Відео

I can neither confirm nor deny . . .

@@evan-dunn 🤣😂🤣 I have ears. Its for sure Netrebko. 100%

@@vitabella6481 😂

Thanks for watching! Unfortunately, most of us have been to operas where we can hear the singers, but some of their voices aren't big enough to RING in our ears. In fact, one famous tenor was recently quoted as saying "if the audience can't hear us, that is their problem." It isn't the audiences problem! It is our responsibility as singers to develop our voices to the fullest extent. And there is a trend in opera to sing light, tight, forward, more constricted, and nasal. Those things don't help to project a clear, chiaroscuro sound out to the audience. So it might feel nonsensical to you, but it is a reality!

Thanks for watching? What do you not like about her vibrato?

@@evan-dunn we hear clearly a big second, both notes. Like a trill. Very unpleasant.

@@vitabella6481 Thanks again for your response. You might not like it, but I wouldn't say "disturbing." Let's not forget that there are actual disturbing things happening in this world, and vocal technique is a very small thing to worry about!

@@evan-dunn my vocabulary is not as rich in English as it could be. If you prefer Id say ugly for my trained ears.

​@@vitabella6481 I COMPLETELY understand. As a student and teacher of singing, it is really important to me that we curate our language about technique. I don't really believe in "bad," "ugly," or "horrible." That is a way to say, "I don't like it, but I don't know why." It is more helpful for us as learners to say, the voice isn't balanced, the vibrato is too narrow, the breath isn't released. Then we can really discuss what is going on. Thanks again for watching and sharing!

Thanks for sharing! Language is such a crucial part of a singer's development, isn't it?!

Thanks for watching! I don't think that pop music is inherently shallow. There is so much of every genre that is amazing, powerful, and worthwhile to our society.

It is so true! We're always trying to cling to the old, when the new is here, and it is OK for us to evolve!

P.S. couldn't recognise the voice singing Suicidio, but it made me want to do just that!

I completely agree with you. We can't really make conclusions about the opera world based solely on vocal development. Just a fun thing to talk about! But I still think that if you are sitting in an opera house, and you hear a really exciting voice, with tons of overtones, ring, and drama, that you are going to be more interested in the art form. I love opera, and I don't even like going to opera houses because I usually hear voices that are pretty to some extent, but don't have that true ZING in my ears.

I KNOW 😭. Why do we hate all the good things in America???

​@@evan-dunnI don't think it's hate. I think it's a natural human condition to break away from something and evolve it to something else. Like how Gospel evolved to soul to then RnB. Or Gospel and blues to Rock n Roll to power rock to heavy metal etc

@@MrBertramLevaughn Of course I'm being facetious when I say we hate good things. But you are right!

In the Middle Age art was meant to be understood by everybody (at different levels of understanding). But from Renaissance on the art for the elites and the art for the masses drifted apart. Wagner's «total art» and other movements, like Art Nouveau, Arts and Crafts or Art Deco tried to bring back communion. N.B. In Portuguese culture, the concept of art includes music and literature.

@@antoniolopes8776 Thanks for your comment!

For sure! As a voice teacher, I obviously focus on how vocals can help a singer to find more success, but there are a million legit reasons to love a singer!

Thanks for watching! I'm not really up-to-date on the most current singers as you can tell 🤣. However, I believe the point still stands. Through the decades, opera has declined in popularity. There are many reasons for this, but one is that audiences found more exciting singers in other places. That may or may not be different now depending on who the singers are (I don't agree with your assessment of the singers you listed above), but the decline in popularity happened long before any of the current singers were popular.

@evan-dunn well, so is pop. I could tell you this, but there is no not a single legit hit song in the last 5 years at least. These "new" singers that I mention have a career span from 15 to 27 years approx.

@@Thearchivebeyondimagination Thanks for discussing this with me. I need to listen to more music. 😅 When you say, "so is pop", what does that mean? My statement is that opera has declined in popularity. Does this mean you think that pop music is also declining in popularity, or that the quality of singing has declined in pop?

