[Seattleoperafan]

I have heard that it is relatively easy for Russians and Italians to sing each other's languages as there are often many similar sounds, although Russian consonants are quite different.. I am reporting what I heard but I don't speak from experience.

 

[Seattleoperafan]

Slavic wobble I see as unflattering but slavic sound? Is there a Russian bass sound? Is there a French tenor sound? It does not mean that if you are a Russian bass, you have to have that sound, but isn’t there a sound we associate with that voice type from that region?

I have often found the opposite to be true. I have found Slavic singers often have faster vibratos, which I tend to like such as Weltisch, Dimitrova, young Milanov,etc. Singers all over the world who don't take care of their voice can get a wobble.

 

[Woodduck]

The strong "Slavic vibrato," as heard from many Eastern European singers, particularly sopranos, has been noted for as long as I've been alive. I don't know what accounts for either the phenomenon or the discussion of it, but it's been pointed out that it seems not to have been a thing in Golden Age singers. There have undoubtedly been cultural preferences in this aspect of singing, as in many others. It may be relevant that Russian orchestras are traditionally noted for the conspicuous use of vibrato; this may be moderating nowadays, but the sound of French horns quivering with vibrato, as heard on many old recordings of Russian orchestras, can be shocking if you're not used to it.

 

[Op.123]

I have often found the opposite to be true. I have found Slavic singers often have faster vibratos, which I tend to like such as Weltisch, Dimitrova, young Milanov,etc. Singers all over the world who don't take care of their voice can get a wobble.

hmmm, on a lot of old suprahon records I seem to remember some singers having a slower vibrato. Solid voices but more noticeable vibrato than in Italian and German singers of the time.

 

[Seattleoperafan]

hmmm, on a lot of old suprahon records I seem to remember some singers having a slower vibrato. Solid voices but more noticeable vibrato than in Italian and German singers of the time.

You are a third my age but much much more knowledgeable than me. I never listened to suprahon. I just know mainly Milanov and Dimitrova. Dimitrova had a much slower vibrato when she was in her 50's but both has fast vibratos in their 30's.

 

[Op.123]

You are a third my age but much much more knowledgeable than me. I never listened to suprahon. I just know mainly Milanov and Dimitrova. Dimitrova had a much slower vibrato when she was in her 50's but both has fast vibratos in their 30's.

You should check them out! Their old catalogue includes many of the best performances of czech operas on record.

 

[ColdGenius]

I've honestly listened to Yoncheva and I think Elizabetta is too heavy for her. Though I often read opinions that this part is more lyric than it's usually performed.
So, I've calmly and with pleasure voted for Stoyanova. I heard her once, in 2017 or 2018, I knew her in recordings and broadcasts to the date. It was late enough in her career, but she sounded stable, as some younger singers don't. As for her voice size, it didn't seem small. She was well heard in the boxes (it was La Scala) and wasn't strained. The voice was beautiful in all registers. It was first time, when I realized that this opera is not only about charismatic villains Felipe and Éboli, dissolved by Cinderella-like Carlos. (My other lovely Elisabetta Tatiana Serjan began singing it lately). Of course, it was also a beautiful winter in Italy, but opera was one of wonderful parts of the journey.

 

[Seattleoperafan]

I've honestly listened to Yoncheva and I think Elizabetta is too heavy for her. Though I often read opinions that this part is more lyric than it's usually performed.
So, I've calmly and with pleasure voted for Stoyanova. I heard her once, in 2017 or 2018, I knew her in recordings and broadcasts to the date. It was late enough in her career, but she sounded stable, as some younger singers don't. As for her voice size, it didn't seem small. She was well heard in the boxes (it was La Scala) and wasn't strained. The voice was beautiful in all registers. It was first time, when I realized that this opera is not only about charismatic villains Felipe and Éboli, dissolved by Cinderella-like Carlos. (My other lovely Elisabetta Tatiana Serjan began singing it lately). Of course, it was also a beautiful winter in Italy, but opera was one of wonderful parts of the journey.

You write better in English than I do. Lots of Russians coming to the contests. I can't imagine going to LaScala!!!!

 

[ColdGenius]

Isabel (Elisabetta) de Valois was about 24 when she died. By the time she was married 10 years and had two daughters. She was well educated, patronized arts and was fond of painting. (She was a daughter of Caterina Médici, who had an eye on arts and good cuisine). We may perceive her as a child, especially now, when people mature relatively slow, but indeed she was more adult than our contemporaries of her age. The line of her love interest with Carlos was invented by authors of a black legend and developed by Schiller, whose predilection for doubtful historical gossip was surpassed only by Dumas's. So I don't feel any issue if she's sung by a more dramatic voice.

 

[ColdGenius]

You write better in English than I do. Lots of Russians coming to the contests. I can't imagine going to LaScala!!!!

You flatter me!
Though writing in a foreign language is demanding. First, you lose a great part of humor (it's a fine observation of Virginia Woolf). And you always try to escape mistakes.