thomas mark montgomery wrote: > > I'm sorry I am so slow in catching up on my mail, but the original posting > included some comments on the singing style of Emma Kirkby, vis-a-vis > 'straight tone.' Several years ago, we had the privilege of having Ms. > Kirkby in residency at Florida State and during one of the classes, she > remarked that she and the musicologists she worked with (one was her lute > player and his name has escaped me this morning) had begun to rethink > their ideas about vibrato in HIP. In her own singing, there was a marked > difference in the use of vibrato from the straight-toned singing upon > which she built her career. A comparison of her early recordings (the > Handel Deutschen Arien spring to mind) and any of the operatic recordings > she made for Hyperion bear this out.
That's really interesting. And I had been putting the slightly richer sound she has been producing down to the fact that she has matured somewhat recently (matured!? I should think so, oh that I could sound as young and fresh as that when I reach 52, as she is. And I'm 53.) And of course she had a baby about 10 (+/-) years ago.
Coincidentally there was a long review of Emma Kirkby compilations on BBC radio this morning, to which of course, I paid particular attention in the light of this discussion! At the end they juxtaposed On Mighty Pens (recent) The Silver Swan (very, very early) and Mozart's Alleluia (no date given, and I haven't looked it up yet). The Silver Swan was very interesting - now that really _was_ straight like I'd never heard. And though very even, there was no legato join between the notes - and it sounded to me quite deliberate (remember, I knew how she was capable of sounding) and totally under control. And yet there was no sign of strain to keep this up. The Haydn, which was probably the most modern thing Emma has ever recorded, was charming and lilting, though dynamically on a small scale compared to most performances on record (my first was Elly Ameling, though, and there were some similarities of sound). The Mozart Alleluia was perfect - this comes from my partner who professes that he is no particular fan of hers. I don't think I've ever heard runs at that speed with such clarity.
In our second year at university we sang two concert performances of Dido and Aeneas. I was Belinda, and EK had a whale of a time as the sorceress - she sounded really feline. I've yet to hear this on a recording.
And for British members, her two witches were Sally Dunkley, who's now a soloist with the ensemble The Tallis Scholars, and Ann Manly, who I last heard of as head of a London concert agency. Feels like only yesterday.
PS. Er.. er.. what does HIP stand for, please? I'm not familiar with it.
cheers
Linda
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