applause went on for.
@evan-dunnАй бұрын
Amazing!!!
@chelsycordon6187Ай бұрын
I really loved the perspective of this video. I definitely think it’s a combination of both; but technique is crucial. I had lousy technique for a long time and the moment I really started focusing on it is the moment my voice really began to blossom. I still have a way to go ((don’t we all)) and my teacher is very strict about repertoire which isn’t always a bad thing; I’ve sung a lot of different rep from Rossini mezzos to currently a full lyric soprano role (which is where my voice lies) and I’ve been okay singing both rep; I get cast as a mezzo very often for the sake of having a strong chest voice though I’m very much a soprano. Picking the right repertoire is important but when you have good, solid technique, it allows your repertoire to expand. Really great video!
@evan-dunnАй бұрын
For sure!
@Kevin_BeachАй бұрын
The worst wobble I've ever heard in a soprano is from Maria Callas, when singing loud at the top of her voice. BTW, a vibrato is the natural pulsating of the voice on the same note. If it wobbles from note to note, it isn't a vibrato, it's a tremolo.
@evan-dunnАй бұрын
Thanks for the comment! Different pedagogues often use the same term to describe different things, or different terms to describe the same thing. In this case tremolo and wobble are two different technical issues. Tremolo is like a tremolo on a violin where the violinist plays the pitch repeatedly and quickly with the bow, but the pitch doesn't change. So a tremolo vibrato (or caprino) is where the the vibrato pitch isn't changing enough. A wobble is where there is plenty of width in the pitch (or too much width), often a wobble is too slow, but the main aspect of a wobble is that the accent is in the wrong place, and that makes the vibrato harder and harder so it continues to slow down and get wider. Hope that helps!
@kaochloe1Ай бұрын
So grateful to youtube algorithm that brought your channel to me. Thank you so much for your enlightenment. As an amateur, it puzzled me so much about the fancy of Nett and now I know. I only heard voice going from bad to worse. Could not believe the first part was from hers. Can't agree with you more. not the choice of repertoire but the flaw in the techniques.
@evan-dunnАй бұрын
I'm so glad you found it helpful! Thanks for watching.
@der_Allsehende_SeherАй бұрын
wobble is not a technical term. TREMOLO is the term.
@evan-dunnАй бұрын
Thanks for the comment! Tremolo and wobble are two different technical issues. Tremolo is like a tremolo on a violin where the violinist plays the pitch repeatedly and quickly with the bow, but the pitch doesn't change. So a tremolo vibrato (or caprino) is where the the vibrato pitch isn't changing enough. A wobble is where there is plenty of width in the pitch (or too much width), often a wobble is too slow, but the main aspect of a wobble is that the accent is in the wrong place, and that makes the vibrato harder and harder so it continues to slow down and get wider. Hope that helps!
@der_Allsehende_SeherАй бұрын
@@evan-dunn You clearly don't know music. Tremolo in the voice is a vocal problem IT HAS NOTHING TO DO WITH THE VIOLIN WHEN DISCUSSUNG VOCAL PEDAGOGY. Next you'll tell us portamento on the piano and portamento in singing are the same. Read Lilli Lehmann's MEINE GESANGSKUNST! Oh, sorry, Einsprachler könnten mit Deutsch nie und nimm er klarkommen! Vous n'en savez rien.
@evan-dunnАй бұрын
@@der_Allsehende_Seher It is pretty common for different pedagogues to use the same term differently or use different terms to describe the same thing. And not that this has anything to do with the the topic, but I speak three languages including German.
@der_Allsehende_SeherАй бұрын
@@evan-dunn Ich wett, auf Deutsch könntest DU es in tausend Jahren mit mir nie aufnehmen. Geh und LERNE etwas Gescheites, bevor du anderen falsche Information weitergibst.