@evan-dunn yes. The whole thing. The time that we exist in (I don't have more appropriate words for such conditions) are "fasttime". Just like fastfood, fastime = fasteverything. That's pretty much telling I think.

Singers in all genres are doing their best, and there are reasons to love them all. But opera lovers can certainly learn from other genres!

@@evan-dunnIndeed. Look at Nelson Eddy as a wonderful example of singing crossover across music genres.

@@EmilyGloeggler7984 He is my FAVORITE!!!

The QUEEN Lina Bruna Rasa. That is a great idea. Thanks so much for commenting. I don't use names or faces of singers when I critique their technique.

True! When he was younger, he had a stronger voice with more release and his vibrato seemed to be healthier then. Thanks for watching!

Thanks! Will do

Thanks for watching! I don't use names or faces of singers when I critique their voices. I respect all singers for their vulnerability and bravery in performing. But I still think it is important for students to learn from the technical issues of other singers. That's why I choose not to say who is singing. Thanks for your comment!

@@PerseodiMai we have EARS, we don't need names 😉

@@vitabella6481 shut up, the question has already been answered.

@@PerseodiMai o wow, what kind being you are!

Thanks for the comment! I completely agree. I like to use the term false brightness instead of overbright. I don't think a voice can be too bright or too dark. It's all about using efficient muscles in a balanced way. It is when singers use tension to add darkness or brightness that it becomes an issue. And then, just like you said, the tension causes timbre and vibrato issues all at the same time.

Michael Jackson has that type of voice

@@rihannaimvu8834 👍

​@@rihannaimvu8834Si, el vibrato de Michael era muy malo. Por eso no se le escucho nunca sostener una nota con vibrato

Yes, I think of Tita Ruffo. He didn't have low notes for a baritone, but he had really high notes for a baritone! Not every singer has the same range, but all the notes in the range should be developed to their fullest!

@@evan-dunn Absolutely true. Ruffo is rightly the preeminent case, as he probably didn't have viable notes below C3 (a very minor inconvenience for standard italian repertoire) but I would not be surprised if the tales about his high C were completely true. Sopranos like Ponselle or Tebaldi are an example of the opposite phenomenon. The voice is also fickle, perhaps even more so on low extreme than on the contrary. One can listen to many instances in which the low part was unreliable in beefy dramatic voices like Taddei, while in other recordings his low Bb, A and G are impeccable. As a young baritone it is quite funny, albeit frustrating how the intensity of a low B or A can fluctuate depending on the day, and indeed depending on the musical context of the note.

@@juliovicsilvaaray Developing the whole range to be RELIABLE. Now that is a trick!

@@evan-dunn Absolutely. I believe a good number of singers have made good careers based (among other things) in having an ample vocal range without much going on in the extremes, sometimes also in the middle. People seem to like the idea of three octaves to call upon rather than two (historically sometimes less) of great quality.

@@juliovicsilvaaray Have a little insurance policy where high notes and low notes are concerned! Our performances are NEVER on our best days are they!?

Thank you for your detailed comment! I love to meet other people who are thinking deeply about vocal technique. I couldn't agree with you more.

@@evan-dunn That is very kind, and really nice to see. The human voice, most prized and extraordinary of instruments, deserves particular dedication in it's construction for it is both stone and chisel of great art. I celebrate this type of video, and as an active, developing singer, trying to find a way I am all for exchanging ideas on this matter. It is really good to see activity of this type on YT.

@@juliovicsilvaaray My pleasure! I'm glad that you are enjoying your vocal journey and I hope that my videos can continue to help you.

I COMPLETELY agree with you. I have so much respect for any singer who is vulnerable and brave enough to take the stage. ESPECIALLY if they are dealing with vocal issues. But we can learn something from each singer, don't you think?

