The pianist is not playing Strauss like at all. This superficial playing has nothing to do with Ariadne. It's hard to sing with a pianist who has no phrasing.
The young barítono who has a very good voice was singing " se vuol ballare" from "Le nozze di Figaro" as it were "VI ravviso" from "LA Sonnambula" and il maestro didn't say anything about Mozart style.
Am I the only one really distracted by the wide vibrato she has? Curious to know if this is the norm or can just be fixed with more varied interpretation
Yes, it can be fixed. Maestro Hampson has touched upon this. It's a breath support issue, and it starts with good body alignment. As he said, yoga, pilates, etc. And he's said in other classes that the spine must be lengthened "the full length that it is in your body." When the spine is lengthening up, the bottom of the rib cage opens, the diaphragm widens, the throat opens, and the lower muscles of support can be engaged. So it's a matter of vocal technique. This young lady has a very large voice at a very young age, and she's bright with a good attitude toward learning. She's not a singer who believes she already knows it all--to her great credit. My hunch is that she will (probably already has) overcome the wide vibrato. In this video, there are fleeting moments of the vibrato being much better. And then the voice is tremendous. The potential is there, big-time. She will go far, I predict. But no, you're not the only person who's been bothered by the sound of a wide vibrato. When an vocal instrument is this large, obviously every flaw is magnified. And bear in mind, at the time this video was made, this young lady was probably a good 8 - 10 years out from that instrument coming into its prime. It just takes longer, with a big voice. She's focused on doing justice to that great voice, and she is going to be really fine!
@@vocalmentor8374 All of this is hogwash. It comes to having better technique and addressing the fault vibrato which is an extension of the technique. Pilates and Yoga doesn't help in ANTHING. And to speak on the whole "8-10 years and she'll be a beast", by that time, half of her life will have gone by and she's still stuck in the introductory stages of opera houses, singing comprimario and third donna roles. The vast greats of the past of the 18th to the middle of the 20th centuries all were incredibly young when they started off singing; for instnace, Oralia Dominguez was about 22 when she took on the assignment of Amneris in Aida, Maria Callas was 20 with 4 years of Tosca and Turandot under her belt and Kirsten Flagstad was 24 when she sang her first Brunnhilde.
deadwalke for god’s sake, can you stop talking that nonsense ? Singing is a phenomenon that is done with body, body and more body. Look at Del Monaco, Nilsson, Corelli, Tebaldi, Bumbry, Millo, Melchior... All those great singers always used their body, with great posture, maximum involvement of the intercostal muscles, neck muscles, abdominal muscles, diaphragm and open-massive ribcage. All those things are developed via exercise and yoga helps you feel them, relax them to prepare them for better involvement. And what nonsense are you saying about age ? Kirsten Flagstad had not sung Wagner (and Brünnhilde, oh my...) until her 30s, there is an interview on youtube in which she gives advice to young singers to do the same (she clearly says “Leave Wagner alone until 30-35). I mean yeah some voices made their debuts very early, but there are so many different cases. Melchior made his transition to tenor when he was in his thirties, Jess Thomas decided to become a singer when he was 27, Hildegars Behrens made her debut in her thirties, Mignon Dunn made hers when she was 27... So many examples. And those are singers from the past generations, now it’s much much more like that since the age of getting accepted into a conservatory to pursue bachelor of music is like 20-23 :)
@@vocalmentor8374 I could correct her vibrato in one lesson, easily. She is pushing (using the abdominal muscles like when lifting something heavy, or going to the toilet), making the sub-glottic pressure too high, forcing her to push against it to keep her vocal cords closed. Her vibrato would be corrected if she learned how to keep the diaphragm and lower back ribs held out when singing.
Even the opera singers that are old as dirt and learned from someone old as dirt have a lot of vibrato. It's just the style- if you don't like it, you can listen to someone or something else
@@calebwirt2703 When vibrato goes out of hand (usually because of too much "pushing") and compromises your pitch it's not a matter of taste anymore: it's a fact.
The problem is that the vibrato is to wide and becomes to slow when ascending. The vibrato should become quicker in the higher range. It is due to pushing.
she's forcing her voice out. That's why she has no proper legato, vibrato bordering on wobble and can't keep the tessitura (her voice is really strained at the top range).
@@Bumblebeebeebee We're not trolls and I can assure that but you can't be naïve to think that Mr. Hampson really has these young singers' best interest at heart. This man was sitting up here doing absolutely nothing but talk until he was blue in the face and was didn't add anything to these people who were singing. They all sounded remotely worse after he spoke to them.
Thanks for making those masterclasses available to anyone! I love how much they are on technique. Very helpful!
19:46 Wow! This resonates deeply with me. I teach flamenco dance, and tell my students exactly this. ❤
Best voice lesson I’ve ever had. Thank you for posting this!!!
Beautiful!!!!!!!!!!!😮
Gold!
The pianist wasn’t expecting to be schooled, too.
The pianist is not playing Strauss like at all. This superficial playing has nothing to do with Ariadne. It's hard to sing with a pianist who has no phrasing.
