Unfortunately, last night I learned of the death of Vincent Pavesi from cancer on Monday, July 15, 2019. It is nice that his voice can still be heard here and that wonderful experience he had with Montserrat Caballé can still be enjoyed!
@SENAFOREVER Ever since I first heard her speak about visiting Carreras in the hospital, I was struck by the magnificent SWEETEST of this lovely woman. I'd already adored her magnificent singing.. Now I'm always struck by the multi-multi-lingual prowess of so many opera starts. They seem to be fluent in at least 4 languages. I so envy that. In the US, we are at a disadvantage as we are surrounded by English. Can't take a quick spin to Germ, Fr. or It. And Eng. is spoken around the world.
For any singer it is a blend of a lot of space in the throat and a consistent forward placement. When those things are aligned correctly, the voice has a strong, warm color, and the "ping" or carry to resonate over an orchestra.
Caballélets him experience singing with a constant breathing pressure, coming from abdomen and pelvis, to prevent the singer from straining the vocal cords. In particular, lower voices tend to make their voice bigger by maintaining a forced low larynx, which inhibits a balanced resonance between throat/chest and sinuses. See RUclips channels of Alexander Massey and Franco Tenelli for different approaches of this technique.
This guy's voice is so swallowed sounding, it's amazing he can go up the scale at all. And it sounds so beautifulwhen he gets up there. I think she's trying to get his sound to lighten up using the 'e' vowel at its most forward, but the guy still sounds as if he has a mouth full of marbles in his lower range. I think he's trying to 'make' sound rather than just let his instrument resonate. It's very tempting for any to do so. Maybe I just don't understand the bass voice.
You do understand the bass voice and I agree with your observations about his technique. In his final scale passage with Montserrat Caballé the voice is lighter, brighter and more focused until he goes down to the low note which is only a B where it begins to lose its volume! He is doing all of this "facial gesturing" to try and "create" a dark, bass sound when in reality, I think he is actually a bass-baritone or perhaps even a baritone! I certainly can understand the desire to have a more "operatic" sound to the voice and earlier in my career I tried to create a fuller sound but often there were notes within the vocal line that stood out from the rest which I have heard in later recordings of this young man's performances. Those notes that stand out and do not blend into the vocal line are a warning that something is not right. In this case they were how the rest of his voice should sound! Lighter and brighter! I went from thinking I was a bass to then calling myself a bass-baritone only to find out later that I was always a lyric baritone. I sang lots of German lieder in Low keys and now I sing in Medium keys and the whole register from top to bottom is in sync with itself! Sometimes it takes a while to realize these kinds of characteristics in one’s singing and perhaps he will someday. You did understand what you were hearing but what you were hearing wasn't a bass singing!
I would be completely start stuck standing in front of this great lady that I wouldn't know what to do. Wonderful of her to do these master classes. I'm sure it was unforgettable for this young man.
I understand what you mean but if you're right to say that our men's voices also resound in chest, they obviously resound in the mask all throughout the range, and this is the only placement we can control, the chest one being automatic. And Tena is right to say that the high placement is the healthiest one :)
@johndlabella The lack of decline, but rather the growth in her voice declares otherwise. As far as a lack of pitch center, you're either biased and trying to make something up ('cause I defy you to find proof) or there are hearing problems. The coloratura not being legato is rather accurate for most of the staccati present in Baroque music. Zacconi gives a wonderful idea of the sound present in Baroque times in his Prattica di Musica where vibrato is a consistent habit to be practiced.
I think Caballe is trying to get the singer to project the sound upwards, fully supported by the breath. Giulietta Simionato (great, great singer with a solid technique) always insisted that the breath has to be almost circular within a phrase, and that the breath has to carry and sustain the sound with legato and resonance otherwise it's just hollow sound. You can hear this singer almost swallowing the sound on the opening phrases.
@johndlabella the kraus comment is awesome but you are confusing bartoli's technique for the timbre of her voice. she never sings the way you are saying, you just think you hear it because of how unique the timbre of her voice is...
@Operaddict not at all woman are unable to teach singing - please watch at YT Jack Swanson singing "Ecco Ridente in Cielo" In Marilyn Horne's Spring of 2011's masterclass at OU
Intriguing. I find her singing antics quite distracting and have always wondered what was up there. Kraus is a great contrast to draw because he was so still when he sang. Support and position all the way. Fabulous technician. No running around and fidgeting.
Es inexplicable que una profesional como ella haya decidido cantar un aria que indiscutiblemente no le va bien. Es realmente un papelón. I find it quite inexplicable that a professional like her has chosen an aria that is completely unsuitable for her voice.
dunque:per quanto riguarda la respirazione non mi piace,non è corretto spingere con la parte bassa del diaframma,non serve a niente e fà male,magari quel sistema può andar bene per i soprani,la vera respirazione è diaframmatico-costale,si deve gonfiare il diaframma e la parte bassa della gabbia toracica (3 o 4 diti sotto i capezzoli),l'immascherazione mi sembra buona e giusta
A soprano almost destroyed my voice even though she has a really good technique and she was well intended. She let me sing with a high larynx and it wasn't going in the great direction. Now I'm studying with a tenor and boy has he made a difference!! In my opinion high placement basically means half-yawned neck : low larynx and open pharynx. It must stay there unforced without the gritty bad chestyness.
