Why Opera Singers Lose Their Voices (Vocal Deterioration in Singers)
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- เผยแพร่เมื่อ 4 ก.ค. 2024
- Technical issues are inevitable if you are a singer. Even for opera singers with naturally beautiful voices.
Everyone has to learn how to build muscles, coordinate them efficiently, and do it in an artistic way. And once a voice is built, it doesn't just stay that way. It has to be maintained.
But then what? What happens when vocal issues arise? How often do we blame rep choices and forget the actual technique?
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Has to be Netrrebko. And now that I listen to her early recordings and have watched the severe and swift decline of her voice, I can hear the foreboding technical problems in early performances that I once thought exceptional. But she also tackles repertoire (often to tragic effect) that someone with her voice type never, ever should. Turandot, really? I just hope she spares the world Isolde.
It is true that wrong rep isn't a good idea, but as you noticed, it starts with the technique! Thanks for watching!
At least she spared the world her "Norma" - it was bad enough hearing her destroy "Casta Diva"!
@@kbhprinsesse Oh there's still time and enough poor casting judgment at the Met and elsewhere that we could hear her Norma and Isolde still. I shudder to think.
@@SteveL2012 so do I. That woman couldn't sing a single coloratura run correctly, even if she had a gun to her head!
Evan, recently I did an opera project with the great opera conductor Donato Renzetti. He told me that all young singers who rush on to the stage without having fully developed the necessary technique are condemned to a very early demise. He didn’t say that young singers should not be singing at all. But he believes that singers should only sing what they can handle at any given point of their careers.
Such a good point! Thanks for sharing.
Sills’ husband was extremely wealthy, so this idea of her wrecking her voice for money is absurd. What she said was she was willing to sacrifice a longer career for the artistic possibilities that heavier operas like Norma and Roberto Devereux gave her.
Very tempting!
Exactly right!
Lousy technique is taught in the conservatoires and by conservatoire-trained singing teachers, and this has being going on through a lot of the last century.
And I can't really blame anyone! You can only teach when you've learned. So I don't blame any singers or teachers for doing the best they can! But that is why I LOVE to share different approaches with my students!
Beverly Sills once said that she had to choice between saving her voice by singing less or singing more and making money. She chose the latter.
🤣 That's amazing 😆
She certainly sang more years than she should have. With her wobble, some of what she sang was painful to hear. (But we were so proud of her singing in her final performance at Wolf Trap Farm Park for the Performing Arts--except for a bit of understandable fatigue in the singing lesson scene, because of all the coloratura, she was her old, wonderful self again.)
Quite so, but early on, as in Baby Doe, she sang with almost unearthly beauty.
@@Arkelk2010 from what I've heard throughout her career, it sounds like she had great training, but she didn't keep up the technical work as she needed. I think she could've kept her voice much longer but she started playing with different techniques and things. That is my perception anyway, but regardless, she was an exciting actress!
@@orsino88 Yes, she had beautiful training, she just didn't keep with it (in my opinion!)
As an amateur who loves to sing, I took several years of lessons (while in a musical theater group) in my early thirties. My teacher was classically trained in the Bel Canto method; and I benefited from her understanding of the technical aspects of singing. Told I have a "pleasant voice" (ie not spectacular) satisfies me. At 76, I can still hit all my notes with ease; and have no dire consequences. Certainly the frequency of my vocalizing is rather minimal; yet it is very gratifying to still have the positioning and power to satisfy...myself!
Congrats! What a joyful thing to keep your voice and continue to enjoy it. Keep it up!!!
Very similar for me...
@@jaroslavsojka8266 Keep it up!!
I would like to point out as well that after 10-15 years the voice itself loses its freshness (this period is usually referred to as 'prime'). It happens to every singer, usually the first thing to lose are the high notes, and sooner than later the wobble starts to appear. Being by 20 years the ideal time to retire, and only getting up to 25+ years with good results (yet also some defects) those that did have perfect technique and that trained hard to keep the voice in pitch. Lilli Lehmann, Marcella Sembrich, Nellie Melba, Kristen Flagstad, Leyla Gencer, Franco Corelli, Giacomo Lauri-Volpi and Joan Sutherland to mention a few. Zinka Milanov also said it: "When you are young you sing on your youth, but when you reach 35 years old you have to depend on technique".
