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Updated: June 22, 2025
The next number on the program will probably be the soloist say, a coloratura soprano. Your first remark should be that you don't really care for the human voice the reason being, of course, that symphonic Music, ABSOLUTE music, has spoiled you for things like vocal gymnastics. This leads your bewildered friend to ask you what sort of soloist you prefer. Ans. Why, a piano concerto, of course.
The state of her invariable vocal exultation began to mount, her consciousness of scene to recede, and, anticipating her coloratura climax, she started to climb, building for warble. Her blood was pounding and her voice in flight. Up went her chin.
It depends on the quality of the voice. I think every dramatic singer should cultivate coloratura to some extent should study smooth legato scales and passages. To listen to some of the dramatic rôles of to-day, one would think that smooth legato singing was a lost art. Nothing can take its place, however, and singers should realize this fact."
On a slope a white sprinkling of wood anemones lay spread like a patch of linen bleaching in the sun. From a valley a lark cut a swift diagonal upward with a coloratura burst of song. A stream slipped its ice and took up its murmur where it had left off. A truant squelched his toes in the warm mud and let it ooze luxuriantly over and between them.
The voice is so individual that it cannot be thus limited. There are many soprano qualities between the coloratura and the dramatic, and the same is true of alto, tenor, baritone and bass. When the voice is rightly produced, its natural quality will invariably appear, and there it must be allowed to remain. An attempt to change it always means disaster.
And it is well this should be so. We would not have all coloratura singing of the same pattern of sameness or quality, for we find uniformity is monotonous. There is one peculiar mode of mastery for Galli-Curci, another for Tetrazzini, still another for Barrientos; each in her particular genre is unique, apart.
Her voice, noted for its wide compass, exceeding sweetness, marvelous flexibility and perfect equality, has been so wonderfully well cared for that even now, in her sixtieth year, she enjoys singing, although she rarely appears in public. Her sister, Carlotta, was also a coloratura vocalist of exquisite technique. Queens of song now pass in swift review before the mind's eye.
"I would advise every student to study coloratura first. Then, as the voice broadens, deepens and takes on a richer timbre, it will turn naturally to the more dramatic expression. The voice needs this background, or foundation in the old Italian music, in order to acquire flexibility and freedom.
Every teacher should have at his command a wide range of compositions in every form available for the voice. This should include simple exercises, vocalises with and without words, songs of every description, arias of the lyric, dramatic, and coloratura type, and recitatives, as well as concerted numbers of every description.
If, on the contrary, you want rapid passage work, with clear, bright, articulate touch, the hand must stand up in well-arched, normal playing position, with fingers well rounded and good finger action. Here you have the 'Technical' or 'Coloratura Hand. "The Melody Hand is weighty and 'dead, so to speak.
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