When I was in high school at Naperville Central, John Pearce got sickĪnd was out of school for six months. Verdi has very driven lines, no scooping to the next note, you have to have an amazing control of a Verdi line, and there is nothing more satisfying than driving through a Verdi line with support and the ability to sing pianissimo while singing Gilda, no “floating” in “flute voice” a line, you would never back off of those lines without support. When I studied with Carlo Bergonzi he made it very clear that one doesn’t sing Verdi the same way one sings Donizetti. However it doesn’t stop there, composers in the same “time” sang their lines very differently. Later things became very “Romantic” and vibrato was open for business and was a “constant” with every line.
Vibrato was considered an “accent” singing through a line with purity was mandatory.
The church, of course, made a huge impact on the music that was written, the places in the world where choruses where singing with such purity and with a ‘straight line’ no vibrato, as in Russian music. Times showed great differences in clothing and furniture, poverty levels. Just think of the Mozart movie, not just “Amadeus”, but “Wolfgang”, done in 1990 to celebrate the Mozart year, I am lucky to be the voice over vocalist for the Donna Anna and the Queen of the Night, which is the coolest thing I sang as queen, they turned it into a show, (you can watch it on YOUTUBE and –Pjww).
Of course we have the Romantic composers, Early music composers, each time was during different times during history and what was going on. If you’re not sure about what I just wrote, I am talking about the differences between composers. I was very lucky and blessed to have had incredible musicians and artists who taught and graced my life before and during my career. The cast of Don Giovanni in Birmingham, England! There were 3 “Sir’s” in this production: Sir Simon Rattle, Conductor, Sir Willard White (far left) and Sir Thomas Allan (standing next to me) I loved all kinds of music as my dad had built a record player early in their marriage and he would buy beautiful recordings of all kind, Jazz, Big Band,Symphonic, Country, “Oh carry me out on the lone prairie”, Country music, and one of the coolest was Ima Sumac, a woman with a five octave range and I would copy and sing with her over and over again! Nun buet di Flur – from Die Schöpfung by Joseph HaydnĬonducted by Martin Haselböck, Orchestra – Wiener Akademie Mom was even on the Ted Mack Amateur Hour in New York when I was one year old with her quartet! I had been singing my whole life, in church, at home around the piano, in school choirs and one of my classmates made fun of me in fifth grade because I sang with vibrato! Both of my parents were singers,Barbershop especially, Dad a tenor and Mom a baritone. I had grown up remembering sitting in the living room in Moorehead MN listening to my “45 record player” playing the first stereo phonic sound recording and there I was, listening to Kirsten Flagstad singing Wagner! So opera was not new to me but this glorious sweet voice was! I knew then and there that that is what I wanted to do. I didn’t know her voice at all at that time. to be exact, Walter put on a recording of Mirella Freni singing Puccini arias which reached the top floor of this lovely old mansion where I was asleep! It was amazing how this angelic voice just touched my very soul. Her husband was a Professor at a college there and we wanted to meet him! After a day of visiting we all went to bed and the next morning bright and early, six A.M. Wash the mask after every use.I was thirteen years old and my folks decided that we would take a trip to see my newly married cousin in Indiana.
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