Pound sterling. Hong Kong dollar. Indonesian rupiah. Indian rupee. Japanese yen. South Korean won. Mexican peso. Malaysian ringgit. New Zealand dollar. Philippine peso. Russian ruble. Singapore dollar. These operas also often had mad scenes.
Additionally, none of the great bel canto composers used their art to challenge societal conventions. As Fred Plotkin puts it,.
In [bel canto], the sociohistorical conditions and attitudes that produced the characters are a constant that go unquestioned and unchallenged; they function simply as a context in which the characters exist. Did you hear the portamento , rubato , and ornamentation? What about the prominence of the voice over the orchestra? If you missed any of these, go ahead and listen to it again. What a gorgeous sound in such an exquisite work, an excellent example of bel canto. Vincenzo Bellini is considered one of the big three composers of bel canto opera.
Here is a list of the 10 most popular opera composers by performance numbers. All data is Read more…. The possibilities are endless and can enhance your performance greatly.
You must rarely let off the diaphragmatic pedal of your support for dramatic effect. As a matter of fact, the drama is often enhanced by pressing harder on the pedal. The bel canto style is achieved by using sustained breath support and consistent vibrato throughout every phrase. Donizetti, Bellini, and Verdi wrote the character and the emotions into the vocal lines.
That is the key to interpreting a character in this repertoire. Let the music do it for you. Technically speaking, it is somewhat simpler. However as in most things, simplicity is one of the most difficult things to achieve. The emotion and intention lies within each breath.
If you sing with your full support on every note for the entire phrase, in every phrase, you will get far. I had the capability to sing every phrase with a tremendous amount of breath support, but from the many years of singing other styles and not being familiar with this bel canto concept, I sang the role within a different style entirely.
For instance, the staccato notes were chopped and short. I learned that Verdi staccati are more sustained and more musical I think of them more like tenuto marks with an intention of staccato. The recitatives are more sustained than Mozart and Rossini recitatives, and should also be sung with consistent support.
Quite the opposite as Mozart is my favorite composer. There are many pre- bel canto moments in his music but in true bel canto , it rarely lets off.
In the moment, I was proud of my performance yet I knew I had more to learn. There was more meat on this bel canto bone, and I had to go to the source to find out.
The next time I was singing in Europe, I headed out to see him. I brought some prominent bel canto roles for baritones stepping into this new territory—Germont from La Traviata and Rodrigo from Don Carlo. This was when I was first introduced to the bel canto concept and had a life-changing experience. I took out my urge to use diction and nuances to overly color my phrasing.
So, rather than utilizing a huge raddoppiamento sintattico or double consonant that the listener gets punched in the face with, I stuck to full support, long-phrased singing and purity of my consistent sound.
The less I do, the more moving the end result is and the more I get out of it as an artist. No gimmicks, no affects, no fanfares—just beauty of the voice. What became easier in terms of diction became more difficult with regards to support. I never let up and at the end of a long scene I felt like I had done an ab workout. That intention of support in every moment was a new way of singing for me. It became all about my breath support, my carefully crafted technique, and serving the style of these genius composers.
Like every new technique, you need to find someone to tell you when you are doing it correctly vs. Then, after enough repetition, you will understand what it takes to accomplish that sound. Another note: It took years of studying other genres to finally be ready.
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