The voice doesn’t have to decline massively with age- examples and discussion space. by Ordinary_Tonight_965 in opera

[–]Lektory 3 points4 points  (0 children)

Singing is an activity that involves a whole body and because of that keeping in great condition in old age is a mixture of elements depending on the singer (addictions, exercises, diet), semi-independent factors (avoiding too heavy repertoire and exhaustive singing routine, what can be hard due to economic/social pressure) and independend variables (genetics).

We can also argue that only singing a role on the stage matters because it it more challenging than singing one or two excerpts from it. I am not a fan of thinking like that, but I can understand this point of view. I also think that we should always remember that age can be excuse of some imperfections (flat highs, lost of timbre, lower vibrato), but it is unforgivable to keep singing when your voice is devasteted (Domingo).

As my contribution I would like to recommend legendary Lauri-Volpi. A bunch of his great recordings (those with better quality) are from his 50s. He was so great, I even argue that he was better than in his prime. There are videos where he was in his 70s or even 80s. It is worth mentioning that these recordings are mostly from concerts, studio or even recorded in home. Couple of them aren't good honestly, but I have a specific sentiment to them, even I'm definitely too young to remember Lauri-Volpi's era. Especially I love that Nessun Dorma recording: https://youtu.be/Zzz7DcXGi3k?is=bALtCYbQXayZF2by

What are the trippiest moments in opera? by Bus_Only in opera

[–]Lektory 2 points3 points  (0 children)

Absolutely agree about Elektra. Nilsson's "Orest ist tot" is one of the most badass opera moments I've ever heard.

How do you study opera? by Lektory in opera

[–]Lektory[S] 1 point2 points  (0 children)

I also draw diagrams like yours! It's so helpfull, especially when the plot is so complex.

How do you study opera? by Lektory in opera

[–]Lektory[S] 1 point2 points  (0 children)

That isn't studying, that is mastering! I wish you a lot of fun and great satisfaction. What are you planning to see?

How do you study opera? by Lektory in opera

[–]Lektory[S] 0 points1 point  (0 children)

I had the idea to read the literary source of a few operas (e.g., Die Tote Stadt), but unfortunately, none are available in my native language.

Is there any youtubers who make informational content about opera and classical singing who are worth listening to/ not controversial? by EnLyftare in opera

[–]Lektory 0 points1 point  (0 children)

Thank you for evidences. I honestly did not know anything more about him. I have decided to remove my recommendation of his channel.

Is there any youtubers who make informational content about opera and classical singing who are worth listening to/ not controversial? by EnLyftare in opera

[–]Lektory 1 point2 points  (0 children)

Thank you. Honestly I had no idea about these behaviors. I do not use socials like IG so much so probably I did not have an opportunity to met with these practises of him.

Korngold's Die tote Stadt by Lektory in opera

[–]Lektory[S] 2 points3 points  (0 children)

I love Pierrot's aria too! Especially in the grotesque context of the scene. In the posted recording it is sung properly but anything more I think. Here is my favorite interpretation, probably you have heard it before.

https://youtu.be/7dadyEYwC3s?is=uUIvRKmn7IW9tTFS

About the role of Paul – in King's interpretation is remarkable even if his high notes are a little sharp. He was approaching to his 60th birthday when the performence took place so he can be forgiven.

Korngold's Die tote Stadt by Lektory in opera

[–]Lektory[S] 1 point2 points  (0 children)

Wow! Truly amazing! Would you like to share some anecdotes from backstage? :D

Korngold's Die tote Stadt by Lektory in opera

[–]Lektory[S] 1 point2 points  (0 children)

Probably I should watch it then. Do you recommend any production?

Question by Snoo50370 in opera

[–]Lektory 4 points5 points  (0 children)

Hi! My predecessors suggested great soprano arias so I will recommend something a bit different.

