Moffo/Scotto/Callas, Act I

It's very interesting to hear world famous sopranos singing the same role within a span of 10 years of each other. All of them have different strengths, but, surprisingly, the same weakness. A weakness, much to my relief, I share with them: the middle range. The recitative, or part of the opera that is being "spoken" and tells the action of the story, is usually set in the middle of the voice. This is so it gives the effect of talking as it's in the part of the voice most easy to understand words, but still pitched within the range of the character so as not to drop the musical line. For me, my middle range, especially when I have been singing above and below the staff, feels like a rope that I have suddenly lost grip onto and I can't seem to find it-- until the line reaches the top part of the staff. Usually, when this happens, it means I haven't been using my breath properly. Could Moffo, Scotto and Callas have the same problems as me? Are they not the superwomen I have grown up to believe?

But, to the superwomen:

I listened to Anna Moffo with the Rome Opera, 1968; Renata Scotto with La Scala Opera, 1962; and Maria Callas, LIVE at La Scala, 1955.

The most beautiful consistent sound was Anna Moffo. She has an effortless top and her strigendo (pianissimi phrases that sound like she is on the edges of her vocal cords) are awe-inspiring. But, I was dismayed that she ruined her beauty by scooping ALL the time!!! It was so annoying. Again, I know from personal experience, it's fun to scoop- especially if you are portraying a woman who indulges in...well...everything. But, man, it's so distracting. A very good reminder to fight your urges to scoop and sing what the genius who wrote the opera tells you to sing! My favorite part of her first act were her high staccati phrases during her duet with Alfredo, "Un di felice". They sounded like pearls dropping into the sky. Also, her vowels are ridiculously consistent. She uses the 5 and that is all- all the way up and down the range, like a hollow tree open and ready to sing what the wind brings.

Scotto had the best diction, naturally (as she is a native Italian) and she used her knowledge of her native tongue to beautifully nuance her legato phrasing. At first I was slightly distracted because the musical line sounded like it had mini-hiccups. But, when I realized what she was doing, it was as if I could understand exactly what she was saying without using my crappy knowledge of Italian. Also, at the beginning, I was a bit disappointed with her lack of middle voice and was worried she wouldn't make it to the end. But then, holy crap, she started to sing above the staff and it was exciting stuff! And her high notes! I couldn't believe that those notes could come out of a voice with that much power at the top staff (...and so little in the middle staff). Her musicality was the best of the bunch, as well. Her dynamics were consistent with the score, and her cadenzas perfectly crafted.

Callas sang with the most ease. Ironic, huh? Her voice isn't necessarily the easiest to hear, it can be a bit steely and her vibrato inconsistent (Scotto, too). But, similar to Moffo's vocal consistency, her phrases ooze out of her like honey. It's as if she has already sung the phrases before she has opened her mouth. Moffo sounds the most technically polished, but in Callas it sounds more organic and natural. Also, she did what the other 2 women didn't do- sang the high E flat for about 3 seconds and then got the heck off it when it started to waver. Moffo's was too pinched and too long. Scotto's sounded like she was rocking on a dingy boat in the middle of the Atlantic!

All 3 of these recordings have illustrated a very important goal post in my Violetta journey: be yourself. They all have such vastly different Violetta's. Moffo's is very coquettish, Scotto's is confident, and Callas's is confused. They each use their vocal strengths to maximize what they do best, and do their best to hide their weaknesses - a weakness that all 3 share. So, who the heck cares about your weakness- go out and meet Violetta!

(well, ok, I care about my weakness- I promise to breathe!)

Professions

A courtesan. I am studying the life of a courtesan.

Today, such a woman would create more than this mere blog. She is our Kardashian, Lohan, Hilton and Real Life Housewife. She is revered for having a shocking and disapproving lifestyle that we watch in obsession behind closed doors, yet, if we were ever to meet her we would be embarrassed by her very existence. What is it about scandalous women? The scruples of the 1850s is no match for our modern day, but there is something about "bad behavior" that at one moment shocks us and another excites us into buying their perfume...or singing an opera.

Opera is not for the hoity-toity. It's E news from 1850s with a better sound-track.

A DMA in Violetta

I first heard La Traviata when I was 17 years old. I was going to college as a voice major and heard all the Puccini operas, but no Verdi. A friend of mine gave me a highlights CD with Edita Gruberova as Violetta. All I can say is that it simultaneously scared the crap out of me and had me sitting in awe that a human voice could sing with so much grace, power, love and beauty. I made a promise to myself that one day, somehow, I would learn this role.

Fast-forward to present day, 15 years later (!). I have a BM and MM from 2 very prestigious music schools, I have had nodules removed, returned, and finally vanished by years of therapy and voice lessons from a wonderful teacher. I have been a secretary, a voice teacher, a waitress, and worked extensively in arts administration. I have sung various roles with small local NYC opera companies, given recitals and applied to go back to school to get my DMA. But Violetta, we never met...the CD is gone, the records dusty, the score forgotten amongst so many other scores.

I didn't get into a doctorate program. And, let's face it, I am not that professional singer I thought I would become. I am not upset about it. Life has given me so many other gifts that I could have never imagined recieving when I was 17 years old, let alone now. But, Violetta...I still want to meet her, now more then ever.

So, I like to think that this blog is both my love letter and dissertation to Violetta. The student can't be removed just because school doesn't want me. And I can't stop singing just because I am 33 years old and have no professional experience behind me. So, here I am! And, if you - reader- if there are any (or 1)- have any suggestions (no solicitations for lessons please) for books, techniques, recordings, personal struggles learning Violetta or any other role, please feel free to contact me and join me on this journey of meeting one of the most powerful and complex female characters of western civilization.

Now, let's meet her!