@evan-dunnАй бұрын
@@der_Allsehende_Seher 😆You're probably right. I'll probably never be able to compete with you in German! 🤣
@niuldoАй бұрын
Altri motivi possono essere quelli che toccano i nostri sentimenti, i pianti, le urla, tutto fa, e incide tantissimo sulle corde vocali, quindi non solo una tecnica sbagliata o un repertorio non idoneo😢
@evan-dunnАй бұрын
Totally! Thanks for the comment
@JudasistАй бұрын
Speculators like you are messing with the young people's minds, offering them easy results with easy "technique tricks" just to get their money. That's why it is full with fake singers on stage today. Shame on you and the all others like you. Instead of "trying to help" people to solve their vocal problems, show to the world how should real singing should sound like with your voice.
@olofholm8612Ай бұрын
Thank you for this very informative comparision!
@evan-dunnАй бұрын
You're so welcome! I'm glad you found it interesting.
@VanessaAmaroOficialАй бұрын
Entonces todas deberíamos sonar a sopranos ligeras, haciendo repertorio de dramáticas? jejej es lo que entendí...
@evan-dunnАй бұрын
🤣 Definitely not! But we should sound like ourselves! 😍
@VanessaAmaroOficialАй бұрын
@@evan-dunn como experiencia y cantante de opera que soy, entre más lirico y voz pesada tengas, es más frecuente que tu vibrato presente alteraciones, es NORMAL, pues tu voz es sumamente grande! es dramatica! imagina la cantidad de armónicos. Lo que se debe hacer es trabajar muchísimo en el apoyo y en el aire. Siempre hay que estarse monitoreando y escuchando. Otra cosa, las grabaciones de esa época se grababan a más revoluciones, asi que siempre sonaban con vibratos muy rápidos... ademas de que las sopranos cantaban más ligerito, así era la tecnica de ese entonces. Escucha a Renee Fleming, ella es una lirico, voz oscura y gordita con un vibrato correcto. Sería un mejor ejemplo. Saludos.! Desde una cantante de opera y maestra de canto, con experiencia.
@FredONeil1Ай бұрын
At her peak Eva Marton was untouchable
@evan-dunnАй бұрын
😍 amazing
@wallenstein72Ай бұрын
It is not fair to compare Stemme in the late state of her career (aged 53 by the time of her Met-broadcast of Turandot) to Dimitrova and Marton at their peak. I heard both live singing Turandot relatively late in their careers. Dimitrova was by that time skipping all the C's and had a quick tremolo (which you can hear in your recording as well) due to too much pressure on her voice (that caused her to pause for almost a year in the early eighties (around age 40) due to voice issues and vocal cord surgery). Marton had a huge, slow tremolo throughout the last twenty years of her career, and sang constantly too low. You can her early signs of this in her Met -"Turandot" (1987, at age 44), and more so in her second "Turandot"- studio recording (at age 48). kzbin.info/www/bejne/aqjKp4ltZt6Vi68. In her return to the Met 97, she could no longer sustain the high notes properly. The tiring of a voice, due to the constant demands of this heavy repertoire is a completely normal process. Listen to Leider, Tebaldi, Varnay, Callas, Scotto, Lindholm, Behrens, Marc, Linda Watson, Herlitzius, Voigt, Merbeth ....to be continued. Nilsson, of course, was a unique exception of a truly dramatic voice, starting her career relatively late and blessed with an incredible technique plus very strong vocal chords. There is an interesting remark by Christa Ludwig, who had vocal issues throughout her whole, long, career, whose phoniater compared her slim, sensible vocal cords to that of Nilsoon. He pointed out, that Nilsson's vocal chords were exceptionally and uniquely strong and thick.
@evan-dunnАй бұрын
Thanks for your comment! There are obviously many variables in the voice as you mentioned. I can't address each one in each video. I'm just providing snap shots! Thanks for watching.
@joshuavandyne7334Ай бұрын
And yet Eva Marton started out strong - singing definitive Toscas and Turandots, but she developed a horrible warble and lost the qualities that originally made one believe she was the heir apparent to Nilsson - which , naturally no one is because Nilsson’s voice and artistry as a Dramatic Soprano was a gift and is unparalleled - never to be equalled or surpassed…… We thought perhaps Nina Stemme, but no.
@evan-dunnАй бұрын
It takes a lot of work to keep a solid technique for a whole career!
