Mystery tenor crack
A FLAT MINOR
bit like Gigli to me though I know that's unlikely.
Ben
JKH
It's certainly not Gigli. My bet would be Carreras, but whoever it is,
even if it is a rank unknown, let's remember singers for the pleasure
and joy they give us rather than examples where they occasionally slip
off that tight-rope they must walk when performing for us. If all our
own professional mistakes were exposed in this way, we'd never go out
of the front door.
JKH
LT
>let's remember singers for the pleasure
> and joy they give us rather than examples where they occasionally slip
> off that tight-rope they must walk when performing for us. If all our
> own professional mistakes were exposed in this way, we'd never go out
> of the front door.
Hmm.... could that be why a certain self-declared 'mentor'/'leader'
plagueing the group has never left its 'home' in 74 (and counting)
years?
My guess:
Yes!
Charlie the Kunc
Gigli someone said???Funny...can't they hear the sound
quality...modern......
Who knows..but it is so hard to do...and it happens to the best of
them..listen to Gedda on a La Donna e mobile..or Pav sometimes...I am
sure Caruso cracked....some voices, however COULD NOT crack..like
Tucker's for example..amazing....
edo...@gmail.com
How ironic for Ben to send a horrible crack by a tenor after his many
posts of the past about tenors.
I don't think anyone should ever post or publish anything where a
singer cracks like this- perhaps due to an indisposition. It most
certainly is not Gigli. The recording sound shows it is much more
recent than Gigli. Any guesses?
Ed
J
edo...@gmail.com
> It's apparently Carerras, poor bastard.
It is not Carreras, but does sound a bit like him.
Ed
A FLAT MINOR
So now your sensibilities are offended because someone is being
disrespectful to a tenor? What a strange fellow you are Ed. Don't you
laugh when someone slips on a banana skin? Have you had your sense of
humour removed? Lighten up Ed, you'll be a long time dead. And by the
way, I didn't post it, it's on youtube for all to see and I'm fairly
sure the guy in question would laugh.
Ben
Raff Martino
> So now your sensibilities are offended because someone is being
> disrespectful to a tenor? What a strange fellow you are Ed. Don't you
> laugh when someone slips on a banana skin? Have you had your sense of
> humour removed? Lighten up Ed, you'll be a long time dead. And by the
> way, I didn't post it, it's on youtube for all to see and I'm fairly
> sure the guy in question would laugh.
>
===========
Have YOU performed as a singer live on stage or in concert?
One cracked note. in a whole performance.
WOW! A hanging offence iof ever there was one.
edo...@gmail.com
But you did post it here, didn't you, Ben. What a hypocrite you are.
Ed
LT
OTOH, it's permitted when the tenor is singing 'Jim CRACK Corn'!
LT,
recalling that tune used as the 'Gallo Wine' theme: 'Gallo makes
wine, with loving care, where grapes grow fine with flavor, rare!
etc."
-But WHO was the fine baritone it was performed by, in the ad? As
I recall, he resembled the actor, John Hart (who'd filled-in as 'The
Lone Ranger' for Clayton Moore, years before)
Therapist Buddies 'R Us
>
> - Show quoted text -
Dear Leonard,
The world wide web is chock full of mind-numbing trivia for those who
wish to wallow in it. But the rmo group, this group, is an opera
discussion group. Neither Gallo wine nor Jim Crack Corn nor the Lone
Ranger nor Clayton Moore nor John Hart nor even Tonto have any thing
whatever to do with this thread nor with opera. Even making allowances
for the fact that you were awake all night standing guard duty at the
portals of rmo, it is hard to imagine why you posted this irrelevant
dross other than to display your imaginary mastery of worthless
knowledge. Call my office for an appointment.
Dr. Buddy
Jordi Griell Barnes
Thats not Gigli for sure
wkasimer
<therapistbudd...@therapist.net> wrote:
> Neither Gallo wine nor Jim Crack Corn nor the Lone
> Ranger nor Clayton Moore nor John Hart nor even Tonto have any thing
> whatever to do with this thread nor with opera.
No, but Tillman's postings always remind me of part of Tonto's horse.
