tag:blogger.com,1999:blog-6919674981128634746.post3505087735440650255..comments2023-11-05T07:41:34.380-05:00Comments on Kashu-do (歌手道): The Way of the Singer: Kashu-do (歌手道): Chest Cavity AND Mask: Complimentary AntagonismKashu-Dohttp://www.blogger.com/profile/17375903978220316261noreply@blogger.comBlogger2125tag:blogger.com,1999:blog-6919674981128634746.post-67415507489210830382013-05-02T00:13:41.148-04:002013-05-02T00:13:41.148-04:00Hello reyes249,
Thank you for your comment. spec...Hello reyes249,<br /><br />Thank you for your comment. spectrum analysis of Domingo reveal his voice to be very similar to other traditional tenors relative to the passaggio. His voice tends to switch from F1 dominance in the lower voice to F2 around F4# on the [a] vowel. Earlier switch on [i-e] spectrum. His top is different from Pavarotti in that it is very Singer's Formant dominant with a rather unclear strategy in the lower part of the spectrum. The sound can be thrilling but the irregular vibrations in the lower side of the spectrum on high notes suggest laryngeal instabilities. Still, his is one of the most exciting voices I have heard ever, including recently as Germont Père at the MET.<br /><br />The acoustic analysis does not suggest that he was more of a baritone. To me personally, Domingo never sounded like a baritone, even now. The voice has substance but always sounded like a tenor. My personal opinion is that he never mastered the support necessary for the top notes. A slight laryngeal squeeze made notes above Bb very uncertain. The rest of his amazing skills made up for that. In his early years he sounded like a full lyric with an interesting color. No more. I think the baritone thing is more marketing than anything else. Now he is making money singing those baritone roles because he sings fully. Meanwhile, many of the baritones of the current generation of either undeveloped tenors who sound weak in this repertoire or baritones who are also under-developed and under-supported. At the MET Traviata, Domingo sounded more substantial than anyone on stage. But still sounded like a great tenor who no longer has the upper fourth available. Great question, though. Thanks.<br />Kashu-Dohttps://www.blogger.com/profile/17375903978220316261noreply@blogger.comtag:blogger.com,1999:blog-6919674981128634746.post-83708927171347890062013-04-29T16:10:37.221-04:002013-04-29T16:10:37.221-04:00truly a lost ideology if anything there are quite ...truly a lost ideology if anything there are quite a number of antagonisms within the practice of the voice we must be aware of..its amazing how many teachers can fail to realize they've taken a concept too far.....as a side question is it possible for you to do an article comparing pavarottis technique to domingo's especially their acoustical characteristics i have encountered a number on pavo but very few on domingo i'm especially keen to see how you would categorize his fach was he baritone, tenor or a bit of both and what lessons can one learn as a baritone from such a voice that may want to attempt tenor rolesreyes249https://www.blogger.com/profile/08198977174237176874noreply@blogger.com