Why modern female singers sound unpleasant

[@MariaCaIIas]

There was amazing singers in the past and extremely bad ones just as today. Get over it and go to the opera instead of listening to recordings!!

[@Thisisopera]

Check our latest post. We are trying to take your advice, which is correct. But also we aren't hiding from past mistakes, so these videos are staying up with the comments turned on. We feel like it's more important to have the discussion than to make it look like we never made a mistake. And also we shouldn't forget that there were also good points in these videos. They were a collaboration, and some of us are maybe a bit lacking in the brains department. Others maybe got skipped over when God was deciding which soul goes into which body. God had to put SOMETHING in there, and so he took a leftover weasel soul and installed that into a person. We have kept the name, but only a tiny fraction of our group is actually from the original channel. A very tiny fraction, indeed.

[@finosuilleabhain7781]

With recordings you can listen to 100% of the great singers of the past century (plus a good many not-so-good and some 'extremely bad'). Going to the opera - 2% maybe? As to their being recordings ... get over it. You of all people, Maria, I'm disappointed.

[@Thisisopera]

You can say the same about watching a game on the TV. Seems like a lot of idle talk to us! A recording isn't even close to the experience of going to a show, unless you're so dead inside you sit there listening fo faults and deciding if it's "correct". Also using this logic, just close all the opera houses, it's not efficient enough for Fin. Everybody knows great art is about keeping the things efficient, predictable, and the same as before. Nothing must change! But also, we will complain if everyone sounds the same.

[@finosuilleabhain7781]

@@Thisisopera Yep, if you're interested in sport rather than "the experience of going to a show" telly is usually way better for that too. Caruso on crackly old shellac or the latest tenor off the rank at the Garden or the Met. I know which I'd prefer. It's called having a sonic imagination.

[@Thisisopera]

Stay home then. The rest of us are going to try to do something instead of just sitting around smoking nostalgia and yelling at the kids. It's one thing to use the golden age as a way to remember what we are trying to accomplish. It's another altogether to give up just because it's hard and you don't succeed even after many tries. If you want something to grow, feed it! Singers can't eat complaints or praise. They eat food and food costs money. Ticket sales are their source of money. If you don't feed them, then don't act all salty because they sound half-starved, and don't be surprised when you can't attract the best people.

[@helenamiller4951]

The old singers have a strong head voice with the core in the sound. They also have much smoother legato lines than modern singers. The clarity of their voices is much better than the new singers. Andrés de Segurola once said that singers need to take a lot of time to train their voices and their minds before they make their operatic debuts so they have all the tools to properly express themselves. I totally agree that we should give today's singers more time to prepare before they embark on their careers.

[@mathildehb0076]

Legato does not come from saying to students «You need more legato.» What they get then is sliding between notes. If a teacher then says «Stop sliding,» they will avoid the toxic idea of «thinking legato». Yes, I have heard teachers say «Think legato, think piano…»

[@contraltissima]

its not more time what they need! if you go the wrong way, you just go further away with more time. and modern technique IS THE Wrong way.

[@ransomcoates546]

@@contraltissima Absolutely right. Both Tebaldi and Callas were major stars in their 20’s, to say nothing of Ponselle.

[@christophersmith551]

Gerald Moore said it took 8 years to train a voice.

[@arnoldamaral3814]

Word 🤔🙏🙏🙏🙏 Arnaud Bourbon Amaral

[@draganvidic2039]

The old singers got chestvoice participation and falsetto coordination. Love it. Modern singers usually not. They have no clue because nobody have taught them because it seems like a lost art.

[@Thisisopera]

not lost! here is not one but TWO of the authors of the video demonstrating kzbin.info/www/bejne/ombIp4prgLdrjrc

[@vangogh66110]

@@Thisisopera OH MY GOODNESS YES! I'VE HEARD OF HER! SHE SOUNDS GORGEOUS! 😍😍😍😍😍😍 Her voice legit gave me Freida Hempel and Mabel Garrison vibes

[@montecarlostar]

@@Thisisopera The account that posted that video was terminated u.u

[@ellatyran]

Unfortunately the video has been deleted as well as the channel. Do you have it saved somewhere maybe? ​@@Thisisopera

[@veronicarobinsonvoice]

While I do appreciate the pop examples, they’re all male voices which completely invalidates your argument… In the falsetto range, the vocal folds are closed only about 30% of the time in vibration, as opposed to head voice which has roughly 50/50 open to closed ratio. The equivalent of falsetto in a man’s voice would be whistle register for a female voice. I agree that the sound had more clarity in the past, but I’m hearing more brightness in the sound rather than darkness as you stated. There is a more forward placement as opposed to modern singers who tend to depress their larynxes down to try and sound fuller. I just personally wouldn’t use the term “falsetto” paired with an argument about female singers.

