[78-L] Operatic Sight Reading.

Philip Carli Philip_Carli at pittsford.monroe.edu
Mon Dec 12 02:54:23 PST 2011


As an accompanist of over three decades' experience, though, I can say singers who _can_ read - and especially sight read - earn much more respect and gratitude from their instrumental colleagues than those who can't, no matter how fine their voices. Being a repetiteur can sometimes be grueling, depending upon the perspicacity of the singer you're drilling. Of the greats of the past,  Giuseppe Campanari and Marcella Sembrich were probably the best: Campanari had started as an orchestral 'cellist, and Sembrich played piano and violin on a professional level.  And don't forget Jan Peerce's experience as a dance-band violinist in the 1920s, which got him started on doing band vocals...P. Carli
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From: 78-l-bounces at klickitat.78online.com [78-l-bounces at klickitat.78online.com] on behalf of OKIN EARL [spats47 at ntlworld.com]
Sent: Sunday, December 11, 2011 5:53 PM
To: 78-l at klickitat.78online.com
Subject: [78-L] Operatic Sight Reading.

Hi!

As a Jazz singer who loves Opera and collects operatic 78s, I don't see why
you are surprised about this. The same thing applies to Operatic as any
other sort of singing. You need a fine voice, great phrasing and a natural
musicality.

An ability to act is obviously an optional extra which could be very useful.

However...sight-reading is not required.
Lack of that skill just requires the services of a good 'repetiteur'...

Earl.

From: Erwin Kluwer <ekluwer at gmail.com>
Subject: Re: [78-L] Early studio singers - question
To: 78-L Mail List <78-l at klickitat.78online.com>
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Amazingly some of the truly great opera singers :Caruso, Pinza,
Warren, among others were NOT able to sight read music!!
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