Love all the videos you share! To answer your question is difficult because there are so few teaching the old ways of singing. When you’re known for singing good high notes and coloratura, you’re categorized and left to lyric coloratura land without exploring the full extent of the voice’s potential. I’ve been in good hands after leaving school with some solid teaching. However, I am certainly a work in progress!😅
You are quite right, it's hard to figure out whatever old singers were taught to do and, although human voice consists in a musical instrument we can't see it due to being inside of us. That's why I gave up singing and start studying piano and street dance
@@Paulofibonelli ...I wish I could teach you! I learned the old belcanto ways and all the positions. And STEADY TONE with squillo. I'm 63 and vibrate like I did when I was 30. It takes continuous monitoring.
I've always thought that this reason is because everyone wants to be like Maria Callas or Joan Sutherland: having an enormous flexible voice with high notes and a lot of coloratura capabilities but no one wants to specialize in either verism or bel canto, but is very hard to achieve such a fine technique (with its failures since Callas voice was done in only 12 or 13 years, which is without a doubt a sign that her technique wasn't utterly polished) but no one wants to be a Nilsson, Dimitrova or Tebaldi, three perfect examples of enormous voices that preferred to stay on the verist repertoire. Besides not everyone has Callas' or Sutherland's resonance cavities nor vocal chords to achieve that extent. With a few exceptios like Gheorghiu or diDonato.
Voices do mutate over time....but must be carefully monitored and slowly and carefully roles must be added over about 30 years. First ...Mozart, then Verdi , then Puccini... so slowly as the voice strengthen add heavy roles carefully....
Singers today all sound exactly the same. It's difficult to tell them apart -- whereas I could pick out De Los Angeles, Tebaldi, Callas, Scotto, Nilsson, Flagstaff, etc. within 15 seconds of listening.
I sure agree. I started listening in the 60's as a result of very fine music appreciation courses that were required in many public high-schools. Even singers in supporting roles such as Piero dePalma, and many other who were cast in London and Angel recordings, were identifiable. Among major singers such as Resnik, Bumbry, Verrett, Tebaldi, Protti, Gobbi, etc, etc - INSTANTLY recognizable voices. That's one of the reasons for owning multiple sets of the same opera. Each recording had some very individual takes on the same work by virtue of differing vocal profiles, conducting style etc. Nowadays, I'm not so sure my interest in opera would be so keen.
Good observations. By 'Barrel/falsetto' you clearly refer to the 'O' and 'OO' spectrum of vowel that can be cultivated in the female voice, particularly in the middle- the sound that can be 'full of air' ,as you say. And then there is the separate but equally important question of achieving clarity without losing the beauty, carrying power and individual timbre that the developed 'full of air' 'Barrel/falsetto have achieved. Many young singers begin with some or even all of these characteristics in varying degrees of development. But often their training involves vocalizing almost exclusively on 'EE' vowels, singing as 'forward' as possible, vigorous 'support' techniques, etc. Youth and natural talent can only last a certain time under these conditions. The inherent charm and beauty of their voices are greatly diminished or lost entirely. Teachers and coaches would have to provide a 'means whereby' instead of requesting the immediate finished result. But that would mean that they had a good idea of how voice development worked and how to implement such a process. You've said it all here. I liked your disclaimer at the beginning. I consider these women (present day singers) to be survivors. I respect their achievements but I don't pay to hear them sing.
I would never have guessed that Rosa Poncella's example around 3:00 was a female voice. To me it is still a tenor in a female body. Incredibile assoluta.
Hi, I would only like to address that more recent than Tetrazzini, Beverly Sills was an example of a high pitched voice with a well produced chest voice, sometimes placed a little high, which happened mostly when doing very demanding coloraturas, but in live Mozart's Spiegarvi live performances it's notable the well produced low notes that she had.
I find the lady at 9:20 to sing beautifully. Very fluent and clear in the quick coloratura passages and precise definition. I don't think she would consider to sing romantic repertoire.
