Isabelle Bracamonte <ibracamonte@y...> wrote:
Isabelle Bracamonte <ibracamonte@y...> wrote:
> Just so I know I'm not the only one in the world who
> thinks this way, how would you describe the difference
> (in feeling and in hearing from the audience) between
> singing Mozart operatically vs. like a lied?
I remember a section in Vennard that shows waveform diagrams of famous
singers singing opera and "concert" music, and there was a distinct
difference in the amount of vibrato used (more for opera), even for
the same singer.
That probably is because greater volumes generally require more
vibrato, and greater volumes are generally required in opera. Not sure
that would qualify as a different technique altogether, simply a
single technique being used appropriately in different venues.
There are techniques that some lieder singers use that some bel canto
purists frown upon - like feigned voice and breathiness, simply
because it wouldn't work in opera, and it is not properly "on the
breath". To that I say "who cares?" A singer should always use their
various abilites to best effect in every situation. Efficient
production doesn't necessarily equal beautiful artistry.
Tako
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