You’re really helping me to appreciate the older style of singing… I’m kind of torn now between the modern and older sounds, there is certainly a lot to learn here that you have brought to life. Your videos are fascinating!
My heart died a little when you said Massenet is out of fashion because I love Manon, it's my favorite of the French répertoire but I understand that not all his œuvre are performed as often nowadays.
These videos are giving me a whole new insight into older recordings and style. (I actually preferred Calve's dissonance!) I feel like I've been sold a bill of goods from my conservatory education sometimes, but I'm glad more educated people like you are around to gently guide us toward something that feels more right.
Excellent and informative exposition. To sing 'caressingly' certainly IS 'a thing', as you put it, and not surprisingly Calvé is the one who does it! Thank you for these and for the rare transcriptions.
The vibrato on that modern soprano was wide enough to swim in. How could anyone with the least discernment enjoy hearing a sound like that? Half the time you can't even tell which note she's meant to be singing if, like me, you're hearing the song for the first time. Thank goodness there are still some modern singers who don't sound that way.
These are wonderful videos. I especially appreciate the honest criticism that is essential to convey the point of each lesson. I am an enthusiast of the human voice, though my favorite examples are the cantatas and oratorios of Bach, whose glorious music is elevated by exceptional soloists.
This makes me think of La calunnia from The barber of Seville; There is a recording with Italo Tajo, where he does the «incomincia a sussurar» in a more free way where he adds more notes to it. I like it, especially in buffo arias, that the singer can add more notes to it
The problem with many modern singers is that they think they are acting when very often they are over acting! Like the lesser silent film stars. Do you like Sutherland's Esclarmonde?
I am in two minds. There are things I don't like that much about the "old" style, but at the same time, I don't like the big wobbly vibrato of some primadonnas of today. I would also like it if someone could explain why so many singers start having serious vocal problems as soon as they get famous. It is really worrying. Singing too often? Vocally unsuitable repertoire? Faulty technique? All of the above?
GL was the sister of author Maurice Leblanc, who wrote Arsène Lupin novels. She created the role of Ariane in Ariane et Barbe-Bleue both in theatre (Maeterlinck) and in opera (Dukas).
You’re really helping me to appreciate the older style of singing… I’m kind of torn now between the modern and older sounds, there is certainly a lot to learn here that you have brought to life. Your videos are fascinating!
My heart died a little when you said Massenet is out of fashion because I love Manon, it's my favorite of the French répertoire but I understand that not all his œuvre are performed as often nowadays.
These videos are giving me a whole new insight into older recordings and style. (I actually preferred Calve's dissonance!) I feel like I've been sold a bill of goods from my conservatory education sometimes, but I'm glad more educated people like you are around to gently guide us toward something that feels more right.
Excellent and informative exposition. To sing 'caressingly' certainly IS 'a thing', as you put it, and not surprisingly Calvé is the one who does it! Thank you for these and for the rare transcriptions.
The vibrato on that modern soprano was wide enough to swim in. How could anyone with the least discernment enjoy hearing a sound like that? Half the time you can't even tell which note she's meant to be singing if, like me, you're hearing the song for the first time. Thank goodness there are still some modern singers who don't sound that way.
You are a great light into the art of opera singing!
These are wonderful videos. I especially appreciate the honest criticism that is essential to convey the point of each lesson. I am an enthusiast of the human voice, though my favorite examples are the cantatas and oratorios of Bach, whose glorious music is elevated by exceptional soloists.
Difficult to assess the modern singer objectively and technically when she acts it well and is gorgeous. But your assessment is surely intriguing.
This makes me think of La calunnia from The barber of Seville; There is a recording with Italo Tajo, where he does the «incomincia a sussurar» in a more free way where he adds more notes to it. I like it, especially in buffo arias, that the singer can add more notes to it
The problem with many modern singers is that they think they are acting when very often they are over acting! Like the lesser silent film stars. Do you like Sutherland's Esclarmonde?
It’s quite painful watching the modern soprano working so hard without getting there vocally or artistically at all…
I am in two minds. There are things I don't like that much about the "old" style, but at the same time, I don't like the big wobbly vibrato of some primadonnas of today. I would also like it if someone could explain why so many singers start having serious vocal problems as soon as they get famous. It is really worrying. Singing too often? Vocally unsuitable repertoire? Faulty technique? All of the above?
Interesting that Calvé recorded this a whole step down from the original key.
It's supposed to be Sappho = Sap + pho. sigma alpha pi phi omega
and pronounced Sap-fo.
and it was based on the name Psap-pho with a psi. psap-fo.
GL was the sister of author Maurice Leblanc, who wrote Arsène Lupin novels.
She created the role of Ariane in Ariane et Barbe-Bleue both in theatre (Maeterlinck) and in opera (Dukas).
However the novel by Alphonse Daudet which the opera is based on is indeed called 'Sapho'... But yes, it hurts the eye and the ear a little.
@@HenrikBergpianorganist I am criticizing the error in the novel also.
I forgive you anything!!