You have aptly pointed out the use of proper head voice registration. The difference is clear with these examples of current day sopranos vs the sopranos of yesteryear. I learn a lot from you about proper vocal production. What is your opinion about Callas' vocal production. This is just my observation. Her voice was naturally dark and had a thick middle. Some critics opined that singing heavy roles at an early age might have harmed her voice. I feel the opposite. Again in my opinion, she incorporated more scuro in her early years, and used it less in the mid 1950's. Even in the lighter roles scuro should be used. Perhaps when she sang more leggero roles she whitened the tones minus any scuro. I wonder if her vocal muscles were affected due to perhaps over lightening the voice, and that when she returned to heavier roles that the core of the voice was not as prominent as the earlier years when scuro was fully used. I look forward to your opinion.
@@Paulofibonelli ...I totally agree. Ponsele said Callas was a coloratura soprano with dramatic possibilities not the other way around! I'll believe her live actual account.
@@Paulofibonelli Besides Turandot, none of the roles she sang were technically all that dark. Most of her darkest singing actually came in the belcanto repertoire as opposed to the veristic/romantic era music of Bellini, Puccini, Giordano, and etc.
I heard Sutherland live twice, and she had all the volume she needed. I don’t think of it as a huge voice because it never sounded pushed, but I doubt there was a tenor in existence who could have drowned her out. I also heard Tebaldi live, and her voice might have been even bigger. Edit: Your Price example should have an asterisk. She was a soprano, but was singing a mezzo role (Carmen). Callas did the same thing. Not ideal for either of them.
I love your videos and your understanding of the art, but I can’t read all of what you have to say. What I would truly love is if you spoke your ideas. Not only would it make it more interesting, but would also bring much more charity. A podcast type of thing haha, I love you and appreciate all of your information.
The subtleties in this video are easily 'discussed' by YT commenters, but are any of these people singers or voice teachers, themselves- and can APPLY these insights? I mean, people who had performing careers... even as a union chorister? Opinions are like noses- everyone has one. But for the serious teachers -who continually keep trying to learn - these videos are very clear and helpful; vielen Dank! Excellent teaching. I can think of a number of my female students who would benefit from watching these.
I am a student of a baritone teacher who tells me of a similar technique. He lets me use my natural chest, but he doesn't talk about covering (darkening) it. This is something I have to figure it out myself. It is quite hard, I must point out. All my other 5 teachers were against, even if chest is the only place I have natural and easy support. I find it very hard to mix in the middle register, but this is something I can't rush. It takes time for register development, and until you make it, I must say, it sounds terrible:two different voices breaking anytime. My chest voice, as it is in this stage, sounds raw, metallic, penetrating and "too much for the modern ear". It leaves me at B flat 4, then comes back at E flat above, but not for long. It is a lot of work to do: develop registers separately, resist the cringe and nerves of people calling you weird and asking "what repertoire do you have? ...No?! Not yet?", and then coordinate the registers.. Now I understand why most choose to skip chest tones.
Besides that, my maestro says that it takes a long time, thousands and thousands of vocalises and many songs to define a type of voice (referring to fach). You don't just put a voice in a category after a few vocalises, like too many incompetent teachers do. I was put with the soubrette, but after introducing chest I dropped down to almost mezzo. Stay away from people who rush.
As for the choir.. It is painful. I can't use any chest tone as it would sound different from what others are singing. Because of this I end up squeezing my throat trying to sing ridiculously piano and leave the rehearsal with pain. After that I am being told :" you need to support more in piano!" Ah, but my piano is the mf the conductor asks for. It is not fun if the choir is small,because you stick out and they point fingers staying you don't know how to sing I once heard of a choir conductor who kicked out the louder voices and kept only the small and lyric ones (but misunderstanding what lyric should sound like). When he started rehearsing in a bigger hall he was surprised HE COULDN'T HEAR A THING! :)))
Spinto and dramatic sopranos are actually closer to the middle of the female voice. Not only are they more common than we are seeing now, they're probably going to be among the more common voice types, with extreme voices like coloratura soprano and contralto being much more rare.
