[78-L] Operatic Sight Reading.

[Philip Carli]

I'd forgotten Ponselle - and the ability to transpose too!  Besides concert work, it was enormously useful in vaude houses and the like, where I'm sure she acquired the skill.  I've had the privilege of accompanying only a few singers who could really manage a score and manipulate it technically, and it is SUCH a pleasure - so much more time to experiment and partner properly.  P. Carli
________________________________________
From: 78-l-bounces at klickitat.78online.com [78-l-bounces at klickitat.78online.com] on behalf of Jeff Sultanof [jeffsultanof at gmail.com]
Sent: Monday, December 12, 2011 8:38 AM
To: 78-L Mail List
Subject: Re: [78-L] Operatic Sight Reading.

To the list of opera singers who were also versed in an instrument, Rosa
Ponselle says in her autobiography that she was a skilled pianist who could
also transpose (play in different keys).

Much agreed on solfege, although other systems used for sight-singing can
be very effective. In college we learned movable 'do' which has problems
when you get to pieces that are in a number of keys.

Jeff Sultanof

On Mon, Dec 12, 2011 at 6:08 AM, Philip Carli <
Philip_Carli at pittsford.monroe.edu> wrote:

> I should also mention that solfege is rarely taught any more at the
> conservatory level; a great loss, as those singers who had limited reading
> skills often had considerable solfege ability which helped them learn parts
> quickly.
> ________________________________________
> From: 78-l-bounces at klickitat.78online.com [
> 78-l-bounces at klickitat.78online.com] on behalf of Philip Carli [
> Philip_Carli at pittsford.monroe.edu]
> Sent: Monday, December 12, 2011 5:54 AM
> To: 78-L Mail List
> Subject: Re: [78-L] Operatic Sight Reading.
>
> 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
> ________________________________________
> 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>
> Message-ID:
>       <CAEOnyckoM+Sx-VtCz-om2Q_i2eHfynjuWfxPAS7G6e2R7kb8Ew at mail.gmail.com>
> Content-Type: text/plain; charset=ISO-8859-1
>
> Amazingly some of the truly great opera singers :Caruso, Pinza,
> Warren, among others were NOT able to sight read music!!
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