Bill
Therapist Buddies 'R Us
"Postings", you say? At Therapist Buddies we usually call them
'droppings'.
rich...@gmail.com
in particular the way the initial consonants can be emphasized, but
not at all to me in the voice. It's amazing for someone to have
thought it sounded like Gigli - he probably still doesn't sound like
that today! Kind of tells you what you're dealing with.
I actually wondered if it was a put on from someone, and not an actual
performance. Perhaps it is someone's rehearsal, but there's something
to my eyes odd about it, in particular in terms of going from the
cracked note to the falsetto diminuendo just a measure or two later.
But of course I could be wrong.
edo...@gmail.com
wrote:
>
> - Show quoted text -
Jose never sobbed on Celeste Aida(sob) forma divina(sob) I have
never heard any tenor sob there. This guy does. He is probably a tenor
who never went anywhere, or who became a baritone or bass!
Best,
Ed
Ken Meltzer
> in particular the way the initial consonants can be emphasized, but
> not at all to me in the voice. It's amazing for someone to have
> thought it sounded like Gigli - he probably still doesn't sound like
> that today! Kind of tells you what you're dealing with.
>
> I actually wondered if it was a put on from someone, and not an actual
> performance. Perhaps it is someone's rehearsal, but there's something
> to my eyes odd about it, in particular in terms of going from the
> cracked note to the falsetto diminuendo just a measure or two later.
>
> But of course I could be wrong.
I hate to be the partial fly in the ointment here. But I went back
and listened several times to the passage in question as sung by Gigli
in the 1946 studio recording. Except for the horrible crack on the B-
flat, the voice and delivery sounds very much like Gigli to me. I'm
inclined to believe the recording is a joke, either done by the singer
himself, or spliced in by someone else.
Best,
Ken
edo...@gmail.com
To my ears, it simply doesn't sound like Gigli. This tenor has a
"thicker" and less clear and beautiful voice than Gigli had. Also, the
sound quality sounds like at least the 60's to 70's. I even think it's
in stereo!
Best,
Ed
Ken Meltzer
> To my ears, it simply doesn't sound like Gigli. This tenor has a
> "thicker" and less clear and beautiful voice than Gigli had. Also, the
> sound quality sounds like at least the 60's to 70's. I even think it's
> in stereo!
>
> Best,
> Ed
I've uploaded the parallel section from Gigli's 1946 studio "Aida" at
Opera Clips Ancora. I'm pretty convinced the YouTube is a doctored
recording of some kind. But I'll join Richard in saying I could be
wrong.
Best,
Ken
A FLAT MINOR
So what about all your hundreds of claims about Domingo cracking? This
is the last time I'll ever engage in any kind of exchange with you
because I've come to the conclusion that you are as thick as shite.
Ben
edo...@gmail.com
Hey, idiot- do you really want me to put examples of Domingo cracking
on RMO? Well, I wouldn't even consider doing it. Just because the
tenor you tastelessly posted cracking is not Domingo does not mean
Domingo never cracked.
Also, I thought you said goodbye to this list for good a number of
days ago. How 'bout making that your New Year's Resolution. Now- get
your lawyer and sue me! What a jerk you are.
Ed
rich...@gmail.com
the phony version, the voice is so much darker and doesn't have a
ring, at least on my speakers and sounds almost baritonal, without
any sheen, and the real Gigli (I hope you aren't playing an April
Fools trick and really posting a Jimmy McCracken version - you're not
related to Mr. Medoff, are you?), the voice is infinitely brighter on
these speakers at least, and miked differently.
It's in the phrasing that I buy the likelihood of the similarity.
Ken, have you ever heard Stefan Zucker sing Radames?
Best
On Dec 22, 3:27 pm, Ken Meltzer <commsp...@aol.com> wrote:
Ken Meltzer
wrote:
> Thanks, Ken. The phrasing sounds very similar, but what I take to be
> the phony version, the voice is so much darker and doesn't have a
> ring, at least on my speakers and sounds almost baritonal, without
> any sheen, and the real Gigli (I hope you aren't playing an April
> Fools trick and really posting a Jimmy McCracken version - you're not
> related to Mr. Medoff, are you?), the voice is infinitely brighter on
> these speakers at least, and miked differently.
