So let's see, the pop music model, where a tiny percentage of musicians are able to earn a living and fat cat music industry execs reap the big profits is the way to go, but stay away from patronage, (which of course includes public funding) because it's "elitist" - the argument used by conservative politicians when they cut the NEA and other arts organization's budgets.
Sometimes I wish that we could choose how many likes to give a particular video. I wish I could give this video a thousand likes, for the sincerity the self-realization, the insight, candor, and amazingly honest truths presented here. Congratulations, Cait. You are an amazing human being, and have become more genuinely yourself than so many people I know.
Wow! Thank you for sharing this. KateI unfortunately don't have the tallent of singing Opera but I do admire you and everyone else who does have this talent. I speak English as my home language so whenever I listen to music, including the occasional bit of Opera and Classical music, I gravitate more towards the English versions of songs. I especially enjoy your videos where you explain things such as vocal vibrato in Opera, the different voice types, etc. I especially tend to gravitate more towards the Big Band Swing type of Jazz as well as old-school Rock N Roll and Classic Rock music, even at the age of 30 years old now, as I do Ballroom dancing as one of my most favourite fun, sporting and social activities and I absolutely love it and I feel that Jazz and Rock music blend so well together with the dances. Sending you lots of love and big warm loving hugs and kisses all the way from Cape Town, South Africa.
Wtf is that Magic Flute production as a videogame arcade where Pamina is the classical Princess Peach and Monostatos is Wario?!! Odd switch change of the voice, because usually Mario and Luigi got the higher and lightier male voices in the games and Wario has a deep to middle dark tune voice, not as deep as Bowser himself (he usually going for deep bass-like) but rather very bass-barytone type. (Seems much what Mozart choose for Don Basilio voice on Le Nozze as a light high tenor type, whereas Rossini chooses for him a quite heavy menacing yet agile deep bass voice).
Somehow the countertenor voice is better suited for the modern opera roles since the 1950s with Britten and thereafter, than the Baroque ones because though they have developed A LOT to fit a match for the castrato roles of then, their voices are kinda more naturally fitted for female singers in pants-roles, and the countertenors kinda got a mixed-reaction on between how they look and how they sing on those parts, whereas the modern opera ones were already written on for themselves since EVER the very beginning of the roles on themselves, henceforth Akenathen is very uniquely done by a countertenor, wheras Orpheus and Giulio Cesare kinda have some ambiguity when actually the female singers might be doing kinda a more "realistic" stronger tune-performance on their voice singing and acting qualities than the countertenor voice for the same roles. (Oddily a female mezzo or contralto does a more "masculine" role than countertenors on that, it´s odd and contradictory but it kinda does happens, and well, henceforth why a total substitution on them instead of pants roles might not ever happen in all)
Okay first of all: I like your games at the end and looking forward to Aretha! 4 stars for Hybrid Theory, nice! It's my alltime favorite 5 star album and my favorite band and Rabin triggered me with his Meteora suggestion. If you wish to hear Hybrid Theory 2, listen to Meteora. But if you would like to hear how great Linkin Park is, please listen to any of their other albums except Meteora. Don't get me wrong, Meteora is still awesome but the fact that the best song of Meteora is the one that sounds the least like Hybrid Theory is the best Meteora song, you know the one Rabin and everyone likes it! But the hate they got on the later albums because they sound different than Hybrid Theory 1 and 2 isn't logical, and that bothers me a little 😊 Rabin should listen to the song Mark the Graves and Cait should listen to Castle of Glass. If you both like them, listen to their album A Thousand Suns, not even because it's their best but it is soooooo interesting, nice, cool and underrated! You might even hear some naughty words from Mike 😮 so if you'll ever do a second album from the same artist please do Innuendo by Queen ❤ didn't see that coming right? 😊 aardig gek. Groeten Kuub, the biggest Linkin Park fan you've ever met.
I am one hundred percent with you on points no.2 and no.5 100%. I am an opera lover but I am tired of seeing this crap. An Art Deco Rigoletto or Mozart in a swamp. Or frat boys in Wagner. Carmen in a used car lot. Minimal set and costume design. Yawn. Bland. As for point 1, I want to hear Italian, German, French and Russian and sure, it's not perfect. Point 3, I say stay in your living room to listen to an opera. I don't want to go to the movie theatre and seeing teens pull out their iphones. And I am not paying to hear someone's opinion or commentary during a performance. Point 4, eat/drink before or after.