Thanks for your comment! Unfortunately, this has become the narrative for singers who don't develop a strong technique from the beginning or don't continue to train their technique (as you mentioned). But there is no reason why a singer should start to struggle in their early thirties. That is WAY too young. The main reason a singer develops issues in their thirties is technical problems (unless it is health or something outside of their control). Voices can peak in the forties, but that doesn't mean that the singing gets bad after that!
@@evan-dunn I agree, but I also think that constant singing without allowing the voice sufficient rest, and singing inappropriate repertoire for the voice also contributes to the decline. Singers often push their voices to sing roles that are too dramatic and heavy for their voice. They may last a few years, but then rapidly decline even if their technique is correct. Singers who want longevity in their career must sing with proper technique, but also be cautious in choosing roles that are suitable for where they are in their vocal development.
@@MaryBethMcCoy I agree 100%! Thanks for the comment!
@@evan-dunnmy voice is only just peaking now and I’m 64! Seriously, I sound better now than I ever did and have a great teacher.
@@celticlady4821 Brava! Keep it up!!!
Evan, you could not be more right. I live and work in singing in France, and there is a nonstop stream of French singers with pretty (not strong) voices that start promisingly, begin to show signs of wear in their 30s, and by their mid 40s they're singing jazz and show tunes because their technique sabotaged them. You have conductors telling singers to sing softer and softer, then other singers accuse orchestras of playing too loud. Keep posting these videos!
Thank you so much for your vote of confidence! Sometimes I wonder if I'm the only one who sees this?!?!
I have the same feeling sometimes. And no, you're not alone!
I won't name names in public but I think you know who I mean
@@tkmmusician yay!🤩
@@tkmmusician 😜
You have a picture of Caballe on the front, but considering she sang from 23 to 49 exceptionally well, and only then started to lose it, I think she did quite well for herself.
I completely agree! Notice that I used her as an example of fabulous singing at the end of the video ❤
I think singing too small can be just as damaging if one doesn’t know how to lighten properly. There are young dramatic singers who get ruined because their teachers get scared when they let the voice out, and force them to sing Mozart.
100,000,000% true. We haven't gotten so scared of pushing, that now singers are afraid to develop their whole voice and sing OUT!
Thank you for this exchange because THIS is my issue. My strength will shock me and I feel like it's not right for me despite my body telling me otherwise. As someone conditioned to believe that TRUE control is never using your full power, Big voices being boxed in isn't spoken about enough! @@evan-dunn
@@papajaighh2605 I'm sorry this has been your experience! I hope that you find your FULL voice soon!
100% agree. Technique is everything. One needs to keep studying even if one is a successful professional.
The crazy thing is that this happened to mythic singers of the past (Friedrich Shorr, Callas, Di Stefano, Ljuba Welitsch, Sills) but then they stopped singing. Today those singers with destroyed voices keep on torturing us! They become "dramatic" sopranos or "baritones" and butcher the greatest Opera roles out there. Greed...
Sills definitely sang roles that were far too heavy for her delicate instrument. Welitsch, I read, sang several times while quite sick and developed nodules on her cords, but that could also be because of her unrestrained abandon when performing. Callas had learned to sing with a statuesque and strong physique, and that's how she mastered her technique. She then made the mistake of losing one third of her body mass in less than a year, and the results were immediately audible to the discerning ear. I think this led to greater tension in her neck and jaw, and immediately we heard a decrease in power and plushness, thinner and more strident top notes, slower vibrato, slower trills, and less ease on the highest notes, and of course the infamous wobble, which became really audible right after the weight loss. Renee Fleming believes that Callas's avoirdupois was integral to how she supported her voice, and when she lost all this weight, she no longer could support the voice the same way. Phyllis Curtin pointed to the sinking chest and forward slumping shoulders as proof of lack of proper breath support. Callas herself said that she lost strength in her diaphragm, which basically means she lost her support. This didn't go unnoticed by critics either, as one of them wrote in '58, "There were sounds fearfully uncontrolled, forced beyond the too-slim singer's present capacity to support or sustain."I think this led to greater tension in her neck and jaw, and immediately we heard a decrease in power and plushness, thinner and more strident top, slower vibrato, slower trills, and less ease on the highest notes.
Thanks for your vote of support! I don't think that people should have to give up their livelihoods if they lose their voices. Especially if they still love to sing! Most of them could rehabilitate if they wanted, but that does take a lot of work!
