I think it's fair to say that I adore tenors, particularly the tenori di grazia. My favourites in clude Tito Schipa, Cesare Valletti, Ferruccio Tagliavini, Leopold Simoneau, and Dino Borgioli. ButOnly Valletti and Tagliavini (the latter when young), could almost equal Schipa. The former was his student, which says a lot. Anyway, today, I decided to give the other voice types a try. So I asked Perplexity about basses and baritones. From the list it gave me, after trying them all, I liked Giulio Crimi, Mattia Battistini, Mariano Stabile, Mario Ancona, Riccardo Stracciari, Pasquale Amato, and Ezio Pinza. But I like the first four the best, and yes, one is another tenor. I love light voices that rely on elegance, diction, breath control, agility, etc. rather than sheer power, loudness, and so on. The heavy voices are why I avoided opera for most of my life. That said, I completely misjudged Beniamino Gigli, and I realise that now. Previously, I only heard him sing in a powerful, dramatic tenor voice. But I recently found two videos that made me completely reassess him, and another that reaffirmed my new findings. He could and did often sing that way, and it suited his voice well. But he could also sing with extreme softness and was an absolute master of dynamics, to the point that I could barely recognise him! So I had to add him to my list of singers that I like and also find amazing. If anyone has any suggestions of other singers I may enjoy, please let me know. I tend to stay with ones who began their careers prior to the 1950's.

#baritones #basses #opera #music #singers #tenors

I'm posting this here as well as on my usual blob.cat instance, since that one doesn't federate as widely, so I apologise to those who may see it twice.
On 6 March, 1951, the world lost a genius and a truly amazing man. Known mostly for the lovely, romantic music in his operettas such as Glamorous Night, The Dancing Years, Perchance to Dream, and King's Rhapsody, among others, he also wrote one of the most famous songs of World War I (Keep the Home Fires Burning), at least one review (Theodore and Co.), and starred in several silent films and talkies. A man of many talents, Ivor Novello worked with a range of wonderful singers, as well as the librettist, Christopher Hassall, who brought his music to life. Below, I have provided some links for you to enjoy. As a side note, for those looking for gay role models, you should definitely research him. While it was illegal to be openly homosexual during his lifetime, he had a relationship that lasted for thirty-five years!

This is the Wikipedia entry for Ivor Novello.

en.wikipedia.org/wiki/Ivor_Nov…

Since I mentioned him, and since he was such an integral part of Novello's work, here is the entry for Christopher Hassall. It's worth noting that there are several Youtube videos of him reading both his own poetry and the works of others.

en.wikipedia.org/wiki/Christop…

Incredibly, a mere two days after Novelllo's death, those who knew him best created an extraordinary tribute to him. It contains live performances, not only of songs, but of a few scenes from his earlier works and famous operettas, providing an invaluable window into the excellent vocal and acting styles of the time.

IVOR NOVELLO-Man of the Theatre- 8th March 1951

youtube.com/watch?v=etB7t_ETqS…

This is a play in which Novello himself starred. While he didn't normally speak this way (publically, at least) he was from Wales, so this is probably the accent he heard while growing up. This was later turnd into the full-length work entitled Valley of song, and was completed by Christopher Hassall upon Novello's death.

Choir Practice, by Cliff Gordon (BBC, 1946)

youtube.com/watch?v=UsM8_TW0pt…

Here he is narrating a few scenes from King's Rhapsody. This is extremely interesting, because no one else is acting. I'm not quite sure what this was meant to be. That is, a demonstration, a trailer, just the author's thoughts? Regardless, it's a wonderful treat for the ears.

Muranian Rhapsody part 1

youtube.com/watch?v=JIbrYatXPd…

Muranian Rhapsody part 2

youtube.com/watch?v=ciVi8L-KPe…

Finally, here is a wonderful series of highlights from King's Rhapsody, by the original cast!

youtube.com/watch?v=wOu-nuoi3f…

There are several other videos of Novello's work on Youtube, including full films (both silent and talking), individual songs, and a full tribute concert from 1979. But this should serve as a decent introduction.

