Truth about Opera Today: Miscasts, dangers of (dramatic vs lyric) Русские субтитры

Politically Incorrect, but true...
Are true opera traditions slowly dying?
Who should be in charge of opera?
Why many opera fans today find opera production unecceptable?
Should Opera be as popular as Broadway or it should stay as elit art form?
Is Popularisation of opera contributes to a lack of taste?
Should Opera come down to masses, respecting their taste or it should bring masses to it's depth?
All is discussed in this video.
Join true opera fan club and support the idea!!!
Что обуславливает распределение оперных ролей или как подменяются основные понятия оперы:
В программе обсуждается тема подмены понятий в современной опере, когда лирическая интерпретация героических ролей подается как истинная, Радамеса поют Неморино и наоборот. Эти ошибки были всегда, но сегодня такой неграмотный подход используестя выходя за рамки приличий, главным образом из-за привлечения режиссеров в жанр о котором они имеют весьма смутное представление, а также использование микрофонов в опере дабы неопытные, но молодые и красивые певцы, которые привлекают внимание публики, мало смыслящей в драме но составляющей т.н. демократическое большинство, оказывать влияние на великое исскусство.

Category:

Education

Tags:

• belcanto
• vs
• dramatic
• verismo
• art
• verdi
• leoncavallo
• mascagni
• helden
• tenor
• soprano
• problems
• in
• today's
• modern
• opera
• miscast
• singers
• Советы
• молодым
• оперным
• певцам
• Проблемы
• современной
• оперы
• и
• голосов
• Подмена
• понятий
• в
• опере
• оперные
• режиссеры
• сегодняшних
• дней
• марио
• дел
• монако
• мельхиор
• гедда

[LisaAlbiez]

I disagree with your theory. I don't think there is a predestination of a voice-type. The only difference between voices is their height. I've posted a video to explain myself a little better...

[TenelliVoiceGuru]

@LisaAlbiez Where in the video did I say there is a predestination of a voice type?

Voice type always a mistery...

[LisaAlbiez]

@TenelliVoiceGuru Othello cannot be sung like that because its too dramatical, but most tenor and soprano roles in the italian repertoire have an ambivalence (especially the females in puccini or verdi-operas). In the last 30 years the lirico-spinto.singers vanished. Left are the very soft (in their expression limited) lyric voices and the extreme (sometimes ugly) dramatic voices. What do you think? Lisa Albiez

[TenelliVoiceGuru]

@LisaAlbiez I do not disagree with you. I have an expereince of doing roles from Don Ottavio to Calaf and Otello. I know it not from books or other singers hearsay.

On the count of a dramatic tenor I disagree(I'm a dramatic tenor). Italian Dramatic tenor is not just a loud and dark voice. It should be full of nuances. Otello requires both Fortissimi(Esultate) and ppp (Dio mi potevi) but few singers managed to sing it as Verdi required, including very first Otello(Tamagno).Heroic is more static

[Cesaare]

Wow! What a powerful message,Opera istablishment is gonna hate you Franco for exposing their ignorance.

Wow and bravo

[TenelliVoiceGuru]

@Cesaare If I'm sacrificed for the sake of art, that will be an honour:)

Establishments always have their hidden interests, in this case "under popularisation of opera" the message is make more money. They cannot make money if art is not popular. Opera, like real drama(Shakespear, Schiller, Goette) was not, should not, and will not be popular, unless we make easy adaptations like: Bible for kids, Phylosophy "Idiot guide"(I'm serious: there is a book sold in Canada), Dostoevsky easy reading:)

[MisterPapageno]

I give you a practical example: Oksana Dyka performed at la Scala in various roles (Nedda, Tosca and last Aida) and she really sucks!!! But she has her agency (IMGartists) and Maestro Baremboim that support her, so though she is technically one of the worst singers on stage, she sings!

[MisterPapageno]

The main problem of opera today in Europe especially is:

1) total lack of education of the artistic directors;

2) ignorance by the conductors of the voice;

3) opera houses, especially in Italy, take their singers from agencies and they make this "process": Opera house is looking for singers for a title -> it calls an agency -> the agency gives the singers, not regarding if they are ok or not.

[ididete]

@LisaAlbiez Sorry to disappoint you. Del Monaco's voice was HUGE. Pavarotti's was medium size.

[LisaAlbiez]

@TenelliVoiceGuru I didn't say that YOU are one of these ugly dramatic voices ;) On the contrary. By the way: I love your channel!

[LisaAlbiez]

@TenelliVoiceGuru Del Monaco shows more aggression, Pavarotti, as all modern lyric singers specialises more in the in the soft feelings. About 30 years ago, lyric singers had the so called ability to do spinto. They were able to switch between the soft lyric sound and a more aggressive tone (in dramatic phrases and in high notes).

[LisaAlbiez]

@TenelliVoiceGuru There is also a difference between their techniques and I agree with you that Del Monaco has the better one, but in my opinion the difference shows only in the high notes. But its not as easy as you demonstrate it. The main difference between the two techniques isn't the colour of the sound (The colour is given by the size of the larynx)

[LisaAlbiez]

@TenelliVoiceGuru Sorry for my cryptic post. I want to try a second time to explain a bit more extended what I mean. In my belief the difference between Del Monaco and Pavarotti is primarly the hight of their voices. Del Monaco has a bariton-like profoundness, Pavarotti has a higher voice and sounds therefore more like a "bell".