@@Shahrdad Thanks for your comment! It is true that all of these singers had vocal issues, but I don't think for a minute that most people who have issues are beyond repair. Especially for losing weight! All it takes is training to regain coordination. 😍
@@evan-dunn singers of this caliber learn the basis of their technique in their formative years, often as teenagers. Once older and in the full throes of a career, it’s nearly impossible to relearn your technique. It’s just like how it’s impossible to lose your accent if you learn a new language after the age of 14. And as Renee Fleming said, had Callas been a soubrette, perhaps the weight loss wouldn’t have affected her much, but she was a dramatic voice singing the most difficult repertoire. And as Christa Ludwig said, a voice is like a raw egg: once it’s gone bad, there’s no fixing it. We saw the same change in Debbie Voigt after has gastric bypass.
@@Shahrdad Many voices have gone through technical issues in their adult years and taken the time to retrain it with beautiful results! Humans also can learn to speak languages without accents at any age! It's the difference between a fixed mindset and one of growth! I hope for you that you don't feel limited by being fixed as you were as child and I certainly don't hope that for myself, my children or my students!
Another common blame is a singer singing too much and overburdening the voice, like some have said about Callas.
There are so many things that can overburden a voice! But a healthy technique will help with a singer weather many more storms than if they didn't have a healthy technique!
Callas took on bad singing habits when she started doing recordings. Wasn’t just singing too much.
@@thepikapikachu119 I tend to agree with you there. But there were probably many other factors that we don't know about as well.
@@thepikapikachu119 correct. She lightened the voice through constriction (lessening her rich oscuro). She also used constriction to sing softly as her career got bigger and she started recording more.
@@thepikapikachu119 FROM QHERE DO YOU INVENT THIS?
Using Caballe to end the video was awesome.
Isn't she awesome!?
@@evan-dunn She's fantastic. She probably put on her best performance in her entire career in this Orange '74 Norma with Jon Vickers as her Pollione.
Indeed, considering how she also ruined her voice.
@@johnc.2683 ❤❤❤
@@johnc.2683 Sir, I agree. She was so powerful that night!!. I like her and Vickers together! She did say that was her best Norma. That was the evening with the Mistral winds!
Who is the singer in the video anyways? Perhaps Anna Netrebko? She used to be quite good but then she started singing woofy one day.
I don't like to say which singer I'm speaking about, but it is a common thing for a singer to start with a lovely voice and then discover technical issues down the road that they didn't know about!
@@evan-dunn Alright.
It’s Anna Netrebko
@@draganvidic2039 Oh okay.
@@draganvidic2039 😉
Thanks for this video. Particularly singers are reluctant to acknowledge any fault on their sides for their vocal problems. It’s quite sad and painful.
Thanks for your comment! It is a very vulnerable job and not every singer has incredible training. I really try to give each singer a lot of grace because I look up to them for bravely taking the stage!
She never developed the chest voice (thyro aretenoid muscles that brace the thought open) and never weaved it up throughout her entire range. It takes time to learn that. Pavarotti did a demo one time and said it might take you 10 years to take a good belted sound and have it be deep enough to be a great sound. Because of microphones, singers have been allowed to cheat and to not have to develop their instruments properly. Most singers aren’t sending the sound out into the hall these days. They’re giving a private concert inside of their own skulls to themselves and ruining their voices at the same time. The sound is swallowed, muffled, strident, wobbly, and wrong. Their posture is completely wrong, too; they don’t establish the acoustic box underneath their voice and sing on that air. They’re singing collapsed all the time and grinding their cords because of it. If you watch Birgit Nilsson, Mario Del Monaco, and Ghena Dimitrova, you’ll see how they stand and breath. They breathe all the way up to their first ribs establishing the acoustic box, stay upright, not pointing their heads downwards, and even lean back a bit to get the pipe as long as possible for high notes.
Bingo!
I am always a bit wary of people like you who pretend to know what singers who actually had a career should have done with their voices, what's you legitimacy ? I prefer an undevelopped chest voice to a very badly coordinated one that make you sound like a fish market seller.
regards
I really loved the perspective of this video. I definitely think it’s a combination of both; but technique is crucial. I had lousy technique for a long time and the moment I really started focusing on it is the moment my voice really began to blossom. I still have a way to go ((don’t we all)) and my teacher is very strict about repertoire which isn’t always a bad thing; I’ve sung a lot of different rep from Rossini mezzos to currently a full lyric soprano role (which is where my voice lies) and I’ve been okay singing both rep; I get cast as a mezzo very often for the sake of having a strong chest voice though I’m very much a soprano. Picking the right repertoire is important but when you have good, solid technique, it allows your repertoire to expand.
