J. Lauri-Volpi
VOCAL PARALLELS
Translated from Italian Yew, Ilyina
CHECHIL Gallardo
This singer Born in Rome, her voice was different density and endurance of stone growing in her native land of the pines. Tall, strong build, it is justified свою фамилию.*
* Gagiiardo — смелый, напористый.
Пишущий эти строки видел и слышал ее в 1922 году в «Бале-маскараде», marching on the stage of the Madrid Theatre "Real". She just sang the song of the third act, and suddenly the words "Like a stalk of dried leaving a" staggered and lost consciousness, fell to the forefront. Most of the public spared actress and expressed sympathy, some began to banter - the tragic, and funny in our world goes hand in hand. From that day on Cecilia Gagliardi as a singer did not speak.
* Gagiiardo — смелый, напористый.
Пишущий эти строки видел и слышал ее в 1922 году в «Бале-маскараде», marching on the stage of the Madrid Theatre "Real". She just sang the song of the third act, and suddenly the words "Like a stalk of dried leaving a" staggered and lost consciousness, fell to the forefront. Most of the public spared actress and expressed sympathy, some began to banter - the tragic, and funny in our world goes hand in hand. From that day on Cecilia Gagliardi as a singer did not speak.
At least some of these cases be explained by improper breathing technique. It is known that singing breathing men and women differently: phrenicocostal in women phrenicocostal-abdominal in men. It is not excluded that a certain kind of diseases are generated in the female body use of abdominal type of breathing. Nizhnebryushnoe deep breath causes irritation of tissues of the uterus that can lead to development of the disease, sometimes incurable. Add to this the wrong breath yet and the impact of dramatic excitement, which, acting on the singer's every day, can cause neurosis, giving fonasteniyu against the general disorder of the body. These observations are confirmed by no means rare examples of psychophysiological disasters occurring with vocalists, where the singing has some higher law to exist, where it is not a product of the spirit, but merely a fact of physiology, there is short-lived, like ashes, like a sigh, as has been said and the word died away.
vain, we would deny the spirituality of singing, its ultimate justification in the minds of those singers who proved that the decline has no control over them, that the wear rates they are not threatened. Conversely, the threat of decline constantly hangs over the singers, who, whether through disability, inexperience or ignorance, have not developed in themselves an artist. That artistry is necessary complement to technology, it was he who protects the voice from the devastating adversary. Positive science records only external events that can be calculate, measure and predict she learns how to use the tool, which is available to provide the nature of the singer and his own body. But it's not all. When you purchased your playing skills on your instrument, there is little to be able to extract from it more or less perfect note. Need go beyond biology and beyond vocal technique, to enter into direct contact with the reality of the heart. And when your spirit take possession of this reality, your body become easy, physical effort will decrease, breathing easily cope with all the obstacles, the emission of sound will be spontaneous and natural.
We have witnessed the extinction of the magnificent votes in recent memory ended abruptly, and sometimes the lives of their owners. Cecilia Gagliardi is still alive, but her voice, as if mummy, embalmed dreams and memories buried in the sarcophagus of her soul. Today, it could, together with Carmen Melis, said: "Bring me back the theater, I would sing quite differently. "
Cecilia Gagliardi during the First World War and the preceding her five years she sang mostly in Verdi. And Verdi's adamant in their demands. It requires the vote within his capabilities. Big voices not able to relax on pritushennyh notes on air singing, "stopped", or wear a short period of time, or are forced to change the repertoire and performing style. Think even about what kind of exercise for the singer is the third act of "Aida"! Not only that aria Aida "here Radames waiting "is full of challenges and full of sudden high notes. Is followed by two duets and terzetto in which the passions bordering with the physical Violence: Radames and Amonasro attacking (in their own way and for their own interests) to any innocent "dear Aida." Not there is a singer, whose vocal apparatus and whose body is at the end of this act would not have been ishlestany fatigue. For nearly an hour shaking the diaphragm bodies lower division abdomen, flailing at him as if the language on the walls of the bell.
no artistry, no perfect skills no vote will not be able over time to withstand such a grueling workload, it is ruthlessly imposed on the nerves and vocal chords voltage, this irreplaceable loss of energy required for singing (inspired by it) in a high tessitura, where the need for clear slovopodachi, superimposed on the expression of the image becomes a real torture.