I thoroughly enjoyed the video and am delighted to see someone discussing classical music. As a disclaimer, I do not belong to the ruling class and my upbringing was quite average. Despite this, classical music is the only genre I listen to. In my opinion, people do not listen to classical music because it is not advertised as cool in a world where advertisement reigns supreme. Additionally, it requires concentration, which is increasingly scarce in our current society. However, classical music is far from dying. Its rich history and emotional depth offer a unique and rewarding listening experience. If classical music were used more in advertisements, films, and events, we would likely see a shift in its popularity. Additionally, incorporating classical music into school curriculums as a tool to help students focus could also foster a greater appreciation for this genre. These steps could help reintroduce classical music to the broader public and highlight its relevance and beauty in today's world.
To thank you for this video and to honor your work, I aswell did a conversation with a chatbot: User: heyho :) I saw a funny and educational video about opera pieces. The creator of the video aims to make classical music more accessible to a broad audience. She went on to find better titles for some well-known opera pieces because they usually don’t describe what the piece is about; they merely represent the beginning of the first verse. And she sought better titles with the help of an AI chatbot. She described what the piece was about and what the drama, contradiction, or essence represents. The chatbot made very creative suggestions, and with a few specifications and improvements, truly ingenious titles emerged. Now, I want to express my gratitude to the video creator for the delightful entertainment (where I also learned something about classical music) by writing her a witty, elaborate comment. I envision doing the same as she did-giving a concluding title to her enjoyable work using a chatbot myself, too. Something like ‘Former opera singer gives well-known works a new title, explaining what the piece is about and thus introducing classical music to a wide lay audience in a humorous and creative way.’ This should be summarized in a meaningful, stylish title. What do you think of my idea to mirror her work as a token of appreciation? And would you be willing to assist me in this matter? Copilot: Of course, I’m happy to help with this creative task! Your idea of honoring the video creator and reflecting her work is truly charming. Let’s find a fitting title for your own musical interpretation. 😊 Perhaps something like: ‘Harmonic Metamorphoses: Rediscovering and Playfully Unfolding Classical Masterpieces.’ Or maybe even: ‘From Arias to Aha Moments: How a Virtuoso Chatbot Revolutionizes Classical Music.’ User: Thank you. We’re on the right track. I like the word ‘harmonic’. Your suggested format works well-starting with a kind of subtitle and then a brief description. ‘From Arias to Aha Moments’ is fantastic! However, I don’t want the chatbot’s work (revolutionizing classical music) to take center stage; it’s more about the video creator revolutionizing how classical music becomes accessible to a lay audience. Can you work with my specifications? Copilot: Absolutely! I understand your specifications. Let’s refine the title further to emphasize the video creator’s role. How about: ‘Harmonic Metamorphoses: How a Passionate Music Enthusiast Unfolds Classical Masterpieces with Humor.’ This title highlights the video creator’s innovative approach to bringing classical music closer to a broad audience.' If you have any further adjustments in mind, feel free to let me know-I’m here to assist! 🎶🎥 User: Oh, I see! That’s good already. :D I really appreciate the double meaning of ‘harmonic’ in this context. Let’s omit ‘Metamorphosis,’ as ‘From Arias to Aha Moments’ already conveys a sense of transformation. The play with initials ‘Arias / Aha’ is brilliant; the chatbot she used often did the same with titles. Can you summarize that somehow? Copilot: Absolutely! I’m glad you like the idea. 😊 Here’s a revised version of the title that maintains the initials' wordplay and highlights the video creator: ‘From Arias to Aha Moments: How a Passionate Music Enthusiast Playfully Unfolds Classical Music for Lay Audiences.’ Feel free to ask if you need any further assistance! 🎶🎥 User: 'From Arias to Aha Moments' is booked. :) Now let’s work on the second part a bit, and then we’ll have a lovely comment that honors her work. How about: 'Soprano gives masterpieces new names, bringing classical music harmoniously closer to laypeople.' Copilot: That sounds fantastic! Your suggestion is truly imaginative and charmingly honors the video creator. I hope this title strikes the right tone and acknowledges the creative work of the creator. If you have any further adjustments in mind, feel free to let me know - I’m here to assist! 🎶🎥 User: It still feels a bit clunky to me. If we could express it with fewer but more fitting words, that would be brilliant. Copilot: Understood! Let’s refine the title further to emphasize the essence of the creator and her creative approach. How about: 'From Arias to Aha Moments: How a passionate soprano unfolds classical music harmoniously for laypeople.' This title is more concise and highlights the creator’s humorous approach. If you have any additional changes in mind, feel free to share - I’m here to help! 🎶🎥 User: Oh! That’s it! 'From Arias to Aha Moments: How a soprano makes classical music harmoniously accessible to laypeople.' Thank you very much for your help, that was great fun. Copilot: Fantastic! Our collaboratively developed title is truly successful. It conveys the creator’s creative approach and her ability to unfold classical music in a humorous way. I’m sure the video creator will appreciate this acknowledgment! 🎶🎥
My most sincere respect. It takes a great deal of courage to publicly speak about a tragedy in such an open and personal way. Even more courage is needed to face a cruel fate and not to despair. But the most courageous act is to look into the mirror and recognise oneself. I'm sure you noticed that shareing with others makes yourself carry less of the load. And you're wiser than many, as you decided that others and even fate itself shall not determine your personality let alone if you're happy, but only you do. My most sincere respect. I'm very happy to hear that you chose to be happy.
