In a message dated 3/25/2001 8:58:44 PM Eastern Standard Time,
dalila@R... writes:
<<
Or maybe there is really NO Mozart that is appropriate for certain voices.
I'd like to know why it is that sopranos, for instance, can get away with
specialising, and NO-one, including YOU I'm sure, would say to a singer
like Jane Eaglen or Kirsten FLagstad that the only reason they aren't
singing roles like Lakme or Adina is because they lack the skill!>>
lakme and adina are not in their fach and we were talking about a lack
of skill not singing in the wrong fach.
<<You can't seriously tell me that there aren't PHYSIOLOGICAL differences
between a dramatic voice and a leggero voice that, in most cases, will
prevent the dramatic voice from moving as quickly as the leggero voice,
and that the physiological difference makes the dramatic voice - >>
as we were speaking of mozart, the only coloratura that is have ever
heard from mozart that was treacherous to be considered 'special' was written
for very high soprano or tenor. john oliver, director of the tanglewood
festival chorus, once told me he had attended a party where birgit nilsson
(sp?) sang one of the queen of the night arias. he said it was deafening in
such a small room but astonishing in its exactitude.
if you were complaining about rossini, that would be one thing but are
you saying you don't have the coloratura skills for bach either? what about
handel? to me, mozart is no more treacherous than these two in terms of
coloratura writing for the the low female voice.
mike
|
