Current Favoutites:
Baritones:
Ettore Bastianini
Robert Merrill
Nicolae Herlea
Giovanni Bellantoni
Mario Sammarco
Domenico Viglione-Borghese
Emilio de Gogorza
Gerard Souzay (1st ten years of career)
George London
Friedrich Schorr
Anselmo Colzaani
and among those still with us: Tony Michaels-Moore and Mariusz Kwiecin,
although neither give any sign yet of being in the same class as those
abovr.
Basses:
Cesare Siepi
Feodor Chaliapin
Lev Sibiryakov
Kurt Moll
Giulio Neri
Martti Talvela
Italo Tajo
Ezio Pinza (on a good day)
Nicolai Ghiaurov
Alexander Kipnis
Giorgio Tozzi
and whatever happened to Paata Burchuladze, who started so well?
Regards / vriendelijke groeten
Laurie Kubiak
Commercial Analyst - Europe & Africa SMMS
Sales and Contract Support, Shell Services International
Shell Centre, London SE1 7NA
Telephone: +44 171 934 3853; Fax: +44 171 934 6674
Mobile: 07771 971 921: E.mail: Laurence.l.Kubiak@i...
Office: LON-SC 631
-----Original Message-----
From: cyrus@e...
Sent: 20 July 2000 20:13
To: vocalist-temporary@egroups.com
Subject: [vocalist-temporary] Re: Bass/Baritone Discussion
As far as the strohbass thing goes, I usually differentiate by how it
feels. Strohbass is usually called 'growling' among my friends. It
doesn't have the same feeling of breath support or resonance as chest
voice. Well, that was ambiguous...
I have been finding lately, as I experiment with low-note-production,
that any tension just kills the volume/projection, much more so than
it does with high notes.
Who do/should B/Brt's look to as a professional model of sound? DFD?
Ramey? Someone else? Sure, taste varies, but let's just see who
everyone likes.
CC
--- In vocalist-temporary@egroups.com, John Alexander Blyth
<BLYTHE@B...> wrote:
> Well, no, not really - but I'm in a small centre and have to pretty
much
> make it up from what sounds and feels right, what I've heard other
singers
> do live or on recording and what I've read. Unfortunately the
literature
> isn't exactly wriggling with low note ideas - I'm still not clear
whether I
> ever use "Strohbass" despite Tako's fascinating demonstration and R.
> Miller's description.
> I do note that low notes, to project at all, must feel like
they come from
> the very bottom of my gut, and have quite a hefty vibrato, but the
whole
> thing should feel open, not pressed - it's like kicking into
turbocharge. john
>
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