Really great video!
For sure!
This is a fascinating thread, and for what it's worth I am 53 and came back to singing only in the past few years. I can hit notes I could *never* as a tenor in his 20s and 30s, and I chalk it up to knowing my body and not treating my voice as a Faberge egg. Snging is an athletic endeavor and when I treat it as such, I give myself permission to take chances. Coming back to music in midlife was one of the best things I ever did for myself. And fun fact: my mother and Beverly Sills both studied with Estelle!
NO WAY! Thanks for sharing about your journey. I am CHEERING you on from afar.
Some names come to mind... Katia Ricciarelli, José Carreras (who were both mentored by Karajan who encouraged them to sing rep beyond their voices).
Also Jerry Hadley comes to mind, who at one point said that opera houses wanted him to sing lighter - and who later on in his career moved into surprising, heavier repertoire with a voice that, from what I heard, for a variety of reasons had lost the quality and shine of his heydays. Listen to a recording of him in the 80's, mid 90's, late 90's and early 00's and the differences are very obvious. Unfortunately he wasn't able to cope, unlike someone like Villazon who's had tremendous vocal challenges as well, but seems to have a found a fulfilling second career.
Thanks for your comment!
When I saw/heard that Carreras was recording so much of the early Verdi at a young age, I was disappointed... but, maybe that was his love of the challenge. He was only 40 when he was diagnosed with leukemia, so he lost a good 20 years of his career, and who knows how that might have gone. Also, at early stages of their careers, singers feel the need to take roles that they are offered; they may not be right for them, but they need to work and support themselves! I also think that as many singers age, they try to recreate tone like they used to, rather than negotiate with older, possibly thicker vocal folds...and, you have to have teachers that know how to listen and understand the changes of the instrument.
@@glgree1 So true! The training continues, doesn't it!
Hello, did you ever heard of an Italian contralto Bernadette Manca de Nissa? Sadly, she is really underrated and was famous only in Italy. I really never heard anything like this before. What a VOICE! Not only she's a REAL contralto (while 90% others DON'T) but absolutely outstanding technique, timbre and musicality! This is how a real "dark" and "big" voice supposed to sound: not wobbly, muffled and tensed but very clear, ringing bell-like (head resonanse) and effortless! It's truly a miracle that she was able to sing music EQUALLY good from Moteverdi to Puccini (and her Belcanto is above perfect). She definately had an "old school" training (unlike 95% singers of her generation). I can only compare her Mozart's arias to Baltsa and no one else.
I really recommend you to listed to one of her (there are very few) recordings and share your opinion
Thanks for the recommendation! I'll have to check her out.
If this the singer that I’m pretty sure it is, I was always fine with her. I found her just OK, and I didn’t get the extreme hate, but she gave a tremendously disastrous performance of my favorite choral work of all time, Britten’s War Requiem and I can’t unhear it.
It is already a hard piece, but if you have technical issues it's got to feel impossible!
Someone said "who can make music, simply is the one who does it, who can make it a little bit worse, is the one who teaches it, who makes it even worse is the one who manages it, and who is not able, just criticises it" this video has clearly been made by someone who doesn't sing, it is so obvious. If this person is singing, that means he/she doesn't truly make music
Thanks for your comment! I am a singer, and I think that learning the art of criticism is essential to learning to sing like the greatest singers in history. Here is a helpful article. I'd love to know your thoughts! www.evandunn.com/media/why-we-should-compare-singers-and-do-it-nicely
I think that not only should you develop your own muscles before you sing, but also when singing opera don't sing Wagner too often and don't waste all of your energy when practicing every day. I think that singing Wagner is very healthy for your voice, don't get me wrong, but the singer also needs rest days in which they only do milder and softer operatic warmups.
Rest is crucial, for any repertoire! Thanks for your comment!
@@evan-dunn Yep!
Wagner's healthier for the voice than Verdi and Strauss. It's just that Wagner writes primarily in the middle over a loud orchestra, thus requiring a "true" dramatic voice. (Late) Verdi, and Strauss, utilize dense orchestras, but the "money" notes are primarily in the upper register, and thus easier to cut.
