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Really? How good is her monologue from Wozzeck?
The Soprano Assoluta and its place in the world of Opera today
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I am not trained in any singing style but I'm fairly certain that I am a soprano sfogato (aka a soprano assoluto). I'm capable of singing very low (for a woman) as in songs such as the old spiritual, "Go Down Moses", at a middle pitch such as in Adele's "Set fire to the Rain", and I all but have the cadenza from "Phantom of the Opera" in my pocket (still working on that high E but am close to conquering it) (I don't know hardly any opera songs but I am familiar with the most famous part of Carmen as well as Flight of the Valkaries). I'm an adult now but have always wondered why I had such a range when many (one may even argue most) people don't. I thought about being in choir when I was in school but was too self conscious (I mean I knew I wasn't an alto but not just a soprano either and the other kids would have possibly seen me as a freak or else as a choir director's pet if I constantly got switched between the two when no one else would have) I can also make my voice as dark as night, as bright as the sun, as cold as winter, as warm as a fire, as soft as an angel, or as harsh as a thunderstorm. I can belt at high volume or sing softly with equal ease. If so desired I can back up my claims by posting recordings of myself. I always wondered what voice type I was and this thread helped me figure that out. I read a bit about what soprano sfogato is and what is interesting is that a soprano sfogato is often referred to as a contralto, alto, or mezzo soprano that has somehow extended her range to include the soprano range and I have had a habit of imitating singers/songs that I like (I used to imitate the lead singer of the Cranberries when I was younger) since I was in elementary school so, I think that has somehow extended my range. Again, I can post recordings if desired.
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Hi! I am new to this forum! I have really enjoyed listening to the recordings
on youtube of different singers that you have mentioned on this topic! I was wondering, what about Michele LaGrange? She has a rich, beautiful lower register. Her rendition of Fiordiligi's "Per pieta" is amazing! And, she has such ease on her high notes! Her "Casta Diva" is a wonder to behold! And, she has also sung Esclarmonde! She has had longevity, because she sings with perfect bel canto technique. I think her career started in the early 1980's, and she was still singing beautifully within the last 10 years! Not bad for someone born in the late 1940's or early 1950's!
on youtube of different singers that you have mentioned on this topic! I was wondering, what about Michele LaGrange? She has a rich, beautiful lower register. Her rendition of Fiordiligi's "Per pieta" is amazing! And, she has such ease on her high notes! Her "Casta Diva" is a wonder to behold! And, she has also sung Esclarmonde! She has had longevity, because she sings with perfect bel canto technique. I think her career started in the early 1980's, and she was still singing beautifully within the last 10 years! Not bad for someone born in the late 1940's or early 1950's!
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Lagrange seems to be walking on eggs, unwilling to let the voice out, pulling back when she should let go and expand. Maybe she's trying to be "Mozartean" or something, but it seems the sort of genteel, inhibited singing Callas inveighed against when coaching young singers in Mozart. The top isn't quite free, the vibrato slowing, and occasionally she telegraphs "here is my chest voice." A pretty voice, but an unfinished singer and artist. Chilcott is more satisfying, even if she's weak at the bottom and I couldn't pick out her voice in a lineup.
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Not being familiar with either the singers or aria affords me the opportunity of not having to compare with other singers.
Something seems strange in the voice of Michele Lagrange. It sounds as though she believes someone in the room is sleeping so she's being careful not to disturb them by singing full voice, OR is it her complete voice, which has a lovely rich tone to it but I feel is holding back.
On the other hand Susan Chilcott, another voice unfamiliar to me, has an absolutely stunning soprano sound. Whether she is truly considered a soprano assoluta or not is another question, but even sans her missing trill I definitely prefer her presentation.
Something seems strange in the voice of Michele Lagrange. It sounds as though she believes someone in the room is sleeping so she's being careful not to disturb them by singing full voice, OR is it her complete voice, which has a lovely rich tone to it but I feel is holding back.
On the other hand Susan Chilcott, another voice unfamiliar to me, has an absolutely stunning soprano sound. Whether she is truly considered a soprano assoluta or not is another question, but even sans her missing trill I definitely prefer her presentation.
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