[@tinkerwithstuff]

"appreciate the pop examples, they’re all male voices which completely invalidates your argument…" If your objection is that the wrong (group of) voice type was used for demo'ing, then that's broken logic. "Wrong" voice type demo cannot possibly invalidate his point about certain group of voice types (e.g. "females"), it can at worst fail to support what was aimed to demonstrate, by the nature of being the "wrong type". This isn't all he showed either. But it's irrelevant really - he demonstrated the physiological _function_ , which is not different between voices. It's probably easier to hear also in such male voice examples, and easier to come by. "In the falsetto range" "The equivalent of falsetto in a man’s voice would be" ... falsetto. It is used in the sense of *function* here, not range. He shows the *function* at very different parts of the range in this very video, too. You didn't seem to pick up on that. Male/female anatomy is the same - in that area of the body, save for proportions. But for obvious reasons, the word falsetto also has been used interchangeably with a part of the range, and this sloppy terminology, like it tends to do, creates confusion. (the singing world is rife with, from what I saw) "the vocal folds are closed only about 30% of the time in vibration, as opposed to head voice which has roughly 50/50 open to closed ratio." Doesn't address anything? "There is a more forward placement as opposed to modern singers" Placement isn't a thing (explain what, precisely, is placed, where, and how, ...), but singers who claim to do "forward placement" sound like Florez et al, i.e. nasal and squeaky. "who tend to depress their larynxes down to try and sound fuller" Low larynx is a very old idea... But "depressing it down" would be a problem. You're supposed to drag it down with muscles on the sides, not "depress" it e.g. with the tongue - like e.g. Kaufmann.

[@annh9225]

Please remember that the technical recording capabilities have changed dramatically over the past century.

[@danatorres1035]

The first group of singers in this video were recorded at a time when autotune and autotune microphones and (what I would call)sound washing modern equipment did not exist so what is heard from them is exactly what real singing is. The best i can do is barely hold a note ( I know, I know meh😏) but i give all respect to those who don't need any of that modern mush.

[@williammountfield8508]

I agree mostly, having heard Lise Davidsen live I can say she actually reminds one of the great singers of the past, as for the rest the point is valid.

[@draganvidic2039]

Here she’s bad

[@williammountfield8508]

@@draganvidic2039 sure but you can find a clip of anyone sounding bad.

[@yuxinzhou7387]

Can’t agree more

[@DM-wj8br]

Maybe Davidsen retrained, because I saw her live recently too, and she sounded nothing like she does in this clip. Her voice was huge, open, free, and was hands down the biggest, most powerful voice I'd ever heard in person (I never got to see any of the previous generations of singers like Nilsson live).

[@williammountfield8508]

@@DM-wj8br I’ve seen her twice now, both times I was very impressed. I’ll be following her future career with considerable interest.

[@Shahrdad]

New singers almost uniformly look like they’re chewing when they sustain a note. That’s something you almost never saw in the oder generation (Sills’ jaw wobbles too, but probably she pushes her voice where it shouldn’t have gone).

[@moirbasso7051]

Understand that Sills' teacher (Estelle Liebling) taught almost to her death in 1970. After that, Sills was just doing too much, singing too much, and lusting after fame. Yet, some recordings are amazing, while others... are not. Jaw/tongue tension comes to all singers- but especially to those who cannot (or won't) trust another 'set of ears' to catch those small issues before they become big ones....

[@marksmith3947]

I do know a certain singer whose jaw "battled" mightily when she held notes

[@pierdomenicosommati443]

@@marksmith3947 yeah, she's a perfect example of a badly squeezed voice. Really can't understand how can people find that stuff appealing.

[@pungvarlarsson6451]

I don't understand "head voice" or "falsetto coordination", having no technical schooling in music theory, just came here to see if I get any clues why most opera sounds rather bad, I don't get it. At 12:20 this is explained: "these modern voices sound very strained, pinchy, screamy and shrill". Recommendations for contemporary singers who does not sound strained, shrill and overuses a terrible vibrato are welcome.

[@toscadonna]

Saoia Hernandez is one of the only contemporary singers that I can think of who’s trying to sing properly.