A spinto soprano can sing verdi, and a spinto tenor could sing almost all verdi (the early operas would be most difficult for him as they're exceptionally high in tessitura). A spinto tenor can sing Wagner, but his voice will probably go the way of Heppner, Svannholm, or Lorenz. You need a Suthaus for that shit, and unfortunately they're rather rare.
@@alleviation91 I don't agree with you on the voice type of Max Lorenz though. I think he's a true heldentenor. Not quite as "dramatic" as some of the especially heavy heldentenors (such as Lauritz Melchior for example) though, but his voice reminds me a lot of that of Helge Rosvaenge, whom most consider a dramatic tenor. And when comparing him to a younger Melchior when Lauritz started singing heldentenor roles, his voice really isn't that much lighter, only by like a little bit. Not all people of the same voice type and subtype are going to sound exactly 100% the same.
In Heppner's and Svanholm's cases, though, I think it's debatable. Svanholm, imo, belongs to the jundelischer heldentenor fach within the German system, which includes singers who would be considered spinto tenors in Italian operas and also includes lighter dramatic tenors. So in Svaholm's case, I think I definitely agree with you that he's not quite a full heldentenor. I do wonder sometimes if, in the Italian system, if he'd be considered a heavier spinto tenor or just a lighter dramatic tenor. In Heppner's case, however, I'm not sure because I haven't listened to him a ton. He's kind of debatable between a heldentenor and a jundelischer heldentenor.
@@alleviation91 But yes it's correct that many spinto voices can sing Verdian roles just fine (such as Franco Corelli, whom was at core a spinto tenor but sang almost dramatic-like at times due to his amazing technical abilities).
So grateful to youtube algorithm that brought your channel to me. Thank you so much for your enlightenment. As an amateur, it puzzled me so much about the fancy of Nett and now I know. I only heard voice going from bad to worse. Could not believe the first part was from hers. Can't agree with you more. not the choice of repertoire but the flaw in the techniques.
I'm so glad you found it helpful! Thanks for watching.
Wow, I couldn't even tell the first two clips were Netrebko until I heard Vieni t'affretta. I forgot what she used to sound like in her early career. World of difference, but yes, even early on you can clearly hear the technical issues waiting to develop into a monster.
Crazy, right?!
@@evan-dunn crazy sad honestly. The state of her voice these days is... Well we all know. Lol
@@JacquelineLanceTenor I know 😭!
I remember some people said it was her overuse of glottal stops that separated out her registers
Could be, but what do you mean by separated out registers? I've never heard this particular singer ever achieve a chest dominant sound.
@@evan-dunn evenness from the top to the bottom of her voice. It's a common notion in classical singing to achieve this evenness from the bottom of the chest voice to the top of the head voice.
@@danielhanson3200 Yes, in fact I think it is too common a notion. That is the main reason why many female singers choose to sing entirely in their head voices. That way they can avoid having any breaks! But you are right that singers should be able to smoothly transition as an artistic choice, but they should also be able to make drastic shifts for different artistic choices. That all comes from singing freely in both registers and then coordinating them properly.
She - and we all know, who she is - she has lost her innocence....this is what narcissism causes.
Ummmmm . . . not I, as there are numerous possibilities. Care to divulge?
@ulrikewermann1268 Well, as with anyone, I hope we can give her the benefit of the doubt. I have certainly never walked a mile in her shoes! There is enough hate in this world ❤
@@richardcleveland8549 🤷♂
Altri motivi possono essere quelli che toccano i nostri sentimenti, i pianti, le urla, tutto fa, e incide tantissimo sulle corde vocali, quindi non solo una tecnica sbagliata o un repertorio non idoneo😢
Totally! Thanks for the comment
How long does it usually take for a singer to perfect their voice? I want to learn opera and I’m in my mid 20’s
That is such a great question! Training the whole voice takes a lot of time, but it definitely depends on many factors. The most important factor is whether you are training with a really great teacher or not. Many students train for years, only to realize that their ladder was up the wrong tree. But if you are in your mid-twenties, you find a great teacher, and you work hard, you have plenty of time to reach your full potential!!! Hope you enjoy the journey 😍
@@evan-dunn Thanks. Yeah that’s my concern. Finding the right teacher
@@ambersummer2685 I'd be happy to meet with you and see if we are a good fit for each other, or give you some recommendations as well. Check out evandunn.com if that would be helpful.
But otherwise, there are a lot of teachers, and if you are persistent, you will find the one that helps you accomplish your goals. It just might take a few tries! All the best!
