top of page
Reimagining Historical Voices
Search
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...
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...
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:...
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,...
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...
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...
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...
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...
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’’’ ...
bottom of page