I attended this concert. I almost didn't go because I was tired of the usual exerpt on the orchestra programs. It was the first time I had the opportunity of hearing the full Carmina Burana. I got it! I loved it! Have been a Arapahoe Philharmonic season ticket holder every since.
Brian Leathermann, you are a true star! The only performance that comes close is the Previn/LSO 1970's recording with Gerald English (for which no video exists, sadly).
It's extremely inappropriate for _anybody_ to pull a clownish stunt at the opening of this piece, but for this inept jerk, whose thin voice breaks at the end of the first line, it's totally beyond the pale. If I were the artistic director, I'd fire him the second he finished his solo and make sure he couldn't ever get a job in my establishment even as a hat-check boy.
He's been singing that role for a very long time and this is all probably rehearsed and approved of by the artistic director. coloradocommunitymedia.com/stories/Teachers-voice-reaches-high,104868 What seems odd to me is why his high notes are so celebrated. "Freakishly high voice"? Really? The top note in this clip is a D5 and it's just a pushed falsetto, which he only has to do 3 times. That might be special in the classical/choir world where chest voice is frowned upon (thus limiting range), but rock singers train intensely for years with a more powerful 18th century operatic technique that encourages chest voice so they can sing D5's, E5's, and F5's without sounding like Julia Child. In fact, Sweet Child of Mine has a lot of D#5's in it with the same tessitura and requires much more strength and control than this. Then again, maybe we're the freaks...
Don C. And it's also worth noting that the piece is supposedly sung by a swan being roasted, and it's meant to sound strained for comic effect. (Read the words...) He did a perfectly fine job - the exaggerated falsetto and acting is standard for this bit, usually the comic high point of a well done Carmina (this and the drunk scene for the baritone that immediately follows.) For classical music, this is freakishly high in tessitura- it's in countertenor range but written for an actual tenor, probably one of the highest written tenor roles in classical music.
Of all the Carmina performances I have attended, they have made humorous actions during this scene. Carl Orff intended for this to be done during this scene.
@@markdoan325 If the tenor doesn't have the notes then they should not be singing it. You will get the same effect, in my opinion even more so, when singing it in chest voice. The entire point of operatic and classical singing is to project your voice to the back of the hall and you just cannot do that with falsetto.
![Sarah Brightman & Andrea Bocelli - Time to Say Goodbye (1997) [720p]](/img/n.gif)
I attended this concert. I almost didn't go because I was tired of the usual exerpt on the orchestra programs. It was the first time I had the opportunity of hearing the full Carmina Burana. I got it! I loved it! Have been a Arapahoe Philharmonic season ticket holder every since.
I love the way this singer acts the part, spectacular!
Watch this. Sadly not the best Video quality, but the performance is good: ua-cam.com/video/NAYST5AZLXo/v-deo.html
RIP swan :c
I saw this live tonight, it was so good
The fact they are using (what I assume is) a tenor instead of a counter tenor makes this.
Super performance. Singing so high in his register really expresses the beast's pain.
Brian Leathermann, you are a true star! The only performance that comes close is the Previn/LSO 1970's recording with Gerald English (for which no video exists, sadly).
Thank you so much for the different various opera..
Our pleasure!
Me encanta ❤❤
aaaaaaw poor bird! he does this part so well and it is surprising that he can sing like that!
great voice , i love this part
Very cool, maestro! We're doing this in Niceville this March!
Rip bassoon
😄😄😄❤️💕💕
really funny -_-
😂😂😂😂😂😂
Es la más dramática de orff.
I don't like that the singer presents the song in a ridiculous way. It isn't a funny song and should not be presented in that way.
It's a pub song, it is supposed to be slightly funny.
It's a song about a swan that is sad because it's roasting. It is ridiculous.
It IS a funny song
Just saw the Phoenix symphony perfotm Carmina and the swan song was amazingly funny.
I just watched the Czech Symphony Orchestra Prague perform it as a funny song too. It was very entertaining.
It's extremely inappropriate for _anybody_ to pull a clownish stunt at the opening of this piece, but for this inept jerk, whose thin voice breaks at the end of the first line, it's totally beyond the pale. If I were the artistic director, I'd fire him the second he finished his solo and make sure he couldn't ever get a job in my establishment even as a hat-check boy.
He's been singing that role for a very long time and this is all probably rehearsed and approved of by the artistic director.
coloradocommunitymedia.com/stories/Teachers-voice-reaches-high,104868
What seems odd to me is why his high notes are so celebrated. "Freakishly high voice"? Really? The top note in this clip is a D5 and it's just a pushed falsetto, which he only has to do 3 times. That might be special in the classical/choir world where chest voice is frowned upon (thus limiting range), but rock singers train intensely for years with a more powerful 18th century operatic technique that encourages chest voice so they can sing D5's, E5's, and F5's without sounding like Julia Child. In fact, Sweet Child of Mine has a lot of D#5's in it with the same tessitura and requires much more strength and control than this.
Then again, maybe we're the freaks...
It's also worth noting that he's THE MUSIC TEACHER of that school. ;)
Don C. And it's also worth noting that the piece is supposedly sung by a swan being roasted, and it's meant to sound strained for comic effect. (Read the words...) He did a perfectly fine job - the exaggerated falsetto and acting is standard for this bit, usually the comic high point of a well done Carmina (this and the drunk scene for the baritone that immediately follows.) For classical music, this is freakishly high in tessitura- it's in countertenor range but written for an actual tenor, probably one of the highest written tenor roles in classical music.
Of all the Carmina performances I have attended, they have made humorous actions during this scene. Carl Orff intended for this to be done during this scene.
@@markdoan325 If the tenor doesn't have the notes then they should not be singing it. You will get the same effect, in my opinion even more so, when singing it in chest voice. The entire point of operatic and classical singing is to project your voice to the back of the hall and you just cannot do that with falsetto.