Bad voice teaching Horne, Didonato, Fleming, Nilsson, Florez

[@hodgrix]

I get the sense that Florez wished he were a pop singer.

[@WoodsmanFriggz]

Or a broadway singer

[@weiliu3623]

Exactly! Your nailed it. JC too. I had the same feeling. It’s a mentality thing.

[@bradleymonroemusic4688]

I wonder if Florez can sing with Il Divo too. Both are my favorites.

[@paulennini3655]

I wish Florez was a pop singer, too. I've heard him sing popular songs and he sounds better than he does in opera.

[@hodgrix]

@@paulennini3655 a lot of opera singers do imo when they sing pop. obviously they have vocal chops if they can perform full operas, even if in a mediocre fashion, and the requirements for pop are just not as strenuous and challenging as opera so they sound really like the best stars in the world imo when they sing pop

[@bmbutler2]

Just goes to show just because you excel in your area of music (singing, piano, organ or instrumental) doesn’t mean you are meant to teach it. I’m a very good musician in my area. I used to be great, but that was when I could practice every single day and had recitals and competitions to prepare for. I don’t teach my main instrument because I suck at it. I’ve seen “voice teachers” screw up teenager voices. Parents signed their child up because the “teacher” had graduated from the local music school. One mutual student (I teach piano) had the most weird sound come out of her mouth and she was 13. When I asked what her teacher’s music degree was in, she told me ACCOMPANYING. (Today it is called collaborative piano - so stupid). I was required to take voice lessons since organ was my main instrument. Complete waste of time. It didn’t do anything except make me so confused as to the terms and how to “sing in your face mask.” Just because someone took some lessons doesn’t mean they can teach. Around here, we have pianists who took a year of organ and they call themselves organists. Nope. You are a ______ (your primary instrument) and took a few required lessons in a minor area.

[@tonijohnson9426]

I think there’s a difference between a primary/high school singing teacher and ummm….Marilyn Horne. Just saying.

[@fritzfanny3239]

The author is making fun of people who are advocating too much chiaro while advocating a purely scuro approach. Basically, it is like saying I only like singers who sing in one imbalanced way and will now make fun of all singers who sing another way.

[@michaelarivony7409]

Actually, opera singing should NOT sound dark (ONLY). It is the balance between the dark and the bright. Not only dark and not only bright

[@roberthorn1838]

I saw Florez in Lucia at La Scala last year, I say "saw" because I barely heard him. Watching him demonstrating here makes me realise why!

[@giovannipaisiello289]

😂😂😂😂 LOL

[@fritzfanny3239]

I think this channel would be more aptly named “This is what I think opera used to be.”

[@Altonahh10]

I've been going to the opera for 40 years. I can confirm that the decline in voices and the corresponding quality began a long time ago. In the meantime, even at the biggest opera houses, you have to fear that you will hear over-sung sopranos, poor tenors and no mezzos at all in the relevant roles. It seems more important that they meet the requirements of crazy directors, roll around half-naked on stage and can sing well at the same time. Granted - singers look better than they used to, but they sing much worse. And anyone who looks at the so-called superstars - Garanca, Netrebko or Kaufmann - knows what I mean.

[@smurf902]

Absolutely. My friend made his debut at the Met in that dumbass production of Agrippina in 2020 just before the pandemic and I walked out at intermission, pretended I'd seen the entire thing and got roses for him and went backstage to congratulate him. I myself had pursued a career and I was absolutely assured that evening, after 25 years, that I would have hated having to perform in these ridiculous productions where there are dancers onstage distracting the audience from the music. One conductor told me they do this because they think the audience won't buy just the drama of the storyline and the music, they take the audience intelligence for granted.

[@comment6864]

yeah, they shouldn’t have built theaters the size of the met if they were planning on diminishing the sizes of voices and replacing them with sexy naked, boobs, and legs.😂

[@jefolson6989]

I think it's always the case. There are more operas produced than there are great voices. So casts are filled out by who they can get. But if rather hear bad opera than none at all.