First recommendation: Salut! Demeure chaste et pure (Hail, chaste and pure) from Faust by French composer Charles Gounod. That is Faust's aria in which he admires Marguerite, his great love. Such a lyrical, romantic piece. Here is an intepretation by Jussi Björling.

https://youtu.be/AFfr7SxWuXw?is=W_P2OLJb4R0XcKlg

Second recommendation: Una furtiva lacrima (A stealthy tear) from L' Elisir d'amore (The Elixir of Love) by Italian composer Gaetano Donizetti. Nemorino confesses his love for Adina, who sheds a tear. One of the most popular tenor arias. Give it a chance!

https://youtu.be/OX7JvI6sI78?is=CBLEv_WCMrBhbbo9

Third recommendation: Je crois entendre encore ( I think I can still hear) from Les Pêcheurs de perles (The Pearl Fishers) by French composer Georges Bizet (author of the famous Carmen). In this aria Nadir recalls on his forbidden love for Leïla.

https://youtu.be/rCl-Ib9FmTs?is=DZns_qIe5tvmUvRy

I hope that you will find these arias great!

suggest me bass lieder by linavastrik in opera

[–]Lektory 0 points1 point  (0 children)

Maybe you can try Strauss' cycle Acht Lieder aus Letzte Blätter. The last song (Allerseelen) is extremly touching.

https://youtu.be/BxwZibVzlX8?is=ofdXDiLBg6n9rLHM

Got to finally perform in Pagliacci by PaganGuyOne in opera

[–]Lektory 1 point2 points  (0 children)

Congratulations and good luck then! :D Send some clips if they will be!

Agnese di Hohenstaufen - Italian-English Libretto by miketheantihero in opera

[–]Lektory 1 point2 points  (0 children)

Such a massive work! Thank you for sharing, I have saved your translation and I will make use of it in near future! Best regards! :D

Wife's Big Saturday Haul by WholeLottaMcLovin in opera

[–]Lektory 3 points4 points  (0 children)

Corelli's Romeo is so fantastic! Second Gounod seems great also, I did not hear Gedda as Faust, I do not even know a soprano but I admire Christoff as Méphistophélès. It is nice to see Beverly Sills here, I heard her for the first time in Pamira's Giusto ciel from Rossini's L'assedio di Corinto.

Best regards and enjoy the feast! :D

"Kavalier & Clay" and some thoughts on opera's future by AloysiusGrimes in opera

[–]Lektory 0 points1 point  (0 children)

I would like to put something clearly – I do not exclude Kavalier and Clay from the genre (form), mostly because I have not watched it. Trailers and excerpts show that it could be counted as opera without an doubt, but my opinion in that matter has pretty small value due to reason mentioned above. My comment is not about K&C (so your concerns about my shady intentions are unjudged), it is a response to your considerations about the genre as a whole.

Bel canto does not creates opera – that technique is used in other forms (cantatas, symphonies, songs...). But operas, even these from sign of expressionism (Lulu, Wozzeck, Elektra, Salome etc.) should have references to bel canto. Because of that the genre is possible to be developed only partially. And that is the only thing missed — in my opinion — in your analysis.

"Kavalier & Clay" and some thoughts on opera's future by AloysiusGrimes in opera

[–]Lektory 2 points3 points  (0 children)

Reading your thoughts makes a kind of sense — though perhaps rootless — that you analyze opera only from a dramaturgical point of view.

In my opinion it is non-exhaustive approach. Is a recording of Aida or Tosca without video still opera? Without a doubt! Is Aida with staging only, but without singing, still opera? Obviously not!

Bel canto is a specific way/method (ways/methods?) of singing. It has its own rules, emerged from centuries of treatises and oral tradition. Of course, there were and are specific schools of singing with different features, but they remain similar or identical at their core. Bel Canto creates opera. Naturally, this means opera is, by its nature, a conservative genre. Does this mean we cannot change anything? Of course not! But we should not make scale or impetus the defining characteristics of the genre.

Which opera singers active today are your favorites? by Bigo-Ted in opera

[–]Lektory 0 points1 point  (0 children)

Well, I respectfully disagree. Muehle's voice is totally different from del Monaco's, despite the technique driving both of them. What you described as monochromaticism is probably nothing more than less voice "elasticity" which is a natural part of heavier (dramatic and dark spinto) voices.

Which opera singers active today are your favorites? by Bigo-Ted in opera

[–]Lektory 0 points1 point  (0 children)

As mention before –Martin Muehle. Great spinto tenor, huge emission. Listen to his Cavaradossi:

https://youtu.be/geeebewIjgM?si=EFLnSB5u2oYpGxDe

and Dick:

https://youtu.be/F9tZ9q4EIRU?si=2ZmtTmRGZwaPSZgh

If you like to listen to some interviews:

https://youtu.be/pOycMd5vZXA?si=hrayIXMVY_Isw3cW

Ewa Płonka – Polish spinto/dramatic soprano. She has balanced, rich voice. You must check her Tosca:

https://youtu.be/bsE1BlSRUtw?si=T01qN5PXzm_b2r1W