I just found out Joseph Shore passed away on the 4th of this month. RIP.

@eliascastillorivera7130

3 жыл бұрын

www.legacy.com/us/obituaries/providence/name/joseph-shore-obituary?pid=198971276 Isn't him another Joseph Shore?

@deadwalke9588

3 жыл бұрын

@@eliascastillorivera7130 Yeah that's another Joseph Shore. The Baritone isn't/wasn't married.

@eliascastillorivera7130

3 жыл бұрын

@@deadwalke9588 So, has him actually passed away? I'm confused

@RadamesAida2Operalovers

3 жыл бұрын

@@eliascastillorivera7130 facebook.com/MaestroShore

@raythetse

3 жыл бұрын

Oh wow. I was taking lessons with Maestro Shore up until early last year when the pandemic started. Of course we couldn't continue as I wouldn't risk exposing him to to something that would have a devastating effect on his already traumatized heart and lungs. It was nice to see you post some clips from some of his videos. He had some interesting 'conspiracy theories' about why opera and singing has changed so much over the last several decades, but he certainly had a hell of a voice. And in spite of his clearly reduced capabilities, he could still demonstrate his D5 even past the age of seventy as he did for me multiple times. Rest In Peace Maesto Shore, my friend.

Truer words have never been spoken, alas. I love opera, but I no longer attend live performances because it's too painful to see and hear what has become of this once exalted art form. It is very sad. Now I cherish the recordings of my favorite artists of the past. At least we can honor their legacy that way. Thank God!

it astounds me so much. how is it that people are asking for smaller and quiet singing in an art form where the singer has to compete with a full blown orchestra in a large auditorium? do these people have any common sense?

@BestOperaMoments

3 жыл бұрын

that is exactly why opera is dead.

My Mom was a piano prodigy, and when Boris Goldofsky came to Cleveland with Carmen, their pianist fell sick. So my 15 year old mother was asked to sight read the entire opera for the performance that night. She did a great job, and Boris wrote her a letter asking her to come work with him in Russia. She ended up unhappy at the Eastman School of Music a couple of years later wishing she’d gone to work for Boris. She still has the letter from him here on her piano.

PLEASE. MORE OF THIS STORIES!

I so totally agree with what he says! People who don't like opera is destroying, rather have already destroyed opera.

What a prophecy! This should be shown before every Metropolitan movie shows.

2:52 I think it is correct to execute this phrase *during the repeat* (at the end of the aria) with a lot of tenderness, hence it does not need to be belted out (but not a whisper, of course); but here, he is talking about the START of the aria in which case the phrase should definitely be sung more robustly.

@RadamesAida2Operalovers

3 жыл бұрын

P in Opera is not soft. It is a louder sound. If it is soft. Than what is pp, ppp, pppp or ppppp? The under singing is a result of a recording mindset and not an opera stage one. You can be louder and tender. It is a matter of inflection. Opera is over the top.

@BestOperaMoments

3 жыл бұрын

@@RadamesAida2Operalovers Agree 100%.

@caseyfranco3959

3 жыл бұрын

@@RadamesAida2Operalovers true, when get into the "rehearsal room" mindset as well, people don't understand what p and pp really means in the theatre

@eliascastillorivera7130

3 жыл бұрын

@@caseyfranco3959 kzread.info/dash/bejne/hn5pzJeyftrbhrw.html 1:55, kzread.info/dash/bejne/iZ95msWGpJeXZqQ.html 0:50, that's what one should be aiming to when thinking of delicate sound perfectly suited for opera, for large houses, even for open air. It's not the volume what determines it as perceived loud, but the right acoustic adequation of the voice, to get what we call squillo, even in the most delicate produced sounds. Evidently it doesn't mean to whisper, but it's always a firm sound. It's very well known how this sounds I'm sharing were not only perfectly audible, but that they filled the whole theatre.

If one wants to hear correct soft singing, just listen to Tito Schipa. His pp was heard almost as well as his ff with no discernable quality difference; including over an orchestra. My father spoke of hearing Schipa in a live situation and was astounded with the dynamic contrasts in his voice with no hint of quality loss. Recordings do not do him justice.

Opera singing has been "declining " from the very beginning . Even Rossini was complaining about the decline of opera singing in his later years . The more things change . . . . . .

Purtroppo è verissimo

How can you be too big for Verdi Bass roles? Surely...there's no such thing?

world wide Fischer-Diskau has millions of Fans... he was a great artist, no doubt and when he sang it was never boring... but he destroyed the old ideas of how efficient use of voice works. When you compare single tones of Prey and DFD you will notice that Prey could sing effortlessly in all of his tessitura. Unfortunately Prey became unpopular in the intellectual world of Germany. The great pianists of his time accompanied DFD and were impressed by his personality, without deep understanding of singing. Today we have Papano who hyps a solid province tenor to a world star... because of his personality.

That's why the seats at the met are empty.

