I suppose that the role (like that of Wotan!) sounds more impressive with a big heavy voice - more inherent authority - though in the St. John Passion I think a more 'Everyman' kind of sound would fit the character and the situation: here is an idealist who, at the trad. age of 33 is willing to let the system totally do him in to make a point - too much authority, and too little vulnerability and he becomes a sort of Fafner-figure :) On the subject of Wotan - I though James Morris was very impressive, but I'm fairly sure Wagner had a lighter voice in mind, and most especially for Rheingold which has even more of a tessitura difference from die Walkuere than St. John Pass. has from St. Matt. Pass. john
At 09:18 AM 6/16/00 -0700, you wrote: >On Thu, 15 Jun 2000, John Alexander Blyth wrote: >> Also, despite Jesus' lower tessitura in John vs. Matt., his only >> really low notes are on unstressed syllables, lightly accompanied and >> rather scarce, hardly rock solid. > >You're right about all of this, but I didn't mean that the F had to be >loud - only that he has to sit on this note. It is a far cry from the >low G which is only touched upon in the bass aria "Eilt" later. > >I can't remember the exact words, but I remember being struck by the >appropriateness of the low notes to the text when I first heard this >passage. If it had been produced in strohbass, instead of an open chest >tone, it simply would've lost its effect. > >-Tako > > >------------------------------------------------------------------------ >Find long lost high school friends: >http://click.egroups.com/1/5535/5/_/843894/_/961172245/ >------------------------------------------------------------------------ > >To unsubscribe from this group, send an email to: >vocalist-temporary-unsubscribe@o... > > > > John Blyth Baritono robusto e lirico Brandon, Manitoba, Canada
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