I have the utmost respect for anyone who embraces themselves and their hearts desires and goes for it. I don't know opera like many folks here but I love music and self expression.
Opera singing requires certain voice quality ( a very ideal resonance of the voice first of all! ) certain capacity of physical strengh, certain power and ability of expression and musicality. All these attributes and abilities might be formed and turned to opera singing but nothing more. The opera singing always was failed and will be failed always trying to be projection, pure force - demonstration, because simply the primer attributes of the sounding of the musical voices not really allow it or require it as they are based on resonance which is based on harmony! Still you can sing forte, fortissimo but always just under the rule of the best quality of voice giving, in the term of an ideal resonance, otherwise the instument will become ruined, tired off, demanded and quickly retired. Just look at the shortened carreers all along in the Xxth century of opera singing ( without any naming here ) ... So, NOT the “big” ( big because forced ) is the most wanted ...! Why? Because the modern Acoustic ( as science ) point out that not the physical power of the voice ( Decibel ) will fill up a concert room but the right resonance of the body ( Corpus ), the radiant of the voice will resonate the hall/room perfectly. That’s why in the best Italian tradition the ‘mezza voce’ ( middle of the voice if you like ) is the way to use and develop the singing skills and conditions. Actually two things relate to each other: the acoustic of the instrument and the acoustic of the concert hall ( opera ). Singers have to learn about it and treat themselves as a special but acoustic instrument!! Singing is very complex, because 1. we have to become a perfect instrument 2. be able to use this instrument in a musical way 3. perform with all these 4. be a part of the complexity of the music, be a great ‘musical team worker’, knowing that we are a part of a wonderful whole musical opus, for instance in an opera. A great singer able to serve the sanctuary of the music of the composer, yet they have a charismatic personality as well. Ok. There are other facts to conciderate, for instance that, the young generation have completely different connection to their completely different reality than any time anyone had before, and it is an interesting aspect of the modern opera singing too. ( In fact how can a modern person sing a more hundred years old music, not just pop music ). All the energetic issues, the psychology, the social life, education and the reason of singing are changing, while there is a historical repertoir with the same requirements in all time ... Does this problem make any sense to anyone? We might write more modern operas, which would be able to build a bridge between heritage and modern requirements and abilities. Anyways, be careful when you criticise anything, especially young and modern singers or their education while they really try to do their best and use the experiences of the past, they learn about the successes and fails of the opera history. Thank you so much to anyone who read this.
Hi , can you explain this sentence a bit more? I did not understand " The opera singing always was failed and will be failed always trying to be projection, pure force - demonstration, because simply the primer attributes of the sounding of the musical voices not really allow it or require it as they are based on resonance which is based on harmony"
jarto10 two fronts- one, saying that without musicality, then it’s not really art. It’s just a nicely sung poetry selection. It takes away the pointed and direct efforts of art. Second, the focus of ‘projection’ forces younger students to sing in very dangerous areas of the physical vocal cords, and use them unproductively. Teaching good fundamentals allows resonance, the use of the timbre of the voice to be heard pronouncedly. It’s THIS style in its’ own right that is quite different then many other styles of singing.
@@zacharymendenhall2859 fantastic comment thanks for sharing, I am starting to find out the same especially being worried about a soft voice. May I write to you sometime?
Yeah I had master classes like this myself and the first thing that they told the participants was "We don't use microphones because it doesn't show the true voices... Those who engage in Master classes and actually uses them, forfeit the right to teach the student for that day." It is generally looked down upon in a master class setting to use microphones. Now was this used for amplification? Maybe but it shouldn't be THAT close to the student whereas in other examples of the same microphone being used, the microphones are actually not even visible to the camera.I still stand by my original comment.
Opera singing requires certain voice quality ( a very ideal resonance of the voice first of all! ) certain capacity of physical strengh, certain power and ability of expression and musicality. All these attributes and abilities might be formed and turned to opera singing but nothing more. The opera singing alwas was failed and will be failed trying to be projection, force -demonstration, because simply the primer attributes of the sounding of the musical voices not really allow it. Still you can sing forte, fortissimo but always just under the rule of the best quality of voice giving, otherwise the instument is gonna become ruined, tired off, demanded and quickly retired. Just look at the shortened carreers all along in the Xxth century of opera singing ( without any naming here ) ... So please be careful when you critizise young and modern singers and their education. :) Thank you.
@@robertjschroff6307 This was said why exactly? It does absolutely nothing to demonstrate what you just said; matter of fact, it proves what I said basically lol.
deadwalke hello there, nice to hear from you. I think the microphone has placed there for the video record, without the purpose to amplify the voice of the singer.
What an incredible pedagogue. To me this represents the true depth of operatic singing.
I have the utmost respect for anyone who embraces themselves and their hearts desires and goes for it. I don't know opera like many folks here but I love music and self expression.
You have special inside you- Thomas Hampson
I enjoyed it. He's definitely an actor. He did well
..... what a incredibel deep teaching, thanks for sharing
Oh Hamlt..... 🙏..... thank you to share.....
He’s great !!!
I realize it is kinda off topic but do anybody know a good website to watch newly released movies online ?
@Colin Niko Flixportal :)
@Thatcher Keaton Thank you, I signed up and it seems like a nice service =) I appreciate it !!
