Handel - Rodrigo
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All Comments (23)
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1. It's irrelevant to the discussion whether modern mezzo soprani sing this role today or not. Rodrigo is designated 'soprano' in the score, and the early 18th century did not recognize the 'mezzo-soprano' as a voice type.
2. He is not a countertenor/choir alto. He is obviously attempting the connection of head and chest registers, as ALL castrati (Tosi, Tenducci, Mancini, etc) writers considered essential to complete singing. His being a man, not a castrato, makes this harder.
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@hugolight I understand your terminological choice/preference but a male soprano can also be called a counter tenor. Now I do understand that he is singing in modal/soprano voice not in falsetto, so I understand your preference
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The Role of Rodrigo is a solid mezzo-contralto of today, not soprano. He was sung by Banditelli and Wesserling in the recordings.
His voice anyway is not good, he doesn't have the support for low notes at all and in few occasions he is forced to move to the bariton register (something a counter should not do). Besides, it is very small and with shaky intonation.
He tries to mask his technical deficiencies with the spectacular (but empty, in my opinion) shouts in the acute part
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The lowest note in this piece is a low F#. That is still within a true soprano's range...a male soprano. You can find the same note in several pieces for male sopranos like from Mozart (Lucio Silla).
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Sorry... But there were notes sung that are NOT in a sopranos' true range... I am still not convinced that we have a true understanding of what's going on here. Someone care to explain? Dispassionately, please...
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crouch and crawl actually.
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oops, I meant "audience OR the orchestra"
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crouch?
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as desirable as it is to understand the words, it is not so necessary with such a superb voice. People used to wonder even what language Joan Sutherland was singing in....who cares with a voice like that!
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I missed the post you are replying to, but I had to reply to you to say I agree completely with you. I heard Robert Crowe today in solo recital of three Carissimi motets and his line, range, diction, dynamics, and expression are astounding. Really the most lovely singing I've heard and I've been a professional accompanist for singers for 33 years.
Bella voce, costumi e scenografia invece lasciano a desiderare per rappresentare il barocco
Athys700 3 years ago 8
Beautiful! great voice!
Athys700 3 years ago 8