Dear Lloyd and all:
Agreed. I'd also add there is a good deal of physical appearance, charm and
politics that figure into these decisions. However, Stinchelli got it wrong on
Butt, Homer and Schumann-Heink by lumping these great contraltos into the
mezzo-soprano team! These ladies all were occasionally traded onto the mezzo
team and had many wins there, but their motivation was to keep food on the
table. Butt sang some mezzo arias, but lowered the keys. Of the three singers
mentioned, Clara Butt basically stuck with the contralto range. She only
performed Gluck's "Orfeo" onstage. Homer and Schumann-Heink were feeding huge
families and took on many roles to keep the fees coming in.
I believe Karen has probably hit the nail on the head on the matter of Graves,
whose voice is certainly a star quarterback on the mezzo-soprano team, in my
opinion! Dolora Zajick and Jennifer Larmore are in there, too. The contralto
team is, at the present time, sadly, pretty anemic! Podoles, Stuzmann, Gwen
Bean and Ruth Theobald will probably have to call in the mezzos if they expect
to win any games!
Ed
"Lloyd W. Hanson" <lloyd.hanson@n...> wrote:Dear Ed and Vocalisters:
There are many, many books which extoll the virtues of opera singers
and, in the process, attempt to categorize them. The irony of all
this is that few of the singers care to be so categorized and the
whole idea of a category for a singer is of little value. In opera,
singers are selected for roles that dramatically and vocal fit their
voices but these very roles often do not fit into a particular voice
category. Consequently the powers-that-be in opera casting must make
decisions based more on the singers abilities for that particular
role rather than the singers "fach".
Fachs were developed to categorize singers in order to protect them
from ignorant or unreasonable opera impresarios or conductors. The
fach system is in place only in Germany, to my knowledge. It may be
referred to in other countries but I am not aware that it is given
binding consideration in casting roles. And, according to some
American singers who have had careers in Germany, many of the German
houses are now allowed to categorize singers simply in Soprano, Alto,
Tenor or Bass.
Singers would prefer to be acknowledged as artists who are capable of
lifting opera roles to the level of great art. None would like to be
cast in a roles for which they are inadequate either vocally or
dramatically although this does happen. Considerations such as voice
size, range, flexibility, etc as well as dramatic capabilities are a
necessary part of the process of casting singers for roles but other
considerations are also involved such as other members of the cast,
size of the performing venue, etc. Such considerations are not a
necessary part of the enjoyment of singers by the audience unless the
singers are clearly miscast.
Opera is often treated as if it were a sport. We frequently enjoy
deciding which quarterback would be best with which team and we often
discuss the relative merits of the strengths and abilities of
athletes. We do the same for singers in opera. It all adds to the
enjoyment of the sport or the art as sport. But it seldom has much
value to the idea of opera as art.
--
Lloyd W. Hanson
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