Art, life, and other scribblings. Thoughts and prayers welcome as well. I will miss Brown, who often led the Flowers in Nutcracker.
In opera, does size matter? But when it comes to opera? Their singing, however, was faultless as was the playing of the RPO. So did it matter?
Well, in a word, yes. In this case, my two main niggles were straining costumes and, at times, clumsy, verging-on-comical movement around the stage. The result was that my focus started drifting away from the narrative and the music as my belief in the characters began to flounder.
Larger singers can, and frequently do, convince in their acting abilities and therefore in their roles. The director takes into account how they look and move, and works with them to draw the best out of them.
This works the other way, too, with slim singers who are playing physically larger characters — and again, if they are not given the right direction, the effect can be far from realistic. And even if a singer does seem physically perfect for a role, any shortcomings in the acting department can still be disastrous.
But, in the case of Aida, I felt that singers were not given the right direction to overcome any physical limitations imposed by their size. Acting ability has always varied among singers but, again, with the right direction and coaching, any shortcomings should be able to be overcome.
Here I didn't think they were. It used to be the case that opera singers could look how they liked — it was their voices that counted. Other singers seem to be embracing this notion, too.
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We all know that, on the whole, opera plots can be far-fetched, and at times, frankly ridiculous, but if we are to throw ourselves wholeheartedly into the experience, the singers involved need to convince us that they believe they are who they say they are.
Back inDeborah Voigt hit the headlines when she was sacked by Covent Garden for being too fat. Is she bitter about the experience? I think opera houses have to compete for entertainment dollars just like anyone else…I would like to believe that the most important thing in opera is the voice.
But at the same time it's a business. With the quality and timbre of the voice being so dependent on the physical support of the stomach and diaphragm, there is a danger that a slimmer body equals a slimmer voice.
Voigt herself is non-committal: But for this writer, it has nothing to do with being male or female. But the ability to convince the audience by embodying a role comes a close second. Go on, shoot me.
She has a particular interest in the connection between classical music and dance, especially ballet, and has written about this subject for Gramophone and other publications, including those at the Royal Opera House.Natalie Portman height is 5ft 2 ½ or cm tall.
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Our Own Gualtier Maldè reflects on last night's Met Lucia: The Met has often been accused and rightly so of ignoring young talent and waiting too long to hire up-and-coming new stars while hanging on to declining old favorites well past their sell-by date.
The HyperTexts The Best Vocal Performances of All Time These are the greatest vocal performances of all time, by the best singers ever, in one fan's opinion.
Natalie Dessay (Soprano) Born: April 19, - Lyon, Rhône, France The French soprano, Natalie Dessay (born Nathalie Dessaix), dropped the "h" in her first name in honor of Natalie Wood when she was in grade school and subsequently simplified the spelling of her surname.