#operatic singer

[opera-ghosts]

Adieu, Virginia Zeani! And thank you!

Zeani as Cleopatra, Teatro alla Scala, 1956.

[whack-patty]

Roommate and I got fixated on an old opera at the same time

[xoxoemynn]

THE SHOW IS THE RELATIONSHIP, THE RELATIONSHIP IS THE SHOW, IF IT'S NOT THE RELATIONSHIP, IT'S NOT THE SHOW!!!!!!

[widevibratobitch]

me when im obsessed with dead singers from 50 (well... mostly 70-120) years ago and im heartbroken to know i'll never see them on stage... never hear them breathe, never see them sweat, never even touch the hem of their garment...

it really is enough to drive a person mad...

[leawesomesloth]

Ladies 😍

From my tgcf metal band au!

[luaminesce]

Me, feeling uncomfortable by the emphasis of "feminine power/energy" and rigid interpretations of femininity in the female-fronted metal scene only to realise I was non-binary/agender:

[quecksilvereyes]

in today’s exhausting news the magic flute (2022) in which an opera student falls into the magic flute did not cast opera singers to play the opera characters who sing opera songs

[beastofwant]

apparently I knew how to safely do growled vocals (and fry screams) this whole damn time, I just didn’t entirely know how to apply it

in hindsight I have been growling since I was a wain, because it’s a vocal stim for me

[udurghsigil]

kinda hate that they're putting trans women under the umbrella 'sounds like shit' but i do agree with the thesis 😭😭😭

[survivalforsingers]

There are some interesting discussions happening right now about different vocal techniques. Is there “one true technique?” Does it depend on the singer? Have you find ways to healthily sing in multiple styles and genres? Todays guest list by @lukeonthedailey tackles these very questions! Give it a read. Link below and in bio: https://survivalforsingers.com/what-happened-to-vocal-technique/ . . . . . . . . . . . . . . . . #singer #singers #operasingersofinstagram #operasinger #operaauditions #opera #classical voice #classicalsingers #soprano #countertenor #alto #tenor #baritone #bassbaritone #bass #singvu #vocalperformance #classicalsingers #operasingers #opera #operatic #survivalforsingers #learntosing #singingtips #singingtip #singingtips101 #learningtosing #voicetips #healthysinging #voicelessons #vocalwisdom (at The Atlanta Opera) https://www.instagram.com/p/CosSdFhuaMf/?igshid=NGJjMDIxMWI=

[if-you-fan-a-fire]

“RELEASE TEAR GAS IN OPERA,” Kingston Whig-Standard. October 24, 1932. Page 7.  ---- Germans Object to Foreign Artists — Performance Is Delayed ---- WUPPERTAL (Elberfeld-Barmen) Germany, Oct. 23 — What authorities called a nation-wide campaign against foreign artists found expression here when the premiere of the Strauss opera “Salome" was delayed by a barrage of tear gas.

The star of the performance given last night was Jovita Fuentes, the Philippine opera singer. Just as the opera began, a series of tear-gas capsules was released.

It took ninety minutes to clear the theatre of fumes and police arrested one person, but declined any Information about him.

[opera-ghosts]

Wilhelm Grüning (1858-1942) German tenor.

He made his debut (1881) in Danzig. He spent most of his career at the Hannover Opera and the Berlin Imperial Opera.

He was the son of a Berlin jeweller. He studied singing in Berlin under Julius Stern and Jenny Meyer and made his debut in 1881 at the Stadttheater in Gdansk as a lyric tenor, however, his voice changed about 1885 to the heroic tenor. From Gdansk he joined in the 1883-1885 seasons to the Opernhaus in Dusseldorf, then sang in the 1885-1887 seasons at the Deutschen Theater in Rotterdam. From 1888 to 1895 he appeared at the Hoftheater in Hannover, in the 1895-1898 seasons at the Stadttheater in Hamburg. In 1898 he joined to to the Hofoper in Berlin, where he  remained till 1911. From 1891 to 1897 he appeared at the Bayreuth festival as Parsifal, Tannhäuser, Siegfried and Walther von Stolzing in ‘’Die Meistersinger von Nürnberg’’. His creation of the title role in R. Wagner’s ‘’Rienzi’’ counted at his time as an incomparable achievement. In 1899 he appeared at the Berlin Hofoper in the premiere of the (posthumous) operas ‘’Briseïs’’ of E. Chabrier, ‘’Cain’’ (1900) by E. d’Albert, ‘’Samson et Dalila’’ (1901) of C. Saint-Saëns, ‘’Der Pfeifertag’’ (1902) by M. von Schillings (after premiere in 1899 at the Hoftheater in Schwerin). He appeared as Faust in C. Gounod’s ‘’Faust’’ in a performance in which Geraldine Farrar made her debut at Berlin as Marguerite (15. 10. 1901). On 13. 12. 1904 he performed at the Berlin  Hofoper in the unsuccessful premiere of the opera ‘’Der Roland von Berlin’’ by R. Leoncavallo. On 21. 3. 1899 he sang there also in the premiere of A. Lortzing’s opera ‘’Regina’’ (48 years after the death of the composer!). He made guest appearances in London and Amsterdam and in the 1895-1896 season sang with the Damrosch Opera Company in the USA. Probably he retired from the stage in 1911 and was active in Berlin as vocal pedagogue. Married to the known dramatic soprano Antonie Mielke (1856-1907).

