Category Archives: masterclasses

Masterclass fans: new ROH Masterclass with JDD

Just to make me happy, it starts off with Parto. I haven’t seen it yet but I hope it’s good (almost 2 new hours). If it’s not good we can laugh about it here ūüėČ

After watching/listening to it:

For those who don’t know and would like to before applying yourselves to an 1hr and 46min, this batch is mezzo only and it containts work on three mezzo staples: Parto, Dido’s lament and Non piu mesta (which I always call Non piu messed up). They are all promising singers but the young woman working on¬†Dido’s lament has a particularly beautiful tone (baby contralto? we should be so lucky ūüėÄ ). She is also very cutely star-struck.

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Tito arias in Masterclasses (Parto)

Ow, ow, check out the chap banging out Parto on the piano ūüė¶ so wrong. The starting tempo is too fast (what will we be doing by the cadenza? Rossini patter? – to be fair, he’s better at that point) and the setup for the initial partos is way too even and decisive. Decisive? Mr Pianoman, what the hell is this aria about? The subsequent lack of legato, the insensitive take on the clarinet line… ūüė¶

To be fair, La Fleming is exclusively talking about sound production here (which is an interesting thing) and we all know what this aria is about so there’s not much loss. Also she thinks he’s good so maybe I’m talking bollocks. Still…

The moment of truth

A couple of years ago I saw Diana Damrau in La traviata. To this day I remember her √ą tardi!¬†after Violetta¬†reads Germont Sr.’s apologetic letter.¬†Was she pitch perfect, did she navigate each act with the appropriate vocal, emotional and technical range set out by Verdi? I think so, but I don’t quite remember it all. What I do recall is that √ą tardi!¬†Her delivery¬†resonated with my own regrets and losses and¬†it stayed with me and most likely will for a while yet.

There are, of course, anally rententive people out there who will strike your performance for a missed high C or too much vibrato/rubato/portamento, too little volume etc., but generally I think audiences are rather after these elusive moments of connection. We identify with the character, and the singer, channeling the character, speaks/sings for us and then catharsis happens (everybody wins).

Easy for us to say please, singers, live the character’s life on stage tonight. But how did Damrau get to be so effective with that √ą tardi!?¬†Whatever regret/loss did she have to access? We won’t know but she had to connect with something real within herself. In some ways that might be harder than hitting the high C. It’s not just discipline and honing your skills and taking care of your voice, it’s also putting yourself out there (but learning how not to lose yourself in the moment):

I like this chap. I think he’s helping singers build¬†essential tools in a very direct way yet with a lot of gentleness.

Vitellia of the future?

Every once in a while a singer in a masterclass shows amazing promise. You know I don’t easily throw comments like the title around, but I would really love it if this youg singer makes it and we get to hear her sing Vitellia on stage. She already has the right attitude and knows what there is to know about Vitellia plus her tessitura covers everything (in this aria) and her tone is very appealing. Life and stage experience will add richness to that. I have a feeling she’ll¬†be riveting ūüėÄ

The video below is also highly reccomended for its very insightful/advanced discussion on Ecco il punto…/Non piu di fiori:

The dark art of seduction

When I first started listening to opera I got a list of all the well known mezzo arias and I dutifully went through all of it, picking an aria I enjoyed most musically and listening to many versions then moving on to the next.

After a while the time came to focus on Mon coeur s’ouvre a ta voix. The main difficulty with interpreting this aria seemed to be the fact that Dalila¬†needs to sound perfectly seductive whilst she’s lying1. So the singer has to both lie and mean it. Then I thought maybe I’m too analytical and this kind of thinking does not work with opera, you can just (just, eh?) be very seductive and leave it at that.

Alas! At long length I found somebody who agrees with me and can explain it. That someone is Thomas Hampson:

It’s worth listening to the whole thing. He makes the great point of what breath is: not yet heard thought. Also the mezzo is very good, neither too lyrical nor too stentorial, just right for this and youthful sounding which might be the hardest thing with this role.

The exercise on this aria also brings up the level of inner exposure a singer is – or isn’t – confident expressing on stage. It’s surely easier to express madness¬†than to express seduction, it’s not anywhere as in your face even when¬†you’re singing a mad scene.¬†I mean we might feel a bit uncomfortable seeing someone lose it on stage but I think we also feel empathy for them for being wronged or for whatever it is that brought them in that state. Seduction is another business altogether, because it’s someone’s deliberate decision.

Depending on how the singer pulls it off you might feel a mix of appreciation and competition (hey, she’s really good at it and on stage too! how did she get so good? what else is she up to?) or you might feel a bit embarrassed if the end result is not quite cutting it (I took time off my day to hear¬†her sizzle and she’s merely warm). Or whatever you feel – but it’s never just oh well, that was quite nice.

It’s harder to separate hotness from the person singing than it is to separate madness. All you need to do to portray madness is get very intense and develop a good stare. The rest is in the music. We know you’re not really mad. Hotness is harder because not only you have to access that which will hypnotise the audience (yet which you are educated not to make use of in polite company) but you also have to be brave enough to deal with the puritanical residue¬†in all of us.

With this aria there’s just no hiding behind singing all the notes in the right order – if you’re not accessing “hot” you’ve failed. If you are, you’re still singing the bad guy. Though, are you? I like Dalila, so I’m on her side. For all I care the opera can end¬†after¬†after she learns his secret. Obviously Hampson agrees:

(By contrast, I think Juditha is way heavy handed with Holofernes2. Ask me again when someone imagines Samson as a contralto.)

But you are singing the bad guy – the perpetrator – who distracts the hero from his heroic deeds, because that is the narrative we’ve all grown up with. So your success is always going to be met with mixed feelings (I like her yet I know I shouldn’t like her quite so much… because… because... = rationalisation time). Yet it’s so easy to like the hero with a clear conscience: behold, he erred but he corrected that error by sacrificing himself to the cause! Hurrah. Well, didn’t Dalila sacrifice herself to her cause? Anyway: it’s not easy feat pulling off a role like this but it’s very exciting when it happens.


  1. I suppose a case could be made that seduction = lying. Rather persuading, I’d say, compelling the other to see/feel from your perspective. But specifically¬†what I mean is that¬†in order to seduce you need to give/show a bit of yourself, you can’t seduce from a distance as is were. You need to be truthful in the same way in which you do offer fish actual¬†food when you bait them. Let’s just not get into the ulterior motive issue for the moment… (who’s ever completely selfless?). 
  2. somebody needs to stage this scene as bondage. You know Holofernes wants Juditha to tie him to the bed ūüėÄ then it’s just a matter of how sharp is the blade.