來自：ywsing0
時間：Fri May 09 10:13:14 2008
| 來自：KL
時間：Fri May 09 02:01:42 2008Are those orchestral members / singers local students?
All are Europeans.
CCCH even do not have enough resonances even for the loudest passages of Elektra or Salome, or even the organ draw all the stops to play a chord. Compare my experience at the St. Florian Monastery in Linz, even a pedal passage at mf level you can feel the resonance at your feet.
Ravel's String quartet started the show. It's nice and... I slept.
What a pity...
I found the sleepiness quite unavoidable after a full day of work. Sleeping doesn't mean I weren't enjoying afterall...
The tenor singing "On Wenlock Edge" is quite a typical lyrical English tenor with a very blending voice, not without resemblance to the famous Ian Bostridge. But he has an even softer and more relaxed tone, somehow lacking slancio during arias or musical. I suppose he is used to European halls and houses which is less spacious and more resonating; he could put more effort into singing without really going into strain.
Well according to your descriptions, even if he sings Mozart or Rossini stuff is still good enough. Of course his strength will be on vocal works or with orchestra.
Sometimes, more relaxed tone is necessary, especially for songs. Pushing the song lines too much dynamically would be appalling.
I have no comments on his Vaughan William songs' interpretation; except that he did get inaudible in this fxxking-big concert hall, also that he is not yet warmed up and often being covered by both piano and quartet.
Actually I was saying about the Mozart aria Un'aura amorosa (and the WSS duet). He just slipped through the Ａs so quickly. Maybe my taste is adjusted to Gedda's recording, which has little more excitement, or maybe it's the old say that a singer should pretend he/she used some effort in high notes even when it's actually very easy.
Anyway you may consider me bragging since this is just Mozart not Verdi.
The soprano has a velvet and enjoyable middle voice, but somehow not technical total complete as an opera singer. She is obviously not adapted to high tessituras and having some randomness in high notes. While she has quite some vocal appeals for most audience, being on the critical side, there are certain vocal dis-integrity and I failed to feel the pleasantness in her phrasing.
That's really harsh,
That said I was too picky on her... actually she's up to the standard of other performers, but with slight faults.
what did she sing?
Cosi fan tutte:
Per pieta
Fra gli amplessiWSS duet
I am doubting my own memory in the song cycle one. Let me fetch my booklet at home.
The baritone was the most promised singer. A loud, rich and effective, elegant baritonal timbre without any pushing. However I thought he pressed down his voice slightly when starting a phrase, which led me guessing he tried to imitate a basso tone. This should be avoided for sake of vocal healthiness.
Pressed the voice slightly - is it because of the nature of the music? Personally I'd prefer flexibility in vocal usage. Speaking of "vocal healthiness" (Sorry it's my first time to see this term), I think well-trained singers would understand how to put one's strength out and present his best side to the audience.
His imitation of basso notes is a little awkward to me. There's no doubt on his flexibility.
I was talking about effective use of vocal resources, protection to the instrument and career longevity as in "healthiness." There were singers who definitely shown his best once but did not last through ages.
One thing - are the WSS numbers accompanied by chamber orchestra?
Just the piano.
And are the singers miked? Personally I prefer ppl singing musicals miked or otherwise the vocal effect is not good.
No.
But I consider the "Tonight" duet can be sung without miking.This is first time I encounter such simple concert settings without any fanciness (and I understand it). Suppose this is how people conduct concerts in most small houses in Europe, a few people doing music and life is simple and nothing much else. The concert was hardly well attended; most of the balconies were empty. Audience responses were warm.
I don't know your previous concert experiences, but how 'complex' it could be? Really interested to know them! Honestly speaking, French May is now becoming something on-spot now but not all of events are well-marketed.
This is one of the concerts with the smallest number of performers I have been to. Accompanist + 3 singers + quartet = 8 people (music sheet turner not counted.)
That said I am not unsatisfied with it.
(Okay the recent Liao Changyong recital only has two. It was simple too. But he has something to speak, a little Cantonese 你好嗎 gimmicks and one or two encores.)
Albeit this show is part of Le French May, only the final Toreador is a French piece. Plus I really wished the booklet contained lyrics for the art songs. Plus plus, why couldn't there be an encore
I agree on your remarks on booklets,
This sounds as if you have been to the concert and took the booklet... or have you?
but the editorials of French May brochures are just now up to the basic standard to list the repertoire in their season programme. So for the lyrics, I think it'll be their next step of improvement. Encore - so why there must be an encore?
Apart from 文盲's answer, it's a surprise, and there's a little fun in guessings - what encore will he/she sing, or whose piece are they performing if it's something unfamiliar of.