Philip Langridge

Well, after reviewing so many "Emulatable singers" i've chosen Philip Langridge who sings The Dream of Gerontius by Elgar with the BBC symphony. Oh how I wish I could do this! Starting off on a high note, he really seems to have the technique down, but already I can see why a teacher may not enjoy him. He shakes so much when he sings some big notes, his shoulders even raise a touch. Honestly, I can't find much more wrong with that unless I get really nitpicky and say that some of his consonants are slightly scooped... Singing in his native language, he really understand the meaning of the text, though his interoperation is a bit dramatic, it really sells. He sounds fantastic. the emotional content and understanding of the text is simply stager ing. Even in his histrionics he seems to pull the pianos into a sweet sound pleasing to my ears. Sometimes his eyes close, and it works for this performance. Perhaps excessive? 

Jussi Björling

For this tenor, I picked from Faust, Salut Demeure. Another calm and composed performance. Oh, how I love the old singers. They truly seem to understand the history of their craft, not that today we don't. But the art has evolved into this pop industry (not that I personally think this a bad thing) and it really makes me appreciate the recital form of these arias and art songs that we so lovingly perform. 

Personally, for me, I think he is a little stiff. It's grand, no doubt, but for this french song sometimes his swells feel slightly Italian. But what do I know. I wish there was a little more back space in his sound, it sounds very pingy, and it totally works, but just for my taste I wish there was a little more space in the back. He certainly gets it through his mask, and the notes are there in that ringing place. Perhaps it's the recording that makes me feel like the pitch is quavering slightly. Honestly, after hearing the bravado and weight of the mezzo-sopranos such as Mrs. Bumbry and Mrs. Baker, I just wish there were a little more roundedness… all that being said, after about minute 3:30, he really goes into his technique, as if the previous parts of the song couldn't even compare to the divinity of the high C he utters. Simply fantastic.

Grace Bumbry

Grace Bumbry, what a fox. So I'm looking up more Mezzo's and stumbling across the acclaimed Mezzo-Soprano Grace Bumbry. Her charm and poise is stunning. She is clearly a performer who understands the importance of standing still. In the Habanera her lines are absolutely silky smooth. Almost unsettling so, how little effort it seems to take for her to produce an adequate and brilliant sound. Presently I am faced with this difficult question, how is it that opera has evolved to include movement, sometimes superfluous, when the picture that is created but the incredibly costumes and voices used to be enough? In her red dress Grace Brumbry is a startling singer with incredibly consistency. It is clear that she understands her text, and she brilliantly tells the story of this aria, really captivating the audience, and even the singers on stage with her calm. An observer can really enjoy the stillness in that her earrings, big hoops, are not flailing about. I'd like to imagine what it must have been like to be on stage with his woman, to be truly inspired by someone so clearly passionate enough about their craft to sell the entirety of their being by their complete and total stillness.

Janet Baker

This morning, I've chosen to begin with Janet Baker in her stunning performance of Nuits d'été by Berlioz. Born August 1933, she was a fantastic lieder, concert, and opera singer. With her sparkly purple dress it's easy to discern that her shoulders aren't moving up and down at all. No trace of strange facial expressions line her face. Her movements are so natural, it feels like this mezzo is just pulling her voice from the very earth. Her fingers are delicate and seem to accent the music in their small movements, though not distractingly. Her tone quality is really full and brilliant, but not too chesty, a real Mezzo voice with a fantastic bottom. I particularly enjoy the way in which she carries phrases emotional until the very end. Suffice to say, her singing is quite entrancing. Even in the quiet and piano bits, she maintains this energy that really spins her tone into the large fortes in parts of her phrasing. One thing I really enjoy is how she doesn't over-sing, she uses her body efficiently to convey the message of the song. She really does see the Spirit of the Rose.