As a new member, I am enjoying the benefits of the critical discussion on this
list on a daily basis. There are some who write extremely well, and others who
seem to omit every other word (dysfunctional typing), or are unable to fully
express ideas and concepts. These are the traits that most lists are made of,
however.
I find myself looking forward to reading Dr. Lloyd Hanson's (and other
educators') posts, not only because they're well-written and concise, but also
because my mind seems to drift off to the desert landscape in northern Arizona
while reading Lloyd's.
I do admit to agreeing with Lloyd most of the time, and appreciate what he has
to say.....
After spending twelve years in German-speaking countries, and never having a
computer until now, I realize that the electronic mail technology developed
much more quickly than I had imagined. There were periods of years when I
didn't speak English for long stretches of time, except with a few
American/British/Australian colleagues (singers/musicians/ballet dancers) in
the opera houses where I sang. It would have been great to have been able to
have these online discussions while I was singing actively in Austria and
Germany. I have had a computer for the past three years, and I guess that's
longer than some, but have only discovered the singing/vocalist/opera lists
recently.
I do enjoying reading everyone's posts, but it is just so difficult at times
trying to translate fast and inaccurate typing. And yet, I realize everyone is
in a hurry --- on the 'net..... I am learning to read "between the email
lines"......
Sincerely,
Christopher Caleffi
Lloyd wrote:
Hello Linda and Vocalisters:
I must jump in here before there is additional misunderstanding of my
comments about the vocal demands of opera.
I was attempting to define what I consider to be the vocal requirements of
the opera genre. I was also expressing concern that not a few of the well
promoted and most successful crop of new opera singers have replaced the
most obvious demands of opera singing with other values. In particular,
the topic revolved around the attempt to improve diction but at the
expense
of maintaining a required singing line (which I called a "vowel line")
Nothing in my comments should be taken as a purists view that opera must
only be sung by the best, only that opera should be sung by those who more
accurately attempt to reproduce its intent. This can be done in student
productions as well as professional productions. I have made it very
clear
in other posts that I enjoy the work of young professionals in regional
companies for whom the opera performance experience is still exciting and
alive more than the often indifferent performances of established
professionals who have a career to uphold.
I was not even addressing the all too common occurrence of a singer cast
in
a role that is "too much" for him/her at their present stage of vocal
development. I was condemning singers who replace the demands of a role
with their personality trademarks, especially if these personality
"things"
are an expression of lack of technical proficiency, which is often the
case
in recent years.
Regards
-- Lloyd W. Hanson, DMA
Professor of Voice, Vocal Pedagogy
School of Performing Arts
Northern Arizona University
Flagstaff, AZ 86011
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