Was interested up until she sang agitata da due venti ...... pretty shitty...... did not respect what the composer wrote, dropped notes etc. On the other hand, she is a singer I greatly respect sooooo much. I just think that at her age it is now time to shy away from this sort of Vivaldi coloratura music if you can't sing all the notes as the composer wrote them ....
young singers who sing like that do not impress me. when i hear that, i hear a singer that needs to take all of the melodrama out of the voice and go back to the basics of support and pure vowel sounds. because, ugh.....
The lesson was cute but, although I totally hate Vivaldi, what they have done with that aria goes from disgusting to ridiculous and then to revolting again. XIXth century music and classical music (XVIIIth century music) are totally different in character and technique, and if you blur one sensibility into the other (more often than not the baroque and classical into the romantic and verist) you may be doing something very legitimate, beautiful and all that, but you made it wholly different.
This is an aria that requires a great agility which she doesn´t have. The tempo is too slow, the style is wrong. She doesn't even follow the score. Maybe if you hear Cecilia Bartoli or Emma Kirkby on this site singing it you wouldn't be so confused.
Unfortunately, last night I learned of the death of Vincent Pavesi from cancer on Monday, July 15, 2019. It is nice that his voice can still be heard here and that wonderful experience he had with Montserrat Caballé can still be enjoyed!
Montserrat Caballé unforgettable!!!
@SENAFOREVER Ever since I first heard her speak about visiting Carreras in the hospital, I was struck by the magnificent SWEETEST of this lovely woman. I'd already adored her magnificent singing.. Now I'm always struck by the multi-multi-lingual prowess of so many opera starts. They seem to be fluent
in at least 4 languages. I so envy that. In the US, we are at a disadvantage as we are surrounded by English. Can't take a quick spin to Germ, Fr. or It. And Eng. is spoken around the world.
could you imagine being her neighbor? Having that stunning voice floating through your window when she is practicing!
She also speaks italian almost perfectly!! She's really really smart.
es una mujer adorable y coo cantante nohay palabras
Caballé, en el trato personal era todo un amor.
Desde luego,era un gran ser humano,con un sentido del humor exquisito
Let her sing what she wants to sing and when she wants. It is up to her, no one is ever to old to sing anything.
Thank you...I got the gist of most of what she was saying...but not everything .Your translation was
most appreciated.
For any singer it is a blend of a lot of space in the throat and a consistent forward placement. When those things are aligned correctly, the voice has a strong, warm color, and the "ping" or carry to resonate over an orchestra.
Excellent!
Caballélets him experience singing with a constant breathing pressure, coming from abdomen and pelvis, to prevent the singer from straining the vocal cords. In particular, lower voices tend to make their voice bigger by maintaining a forced low larynx, which inhibits a balanced resonance between throat/chest and sinuses. See RUclips channels of Alexander Massey and Franco Tenelli for different approaches of this technique.
Mon petit Vincent, tu étais vraiment mignon!!!
Thank you for your comment...how refreshing!
We really need a word for word translation please!
Thanks so much for that!!
Great video!!!! thanks
Aaawww Montse is so cute - LOL she's conducting the orchestra in Agitata
winterreise - schubert nr. 7 auf dem fluss
@dancewiththedeath It's a piece from "Winterreise", Schubert.
wow, this was so helpful
This guy's voice is so swallowed sounding, it's amazing he can go up the scale at all. And it sounds so beautifulwhen he gets up there. I think she's trying to get his sound to lighten up using the 'e' vowel at its most forward, but the guy still sounds as if he has a mouth full of marbles in his lower range. I think he's trying to 'make' sound rather than just let his instrument resonate. It's very tempting for any to do so. Maybe I just don't understand the bass voice.
You do understand the bass voice and I agree with your observations about his technique. In his final scale passage with Montserrat Caballé the voice is lighter, brighter and more focused until he goes down to the low note which is only a B where it begins to lose its volume! He is doing all of this "facial gesturing" to try and "create" a dark, bass sound when in reality, I think he is actually a bass-baritone or perhaps even a baritone! I certainly can understand the desire to have a more "operatic" sound to the voice and earlier in my career I tried to create a fuller sound but often there were notes within the vocal line that stood out from the rest which I have heard in later recordings of this young man's performances. Those notes that stand out and do not blend into the vocal line are a warning that something is not right. In this case they were how the rest of his voice should sound! Lighter and brighter! I went from thinking I was a bass to then calling myself a bass-baritone only to find out later that I was always a lyric baritone. I sang lots of German lieder in Low keys and now I sing in Medium keys and the whole register from top to bottom is in sync with itself! Sometimes it takes a while to realize these kinds of characteristics in one’s singing and perhaps he will someday. You did understand what you were hearing but what you were hearing wasn't a bass singing!
