Stephanie Blythe - We'll Meet Again & Blythely Ever After - Specials Vocal Range (B2-E5)
HTML-код
- Опубликовано: 7 сен 2024
- Stephanie Blythe, a master of the operatic stage, brings her formidable chest voice, tinged with tenor-like strength, to the forefront in this mesmerizing showcase. This video spotlights two television specials - 'We'll Meet Again', an homage to the legendary Kate Smith, and 'Blythely Ever After,' a delightful, humour-infused portrayal of a tenor alter-ego in drag.
Renowned for her exceptional talents in opera and recitals, dramatic mezzo-soprano Stephanie Blythe stands among the most esteemed and praised artists of her era. Her repertoire spans a wide spectrum, embracing compositions from Handel to Wagner, encompassing German lieder, contemporary, and timeless American songs. Performing across prestigious global stages including Carnegie Hall, the Metropolitan Opera, Covent Garden, Paris National Opera, and others, Blythe has earned accolades such as Musical America's Vocalist of the Year in 2009, an Opera News Award in 2007, and the esteemed Tucker Award in 1999.
Blythe's professional opera debut at the Metropolitan Opera took place on April 14, 1995, portraying the voice from above in Wagner's Parsifal. Her career trajectory took a remarkable turn when she stepped in for Marilyn Horne as Mistress Quickly in Falstaff during the subsequent season at the Met, earning widespread acclaim. Since then, Stephanie Blythe has garnered critical acclaim in a diverse array of roles at the Metropolitan Opera. Notable performances include Amneris in Aida (2012), Azucena in Il trovatore (2013), Baba the Turk in The Rake's Progress (1998), Cornelia in Handel's Giulio Cesare (1999), and Eduige in Rodelinda (2004-2006, 2011), among many others. Her versatility and artistry have shone through characters ranging from Fricka in Die Walküre (2008, 2011-2013) to Jezibaba in Rusalka (2009) and Ulrica in Un ballo in maschera (2007-2008, 2012).
What an incredible voice. Well researched and accurate video as usual. Excellent!
please do a C6 belt video 👍🏻 coz i saw in one description (Leshun Pace) you said there are 5 singers who's c6 note you consider a belt...or it would be easier to mention their names
The best singer at the Met still singing today.
There are some. Stephanie is one of them.
@omarsomehow69 Stephanie Blythe is a staple name at the Met that has been there in major productions for more than a dozen seasons. And Zajick is good. Despite not actually being a mezzo. Zajick in her prime that is. Late career Zajick is meh.
@omarsomehow69 The Met has a lot of great singers. Don't mistake what you see on their channel or their video on demand as what is their actual roster.
A big, powerful and dark voice throughout the range showcased by Stephanie Blythe in these TV specials! She can sound so manly for playing her tenor-like role in drag. Dramatic mezzo-soprani are often confused with contralti 😅
Thank you.
Excellent video
Huge. Just huge.
There seems to be not as many dramatic voices as there used to be. I wonder why.
Style of singing! people shy away from the big beautiful resonance in order to sound recordable
According to Dolora Zajick’s Institute for Young Dramatic Voices: “For some time now, we have been hearing cries of alarm about a ‘shortage’ of voices suited to opera’s dramatic repertoire, as if these voices are disappearing from the earth. It is certainly not the case that these voices do not exist in nature. They do. What is lacking in our fast-paced world is the time and the care and specifically tailored instruction at an early age that it takes to develop any natural voice into a healthy, expressive, and durable operatic instrument. These instruments when properly developed can last over a career of 40 years or more. This is particularly true of voices that have the potential to develop into the dramatic repertoire of Strauss, Wagner, and Verdi. Dolora Zajick’s Institute is distinguished by the principle of recognizing dramatic voices at an early age and offering them collaborative teaching and guidance by experienced professionals who understand the unfolding of a voice in a growing body. Zajick’s own instrument took time and care to develop and it continues decades later to thrill audiences the world over. Passing on what she has learned over the course of her great career is now her guiding passion.”
I’ve also read around the opera community that there’s not a desire for these voices as much as lyric lighter ones. Opera singers are either in the wrong fach or sing repertoire that’s out or their range shortening their career and hurting their voices. There’s no care or desire to develop voices over long periods of time like the greats in the early 20th century. Kaji has many videos on the old greats from then. They have immense range, power, darkness, and consistency despite only being sopranos 😂. Any hint of darkness or vocal density now, and they call you a mezzo or contralto!😅
@@ElyWill I know right? I wished I could make that change and create a higher demand for heavier voices somehow. Not only aren't heavier voices popular these days, but even when those roles are sung they're being sung by lighter voices. There's only 2 dramatic tenors that I know of who are singing the proper repertoire these days are Ben Heppner, who's merely debatable and who's an okay but not great singer, and one other dude I don't remember his name though his vibrato is very wobbly and and thick that it's hard to tell what note he's singing at times. One of my favorite voices is the dramatic tenor and it's a dying breed unfortunately.
@@benjaminwashington2087This is what my vocal teacher says, he’s an opera singer also.
@@bradycall1889Amazing, that you like a dramatic tenor as they are indeed hard to find. I will need to look him up. The demand seems very nonexistent as trends tend to dictate the voices in modern opera. The bar is very very low these days. Plus a lot of politics involved and favoritism.
I don’t know what happened to my long comment about dramatic voices from Dolora Zajick’s school website. Maybe flagged as spam😂. She has said that dramatic voices take a long time to develop also. They are difficult to control when mastering. I’m no opera or vocal master. Just started taking lessons from an opera singer who believes in a strong big chest voice and keeping that ring and core all the way up. Learning as I go for the past few months really opened my eyes to the old greats from the 20th century of opera; and opera in general. It’s truly fascinating and you realize why the even older greats are still unrivaled today. They were taught and trained by the cornerstone of opera singing to bring out the true human voice.. the full power it can produce as humanly possible.
Totally thought this was a man singing. That tone! Do you have any good, real contraltos to recommend listening to?
Are most baritones these days really undeveloped tenors in your opinion?
No.
@@KajiVocals Okay I agree. I wonder where the idea of most modern baritones being undeveloped tenors came from.
@omarsomehow69 Okay. I wonder where TiO was coming from then because it seems highly unusual to me.
A Contralto?
Mezzo
This is a leading operatic mezzo at the Met for the last 30 years.