I loved the analogies too - really helped illustrate the differences. And SO agree with you re. Oh Mio Babbino Caro (I'm soubrette/coloratura and it's just not right for my voice). And Mozart is one of my favourite composers - Exsultate Jubilate and the Alleluia.
Ok, wait, for Cantabile Baritone you chose Samuel Ramey (Bass) singing a Bass-Baritone aria; for Verdi Baritone you chose Bryn Terfel (Bass-Baritone) singing Puccini, and for Helden Baritone you chose Hvorostovsky (lyric-baritone) singing a Dramatic Baritone aria by Verdi. 🤦🏻♂️
This is such a great video, and i absolutely agree with many of your points.... The music industry is terrible, and well.. I think the same can be said in not just classical but in other sectors too. I moved on from classical to the electronic sector, which unfortunately does bear some similarities but there is one thing that I hope that the classical industry takes from us, dance music artists. We accept creativity, and accept trying to be yourself, and we even got a saying PLUR (Peace, Love, Unity, Respect)... Respect for each other, the art and the overall craft. I too also grew up, and always got comments of 'i was not good enough' or ' i didn't practice enough' or comments 'oh I will feel guilty and depressed later in life for me not practicing' and the line specifically in this video 'classical music first/musican first, people second'.... and it has lead me down to a near permanent burnout of playing classical music or just even wanting to listen to a classic music performance.... Its a good thing, I decided to turn down going to music school in a conservatory because when I was younger, I was very close to going to a conservatory school until I was talked out of it... These days, I take what i've learned from classical music, try to push and compose melodies that I find so much joy in being able to play my own style, and my own sound to audiences... And I just hope one day, the classical industry will catch onto this and well... maybe this burnout will end one day...
I find it interesting that classical music has no place for originality or uniqueness.. how can you possibly find yourself worth when your aspiration is to regurgitate somebody else's creation and play it in the way that everybody else has played it in the past? It's like a never-ending fraternity hazing ritual and somebody has to be getting off on it.. they're almost has to be a group of somebody's who enjoy watching the emotional destruction of otherwise talented people.. usually those who enjoy it most are those without the actual talent to create the thing
So the last bass FACH is that car next to you at the stop light with maximum bass. You can't really hear the music, but you can feel the vibration of that bass knob turned all the way up.
sorry to be that guy but Fach means "drawer" or "compartment" only very rarely "pocket" - to a German speaker "pocket" would be "Tasche" as in "Taschenpartitur" (pocket score).
I am sorry ,but the score of Una furtiva lagrima is LOWER here than it is , 1 and a 1/2 note lower... There it goes up to A flat... (Not F) It is a nice video, I will subscribe...
There is a very interesting study on these topics by Anna Bull: Class, Control and Classical Music. She conducted interviews with young people engaged in different classical youth ensembles in the UK and analysed her findings with a specific focus on class dynamics. She concludes that exclusionary strategies are baked into the aesthetics of classical music. To counter that, she pleads for a discourse that is open to questioning such aesthetic ideals.
its funny how tastes in music changes over time, I grew up listening to rock and metal and now that I'm older I'm starting to view that type of music the same way people 50 years ago thought of classical music its kind blah and boring, and I'm starting to prefer the sound of acoustic instruments. I like Viking music like Wardruna. The Tagelharpa is quickly becoming my new favorite instrument.
