'Tis the Season for Angelic Voices: Countertenor and Coloratura

Have often wondered how present day environmental and technological changes have affected the natural demand of the Countertenor and the Coloratura. The rising interest in Early Music and Baroque lends itself to the need for these gifted individuals...









Definitions of Countertenor and Coloratura  (Oxford Concise Dictionary of Music, 5th edition):

      A Countertenor "as not (sic) to be confused with a male alto, falsetto, or 'Castrato'."

      A Coloratura is "one whose voice is flexible enough to cope with the demands of elaborate and agile ornamentation in melody..."

 Examples of musicians performing Baroque Ornamentation with its "runs, cadenzas, trills, roulade..." were featured in the 1994 film "Farinelli: Il Castrato"; with the angelic voices of Countertenor Derek Lee RAGIN and Coloratura Ewa GODLEWSKA.


Farinelli:  Making Of (French Language)



Farinelli, or a comment on the recreating the voice of a castrato by fusion of timbres
http://www.medieval.org/emfaq/misc/farinelli.htm

"Aspirer et Expirer"

The relationship between music, emotions and the formula thereof has been revisited from time immemorial. It speaks to an internal receptor which identifies, reacts, and expresses itself through one's breathing.
      Was it Pathos in Phrygian, or Lydian Modes, such as a "Miserere" sung by a Soprano? Could it be the selective tradition of Ornamentation written in a Period style that takes one's breath away? And what of the Corset - the infamous style rage - that has often been portrayed as prompting swooning or fainting in the wearer; especially if its constriction was ill-placed?
      Breathing pattern configuration lies at the foundation of eliminating the ultimate performance fear; running out of breath. This may be illustrated as while in an exalted state of emphasis, one loses timing and thus the structure of the phrase; awakening to the reality that there is much more to be included. For String players, this amounts to the panicked thought, "Uh-oh! No more bow!"
      An early understanding of the relationship between breathing and phrasing, along with tried and true Solfeggio and Rhythm training, prepares a music student for long-term analytical interpretation and conveyance of a particular Composer's proprietary formula.
      Upon entering an elevator with implicit fear - whether breathing in ("aspirer") or breathing out ("expirer") - and hearing Beethoven Chamber Music or a Vivaldi "Season" for the umpteenthtime - just go with the rhythmic flow...

"Arms poised in preparation", said my Conducting Professor. "Look around... Now on the upbeat... BREATHE!"



 Photo Attribution: Wikimedia Commons - Image by TARS631 at tramwayforum.at

The "Holy Grail": Vibrato

     The “Holy Grail”:  Vibrato

   At one time or another, we have ALL heard it said... 

“It’s your vibrato!  It’s not enough”.  “It’s too ‘wide’” or “It doesn’t ‘sing’!”

...resulting in the following “sincere” comment:

“Thank you, everyone, for auditioning.  You were all great, and it is with much difficulty that we have made our final choice...  Thank you all for coming...”

   Really, is there a “secret door” we need to look for to find the “perfect” vibrato?  Is is in imitating our favorite performer or teacher?  Is it in attending one Conservatory over another?  Does it have anything to do with the physical shape of one’s hand, fingers; vocal chords or breath control?  Lastly, is the use of vibrato appropriate when “perfecting” scales?

   I have often wondered if vibrato was a defining factor in the person playing last chair, 2nd Violin versus the choice of Concertmaster; when both parties attended the same Conservatory.  Did having an “A-list” teacher versus a “B-list” teacher play a role?

   The Oxford Dictionary defines vibrato as the following:

 “Undulation of pitch of note, produced in string instruments via controlled vibration of player’s fingers stopping the string and in wind instruments by breath control.”

   In my perspective, vibrato must be interpreted as a subjective language - defined by one’s ability to adapt to the playing style of the desired position applied for.

   Therefore, the next audition, after thoroughly investigating the musical style - as one does when applying for any position - I will remember the adage “When in Rome, do as the Romans do”.  Or better yet, I will be the “Honorable One”, who pontificates by stating,

“...Thank you all for coming..."  "NEXT!"

033R15221077 Stadt, Köstlergasse, Otto Wagnerhaus, Stiegenhaus, Aufzugtüre" by TARS631. Licensed under Attribution via Wikimedia Commons.

Imagine Classical Music...

Imagine Classical Music in today’s world of environment, innovation, and evolution.

In my opinion, the definition of Classical music needs to be expanded. Consider the evolution of "Form and Analysis" in the "B" trio - BACH, BEETHOVEN, and BRAHMS. Viewed from a societal perspective, as modern society changed, so did the rules of composition. It became impossible for BACH to be anything but BACH... and now only "Imitators" need apply.

The earphone or earbud reigns as "King" - What we hear is in accordance to the innovation of the auditory invention.

Just imagine the music produced should BEETHOVEN have had the choice of a cochlear implant...





















"033R15221077 Stadt, Köstlergasse, Otto Wagnerhaus, Stiegenhaus, Aufzugtüre" by TARS631. Licensed under Attribution via Wikimedia Commons.