The young barítono who has a very good voice was singing " se vuol ballare" from "Le nozze di Figaro" as it were "VI ravviso" from "LA Sonnambula" and il maestro didn't say anything about Mozart style.
Pianist sounds like she's playing Stephen Foster
hampton didn't address alignment and shifting weight from sidewards to backwards and forwards. the. canned.operatic gesticulations. must. stop. now.
Zu k
Am I the only one really distracted by the wide vibrato she has? Curious to know if this is the norm or can just be fixed with more varied interpretation
Yes, it can be fixed. Maestro Hampson has touched upon this. It's a breath support issue, and it starts with good body alignment. As he said, yoga, pilates, etc. And he's said in other classes that the spine must be lengthened "the full length that it is in your body." When the spine is lengthening up, the bottom of the rib cage opens, the diaphragm widens, the throat opens, and the lower muscles of support can be engaged. So it's a matter of vocal technique. This young lady has a very large voice at a very young age, and she's bright with a good attitude toward learning. She's not a singer who believes she already knows it all--to her great credit. My hunch is that she will (probably already has) overcome the wide vibrato. In this video, there are fleeting moments of the vibrato being much better. And then the voice is tremendous. The potential is there, big-time. She will go far, I predict. But no, you're not the only person who's been bothered by the sound of a wide vibrato. When an vocal instrument is this large, obviously every flaw is magnified. And bear in mind, at the time this video was made, this young lady was probably a good 8 - 10 years out from that instrument coming into its prime. It just takes longer, with a big voice. She's focused on doing justice to that great voice, and she is going to be really fine!
@@vocalmentor8374 All of this is hogwash. It comes to having better technique and addressing the fault vibrato which is an extension of the technique. Pilates and Yoga doesn't help in ANTHING. And to speak on the whole "8-10 years and she'll be a beast", by that time, half of her life will have gone by and she's still stuck in the introductory stages of opera houses, singing comprimario and third donna roles. The vast greats of the past of the 18th to the middle of the 20th centuries all were incredibly young when they started off singing; for instnace, Oralia Dominguez was about 22 when she took on the assignment of Amneris in Aida, Maria Callas was 20 with 4 years of Tosca and Turandot under her belt and Kirsten Flagstad was 24 when she sang her first Brunnhilde.
deadwalke for god’s sake, can you stop talking that nonsense ? Singing is a phenomenon that is done with body, body and more body. Look at Del Monaco, Nilsson, Corelli, Tebaldi, Bumbry, Millo, Melchior... All those great singers always used their body, with great posture, maximum involvement of the intercostal muscles, neck muscles, abdominal muscles, diaphragm and open-massive ribcage. All those things are developed via exercise and yoga helps you feel them, relax them to prepare them for better involvement. And what nonsense are you saying about age ? Kirsten Flagstad had not sung Wagner (and Brünnhilde, oh my...) until her 30s, there is an interview on youtube in which she gives advice to young singers to do the same (she clearly says “Leave Wagner alone until 30-35). I mean yeah some voices made their debuts very early, but there are so many different cases. Melchior made his transition to tenor when he was in his thirties, Jess Thomas decided to become a singer when he was 27, Hildegars Behrens made her debut in her thirties, Mignon Dunn made hers when she was 27... So many examples. And those are singers from the past generations, now it’s much much more like that since the age of getting accepted into a conservatory to pursue bachelor of music is like 20-23 :)
@@vocalmentor8374 I could correct her vibrato in one lesson, easily. She is pushing (using the abdominal muscles like when lifting something heavy, or going to the toilet), making the sub-glottic pressure too high, forcing her to push against it to keep her vocal cords closed.
Her vibrato would be corrected if she learned how to keep the diaphragm and lower back ribs held out when singing.
@@deadwalke9588 Yes, it's all about the damaging modern singing technique. Correct it and her vibrato would corrected to.
Too much conversation and NOTHING! Good voices, but in my opinión they didn't learn anything in this máster class.
Too much vibrato, the modern singer’s faulty singing
Even the opera singers that are old as dirt and learned from someone old as dirt have a lot of vibrato. It's just the style- if you don't like it, you can listen to someone or something else
@@calebwirt2703 When vibrato goes out of hand (usually because of too much "pushing") and compromises your pitch it's not a matter of taste anymore: it's a fact.
The problem is that the vibrato is to wide and becomes to slow when ascending. The vibrato should become quicker in the higher range. It is due to pushing.
she's forcing her voice out. That's why she has no proper legato, vibrato bordering on wobble and can't keep the tessitura (her voice is really strained at the top range).
I really don't think anyone should be listening to the supposed expertise of an undeveloped tenor who sings dramatic baritone roles.
This.
He knows nothing, and the singers learn nothing. They sound horrible and he hasn't got a clue how to help them. He only knows how to talk - literally.
Heavens, here they go again, the youtube voice trolls.
@@Bumblebeebeebee Hampson is a tenor, you fool!
@@Bumblebeebeebee We're not trolls and I can assure that but you can't be naïve to think that Mr. Hampson really has these young singers' best interest at heart. This man was sitting up here doing absolutely nothing but talk until he was blue in the face and was didn't add anything to these people who were singing. They all sounded remotely worse after he spoke to them.