This aria was written for Farinelli (Carlo Broschi) by his brother Riccardo Broschi.
I upload it only for study because I am very interesting in the Vivica Genaux's phonation skill and appearance o...
This aria was written for Farinelli (Carlo Broschi) by his brother Riccardo Broschi. I upload it only for study because I am very interesting in the Vivica Genaux's phonation skill and appearance of mouth. You can see her lips oscillate rapidly like hexapod's wings and her mouth shows botchy "crying-face", but the voice is most wonderful. Genaux's skill is different from Bartoli's. Thanks!
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i am not used to this kind of singing...it did not sound good to me ...but what do i know.?...is it good to one who does listen to this kind of singing?can someone tell me
That is partially true. The connection of notes with that technique isn't regarded at as correct/appropriate neither stylistically nor technically.
Nevertheless Baroque music does tolerate less "tight" legato than other repertoires. In the melismi Vivica has a better legato and less intrusive H sound than say Bartoli who is the epitome of how you shouldn't sing these florid pieces because they result all staccati. Marylin Horne was another heavy "H"er, Ewa Podles is softer like Vivica
I'm gonna go on a limb and state the obvious: This aria is hard as hell to sing.
What I noticed is that they tend to use a glotal attack to the melismas. When she should be using the vowel 'a' (sounded ah) on the note, she tends to sing 'ha' instead. I think she does this because her breath support isn't really great enough to sing these arias "purely" (Castrati were known for their superhuman breath support and capacity).
I want to hear this sung without the glottal attacks!!!
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The way she articulates the melismi?
Nevertheless Baroque music does tolerate less "tight" legato than other repertoires.
In the melismi Vivica has a better legato and less intrusive H sound than say Bartoli who is the epitome of how you shouldn't sing these florid pieces because they result all staccati.
Marylin Horne was another heavy "H"er, Ewa Podles is softer like Vivica
What I noticed is that they tend to use a glotal attack to the melismas. When she should be using the vowel 'a' (sounded ah) on the note, she tends to sing 'ha' instead. I think she does this because her breath support isn't really great enough to sing these arias "purely" (Castrati were known for their superhuman breath support and capacity).
I want to hear this sung without the glottal attacks!!!
The sound is abit in the larynx in the fast passages between the lower and higher registers but she doesn't get abusively glottal as Kasarova does.
this is a brutal aria and just to hear her nail the trills so perfectly..whoa
I'd find it amusing to hear Bartoli sing this. She carefully avoided it despite having sung Sposa son disprezzata and anhce il Mar.