[@mickey1849]

@@Altonahh10 It's really a sad state of things 😐

[@mickey1849]

@@Altonahh10 Netrebko looked passable when her weight was off. But that was a long time ago now.

[@marcoeliasrustrian6438]

By the time I started to listen to opera, I got that opera is different than other ways to sing cause it caught me for those big loud and dark voices. Sadly, now I can see some of those great singers anymore 😕 😪

[@leonimalewezi]

Opera is universal it should sound “bright” or “dark” when it needs to be 🤷‍♀️

[@alicjaalvena1120]

i generally agree with you about current opera singers lacking chest resonation, but i think you dont know much about the process of LEARNING how to sing. these nasal, pitchy sounds are the BASIS of singing. u first need to open up your nasal resonators to even be able to emit the sound, especially high notes. its the first step. only then u need to learn how to drag chest resonation along with it. always when i warm up i start with pitchy, nasal noises, to open up my nasal cavity resonators. doesnt mean the end result will be the same sound..

[@chicagolc7022]

Thank you.

[@armenak20962]

Great!

[@comment6864]

You have to understand all this terminology means nothing all that matters to an audience is the results that they hear and that is where the problem lies. You can’t debate somebody into thinking you sound good if you don’t.

[@alicjaalvena1120]

​@@comment6864 just like you cant debate STUDYING singing without knowing anything about education process. these students here are still learning. u cant expect perfect results. its like mocking a toddler for not knowing quantum physics. and also, dont mock warming up exercises when u dont know their purpose. this channel indeed points out an important issue in current opera singing that is lack of chest resonation in most singers, because teachers dont give a ... about it, they just want u to hit the notes flawlessly and that's it, but mocking warming up exercises is just... no. stop.

[@IvanIvanov-dobry]

and no good sound - only nasal mosquito

[@tommyekman7922]

It is a misconception that the educators in this video are advocating nasality. They try to get the "student" to use all sound chambers and equalize the voice and at the same time achieve tessiatura with high formants and a timbre that reaches beyond the edge of the stage. This is not achieved by trying to darken the voice and make unnatural widening of the pharynx. The exercises with the aim of getting the student to find sinuses behind the nose and in the forehead can sometimes contain what at the moment is judged nasally. But when you then start with equalization, this is removed while maintaining the head sound.

[@vandersvanders]

Sorry, but this doesn't seem to match what Florez said in the end of this video. He clearly said that if the audience doesn't hear you "it's their problem". It seems to me he doesn't actually wants the student to fill up the theater with her voice. Also, I don't know whether you've listened to Florez or not, but his singing sounds really nasal to me. Besides, I can confirm that all of the opera singers I have listened live in the last 15 years at least without amplification are barely audible.

[@tommyekman7922]

Tone and resonance are important elements when singing opera. Work on developing a clear, ringing tone and a resonant sound that fills the room. It is important to use the resonance spaces the body has and to equalize the voice so that the registers can flow into each other. This can be achieved through exercises such as humming, singing nasals to find the main timbre and then equalizing the voice to give a beautiful and smooth transition between different registers in agreement. Then singing with an open mouth and relaxed throat is a must. On the other hand, I defend against a forced widening of the entire pharynx because it easily creates tension, can cause a lump and a guttural sound.

[@vandersvanders]

@@tommyekman7922 why do modern opera singers have small voices, in your opinion?

[@tommyekman7922]

@@vandersvanders They don’t generally. It is not possible to generalize and lump all younger up-and-coming singers under one roof. But there is, as I see it, a phalanx where acting takes a bigger place in education than singing technique. And then I wonder if the trainers haven't missed that we go to opera and vocal concerts first and foremost for the vocal experience? Otherwise, there are generally better actors in dramatic theaters than on the opera stage. I understand what you mean and believe that there would be room for analysis and reflection in some institutions that train in artistic singing technique.

