With the New Year upon us, I want to let you know that we begin DON GIOVANNI rehearsals with our extraordinary director and cast (click here) momentarily.
December was a very full month, what with the final performances of DAUGHTER OF THE REGIMENT, our French Embassy Concert at Washington's Maison Francaise, our NYC Annual auditions, and my International Opera Alliance (IOA) Masterclasses.
And we wish you all a Happy and Healthy New Year!
Peter
Videos and Articles of particular interest that I recommend to you follow directly below:
Silent Monks Singing Halleluia where you can learn the basics of music enjoyably!
Be sure to watch the MET AUDITION PBS special January 20th at 9PM
This is a real lesson in vocal technique by one of the greatest recent Wagnerian singers Birgit Nilsson, singing Isolde's Liebestod in concert version with orchestra early in her stupendous career..Notice the calm, accurate way she negotiates the heavy demands of this final Love-Death aria of Isolde which closes TRISTAN UND ISOLDE. All her physical support is internally controlled without excessive heaving or huffing and puffing physically. You can see all of her accurate vocal placement adjustments for each note very clearly from the side view from about 5 minutes into the video. I recommend this to all of you who are interested in the very real skills that go into opera singing. No wonder she stayed strong while three Tristans bit the dust in that famous performance at the MET years ago (Dec 1959)!
Showing posts with label Nilsson. Show all posts
Showing posts with label Nilsson. Show all posts
Birgit Nilsson and her amazing vocal technique, and Manon and hers
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Labels:
bel canto,
close-up,
DAUGHTER OF THE REGIMENT,
Manon Strauss Evrard,
mask,
Nilsson,
Vocal technique,
Wagner
You really have to hear and watch the young Birgit Nilsson negotiate the difficulties of Wagner's Liebestod in concert with orchestra to appreciate the enormous control she has technically. It has many close-ups of her face, which demonstrate the accurate techical adjustments to maximize the inner height and flow of air behind her "mask" -- which keep the continuity of the air stream in the right place for continued resonance without engaging other unnecessary muscles. Watch particularly the physical calm of her body, the changing facial muscles and mouth position as the pitches and words flow in a continuous vocal line; each note perfectly supported and positioned. And the side view at the final phrases -- at around 4:50 -- is most instructive. Definitely the LEXUS of vocal techniques.
We are about to open Donizett's DAUGHTER OF THE REGIMENT with Manon Strauss Evrard in the title role. Although both the voice and the repertoire are bel canto rather than Wagnerian I think there are many similarities of technical prowess -- Manon's moving much faster and in a much more varied way as the repertoire demands of course. But here we have an equally prodigious vocal talent and technique in its early stages, but one driven by a totally engaged and fast-paced physical and musical vocal personality. Very interesting. Don't miss it! Starting Nov 14 in Virginia.
Click here for dates in our three cities.
We are about to open Donizett's DAUGHTER OF THE REGIMENT with Manon Strauss Evrard in the title role. Although both the voice and the repertoire are bel canto rather than Wagnerian I think there are many similarities of technical prowess -- Manon's moving much faster and in a much more varied way as the repertoire demands of course. But here we have an equally prodigious vocal talent and technique in its early stages, but one driven by a totally engaged and fast-paced physical and musical vocal personality. Very interesting. Don't miss it! Starting Nov 14 in Virginia.
Click here for dates in our three cities.
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