Dear Isabella and Vocalisters;
Sorry but I must disagree with you and Tako in this regard. The story of the high C mentioned often as an example of Rosinni's dislike of size in the voice in that register is a recurrent, but mistaken myth. From other writings of the time it is obvious that the tenor in question was not "singing" that high C but, rather, shouting it. It was described by Rossini and others as ugly and no doubt it was. But to extrapolate from this that other tenors of this time were singing in falsetto or even in a light effeminate voice is not accurate. There are many roles from that period that require full head voice from the tenor and have been sung that way since that time.
There is also no evidence that the tenors of Mozart's day sang with falsetto or a light quality. There are many references to the ringing tones of the leading tenors of this time.
To confuse this issue even more, there are some would say that all of Pavarotti's high C's (and above) are sung in falsetto. Clearly this is an error and Mr. P would be the first to correct to this misconception.
We live in an age that is trying to make all early music straight toned and light, as if the makers of music from what we musicians call the Baroque and Classic ages were only interested in the effete and effeminate. Even castrati were expected to sing with a penetrating ring to the voice that women singers of that day could only envy. If one studies the documents that attempt to support this straight toned, non-ringing singing it become apparent that there is little to support these ideas and a lot to support the understanding that has been traditionally used in opera. It is the very ringing quality of the singing in Italian opera that so intrigued J. S. Bach such that he included it into his Sunday cantatas.
-- Lloyd W. Hanson, DMA Professor of Voice, Pedagogy School of Performing Arts Northern Arizona University Flagstaff, AZ 86011
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