[@draganvidic2039]

Machaidze, Opolais and Voigt are so bad and totally uninteresting voices. Poor Meade’s voice is in pieces already... Yende is trailing behind... Sierra is so overrated...(wobbly too) Antonacci sounds like a musical singer and nobody knows what fach. Short soprano? Happy Yoncheva and Netrebko are not here...

[@Thisisopera]

kzbin.info/www/bejne/ombIp4prgLdrjrc here is the author of the video showing how it's done

[@EliominDZ]

canta usted mejor que ellas? habla con prepotencia y es un ignorante

[@rosehavenfarm2969]

I never understood Voigt's appeal. So uneven in tone, breath, interpretation. [shrugs]

[@Altonahh10]

So basically there is nobody left who serves as a good example. And that is why I don´t like to see an opera live any more.

[@fredsik]

Hugely unrepresentative clip of Lise Davidsen. As always, This is opera! chooses to be hugely selective in representing modern singers, to the point of the selection actually discrediting the channel's (fairly valid) points. If your case is actually strong, why discredit it by actively selecting the worst clips you can find of modern singers? Your failure to give these career musicians a fair shot is one of the reasons I think this channel is largely detrimental to the classical community, instead of being a possible force for good by inviting discussion about old standards vs new standards, teaching and the like. This channel literally played itself by pandering to its own meagre following instead of opening the debate up to the broader community. Disgraceful.

[@ER1CwC]

You are absolutely right. Basic people’s skills would have really been helpful for them. The sad thing is that their views are more often right than wrong.

[@draganvidic2039]

Stop whining

[@michaelthurman5989]

What is this site all about? I like one voice you like another. Its totally pointless in my opinion. I will certainly not be watching any more posts.

[@arnoldamaral3814]

Word 😂 Arnaud Bourbon Amaral

[@jjlungdoc7472]

Agree with Fredsik. To headline the KZbin clip as Lisa Davidsen lacking power….As I already posted: funny.

[@mathildehb0076]

Chest voice is developed before head voice, falsetto and coordinated voice

[@draganvidic2039]

Nowadays the opposite if they even get further than headvoice. Seldom any chestvoice or proper coordination.

[@mathildehb0076]

@@draganvidic2039 …sadly, yes. But the painting needs a solid canvas before we can add color to it and draw a picture. Or else it will just be a blob of painting that looks annoying

[@marksmith3947]

I wish people would not use physiologically inaccurate descriptions of singing like head voice and chest voice. It matters, especially when you are sick and sensations are different. I don't agree with your statement either. People start with different strengths. The teacher needs to remedy weaknesses, teach proper vowels, work on an even scale. Relax, open the mouth and sing with a proper vowel sound and you don't need to worry about chest or head voice

[@mathildehb0076]

@@marksmith3947 They do not have to think of anything to create it. Just like you said; a free, relaxed sound and clear vowels. Training with the repertoire that sounds natural to THAT voice

[@russpenney5775]

I feel that today we don't manage breath at all.That column of energized air flowing steadily from a strong body creates Real legato. Too much muscular manipulation to Create a bigger sound blocks acoustical freedom. Flow.Clarity. Release. These are what characterize the singers of the past. Today there are simply far too many Half-trained voice teachers trying to re-invent pedagogy in order to make a name for themselves.

[@lavoxii]

Can you explain between falsetto coordination and mixed please?

[@draganvidic2039]

It’s what this video is all about

[@ransomcoates546]

What I hear as the chief fault of female singers now is unevenness of vibrato - the oscillations on either side of the center are not equal, leading to a ‘brillo pad’ kind of sound, which of course very easily deteriorates into the wobble.

[@emmagutierrez1408]

Thank you for the upload. What do you call mixed voice as opposed to coordinated chest voice into the head voice?

[@johnhoie-hj7cg]

You and some of the commenters speak of lowered larynx as a modern flaw. Yet, in other videos, you have shown examples of good singing from Del Monaco and Corelli, both big proponents of a lowered larynx. Explanation?

[@lanibasich4781]

So how does a Wagnerian singer obtain that good falsetto core you speak about in your videos? I ask because I am a Wagnerian Soprano and have been likened to a Birgit-type sound, and would love to develop my sound to be very pure and not like modern singers. Any tips?

