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La Cieca feels like she’s supposed to make a joke here, but she can’t — because Anthony Tommasini‘s interview with Barbra Streisand is like… well, you know!
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I just logged on to post the link (here’s my proof: http://www.nytimes.com/2009/09/27/arts/music/27tomm.html?ref=arts) because I couldn’t believe it either. Three pages’ worth of:
Barbra Streisand is a gifted natural singer.
She must know a lot about vocal technique.
She claims she doesn’t.
But I think she does.
Even though she provides no evidence for it.
But I’m sure she does.
Good God.
Maybe I’m not getting it but hasn’t Barbra Streisand always been miked and electronically assisted? How can you compare her to an opera singer?
It must have been a fun visit. How kewl is that to sit with Streisand anyway.
“She is a big Maria Callas fan, which makes sense. Talk about a singing actress who drove her artistry through force of will. ”
Is there one tired cliche about the Greek Woman that this person will not spout?
Give me Dame Vera Lynn anyday.
Now you are talking Dame Vera is the real thing
This piece reminded me strongly (and oddly) of the New Yorker piece last spring on Natalie Dessay. Same… frame of mind, I guess.
And the same approach to the “I wanted to be an actress, not a singer thing” and how singing is an extension of the acting…
Those two girls should meet over tea sometime.
So that’s the real Tony Tommasini — he CAN talk about the voice! But only with Streisand — never about classical singers. For that you have to turn to Jorden or Shengold — have you noticed? I’ve noticed.
Well, anyway, I enjoyed the article — more than I usually enjoy Streisand. (Though there have been times I thoroughly enjoyed Streisand.)
I look forward to Barbra’s verismo disk.
He did a good job this time. She revealed the new Streisand Barbie that comes out in November on Oprah today. Speaking of Pav not being able to read music- I’ve heard this before, but I’ve seen a picture with him sitting at his piano, autographed photo of von Karajan on top, with sheet music of Puritani going over the score. Was this just staged, then?
What a thorougly ridiculous article. Tommasini yet again reveals his almost total ignorance of the operatic voice. With no disrespect to La Streisand, who I admire and enjoy, her diaphragm is locked and her whole breathing mechanism has nothing even approaching the freedom which opera singers need and strive to attain. This is entirely appropriate for her singing style and repertoire, but to suggest it has anything in common with opera singers is lunacy.