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





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Published on Dec 13, 2011

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.

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Comments • 53

@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
Not realy, I loved the dramatic, dark voices. I thought I was baritone. My teacher said "ney" you are a tenor, dramatic one...that's how it started:)
Samuel Karlberg
I think Gedda did a few Lohengrin performances on the royal swedish operahouse in Stockholm 1968. He felt the role made his voice lose flexibility. In all aspects of how todays singers compared to the early 2000th century with Caruso, Gigli, Lauri-Volpi and Pertile or the 1950-60th with Del Monaco, Corelli, Vickers, Bjorling, young Di Stefano or even Luigi Alva. There is a major difference between recording an opera and performing it. Pavarotti recorded Othello but never sang it on stage. Bjorling recorded Calaf but never performed it. I sang the cotempalary role of Flavio in Norma  and the leading tenor were a very lyric tenor with a bad technique (very nasal tone) but the one that cast the role liked him as a person and his
I almost find it misleading when I read descriptions like heldentenor is the heaviest most baritonal dramatic voice. When I see all through history countless lyric tenors classifying themselves as heldentenor. One is describing theory the other reality.
Well to be fair with in fernem land, I know that's often more of a jugendlicher heldentenor role. I am conflicted on this because when I look through history there are countless examples of lyric singers cast in dramatic roles, so there is a historical precedent. I personally am a dramatic/heldentenor, and so I try to look at it unbiased. I would also like to see more accurate casting as you say, but history is showing otherwise. Most of the famous heldentenors of all time were jugendlicher heldentenors, not what anyone would classify as real heldentenor.
Typical dramatic tenor voice is a tragic character(Otello, Canio etc..). Even in ancient Greek tragedies "Iratoide"(Low voices) that were used as tragic characters. With all due respect I will never accept A.Krauss type singing Otello's "Dio mi potevi" no matter how well it's performed. As for Verdi voices:they were developed along Verdi's opera pieces. Among those who sang in 18 century, only few recorded(Tamagnio, Caruso) and recording quality is so poor we cannot really have an opinion 
First Del Monaco had a bright rather then dark voice unlike Giacomini. Second, why dramatic voice requires preferably darker quality? because throughout all vocal traditions dark voices represented that type. Tamagno was Del Monaco type of a tenor and Verdi in his letters had doubts about him. All the real dramatic roles before Otello were given to relatively bright voices like MacDuff or Riccardo(Ballo). Typical tenor voice is a voice of a seducing lover-bright type. TBC...
I've never heard him live either...
Maestro--did you instinctively "know" you were dramatic? I have had a teacher insist I sing lyric arias because I am new to this. [background musical theater]. It feels restricting --as if I am using half my body, half my voice --it's uncomfortable. When I sing dramatic arias on my own--I find it easier to sing the same pitches full voice . Dramatic arias don't feel "heavy" or "difficult" to me --they feel natural --relaxed, easier. I'm a soprano often mistaken for mezzo due color.
Omar Bowey
by the right conditions being met with a free voice, not placement
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