“男中音高音”(baritone-tenor)被认为是高贵的父亲或对手,但现在开始扮演情人或英雄。尽管如此,罗西尼仍然没有受到这些声音的启发去为他们写浪漫的段落。对他来说,男高音的演唱方式应更为强劲,而不是像发自心底的或充满哀伤的那样。当“男高音”作为英雄或情人征服了更多的角色后,有人必须作为对手取代他。由于缺乏新的声音,罗西尼不得不通过为英雄写更高的声域(tessitura )来区分他们。我们有为“男中音男高音”而写的角色,也有为男高音高音(tenorino)而写的角色,声音更轻。在罗西尼的第一部歌剧中,男高音有一个相当中心的tessitura ,没有太多灵活的段落。对于阿尔盖里的意大利人( L'Italiana in Algeri )来说,这个角色却是取的非常高的,在意大利的伊尔图尔科( Il turco in Italia)也有同样男高音的角色。但在《西维利亚的巴比里》(Il Barbiere di Siviglia )中,男高音的角色又回到了中间的tessitura。这意味着罗西尼是为特定的声音而写作,并尽可能充分利用他们的个人能力。
我最喜欢男高音,也非常喜欢罗西尼,但很少有男高音唱得比“还行”更好
。事实上,只有一个男高音-路易吉阿尔瓦 (Luigi Alva)-以应该有的方式演绎了罗西尼男高音角色。
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大多数罗西尼都是男高音歌唱家演唱的,声音太重了(far too heavy a voice)——上面的例子中,Gedda是一个Spinto 男高音歌唱家,与帕瓦罗蒂类型近似。尽管他巧妙地保留了自己的声调和音量,并使之变轻,但他却无法接近演唱这首咏叹调的装饰性。
弗洛雷斯是一个更轻,更灵活的现代抒情男高音-但对罗西尼来说仍然太重的声音-因为尽管他处理着大部分的装饰,但他不能分开音符(notes),尤其是在音程(音阶)中( in the runs (the scales))。
In terms of 装饰音(fioritura), Alva is by far the more capable of them. And for scores like those of Rossini, which call for fioritura, Alva is far more to be preferred.
我们在期待 Mister Opera 的 a video of “correct” Rossini singing
Rossini singing - MODERN vs. OLD SCHOOL
MALE VOICE = CHEST VOICE (from bottom to top)
Singers in this video: 1. Mario del Monaco 2. Tom LoMonaco 3. Gino Bechi 4. Mario del Monaco 5. Giuseppe di Stefano 6. Cornell MacNeil 7. Giulio Neri 8. Beniamino Gigli 9. Tom LoMonaco
"Squillo, or what I call core; the harmonics in the sound comes from chest voice. When chest is weakened so is the squillo. And that is what is happening today with singers. Never mistake chest voice for constriction. That is one of the worst things that has ever happened in the history of voice. Now days teachers equate constriction with chest and therefore lesson chest which thins out and weakens the full voice. Chest voice is the foundation of the whole voice. It has been very much misunderstood and misinterpreted. Men should never lesson chest as they go into the passaggio and up UNLESS singing with softer dynamics. Put another way, men should be able to take full chest from the lowest notes all the way up to the top. The difference is that the cover comes in to help as he enters the passaggio. Chest should not lessen. Now days they are all taught to lessen it which is why voices are smaller and weaker. The old way of singing did not resemble what is taught today. I have heard before that some teachers say that there is a difference in the way the tenor voice works compared to the baritone or bass. That is unequivocally false. I think many of these teachers lure people in with these ideas that they have some inside knowledge others don't. So if you are a tenor it is tempting to believe this information. The baritone, tenor and bass voices work the exact same way. They have the exact same musculature and require the exact same development, balance and efficiency. Each voice has falsetto, chest and headvoice. Each voice has to learn to cover properly. They just cover at different points. A bass may cover at Db4 or D4 while a baritone will cover the E4. Tenors generally cover around F#4. This all depends on the size of each voice also. The main difference between each voice is the length, thickness and mass of the vocal folds. Basses have the largest of each, baritones less and tenors even less. Everything else is the same. So if someone tells you that there are certain tricks to training the different voices they are pulling your leg. There are no differences except range and covering points. One of the most misunderstood things in all of voice is the cover that men sing with. I see so many things written about it that are only partly true or completely off. The cover is not cupo. Cupo is a veiled voice used for effect. The cover happens in the passaggio. It is a muscular switch that happens which involves the vocal vectors. No one talks about the vocal vectors. Tom LoMonaco explained it very well. Picture the larynx held by 4 strings. One on the top, one on the bottom, one in the back and one in the front. There is an up pull, down pull, back pull, and front pull. These vectors must be balanced in order to achieve vocal efficiency. Without going into the exact muscles, what happens in the cover is that the down pull and back pull must be maintained in order to keep the larynx in a stable, lowered position. This keeps the sound dark and full. There is no lessening of chest and absolutely no lessening of squillo/core to the sound. I often hear people say the sound there becomes more "heady" of headvoice like and becomes less full of squillo/core. That is absolutely wrong. None of the great singers did this. They kept intense squillo throughout the range. This comes from the chest. In order to get a full, dark sound all the way up the chest must stay involved which causes this muscular switch. The only time you lessen chest is to sing mezza voce or pianissimo. The confusion comes in because the cricothyroid muscles pull more to stretch the vocal folds as you ascend into the passaggio. That is associated with "falsetto". However, falsetto only vibrates the edges of the vocal folds and leaves out the body. It creates a hooty sound with no core. Therefore chest must remain strong all the way up even with the pull of the cricothyroids which help stretch the vocal cords. People who do not do this end up with an airy sound in the passaggio and up or a thin, light sound. Then they try to get clarity by constricting to bring the vocal folds together. The great singers always tried to maintain full engagement of the voice all the way up, and by keeping the sound dark it caused the cover to happen. They did not lighten the voice. They did not know what was causing this sound, but they did make the sound. The proper knowledge of science explains how they could make these sounds and what should be done and what should not be done. You will hear no lessening of squillo or chest through the passaggio to the top in any of these singers. Instead you hear a bigger more bloomed sound on the top." (J. Silver)