> It's in the phrasing that I buy the likelihood of the similarity.
>
> Ken, have you ever heard Stefan Zucker sing Radames?
>
> Best
I think he was indisposed on the night I had tickets.
And the clip I uploaded is most definitely Gigli. Accept no
substitutions!
Best,
Ken
rich...@gmail.com
indisposed.
But I wouldn't do that.
I'm always a gentleman.
You know that, Ken.
Best
Richard
PS Seriously, how did you identify it as Gigli? (Unless of course
you're A Flat, lol). Was it the sound, or was it the phrasing, or is
your memory of tenors, or that role, or Gigli that good? I am really
curious.
Best
J
>
> I'm inclined to believe the recording is a joke, either done by the singer
> himself, or spliced in by someone else.
If you listen to the two or three notes preceeding the "crack," they
are all off-pitch, and it doesn't seem likely that the singer is going
to make it. The crack itself does sound (to me) as though it's been
manipulated in some way--I think, to make it longer and more
distressing than it was in reality.
There are several postings of it on YouTube (nice people!), and one
poster identified it as Carerras. Of course, if it's not real, it
doesn't matter who it is...
Ken Meltzer
wrote:
> If I were Ed, I would say that if you had gone, you would have been
> indisposed.
>
> But I wouldn't do that.
>
> I'm always a gentleman.
>
> You know that, Ken.
I do, indeed!
>
> Best
> Richard
>
> PS Seriously, how did you identify it as Gigli? (Unless of course
> you're A Flat, lol). Was it the sound, or was it the phrasing, or is
> your memory of tenors, or that role, or Gigli that good? I am really
> curious.
>
In the opening post of this thread, Ben suggested the clip sounded
somewhat like Gigli.
When I heard the clip myself, that was my first reaction, too. Mind
you, that's not a great compliment. I don't think Gigli sings all
that well on the 1946 "Aida." He pushes his voice, which tends to
lose attractiveness and focus in louder and higher passages. This was
pretty late in the game for Gigli, although as we all know, he still
had some great singing left to share.
The voice on the clip sounded to me like Gigli in that recording.
When I went back and re-listened to the original, nothing I heard
changed my mind.
I'd love to find out what the clip actually is, though!
Best,
Ken
LT
La Criminale Bollmann:
> Dear Leonard,
> The world wide web is chock full of >mind-numbing etc.
None of which can affect you, Stinkie, - since you've no mind
whatsoever.
>Thank you, Leonard!
Don't mention it, Stinkie!
LT
Sounds much closer to Carreras.
LT
> any thing
> > whatever to do with this thread nor with opera.
As an example of On Topical relevance, Kwack-simir exclaims:
>Mr. Tillman's postings always >remind me of part of Tonto's horse.
Alas, kwackzie, *yours always remind me of a burro's rear-exit -
especially the output thereof <hint: refrain from salivating, kaz>.
PS:
* so does your face.
> Bilious Boor
Got that right.
LT
> "Postings", you say? At Therapist Buddies we usually call them
> 'droppings'.
Yours certainly are that, Stinkie.
Now -
Mangia-mangia!
LT
No, but he'd totally trump La Bollmann's Feee-delli-O and kazimerde's
so-called 'cantorial work'.
LT
PS:
Hi again! I'd be remiss not to mention the reason for Maestro Moore's
hiatus from the series: He wanted increased pay for starring in it,
and TPTB weren't agreeing to his terms. Enter: John Hart (aka
'Hawkeye', in a 'Last of the Mohicans' series, later on [and co-
starring Lon Chaney Jr. as 'Chingachgook']); He took over as the
Masked Man for a while, but audiences wouldn't accept the new 'Lone
Ranger'. Result: Maestro Moore, 'THE' Once and Always Lone Ranger',
returned to the role, as before.
As to Opera Relevance: one need only note the series' theme song.
-And THAT - is wunnerful.
Therapist Buddies 'R Us
>
> - Show quoted text -- Hide quoted text -
>
> - Show quoted text -
Bushwah.
