Too much vibrato from maestra Sarah BRIGHTMAN on "Alhambra" n/t

[UTUSN]

[Ron Green]

1. I've never understood the acclaim for that Cockney wailer.

[UTUSN]

2. Well, what can I say. She's got Zeus-given -whatever (a "voice"?!1)and somebody picks tuneful things

EISENHOWER wasn't the brightest bulb in the lighthouse but he nailed it when he said he liked TCHAIKOVSI's music because it is "tuneful."

Now, that said, do you LIKE melodies?!1 (And those who purvey them?!1)




All THAT said, I don't like her cosmetics/ make-up/ superficial plaster, but she's a performer.


That said, nobody has to put up with look-ism, but I went out of my way to attend (and pay) a concert by Senor Jose CARRERAS and it was the most boring thing I have ever put up with in my life, including several sexual exploits.

[MilesColtrane]

3. You've just hit on the primary reason I've never been able to get into opera.

Despite the genius composers who worked in that medium, the affected "classical" vibrato is the same as a thwack with a cold spoon to the nether regions for me, and it keeps me from appreciating the great operas.

Most opera singers have the ability to sing a pure note in tune, so why the syrupy tradition of vibrato that spans as much as a major second?

Vibrato should be used judiciously as the melodic line requires, not as a stylistic overlay to every note sung.