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John Nix
Looking at the Rossini score, if you look at the dynamics in the
orchestra and the fact that the chorus is singing, that leads me
to believe that Rossini had somebody in mind, I don’t know
if it was Nourrit or what, who could be heard. Someone singing in
a mixed voiceor falsetto isn’t going to be heard over those
large forces. I don’t know whether Duprez was exactly the
first, I know he was the one who got press. My question to you is
looking at that score, do you not see that same [idea].
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Discussion with Ingo Titze about what had happened with the voice
with Duprez is also happening now with women in the belting technique.
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Steve Austin: I never manipulate a larynx of one of my students;
now, I don’t mind them touching their own larynx. Mainly,
it is to just monitor where it’s going or what it’s
doing. Sometimes they can’t tell, they don’t have any
sensation of up or down and until they get re- acclimatized to the
timbre changes that go on, then that’s a great means of providing
bio-feedback.
Kate Emerich: I guess because of my background in voice pathology
and as a singing teacher, I can’t separate that, and in the
world of voice pathology, we’ve had so much success in the
digital repositioning of the larynx.
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