Belcanto Lecture Series Metropolitan Opera Guild

Recently we attend a series of Bel Canto lecture series, organized by The Metropolitan Opera Guild. Since it is about Bel Canto, it almost always has to start with one of the Gioachino Rossini (or Bellini, who is the subject of next week).

Here's my feed back----
First of all, what is "Bel Canto"? It literally means "Beautiful singing" in Italian. If you equate "Bel Canto" with a particular type of painting...let's say "landscape", as suppose to "Figure painting" , it should be a lot easier to understand, that while the medium may be the same, the language, the expression, the reaction might be very different. In classical singing, depending on one's capacity(or "Fach"), a singer will spend years to learn all necessary component, then will focus on studying a particular feild of singing. My fach is on the lyric & coloratura side, so I probably will not attempt Wagner...

To master Bel Canto, one must:

(this is taken straight out of http://en.wikipedia.org/wiki/Bel_canto)
* an impeccable legato production throughout the singer's (seamless) range
* the use of a light tone in the higher registers,
* an agile, flexible technique capable of despatching ornate embellishments,
* the ability to execute fast, accurate divisions,
* the avoidance of aspirates and the eschewing of a loose vibrato,
* a pleasing, well-focused timbre,
* a clean attack,
* limpid diction, and
* graceful phrasing rooted in a complete mastery of breath control.
(if you can master all of the rules above, you are my god!!)

Singing isn't like doing math, where 1+1 must equal 2. Because each different person has different instrument. We will learn from the theories and methods from the masters, however our very own instrument defines our voice. Some people find their breathing more easily in Bel Canto style (by 'breathing" I meant the natural feel), some people shows more vocal advantage in Wager. The lecture began with a general coverage of Bel Canto, then it went on to introduce Rossini as one of the best composers of Bel Canto opera. Anyone can Google him and get a much better bio of him so I won't elaborate more.

What is interesting about the first lecture was that, several clips were played for us to make comparisons.

In particular, "Bel Raggio Lusinghier" by both Dame Joan Sutherland (RIP) (fast forward to 0:50)

and Joyce Didonato (love you love you love you)

an aria from "Semiramide", last opera composed by Rossini. The comparison between Sutherland, a soprano, and Didonato, a mezzo was quite interesting. Over all, Sutherland was splendid as usual with her masterful legato, high ornamentation and amazing vocal capacity...to be continued...

O cessate di piagarmi

Just had some time to finally record and arrange some art songs. I'd really like to keep it up!

Bachianas Brasileiras No. 5

My favorite Vocalise by Heitor Villa-Lobos...

Tarde uma nuvem rósea lenta e transparente.
Sobre o espaço, sonhadora e bela!
Surge no infinito a lua docemente,
Enfeitando a tarde, qual meiga donzela
Que se apresta e a linda sonhadoramente,
Em anseios d'alma para ficar bela
Grita ao céu e a terra toda a Natureza!
Cala a passarada aos seus tristes queixumes
E reflete o mar toda a Sua riqueza...
Suave a luz da lua desperta agora
A cruel saudade que ri e chora!
Tarde uma nuvem rósea lenta e transparente
Sobre o espaço, sonhadora e bela!

------------------------------------------
Evening, a rosy, slow and transparent cloud
Over the space dreamy and beautiful
The Moon sweetly appears in the horizon,
Decorating the afternoon like a nice damsel
Who rushes and dreamy adorns herself
With an anxious soul to become beautiful
Shout all Nature to the Sky and to the Earth!
All birds become silent to the Moon's complains
And the Sea reflects its great splendor.
Softly, the shining Moon just awakes
The cruel missing that laughs and cries.
Evening, a rosy, slow and transparent cloud
Over the space dreamy and beautiful...

Hey Arnold!

Le Comte Ory

The past weekend's Le Comte Ory, composed by Rossini, conducted by Maestro Maurizio Benini, was for the least, the most entertaining premiere that I have ever seen at the Met.
Here are some reviews - NY TIMES; OPERA TODAY;
Let me first say, the Met's Power Ranger - Maestro Levin has always been great. He is compassionate to the music, and can be both furious and sensible in his conducting. Many singers love working with him, hint audience also see him as the beloved mentor of their journey in opera. James Levin is THE icon of the Met for years, even though he will eventually retire, he will be missed terribly. However, I had already heard some rather negative reviews of Le Comte Ory, conducted by Italian Maestro Maurizio Benini. After seeing it, i am guessing perhaps Levin would have interpret the opera differently, with his own definition. But, I didn't mind the Benini interpretation a bit. And the fact that the delightful combination of Didonato, Damaru and Florez combination is so hilariously wonderful, one can hardly say the production is dull. I particularly enjoy the trio bed scene with Cont Ory, Contess and Isolier,what a charming design by director Bartlett Sher, that managed to avoid any potential confusion credits to the composer's playfulness mind. Mr.Sher whom I had encountered in "South Pacific" back in 2008, left me with good impression. I hope to see him more in the future, and a big BRAVO to the production.
It is also my first live sight of Diana Damrau,