#composer #gay #operetta #IvorNovello #music #radio #theater #theatre #tribute

Due to the anniversary of the writing of La Boheme on 1 February), I am going to do another comparison of a single song by some of the best singers in history. I didn't know about this until yesterday morning, so it actually works out well that I have these! Again, I am new to opera, (my theatrical love is operetta), so take any comments I make with that in mind. That, or just ignore them entirely and enjoy the wonderful music. Now, on to the comparison! A few voices will be familiar from last time, while a few wil be new to the mix. These are in chronological order.

Enrico Caruso (1906) - La Bohème_ Che gelida manina
youtube.com/watch?v=8FFRrfUUCh…

John McCormack ~ Che gelida manina. 1910 4
youtube.com/watch?v=mmnakODRH0…

Tito Schipa - Che gelida manina (1913)
youtube.com/watch?v=zadVt0UgmG…

Richard Tauber La Boheme Che Gelida Manina HMB 75 M x xxB6981 2 enregistré le25 avril1924
youtube.com/watch?v=GQB3zsdkJj…

Louis Graveure - La Boheme Che Galida Manina Your Tiny Hand Is Frozen Sung In French 4
youtube.com/watch?v=QnWwfMMZvk…

Beniamino Gigli - Che gelida manina (H.M.V. 1931)
youtube.com/watch?v=vZEe4lLAST…

Analysis

Enrico Caruso
I actually read that Puccini himself loved this version, and I am not surprised. Caruso could sing anything placed before him and make it seem effortless. As usual, his control is perfect, being not too strong and not too quiet. At the same time, he conveys great emotion without being overly dramatic. He hits the high note with ease, then slides down with only the slightest embellishment.

John McCormack
I first heard of this singer through Ivor Novello's song Keep The Home Fires Burning. I loved his voice and immediately noticed his incredibly clear diction. But I had no idea he sang opera, until I learned more about him. While he was primarily known for much lighter music, he did sing several opera pieces early in his career. Apparently, he sang sixty-four notes in one breath in Il mio tesoro from Don Giovanni!
His voice is lighter than Caruso's, so of course, this lends a different feeling to things. But like the former, the control of his emotions and voice is flawless. I am not surprised that he hit the high note so easily, given his voice type. But he doesn't do much with it, and just slides back down. His version is very sweet and gentle, but powerful in its own right.

Tito Schipa
Here is another light voice, though of a different kind. I will admit, when quickly previewing these before writing this review, this version actually brought tears to my eyes, and it's doing it again as I listen to it! There is simply something magical about this man's voice. I notice control, yes, but such sweetness and smoothness that I can only listen in wonder. I also notice he rolls his rs a lot and really slides his notes. He hits the high note so naturally that he seems made for it, then modulates a bit, making it all more pronounced.

Richard Tauber
Now, we return to the heavy weights with regard to voice. Of course, Tauber had to do things his own way, and sang this in German, which was a unique and interesting touch. Considering how long he lived and that, unlike McCormac, he continued to record opera (among other genres), I was surprised not to find a later recording of this. But at least it puts him on even footing with the others.
Right away, I notice his heavier voice. This is someone who could sing very powerfully and compete with Caruso himself! Unlike the former, however, Tauber really uses dynamics. His emotions are far more pronounced than others we've heard so far, and he is more dramatic. He reaches the high note, but due to the darkness of his voice, it has a heavier feeling to it. He then slides back down without much embellishment.

