Thursday, December 28, 2006
Krissmass Eve and TOP CAT JOBS!!!!
Now as yoo is ver well a-wear I has jobs in der hous as well as gardin der gardin and territtorree. cos der hous is all-sow part of my territorree. i was speshally arsked to gard der krissmass tree just beefour krissmass cos lots of presence rapped up in shiney and krinklee paper get put under der tree and sumbody has to gard it orl. well, hoo doo yoo fink dey arsked to gard it?? no need to arnser cos its' obveeuss ME!!!!!!!! and hear i is doin my job. pritty scarey dont' yoo fink?!?!?!?!?!?!?
yoo is probbly also arksin who is Krissmass Eve??
well, i woz explainin two yoo dat krissmass is named arfter a lady corled mary like wen every body shout - "mary krissmuss!!!". now, mary had too sisters corled Eve and Carol. beefour marys' big day lots of peepel go about sayin; i luv to sing krissmuss carols' and so dey go to carols' house too sing songs beefour mar'ys big day - song's like - ding dong mary lee on high, sigh-lent nite, away wiv der mangy one, ect ect. and ver nice dey can be two. den der day beefour der givin of der presence it is eves' day and ever body is ver ver bizzy and runnin round and gettin der turkey and stuffin der turks up der arse wiv der paxo (i duzznt' understand orl of diss stuffin stuff), and get out der deeliah smiff for der cookin of der turks and diss orl happen on eve's day, wot is wy it is corled krissmuss eve. ok? nuff eggs-plan-nation?? good.
but wot matters moste in orl diss is dat i dun my ver ver important gardin job and nun presence woz taiken. wy is dey corled presence??? dis is a stoopid kwesschun from a stoopid person. cos yoo has too be present wen yoo is given it, duh!!!
nuff of diss i needs a sleap.
# posted by Biggles @ 4:25 pm 
Comments:
<< Home
Biggles, why oh why is Basilio's aria 'La calunnia' from The Barber of Seville so hard? On paper, it looks as though it should be easy for a baritone. It's in the middle of the voice, but for some reason it takes up loads of energy and I can't produce the sound I want all the way through to the end. Having consulted the Zoetrope, I have been passed on to you. Any advice (human, not feline singing)?
# posted by 
: 12:42 pm
: 12:42 pm
deer ex worrick baritone. as a cat wot has had a operayshun i is not ver good at roseenee's coloratura base parts so my dad wil emale yoo direct cos he can get a a dress from der zoetrope.
Well, you’ve certainly picked a toughy. The Zoetrope has a video of the recent ROH production in which Joyce DiDonato really struts her stuff but you can also watch the Don Basilio who makes a pretty good job of La calunnia and, boy, is he blowing at the end!!
Are you singing it in the original key of D or in the usually performed key of C?
This is a very very tough aria for a whole range of reasons; it needs characterisation without spoiling the vocal position. Once you hit vola gia di loco in loco; if your not absolutely on top of your breath you are fucked for ever, and you must never completely run out because you need to snatch when you can. Treat the phrases following vola gia as if they lie on the high note and just dropping down for the lower ones to touch – try singing them all on the high note at first – this must not tire as you then have the cannones to come before you leap on the helter skelter again. You then have to build up to the top Es or F#s at the end of a very difficult phrase, again, trying not to tire the voice before the “crepar”. The finale is also very tough, clattering along remorselessly. If you get it reasonably right you will be knackered but your voice should be ok, if not your voice will also be knackered.
Many Rossini bass parts require a relatively light bass voice in order to cope with the acrobatics, however, Don Basilio is normally sung by a proper bass in order to distinguish him from Bartolo (buffo bass but higher) and to give substance to the bottom of the ensembles. Some very fine basses never sing this aria, some that do do not come off well. I think it is really for quite a mature voice and I don’t think it is ever easy. Hope this helps.
Post a Comment
Are you singing it in the original key of D or in the usually performed key of C?
This is a very very tough aria for a whole range of reasons; it needs characterisation without spoiling the vocal position. Once you hit vola gia di loco in loco; if your not absolutely on top of your breath you are fucked for ever, and you must never completely run out because you need to snatch when you can. Treat the phrases following vola gia as if they lie on the high note and just dropping down for the lower ones to touch – try singing them all on the high note at first – this must not tire as you then have the cannones to come before you leap on the helter skelter again. You then have to build up to the top Es or F#s at the end of a very difficult phrase, again, trying not to tire the voice before the “crepar”. The finale is also very tough, clattering along remorselessly. If you get it reasonably right you will be knackered but your voice should be ok, if not your voice will also be knackered.
Many Rossini bass parts require a relatively light bass voice in order to cope with the acrobatics, however, Don Basilio is normally sung by a proper bass in order to distinguish him from Bartolo (buffo bass but higher) and to give substance to the bottom of the ensembles. Some very fine basses never sing this aria, some that do do not come off well. I think it is really for quite a mature voice and I don’t think it is ever easy. Hope this helps.
<< Home