Dr. Buddy
LT
>bush
No, Stinkie; Even Bush is your superior.
>Waaah
Oh, Bushwah!
Raff Martino
a) a yodel inserted on purpose by the original poster
b) a bootlegged rehearsal recording.
Paul Ferraro
labeled as Carreras.
DonPaolo
"LT" <Leonar...@gmail.com> wrote in message
news:e3bf85eb-44d1-4e8b...@x16g2000prn.googlegroups.com...
wkasimer
> I hear how it sounds like Carerras, mostly in the pronounciation and
> in particular the way the initial consonants can be emphasized, but
> not at all to me in the voice.
I agree - however it's labelled, it doesn't sound like Carreras.
> It's amazing for someone to have
> thought it sounded like Gigli -
I pooh-poohed the idea at first two, but after listening again, I hear
the resemblance. But you have to get prime, 20's and 30's Gigli out
of your ears, and think of the later, leathery voice.
Bill
LT
> > It's amazing for someone to have
> > thought it sounded like Gigli -
Kracksimir 'kracks':
> I pooh-poohed the idea at first two
No surprise, Kracksie, since pooh-poohing is your constant (ie, only)
mode.
> but after listening again, I hear
> the resemblance.
Wunnerful!
>But you have to get prime, 20's and 30's >Gigli out
> of your ears,
And your elbows out of yours?
>and think of the later, leathery voice.
"leathery'???
Yet, even at the last breath, he was several zillion leagues above the
mediocrity of an 'erstaz chozzoonie'! For that matter, so's Helmut
Lotti. :)
>Bilious
We know.
rich...@gmail.com
sounds much more golden. If there's anything that should have been a
giveaway though - and I disregarded it because of the source - is was
the diminuendo at the end of the excerpt, which I really think is
Gigli to the life. There's an interesting interview with Caniglia (I
think if I recall) in Rasponi's book The Last Prima Donnas, as
reimagined by Rasponi (well, kind of), where she speaks about Gigli's
resort to falsetto in live performance - as I recall, she's quite
catty about it, but there was something distinctive about his use of a
mixed voice that was to my ears unlike any other. Not sure how to
define it.
Best
edo...@gmail.com
wrote:
>
> - Show quoted text -
I do not think that Gigli ever used falsetto. His "head voice" singing
was in exactly the same position as his forte singing. Proof is on
many recordings, where he either swells or diminuendoes on a note, and
there is not "break" into falsetto. He did have that "precious" sound
when he wanted to, but it was built on exactly the same technique and
position as all of his notes- from forte to piano. He was virtually
unique in this, and he himself said that no young tenor should try and
imitate him, because they would likely lose their voices!
Best,
Ed
LT
> > It's amazing for someone to have
> > thought it sounded like Gigli -
Kracksimir 'Kracked':
> I pooh-poohed the idea at first two
a.)
Quel surprise, since pooh-pooh-ing is your religion.
b.)
Were you attempting to babble: 'at the first two', or 'at first,
too'. Specificity, please.
> but after listening again, I hear
> the resemblance.
Plus, somebody told you about it.
>But you have to get prime, 20's and 30's Gigli out
> of your ears
And your elbows out of yours?
> and think of the later, leathery voice.
"leathery'??
Even at his last breath, Gigli'd have been several zillion leagues
above the mediocrity of an 'erstaz chozzoonie', such as you.
>Bil(l)ious
We noticed.
Raff Martino
>
> I do not think that Gigli ever used falsetto. His "head voice" singing
> was in exactly the same position as his forte singing. Proof is on
> many recordings, where he either swells or diminuendoes on a note, and
> there is not "break" into falsetto. He did have that "precious" sound
> when he wanted to, but it was built on exactly the same technique and
> position as all of his notes- from forte to piano. He was virtually
> unique in this, and he himself said that no young tenor should try and
> imitate him, because they would likely lose their voices!
>
> Best,
> Ed
============
What's the difference between falsetto and falsettone? Is it more of
a case of falsettone being similar to mezza voce (the latter which
Gigli did in bucketloads)?
