Originally posted by MrGongGong
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Quite so! Bass vocal folds are thicker and longer. Just look at the string orchestra. Physical stature will assist projection of the sound and, of course, it comes with the territory, but the primary source is in the larynx.Last edited by Guest; 27-07-15, 10:32. -
Having quickly skimmed this whole thread I want to add - having seen only parts of two of the programmes - what a terrific presenter Pappano is: erudite, completely in tune with his subject, and possessing a delightful charm in his speaking, apparently without autocue, and frequently apparently ad lib. Full marks too for the direction, with minimal walking about and little of the usually obligatory handwaving. I hope the whole series is re-broadcast.
On the much debated (above) question of who was ommitted etc, I took the point of the programmes to be to talk about the style and technique of different voices; I learned a great deal from what I saw.Comment
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Total agreement on all points! Thank you. And, as a professional singer, it was inspirational!Originally posted by kernelbogey View PostComment
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Just to say this is being re-broadcast on BBC4 on Fridays (the Friday ration of Classical music before Top of the Pops etc sets in for the rest of the evening.......) Times vary slightly from week to week.
I had three of the programmes on my recorder waiting to be viewed, and the appreciation on this thread has somehow passed me by - Pappano and the programmes overall are terrific and the best advocate for operatic/classical vocal music on the television I have seen . We watched the programme on Soprano last Friday and it was terrific, so we quickly moved on to the recorded Tenor and then the Mezzo programmes.Comment
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This has made one of its periodic reappearances on late night BBC4 - I think the tenor, mezzo and bass programmes are still on iplayer for a couple of days.Comment
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The "Tenors" expires tonight, the other 3 are available for another week:Originally posted by Barbirollians View Post
[FONT=Comic Sans MS][I][B]Numquam Satis![/B][/I][/FONT]Comment
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Interesting to see in this month's Gramophone the praise for Mario Lanza's voice from three eminent tenors of today which echoes Pappano's approval .
Indeed, listening to him this morning on Amazon music it is unfortunate he sang so much crossover stuff - not because it was crossover but because so much of it had glee sugary accompaniments with those 1950 choral backing singer contributions. The operatic arias , however, do show a rather lovely voice as does some of the less souped up stuff like Mattinata. Certainly no Bocelli.Comment
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In the limited range of records (78 and vinyl) in my childhood home, the classical element was an LP of Schnabel playing Beethoven, Callas highlight arias (which, then, I avoided....) and then a Reader's Digest Collection of Mario Lanza. I will read the article, and agree Lanza had the wherewithal and made a good pass (I understand, I don't think I've seen it....) in The Great Caruso etc.Originally posted by Barbirollians View Post
Nowadays I have scorn for "arena artists" - particularly Katherine Jenkins, and her ilk - never rehearsed and performed an opera complete, nor a run of performances..... a singer of opera pops not an Opera Singer. However, in the years of adulthood my favourite tenor of all - obviously only appreciated from recordings - is Jussi Bjorling. A great, great artist with a wonderful voice.Comment
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No question in my mind Lanza could have been one of the all time great operatic tenors - fantastic true spinto voice ( as recorded that is never heard him live obvs.) . There’s a tremendous Dio Mi Potevi from Otello on YouTube . I wonder whether with his amazing looks the Hollywood / recording route was simply the easy and more remunerative option . There are some “Arena artists” -the three Tenors for example - who can certainly cut the operatic mustard . I bet all three were Lanza enthusiasts though none of them had anything like his success in crossover.Originally posted by Cockney Sparrow View PostComment
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I don't think this is as good as the 78s - though it may be the same recording. To me it sounds different.
Amazingly this piece by Leoncavallo does not come from an opera, but was written specifically for the Gramophone Company!
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Mario Lanza did sing some operas in his early career, and appeared to be on the verge of a major career after singing Pinkerton in Madama Butterfly. He was booked to sing further operas, but by then had been noticed by Hollywood, and got diverted into films. I believe he was intending to return to the stage when he died suddenly, and had even agreed some engagements with Rome Opera.Originally posted by Heldenleben View Post
All of the big three tenors (Pavarotti, Domingo, and especially Carreras) have cited Lanza as a major influence when they were growing up."I do not approve of anything that tampers with natural ignorance. Ignorance is like a delicate exotic fruit; touch it and the bloom is gone. The whole theory of modern education is radically unsound. Fortunately in England, at any rate, education produces no effect whatsoever. If it did, it would prove a serious danger to the upper classes, and probably lead to acts of violence in Grosvenor Square."
Lady Bracknell The importance of Being EarnestComment
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I've always liked Lanza's recording of the Italian tenor 's aria from Rosenkavalier - an apt coupling of artist and material. I would love to have heard him live.
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That link doesn't go to Rosenkavalier - but it's good nevertheless!
In return https://www.youtube.com/watch?v=FA7E3cibCD8Comment
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