Louis Graveure
This man needs a bit of an introduction. He is very close to my heart for a specific reason. He was among the most well-known and best students of Clara Novello Davies, from whom I am learning, using her book You Can Sing as a guide. In it, she wrote of him with glowing praise. But when he started with her, he was so badly conjested that he could barely sing at all, and even she was hesitant to take him as a student! (It was a serious problem, not a head cold.) Look what her methods and his hard work produced! It's also worth noting that he actually switched from a baritone to a tenor for the last few years of his recording career, which I didn't even realise was possible!
I am accustomed to his lower voice, so to say that this shocked me is an understatement. He is singing in French, which actually makes sense, given the title and subject of the opera, though I read the original was in Italian. Another thing I notice is that while he can clearly hit the high notes, his voice does crack a tiny bit at least twice when doing so. That said, it's strength is palpable, even through an acoustic recording. His technique is much more agressive than even Tauber's, giving his version a very different feel. He reaches the high note beautifully, which is astounding, given how low his voice could go. Interestingly, it's not as dark as Tauber's. He also adds a tiny bit of modulation before sliding down. I am impressed with the flexibility of his voice, to be sure, but it does seem a product of extremely hard work, rather than being natural.

Beniamino Gigli
He begins with a sound that is almost as sweet as Schipa! Very light and calm, it immediately makes me think of something relaxing. But then, he becomes himself, and sings in the classic opera style that I described in the last review. That said, it works very well with this song, and the power of his voice can be felt. His is the richest of the recordings with relation to dramatic performance and emotion. It's as if he combines various elements of the other singers. His voice is powerful like Tauber's but less dark. When he hits the high note, it's with great ease, and he embellishes a bit afterward. One thing about Gigli is that, while he can be emotional, he does keep things under control, even if it may seem less so than the other singers.

And my personal winner is... Tito Schipa! I think he added the perfect amount of everything. However, it was incredibly difficult choosing between him and Enrico Caruso, and had someone chosen the latter, I would never have argued the point. I think any time Caruso is involved in a comparison, it makes things far more difficult than if he weren't because I have to look beyond the obvious perfection to find another version of what is perfect. In my case, I am also extremely partial to the voice of Schipa, so it was a double problem! Ultimately, for this song, I think it depends on whether you want a powerful treatment or a softer, smooth one. Perhaps, if I knew Italian, French, or German, I would have used that to guide me.

#BeniaminoGigli #EnricoCaruso #JohnMcormac #opera #music #LaBoheme #review #RichardTauber #TitoSchipa

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As a grammar prescriptivist, I take writing and proper use of words very seriously. I recently saw a post about ending text messages with full stops. Apparently, some think this is a bad idea. No. It's called using punctuation correctly! Perhaps, they should read a few grammars instead of playing their silly video games! The same is true of netspeak, textspeak, corporate spaek, and abbreviating everything. Likewise, I have no use for political correctness. I refuse to use words such as visually-challenged, vertically-challenged, etc. I will say blind (or visually impaired if the person has some vision), short, fat, etc. Unless I'm writing poetry and am seeking flowery words for things, I call them what they are. Neither do I see any difference between saying "a blind person" and "a person who is blind", for example. I also have no time for so-called gender-neutral words, unless they honestly make sense and are actually descriptive, such as firefighter or police officer. But I'm just as likely to say fireman, policeman, waiter, steward, actor, chairman, etc. and change the gender when necessary. I refuse to use the singular they. There are two sexes (gender is for grammar). You're either one or the other. This absolutely doesn't mean that you can't change your sex. If, for example, I meet you as a woman and you change to a man or are a drag king/queen, I will certainly change my use of pronouns when discussing you or talking about you, either permenantly or temporarily, as the case requires. But unless you literally have multiple personalities or are a machine or an inanimate object, you are neither a they nor an it, and you're certainly not some made-up pronoun such as xe. I would never cause harm to those who use such words. I would just consider them to be silly or confused. If the sex is unknown, or if a sentence can apply to both sexes, I use the masculine, simply because it's grammatically correct to do so.

#English #gender #grammar #language #prescriptivism #properEnglish #sex #texting #writing