[@contraltissima]

you ask for "tips"??? do you think Federer became a great tennisplayer because he got good "tips". You have to invest years to build your instrument to train your muscels, to build them up! do you really think you can do this with "tips and tricks"? thats one of todays singers problem, they think its a question of the right tricks. No it's not. You have to form and build up first your body, your instrument. It does not exist naturally. Singing opera is very far from nature or antural speaking!This needs a consistent guide, who theaches you to listen and how to train your muscles that they will be able to make the real sound on day in the future.

[@lanibasich4781]

@@contraltissima I don't understand the tone of your reply to my comment. I have been practicing and working on my voice for many years. I know it's not a simple tip or trick that will get my voice to a higher level. I am, and have been, frustrated with the lack of instructors/ teachers that actually know how to develop a Wagnerian voice. I am with a good teacher now for the past 2 years, but I am always interested in learning and listening to those who seem to know specifically about large voices which is why I asked. I do not see the harm in learning or at least listening to those that seem to be more knowledgeable. After all, it is true that Federer and other great professionals did not become great overnight, but they sure had coaches, support, and people better than them help them along the way.

[@MrTrackman100]

@@lanibasich4781 Bravo! A very reasonable and honest reply. Artists of all levels keep striving for perfection. Why SURCHOIX was so snide and pompous is beyond me. Ignore Nay Sayers and best wishes for a successful singing career.

[@raysubrata1337]

@@lanibasich4781 i just love art if singing and i more and more understand the meaning of deeply relax on the muscles, yet always connect with the core, not just imagination core but your core muscle, in all over body, to help you to resonance the voice. I learned classical singing while i was teenager, however now I am pilates teacher, and i can feel which singer use correct muscle, sufficient support, and which is not. Old school singer project the voice in aiming to vibrate the opera house, not by murmuring, while modern singer, due to advancement of technology, become dependent on microphone and start to loose conection with the meaning of singing on stage.

[@toscadonna]

@@lanibasich4781 My teacher in NYC, Valentin Peytchinov, knows what he’s doing. You should look him up. He studied with Ghena Dimitrova, and he demands the chest voice coordination. He’s even been able to help me, and I’m injured after breaking my neck and jaw. Once he started working with me a few years ago, things started better for me. I have one soprano and one mezzo Wagner piece on my channel. You can hear the wrong sound, too far back, in the soprano aria. You can hear where I struggled still with being deep enough in the middle voice with the chest in the mezzo one, but it’s a process. It’s taken longer for me due to my accident.

[@michelefritze3988]

I may be in the minority but I enjoy the modern singing AS WELL as the old singers. The recording techniques are also different. . The voices are different. The results are different. And thank God for it. 🙏🕊🌹💞

[@katarinatill4713]

1. Andreas Scholl is not a female/ woman. 2. He is a CONTRE TENOR, he is supposed to Sound "falsetto" 😶

[@thepikapikachu119]

I went to the Bavarian Stare Opera to see Tosca. They modernized the story and the first act was, for a lack of a better word, atrocious. Second and third act got better. Lise Davidson was playing Tosca. I was highly disappointed because she was terrible. Nasal. Low notes lost to the orchestra. Couldn’t make out any of the words she sang. That collapsed head voice is no joke. I will say that, her Bb5’s and high C’s were loud and powerful. That’s about it. Anything Bb4 and below began to get lost. Such a tragedy the way opera is going….oh, and Scarpia had a wobble. Tenor’s voice sounded like it would hit a wall when he would go for high notes. His voice should have gotten louder on those notes, not been stunted….

[@thepikapikachu119]

Oops. Bavarian State Opera

[@booksteer7057]

I find it sadly ironic that opera has taken a turn for the worse just as popular music has. Did you know that many young(er) people are so turned off by today's music that they are exploring our "oldies" in order to find some decent music?

[@Ravenelvenlady]

I would say, "Yes!". As a musician, music teacher, and music therapist, I find many younger people are listening to older music of ALL genres.

[@vangogh66110]

My question is that participating falsetto bad or good for the voice or should we just do falsetto properly? If that is the case, can you please define how old singers used to do falsetto participation?

[@draganvidic2039]

It’s when you mastered the middle with chestvoice participation (=clarity) then you can add some falsetto pull to mellow the sound. Many today have no chestvoice participation and therefore sounding only woofy and fake darkened.

[@vangogh66110]

@@draganvidic2039 Ahh, thank you for giving the answer! But idk why I always thought that falsetto is actually a technique of making a clear but round 'O' sound

[@draganvidic2039]

@@vangogh66110 ”Round” or woofy but not clear

[@vangogh66110]

@@draganvidic2039 So falsetto is bad?