[@ferminsalaberri]

All that gibberish means aboslutely nothing. For starters, sinuses are full of mucus. The sound doesn’t resonate there.

[@ghpiano100]

We don’t care the orchestra??? The. composer did.

[@DCBfanboy]

Yeah fr though ! 😂

[@matthewcimino229]

A lot of this has merit. You’re also showcasing singers with a lot of natural balance and ease in this type of singing. Demonstrating the “small” sound concept, particularly as you ascend, is a healthy approach to understanding how higher notes function. What I heard in the first few minutes are these singers trying to have the student feel or even hear a sound that is smaller in their head which benefits the maximum acoustical benefits of the sound. Fleming’s demonstration sounded the most “on the body” to me to approach the note as a noise rather than a singing sound.

[@comment6864]

but the problem is that some of these teaching singers are of mediocre quality themselves at best

[@operasingingtechniqueandpe2646]

Marilyn Horne sang with a dark chest voice. So, why is she teaching someone to sing as brightly as she can? To not get into trouble at the conservatory? I don't like how DiDonato is incorporating nasality into that singer's sound. Singing nasality doesn't enable you to project your voice further. Renée Fleming is right that the aria that woman is singing is a more feminine aria than most of the arias. But, she should be covering her sound as she sings the "ee" voice. I actually watched Nilsson teach that person. She sang that this person must sing from the pharynx but should feel the effect of bringing the sound in front of your face because your sound is projected well. So, she's trying to teach projection through the pharynx; but, using an analogy with the mask so that the singer can feel his sound coming out. Joan Sutherland actually said that you have to use all of the resonators to project the sound. So, Nilsson has the right idea; but, she's not totally explaining her way of singing.

[@TenorRinke]

What is projection in your opinion?

[@geminikid1617]

Everything you said was Rt on the money, except for Marilyn Horne. She sang w/an extremely mask placed chest voice. Don’t you hear it in her tone? Like she’s forcing the voice through her nose or as if the sound was sort of trapped in her face? When you hear Marilyn Horne singing in modal voice, vs. Ghena Dimitrova, Shirley Verrett, Reneta Tebaldi, Fedora Barbieri, Elena Obratsova, etc. The sound is a far darker, cavernous sound. Way more released & free also.

[@marksmith3947]

Nilsson was great. I attended a master class in 1985. She was a good psychologist too, adapting her approach to the student

[@cliffgaither]

​@geminikid1617 :: With Marilyn Horne, maybe it depends on the operas and the composers. Horne's performance in Rossini's _Semiramide_ ( recording with JS and Bonyne ). Her lower-range in the duet with Rouleau, was very masculine free, powerful, her voice not trapped in "her face". Maybe, also, Bonyne has always appreciated mezzo-sopranos and help Horne to freely release those lower notes ? Help me out here ... I'm not a professional. Thanks !

[@comment6864]

I so dislike how Fleming and didonato sound themselves that I don’t even want to see how they teach. It would make me too upset to see them passing on their bad habits😢

[@gitambaoosthout8374]

My 2 cents all that emotion, musicsl expression different colours tessitura, frazing, decibels coming from 2 tiny tiny muscels , the vocal cords. Its quiet a mystery how it works, there isnt a definite recepy as the maker of this video suggests . Talent temperament musicality. Lung capacity, inner ear, physiology. Capacity to concentrate and so on and so on Many reasons also why todays singers sound tired overworked then only a bad technique. Just imagine how much time it took to travel up to 1940. And how much singers sing these days Monday new york wednesday paris and so on A hell of a lot of pressure on 2 tiny muscles.

[@familypondman]

Already in the seventeeth pupils like Jard van Nes on the KC the Hague let you know, Deutekom could not sing, so we had a fight over it and now it's the end of Opera, there are no real singers anymore, while everywhere peolple are in charge who think Florez or Fleming know it best! Thanks for posting!