(sorry for my english, i'm using google translator) I don't agree with the part 3:44, for me callas is a dramatic-coloratura, it has a darker voice than bidu sayão and Ileana Cotrubaş. it's obvious she won't have a voice close to rosa ponselle or kirsten flagstad , because she's dramatic-COLORATURA. Will obviously sound less dark than a full dramatic or a wagnerian. about sutherland I can't say exactly but I really think she's not a dramatico-coloratura but anyway the video gave a good message about where the great sopranos are =D and I don't understand about the E6 part, can someone explain it to me?
Callas lightened her voice all the time... Callas stated that her voice is very heavy and dark at the beginning of her career until she met Elvira De Hidalgo... Maria Callas's Gioconda is darker and have more weight than Rosa Ponselle's version.
Interesting comment about real falsetto having a very soft quality. I watched Nilsson coach someone who had a very brassy loud voice to sing with more falsetto ( my word) and a much lighter attack. Instantly the woman made a beautiful sound which carried just as well as the brassy sound, but with so much less effort.
It’s interesting that you cite Nilsson as example, given that her pupil Denes Striny devotes his entire pedagogy to singing everything starting from head voice-which seems to be the opposite of your approach.
16:20 Birgit is playing piano and singing. The latter in Swedish, her (and mine!) native tounge. Strange thing is that her diction is, well, less than perfect.
Sutherland wasn´t a dramatic soprano in all, she just was missplaced and thought that could sing dramatic soprano repertoire after doing a great Turandot recording where she set a standard on how to portrait better the title-lead character than what true dramatic sopranos were doing then, pretty much the same as Pavarotti also lightened Calaf´s role so more lyric-heroism would be done than full-dramatic/heroic way. In other hand Callas indeed WAS a dramatic soprano on her basal voice, but she did A LOT OF TRAINING (even more than Sutherland) so she became into what is called a true Assoluta/Sfogato Soprano voice which is something else ASIDE of a true Dramatic Soprano alone too, however she was initially better suited for singing Dramatic Soprano roles, but later got into a more proper role-repertoire which was better suited for her and that Sutherland attempted to match somehow and therefore a wrong standard on what Dramatic Sopranos should do got stablished, but it was pretty much MORE relying on Sutherland and Renatta Scotto too, than on Callas herself - she was trully more closed to a Dramatic Soprano if she hadn´t made her voice to evolve in to full Assoluta way!
Gena Dimitrova is pure dramatic sopran. Joan Sutherland dramatic coloratura and dramatic coloratura is mix dramatic with coloratura and Edda Moser is dramatic coloratura sopran too. Leontyne Price is Verdi spinto sopran, but Gena Dimitrova is pure dramatic sopran in the world, Kirsten Flagstad and etc...
@@Alexmeister25 Sutherland was a spinto trained as coloratura. Edda Moser was a lyric with upper extension. Leontyne Price was a lyric. But you were right about Dimitrova.
Not sure I agree that Elina Garanca is an undeveloped soprano. There is a slight chance she might be. A lot of singers make woofy sounds these days making it harder to classify voices.
Also where is your proof that young singers should sing heavy repertoire early? Their bodies are still maturing. Dramatic repertoire would wreck their voices as it did Callas.
Such channels will accept that yells by mezzo 8:30 its a forced note, thats so obvious. "Big sopranos", i hate that fantazies, you dont nothing on vocal. 9:50 another mezzo with screams, but constricted mezzo and ingolata. 11:04 already forced, 11:06 typical yells. nilson is more free and has a chest, they both with garanca are not a singers. nilson singing in a wrong timbre. 16:24 so opened scream. 15:50 we can listen her mezzo timbre in action
What’s more, Isabel Leonard is a goddess. A champion of the art form, a passionate and intelligent musician, competent across multiple repertoires. How dare you pick at certain passages and then post hokey vaudeville crap from bygone years without a shred of sensitivity or nuance as the model of the future? Put up or shut up, i say. Where are the voices your methods have produced?
@@KhánhPhạm-v7k and again, where are the voices??? If your methodology is so superior, where is the proof? There is no vast conspiracy keeping them from a microphone, is there??