@@EmilyGloeggler7984 mmmh, since I know many of these singers personally, my respect in most of the cases is quite small: believe me, they talk and think only about money. Between suffering and dying on stage they discuss behind the stage most of the time how they can spare on taxes and where invest their money. They think, the audience ist to stupid to recognise their vocal issues. The real artists don" t sing with such problems: they feel ashamed and so they disappear from the stages. Opera today is an industry like let's say pharma. The structures are very mafioso like in both fields and in both fields they people in power are without scruples to sell shit for gold as long as the rouble rolls.

Of course! So glad to have you here 😍

My pleasure!

Thanks for commenting! It is a common misconception that a wide vibrato is wobbly. Just like Birgit Nilsson! Thanks again for watching 😍

I should also add that quick and subtle doesn't mean that the vibrato should be narrow or tremolo. A great vibrato is quick, subtle AND wide. Not easy to do, but the very best singers develop the skill and make it look effortless 🤩

@@evan-dunn ok, thanks, I see what you're getting about, interesting point, will think about that. By the way, don't know who the first one is but I thought it was a countertenor, but then you said 'she'

@@livrowland171 Thanks for the discussion! Yes, she is a well-known mezzo-soprano.

Absolutely true, and, as I commented above, there is historical favour for tremolous voices in the case of certain audiences (Italy's 30's and 40's, for example) but that does not alter the desirability of balanced vibrato, which is certainly not wobbly, nor flutery, erratic or narrow. Many great singers, whose voices were commendablr showed issues with vibrato, MacNeil often had a slight reversion of the accent in vibrato, Corelli had an early "nervous" caprino, and La Divina famously developed a noticeable wobble in the upper third of the voice. They were all great in spite of these issues, but indeed those were issues, not really features.

Yes yes yes! I could not agree more. What instrument(s) do you play? Thanks for being here.

@@evan-dunn I'm a clarinetist. Been studying voice for a couple years now. Love your videos :)

@@hodgrix Awesome! I'm so glad to connect with you.

Thank you so much for watching and supporting!

Right?!? All the worthwhile things are so hard 😭. Keep it up though! It is totally worth it.

Thanks! There are definitely many examples of this through the ages. Thanks for sharing.

Thanks for watching!

Everyone has their favorites! Thanks for watching and commenting!

Thanks so much for your comment. You are correct. They also had high notes like most tenors! The point isn't how big your range is, but that core is built into every part of your range, regardless of how high or low it is.

Thanks for watching and supporting! It's tricky to determine fach from low notes alone, because a well-developed singer will have low notes and high notes! But it sounds like she is on the right track for whichever rep she will end up singing!

Yes, I noticed that too. Them there low notes had a richness that I resonated with. All in all, lovely post.

@@chocolatesouljah Thanks for the support! It is fun to see singers work hard and grow in their skill.

@@evan-dunn Wow! Thanks for the personal response! Yes, although not a vocal instructor I work in youth musical theater, I agree!

@@chocolatesouljah Good for you! I'm a cross-over artist with musical theatre and opera. I also teach students in both areas. All my respect to you working with youth. Keep it up!

Did I do justice to your story and your experience??? I love teaching you!

Aww thanks! It means a lot that you think it's good enough to post 😂🤭

Thanks for your support! That really is true. "Tenors shouldn't have such strong low notes, he must be a baritone!" 🤣😭

I have some tenors in my studio who can comfortably sing in the baritone range. Keep it up and enjoy the journey!

How fun! Do you have any videos you can share?

😍 I love getting new suggestions for singers to listen to. Thanks!!!

Thank you for watching and commenting! I am not from This is Opera. However, I did learn my technique from Jeremy Silver who also taught the people from that channel.

@@evan-dunn Ah, ok 😊 No problem

@@livrowland171 Are you familiar with them or with Jeremy? I love to meet new people and gain new perspectives!