Raff Martino
Raff Martino wrote:
I actually meant to ask when does falsettone stop and falsetto start?
-.........
LT
'falsetto') was what's usually termed 'messa voce', but this article
about the Nineteenth Century tenor, Donzelli, explains somewhat more:
edo...@gmail.com
>
> - Show quoted text -
I'm not sure about the above but what I am trying to say it this: in
all dynamics of proper singing, both the "head voice" and the "chest
voice" are used. This is the same with males and females. In the
softest tone of a properly produced and supported piano note, there is
still a core of chest voice, just as in the loudes tone there is still
a core of chest voice.
With tenors, and Gigli in particular, he sang with one voice. Falsetto
would be a second voice, IMO. You can hear him sing the softest of
notes in the exact same position as he would sing the loudest of
notes. In every note he sang, there was that magic (and with Gigli, it
was really magic!) mixture of head and chest voice. His piano was a
real piano. A tenor such as Tagliavini (who was sometimes accused of
being a Gigle imitator) used two voices. His real piano singing was
falsetto. He could not go from loud to soft or soft to loud on the
same note without an audible "break" in his voice.
Corelli had a "real" piano. He demonstrated this many times, with his
great diminuendi on forte high Bb's to a whisper of a piano Bb as he
held the note. Di Stefano, at his best, had a real piano. Also
Bergonzi. Also Gedda. Not so Domingo, and not so Pavarotti, IMO.
Carreras, yes.
Pavarotti's really soft singing was practically a whisper with little
real quality, and no real attachment to the rest of his fine voice.
Domingo likewise, but in a different way.
Bjoerling had a wonderful, real piano, and so, believe it or not, did
del Monaco, when he (rarely) chose to use it. Tucker did not have any
real piano. It was a falsetto sound, and he rarely did it, and I
didn't like it at all when he did.
I thought that Armiliato, in the Puccini last night, aptly
demonstrated a real piano with a wonderful dimuendo on the high A in
the E lucevan le stelle.
About Caruso, I'm really not sure when it comes to piano singing. I
have heard his soft high C at the end of the Queen of Sheba aria. It's
gorgeous, but it is 100% falsetto. It is not his real voice, or
attached to his real voice.
Many singers, let's stick to tenors, have to apply a certain amount of
pressure to keep the tone focused, and this somehow prohibits them
from singing piano, as a rule. Jon Vickers is another huge voiced
tenor who had a real piano. McCracken did not. When he sang the new
production of Carmen at the Met, and sang the high Bb in the Flower
song, his tiny falsetto sounded awful, IMO, and was totally detached
from his singing voice in ever way. It sounded like McCracken had
turned into Bobby Breen or Dennis Day!
I find this an interesting subject that is much easier to discuss and
play an example, than to just discuss.
Ed
Ken Meltzer
Thanks so much for this, Ed.
A couple of comments. When I interviewed Carlo Bergonzi, he talked
about the concept of incorporating head and chest registers in
singing. He made the same point you do, that one is not used to the
exclusion of the other. He made a comment to the effect of: "What
does it mean to sing a high C from the chest? You can't possibly sing
a high C with only chest resonance. There has to be head resonance as
well."
I also very much agree that the ability of a singer to change the
dynamics of a note after attacking it is a true mark of whether the
singer is properly incorporating registers.
As for Caruso and supported piano singing, I think his earlier (1904)
version of "Una furtiva lagrima" is a marvelous example of how
beautifully he could mix the registers and vary dynamics. It's one of
my favorite Caruso recordings.
