No one wonders why these operas ware produced with higher notes, everyone knows it was done with reinforced falsetto. This technique is fine for a leggero tenor. But orchestras are much louder these days. You are certainly not going to sing Verdi or Wagner with this technique, and that is the real issue. There are hundreds of professional leggero tenors these days, but there are no dramatic tenors.
“The dark side of the Force is a pathway to many abilities some consider to be... unnatural.” ―Palpatine 🤣 My throat hurts just THINKING about trying this. Steve Erkel talks the way someone needs to exercise to get the pharyngeal voice. "Did I do THAAAAAT?!" Your voice is amazing Alexander.
Thank you for this video Alexander: meticulous and most informative! I’ve been leaning in this direction for a while, not feeling fully satisfied by the expressive possibilities offered by the verismo-derived chest-dominant ideal that permeates modern singing and teaching (well, either that or a rather insipid “lightened” sound without much cut or presence). I understand from your video that you are a teacher and I would love to study this with you if you teach online and have the space and inclination!
Now I see that the SLS vocal technique (developed by Seth Riggs) is more in line with the original Bel Canto pedagogy, where there’s a even balance of the vocal register’s, through the use of the pharyngeal voice, that helps with the strong sounding high notes. I guess this is why many big sounding male tenors can’t sing good in their pure head-voice (falsetto) and tend to hit their vocal limit around the tenor high C. It was said the Adolphe Nourrit suffered with mental health declined and after much effort to engage in the new style, (Gilbert-Louis Duprez’s Chest High C) the tenor jumped to his death from a window of the Hotel Barbaia in Naples. But Duprez too, suffered his own consequences. Because the great number of performances he was engaged to and probably due some forcing of his singing, his career was short and he lost his voice.
you are EXACTLY correct, after MUCH research I have come to the same conclusion, and actually fear the possibility that we as singers were never supposed to sing works such as verdi's Otello with its huge orchestra, in HUGE theatres. Having travelled the world and gone to various opera houses, I have noticed that American theatres tend to have multi thousand seats, where as European Theatres tend to limit to about 2000 seats, often though max out at about 1500 seats. No wonder verismo music ruins voices in such a short amount of time.
@@downfromkentuckeh Where are these verismo singers? They certainly do not exist today. The singers of today does not sing with a verismo technique. Verismo came from bel canto, they are not completely alien styles. There is a whole recording archive of dramatic tenors singing Verdi for years from around 1900 - 1970. There are singers who sang Otello hundreds of times. These singers used to exist. Human evolution have not changed that much that dramatic tenors should simply have disappeared.
Thanks for this video! Very informative. If I understood you correctly, did you say that the epilarynx narrowing is responsible both for F2-H3 coupling AND for SFC?
The AES helps to establish the SFC and (according to Gunnar Fant) a decent narrowing of the pharyngeal space (by lateral approximation of the pharyngeal walls) boost the 2nd formant and increases the its frequency. The coupling F2/H3 is also depending on the vowel color (tuning the 2nd Formant to one of the harmonics - a typical resonsnce strategy for tenors).
No one wonders why these operas ware produced with higher notes, everyone knows it was done with reinforced falsetto. This technique is fine for a leggero tenor. But orchestras are much louder these days. You are certainly not going to sing Verdi or Wagner with this technique, and that is the real issue. There are hundreds of professional leggero tenors these days, but there are no dramatic tenors.
Sehr gut und nützlich Danke !
Frissell "The tenor voice" too
Very exhaustive, specific and precise. Highly informative.
Thank you!
Duprez screwed everything up for us for over a century XD
“The dark side of the Force is a pathway to many abilities some consider to be... unnatural.” ―Palpatine 🤣 My throat hurts just THINKING about trying this. Steve Erkel talks the way someone needs to exercise to get the pharyngeal voice. "Did I do THAAAAAT?!" Your voice is amazing Alexander.
So what does it sound like??
Thank you for this video Alexander: meticulous and most informative! I’ve been leaning in this direction for a while, not feeling fully satisfied by the expressive possibilities offered by the verismo-derived chest-dominant ideal that permeates modern singing and teaching (well, either that or a rather insipid “lightened” sound without much cut or presence). I understand from your video that you are a teacher and I would love to study this with you if you teach online and have the space and inclination!
That was a fantastic video, thank you very much for improving my understanding of the pharyngeal voice! I really appreciate it :)
Now I see that the SLS vocal technique (developed by Seth Riggs) is more in line with the original Bel Canto pedagogy, where there’s a even balance of the vocal register’s, through the use of the pharyngeal voice, that helps with the strong sounding high notes.
I guess this is why many big sounding male tenors can’t sing good in their pure head-voice (falsetto) and tend to hit their vocal limit around the tenor high C.
It was said the Adolphe Nourrit suffered with mental health declined and after much effort to engage in the new style, (Gilbert-Louis Duprez’s Chest High C) the tenor jumped to his death from a window of the Hotel Barbaia in Naples. But Duprez too, suffered his own consequences. Because the great number of performances he was engaged to and probably due some forcing of his singing, his career was short and he lost his voice.
you are EXACTLY correct, after MUCH research I have come to the same conclusion, and actually fear the possibility that we as singers were never supposed to sing works such as verdi's Otello with its huge orchestra, in HUGE theatres. Having travelled the world and gone to various opera houses, I have noticed that American theatres tend to have multi thousand seats, where as European Theatres tend to limit to about 2000 seats, often though max out at about 1500 seats. No wonder verismo music ruins voices in such a short amount of time.
@@downfromkentuckeh Where are these verismo singers? They certainly do not exist today. The singers of today does not sing with a verismo technique. Verismo came from bel canto, they are not completely alien styles. There is a whole recording archive of dramatic tenors singing Verdi for years from around 1900 - 1970. There are singers who sang Otello hundreds of times. These singers used to exist. Human evolution have not changed that much that dramatic tenors should simply have disappeared.
This helped me more in one viewing than all the hundreds of so called vocal pedagogy clips on TH-cam. Thank you!!!!
Wonderfully explained! Thank you very much! :)
🔥🔥🔥🔥🔥
Interesting ! This very high register is also a matter of air and breath support.
Thank you.
Thanks for this video! Very informative. If I understood you correctly, did you say that the epilarynx narrowing is responsible both for F2-H3 coupling AND for SFC?
The AES helps to establish the SFC and (according to Gunnar Fant) a decent narrowing of the pharyngeal space (by lateral approximation of the pharyngeal walls) boost the 2nd formant and increases the its frequency. The coupling F2/H3 is also depending on the vowel color (tuning the 2nd Formant to one of the harmonics - a typical resonsnce strategy for tenors).
@@alexandermayr5212 thanks for your answer :) - very informative!