Lawrence Tibbett

Oh Boy, he has almost the same last name as me, if only the last name had an s... I'm going to continually claim him. Or it seems to be that people suggest that I do so. He really is a famous baritone that people still recognize. He is quite great, his text is fine and he doesn't seem to do anything to excessive, but really makes choices that sets him a part. He really has mastered the english language in his singing. Nothing slips out of his voice and he truly has a fantastic range at that. Even when he chooses to do an effect it brilliantly works for him. 

Maureen Forrester

What a great Mezzo-voice, I can really enjoy the fluidity of the text and the clarity of her tone. She does have a slight flutter in her vibrato but she doesn't let it detract from the fantastic warm colors the she exhibits. She has a lovely voice and it seems really connected in the lines that she sings. Sometimes she comes in too hard on the onset of her voice. The word "God" in this song is a little to covered for me as well. Overall a very fine instrument. Especially when she gets into the low notes I can really tell that she is a Mezzo because the line doesn't thin out.

Anna Netrebko

Oh my Anna Netrebeko, so fantastic to see her in here mid to late 20's, when she was at the height of her career and before she was pregnant. My criticism for one of my favorite soprano's, is that she tends to move a little bit more than I would prefer, sometimes it can be a little excessive and contrived, especially sometimes her hands do strange things, or her face trying to look sexy seems a little sleepy. But when you're Anna Netrebko, do what you want, you're one of the world's best sopranos. She sometimes sounds a little over covered as well, and though it isn't so present in this recording she can be a little pressing on the instrument which moves the pitch a little to the flatter side. Beautiful dynamics and a great instrument, I hope I can be as good as she one day.

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.