At the latter he sang in the unsuccessful world premiere of Der Roland von Berlin.

[reggiecristal]

[trollslimes]

I forgot how utterly weird being in churches feels... Like I don't actually think I'll be struck by lightning at the threshold for being a queer non-believing bitch with a red mullet. But. But...

[scotianostra]

The Scottish singer Kenneth McKellar was born on June 23rd 1927 in Paisley.

McKellar’s father owned a grocery shop, although there were no musicians in the family, Kenneth’s father and uncles sang in the High Kirk and his parents would often listen to opera on the gramophone. Kenneth was soon entertaining family friends by impersonating his favourite singers. But his greatest pleasure in his early years was exploring the Scottish Highlands. The depletion of Scotland’s forest reserves during the World War II left him with a burning desire to help restore them, and after leaving the John Neilson school, Paisley, he took a Science degree from Aberdeen University and joined the Scottish Forestry Commission. Over the next two years he took part in a research and survey programme on the woodlands of the British Isles, travelling by horseback up and down the Scottish countryside.

At university, Kenneth McKellar had joined the student choir. The university’s director of music was so impressed that he gave him lessons, and McKellar went on to sing solo roles with the university choir. An audition with the Carl Rosa Opera Company landed him, to his surprise, a job as a principal tenor. During this time McKellar made some recordings for Decca, including a disc of Handel arias, and “The Messiah” (with Joan Sutherland) that is still one of the sought-after renditions of Handel’s masterpiece.

Giving up opera after 1954, he concentrated on popular and standard Scottish works. (There was to be one return to his old medium when, in 1965, Benjamin Britten talked him into performing “The Beggar’s Opera” at Aldeburgh and in Paris). A regular on Scottish radio and television, he became well known to English viewers with “The White Heather Club”, a Scots-themed variety show that aired on the BBC from 1958 to 1968. McKellar retired in the late 1990s leaving a legacy of around 35 albums made mostly for Decca, some of which remained available on CD at his death. He died a few days after being diagnosed with pancreatic cancer, his funeral was in his native Paisley.

I’ve decided to post the comedy song The Midges, written by the man himself, partly because it ties in with my last post on Bannockburn mentioning midges being the reason we won that day is The Bruce let loose Midges on the English!

The midges, the midges, I’m no gonnae kid ye’s, The midges is really the limit, Wi teeth like pirhanas, they drive ye bananas, If ye let them get under yer simmit! The Lord put the Garden of Eden on earth, And it’s north of the Tweed, we believe, Aye, Scotland’s the place, and the whole human race, Started of with MacAdam and Eve! In six days or under, he finished this wonder, Except for the Forth and Tay Bridges, Then always a bloke for a practical joke, He made Scotland the home of the midges! Back in 1314, proud Edward was keen, To take Scotland into his care, But he made a U-turn when he reached Bannockburn, Just a few weeks before Glasgow Fair! The midges let loose by King Robert the Bruce, Straight into the English they tore, So they ran off in tears, and for six hundred long years, They’ve been blocking the A74! Now never forget, when the sun’s going to set, And the midges arise on Loch Eck, Like the vampires you see, played by Christopher Lee, They’ll give you a pain in the neck! You can smack them and whack them; in vain you’ll attack them, They know every move that you make, If you manage to kill yin, another half million, Are ready tae come tae the wake! Now Torquil the piper’s a giant of a man, With a sporran as long as your arm, And in Oban he’s known, for the sound of his drone, And a pibroch of real highland charm! But they’re sighing and sobbing, the ladies of Oban, Torquil is not what he was, Since a midge in Glenbranter, got hold of his chanter, And carried it off in its jaws!

[house-of-slayterr]

Remembering the time we did Phantom in school, and the demon spawn of a choir teacher decided no one was “gifted” enough to do a solo. All the goth girlies lost their dream role that day! It’s me, I’m the goth girlie!