Axwell@a... wrote:
>What I don't understand is why is there any need for a man to
> sound like a woman. Aren't there more than enough women to
>play these parts ? What is the advantage of having female sounding men.
It's historical. In the baroque, the castrato was a popular voice category,
and great
composers wrote music for them, like Handel. The "why's" can be a sociological
or
psychological discussion, but I'm only dealing with the fact of it.
So when we perform this music in our time, with no castratos, what do we do?
In the past,
before the popularity of countertenors took hold, they'd either do the part
with a man (as
intended by the creators) an octave down, which is dramatically satisfying, but
musically
it's not what was intended, and it doesn't sound as good when it's done in the
wrong
register, particularly in ensembles. The other option is to have a mezzo sing
the role.
I recently heard a mezzo sing the lead in Giulio Cesare, written for a
countertenor, and
this particular mezzo's voice didn't fit the music. And neither did her
persona. Yet the
reviews were good (but not mine)! How I longed to hear a great countertenor
like David
Daniels in the role!
In our day, I think a good countertenor like Daniels or Asawa is the best
solution. Next
best is a mezzo who can do the music justice. And I'd rather hear a baritone
sing the
roles rather than not hear the works at all.
<<Is it so that they can play drag parts, and if so, what are the drag parts?
Would baba the turk be considered a drag part because she has a beard?
What are the other drag parts in opera ? >>
A well known one, usually sung by a tenor, is Arnalta, the nurse, in
Monteverdi's opera
Coronation of Poppea. Which is another opera that benefits with a countertenor
in the
lead role of Nero. Somehow, a female Nero making love with a female Poppea
doesn't cut
it, not with the passion and sex written into that opera. And there's no way a
baritone
can have the same impact in Monteverdi's incredible ensemble music. Or the
final duet
with the soprano. I saw David Daniels in this role, also, and it was one of
the best
things I'd ever seen.
Or
> have I misread the use of counter tenors ? I don't particularly care for
> David Daniels. I think that there are too many real women that sound
better.
That's your opinion, and you're certainly entitled to it. I don't agree, but
that's what
makes the world go 'round! I will say that one of the most beautiful moments
I've ever
heard on CD from any singer is the opening note on Daniels' Handel CD of the
aria "Ombra
mai fu". Check out that messa di voce -- a long, slow crescendo from nothing to
incredibly loud and them diminuendo back down to nothing, equally long and
slow, on a
single breath. This sort of stuff made women faint back in the baroque, I've
read.
Why
> should a sopranoish sound be coming out of the mouth of Caesar ? Is the
author
> trying to make some type of historical statement about his manliness of lack
of
> testosterone ? I can understand if a character such as Caligula were
> protrayed in such a manner, but I have never read anything about Julius
Caesar to
> justify this type of portrayal. I understand the use of mezzos to portray
adolescent
> boys.
See above - it's history, and there it is, like it or not. Many have agreed
with you,
which is why it's taken so long for the countertenor voices to develop in a
technical way
so that they can do justice to this fantastic music. Before Daniels et al, the
mezzos did
sing it better. But now, I think the best countertenors are preferable, and
though I'm
sorry some mezzos may lose out on performance opportunities, I think the
artistic benefits
are worth it.
Peggy
--
Margaret Harrison, Alexandria, Virginia, USA
"Music for a While Shall All Your Cares Beguile"
mailto:peggyh@i...
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