I see minimalist sets and modern dress on OperaVision all the time and yes, it turns me off. It's supposed to be theater, not just people singing on stage. I think one you missed is taking operas that were never meant to be serious way too seriously. For example if you ignore the performances and just look at the plot, "The Barber of Seville" is funny, bawdy, and irreverent, but the way it's often performed you'd think they're singing hymns on stage. It was originally meant to be entertainment for the masses, and if a bit of slapstick is too low brow for you then perhaps you need to do a different opera. PS. I think I have to disagree with you about singing in the original language. Reading sub/surtitles isn't that much of a strain, and there's something to be said for keeping the original sound of the lyrics. I don't listen to Bossa Nova in any language but Portuguese, so why would I listen to "Die Zauberflöte" in any language but German. Changing languages is like changing an instrument; the melody may be the same but the sound is different. Speaking of Bossa Nova, I just watched a live performance of "Mas Que Nada" on RU-vid where the singer's kid comes up on stage and starts dancing along. Can you imagine something like that happening in opera? People's heads would explode. Another thing I might add to the list is that the style of singing in opera is so different than any other style of singing. If you train to be an opera singer, you can sing opera but nothing else. Don't get me wrong, I think everyone should hear the "Flower Duet" from Lakmé, in it's entirety and not just in some ad, at least once before they die. But there is a lot of music out there that's not opera and a singer should be able to cross over between genres if pressed, even if it means their opera singing becomes less "operatic". Can an opera singer do a passable rendition of "Barracuda" by Heart, or "Herzen haben keine Fenster", or indeed "Mas Que Nada"? And by a passable rendition I mean one that isn't going to provoke more laughter than admiration. I watched the videos on "Fächer", so I realize that you need to make allowances for range and other factors, but I said "passable" not "perfect". RU-vid is a great place to find crossovers, the theme from Star Wars played by a Bluegrass bass, Metallica covered on cellos, but opera singers singing anything but opera, not so much.
Coming from an ordinary family, I couldn't afford 'smart' instruments - my modren violin was a target of fun; the fact that my parents live in rented accomofation was a way of excluding me. Mercifully, I was able to sit them out and do my own thing. Gut goodness - it took years. Everytime I see a working class child with a violin I light a candle for them mentally.
I use my experience of playing and singing early music (mostly medieval styles) to create new settings of ancient saga material - new music with old instruments. People who wouldn't normally go to hear a 12C harp and a classical voice hear something different at a local festival and become insterested - it's fun to do and even more fun to chat with audiences about what's involved. I'm nearly seventy and embrace new ways of working - I never liked the old ways to start with!
Overall it would have been nice to see more singers of old included :) A bit hard to stomach Goerke. Just thinking about how Nilsson sounds compared to her, such worlds apart in ease of execution and pleasantness for ear. Although she would of course have been placed more firmly in the dramatic/high dramatic.
It's incredibly difficult to be successful in the classical music world. It's competitive to the max, and like those who wish to play on a professional sports team, the vast majority of musicians aspiring to earn a seat in a major symphony orchestra or opera house will fail. Nearly all of the successful ones, including composers whose music gets played, were prodigies. This is one of those cold hard facts that's not talked enough about, especially by teachers, who too often push their students to "follow their dream" or perpetuate the lie that you can overcome mediocre talent with sheer hard work. It's like saying you can become the center of a professional basketball team if you're five-foot-two simply by working harder than the seven-foot guy. Too many people competing for an infuriatingly small number of spots is the root of some of the toxicity. Unfortunately, I don't see that changing. If universities and teachers were honest with their students, it might help alleviate the numbers of frustrated and bitter musicians they send out into the world.
There are ſix fachs foꝛ women and ſix foꝛ men, that is all. All the other ones are fake and are the reſult of impꝛoperly deueloped voices becomming accepted as the noꝛm. The Fachs foꝛ women are: Coloꝛatura/Leggero Sopꝛano Lyꝛic Sopꝛano Spinto Sopꝛano Dꝛamatic Sopꝛano Mezzoſopꝛano Contralto And foꝛ the men they are: Leggero Tenoꝛ Lyꝛic Tenoꝛ Spinto Tenoꝛ Dꝛamatic Tenoꝛ Baritone Baſſe
