People often have prejudices against opera. This can mean particularly the way singers sound in classical opera as they sing without amplification. Singers spend years in developing their voices to the maximum, building their own instruments and their ”in-built microphone” . This means the voice gets louder and more penetrating because it has to carry over the strong sound of an orchestra. Sometimes this development is taken to an extreme and the beauty of the sound even compromised. There is a lot of carrying power, a strong so called singers formant. At near distance such a voice can literally hurt in your ears! In many cases these voices are classified as dramatic and may be suitable for certain types of repertoire. The component of brightness is exaggerated in relation to darkness or there is an overly dark pressed phonation– against the old Italian ideal of the balance of chiaroscuro (bright-dark). This can also be a result of too much air pressure. Such overly metallic or unnaturally darkened voices are not always produced with harmful technique but the danger is near.
And the unaccustomed ear of an opera layman may feel classical singing is unnatural and ugly. Hmm… How unfortunate is that. So, as a singing teacher I also want to say, classical singing is not always about a full-blown ”operatic” sound. Singing should be beautiful – that is ” bel canto”. Of course, singing about dramatic and violent emotions cannot be sweet. The emotional context should colour the singer´s sound. But a reliable, balanced and safe singing technique probably makes the best of every voice. Then it is beautiful, flowing, soft or strong, both bright and dark in its individual timbre.
There are so many other musical styles besides opera where classical singing technique enables the voices to flower expressively, emotionally and intelligently.
I am a lay person that has been taking singing lessons for a few years. I have written simple songs and play a little piano. One of my singing instructors is a woman named Maya Barsacq who is a conductor of Cadenza here in Santa Cruz CA. Last night Maya had a performance that featured the work of Henry Mollicone and featured Soprano Rochelle Badrd.
I believe that I had 2-epiphanies…one of feeling and one of thought. The feeling I had listening to Rochelle’s voice was one where I was completely drawn into a particular place…. a room so to speak……full of emotions….and I was captivated by her sound. The subsequent thought that I had was that operatic singing is a genre that requires a particular voice/sound that develops to sound like a fine instrument with a particular sound. Like fine wine it takes particular development of taste buds to understand and appreciate it. Moreover the development of the operatic vocal instrument is arduous and requires a deep commitment. Not everyone will develop their tastes to appreciate this kind of music. Does this make sense?
Tom Ralston
Hi Tom!
You are absolutely right. Not everyone will develop their tastes to this kind of music or this kind of sound. What I was trying to convey was about the sound mostly; but it also applies to the genre of music. Or perhaps one likes the music but doesn´t appreciate the “unnatural” sound! Sometimes singers go overboard trying to develop their voices, unfortunately. I like singing that makes the most of the individual´s natural resources without distorting the sound to an overly dramatic or false “operatic” quality.
Best wishes,
Outi