By definition, a soprano is a singer that has at least up to C6 with tessitura up to A5, any singer who has a problem with this tessitura is simply not a soprano by definition, that's why mezzo soprano (half soprano) category was invented. Bringing Callas or Ponselle to any argument is always problematic since both confused critics. You think Callas can sing few dozens of Turandot, Isolda, Brunnhilde, and Kundry if she wasn't Dramatic? I don't think so. Ponselle on the other hand always had more command on low range than high, and very soon she lost the soprano range and moved to easier mezzo roles like Carmen, hence I believe she was a real mezzo, self taught to be a soprano. Flagstad only struggled with high tessitura late in her career so she doesn't compare to Ponselle who lost it in her prime.
Maria callas was an assoluta soprano and Rosa Ponselle was a dramatic I think many people don't understand differences between sopranos and mezzos or spinto,dramatic sopranos.
@@Miyoshi186....Callas was a Dramatic Coloratura. These are the roles that fit her voice most magnificently . They did not fit her tempement however. Only when you can actually hear a voice live can you categorize a voice. Recordings are deceiving in both ways.... small can sound big, and big can sound small.
3:27 Rosa LITERALLY sounds like a tenor. Holy!!!! WOW
Love all the videos you share! To answer your question is difficult because there are so few teaching the old ways of singing. When you’re known for singing good high notes and coloratura, you’re categorized and left to lyric coloratura land without exploring the full extent of the voice’s potential. I’ve been in good hands after leaving school with some solid teaching. However, I am certainly a work in progress!😅
You are quite right, it's hard to figure out whatever old singers were taught to do and, although human voice consists in a musical instrument we can't see it due to being inside of us. That's why I gave up singing and start studying piano and street dance
@@Paulofibonelli ...I wish I could teach you! I learned the old belcanto ways and all the positions. And STEADY TONE with squillo. I'm 63 and vibrate like I did when I was 30. It takes continuous monitoring.
I've always thought that this reason is because everyone wants to be like Maria Callas or Joan Sutherland: having an enormous flexible voice with high notes and a lot of coloratura capabilities but no one wants to specialize in either verism or bel canto, but is very hard to achieve such a fine technique (with its failures since Callas voice was done in only 12 or 13 years, which is without a doubt a sign that her technique wasn't utterly polished) but no one wants to be a Nilsson, Dimitrova or Tebaldi, three perfect examples of enormous voices that preferred to stay on the verist repertoire. Besides not everyone has Callas' or Sutherland's resonance cavities nor vocal chords to achieve that extent. With a few exceptios like Gheorghiu or diDonato.
Voices do mutate over time....but must be carefully monitored and slowly and carefully roles must be added over about 30 years. First ...Mozart, then Verdi , then Puccini... so slowly as the voice strengthen add heavy roles carefully....
Singers today all sound exactly the same. It's difficult to tell them apart -- whereas I could pick out De Los Angeles, Tebaldi, Callas, Scotto, Nilsson, Flagstaff, etc. within 15 seconds of listening.
I sure agree. I started listening in the 60's as a result of very fine music appreciation courses that were required in many public high-schools. Even singers in supporting roles such as Piero dePalma, and many other who were cast in London and Angel recordings, were identifiable. Among major singers such as Resnik, Bumbry, Verrett, Tebaldi, Protti, Gobbi, etc, etc - INSTANTLY recognizable voices. That's one of the reasons for owning multiple sets of the same opera. Each recording had some very individual takes on the same work by virtue of differing vocal profiles, conducting style etc. Nowadays, I'm not so sure my interest in opera would be so keen.
Good observations. By 'Barrel/falsetto' you clearly refer to the 'O' and 'OO' spectrum of vowel that can be cultivated in the female voice, particularly in the middle- the sound that can be 'full of air' ,as you say. And then there is the separate but equally important question of achieving clarity without losing the beauty, carrying power and individual timbre that the developed 'full of air' 'Barrel/falsetto have achieved. Many young singers begin with some or even all of these characteristics in varying degrees of development. But often their training involves vocalizing almost exclusively on 'EE' vowels, singing as 'forward' as possible, vigorous 'support' techniques, etc. Youth and natural talent can only last a certain time under these conditions. The inherent charm and beauty of their voices are greatly diminished or lost entirely. Teachers and coaches would have to provide a 'means whereby' instead of requesting the immediate finished result. But that would mean that they had a good idea of how voice development worked and how to implement such a process.