@jojomutagaya6708Ай бұрын
German singer is Anne Roselle, my favorite Turandot 🙇
@evan-dunnАй бұрын
😍🤩
@JacquelineLanceTenorАй бұрын
Wow, I couldn't even tell the first two clips were Netrebko until I heard Vieni t'affretta. I forgot what she used to sound like in her early career. World of difference, but yes, even early on you can clearly hear the technical issues waiting to develop into a monster.
@evan-dunnАй бұрын
Crazy, right?!
@JacquelineLanceTenorАй бұрын
@@evan-dunn crazy sad honestly. The state of her voice these days is... Well we all know. Lol
@evan-dunnАй бұрын
@@JacquelineLanceTenor I know 😭!
@DarbyFeganАй бұрын
This is quite stupid, amateur analysis.
@evan-dunnАй бұрын
Thanks for your comment! Learning this turned my voice around and it helps my students everyday. Sorry it wasn't to your liking! I hope you find joy on your singing journey ❤
@GuilleSalvatierraАй бұрын
This video is so important! It's 99% a matter of technique and not repertoire. Great singers of the past sang a Wide repertoire. Caballé was a lyric but she sang Norma or Salomé! Maybe not her best roles (that is personal taste). Steber sang also a lot of different roles and they could do it because of their well developed technique. Thank you for the video! ❤
@evan-dunnАй бұрын
Thanks so much! This conversation obviously deserves a lot of nuance, but I think it is an important conversation to have! Thanks for joining in.
@JacquelineLanceTenorАй бұрын
I think the speed and wideness of my vibrato is usually just right, but I've always had the tendency to go a little bit flat sometimes. I feel like it's my vibrato dragging the pitch down. It doesn't happen all the time, but it's enough that it's bothersome. I think it's less of a problem with the vibrato action and more than I need to think "let it spin upwards" more consistently. Thoughts anyone?
@evan-dunnАй бұрын
That is VERY common when the vibrato is accenting on the bottom of the vibrato action instead of the top. This is caused by tension that can definitely be fixed! Let me know if you'd like to work on your vibrato sometime. It is such a fun thing to develop!
@JacquelineLanceTenorАй бұрын
@@evan-dunn I am currently in school for voice, so all these things are being worked on. My tension problems were crazy out of control when I was younger. They're better now, but very much still a work in progress.
@evan-dunnАй бұрын
@@JacquelineLanceTenor Keep up the good work!
@pablopradera4465Ай бұрын
Vaya!, veo que hay mucho experto en voces operisticas por ahí.....sólo hace falta darles una excusa para que suelten todas sus sandeces.Que facil y gratuito resulta criticar.
@evan-dunnАй бұрын
Thanks for your comment! Learning how to critique is a crucial part of learning how to sing, and teaching other students to sing. It definitely isn't easy! Here is an article on the topic: www.evandunn.com/media/why-we-should-compare-singers-and-do-it-nicely
@ransomcoates546Ай бұрын
Have you heard Radvanosky much in the theater? The voice is enormous, and commands every dynamic to a shimmering pp. The sound itself is an acquired taste, and she does not have a firmly settled ‘voce di petto’, but currently she is the only singer I would travel to hear. Hearing voices in the theater is the only way to make really informed judgments.
@evan-dunnАй бұрын
Thanks for your comment! It is true that a singer can have many great qualities and still have other technical deficiencies. There are many voices with huge ranges, great mobility, ppp high notes, or that sound really pretty, but that doesn't mean that there aren't things to learn from them! Here is an article on the topic, I hope you find it interesting! www.evandunn.com/media/why-we-should-compare-singers-and-do-it-nicely
@kaochloe1Ай бұрын
yes. i would do the same thing to hear her.
@AP-dd3xpАй бұрын
She is garbage. Awful technique, unbearable.
@ransomcoates546Ай бұрын
Sills’ husband was extremely wealthy, so this idea of her wrecking her voice for money is absurd. What she said was she was willing to sacrifice a longer career for the artistic possibilities that heavier operas like Norma and Roberto Devereux gave her.