Sein Weg
That most versatile of all golden-age divas, Lilli Lehmann, must be looking down from Paradise right now with a peculiarly puzzled expression on her face, for at last she has a rival.
Meet Ingrid Höfer, an artist with a “mission to sing.” Mme. Höfer’s discography reveals that her range runs the gamut from Traditional folk material through Bach oratorio, Romantic Lieder and even choral music from Wagnerian stage-consecrating-festival-drama.
Along the way, the protean Höfer instrument soars through material more tradionally associated with dramatic soprano, coloratura soprano, and contralto. Die Höfer even takes on the challenge of a form that the mighty Lilli dared not attempt, i.e., the Broadway show tune.
La Höfer points out on her website about these sound clips “Erwähnenswert wäre noch, dass Sie hier die dunkle (nicht tiefe) Vokalfärbung eines dramatischen Sopran und nicht eines lyrischen hören.” That is, “It should be noted that you are hearing the dark (not low) vocal timbre of a dramatic soprano, not a lyric.” So noted.
Speaking of….interesting sopranos, I just read a quote from Andrea Gruber that had me on the floor.
MetOpera.org just survayed some artists as to what is on their I-pods. Most of it was pretty standard: roles singers were learning, some classic recordings operatic and non oldies, Italian pop stars, and some surprises (who knew Marcello Giordani loved MAMMA MIA?) But here’s what Andrea Gruber said:
“This is what I am listening to today, but it may change tomorrow:
In Da Club by 50 Cent, Down On Me by Janis Joplin, Hollaback Girl by Gwen Stefani, London Bridge by Fergie, Gold Digger by Kanye West”
I nearly fell out of my chair laughing.
Baritenor – Gruber is a biker chick with a horrible voice. I’d expect nothing less… LOL
Oh, and Devia_fan – I don’t have perfect pitch. I just assumed it was in B-flat.
I get sooooo sick of Opera divas and divos always trying to prove to the masses that they are so like just common ordinary folks—Jane Egland is another would be opera singer that just loooooooooooooooooooooves to listen to rock and roll—phooey!!
I get so sick of people assuming that opera singers are absolutely not allowed to like or listen to anything other opera, art song or…maybe…dignified standards.
What the hell?
We’re not allowed to listen to pop or dance or whatever? Ever think that maybe listening to opera in rehearsals, in practice, in study maybe is enough that, perhaps, we might be allowed to listen to something else on our night off?
Get over yourself. We’re humans with a variety of interests, too.
Baryton F., I am sorry, I wasn’t trying to be critical of you. I felt the correction was necessary simply because it removes any sort of possible avenue of ‘forgiveness’ for the lady in question.
D’s, e-flats, e’s, and f’s are ALL high notes, and I admire all female singers who can hit them well and precisely. Yet there is a world of difference between an e-flat and an F. Birgitte Nielson from what I understand WAS capable of singing the aria in key and hitting the F, but apparently she said ” It would sound like cows flying….” I don’t recall if mention was made of the tempo, but based on her comment, I would presume it was slow and ponderous, and something not to be done in anything approaching a serious performance.
Some good laughs on the Deutch wiki soprano definition but…looking at English based definition of the soprano voice fachs, I still raise my eyebrow on some of the roles. To presume that Sutherland was NOT a Dramatic Colouratura simply because she couldn’t sing Der Konigen in the house is preposterous. Or to call Olympia a soubrette role is also rather incorrect. I doubt most soubrettes are consistent above a D, and Olympia requires you to.
The role of Gilda is also another one of those miscast mis-understood roles. Whatever a ‘Lyric Colouratura’ is supposed to be- what, a colouratura with a short top?- Gilda is not meant for a ‘light’ or ‘smallish’ voice. There is Caro Nome, and then there is the rest of the opera. Sumi Jo hurt herself in that one, where as Sutherland, Devia, and Gruberova all cruised through it. Now, one might prefer the more limpid timbre of a Sutherland to a Devia in the role, but both voices are built to take it, even if they could ALSO both sing Lakme.
Mozart is another place where I think voice types are not so hard and fast, and often plain miscast. I am so tired of hearing Elettra taken by dramatics. It’s terrible, and voices like that didn’t really exist in Mozart’s time because people died before they hit 40! They can’t get through D’Oreste D’Jace, even if the Idol Mio goes better for them. Both Devia and Gruberova sing it wonderfully, though on the flip of a coin I would say Gruberova due to the timbre of her voice. Ah to have heard Joanie would have been spectacular.
So, all this is to say that I am not convinced of some of the current conventions or manner of defining voices. I think timbre and the singer’s ability are the most significant aspect. Obviously there are limits, as this lady well shows, but I think there is some room for movement.
Luxie darling YOU get over yourself. I never said opera singers are not allowed to appreciate something else. My feelings are that so many divas and divos want to prove that they are so ordinary. There ain’t nothing ordinary about being armed with only a peace of vibrating flesh in your neck and to sing some demanding aria in front of 3000 or so people who basically want your blood—my mom said something like that many years ago. Now go take your meds and calm down!
But I have to say CALLASORPHAN, I understand Luxie P’s comment. Sometimes serious singers don’t get taken seriously because they are normal. There is a double standard for singers to comply with – they are supposed to be divas, but cool and down-to-earth, but when they are ACTUALLY cool and down-to-earth, they aren’t taken seriously by the people in charge who do casting. They are supposed to be young, and thin, and beautiful, but singers who actually ARE young and thin and beautiful get accused of being hired ONLY because they are young and thin and beautiful, even when they can actually sing. Keeping my feelings about Ms. Gruber to myself, I think if she listens to Kanye West, etc, good for her. It doesn’t have anything to do with her opera career, which should be judged entirely on it’s own merits.