You've said it all here. I liked your disclaimer at the beginning. I consider these women (present day singers) to be survivors. I respect their achievements but I don't pay to hear them sing.
I would never have guessed that Rosa Poncella's example around 3:00 was a female voice. To me it is still a tenor in a female body. Incredibile assoluta.
Hi, I would only like to address that more recent than Tetrazzini, Beverly Sills was an example of a high pitched voice with a well produced chest voice, sometimes placed a little high, which happened mostly when doing very demanding coloraturas, but in live Mozart's Spiegarvi live performances it's notable the well produced low notes that she had.
Cristina Deutekom was a gem. brilliant high notes and powerful low notes. listen to her "in mia man..." from Norma
So where are the teachers that can do this? Where can I find one? I’m willing to pay 💰 LOL
Look up my voice teacher, Valentin Peytchinov. He’s in NYC.
Birgit could have sung lead solo soprano at a Slade concert without a microphone. Those roles don't come around often though.
this is genius !!
For gentleness, a link for video explain the "high notes problem"
I find the lady at 9:20 to sing beautifully. Very fluent and clear in the quick coloratura passages and precise definition. I don't think she would consider to sing romantic repertoire.
You have aptly pointed out the use of proper head voice registration. The difference is clear with these examples of current day sopranos vs the sopranos of yesteryear. I learn a lot from you about proper vocal production. What is your opinion about Callas' vocal production. This is just my observation. Her voice was naturally dark and had a thick middle. Some critics opined that singing heavy roles at an early age might have harmed her voice. I feel the opposite. Again in my opinion, she incorporated more scuro in her early years, and used it less in the mid 1950's. Even in the lighter roles scuro should be used. Perhaps when she sang more leggero roles she whitened the tones minus any scuro. I wonder if her vocal muscles were affected due to perhaps over lightening the voice, and that when she returned to heavier roles that the core of the voice was not as prominent as the earlier years when scuro was fully used. I look forward to your opinion.
@@Paulofibonelli ...I totally agree. Ponsele said Callas was a coloratura soprano with dramatic possibilities not the other way around! I'll believe her live actual account.
@@Paulofibonelli Besides Turandot, none of the roles she sang were technically all that dark. Most of her darkest singing actually came in the belcanto repertoire as opposed to the veristic/romantic era music of Bellini, Puccini, Giordano, and etc.
@@tonshaad1230 She sang Kundry and Isolde in the early 50s. Also she got famous for Abigaille
@@Paulofibonelli singing big roles as a big voice at a young age helps your voice to challenge its capabilities
I heard Sutherland live twice, and she had all the volume she needed. I don’t think of it as a huge voice because it never sounded pushed, but I doubt there was a tenor in existence who could have drowned her out.
I also heard Tebaldi live, and her voice might have been even bigger.
Edit: Your Price example should have an asterisk. She was a soprano, but was singing a mezzo role (Carmen). Callas did the same thing. Not ideal for either of them.
I love your videos and your understanding of the art, but I can’t read all of what you have to say. What I would truly love is if you spoke your ideas. Not only would it make it more interesting, but would also bring much more charity. A podcast type of thing haha, I love you and appreciate all of your information.
so!!!! .......HOW IS ALL THIS ACCOMPLISHED??? HOW DO YOU MAKE IT HAPPEN??
The subtleties in this video are easily 'discussed' by YT commenters, but are any of these people singers or voice teachers, themselves- and can APPLY these insights? I mean, people who had performing careers... even as a union chorister? Opinions are like noses- everyone has one. But for the serious teachers -who continually keep trying to learn - these videos are very clear and helpful; vielen Dank! Excellent teaching. I can think of a number of my female students who would benefit from watching these.
