Wagner's Siegfried lasts for four and a half hours, and the tenor is on stage for most of it. When he performed, you could see his eyes looking inside of himself and exploring every part of his.
Pavarotti's spellbinding stage presence was conveyed by the sheer communicative power of his voice,. Many people have told me, many other singers have said, it's one of the most remarkable things about Placido,. I'm an opera singer, and I'm a tenor. Starting with that C. Mes Amis, sung by the character Tonio, is known for its many high notes. Mes Amis is an aria that requires very bright, very shiny, very luminous high notes. You don't know. That music is a yodel.
All singing voices have different zones, and it is the job of the professional opera singer to make the transition from one zone to the other seamless so that we keep the same colour of voice from bottom to top. The middle zone There's a reason why when you go to restaurants nobody ever plays a soprano voice, they don't play lower voices either.
Report message as abuse. Show original message. Either email addresses are anonymous for this group or you need the view member email addresses permission to view the original message. I've just watched all seven parts of this programme on YouTube, and I was most impressed. Enjoy it! It was a nice little tribute to Mario, and I thought Villazon came across as very sincere. The only niggling thing about it was that if you'd never heard Lanza before, you'd assume from the two brief film clips they showed that his voice was a bit on the thin and nasal side.
That's because both the Celeste Aida and Vesti la Giubba were running a whole semitone fast, robbing Mario's voice of much of its resonance. That semitone makes a huge difference, especially when it's young Lanza that one is listening to. I've just watched the first part, and Villazon does a terrific job of explaining the mysteries of the tenor voice.
Very enjoyable indeed. Off to watch the second part now! Enjoy the further parts and cheers from Susan. It was so well-edited and well-written. It's amazing how much was packed into a single hour, and it certainly clarified a lot me me as a non-musician about complexities of the art, of the different kinds of tenor voices--and oh yes, the High C--as well as demonstrating various musical points Armando has written about.
When I first heard Villazon quote Toscanini about Lanza and then say, I think a program like that--given the constraints of time and the numbers of themes that can be expounded has to choose its icons quite carefully--there's only room for a few among many possibilities. Lanza's inclusion says a great deal about his place in that long history of the tenor voice from castrati to The Three Tenors and beyond. When he's placed in context, arguments about whether he is or isn't an opera singer seem a bit off-point given the impact of his legacy both on individual singers and on the direction of classical music.
And then there's Villazon's parting comments about the importance of charisma for the tenor. Well, that's certainly never been a Lanza issue! Thank you very much for your post dear Lee Ann, it is a pleasure to read it. Best as always.
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