Dang simulpost!
My last response was for aschrott.
But thanks also to Wally. Any other suggestions for listening?
Tinker
Well, I’ve seen Kathleen Battle in a recital, and I thought she was pleasing to the ear as well as to the eye. 
Well, I’ll take your word that she was lacking in attractiveness… but these pencil-thin Callista Flockhart-types hold no appeal for me. I find women more attractive if I don’t have to worry about accidentally breaking them.
I saw a woman play Gilda in Rigoletto that was on the heavy side, but had a smoldering sexiness about her. It was amazing - she was projecting naivete and sensuality at the same time, and frankly I was rooting for the Duke, so I could live vicariously through his seduction! Not sure what that says about me, but I digress…
In short, it’s not the weight – it’s the ability to project the character to the audience.
- Rick
I’m not surprised that you have that experience with opera on TV. The real beauty of the operatic voice only comes to light when heard live, in person. The sound requirements of broadcasts require singers to be miked (sp?) “up close and personal”, which cuts most of the overtones out of their sound.
You may very well have heard muddy singing–I can’t say–but I would encourage you to go and hear something live if you get the chance. It’s a completely different experience. I would liken the extent of the difference to that of talking to someone on the phone vs. face-to-face conversation. Not only can you hear them fully without any intervening media, but you can see them and feel their presence as well.
“I never forget a face, but in your case I’ll make an exception”
–Groucho Marx
Yeah, I realized after posting that I got sidetracked on the whole “weight” issue. You are absolutely right. A person who gives a committed and interesting performance will keep my attention 9 times out of 10, no matter what they look like. I would propose, though, that roles like Carmen require a little more care, just because opera is seen at a distance and appearance adds to her sexiness. Of course a person doesn’t have to be “beautiful” to be sexy, but from the back row it helps.
“I never forget a face, but in your case I’ll make an exception”
–Groucho Marx
Where do you guys go to hear performances? It sounds like Wally and Bricker, especially, have seen quite a few productions. Anything particularly good recently?
Also, it occurs to me that, with the exception of Eve, all of the posters to this thread are men. No point–just an observation.
“I never forget a face, but in your case I’ll make an exception”
–Groucho Marx
I live about ten minutes from Washington DC and about fifty minutes from Baltimore. So I am fortunate enough to be able to draw on two cities’ opera season – in addition to the fact that I travel to NYC frequently - usually more for Broadway than opera, but occasinally I’ll treat myself to something at the Met.
Most recently? I’ve seen Don Giovanni, La Traviata, Rossini’s La Cenerentola, Rigoletto, Le Cid, Julius Caesar, Tosca and Otello. Whew.
It’s been a good year.
The upcoming season is very good, too, as it offers some newstuff, rather than the same lineup we see recycled year after year: Don Quichotte, Il Trovatore, Parsifal, The Consul, Turandot, Le Nozze de Figaro (OK, this one’s a repeat), and Don Carlo.
DC is a great town for opera.
- Rick
I’ve never seen Julius Caesar to this day, but I’ve seen all the others that Bricker mentions. This is over the course of many years, as we only see one or two a year.
I’m surprised that La Boheme wasn’t mentioned. I never tire of it.
I’ve never seen Julius Caesar to this day, but I’ve seen all the others that Bricker mentions. This is over the course of many years, as we only see one or two a year.
I’m surprised that La Boheme wasn’t mentioned. I never tire of it. Aida, on the other hand, doesn’t do much for me.
Go figure.
Sorry for the double post.
Wow–that is a good season. I actually grew up in Catonsville, MD–only three minutes outside of Baltimore, so one of my personal career goals is to sing there. We’ll see (I have some connections, but I’m still a bit young…)
Do you remember who the countertenor was in Julio Cesare? I would love to see Don Quichotte–I have a bit of an obsession with Don Quixote. Have you heard the Don Quichotte songs by either Maurice Ravel or Jacques Ibert? Both sets were written for a French film version of the Cervantes story, and they are wonderful.
Wally, are you hearing most of your shows in Toronto (I actually don’t even know if they have a house or not)? In my opinion, Canadian singers have it easy because of your native content laws. They can work here without much trouble (except for the usual visa hassles), but we don’t get invited to sing there much unless they reeeeally can’t find somebody Canadian.
I said:
:o
I have two questions, one conjectural and one practical.
Why aren’t more compelling parts out there for baritones and basses? As a baritone myself (onstage work limited to Gilbert & Sullivan :rolleyes I find the deeper, richer tone of these voices much more interesting than the reedy wheepling of your average tenor (apologies if you’re a tenor, or at least an average one).
Second, can you offer any practical advice on how to improve my voice? I’m thinking specifically about expanding my upper range and improving my breath control here.
Live a Lush Life
Da Chef
Hi Troy–
Every opera is about a soprano who wants to marry a tenor, but who has already been promised to a baritone by her father, the bass.
Seriously though, I have three (or so) short answers to your question–all of them are huge generalizations.
**(1)**At times in history certain voice parts have been associated with types of characters (ie. villains, heroes, buffoons, ingenues, etc.). Unfortunately for those lower-voiced men among us, the bass and baritone voices haven’t spent much time in the “hero” category, and have spent lots of time in the “supporting character” bin.
**(2)**Since the voice of a character is his/her primary expressive tool, composers tend to choose a voice type that seems to fit the characters age and nature. Lower voices naturally strike listeners as more mature, and at times even sinister (notice that when men talk to babies, they tend to speak in a higher voice than normal?). Likewise, the tenor voice tends to sound more youthful and innocent. Since lots of heroes (especially romantic heroes) are young and innocent in opera, they tend to be tenors.
**(3)**And, lastly…(this one hurts to admit)…there is something thrilling about the higher extremes of the tenor voice that we low voices just can’t match. No matter how well sung, a bass’s high f# isn’t likely to be as croud-pleasing as a good tenor’s high C. It strikes the ear as extreme. It engages the listener the same way a high-wire act engages an onlooker. There seems to be danger involved (will he make it?). When the tenor is singing high notes, everyone in the room knows it. When we basses sing them, they tend to go unnoticed even though we sing a much greater proportion of them in an evening (just because, in general, the lower end of the voice doesn’t carry as well in a room). Don’t get me wrong. I’m a bass-baritone and I love the lower male voice more than any other type. I find it thrilling (not my own, but others…). Again…this is a HUGE generalization.
Don’t give up hope though. There are lots of great parts for lower voices. Check out any of Mozart’s comic operas, or works by Handel, Rossini, Bellini, Donizetti, or Verdi. You’re bound to find some satisfaction there.
Giving vocal advice in this format is impossible–and would verge on unethical. Everyone’s voice is different, and there is no one way to go about singing. I’m tempted
to offer some broad, blanket statements about what you could do, but I won’t. My best advice is to seek out a teacher and take some lessons. Or, just find a way to incorporate singing more into your life on a regular basis (join a local choir, etc.). If you happen to live anywhere near Ann Arbor, send me an email and I’ll give you a listen! Good luck, and keep singing