Cosi Fan tutte 1996 - Sextuor Act II

Susan Chilcott (Fiordiligi) Susan Graham (Dorabella) Simon Keenlyside (Guglielmo) Rainer trost (Ferrando) Erian Jaes (Despina)

Paris - Palais Garnier 1996

Category:

Music

Tags:

• Opera
• Keenlyside
• Graham
• Trost
• Chilcott
• Mozart
• Cosi
• fan
• tutte

[olympicfreak678]

WHY CAN'T THIS BE ON DVD!!!!!!!!

[missyfinlay]

i would love to be in this opera :)

[MaxwellsDemon9]

Miraculous!

[TedMichaelMorgan]

@KatherineXIX I have wondered about that!

[Yitzhakhazak]

@1401JSC

It is almost always a question of timbre, a French term, or Klangfarbe in German. Nasality can easily become a liability. Low male voices should maintain a degree of chest resonance even when supporting high notes in the nasal and oral cavities. A basso must sound like a basso, a baritone like a baritone. Only nasal head voice risks making them ridiculous. Some thinning is OK; full thinning sounds bad since it is not all the voice = all the timbre, the singer has.

[LPCLASSICAL]

You chopped the last note!

[disneylandman66]

This is the most perfect Cosi that I have ever seen

[NoirOrchestre]

that's not the seconde act, that's the end of the first one....

[1401JSC]

I call it "covering" the vowels.

It's more a question of timbre than technique. Perhaps chest resonance is used (Despinas high note is certainly not in this "voice".)

"Nasal" sounds exagerate the nasal vibrations that exist for head voice notes. Singers of medieval music may use it (Chaucer's Prioress "chanted in her nose full seemily"). Why should adding folk, jazz or medieval timbre ruin a voice that has a well-established technique?

[KatherineXIX]

I don't know, but what I'm wondering about is that really nasal voice most Despinas do for the notary at the end. Bartoli and Stratas, though, did it for this scene. It's crazy - I don't know how they don't wreck their voices!

[balanchinemachine]

Best Despina ever.