The vocal ability and quality has been demoted to second place in favour of acting and “emotion”. Opera singers are more often seen crooning into a microphone with big toothy smiles than using an open voice in a theatre. If you dare to suggest that they aren’t producing consistent sounds you will be accused of being a “canary fancier”. But, can you imagine, say a violin concerto, being played by somebody who had to slow up for the tricky bits and screeched out wobbly top notes… but pulled expressive faces and told you all about how they felt, laughable but in opera the traditions of technique, indeed the traditions in which the composers wrote, are being rejected in favour of something less, perhaps easier to capture with a microphone than a Del Monaco in full storm, something lacking in the visceral thrill of a “real” opera voice…. So why not an authentic opera movement, driven by a search for the sounds which are what the composers knew when they wrote so much of this music, just as there is in instrumental music. Bellini didn’t write his long beautiful phrases for singers who couldn’t manage a decent legato, and Donizetti didn’t write his flights of coloratura expecting a wobbly muddle of barely distinguishable notes…. Oh well there you go… to me it’s just sad, perhaps Opera will end up like musical theatre, little voices and mics to pick up the sound… and I think it’s too late….

@dgxgamesy3940

3 жыл бұрын

But Opera in nowdays has not emotion/teatral or singing in majority times. Other thing is the people "required" soft singing when you need a BIG singing in a art f you MUST project over orchestra and keep the tonal quality.

@dgxgamesy3940

3 жыл бұрын

Musical Theatre for me has a problem: Singing and Acting in great amount of times, don't "blend" and dont deliver a emotional expressiveness. Is like the actors singing, not the character's singing.

Glorified musical theater. Living and studying in Italy, I feel things are a bit better here and stick alot more to tradition. That being said, still not like it was before. I seems like the quality of singing is the last thing the opera houses care about. The story lines of the opera are important, the acting ability of performers are important, all the artsy mumbo-jumbo, it's all important. But, at the end of the day, if you sing like shit, what do I care? The Germans and the anglos seem to be destroying it the most. Just look at their miserable looking modern productions, says it all. The Met isn't great either, in terms of alot of their singers, but at least they put on a show, most of the time, although even they have some questionable looking productions.

I think the worst part is the example he gives is a friggin bass. first off, we should probably get one myth out of the way: people nowadays like to say things like "higher voices carry more easily because of the frequencies".....no. that nonsense is caused by two things 1) bad technique ("too much voice" what? should a bass sing like Britney Spears? lmao!) 2) the lower and "middle" voiced singers....are actually tenors and sopranos singing the wrong repertoire ("middle" is in quotes because people think baritones and mezzos are "middle" voices when they're actually deep voices, just not as deep as bass/contralto) the truth? the bass is the BIGGEST male voice. most of the time, it's obvious when they speak. sure, a bass singing an F4 doesn't have the piercing screech of a (poorly trained) coloratura soprano, but it doesn't need to....because it will swallow you whole. with that aside, okay, I can maybe understand if a conductor wants a Gilda or Tamino to sing with a bit more lightness and sensitivity (in practice, this tends to lead to bad technique when they don't do it right, but if it can be done right, nothing wrong with this), but with a bass role?....wtf? NO! you can't have "too much voice" if you're a king, "too much voice" if you're a conqueror, "too much voice" if you're friggin Satan. I swear modern opera has been taken over by post modernist weirdos who want women to sound like screechy teenage girls and have absolutely no idea what to do with the natural male voice because it scares them and they always think it's shouting at them.

@LigeiaNoire

Жыл бұрын

Absolutely. They take the passion out of those roles. Everything sounding like squeezed mosquitos or apple stuck in throat.

@bradycall1889

10 ай бұрын

Now where do you get all of this information? Some of what you said I agree with but not all.

When "Herr Schmidt" would have chosen Cesare Siepi and Boris Christoff as role models he would have been on the right way. This "Herr Schmidt" is untalented. "Schmidt" doesn`t trust his voice when he has to sing piano. Historic Philipp II had a small cabinet in the ECSORIAL close to Madrid, and he was alone in the early morning when he sung that about 440 years ago piano not to wake up Elisabeth, his lover Eboli and Posa, haha. I was in this chamber in 1971 and also later. I later was also in the small bedroom of his father Karl V in CUACOS DE JUSTE from where he could see the altar in this monastery.

Opera is terrible today. I would not pay to listen to it. It’s declamation… not whispering or crooning.

Fischer-Dieskau NEVER sung. He spoke only "bound". This was "declamation" but not singing. I know Fischer-D. since the 50ths from records of my father.

@caseyfranco3959

3 жыл бұрын

I get what u r saying, but declamation is clear and understood, he always mumbled and croaked

@tinkerwithstuff

3 жыл бұрын

I did once hear some very early F-Dieskau that surprized me, it sounded quite amazing actually. Before that I only knew his newer material with a kind of weak, breathy / broad sounding voice, no focus. Alas I don't remember what and from when that was, I would guess it was before his smoking habit worsened his voice.

I always disliked the miserable voice of Fischer-Dieskau so much!

@robertberger4203

3 жыл бұрын

If his voice was "miserable", I wish we had more opera and lieder singers with "miserable voices ".

@DiomedesDioscuro

3 жыл бұрын

@@robertberger4203 I wish we had more lieder RECORDINGS with non miserable voices. There were good singers that sang lieder, but regretfully bad singers like Fischer-Dieskau were deified and prevented the good ones to be more present in our discography.