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Reimagining Historical Voices
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
Tim Braithwaite
Emma Calvé on the ‘Fourth Voice’ Taught to her by Domenico Mustafa (1922)
‘During my sojourn in the Holy City, I often went to hear the choir of the Sistine Chapel, which was at that time under the direction of...
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
Tim Braithwaite
A Recollection of Domenico Donzelli’s Singing in an 1829 Performance of Rossini’s Otello:
On the occasion of this remarkable operatic event, the most accomplished tenore robusto of his times, Dozelli, was the Otello to...
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Tim Braithwaite
Michael Praetorius on the Requirements of a Singer and Expected Vocal Ranges
‘Firstly, a singer must have a voice by nature, in which three requirements and three flaws are to be noted. The requirements are these:...
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
Tim Braithwaite
Giovanni Camillo Maffei on Those who ‘Sing the Bass, the Tenor, and any Other Part with Great Ease.’
‘Thus I say, that these voices are born from the matter of the tube [throat]; and by tube [throat] I mean all the parts mentioned above,...
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
Tim Braithwaite
Thomas Coryat on Choral Performance Practice and a ‘supernaturall voice’ in Venice (1611)
‘Sometimes there sung sixeteene or twenty men together, having their master or moderator to keepe them in order ; and when they sung...
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Tim Braithwaite
Hector Berlioz on the Haute-Contre (1843)
‘The old masters of the French school, who never employed the head voice, wrote a part in their operas which they called haute-contre...
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Tim Braithwaite
Joseph de Lalande's Comparison of French and Italian Register Usage
‘I have said that the tenor of the Italians was the haute-contre of the French; at least the tenors hardly differ if...
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
Tim Braithwaite
Johann Quantz on German Church Singing (1752)
‘What the German manner of singing was like in times past may still be perceived today from the singers in choirs...
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Tim Braithwaite
Johann Petri on High Falsetto Singing
‘A certain soprano who was very skilled and excellent at singing in falsetto (but was not a castrato) once sang arias rising to an e’’’ ...
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