>From: Reg Boyle <bandb@n...>
>Reply-To: vocalist-temporary@egroups.com
>To: vocalist-temporary@egroups.com
>Subject: Re: [vocalist-temporary] Different uses of the term "Head Voice"
>Date: Sun, 27 Aug 2000 09:37:03 +1000
>
>
> > by contrast when he sang loudly, his voice sounded much
> > > more effortful.
> >
> >I usually would not comment on a personal taste in singing, but since we
> >are talking about one of _the_ perfect vocal techniques, can you specify
> >what recordings (musical selections, year recorded, recording label) you
> >find Bjoerling's voice "effortful"?
> >
> >Mark Montgomery
>
>Gee Mark this has the potential to be explosive!
>Let me add to it. I contend that 1939 was a watershed year for Bjoerling.
>He altered and consolidated his technique, is what I hear in the
>recordings.
>Darn, now I'll have to go and re-research all the reasons I decided on
>that!!
>
>Regards Reg
>
Reg, I'm impressed with your familiarity with Björling's career. I too would
consider 1939 a significant time to listen for. An interesting thing for me
is the first few years he recorded, '30-'34. I hear such a unique timbre, it
sounds to me like he is still singing in the head voice of his youth. He has
said that his voice never broke, it just gradually lowered to tenor. This
head voice quality is most obvious in the lower range of the aria from
Prince Igor, recorded in 1933. I was curious if anyone else had noticed
this.
Michael
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