I would be completely start stuck standing in front of this great lady that I wouldn't know what to do. Wonderful of her to do these master classes. I'm sure it was unforgettable for this young man.
Yes, Cadenza. And know she would have loved it....
Hello! Can someone please post or send me the translations as well? THanks=)
I understand what you mean but if you're right to say that our men's voices also resound in chest, they obviously resound in the mask all throughout the range, and this is the only placement we can control, the chest one being automatic. And Tena is right to say that the high placement is the healthiest one :)
@johndlabella The lack of decline, but rather the growth in her voice declares otherwise. As far as a lack of pitch center, you're either biased and trying to make something up ('cause I defy you to find proof) or there are hearing problems. The coloratura not being legato is rather accurate for most of the staccati present in Baroque music. Zacconi gives a wonderful idea of the sound present in Baroque times in his Prattica di Musica where vibrato is a consistent habit to be practiced.
I think Caballe is trying to get the singer to project the sound upwards, fully supported by the breath. Giulietta Simionato (great, great singer with a solid technique) always insisted that the breath has to be almost circular within a phrase, and that the breath has to carry and sustain the sound with legato and resonance otherwise it's just hollow sound.
You can hear this singer almost swallowing the sound on the opening phrases.
I'm a 19 years old basso. Someone can tell what does she told him? :c I don't understand!.
@johndlabella the kraus comment is awesome but you are confusing bartoli's technique for the timbre of her voice. she never sings the way you are saying, you just think you hear it because of how unique the timbre of her voice is...
@Operaddict not at all woman are unable to teach singing - please watch at YT Jack Swanson singing "Ecco Ridente in Cielo" In Marilyn Horne's Spring of 2011's masterclass at OU
Which song is he singing? After the practise?
she is so cute xD
Intriguing. I find her singing antics quite distracting and have always wondered what was up there. Kraus is a great contrast to draw because he was so still when he sang. Support and position all the way. Fabulous technician. No running around and fidgeting.
c'est appuyé d'une facon qui n'est pas mal mais c'est "pas porté", "pas soutenu" elle trasmet un très grand secret
utube come rain or come shine by John bavas
Es inexplicable que una profesional como ella haya decidido cantar un aria que indiscutiblemente no le va bien. Es realmente un papelón.
I find it quite inexplicable that a professional like her has chosen an aria that is completely unsuitable for her voice.
What is that song? 1: 35
vincent looked so cute as a student
that would be a very professional behavior=)
Who has obnoxiously tainted the translations??
Well the applause she gets is comparable to what Bartoli gets after an Agitata so I guess that's that...
The Arie Antiche disc is wonderful, however.
dunque:per quanto riguarda la respirazione non mi piace,non è corretto spingere con la parte bassa del diaframma,non serve a niente e fà male,magari quel sistema può andar bene per i soprani,la vera respirazione è diaframmatico-costale,si deve gonfiare il diaframma e la parte bassa della gabbia toracica (3 o 4 diti sotto i capezzoli),l'immascherazione mi sembra buona e giusta
I wish I spoke French.
A soprano almost destroyed my voice even though she has a really good technique and she was well intended. She let me sing with a high larynx and it wasn't going in the great direction. Now I'm studying with a tenor and boy has he made a difference!! In my opinion high placement basically means half-yawned neck : low larynx and open pharynx. It must stay there unforced without the gritty bad chestyness.
Was interested up until she sang agitata da due venti ...... pretty shitty...... did not respect what the composer wrote, dropped notes etc. On the other hand, she is a singer I greatly respect sooooo much. I just think that at her age it is now time to shy away from this sort of Vivaldi coloratura music if you can't sing all the notes as the composer wrote them ....
She is a great soprano, but her performance of Agitata da due venti is quite flat.
@DoktorNgKepiyas haha im totally guessing you are joking? haha
young singers who sing like that do not impress me. when i hear that, i hear a singer that needs to take all of the melodrama out of the voice and go back to the basics of support and pure vowel sounds. because, ugh.....
Let's face it---in 2017 there is much really bad singing, across the world,
at the biggest houses, and lots of ugly, misguided productions.
The lesson was cute but, although I totally hate Vivaldi, what they have done with that aria goes from disgusting to ridiculous and then to revolting again.
XIXth century music and classical music (XVIIIth century music) are totally different in character and technique, and if you blur one sensibility into the other (more often than not the baroque and classical into the romantic and verist) you may be doing something very legitimate, beautiful and all that, but you made it wholly different.
This is an aria that requires a great agility which she doesn´t have. The tempo is too slow, the style is wrong. She doesn't even follow the score. Maybe if you hear Cecilia Bartoli or Emma Kirkby on this site singing it you wouldn't be so confused.
Terribily, good singers are bad teachers often!!!!!!!!!!!!!!!!!!