[@draganvidic2039]

Guelfi 😍, Hadley 😍 & Nilsson 😍

[@josephzepeda7608]

The fact that great bel canto singers of saying this to students suggests that they have a legit pedagogical purpose. Your overall point about strong chest voice is spot on. But I don't think Nilsson just forgot what singing was, I think we are missing context.

[@michaelarivony7409]

When talking about stars, and singers who teach... There are singers who have certain things naturally and do not even know that they are doing it. And they only teach people the thing that they learnt (what was missing from them) and think everyone should sound and learn that missing thing. Without realising that they also need the very thing that that singer acquired naturally

[@tonijohnson9426]

As a professional working opera singer I just have one question? Is the creator of this channel, an opera singer, a working professional opera singer as opposed to someone who watches masterclasses on KZbin and obviously doesn’t have a clue about technique? To criticise the teaching of these absolute greats - whose careers speak for themselves - is absolutely astounding. To pick out tiny snippets of a lesson/masterclass and hold it up as poor teaching, is astonishing. These comments make complete sense if one understands everything that makes up vocal technique. An incredibly complex technique to learn and master. Nasal - is trying to get the singer to sing in the ‘mask’ as opposed to an unpleasant ‘covered’ sound in the back. It’s only to learn placement, you are definitely not meant to have any nasal sound/tone when singing. But you start there. If you don’t understand this basic point, please take this down. You’re making yourself the 🤣 - not the singer/s.

[@David-ji7qh]

The odd comment, taken out of context, is NOT a basis to judge anyone or anything. "Opera should sound dark" is a perfectly ridiculous comment - when taken in isolation and out of context; Well, honestly, I can't really think of any situation where a generalization that broad isn't stoopid.

[@LaPrimadonna164]

El peor enseñando es Florez, y encima faltándole el respeto a Rossini…madre mía! La Simionato le da tres vueltas…la ópera con buen vibrato, core, acento y expresividad., nada de mosquitos. Muchas gracias ❤❤❤

[@leyvarojasr]

I was told i was a leggero tenor, like JDF, thankfully I moved from town; new singers and new teachers, it was a shock for me when I realized I wasn't singing with my natural voice. Long story short: im a baritone. JDF sounded nice in those low notes, wishing him well

[@jefolson6989]

@leyvarojasr usually the misdiagnoses goes the other way. Some teacher think any male singer that doesn't have easy high notes is a baritone . This is.determaned at the first lesson. Unethical and lazy

[@MiguelArcangel-zi7xd]

Que falta de inteligencia y de respeto ponerse a discutir y de denigrar a ciertos cantantes simplemente “ porque no me gustan como cantan” No se puede comparar como canta un tenor ligero con un tenor dramático y viceversa .

[@Orfeus80]

Nilsson's entire technique was based on this frontal placement so I find her consistent in her teaching. Maybe the creator of this video likes her too much to admit it. As for Callas, she was an exciting singer, but her vocal problems came too soon to make her a good example of technique.

[@ferminsalaberri]

That’s what Nilsson liked to think of her technique. What her technique really was, is another thing. Singers are most of the time absolutely clueless about what they do and how they sound that’s why they used to trust so much in conductors and pianists. Now, when conductors and pianists are even more clueless than them, we are really screwed. Callas was a really good example for good singing at the beggining. Later he acknowledge she got bad habits and was trying to overcome them. The las recordings in her Paris apartment shows the voicegoing back to what it was when she was younger sort of

[@Zeth-x8q]

Callas Vocal problem has nothing to do with her technique, but exssejve amount of performing especially insane repetoire. No matter how good your technique is, *you are still a human* . Your muscle can be tired up and technique wont save that. Take a look at someone like Mariah Carey from pop industry. Her resonance quality is not joke yet she suffered sonmucj because of exscesive tour

[@Orfeus80]

@Zeth-x8q that's just Callas fan fiction. There have been other singers who've sung the same repertoire and didn't expire. If you listen carefully to her early recordings, you can hear the flaws that caused the early deterioration. This takes nothing away from her artistry, but technically, it shows that a solid technique is crucial.

