Sassdance
From that rarest and most coveted of all camp crossover efforts, the Sylvia Sass disco album:
[kml_flashembed movie="http://www.youtube.com/v/OBGYGLi5UcM" width="425" height="350" wmode="transparent" /]
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Sanford, you are so right about Upshaw. She always sounds like she’s lecturing the audience in that little squeaky voice of hers. (And don’t you just hate her little Schwarzkopf-style ‘whoopses’ as she launches into phrases?) Renaaay might be horribly mannered, but at least the voice itself is something …
I agree as well, Ms. Upshaw often seems like a female Hampson in that way– preparation and thought are great, every single note can sound calculated and aloof. However, I thought Upshaw’s ‘Theodora’ dvd showed the most honest, affecting (as opposed to affected) singing she’s done.
“Different strokes”..I guess..But, from “Aiminador” to the Berio Folk-songs..to her Forest-Bird..and her recitals..Ms Upshaw has always given me a great deal of pleasure…
oh, well….
Von Stade also championed a lot of new music, but she never sounded, I don’t know, like “ooooh, look at me. I’m singing new music. I’m so hip.” Classy all the way.
I find the whole Dawn Upshaw question just plain weird. Things like her Illia from the Met just sound horribly on edge and, frankly, way beyond her. And Pamina with a belt voice never really worked for me. How is it that she got to do these things?
brooklynpunk–
Again we’re largely in agreement, this time about Upshaw. Do we know each other?
Pelleas:
..perhaps..-lol..!!
..I (also) do like the work that is your “name-sake”..so…
..I actually meant to type..”Ainadamar”, in an earlier post…