Acting In Opera

I do not know whether this generation spends enough time on Acting in Opera. I see technique not sufficiently advanced in voice and they can't. Even in my generation, studying with Anthony Addison, Richard Collins, Robert Gay, and Boris Goldocsky, I was not and am not a good singing actor. I know how, but I don't think I have put in the time on the acting. I think Callas was much more involved with the process. I am not know where the generational flaw was at. I do not know why recent generations have given up. I was worried about pitch.

Remembering Eleanor Steber

On Sunday,July 17th, we celebrate the birthday (1914) of one of the most unique artists of the last century, Eleanor Steber. As much as I heard her many times at the old Met, I now wish I had seen her even more, because she had a remarkable voioce, and even though there was sometimes a wider vibrato in the Verdi/Puccini repertory, she excelled in so many roles, that her special place in opera history must be assured. I doubt if any singer could have essayed the role of Fiordiligi with that combination of lyricism,dramatic intent, impeccable fioratura,and sparkling delivery. As Elsa,Arabella,Donna Anna and Elvira,the Figaro Contessa,Vanessa, Marie in Wozzeck, the Marschallin,all of which I saw live, and my live recordings of Seraglio,Knoxville,Les Nuits d'Eté,Frau, and on those Voice of Firestone videos,(her rendition of the "Italian Street Song" sets the standard for the song.) she exhibited the same brilliance of tone and artistry that cannot be forgotten. How can I ever forget the high D natural she interpolated at the end of the manon Gambling Scene,which sent the standees into a frenzy, and then there was her hilarious' Rosalinda,where one night she decided to sing the role as a" Suthen belle." ("Wayre cud ah geyt such a watch???") We are all aware of her severe drinking problem, and of a rather shabby treatment of her by Mr.Bing in later years, and she sure was a "character," but I believe that her wildness made for a greater career, and there are so many roles we wish she might have done, such as Chrysothemis,Electra in Idomeneo,Sieglinde, and others. However we did have her for a pretty long time ( several years before I came upon the scene), and I treasure her memory. May we all remember Eleanor Steber, one of the great singers of all time. Charles Handelman

Marc Alan Innes 

Some thoughts on The Rules

More to the point, strict adherence to all the rules leads to mechanical production. And this is boring. For example, one hopes the singer is always on pitch, but singing a fraction sharp lends brilliance and immediacy; a bit under the note mellows it. The rule is: sing on pitch; interpretation and expression arise in part from bending that rule. Rules on using chest voice, selecting repertoire and so on are similar in that bending them has both cost and payoff. Or, similarly, the use of rubato. Without it, again the singing sounds mechanical. The slight "borrowing from Peter to pay Paul" as Marylin Horne put it puts elasticity in the overall tempo. But as Mike put it with pitch, it's tricky. There is an almost invisible line to using rubato and pulling the line out of shape.

Richard

Thoughts from Mike Richter

I am extremely impressed with these thoughts from Mike Richter:

"It seems to me that there were many messages or lessons in the program which are worth isolating (and, perhaps, discussing). Among them:

1. There are many with operatic ambitions and raw voices in the community; they need to be found and nurtured in part to show the world that there is satisfaction to be obtained in the pursuit.

2. Even if untrained or poorly trained, a voice with potential can be induced to realize much of that potential in a short, intensive period of training by those with the requisite skills and interest.

3. Opera is about far more than singing - though of course voice comes first.

4. The stresses of developing the ability to perform in opera are far greater than the public does - or should - perceive.

5. Any singer who can deliver on stage is to be appreciated for all that that implies, regardless of vocal flaws, transpositions, cracks, etc.

6. Commitment by all involved may be the most important single factor in the success of such an effort.

Mike"

What do you think?

Is tension the Problem?

It's such a difficult thing to talk about the mechanics of the voice. It can be an endless source of frustration. When we speak in analogies about the mechanics you never know how someone else will interpret it. However, if we speak of what's actually going on inside a student's head, they might even get more lost. I'm currently trying to loosen some tongue tension and at the same time trying to calm my larynx. Any suggestions?

Muscles work more efficiently in their long position. Stretching might be an answer to many people's singing problems. Feeling tall from the center of the head, like a puppet, counteracting gravity, pulling the knots out.

How should I be preparing for the forthcoming Season?

As I sit here on the beach, drinking my T&T, I feel a little guilty that I am not preparing for the forthcoming Season. I have always been a diligent student. You know, doing my homework, buying tickets, etc. Last year, I told you, I relie on the kindness of others for my good seats. Most of the time, the ole gals come through. But ... what should I be studying, what are the must tickets for the Season?

Voice and Weight

I think that I have been every size in the book, weight has always been a problem. Plus, I have had on and off allergy problems for 35 years and have been on Sudafed most of my life. During weight loss, one needs to exercise and be in touch with one's body. But there is more! My usual expression is: One has to be able to drive stick shift, even though we are expecting a limo. This is why I teach technique, not just habit. I think the correct word is appoggio.

