Dear Lloyd, Linda, Randy and Vocalisters:
I have a few responses to extracts from Lloyd's wonderfully
stimulating and lucid post.
Lloyd wrote:
>It is my impression that operatic singing in the Italian and German
>tradition, (especially 19th century opera from these countries) has never
>be been particularly popular in England.
Living in England from 1976-80 (returning twice since to work) my
impression was that larger cities in the UK were much like those on the
continent with regard to operatic taste-- it seemed to have already joined
the Common Market musically speaking.
> The English ideal of tone has seemed to come
>from their strong traditions in cathedral singing which does not seek a
>sound that is rich in overtones.
This was strongest in the countryside and in older university
towns, not so much in London.
>However, once I have said the above I am aware that there are enormous
>exceptions such as the wonder of the English contralto which can hardly be
>found in such abundance or beauty anywhere else in the world.
Yes, voices like Kathleen Ferrier and Marjorie Thomas were much
beloved everywhere in England.
>But, could the public response to female singing in opera which you mention
>be colored in no small part by the English tonal ideal, if one does exist?
Perhaps yes, in the case of my friend, if she frequently
encountered people with a preference for the cathedral sound. In my
opinion, there would be three distinct musical audiences in England with
three different tonal and aesthetic ideals:
1. opera which seeks an Italianate tonal ideal, (with a few Germans allowed
for German opera)
2. the early music/choral crowd which overlaps somewhat with #3 below
3. the twentieth-century music crowd.
>Another thought. Public radio stations (that is, publicly supported radio
>stations) in the US no longer play classical vocal music in any of its
>various forms in any degree of regularity. The reasons given for this
>change in programming are polls which have been conducted indicating that
>people do not want to hear classical vocal music (choral, songs, opera).
I'm very glad to get your perspective on this. Do you think, Lloyd
that there are fewer radio stations playing classical music also because
fewer singers are dominating the media and getting more of the work?
Perhaps this has something to do with airtravel, and the globalization of
the economy. (the 3 tenor syndrome)
>Yet these same public radio stations began some 25 years ago to play "early"
>music (Medieval and Renaissance periods) periodically on their station to
>great complaints from their listeners. Eventually, of course, the public
>developed a taste for "early" music and it is now at least a quarter of all
>the music played on public radio.
It's big business, based on an economy which revolves around
specialists and authorities in every field. I have worked with a number of
British Early Music ensembles and done gigs with John Potter who tires of
the public's desire to have a specialist tell them what is authentic and
good.
Karen Jensen
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