[@Zeth-x8q]

@@Orfeus80 can u point out what is her weakness and her flaws? Maybe I can' learn something from that

[@Orfeus80]

@Zeth-x8q her scale was too uneven. You can hear a distinct gear shift when she goes from her low notes to the middle range. Starting from the low notes, they sound throaty (yet exciting), not fully grounded as in the case of Flagstad or Ponselle, for example. Then, the middle was always opaque, it had a hole, the vowels sounded veiled and whenever she added pressure to increase the volume, the vibrato would widen, already in recordings from 1949. The top had a brilliant core early on, but already in 1953/4, it started getting thinner and insecure with a pronounced wobble. It didn't help that she wanted to sing everything, when in fact she was a coloratura. Hence, the problems became more pronounced when she sang verismo and late Verdi, Wagner roles. This repertoire has rich orchestral writing against the voice, so it's easy to fall in the trap of pushing. In bel canto she didn't feel tempted to push as much, and her florid singing training with de Hidalgo was solid, so the runs, trills and roulades were all exceptional. Her problems were all mentioned in early reviews, before she became a star immune to criticism. If you hear her late recitals, the problems are still there, just more obvious. Singers with great techniques lose some notes as they get older but are still able to sing a steady line in the middle, Callas lost that ability. We also have no old-school singers who wobbled. Some authors like Scott have been quite honest about these, without overlooking her fascinating musicianship, exciting voice, professionalism and dedication to the art.

[@matthewjordan9070]

Crazy take on Larry Brownlee...one of the greatest of our time

[@jasonstearns2666]

Good lord! No wonder so many promising singers are ruined before they even get started. Such bad advice....and from singers who didn't do what they are advising here. It's sad. truly sad

[@aleksandartanackov716]

those conductors that don't know their job are sometimes ruining even a good singers, even the great Monsterrat Calballe had similar experience, but she just asked the conductor : do you think this sounds good? and he replied it is fantastic!!! she said ok, went to the dressing room to pick up her things and went back to Barcelona disappointed in such an ignorance

[@williamadolphe7921]

''like pop music a little bit''???? what?????????

[@raymondede8388]

Doing and teaching are totally different disciplines. Many great singers from the past weren't taught by singers. Great talent cannot be passed to others because it is exclusive to that person. Great teachers don't create the talent, they nurture and develop it. Lots of opera singers like to do master classes to remain in the public eye and, of course, for recompense. I'll go off script and give an example. Some years ago my daughter was a talented violinist. I took her to the Wigmore Hall to see Joshua Bell in concert. After the performance, she managed to get back stage and speak with the virtuoso. She asked him how he did a particular shift. He replied that he didn't know, he just did it.

[@PamelaJean2013]

On KZbin I find so many singers' comments to be vicious. I might be more interested in what you were saying if you removed the stupid emojis and derisive tone (and fixed your English).

[@giacomolaurivolpi8693]

Start by doing a tenth of the career of these singers you criticize and you will be able to speak. The fact of wanting to impose only one way of doing things on all singers shows that you have very little teaching experience. The vibrational sensations are different depending on where you are in the vocal range of the singer. Imposing an affondo on a singer who swells his voice is madness. Likewise, wanting to forcibly place a voice that is tight in the mask is also madness. Teachers who are gurus and claim to have the absolute truth should be banned from teaching. There are as many vocal particularities as there are students. It is up to the teacher to use all his knowledge and to demonstrate the greatest humility. For my part, I have been singing for 45 years and teaching for 30. The more I advance, the more I doubt.

