--- In vocalist-temporary@egroups.com, "Lloyd W. Hanson" <lloyd.hanson@n...> wrote: <lloyd.hanson@n...> wrote: >I believe we now live in an age where emotion is > grossly overdisplayed in all venues of performance, be it theatre, opera, > musicals, or whatever. In my opinion there is little attempt at subtlety > and major attempts to "'show" the audience what is being "acted".
I understand and agree with what you are saying, although I think what you are referring to is not "grossly overdisplayed emotions" - I would say it is grossly *falsified* emotion. Vocal affectations, trite lyrics and pat moves are fed to audiences to *signify* emotions, as a substitute for an artist who has actually *felt* something and is actually *giving* something. Actually felt emotions do not need to be whacked over one's head with silly gestures or vocal cues - they come through quite clearly, naturally and unobtrusively when a singer is committed to his or her singing and character.
> I also believe that the music of opera, Traviata in this instance, has all > the needed emotion within it and it does not benefit from "adding" or > "showing" emotion over and above that found in the music.
I agree that emotion should not be "added" - it should be *felt* in the first place, by the singer who understands his or her character as an actual person, in an actual context, in addition to understanding the music, the intent of the music, the relationship of the music to the text, the relationship of the musical themes to each other and to the story, etc. When all this integrative work has been done, and the singer goes to perform, there is a depth and beauty, and emotion expressed that has nothing to do with false excess, representations of emotions or adding anything extraneous to the music or the drama. It is a whole integrated work that comes to life onstage, and it is extremely affecting, and most of all, it doesn't require cheap vocal effects to make it happen. It takes much less work and personal risk to do some cheap vocal effects than it does to really understand and integrate what you are singing as a whole!
In my opinion, it is this complex study, understanding and empathy with the character, the music, and the drama that makes someone not just a "skilled singing technician", but an artist.
> I look for the opera singers to never let me loose the presence of the music > even if it is tempting to want to create an "emotional moment". I want to > hear more of Verdi and less of the singer.
I want to hear a perfect union of both composer and singer - I cannot imagine that Verdi, writing this incredible, genius music, this heartbreaking story, wanted a bunch of automatons to just technically proficiently vocalize it, nor that he would want singers who use cheap effects to falsify emotions, when there is SO much packed in there just to mine and discover! Why add anything? Why ignore anything? It is all there, waiting to be brought out and fulfilled!
That is what I meant about not finding any heart in these recordings - I am not looking for vocal effects. . . I am looking for depth of feeling, of understanding, and that is something that naturally comes through in the voice. I find it a great sadness when the depths of this music are not mined - when the artist is not willing to go deeper into the music in order to make it come alive.
> I am most aware that my desires are not necessarily those of others. But as > one who has been around awhile, I think it is safe to say that the > emotional content of today's performances tend to be inflated and, for me, > that inflation often comes at a cost to the music.
Again, I would say it is not actual emotional inflation, but gestures meant to replace actual emotional expression, that definitely retard the musical experience.
> All of this may not be the case with your experience in the performances of > Traviata of which you speak. But it did give me the opportunity to define > a strong and not often expressed point of view. > > Thanks for you message.
Thank you - I always enjoy your posts :)
Karena
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