​@@evan-dunnI took a few lessons w Silver. He was wacky but knew his stuff. Definitely helped improve my U vowel. He is missed.

@@St.Garoosh That is a pretty accurate description of studying with Jeremy. He was a troubled soul, but I'm grateful for what I learned from him!

Each singer has things they are working on! Part of the journey 🥰

Thanks so much for watching and commenting! I think it is helpful to remember that each person who sings is a person who has worked hard at their craft. They bravely go out in the arena, even if they have things to work on vocally. I can have empathy for them, just as I try to have empathy for myself ❤. Thanks again!

It's a beautiful thing, isn't it?! Thanks for watching! ❤

Cossotto uses her head voice lower, that is true. But she carries more chest into her head voice. That is why she has more core throughout her range. Thanks for watching! I appreciate you taking the time to comment.

We hear this argument of « two different voices » very often. And yes of course every voice is different. But there is more that explains the differences and this is the vocal technique as it is very well demonstrated in this video. It is only when the three registers are fully developed and coordinated that we can hear the real voice of a singer. When the technique is not good we do not hear the real voice of the singer.

@@marcelbureau2753 Thanks for watching and supporting. Developing a voice takes a lot of work, doesn't it?! 😅

Thanks for watching and commenting. Although not developed very much, it is helpful that her voice at least has some chest and some head! But it takes a lot more than that for a voice to be completely developed as you are aware! 😍

Podles always sounded like a male alto falsettist to me.

Podles was a true mezzo and bot absurd at all.

@@Thearchivebeyondimagination Thanks for watching! Were there any helpful take-aways for you?

Hello! Thanks for watching. All of my thumbnails have nonsense words in the speech bubbles. Just my aesthetic of singers saying dramatic things that are obviously untrue 😝. Sorry for any confusion ❤

@@evan-dunn In other words, misinformation! Like we need more of that.

@@liedersanger1 Thanks for sharing your concern. In English, it isn't a quote unless there are (") quote signs around it. Just a bit of fun. But again, sorry if the humor is not to your liking!

@@evan-dunn Oh come on. The voice "balloon" suggests it's a quote.

I'm not familiar with her whole career. But she demonstrates great skill in this clip! There are thousands of singers worth studying in since recorded history began. There certainly isn't time to discuss all of them in depth!

At a certain period. Later, she was flat, opaque, and ingolata. A short soprano, but a large voice for sure.

@@Thearchivebeyondimagination I'll have to listen to some more recordings and see what I can learn from her. But Vocal decline can happen!

​@@ThearchivebeyondimaginationI wouldn't say short as she had a usuable C6. She, like MANY "mezzos" (Simionato, Stignani, Zajick, Verrett, Ludwig, Baltsa, etc), were really just large-voiced sopranos, or very high-set mezzos, which is a very different thing from a "natural mezzo," (Stevens, Cernei, Sinysvskays, Amparan). Great singers, though!

@alleviation91 Simionato, Stignani and Ludwig are mezzos for sure. Verrett was a very obvious soprano.

So fabulous!

She really was great, wasn't she?!

Yes…

❤❤❤

What a lovely thing to say! Thanks for listening and supporting.

Thanks for watching. How do you define opaque in a singing context? Thanks!

@@evan-dunn muddy/unclear. She wasn't the best representation of technique. Developed registers? Sure. The rest? Questionable.

@@Thearchivebeyondimagination Everyone has things they're working on, right? ❤

To be honest, you can call her what you like - she was riveting in the flesh

I like to say that a great vibrato doesn't call attention to itself. So true! Have you ever listened to Leo Slezak's vibrato slowed down? You might be surprised that even his vibrato sounds wider than you might suppose! But you are correct about speed and width of about a semi-tone. But that width does change as you go higher and lower in the range. The same thing happens with a violinist, it gets wider on higher notes, and less wide on lower notes so that is matches the frequencies of the overtones. Thanks for watching!