[@NemesisTheInevitable]

The singing technique is always the same. Or it should be at least.

[@Zeth-x8q]

So u should be a singer to pointed out what is right or wrong? Your logic is funny.

[@PragueImport]

GLV died in 1979. If you are a credible singer and a teacher, why don't you use your real name? Incredibly enough, GLV stood firm for his technique. See some of his videos critiquing a few singers who came in the 1970s.

[@martinrogan6641]

6:05 you see how he closes his muscle behind the nose thats how you get projected squillo and true voice of the person.

[@mykytaoliinyk]

Kraus sounds good here, but what about his nasality? Could we compare him to Schipa or Valetti?

[@drefesou8912]

Definitely no… I think Kraus sounds good if we compare him to the likes of Florez ou Villazon… but as soon as we here Schipa, Valetti or Pavarotti in his brilliant begging days, we can’t really put him amongst the best…

[@mickey1849]

@@drefesou8912Kraus' nasality got visibly worse as he aged too. Here he sounds pretty good. Not great, but pretty good. But as he got later in his career he got worse and worse. I've heard some totally nasal Cs out of his mouth that had me absolutely cringing! Bad enough to deal with that. But the other problem is dealing with people who deny it completely, who tell me that Kraus has NEVER gone nasal, that I don't know what I'm talking about.

[@martinrogan6641]

​@@mickey1849yeah some singer lose projection becuase they are not closing the nose valve behind the nostrils because they get lazy and thats why the sound goes into their nose

[@mickey1849]

@@drefesou8912 Pavarotti's "brilliant begging days." Well put! I love it!!!!!!!! 🌺

[@mickey1849]

@@martinrogan6641 It may be laziness with some. But laziness can be corrected. Most of the problems are people like Kraus, I think. His voice somewhere has an "anatomical flaw." He covers for it through the years. If he gains enough fans to overlook this, and the flaw is not pronounced, then maybe he makes a living as a singer. But for singers not employing/unable to employ proper singing technique, the usual direction the flaw takes over the years is to become worse, more pronounced, and less easy to control. There are many and various reasons for this. But the simplest explanation I suppose, is that the muscles become fatigued over the years. It's not so easy doing it as when one was young. Making allowances for the flaw becomes more and more difficult and stressful, as the voice is not always keen on cooperating.

[@nicolimperi9758]

I absolutely disagree about Blake. He's probably the best Rossini tenor ever existed. By the way, Ah mes amis is not is best performance, but he remains unmatched in his repertoire. I thought this was a serious channel...

[@martinrogan6641]

This person definitely didn't ever sing but he has some points.

[@cied2p]

Comme c'est étrange d'isoler 10 secondes d'une consigne, sans savoir ce qui précède ni ce qui suit, sans savoir ce que proposait initialement l'étudiant, sans rien expliquer... et c'est encore plus étrange de se moquer de chanteur.euse.s qui ont fait des carrières longues et brillantes, de prendre une note mal émise pour critiquer l'ensemble d'une pensée musicale. C'est une attitude anti pédagogique, non?

[@matthewcimino229]

The tenor voice is can be precarious. You have to allow a much more energized breath connection that is difficult to balance in sweeter belcanto rep. Hadley does a beautiful job of finding the chiaroscuro in his sound. Polenzani has that in droves live, but here you hear much more forward focused projection to help with the passaggio. But there’s a lot of squillo! I haven’t heard Brownlee or javier live.

[@janvermeer3931]

Offensive, unprofessional video! Someone who probably hasn't had a career himself is defaming great artists in the cheapest possible way.

[@vangogh66110]

Wait, doesn't this video belong to Barone Scarpia? :/

[@cavaradossi7761]

Fleming, Didonato and Nilsson, what the hell are they even saying??? They make absolutely no sense. Florez is also bullshit. Poor singers... how could they be anything but confused?