I am a student of a baritone teacher who tells me of a similar technique. He lets me use my natural chest, but he doesn't talk about covering (darkening) it. This is something I have to figure it out myself. It is quite hard, I must point out. All my other 5 teachers were against, even if chest is the only place I have natural and easy support. I find it very hard to mix in the middle register, but this is something I can't rush. It takes time for register development, and until you make it, I must say, it sounds terrible:two different voices breaking anytime.
My chest voice, as it is in this stage, sounds raw, metallic, penetrating and "too much for the modern ear". It leaves me at B flat 4, then comes back at E flat above, but not for long. It is a lot of work to do: develop registers separately, resist the cringe and nerves of people calling you weird and asking "what repertoire do you have? ...No?! Not yet?", and then coordinate the registers.. Now I understand why most choose to skip chest tones.
Besides that, my maestro says that it takes a long time, thousands and thousands of vocalises and many songs to define a type of voice (referring to fach). You don't just put a voice in a category after a few vocalises, like too many incompetent teachers do. I was put with the soubrette, but after introducing chest I dropped down to almost mezzo. Stay away from people who rush.
As for the choir.. It is painful. I can't use any chest tone as it would sound different from what others are singing. Because of this I end up squeezing my throat trying to sing ridiculously piano and leave the rehearsal with pain. After that I am being told :" you need to support more in piano!" Ah, but my piano is the mf the conductor asks for. It is not fun if the choir is small,because you stick out and they point fingers staying you don't know how to sing
I once heard of a choir conductor who kicked out the louder voices and kept only the small and lyric ones (but misunderstanding what lyric should sound like). When he started rehearsing in a bigger hall he was surprised HE COULDN'T HEAR A THING! :)))
@@blonda.bacoviana I call that the 'voice of a flea' mindset. It is endemic in the Upper Midwest of the US. Just saying....
Spinto and dramatic sopranos are actually closer to the middle of the female voice. Not only are they more common than we are seeing now, they're probably going to be among the more common voice types, with extreme voices like coloratura soprano and contralto being much more rare.
Probably more like a full-lyric soprano is the middle. Even dramatic and spinto sopranos are quite deep.
(sorry for my english, i'm using google translator)
I don't agree with the part 3:44, for me callas is a dramatic-coloratura, it has a darker voice than bidu sayão and Ileana Cotrubaş. it's obvious she won't have a voice close to rosa ponselle or kirsten flagstad , because she's dramatic-COLORATURA. Will obviously sound less dark than a full dramatic or a wagnerian.
about sutherland I can't say exactly but I really think she's not a dramatico-coloratura
but anyway the video gave a good message about where the great sopranos are =D
and I don't understand about the E6 part, can someone explain it to me?
Callas lightened her voice all the time... Callas stated that her voice is very heavy and dark at the beginning of her career until she met Elvira De Hidalgo...
Maria Callas's Gioconda is darker and have more weight than Rosa Ponselle's version.
@@awokwok1029 ooooh i love both giocondas
@@marial.752 Soprano Drammatico de Agilidad (between Dramatic Coloratura Soprano and Dramatic Soprano)
@@marial.752 Definetly an Assoluta same for Virginia Zeani
Rosa or Tenor????
Interesting comment about real falsetto having a very soft quality. I watched Nilsson coach someone who had a very brassy loud voice to sing with more falsetto ( my word) and a much lighter attack. Instantly the woman made a beautiful sound which carried just as well as the brassy sound, but with so much less effort.
It’s interesting that you cite Nilsson as example, given that her pupil Denes Striny devotes his entire pedagogy to singing everything starting from head voice-which seems to be the opposite of your approach.
16:20 Birgit is playing piano and singing. The latter in Swedish, her (and mine!) native tounge. Strange thing is that her diction is, well, less than perfect.
Sutherland wasn´t a dramatic soprano in all, she just was missplaced and thought that could sing dramatic soprano repertoire after doing a great Turandot recording where she set a standard on how to portrait better the title-lead character than what true dramatic sopranos were doing then, pretty much the same as Pavarotti also lightened Calaf´s role so more lyric-heroism would be done than full-dramatic/heroic way.
