American soprano Jeanne-Michele Charbonnet. Anyone recall John Foulds World Requiem at the Albert Hall in 2007 ? I think there was a prom she disfigured the following year to prove that was not an off night but I can't recall the piece.
Musical performers to avoid
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Originally posted by zola View PostAmerican soprano Jeanne-Michele Charbonnet. Anyone recall John Foulds World Requiem at the Albert Hall in 2007 ? I think there was a prom she disfigured the following year to prove that was not an off night but I can't recall the piece.
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Originally posted by Pianorak View PostAre we allowed to mention pianists Yuja Wang and Valentina Lisitsa?
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Originally posted by Eine Alpensinfonie View Post...Others on my list would be Dame Gwyneth Jones, Helen Field and Felicity Palmer - all too wobbly...
What went wrong?
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Ariosto
Originally posted by jean View PostDoes anyone remember Felicity Palmer at the start of her career, in the 1960s? She had the most wonderful clear, straight voice.
What went wrong?
Do singers get bigger vibratos with age? (No naughty comments about female singers please ...)
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Richard Barrett
I've often wondered why it is that vibrato is generally offlimits for (orchestral) clarinets but not for the others. I think it's what you get used to. Some here will know Karel Ančerl's recording of Mahler's 9th symphony with the Czech Philharmonic (and no doubt other recordings too, but this is one that sticks in my mind because the score is so familiar), where, as was usual with central/eastern European orchestras in those days, not only clarinets but horns also played with vibrato, making for a very strange sound overall. However it doesn't sound in the least affected or inappropriate. At the opposite extreme you have Norrington's Stuttgart recording of the same piece where nobody plays with vibrato... my feeling is that something has been lost in the course of orchestras throughout the world evolving towards producing basically the same sound, varying only in how well or badly they do it.
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Originally posted by Richard Barrett View PostI've often wondered why it is that vibrato is generally offlimits for (orchestral) clarinets but not for the others. I think it's what you get used to. Some here will know Karel Ančerl's recording of Mahler's 9th symphony with the Czech Philharmonic (and no doubt other recordings too, but this is one that sticks in my mind because the score is so familiar), where, as was usual with central/eastern European orchestras in those days, not only clarinets but horns also played with vibrato, making for a very strange sound overall. However it doesn't sound in the least affected or inappropriate. At the opposite extreme you have Norrington's Stuttgart recording of the same piece where nobody plays with vibrato... my feeling is that something has been lost in the course of orchestras throughout the world evolving towards producing basically the same sound, varying only in how well or badly they do it.
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Originally posted by Richard Barrett View PostI've often wondered why it is that vibrato is generally off limits for (orchestral) clarinets but not for the others. I think it's what you get used to.
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Originally posted by zola View PostAmerican soprano Jeanne-Michele Charbonnet. Anyone recall John Foulds World Requiem at the Albert Hall in 2007 ? I think there was a prom she disfigured the following year to prove that was not an off night but I can't recall the piece.
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Originally posted by Richard Barrett View Post... At the opposite extreme you have Norrington's Stuttgart recording of the same piece where nobody plays with vibrato...
Re. central/eastern European orchestras, I originally found the heavy loading of wind and brass vibrato in the Witt recording of Messiaen's Turangalîla-Symphonie thoroughly off-putting. I have, however, come to accept its validity the more I have listened to it.
I am, of course, much in favour of the style of vibrato referred to by John Tilbury in his "On Playing Feldman":
"From ancient China there is a description of a vibrato technique: Remarkable is the ting-yin, where the vacillating movement of the finger should be so subtle as to be hardly noticeable. Some handbooks say that one should not move the finger at all, but let the timbre be influenced by the pulsation of the blood in the fingertips pressing the string down on the board a little more heavily than usual."
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