However, it is possible that the incident occurred with Gagliardi, was summoned, and other causes. The author just wanted to share their own views on this matter. But be that as it may, in the evening amazing voice was silent forever.
vain, we would deny the spirituality of singing, its ultimate justification in the minds of those singers who proved that the decline has no control over them, that the wear rates they are not threatened. Conversely, the threat of decline constantly hangs over the singers, who, whether through disability, inexperience or ignorance, have not developed in themselves an artist. That artistry is necessary complement to technology, it was he who protects the voice from the devastating adversary. Positive science records only external events that can be calculate, measure and predict she learns how to use the tool, which is available to provide the nature of the singer and his own body. But it's not all. When you purchased your playing skills on your instrument, there is little to be able to extract from it more or less perfect note. Need go beyond biology and beyond vocal technique, to enter into direct contact with the reality of the heart. And when your spirit take possession of this reality, your body become easy, physical effort will decrease, breathing easily cope with all the obstacles, the emission of sound will be spontaneous and natural.
We have witnessed the extinction of the magnificent votes in recent memory ended abruptly, and sometimes the lives of their owners. Cecilia Gagliardi is still alive, but her voice, as if mummy, embalmed dreams and memories buried in the sarcophagus of her soul. Today, it could, together with Carmen Melis, said: "Bring me back the theater, I would sing quite differently. "
Cecilia Gagliardi during the First World War and the preceding her five years she sang mostly in Verdi. And Verdi's adamant in their demands. It requires the vote within his capabilities. Big voices not able to relax on pritushennyh notes on air singing, "stopped", or wear a short period of time, or are forced to change the repertoire and performing style. Think even about what kind of exercise for the singer is the third act of "Aida"! Not only that aria Aida "here Radames waiting "is full of challenges and full of sudden high notes. Is followed by two duets and terzetto in which the passions bordering with the physical Violence: Radames and Amonasro attacking (in their own way and for their own interests) to any innocent "dear Aida." Not there is a singer, whose vocal apparatus and whose body is at the end of this act would not have been ishlestany fatigue. For nearly an hour shaking the diaphragm bodies lower division abdomen, flailing at him as if the language on the walls of the bell.
no artistry, no perfect skills no vote will not be able over time to withstand such a grueling workload, it is ruthlessly imposed on the nerves and vocal chords voltage, this irreplaceable loss of energy required for singing (inspired by it) in a high tessitura, where the need for clear slovopodachi, superimposed on the expression of the image becomes a real torture.
However, it is possible that the incident occurred with Gagliardi, was summoned, and other causes. The author just wanted to share their own views on this matter. But be that as it may, in the evening amazing voice was silent forever.
ROSE RAIZA
; The winner of votes, a remarkable volume and timbre of color, Raiza Rose attracted attention in Rome, speaking in "Frances" Dzandonai. She attacked the audience armed with their youth and beauty, and she, of course, was Frances, and nobody else it could be. Paolo played Aureliano Pertile, a great artist and a humble man, worthy of overshadowing the beauty of her voice and face.
After a time in Buenos Aires, Teatro Colon had to happen unbelievable. Let's "Aida." The crowd was eager to hear the world-famous by Enrico Caruso. Expect so much and with such a bias, as a result of voice Caruso, zatisnuty in difficult tessitura of the first act the romance is not found already included in the legend of the merits, thus the public interest was switched to "paradise creature, the Nile valley lovely flower." Radames walked to the sidelines a daughter, "Grim Ethiopia" was declared the winner of the vocal tournament. Tournament purely conventional, since Caruso's voice, deeply elegiac and sentimental, is not suited to the heroic characters created by Verdi.
