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An opera lover may have realized that the voice of his favorite singer sounds differently depending on the decade he recorded a given role. His voice may have been brighter when he was young, voice may have been very unstable as well, maybe his roles were not believable. As years passed by, he realized his singer had lost that brightness in his voice but now has gained in the stability of his voice and has several roles where he is at his prime. The last phase of a singer’s voice is a very hard both for the listener and the singer himself. Most of his attributes are now gone, now you can barely hear me even if sitting at the front seat and recall you could hear him even anywhere in the concert room some 15 years ago. How do both the listener and the singer face all the stages in the artistic and vocal evolution of the singer? How do we make the most of all those stages to keep the best in our hearts and memories?

If you are looking for a place where we love music and we understand and respect different perspectives and thoughts, you are in the right place. Welcome!!!
You can always check our page in Ko-fi where we are posting more content related to the program and ourselves. We are very interested in learning from you:

https://ko-fi.com/operawelovesinging

Support the show

You can join our channel in Telegram:
https://t.me/OperaWeLoveSinging

Send us Fan Mail

An opera lover may have realized that the voice of his favorite singer sounds differently depending on the decade he recorded a given role. His voice may have been brighter when he was young, voice may have been very unstable as well, maybe his roles were not believable. As years passed by, he realized his singer had lost that brightness in his voice but now has gained in the stability of his voice and has several roles where he is at his prime. The last phase of a singer’s voice is a very hard both for the listener and the singer himself. Most of his attributes are now gone, now you can barely hear me even if sitting at the front seat and recall you could hear him even anywhere in the concert room some 15 years ago. How do both the listener and the singer face all the stages in the artistic and vocal evolution of the singer? How do we make the most of all those stages to keep the best in our hearts and memories?

If you are looking for a place where we love music and we understand and respect different perspectives and thoughts, you are in the right place. Welcome!!!
You can always check our page in Ko-fi where we are posting more content related to the program and ourselves. We are very interested in learning from you:

https://ko-fi.com/operawelovesinging

Support the show

You can join our channel in Telegram:
https://t.me/OperaWeLoveSinging

Send us Fan Mail

Many books have been written and certainly there are many more to come that share funny anecdotes, quarrels, plots, and myths around the world of opera singing. 

Is it true that a soprano can shatter a cup of glass with a high note? This very unlikely event is still believed by many, just to provide an example of how unfamiliar people are with singing and even more with science itself. People like reading about a singer who is cancelling a presentation because of a very unfortunate discussion with the theatre director, for instance. How does it add to art? Certainly nothing but gossiping is very well spread out. And how about the fact that a bad singing technique has devastated the voice of so many singers. 

Of all those examples and many more we will have our weekly friendly conversation.

If you are looking for a place where we love music and we understand and respect different perspectives and thoughts, you are in the right place. Welcome!!!
You can always check our page in Ko-fi where we are posting more content related to the program and ourselves. We are very interested in learning from you:

https://ko-fi.com/operawelovesinging

Support the show

You can join our channel in Telegram:
https://t.me/OperaWeLoveSinging

Send us Fan Mail

Many books have been written and certainly there are many more to come that share funny anecdotes, quarrels, plots, and myths around the world of opera singing. 

Is it true that a soprano can shatter a cup of glass with a high note? This very unlikely event is still believed by many, just to provide an example of how unfamiliar people are with singing and even more with science itself. People like reading about a singer who is cancelling a presentation because of a very unfortunate discussion with the theatre director, for instance. How does it add to art? Certainly nothing but gossiping is very well spread out. And how about the fact that a bad singing technique has devastated the voice of so many singers. 

Of all those examples and many more we will have our weekly friendly conversation.

If you are looking for a place where we love music and we understand and respect different perspectives and thoughts, you are in the right place. Welcome!!!
You can always check our page in Ko-fi where we are posting more content related to the program and ourselves. We are very interested in learning from you:

https://ko-fi.com/operawelovesinging

Support the show

You can join our channel in Telegram:
https://t.me/OperaWeLoveSinging

Send us Fan Mail

It is true many people expect Opera singers to sing out loud and give very high notes and it is also true that many sings do so just because they can whether that note goes with the style of the composer or not, or just to please the audience. 