Best,
Ken
Wagner Fan
Verdi Requiem sends me reeling with laughter every time I hear it. The voice
retained its basic beautiful sound as he aged but he really indulged in an
increasing number of frightful and cheap mannerisms that can affect my
enjoyment of his later work (e.g. the sniggering "No!" he replies to Aidas
idea that they flee together in that 1946 Aida) - if I remember correctly he
even makes a false entrance in the Act One trio that should have been
corrected if anyone had cared. Wagner Fan
Wagner Fan
"Raff Martino" <raff_ma...@yahoo.co.uk> wrote in message
news:f2e8cf55-60c7-479d...@z6g2000pre.googlegroups.com...
edo...@gmail.com
wrote:
> I know that the "bianca voce" he uses in the Hostias in the famous 1939
> Verdi Requiem sends me reeling with laughter every time I hear it. The voice
> retained its basic beautiful sound as he aged but he really indulged in an
> increasing number of frightful and cheap mannerisms that can affect my
> enjoyment of his later work (e.g. the sniggering "No!" he replies to Aidas
> idea that they flee together in that 1946 Aida) - if I remember correctly he
> even makes a false entrance in the Act One trio that should have been
> corrected if anyone had cared. Wagner Fan
>
> Wagner Fan
>
>
> news:f2e8cf55-60c7-479d...@z6g2000pre.googlegroups.com...
>
>
>
>
>
> >> I do not think that Gigli ever used falsetto. His "head voice" singing
> >> was in exactly the same position as his forte singing. Proof is on
> >> many recordings, where he either swells or diminuendoes on a note, and
> >> there is not "break" into falsetto. He did have that "precious" sound
> >> when he wanted to, but it was built on exactly the same technique and
> >> position as all of his notes- from forte to piano. He was virtually
> >> unique in this, and he himself said that no young tenor should try and
> >> imitate him, because they would likely lose their voices!
>
> >> Best,
> >> Ed
> > ============
>
> > What's the difference between falsetto and falsettone? Is it more of
> > a case of falsettone being similar to mezza voce (the latter which
>
> - Show quoted text -
False entrances may be one thing, but what you seem to consider
"sniggering" are the things that I love. For me, it makes for
interesting opera. Gigli did it more than any other recorded tenor,
and I would imagine he did it, and probably even more so, in live
performance. He throws in small things and unwritten words in a few of
his complete recordings. In Chenier, he says "Maddalena" at one point
in Act 3, just before the "Si! fui soldato," when Gerard tells him she
is waiting on the other side of the stage. In Boheme, Act 4, he says
"Mimi, la tua cofietta" just before Mimi says "la mia
cofietta." (spelling?) But I think you get my point. He also "adlibs"
in Act 3 of the Boheme recording. In the Butterfly recording he
similarly adlibs a bit in the first act scene with Sharpless.
I think it's wonderful, and if Maestri such as Serafin didn't mind,
who am I to say it bothers me? Gigli was unique, and this was one of
the thousands of reasons why. But nothing, ever, could detract from
that voice of liquid gold.
Ed
edo...@gmail.com
wrote:
> Verdi Requiem sends me reeling with laughter every time I hear it. The voice
> retained its basic beautiful sound as he aged but he really indulged in an
> increasing number of frightful and cheap mannerisms that can affect my
> enjoyment of his later work (e.g. the sniggering "No!" he replies to Aidas
> idea that they flee together in that 1946 Aida) - if I remember correctly he
> even makes a false entrance in the Act One trio that should have been
> corrected if anyone had cared. Wagner Fan
>
> Wagner Fan
>
>
> news:f2e8cf55-60c7-479d...@z6g2000pre.googlegroups.com...
>
>
>
>
>
> >> I do not think that Gigli ever used falsetto. His "head voice" singing
> >> was in exactly the same position as his forte singing. Proof is on
> >> many recordings, where he either swells or diminuendoes on a note, and
> >> there is not "break" into falsetto. He did have that "precious" sound
> >> when he wanted to, but it was built on exactly the same technique and
> >> position as all of his notes- from forte to piano. He was virtually
> >> unique in this, and he himself said that no young tenor should try and
> >> imitate him, because they would likely lose their voices!
>
> >> Best,
> >> Ed
> > ============
>
> > What's the difference between falsetto and falsettone? Is it more of
> > a case of falsettone being similar to mezza voce (the latter which
>
> - Show quoted text -
I find his "bianca voce" as you refer to it, very beautiful. Perhaps,
since it sends you reeling with laughter, you are getting it confused
with a 1939 Jack Benny show.
Ed
LT
One example comes to mind; his 1902 'Siciliana's' last phrases were
sung piano, -not falsetto. However, his 'falsettone' or mesa voce
abilities were demonstrated in comparatively few of his recorded
output.
