In a message dated 2/2/2002 3:20:36 PM Pacific Standard Time, Mezzoid@a...
writes:
> Where would you put Larmore and Troyanos? My voice has been liked in some
> respects to FvS and also to Troyanos. I try to avoid head/chest
> terminology
> - I find that there are some students of mine who work best when we come
> from
> a chest place - usually little soprano voices that don't have much meat to
> them. They're the ones who have to learn to find chest voice because
> they've
> avoided it so much. Other singers have too much bottom and with them, top
> down works better.
I haven't listened enough to either of them to dissect their sounds, yet. I
will check into it, though and let you know my own, personal, cockamamy
theories! What are your theories?
What I have heard of Larmore, I LOVE. Full, rich, connected. And Troyanos,
as well. (And I have also been compared to Troyanos, along with Waltraud
Meier.)
My teacher (who has taught hundreds over the years) told me that coloratura
sopranos will often have chest voices that they can bring up really high,
along with possessing incredible low notes. They are often great belters.
Their chest voices are slim, rather than thundering, but still very present,
and can make for a hole somewhere in the middle, where they are bringing
their heavy mechanism up, while their incredible tops are not yet assimilated
down that low. Fascinating, to say the least, the different configurations.
TinaO
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