[@МаринаСтруганова-н7д]

А что Каллас она пела тремя не сглаженными регистрами

[@fr.jamesjohnson1567]

Totally disagree with Florez!

[@aleksandartanackov716]

you don't have to sing dark, ok in this case yes, but generally a lot of compositions would sound poorly is sang only in dark mode :) :) :) But nasal hahahaha duck singing

[@paulennini3655]

Di Dinato and her student are making the sort of noises you hear about 4 in th morning with the neighbourhood cats.

[@comment6864]

so true!

[@comment6864]

wow.. really atrocious that someone is teaching to sing opera with a breathy sound!! Ick😝. i didn’t know it was quite that bad! Scary😱

[@johnrondeau9222]

Not all singers are good teachers and some good teachers dont sing well! Go figure

[@PerArneJonsson]

Your knowledge about singing and understanding of the coaching process is totally lacking.

[@Thomas-gm3bd]

Sorry but if youve got no idea about technique you shouldnt insult the professional singers just because you dont like their sound. Especially not with such a bad editing

[@flav2689]

This. Exactly.

[@isntitrich000]

Whoever made this sounds like one of those old snobs. But despite that, I appreciate it because it's like a window to the old times. It shows me the nuances of different techniques and how human bias plays a part in finding the "correct" sound

[@DCBfanboy]

I agree about being disrespectful but they do make really good poibts. Besides the belittling.

[@geminikid1617]

No. It’s you who has no idea. If you think Flores’s teachings for example is correct, then you’re the 1 who needs to go back to studying. B/c that goes completely against the way OPERA is supposed to be sung.

[@Zeth-x8q]

​@@isntitrich000 How is that author bias? Opera is not subjective because it has it owns standard. A voice should be dark, full, and released. And it's useful because Opera don't use mic amplification. U need those three factors for being able to cut through thick instrument *without sounding like u r screaming or nosiy buzz* If u have neither of it, then u r FAILED as an opera singers. Great voice is not subjective.

[@PatrikWirefeldt]

What a dreadful video to make fool of distinguished singers! I’ve had some lessons for La Nilsson in a masterclass and she did really meet us all in the masterclass with various instructions depending in which part of our development we were. The problem today is all the pushing to try to sound more rich in the voice than you are able to. The man that you glorify in this video as a good example - his instructions voile ruin a voice for ever. My wife who studied for the Wagnerian tenor Helge Brillioth can verify the process to go from the small to the big sound! If you can’t sing simple, light tones you probably have a damage on your vocal cords - a checking point in your voice-health. With a great experience in jurywork for operachorus you hear this broken/ruined voices in young ages depending on the singers faulse believe in the way you suggest to work.

[@misscameroon8062]

Silly opera;who told you that opera should sound dark?Methinks you`re deluded.

[@Monnarchmonnarchy]

Nilson is nobody, she is just a mezzo, what they know about singing? Like mezzo callas. Guelfi? Teaching a screams to be like a bass caruso. "Great" hadley? 5:58 bari forced a top. 7:16 that yells are awful by mezzo. Channels are dont know nothing on timbres, more and more nonsense

[@jasonblack4208]

I see you're from the "most singers are baritone and mezzo" camp who then leave the rest of us wondering "where did all the big voices go?"

[@bmbutler2]

Yet your comment is about individual singers. When people make comments like this, I always wonder what YOU sound like since you seem to Be the arbiter.

[@tommyekman7922]

Oh what an ignorant comment! Who do you really think you are? Birgit Nilsson became court singer in 1954 and received the corresponding title, Kammersängerin, in Austria in 1968 and then also in Bavaria in 1970. She became a member of the Royal Academy of Music in 1960 and was named professor in 1998. And she was in high demand in all the world's opera houses.

[@fritzfanny3239]

The author is making fun of people who are advocating too much chiaro while advocating a purely scuro approach. Basically, it is like saying I only like singers who sing in one imbalanced way and will now make fun of all singers who sing another way.