Well, I'm not a pro, but I use the same technique in Lieder and in opera,
with one important difference: the pianissimi in opera still need to ring
and project but the Lied can almost be whispered in places, since one is
usually (not always!) singing Lieder in a smaller auditorium. Since it is
possible to back off from a full spectrum of sound and still be heard, more
vocal colours are possible, including the dampening of otherwise
indispensible vibrato.
Let me add that a lot (by no means all) of orchestral accompaniment of
voices is actually quieter than the pianoforte accompaniment of a Lied -
the smoothness of attack of orchestral strings is less of a shock to my
ears than the percussive re-iterations of (for instance) an orchestral
reduction for piano. Therefore, in the same hall, some effects may be
possible in a particularily quiet operatic passage than wouldn't work over
the ripplings of a florid piano accompaniment. The orchestra is usually
further away than the piano, allowing for more spatial definition too.
The whole subject is further complicated by what recording artists do:
some singers adapt their singing because of the possibilities which they
see afforded by the microphone, thus a set of expectations are engendered
by what is, in effect, a new and subtly different art form. There is
*never* a need to project when using a microphone - indeed, as has often
been rehearsed in this list, a well projected voice is likely to be
difficult or impossible to capture adequately in recording. john
At 05:14 PM 5/8/01 +0000, you wrote:
>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
>
>
>
>Your use of Yahoo! Groups is subject to http://docs.yahoo.com/info/terms/
>
>
>
John Blyth
Baritono robusto e lirico
Brandon, Manitoba, Canada
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