Bel Canto

“Bel canto” is a difficult vocal technique, one which thrived in Italy in the early 19th century. Singing bel canto opera requires exception control of breath, range, tone and agility.

Should a critic be adversarial or advisory?

The American Idol / Paula situation brings questions to the mind, especially when you think of auditions where you did not make it. I remember in my Graduate days, I auditioned for a major Opera Company. I felt like dirt and I felt like there were favorites all over the place, but I was not one of the chosen few. It is a cold feeling. I sang a good audition, but there is always someone better. I felt like people were talking about me. Auditions should have adjudication along with the performance, to set things into proper perspective. Paula never should have had anything to do with the singers. It is my understanding that she has had pain problems and maybe she was not thinking properly. What do you think?

Placido Domingo - Chronic Overachiever

Isn't it amazing that Mr.Domingo has achieved so much, when he has stretched the Baritone Voice to its limits. Many singers careers have been short-lived trying to do this. I guess my point would be, what you got is what you got. The Vocal Cords are a series of muscles that must be developed, educated and trained to work the way they were designed to operate. Vocal Cords, truly, are a wonderful invention. The Opera Singer, a gift.

An Eleanor Steber Question

This letter came across my desk and I thought I would pass it on to the distinguished Listers:

I see that you studied under Eleanor Steber who is 1st cousin to my mother Frances Steber. I have been trying to obtain information regarding the Steber family and have come against some very difficult blocks. My mother is currently 73 and remembers much about the past, but has difficultly with details. I don't know if you knew much about Eleanor family roots. I know that they emmigrated from Penn. to Virginia. I am trying to find out if the Steber family has Jewish roots. I see that Eleanor was very much connected with Jewish Foundations, and communities. If there is any information that you think may help, please email me at angelicus@satx.rr.com. I sincerely thank youFrances SwankSan Antonio, Texas

Clear Vowels

Even though we speak of singing being sustained speech on pitch and that anyone can sing if they can speak, something has to be said about clear vowels. We all know that vowels distinguish words, tense problems, but the vowel is also the source of a second pitch, vowel pitch. Clear voices have the ability of aligning the vocal pitch and its overtones, with the vowel pitch and its overtones. Alignment is a good word. The right size and shape, formats, etc.

Voices that travel for miles ...

We sing on colour and not on volume. Even the smallest voice that is produced correctly will be heard in the largest room. Two stories. The lady who won the hollering Concert did not scream, she made a very unique sound. Story two. I was singing at the Moody Church in Chicago, a rather large room. The rehearsal, because of my schedule was very early Sunday morning. The accompanist and myself were working on the dais when a man came in screaming and yelling. "Why did you turn on the Sound System? It could go out on the radio." "What sound system?" "But, I could hear you great at the front, about a football field away." Even the smallest sound that is produced correctly will be heard in the largest room.

Do we need a Book?

Do we need an American Idol Book for Classical Singing. Randy and Paula are pushing a book to help people get started as a Rock Star. Do we need a book to help Opera Singers get started and eliminate the problem children. Thus, we would have better singers.

On Achieving the Open Throat

Perhaps the statement should be: Nothing can attenuate the throat. I once heard the situation described as digging a mine. One has to make the tap hole, dig the hole, remove the dirt, put in the supports, even out the walls, cement the walls, put the railroad tracks in. The problem is that the muscle structure of the throat is weak and needs to be trained to stay open. We accomplish the open throat by doing many things: Yawning, Drinking in the Breathe, Surprise, Posture, and on and on.

Feeling Resonance in the head, sick leaned over, like touching one's toes.

Categorizing Baritones

This term baritone has so many meanings. After a male goes through mutation, and changed from the boy soprano, through cambiata, he becomes a baritone, for no better word. With exercise, training and age, the voice enlarges, finds its center, develops colour. Baritone, French Baritone, Basso Buffo Baritone, Verdi Baritone, might be better terms to describe the voice. Again, baritone is not just tessitura, range, colour, volume, what the voice does well/what the voice does poorly. It is so much more.

Baritonely Speaking

Categorizing Baritones

This term baritone has so many meanings. After a male goes through mutation, and changed from the boy soprano, through cambiata, he becomes a baritone, for no better word. With exercise, training and age, the voice enlarges, finds its center, develops colour. Baritone, French Baritone, Basso Buffo Baritone, Verdi Baritone, might be better terms to describe the voice. Again, baritone is not just tessitura, range, colour, volume, what the voice does well/what the voice does poorly. It is so much more.

Baritonely Speaking

Portamento

Portamento would better be described as the connecting of two notes together, or gracefully getting from one note to another. At some periods of history it is sliding, at others well thought out.

To All Opera Singers: Professional, Semi, Amateur

You are what you are. Whoever created you gave you a unique sound, a unique colour, a unique range.

The whole science and study of singing is adding and subtracting overtones. The big voice has all of the possible overtones. Vowel pitch and vocal cord pitch in alignment, with their overtones in alignment.