@@evan-dunn I’d have to email you correct?
@@ambersummer2685 Fill out this link! www.evandunn.com/get-started
Would you do a video of Sumi Jo? As she has one of the best techniques
Thanks for watching! I would like to do a video about Mariah Carey 🤩
I may or may not know something about vocal technique....I didn't know anything about "having a voice" until I was 28. Then I began lessons which I took very seriously ie practiced a lot. First, 5 teachers taught "mask singing"; the mask being the sinuses on either side of one's nose. After a long hiatus, I went back to lessons when I was 65 years old...a bit of diversion in retirement. A passing mention was made of "open throat" singing.....followed that lead to info on Web, and discovered over a period of 3 years and extended range, up and down, the includes in warmup a resonant 5 octaves ( I know...sounded like BS to me too, but teacher and I kept exploring it. Seems real enough) I have never heard myself. Could sound like a cat in a Cuisinart ( haven't heard that either), but I like to think that not the case as technique that allows for that range might allow at the same time a decent sound. What underscores all this, may be my fascination how so many serious singers appear to do NOTHING in terms of regular aerobic exercise or strength training. I think that would be my good luck in all this given that I began so late. It would seem to me that at every level of sound production, there is something that can be learned or applied from what constitutes "physical fitness".....
Open throat! It's the only way to sing opera!!! 👏❤
This video is so important! It's 99% a matter of technique and not repertoire. Great singers of the past sang a Wide repertoire. Caballé was a lyric but she sang Norma or Salomé! Maybe not her best roles (that is personal taste).
Steber sang also a lot of different roles and they could do it because of their well developed technique.
Thank you for the video! ❤
Thanks so much! This conversation obviously deserves a lot of nuance, but I think it is an important conversation to have! Thanks for joining in.
Hi there. I'm an opera student at state conservatory. I'm learning garcia method and I wanna use that echol. But I'm trapped between old and new technique. I see methalic, voices. They can acting with that, they voices are big and strong. Well, I want it too. To be honest the garcia method is not simple. I know. If we learn this technique, we have to find true teacher. I'm still searching, what is the true method? I'm 20 now. And I met many teachers, but at this point everyone saying different things, unfortunately. Not so diffrent by the way, they are talking about same situation but also they are not. Someone says, you have to use core area. Someone says we have three rezonator areas. head, larynx, diaphragm...someone says just two. diap and head. I don't understand really I'm gonna cry. Teacher's technique is everything for you because they learn something and teach you the same thing. Leyla Gencer was so lucky...She is my queen and she was the queen in opera world. I'm from Turkey by the way. Hiagain... I'm Azra Ada Akan. In the future, I want to be a great opera singer. I can't speaking english very well because it's 03.08 am here...I'm still working :(
I understand the frustration! But just keeping looking and you will find what you love! I have a student from Turkey. That is the beauty of modern technology. We can all stay connected all the way around the world. Take care and keep finding joy in your singing! 😍
Stop being brainwashed by anonymous autoproclaim singing teachers on youtube in the first place, that might resolve your problem. There are no oldschool and new technique, there has always been bunch of people disagreeing on how to sing correctly that's the truth, find a good teacher, a real one who doesn't give you lectures via avideoconferences but in real life, there must be some in your area if you live in a place where classical music tradition is still relevant.
@@aurelbarre95 Of course I'm working with opera singers and they are also teacher. I think you are riht, in opera we have a lot of singing technique. I understand that I have no problem with that. My problem is, everyone saying ''I'm right. My technique is the true one, accept it.'' because of those sentences, I'm very scared because I use my voice perfectly. But which one? I'm trying to find a good teacher. Thanks for your commend by the way.
@@aurelbarre95 Thanks for your comment! I have to respectfully say that if your approach would fix everyone's problems, then there wouldn't be people searching for answers online. It may not be the approach that helps you accomplish your artistic goals, but that doesn't mean it isn't helpful for someone else. I hope that everything goes well for you and you keep finding joy in your singing journey! Keep it up! ❤
You should have used Callas as your example. Love her drama and attention to the music, but I still find many of her recordings difficult to listen to. She would have been a perfect example for this exercise.
She is magical, isn't she?!
I agree! I also am not fond of Callas. Great interpretation but her technique on many of her recordings is not good.
@@MaryBethMcCoy But I LOVE that drama 😍
It's is always by singing too loud and singers who didn't, could sing till the and, like Rothenberger, Deutekom and Marta Eggert etc... or the one and only Anna Moffo, never sang too loud and let the voice dance in the throat, not pushing forward!
