Di tutte le masterclass con i grandi dell'opera, quelle con la Horne sono in assoluto le più belle e divertenti. Donna magnifica, dolcissima e alla mano 🙏❤️
11:41 That's a great advice - not only in music but in general in life, as well. This just shows once again that she is a very smart lady. Don't change yourself or your action before thinking it through.
Fantastic insight into Marilyn Horne's methods. Thank you for sharing. This was when she was still singing: I saw what I think were her final Isabellas in London roughly around this time. I don't suppose you have Sutherland's segment?
Yes! Ms. Horne sang her last Isabella this same year and continued singing staged opera until 1996. She continued singing classical recitals until 2000 and then reinvented herself singing popular songs and musical theater until the late 2000s with her friend Barbara Cook. Even now at age 87 she is still active as a teacher. I was able to see her live four times in the late 1990s/early 2000s and she is the reason I became a singer.
@@baritonebynight Fascinating. A few years ago I attended one of her masterclasses at Oberlin, Ohio and her voice was still in very good form. Certainly one of the greats. I was lucky to hear her in recital and Semiramide in 1980s London.
@@BellaFirenze Really, that’s you? If so - I’m assuming you are telling the truth since lying would be stupid and childish - so tell us, what was it like? Obviously you learned much but how would you describe working with her? She’s one of the greatest but seems to be so encouraging and nice. :) It’s quite rare with great stars actually - they often tend to get a bit too proud. Only one who definitely wasn’t like that I can immediately think besides Horne is my beloved maestro Pavarotti. Two great opera royals with an awesome warm personality and a positive attitude - and confidence, bur no arrogance.
I don’t mean any harm and I recognize that this was so long ago but I do no care for this tenor. Everything doesn’t have to be full voiced. I hope he was able to find some head resonance and a freer and warmer texture. Everything was so manufactured and pushed..
@@baritonebynightwell, if one agrees with the criticism, which I do, you have to wonder if Horne had anything relevant to say on the matter. A long time ago I attended several master classes by Birgit Nilsson. She was frequently telling singers to lighten up, to use less air. There was one soprano who had a nice big voice already, but it was on the brassy side. The audience gave her strong applause. Nilsson commented, "They like you. I don't", whereupon she explained that the woman should be making a more slender sound - - - more falsetto in the voice, I would put it. The woman was talented and a good study. She took the advice and there was an immediate big improvement. With one exception, Nilsson was very effective with all the singers. Horne is obviously inspiring, but her advice seems a bit vague to me. It's probably the emphasis on placement that I don't respond to.
The tenor has no head voice, all made with full chest and passagio. Poor boy... and him struggling with the passage and she no understand sh*****t about what he was doing.....
