Great Singers on the Art of Singing: Educational Conferences with Foremost Artists; A Series of Personal Study Talks with the Most Renowned Opera Concert and Oratorio Singers of the Time; Especially Planned for Voice Students (Classic Reprint)
Great Singers on the Art of Singing: Educational Conferences with Foremost Artists; A Series of Personal Study Talks with the Most Renowned Opera Concert and Oratorio Singers of the Time; Especially Planned for Voice Students (Classic Reprint)
Excerpt: ...blonde voice. These terms of blonde and brunette, of course, have nothing to do with the complexion of the individual, but to the color of the voice. The Only Cure Lehmann said of this scale: "It is the only cure for all injuries, and at the same time the most excellent means of fortification against all over-exertion. I sing it every day, often twice, even if I have to sing one of the heaviest roles in the evening. I can rely absolutely upon its assistance. I often take fifty minutes to go through it once, for ...
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Excerpt: ...blonde voice. These terms of blonde and brunette, of course, have nothing to do with the complexion of the individual, but to the color of the voice. The Only Cure Lehmann said of this scale: "It is the only cure for all injuries, and at the same time the most excellent means of fortification against all over-exertion. I sing it every day, often twice, even if I have to sing one of the heaviest roles in the evening. I can rely absolutely upon its assistance. I often take fifty minutes to go through it once, for I let no tone pass that is lacking in any degree in pitch, power, duration or in single vibration of the propagation form." Personally I supplement this great scale often with various florid legato phrases of arias selected from the older Italians or Mozart, whereby I can more easily achieve the vocal facility demanded by the tessitura of Manon or Faust and change to the darker-hued phrases demanded in Carmen or Butterfly. But the open secret of all success is patient, never-ending, conscientious work, with a forceful emphasis on the WORK. Johanna Gadski. MME. JOHANNA GADSKI Biographical Mme. Gadski was born at Anclam, Prussia, June 15, 1872. Her studies in singing were principally with Mme. Schroeder-Chaloupha. When she was ten years old she sang successfully in concert at Stettin. Her operatic debut was made in Berlin, in 1889, in Weber's Der Freischutz. She then appeared in the opera houses of Bremen and Mayence. In 1894 Dr. Walter Damrosch organized his opera company in New York and engaged Mme. Gadski for leading roles. In 1898 she became high dramatic soprano with the Metropolitan Opera Company in New York, and the following year appeared at Covent Garden. She was constantly developing as a singer of Wagner roles, notably Brunhilde and Isolde. Her repertoire included forty roles in all, and the demand for her appearance at festivals here and abroad became more and more insistent. She sang at the Metropolitan Opera House in New York...
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PLEASE NOTE, WE DO NOT SHIP TO DENMARK. New Book. Shipped from UK in 4 to 14 days. Established seller since 2000. Please note we cannot offer an expedited shipping service from the UK.
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PLEASE NOTE, WE DO NOT SHIP TO DENMARK. New Book. Shipped from UK in 4 to 14 days. Established seller since 2000. Please note we cannot offer an expedited shipping service from the UK.
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