[Woodduck]

Of my two front runners, I prefer Souzay for the clean directness of his style. Teyte is subtler, but she uses too may falling portamenti for my taste. It sounds sentimental. I also prefer Souzay's voice purely as a voice.

I found Simoneau's the most interesting intrpretation of all the performances, but others are evidently looking for other qualities.

 

[Woodduck]

Her French diction, as well as her styling, is superb and coupled with that elegant, aged beauty of her sound this recording is arrestingly vivid in it’s capability to transport you back to some evening of the past, and into a little French salon where a lady sits and gently sings of love and sadness.

That's exactly how Teyte impresses me, and it's why I prefer Souzay. But Teyte is excellent, no question.

 

[Woodduck]

I actually like Teyte's portamenti. As a singer who was active in Paris while Duparc was still alive and who studied with Debussy, we can probably assume that she was adopting the style of the time.

It's my impression that French singers of that era didn't use much portamento. Certainly there was plenty of individuality in singer's styles then (as opposed to now). Teyte's little downward slides are her personal preference. I don't think it's bad or unpleasant, but for me it just smells too much of pressed violets. Like the already fragrant music of Faure in general, this song can easily support a more virile approach.

 

[Woodduck]

I remember, when I was learning the song with my singing teacher, I unconsciously did a portamento at some place (I can't even remember where now), and he stopped me with the words, "No portamento. No," to which I replied. "But Magge Teyte does it."

He just said, "Well, I suppose she would know."

Wonderful story! Had I studied the song, chances are I'd have done a portamento too, if only to prove I knew what it was.

 

[Woodduck]

Swoops and scoops are signs of faulty technique. They signify that the singer is having difficulty finding a note or keeping the resonance consistent as they ascend/descend etc. They sound like a slow or unsteady portamento. Portamenti, when properly done, are not a sign of poor technique and are used to expressively join two notes in a natural manner.

They can also be merely a sign of poor musicianship and bad taste. Even great singers are guilty, especially tenors. Corelli and DiStefano - especially Corelli - can drive me mad, and drive me away.

 

[Woodduck]

Although I completely agree that it is a faulty technique I also believe that in the case of Fleming she is attending her days in jazz (she's not good at it BTW) and using it as a technique in opera.

I suspect you're right about the influence of jazz singing on Fleming. But I imagine that jazz aficionados might be as irritated by her mannerisms as we opera lovers are. Not being a jazz or pop person, I actually find some of Fleming's non-classical work interesting, though I don't go out of my way to hear it. I really liked the way she did a Joni Mitchell song.

 

[Woodduck]

What recordings represent Teyte in freshest voice?