Operatic vocal technique evolved, in a time before electronic amplification, to allow singers to produce enough volume to be heard over an orchestra, without the instrumentalists having to substantially compromise their volume.
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Other articles related to "operatic voices, voice, voices":
... Though opera patronage has decreased in the last century in favor of other arts and media (such as musicals, cinema, radio, television and recordings), mass media and the advent of recording have supported the popularity of many famous singers including Maria Callas, Enrico Caruso, Kirsten Flagstad, Mario Del Monaco, Risë Stevens, Alfredo Kraus, Franco Corelli, Montserrat Caballé, Joan Sutherland, Birgit Nilsson, Nellie Melba, Rosa Ponselle, Beniamino Gigli, Jussi Björling, Feodor Chaliapin, and "The Three Tenors" (Luciano Pavarotti, Plácido Domingo, and José Carreras). ...
... It led to the baritone being viewed as a separate voice category from the bass ... a king or high priest but with the advent of the more fluid baritone voice, the roles allotted by composers to lower male voices expanded in the direction of trusted companions or even romantic leads—normally ... vocal writing went on to emphasise the top fifth of the baritone voice, rather than its lower notes—thus generating a more brilliant sound ...
Famous quotes containing the words voices and/or operatic:
“The miracles of the church seem to me to rest not so much upon faces or voices or healing power coming suddenly near to us from afar off, but upon our perceptions being made finer, so that for a moment our eyes can see and our ears can hear what is there about us always.”
—Willa Cather (18731947)
“Even an extraordinary policeman seems a strange suitor for an operatic soprano. Does he sing?”
—Eric Taylor, and Leroux. Arthur Lubin. M. Villeneuve (Frank Puglia)