Vocalist.org archive


From:  "michael.chesebro" <michael.chesebro@w...>
"michael.chesebro" <michael.chesebro@w...>
Date:  Tue Oct 10, 2000  12:45 am
Subject:  Re: [vocalist-temporary] Re: The rest of the voice,beneath the singer's formant

At 11:58 AM 10/9/00 -0700, you wrote:
>Dear Mike and Vocalisters;
>

>You wrote
>>my want is, that the voice one has always used to communicate
>>with, could be extended into singing without losing that personal history of
>>self expression. . . .

Then Dr. Hanson ably replied:
(abridged)

>But music by its nature is always both.. . .
>The arts of opera and singing, because of their relation to both
>words and music are often caught in the crossfire between those who
>prefer realism and those more at home in abstraction. The final
>reality here is that opera and singing live in both worlds and there
>is a continuum from singing as mostly text to singing as mostly
>music.

I might add:
When I listen to Maria Callas, I hear in her vocal production the role she is playing. She sounds different for Turandot than she does singing O mio babino caro. In one of the many biographies about her, the author described some of her stage craft calculated to create the emotion or atmosphere required. I digress. In the grand voice used for opera singing there is still a palate of colors and productions that can imitate a girl of 40 (see ageism post) or an aging harridan. Both can be stunning and beautiful. The educated listener will hear the difference immediately. There is still a toe hold on reality there.
Michael E. Chesebro, M.A.,C.C.C., S.L.P.
Voice & Fax: 562/983-9965
Wireless: 562/884-2212

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