>I
> have heard his soft high C at the end of the Queen of Sheba aria. It's
> gorgeous, but it is 100% falsetto. It is not his real voice, or
> attached to his real voice.
>
> Many singers, let's stick to tenors, have to apply a certain amount of
> pressure to keep the tone focused, and this somehow prohibits them
> from singing piano, as a rule. Jon Vickers is another huge voiced
> tenor who had a real piano. McCracken did not. When he sang the new
> production of Carmen at the Met, and sang the high Bb in the Flower
> song, his tiny falsetto sounded awful, IMO, and was totally detached
> from his singing voice in ever way. It sounded like McCracken had
> turned into Bobby Breen or Dennis Day!
>
> I find this an interesting subject that is much easier to discuss and
> play an example, than to just discuss.
> Ed- Hide quoted text -
LT,
who'd like to hear a clip of Dennis Day's 'A little bit of
Heaven'. :) I"ve never heard Bobby Breen, but he's supposed to have
lost his vocal quality -with puberty.
Wagner Fan
difference, Ed??) but it has something to do with "taste". For me, the tone
sounds totally wrong in the context of the performance, adding a sense of
fake piety that can hardly be what the singer was hoping to achieve. As for
his ad-libs, well some work and some don't. Again I feel that Aida "No"
which has the effect of coming from a schoolyard bully is totally wrong for
the character of Radames. I also love the many he injects into the Boheme
performance since it adds to the atmosphere in the right way.
What I don't understand and what I think is, in the end, undermining to real
appreciation of opera, is that some singers can do no wrong. It just doesn't
go that way, every singer has faults and Gigli was one. I have delineated
some of them along with his virtues. Wagner Fan
"premie...@aol.com" <edo...@gmail.com> wrote in message
news:4128e706-1d7f-43ca...@j35g2000yqh.googlegroups.com...
LT
wrote:
> No it has nothing to do with Jack Benny (do you think I don't know the
> difference, Ed??) but it has something to do with "taste". For me, the tone
> sounds totally wrong in the context of the performance, adding a sense of
> fake piety that can hardly be what the singer was hoping to achieve. As for
> his ad-libs, well some work and some don't. Again I feel that Aida "No"
> which has the effect of coming from a schoolyard bully is totally wrong for
> the character of Radames. I also love the many he injects into the Boheme
> performance since it adds to the atmosphere in the right way.
> What I don't understand and what I think is, in the end, undermining to real
> appreciation of opera, is that some singers can do no wrong.
'That some singers can do no wrong', or that some singers are SAID to
do no wrong?
>It just doesn't
> go that way,
It does - to the fans holding that view.
>every singer has faults and Gigli was one. I have delineated
> some of them along with his virtues. Wagner Fan"premiereop...@aol.com" <edop...@gmail.com> wrote in message
> Ed- Hide quoted text -
Ancona21
Hi LT,
One is always delighted to learn new vocal terminology. What is
"falsettone" - is it anything like falsetto? And "mesa voce"? Is that
anything like 'messa di voce'? Or is it something like 'mezzo voce'?
Eagerly awaiting enlightenment, I am
A21
LT
wrote:
> No it has nothing to do with Jack Benny (do you think I don't know the
> difference, Ed??) but it has something to do with "taste". For me, the tone
> sounds totally wrong in the context of the performance, adding a sense of
> fake piety that can hardly be what the singer was hoping to achieve. As for
> his ad-libs, well some work and some don't. Again I feel that Aida "No"
> which has the effect of coming from a schoolyard bully is totally wrong for
> the character of Radames. I also love the many he injects into the Boheme
> performance since it adds to the atmosphere in the right way.
> What I don't understand and what I think is, in the end, undermining to real
> appreciation of opera, is that some singers can do no wrong. It just doesn't
> go that way, every singer has faults and Gigli was one. I have delineated
Guaranteed results to reel with,- whether on 'reel', videotapes, or
DVDs!
Benny was Il Maestro - and could actually play the violin well!