Thanks for your comment! Pushing the voice is dangerous, but it is just as dangerous to under-sing which is what happens to singers at universities around the world. Every opera singer should have a big, free, released voice. So anyone who is worried about singing too loud doesn't know what true operatic technique is! And those who are trying to push their voice also don't know what a true operatic technique is. Hope that makes sense! ❤
@@evan-dunn It makes sense ofcourse, but not always important too have a big voice, while the sound reach also at the end of the opera houses and makes people believe what they sing!
Legato and vibrato will come natural and that's why Marta Eggert could sing until the end of her days, that was the question i thought, while singers don't damage their voices, as so many did!
@@familypondman Deutekom had a big voice. I found Marta Eggerth's voice pretty and very typical of high sopranos. She never developed oscuro in her voice.
@@familypondman There are obviously different sized voices, but all operatic voices should be BIG! That's the whole point, to create an exciting sound over an orchestra and fill the whole house with sound. And I would say that most of the people you commented on had large and projected voices! They didn't push, but they could sing big, and that is important, even if they didn't have voices the same size as Nilsson.
Unfortunately, legato and vibrato don't come naturally, which is why so many people struggle to achieve them. Singing is really hard!
@@evan-dunn I am sorry, they should not be big, but have to have sound of their own, not big noice!
That is the reason voices will be broken constantly en the sound even from MDM was bad, while he was pushing to hard, listen to his early recordings!
The sound is exiting or not, but do you have a big voice it's something that will be great too!
When I was there when Deutekom sang, the most beautifull thing of her was the high soft notes and you did hear them also everywere!
Legato and vibrato comes natural, while the singer let it flow and otherwise they have to push again, while trying to make a big sound and Deutekom never did, not bigger then her voice could, she knew how to let it stay dancing in her throat!
Vaya!, veo que hay mucho experto en voces operisticas por ahí.....sólo hace falta darles una excusa para que suelten todas sus sandeces.Que facil y gratuito
resulta criticar.
Thanks for your comment! Learning how to critique is a crucial part of learning how to sing, and teaching other students to sing. It definitely isn't easy! Here is an article on the topic: www.evandunn.com/media/why-we-should-compare-singers-and-do-it-nicely
It's called Kremlin's money. But some really good new channel, nevertheless.
Money speaks volumes, doesn't it!?! Thanks for your comment!
Hi, buddy!
Hey friend! Good to see you here! Hope you have a lovely weekend ❤
@@evan-dunn Awww, thanks! I will, and I hope you do the same. 😘
Una de las causas es que todo envejece. Fin.
Yes, but the voice ages healthier with healthier technique! ❤
People love to bash Anna Netrebko. It's quite boring at this stage.
Thanks for the comment! That's why I NEVER bash on another singer. I think every single singer should be doing exactly what they are doing . . . performing their hearts out! But that doesn't mean there aren't helpful things for us to learn from them! Thanks for watching.
Anushka sounding as she always does..OLD!
It's so sad 😭
Poor her...I walked out of a performance with her and Rolly Villazon...what a pair of imposters...
@@p.w.e.2374 I have to give them credit for getting out on the stage and performing! It takes a lot of bravery, ESPECIALLY with vocal issues. I cheer them on for that! 🥰
@@evan-dunn Not me...She has zero stage presence and he seemed like a cross between Natalie Dessay and Roberto Benigni on cocaine...oh well, opera is a weird sport.
@@p.w.e.2374 That's OK, I understand the frustration.
Who is the singer?
Thanks for watching and commenting! I don't share names of singers when I'm critiquing their technique. I try to respect each artist for the work they do, and their bravery to get on the stage and share their artistry. Thanks again for being here!
No problem, thank you for the reply. I asked in case you were showing a "famous" example.
@@matildevozza7952 Thanks for understanding, and yes, this is a very famous singer.
To me she sounds like Anna Netrebko, but I can be mistaken, of course.
@@Kyrillzak
It’s her
Anna Netrebko
🤷♂
Netrebko
🤷♂
These singers sound awful!
I specifically chose a singer with technical issues to tell their story. Thanks for watching!
@@evan-dunn lol
@@opheliumzone4671 😜
After 15 years! You are absurd.
Thanks for watching! Would you like to expound on what you mean by 15 years? Thanks 🥰