[@draganvidic2039]

@@vangogh66110 No if used right

[@selini52]

I would like to hear good contemporary voices

[@draganvidic2039]

Saioa Hernandez

[@Yves_Ka]

@@draganvidic2039 mediocre

[@brunopicaude3092]

In the way of a rich full sound from the bottom to the top of the tessitura: Alicia Tro Santa Fe. I've heard her in Marseille (I think three or four years ago). Great voice. All the other singers seemed to be lilliputians near to her. Now, I would like to hear "live" Nadine Sierra. Seems to be very interesting.

[@triorubino-michakoeppen9105]

why Scholl as a bad example? well, personally I don't prefer this sound, but besides subjectiv taste - isn't this an artificial choice like the whole Countertenor technique? some like this sound, some don't, and it is a way to come near to some baroque music (without having castratos today)

[@moirbasso7051]

Why is a 'man' singing in this FAKE range, and then... singing WOMEN'S REP, to boot?!?!? If you cannot see why this is wrong on so many fronts, then the whole 'transgender' singer/modern-day castrato EVIL, probably doesn't even register on your 'radar.'

[@lunak9740]

My teacher don't sound bad as the contemporary singers. Independent singers need more credit.

[@bizzlebasil1]

A good voice coach is so important. Many so called great popular singers have had no training and just eat the mike.

[@ddempsey9642]

Belters who hold up a hand to push against! No idea how else to get the strong notes out.

[@williamleewolverine]

HausofShmizzay would like this channel.

[@tigergirl305]

So, are y'all teaching voice lessons?

[@greenwoods798]

Only in their minds

[@Fereshteh89]

They split 2-3 years ago. This is just an archive of their channel.

[@tigergirl305]

@@Fereshteh89 Aaaah, gotcha

[@tigergirl305]

@@greenwoods798 Yeeeah, that's what I'm thinking. Not much use in bashing modern singers if you're not giving voice lessons to correct what you don't like.

[@jimmychoo1857]

Those pop examples are fantastic! Still sound better than Sholl

[@MrPft25]

Right?!

[@frankfeldman6657]

Deborah Voigt, does it get any worse?

[@victorvasquez4212]

Fleming

[@janetflier6192]

Boo!! Hiss!!!

[@spevoljub]

Some old singers sound umplesant land some moderen too.

[@alanhowe1455]

Lise Davidsen also has the terrible habit of of starting a note without vibrato. The middle core of her voice is 'rattly'. Not a pleasant listen - unless she's singing full out at the top of her voice.

[@Altonahh10]

That´s especially annoying when her sound comes over the listener like a constant wave of no vibrato, yes vibrato, no vibrato, yes and so on. That´s why she is also rather incomprehensible in terms of lyrics.

[@zoebrugg7594]

Well, it's settled. My voice has no hope to sing like a Christine Deea. Let alone standard singing. Totally not trained or trainable.

[@joancarlestomas]

I really prefer how they sing now. The old school sounds flat and childish to me

[@JTPMalavet]

Like Snow White?

[@bizzlebasil1]

Maybe the old recording techniques.

[@francobarzelatto]

Then you have really bad taste!

[@raphaelaelin6299]

In some videos, you find good Saioa Hernandez. She sounds squeezy too... In every voices you can find something squeezy...

[@chicagolc7022]

These analysis videos crack me up. Pretty sure most people who make these have never sung a note in their lives, at least not a classically trained one

[@kirkp7470]

Well, because they are.

[@jjlungdoc7472]

Uhm….Lisa Davidsen lacking power? Funny.

[@jantralee5800]

Old school female singer = Whitney Houston Modern female singer = Mariah Carey

[@draganvidic2039]

No. This is opera…

[@marksmith3947]

Whitney is related to Leontyne Price and a couple other famous pop singers. Some good singing genes there!

[@janetflier6192]

@@marksmith3947 Too bad Whitney wrecked her voice with drugs and booze!

[@redsfab]

I wouldn't go into that... Whitney Houston had a marvellous voice during her prime but her tecnique wasn't the best. It showed from the vibrating jaw and tension in the neck when she sang high and powerful (very powerful, perhaps too much...?). In fact her voice was already changed around 1990 although worked great until 1995. As for Mariah Carey she was a great singer and had good tecnique, apparently, in fact her voice was very good until 1996. But she overworked it and took on bad habits that led to the poor vocals she gives now.

[@michaelroberts6894]

Bad teaching is the reason. Too many pushed voices .

