le public affair
The cher public have spoken, and their chosen Rossini oeuvre, to be featured on the next Unnatural Acts of Opera, is…
Check back on Wednesday night for the first installment of Il viaggio a Reims (which, as of course you all realize, will not be the same performance as the one in the video!)
A little late in the game, but I’d like to comment on the discussion regarding Gerald Finley’s voice type. I’ve had the privelege of hearing him several times in recital in Toronto, and think he has a most beautiful tone, and is a very committed and affecting performner. However, I’ve always been struck by a couple of aspects of his technique which puzzle me in a singer of his stature and reputation. He often has some issues with his highest notes. I wouldn’t call him a singer with an “easy top” and it is perhaps for this reason he likes to label himself a “bass” baritone. Has he sung Figaro in Rossini’s Barber? I’m pretty sure not, and for good reason, since this role is merciless in it’s demand on the baritone voice. You have to know exactly what you’re doing at the top of your range if you’re going to get through the big aria. I’ve heard Finley have some difficult moments while negotiating the top. Also, even more consistent is his use of straight tone. He often begins long, held notes in a straight tone with the vibrato emerging only after the initial onset. This can be an interesting effect if used sparingly, but the last time I heard him (less than a year ago), almost all of his singing was effected by this. I would suspect again, that it’s probably not a “choice” he’s making but rather, a technical glitch. Having said all of this, the overall package he presents is so convincing, and his interpretations so heartfelt, I think some of these technical problems can be overlooked to a certain extent. I do believe though that they partly explain why he might choose the bass-baritone vs. baritone label.
I’m listening to Viaggio (the podcast. I already owned the other Abbado recording) and what a pleasure it is. When we first voted, I avowed that I like McNair better than Gasdia as Corinna; that still holds true, but Gasdia is wonderful. I remembered her as being too far away from the mic. This is such a wonderful opera and a wonderful performance. I would have loved to have been in the audience. I had the pleasure of seeing Caballe in recital at the Auditorium Theater in Chicago in the early 80s. She was in beautiful voice and was quite charming. And speaking of great voices, I was attending Chicago Musical College in the 80s when Marti Talvela sang a recital in the same house. His accompanist needed a page turner, so I got so sit on stage and listen to the voice. An amazing experience.