Well, Possums, it’s been a busy week here, with too much work-related reading & writing to encourage much of the same extracurricularly (i.e., blogging). Now it’s cleaning day, and perhaps time to catch up a bit – only while taking a break from chores, of course!
Anne Midgette, across the web at The Washington Post, had an interesting thing or two to say about something at the Met this past week. Yours truly does enjoy Ms. M., as she’ll write what she thinks, even if the Emperor/ess has no clothes. (Note: Punch line of reference is last sentence.)
Must admit yours truly thinks back yearningly for a return of critics who knew a thing or two about voices and music and composers, and were able to write instructive reviews for both budding and experienced performers.
Of course, y.t. also yearns for the days when classical performers actually made time to learn their craft, too.
The singing voice doesn’t mature until the body around it is at least 30 years old, and men’s voices take longer.
By that time most of today’s crop of singers (and yesterday’s and tomorrow’s) have allowed their immature voices to be over-exposed and under-trained, and they suffer the consequences. Unfortunately, their listeners suffer the consequences, too.
Why is the operatic voice generally thought to be high, shrill, and with a very wobbly vibrato?
Those are the singers y.t.’s writing about, Dear Ones.
Your ears and your heart and your mind aren’t nuts when they decree the sound is unpleasant. They’re right!
If you’ve got 5 minutes, see what those ears, mind & heart think about one or both of these singers.
Go ahead – turn your sound up LOUD!
Guaranteed to have no wobbles on the high notes.