Tannhauser artists roundtable at California Part2

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2008年01月27日

カテゴリ： OPERA

Tannhauser artists roundtable at California Part2

RG: You might think I'm joking because I am, practice, (indicating his fingers, like counting the numbers, smiling) practice, practice. this kind of singing is not leaning how to use this here (touching his throat) but (touching his waist) Girls lose her waist lines, not fat but muscles. waist grows, I mean you look me half back but I mean full back. That's just the way we build. really strong has to do it's really physically supported the whole thing. we don't sing from here (touching his throat), we sing from the body. and that comes from practising. I mean not coordinating, I don't mind practising, you do the part of Tristan, when times of Tannhauser, every day keeps muscles going so you use this all the time. it's like you gotta quaterback he doesn't pass the ball and warm up enough he's gotta lot to get it in there, it is muscles, in this particular case, Patriots wait on the battles, you gotta have the talent, you gotta bring along, it's part of you. but what do you do with it? that's the catch. he gotta really technically knows what you're doing. I personally a low technitian. I learned how to do it or otherwise I was born to be able to do it, but many people I suppose could do it. but they don't know technically, how to get to it. That's my opinion (looking to Nick, people laughing) What other singers has to say.

Russell Braun (Wolfram): 21:52--I think it's obvious, it's very little art to accept it, the diction is really what distinguishes dramatic opera from all other forms. The german diction of Wagners are even more elevated any other things -- that's actually, allow this expression - cutting through orchestra, the orchestra is something like animals we slaughter in there(laughing) we must conquer it but I think we want to blend with the orchestra, with the orchestra sound by producing vowels alone, you can't do that. where we have to make use of the voice more also as a percussive instrumentals, which is you know, as the Maestro says in rehearsal one more wonderful German words "tisch??? laute" which means the sounds of the languages that buzz basically, and more we do that, the more we can - and first of all understood also the kind of important in the theatre and heard as well.

RG: Can I say one word please?

Nick: Yes, please.

(Hampe is grabbing the microphone.)

RG: I'm a singer!

MH: You go first.

RG: Thank you. He does remind me something. there's something that's really - things to sing Wagners. I have sung Bel Canto for almost 20 years, ok? and you have to learn basicly as Tenor, not soprano or the baritones but talking about particullar tenor part you have to learn this speak those as well. 3rd act is not really sung- but spoken. it's more articulated, it's very unique. Now you have beautiful Bel Canto aria of Wolfram and beautiful Bel Canto aria of Elisabeth but Tannhauser comes and growling to everybody, ahhh! (Nick giggling, actually Gambiil growls) and he really want the articulation. very very strong diction. and Bernd Weikl said, he's very famous Sachs, he said, Sachs is the big part in Meistersinger, he said "Bob, if I sing the entire Sachs, I never make it through it. You don't sing it , you speak it and you sing it, it's the mixture. it's unique. it's different in singing Verdi, Puccini, diffrent style of singing. The second act of Tristan is the song and third act of Tristan is spoken. it's also the song. the same thing here, Tannhauser. It's really communicating. it's real communication of Wagner really wanted to do that.

Nick: Maestro, how you controll this beast,(laughing) this orchestra? they can often be so big so loud and does Wagner help the singer? or was he working against the singer?

Otvos : Simply different kind of point of you conductor. you can really -- Tannhauser is example not only the big can be enourmous? which is not necessary. because you can have the same dramatic -impetuous- and also there most important singers apart symphonic movement of the orchestra. so there integrated the orchestra. Now question is the balance. How loud can be the orchestra and how the conductor has to be very careful, that 's you see hear the singers. I would always like hear the singers. so that I can drag down the orchestra, but if I drag down too much, the orchestra lose their ways. and this is very crucial question, how can you remain with everything music is instrumentation and visual drama, the maximum possible from the orchestra because you want to hear also the orchestra and the orchestra is very important part. the orchestra with accompanies the singers but as everybody says, the orchestra has here probably the most important lines, the orchestra is playing from the beggining of the opera and till the end. singers sing the part of it, they have to go together. but the orchestra can be expressive, and also the beautiful sound -I mean also --exist-- this sound supreme character of the music. or dragged down -smashing something down -- this is not the merit. The merit is the balance between all. and is wonderful thing to conduct Wagner orchestra -- as conduct you have to love the singers. and also you have to love the orchestra. so to find this balance, that is really the most difficult thing, you know. difficult to have dramatic orchestra, and loud probably also beatiful sound, but then you don't pass the singers they said very important the words, text, only I don't agree one thing if only Wagner, Verdi always told singers, (Italian) "?? parole -la musica scritt io" it means pronounce well the words, I already wrote the music. (MC giggling)-- something important you can words better composer , we don't need good application interplitation but we need good performance. something perform it well.

Go to PART3

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