Voice as Rosa Raizy embracing three octaves, which sounded remarkably smoothly, seemed to be deliberately created for this napoennoy hot breath of the desert music. Melodic, lined, clear, like polished from top to bottom, he enthralls audiences and experts, and the profane. Within five years, she reigned in the Chicago Opera House, but the lake environment of Michigan for her was harmful. In 1933 she, along with Lauri-Volpi sang in "The Huguenots" at the Verona Arena. By this time She has lost no value, no, but the brilliance of their sound. A few months later she sang in "Tosca" on stage opera vishiyskoy again with Lauri-Volpi and Vilone Borghese. Her statuesque figure and a beautiful, noble posture, his face as if carved from ivory, delighted. But her vocals like podernulsya film, voice, where previously a single note as it flowed from the other X-ray looked like before. Recent unsuccessful childbirth almost dried up the sound source.
PARALLEL Gallardo - RAIZA
These two voices could be called the twins (they were characterized by the same magnitude and FIR), if they did not differ in tone and manner of emission. In addition, singer-Roman woman and singer-polka could not would resemble each other like two drops of water. Bright timbre coloration and chanted diction were inherent in the first; dark, most northern timbre and slurred diction is characterized by the latter. But the throat of both spawned notes, equally rich in sonority, even if followed by a vocal jet directed in resonators with unequal skill.
Rosa Raiza studied singing in Milan , at the very Marquis, who prepared the Toti Dal Monte. It is curious that the courses have the same teacher on the same system can lead to results not just different, but quite the opposite in the sense of the relation between word and sound, this perennial problem faced by any vocal school and that will not be allowed to until vocal pedagogy will not be able to reconcile the biological side of sound production with psychology.
Positivism of this century and penetrated into the region of the vocal art in which the exact sciences is almost nothing better to do than nepochatym edge of the work available there for those who study mental life of man. Intelligence analyzes, installs differences classifies lifeless and living matter, organic and inorganic, but the mysterious and ever-new relationships that arise in the mind of any singer in the course of his work on the operatic stage, yet escape sight of intelligence. There is something intangible and deeply personal, that is not subject to rational thought as long as it can not be worked out technical exercises or taken over by imitation. Sagacity of his criticism refuses to acknowledge the existence of the complexities of the soul, in this lies the main reason why we prematurely lose countless singing voice, large and sonorous, make people happy, but not delivered, so to speak, psychologically.
To save the song from the banality of animal howls from causing nausea profanity , There is only one drug - developed for teachers of singing something like a vocal or fonopsihologii metaphysics, without which no speakers or singers, nor the actors never will find those "something" and "how" that throbbed in her voice singer Claudio Muzio or actress Eleonora Duse. But who, speaking of metaphysics, and even in connection with the singing can be sure that he did not rashohochutsya in the face and did not declare his holy fool?
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Rosa Raisa
Bellini - Norma
Atto I - Casta Diva (Pathe 60088-1917, Vocalion 55001-1920)
Meyerbeer - L'Africaine
Act II - Sur mes genoux (Pathé 60055-1917)
Verdi - Ernani
Act I - Ernani, Ernani involami (Brunswick 15174-1929)
Verdi - Il Trovatore
Act IV - Fear of me ... D'amor sull'ali pink (H & D Vocalion 54007-1918)
Act IV - Mira, of bitter tears (with Giacomo Rimini - Brunswick 90004-1928)
Verdi - The Sicilian Vespers
Act V - Mercè beloved friends (Vocalion 30115-1921)
Verdi - Aida
Act III - O my country (Vocalion 7007, 1922)
Mascagni - Cavalleria rusticana
Single Act - you know, or mom (H & D Vocalion 30010-1918, Brunswick 15174-1929)
Puccini - Madama Butterfly
Act II - Un bel dì vedremo (Vocalion 70036-1924)
Kalinka (trans.) (Vocalion 30160-1922)
Golden Hair (trans.) (Pathé - 1917)
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