In a message dated 10/1/00 6:57:39 PM Central Daylight Time,
ibracamonte@y... writes:
<< And to sing, say, Violetta's sudden cry of "Ah" on an
A5 without tensing the larynx, the motion would
necessarily be quite firm, right? My impression of SLS
is that it doesn't use enough compression, enough
muscular firmness, to take the pressure off of the
throat enough to be able to produce the type of tone
needed for opera... but perhaps I was mistaken. >>
Well, if the sternum stays up, the abs will take over but until the very end
of the cycle no real sensation will be felt.... Miller even says that. I get
the impression that your definition of operatic singing involves a lot of
guilding of the lilly. More air will cause the extrinsic muscles of the
larynx to become involved and will put more pressure on the larynx; not less.
The prephonatory of the folds will determine how much air is needed.
Eventually the folds will be able to hold back more air creating more
subglottal pressure but without any attention paid to pumping through more
air. We all have different aesthetics and tastes and maybe the sound a SLS
singer who sings opera wouldn't be operatic for you, but seven SLS students
have won the national met auditions and I had the privilege of working with
one of them at the SLSI (Thomas McKinney, who sang in some huge houses) and
he was wonderful as was the other teacher there who had a rather impressive
career in opera. To me a distorted sound with a lot of artifice put on top
of it is not necessarily operatic in nature, it's a put on.
Randy Buescher
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