> Ed- Hide quoted text -
Raff Martino
> One is always delighted to learn new vocal terminology. What is
> "falsettone" - is it anything like falsetto? And "mesa voce"? Is that
> anything like 'messa di voce'? Or is it something like 'mezzo voce'?
> Eagerly awaiting enlightenment, I am
>---------
Boll;
You are a very naughty little boy.
Santa will not bring you any presents tonight.
LT
> > Hi LT,
> > One is always delighted to learn new vocal terminology. What is
> > "falsettone" - is it anything like falsetto? And "mesa voce"? Is that
> > anything like 'messa di voce'? Or is it something like 'mezzo voce'?
> > Eagerly awaiting enlightenment, I am
> > A21- Hide quoted text -
> >---------
>
> Boll;
>
> You are a very naughty little boy.
Yes, and seventy-four years old.
> Santa will not bring you any presents >tonight.
Even in the unlikely event that Santa wanted to, how'd he get past
that residence's fumes?
Answer:
Noooooo Waaaaaay.
Ancona21
But what about my question that you clumsily ignored? I repeat:
clem
Someone with a mezzo voce is qualified to sing with the Mezzopolitan
Opera Company. But da house izza too big, so some singers make a messa
di voce, and hit a lotta falsettones. Another suggestion I have heard
is that a falsettone is a note hit by a soprano wearing a padded bra.
(probably should have kept those to myself)
Paul
LT
>what about my question
Why don't you tell us, Stinkie!
>It's a stupid question you rightly >ignored, Mr. Tillman. I repeat.
Yes, you certainly do.
> One is always delighted to learn
a.
But you're not 'one', Stinkie; you're one billion-zillion-and-one
schizoid schisms, so let's move on to:
b.
And you've always been waaay too stupid to learn, Stinkie (delighted
or not), as you've never stopped proving.
>What is
> "falsettone"
Forget about falsettone, Stinkie; For you, *Acetone®* is precisely
the right choice, at and between mealtimes. Don't skimp on it.
> Eagerly awaiting enlightenment
Since you're so eager, Stinkie,
why not try self-immolation, Wagnerian style?
- That'll at least "light you up" - if not enlighten you.
Extra Helpfully,
Dr. LT, in charge of La Stinkie's treatments.
Ken Meltzer
Best,
Ken
Ancona21
In the event, you were mistaken. Santa gave me a lovely recording of
Leonardo singing Schumann. What a lucky boy am I.
A21
Ancona21
>
> - Show quoted text -
I stand enlightened. Keep them coming.
A21
LT
>Santa gave me a lovely recording of
> Leonardo singing Schumann.
Must be of 'LT' "Feeee-DelliO' Bollmann, who has regaled one and all
with its wild, faeco-dildic misadventures time and again.
LT,
who'd never sing Schumann, let alone recorded it.
LT
> I stand enlightened.
Not bloody likely, Stink; Everybody knows you squat unenlightend.
'Twas ever so.
>Keep them coming.
Only since you asked....
Ancona21
> faeco-dildic misadventures time and again.
>
> LT>
See? It's Leonitis. I told you so.
A21
LT
> See? It's Leonitis.
It's *because* I see - that I know it's Bollmannitis.
In fact, I told you so.
clem
As a chemist I feel compelled to comment on "Acetone." Acetone is one
of the accepted name for the substance also known as propanone. It is
a three carbon ketone, used in many brands of nail polish remover, and
as an organic solvent. However, "Acetone" is not a brand name, nor is
it a registered trademark.
Paul
LT
Ah, then ancona-boll should be able to obtain it even more cheaply? :)
LT,
'house brands' are often equal to their 'brand name' versions' - for
which we pay for that name, the advertising, et al.
Ancona21
> Anyone recognise this poor tenor with the hilarious crack? Sounds a
> bit like Gigli to me though I know that's unlikely.
>
> Ben
>
> http://www.youtube.com/watch?v=IZ8WP4YkGY0
It's Jose Carreras. Probably definitely.
A approximately 21
LT
> It's Jose Carreras. Probably definitely.
We need a more definite maybe -to possibly bring the issue to a
tentative conclusion.
At the near-soonest.