@Colin Niko happy to help xD
Opera singing requires certain voice quality ( a very ideal resonance of the voice first of all! ) certain capacity of physical strengh, certain power and ability of expression and musicality. All these attributes and abilities might be formed and turned to opera singing but nothing more. The opera singing always was failed and will be failed always trying to be projection, pure force - demonstration, because simply the primer attributes of the sounding of the musical voices not really allow it or require it as they are based on resonance which is based on harmony!
Still you can sing forte, fortissimo but always just under the rule of the best quality of voice giving, in the term of an ideal resonance, otherwise the instument will become ruined, tired off, demanded and quickly retired. Just look at the shortened carreers all along in the Xxth century of opera singing ( without any naming here ) ... So, NOT the “big” ( big because forced ) is the most wanted ...! Why?
Because the modern Acoustic ( as science )
point out that not the physical power of the voice ( Decibel ) will fill up a concert room but the right resonance of the body ( Corpus ), the radiant of the voice will resonate the hall/room perfectly. That’s why in the best Italian tradition the ‘mezza voce’ ( middle of the voice if you like ) is the way to use and develop the singing skills and conditions.
Actually two things relate to each other: the acoustic of the instrument and the acoustic of the concert hall ( opera ). Singers have to learn about it and treat themselves as a special but acoustic instrument!!
Singing is very complex, because
1. we have to become a perfect instrument
2. be able to use this instrument in a musical way
3. perform with all these
4. be a part of the complexity of the music,
be a great ‘musical team worker’, knowing that we are a part of a wonderful whole musical opus, for instance in an opera.
A great singer able to serve the sanctuary of the music of the composer, yet they have a charismatic personality as well.
Ok. There are other facts to conciderate, for instance that, the young generation have completely different connection to their completely different reality than any time anyone had before, and it is an interesting aspect of the modern opera singing too.
( In fact how can a modern person sing a more hundred years old music, not just pop music ).
All the energetic issues, the psychology, the social life, education and the reason of singing are changing, while there is a historical repertoir with the same requirements in all time ... Does this problem make any sense to anyone?
We might write more modern operas, which would be able to build a bridge between heritage and modern requirements and abilities.
Anyways, be careful when you criticise anything, especially young and modern singers or their education while they really try to do their best and use the experiences of the past, they learn about the successes and fails of the opera history.
Thank you so much to anyone who read this.
Hi , can you explain this sentence a bit more? I did not understand
" The opera singing always was failed and will be failed always trying to be projection, pure force - demonstration, because simply the primer attributes of the sounding of the musical voices not really allow it or require it as they are based on resonance which is based on harmony"
jarto10 two fronts- one, saying that without musicality, then it’s not really art. It’s just a nicely sung poetry selection. It takes away the pointed and direct efforts of art. Second, the focus of ‘projection’ forces younger students to sing in very dangerous areas of the physical vocal cords, and use them unproductively. Teaching good fundamentals allows resonance, the use of the timbre of the voice to be heard pronouncedly. It’s THIS style in its’ own right that is quite different then many other styles of singing.
@@zacharymendenhall2859 fantastic comment thanks for sharing, I am starting to find out the same especially being worried about a soft voice. May I write to you sometime?
@@xfivecinema you can write to me at my email: zacharyamendenhall@gmail.com
Thank you!
Amr Din yes please
Hamlet, ambroise Thomas
whic opera is that from wich composer french?.
Hamlet
Ambroise Thomas
The way the student stands is odd and should be addressed also.
This. That was the first thing i noticed as well
I think he might just have knees that hyperflex a lot. He looks pretty good from the waist up!
They're putting microphones on the student singers now?!? No wonder we have nothing but lyrics singing the dramatic repertoire!
It's for broadcast. So that you and I can watch it online.
Yeah I had master classes like this myself and the first thing that they told the participants was "We don't use microphones because it doesn't show the true voices... Those who engage in Master classes and actually uses them, forfeit the right to teach the student for that day." It is generally looked down upon in a master class setting to use microphones. Now was this used for amplification? Maybe but it shouldn't be THAT close to the student whereas in other examples of the same microphone being used, the microphones are actually not even visible to the camera.I still stand by my original comment.
Opera singing requires certain voice quality ( a very ideal resonance of the voice first of all! ) certain capacity of physical strengh, certain power and ability of expression and musicality. All these attributes and abilities might be formed and turned to opera singing but nothing more. The opera singing alwas was failed and will be failed trying to be projection, force -demonstration, because simply the primer attributes of the sounding of the musical voices not really allow it. Still you can sing forte, fortissimo but always just under the rule of the best quality of voice giving, otherwise the instument is gonna become ruined, tired off, demanded and quickly retired. Just look at the shortened carreers all along in the Xxth century of opera singing ( without any naming here ) ... So please be careful when you critizise young and modern singers and their education. :) Thank you.
@@robertjschroff6307 This was said why exactly? It does absolutely nothing to demonstrate what you just said; matter of fact, it proves what I said basically lol.
deadwalke hello there, nice to hear from you. I think the microphone has placed there for the video record, without the purpose to amplify the voice of the singer.
Gran Dio, che brutta voce!
No me gusta la vos de Hampton ni nunca me gusto, ni su técnica tampoco, sino óiganlo y verán....