I enjoy these features a lot. I don't have anything worthwhile to add to or discuss. I don't know enough about obscure materials. Although I know more now! Perhaps others can provide more insight.

The tongue needs to be out of the way. End of story. If it's not, it needs to be relaxed. Not consciously depressed, not gliding around the teeth, not pressing against them, etc,. I basically agree with the previous comment.

If the singer is musically trained and otherwise without any possibly incurable pitch problems, I find it has always to do with weight (too much), darkness (too much), timbre (not using the natural timbre). In great singers like Barioni and Tebaldi I would venture to guess that their greatness made ...

I found this:http://jacquialexander.co.uk/page4.htm Born Alexander Witkin in Johannesburg in 1907, Afrique was originally trained as an opera singer... Indeed, in the 1930s, he was a member of the Old Vic Wells Opera Company. Discovering a talent for impersonation, he got a single act together and r...

Well, I'm not specifically into the "rich & fat" type of baritone voice. But if only such baritones (instead of "noble & slender") are required, what about the following (apart from Herlea, Ruffo and Bechi, on whose qualities I concur)? In alphabetical order: - Richard B...

I hate Warren, sorry.

For the past weeks I've been trying to get a friend who loves vocalists and musical into opera. Sometimes I manage to get him impressed with a snippet of great singing, but he just doesn't take the bait. I don't get it. He clearly loves vocal performance, not only in terms of aesthetics, but also as...

TifosoBonisolli wrote:While I'd probably have Rigoletto, Ballo and Trovatore on my list, as well, here are five operas beyond your list that never bore me:
- Jevgenij Onegin
- Simon Boccanegra
- Lucia di Lammermoor
- Cavalleria rusticana
- L'italiana in Algeri

How are you not bored by Onegin, Lammermoor and Boccanegra?

Pantenor wrote:So who does everyone is the biggest false myth? Domingo is my number 1.