Do you know about the Eb that Maria Callas sang in Aida at the Palacio de Bellas Artes? If not, just google it and thousands   of recordings, blogs, comments will be listed endlessly. As Maria stated it herself, this was not art, put pure acrobatics to display vocal power, but not art at all.

Less known is the highest note that Mado Robin sang in the Mad scene of  Lucia, a Bb that leaves many people breathless. But how far should a singer go to display his capacities and well so many times to distract people from his singing artistic limitations and turns into just a plain circus?

If you are looking for a place where we love music and we understand and respect different perspectives and thoughts, you are in the right place. Welcome!!!
You can always check our page in Ko-fi where we are posting more content related to the program and ourselves. We are very interested in learning from you:

https://ko-fi.com/operawelovesinging

Support the show

You can join our channel in Telegram:
https://t.me/OperaWeLoveSinging

Send us Fan Mail

It is true many people expect Opera singers to sing out loud and give very high notes and it is also true that many sings do so just because they can whether that note goes with the style of the composer or not, or just to please the audience. 

Do you know about the Eb that Maria Callas sang in Aida at the Palacio de Bellas Artes? If not, just google it and thousands   of recordings, blogs, comments will be listed endlessly. As Maria stated it herself, this was not art, put pure acrobatics to display vocal power, but not art at all.

Less known is the highest note that Mado Robin sang in the Mad scene of  Lucia, a Bb that leaves many people breathless. But how far should a singer go to display his capacities and well so many times to distract people from his singing artistic limitations and turns into just a plain circus?

If you are looking for a place where we love music and we understand and respect different perspectives and thoughts, you are in the right place. Welcome!!!
You can always check our page in Ko-fi where we are posting more content related to the program and ourselves. We are very interested in learning from you:

https://ko-fi.com/operawelovesinging

Support the show

You can join our channel in Telegram:
https://t.me/OperaWeLoveSinging

Send us Fan Mail

Talking about a singer and the features of his singing may very easily become an obscure conversation, so full of words that only the initiates understand – or at least they seem to-. It is very likely that more than once we heard that Caballé had an extraordinary fiato or that her pianissimi had no parallel. What about when you have heard that a given singer has a very white voice with no squillo or that the mezzo sang an extraordinary cadenza? 

Of course the technical terms that describe what artifacts the singer has can never replace the emotions, but most of the times they are an effective way to convey that emotion by means of a given vocal effect. 

As we all here love music and singing, we all can easily agree that the more we know about it the more we’ll love it.

If you are looking for a place where we love music and we understand and respect different perspectives and thoughts, you are in the right place. Welcome!!!
You can always check our page in Ko-fi where we are posting more content related to the program and ourselves. We are very interested in learning from you:

https://ko-fi.com/operawelovesinging

Support the show

You can join our channel in Telegram:
https://t.me/OperaWeLoveSinging

Send us Fan Mail

Talking about a singer and the features of his singing may very easily become an obscure conversation, so full of words that only the initiates understand – or at least they seem to-. It is very likely that more than once we heard that Caballé had an extraordinary fiato or that her pianissimi had no parallel. What about when you have heard that a given singer has a very white voice with no squillo or that the mezzo sang an extraordinary cadenza? 

Of course the technical terms that describe what artifacts the singer has can never replace the emotions, but most of the times they are an effective way to convey that emotion by means of a given vocal effect. 

As we all here love music and singing, we all can easily agree that the more we know about it the more we’ll love it.

If you are looking for a place where we love music and we understand and respect different perspectives and thoughts, you are in the right place. Welcome!!!

You can always check our page in Ko-fi where we are posting more content related to the program and ourselves. We are very interested in learning from you:

https://ko-fi.com/operawelovesinging

Support the show

You can join our channel in Telegram:
https://t.me/OperaWeLoveSinging