[@Thisisopera]

What's the reason for bad teaching. What makes bad teaching hang around? What would make good teaching come back? We've noticed a lot of bad teachers complaining about bad teaching, just to get ahead of things, keep the focus off them and keep us going in circles.

[@albertcombrink3717]

Ponselle is flat and hoarse on the lower break to the chest, Onegin is boring as shit, no colour variation at all, Destinn scoops and droops under pitch, Ada Sari has such a vibrato it is hard to distinguish a tone from a semi-tone. The Queen example is not Falsetto, it is the trumpet tone through the throat not the headvoice. Ditto the BeeGees, and the Yodling example is well, YODLING! Scholl is a Countertenor - so not the same as a soprano falsetto at all. The Davidsen clip is probably the worst example of her singing you could find, and still, it just shows an uncomfortable recording, not a failed voice. Stephanie Blythe is probably an Alto and should not be singing that aria, but she has a clear and enormous voice on the house. Borodina caught past her prime makes no great point other than she is past her prime but she had, the greatest Middle Voice a Mezzo has had for decades. Nino Machaidze is not a strong singer, but it isn't a bad technique, just not a top-top voice. A sweet enough Musetta and not much more. Kristine Opolais I agree - I do not find the voice attractive at all. Voigt is, and always was, overhyped as a desperate clutch to replace Nilson and after her, Marton. Meade is just always unpleasant because I do not like the voice, but i can not say she is a bad singer. Stutzman is a glorious singer with a tendency to overdarken in order to sound profound - but she gets it right more often than not. Denyce Graves here sounds better and more in control than in many a recording and does not make your point. Pretty Yende (Not Yande, i's YEEEEEEEEEEEEEEENDE - if you are going to be a bitch at least get the names correctly) is a lyric coloratura still finding her repertoire, and she has found it in recent Traviatas, which have been world-class. Her middle voice is plumby and in something liek "Dite alla giovine" will move you to tears. Sierra in Full flight, is delightful. Issues here are actually with the vowels, not the sound itself. Comparing Borodina to Sari - ag no man. And then you compare the BeeGees to a Wagner singer who consistently sings SHARP. LOL - But she does have a lovely B Flat. Another hit-piece which can safely be ignored.

[@sk1llerdrag]

You seem to know quite a bit about opera. As somebody who doesn't know much about the genre but want to get into it, who are some good classic/modern singers that you would recommend?

[@triorubino-michakoeppen9105]

love the core in the voice of Blythe!

[@draganvidic2039]

She’s got mixed registration and lacks true core here.

[@familypondman]

Again, you have a voice or not!!!!!!!!!!!!1

[@BG-kq6cn]

Well, the casting directors only need them to look pleasant these days 🎭 oh ... LGBTQIA is the most pleasant at the moment in the USA.

[@contraltissima]

thankyou for Stutzmann, she sound so horrible, its unbearable, only Podles is worse.

[@greenwoods798]

Oh, really? They are two greatest contraltos of the present. Can you call me just one single signer who is "better"?..

[@contraltissima]

@@greenwoods798 haha, "of the present" says everthing. No, today there's no contralto sounding how a great contralto should sound. They sound like watercans. Do you really think, thats how a contralto should sound, ugly and old even in their thirties? listen to the contraltos of the past like Sigrid Onegin, Ernestine Schumann-Heink, Clara Butt and you will hear, how a real contralto should sound.

[@greenwoods798]

@@contraltissima you just have not heard Marijana Mijanović. She used to sound old and weak, but it's "baroque authentic". Clara Butt was unique singer, of course, but her manner of singing is not beautiful for it has straight tone and no coordination with chest and head (you can really hear the crack even in slowly singing). And all these singers are dead. The unfamous contraltos are way worse usually.

[@63Malda]

Why does Stutzmann use so little vibrato? She sounds more like a cross-over singer to me. "Erbarme Dich" - I think Kathleen Ferrier kzbin.info/www/bejne/oJnCYnaBrr-JicU and Marian Anderson kzbin.info/www/bejne/lXaaq52Ent9lkKs sang better.

[@greenwoods798]

@@63Malda yes, straight tone is her characteristic feature. Sometimes it sounds absolutely appropriate (especially in baroque and Mozart music) but sometimes it's strange. For me her Erbarme Dich is amazing (and the straight tone is really impressive for it makes the vocal mysterious and unearthly) but of course i absolutely adore Ferrier and other great singers of the past. Stutzmann also have a great vibrato and uses it quite often. They all have unique and fascinating voices after all.