In other hand Callas indeed WAS a dramatic soprano on her basal voice, but she did A LOT OF TRAINING (even more than Sutherland) so she became into what is called a true Assoluta/Sfogato Soprano voice which is something else ASIDE of a true Dramatic Soprano alone too, however she was initially better suited for singing Dramatic Soprano roles, but later got into a more proper role-repertoire which was better suited for her and that Sutherland attempted to match somehow and therefore a wrong standard on what Dramatic Sopranos should do got stablished, but it was pretty much MORE relying on Sutherland and Renatta Scotto too, than on Callas herself - she was trully more closed to a Dramatic Soprano if she hadn´t made her voice to evolve in to full Assoluta way!
Gena Dimitrova is pure dramatic sopran. Joan Sutherland dramatic coloratura and dramatic coloratura is mix dramatic with coloratura and Edda Moser is dramatic coloratura sopran too. Leontyne Price is Verdi spinto sopran, but Gena Dimitrova is pure dramatic sopran in the world, Kirsten Flagstad and etc...
@@Alexmeister25
Sutherland was a spinto trained as coloratura.
Edda Moser was a lyric with upper extension.
Leontyne Price was a lyric.
But you were right about Dimitrova.
@@draganvidic2039 Okay 👍🏻
Not sure I agree that Elina Garanca is an undeveloped soprano. There is a slight chance she might be. A lot of singers make woofy sounds these days making it harder to classify voices.
Also where is your proof that young singers should sing heavy repertoire early? Their bodies are still maturing. Dramatic repertoire would wreck their voices as it did Callas.
Such channels will accept that yells by mezzo 8:30 its a forced note, thats so obvious.
"Big sopranos", i hate that fantazies, you dont nothing on vocal.
9:50 another mezzo with screams, but constricted mezzo and ingolata.
11:04 already forced, 11:06 typical yells.
nilson is more free and has a chest, they both with garanca are not a singers. nilson singing in a wrong timbre.
16:24 so opened scream.
15:50 we can listen her mezzo timbre in action
What’s more, Isabel Leonard is a goddess. A champion of the art form, a passionate and intelligent musician, competent across multiple repertoires. How dare you pick at certain passages and then post hokey vaudeville crap from bygone years without a shred of sensitivity or nuance as the model of the future? Put up or shut up, i say. Where are the voices your methods have produced?
😂 go watch more old school singing
@ go listen to live music instead of in your basement on youtube
@@KhánhPhạm-v7k and again, where are the voices??? If your methodology is so superior, where is the proof? There is no vast conspiracy keeping them from a microphone, is there??
@@michaeltilley8708 that’s why you must watch, listen about old school singing
@@michaeltilley8708 btw Isabel Leonard sounds constricted, valsava, nasal sound
By definition, a soprano is a singer that has at least up to C6 with tessitura up to A5, any singer who has a problem with this tessitura is simply not a soprano by definition, that's why mezzo soprano (half soprano) category was invented. Bringing Callas or Ponselle to any argument is always problematic since both confused critics. You think Callas can sing few dozens of Turandot, Isolda, Brunnhilde, and Kundry if she wasn't Dramatic? I don't think so. Ponselle on the other hand always had more command on low range than high, and very soon she lost the soprano range and moved to easier mezzo roles like Carmen, hence I believe she was a real mezzo, self taught to be a soprano. Flagstad only struggled with high tessitura late in her career so she doesn't compare to Ponselle who lost it in her prime.
Maria callas was an assoluta soprano and Rosa Ponselle was a dramatic I think many people don't understand differences between sopranos and mezzos or spinto,dramatic sopranos.
@@Miyoshi186....Callas was a Dramatic Coloratura. These are the roles that fit her voice most magnificently . They did not fit her tempement however. Only when you can actually hear a voice live can you categorize a voice. Recordings are deceiving in both ways.... small can sound big, and big can sound small.
@@jimbuxton2187 assoluta
@@Miyoshi186 ....close maybe but no. Although she did sing a wide variety of roles. TOO many, too deverse... hence the short career.
@@jimbuxton2187 Callas was most definetly an assoluta , and also Virginia Zeani
Trying to copy me.
This is absolutely freaking ass ridiculous. way too much to read. this should have been narrated!