[LJ2ME] Mike. Just Don't Do It.
Last weekend was a coup for opera buffs, with two famous sopranos gracing the stage of the Esplanade Concert Hall, and affording us a semblance of the scene in the cultural capitals of the world.
Both evenings and both divas were sublime, and to borrow a phrase, something to remember. Starved as we are for greatness, catching a live concert in the presence of a legend would be marks enough, no matter the trivials and trifles that get in the way.
The issue of contention here would be the use of microphones. As facts have it, both ladies used it. Whether or not we are going to hold it against them depends on several factors.
I was suprised to find a mic stand on stage on Friday. Having Sumi Jo adjust it to a suitable position compounded the evidence. Gasp! She was singing with amplified assistance?
Strangely though, when she first started, her projection was suspect and in question. God forbid the notion that if this is how she sounds mic-ed, how much more inaudible would she be without!
One is pleased to report that Miss Jo's facilities were unaffected, as she grew in strength from strength. Her use of the equipment was also limited to the first set of lighter repertory pieces, to complement the band tunes appeal of the musical and operetta genre.
"We don't need the microphone..." she trilled and this bode well for after the intermission when the mic stand was removed. It may be the programmed works, but from this point, Jo was a revelation as she showed us what she was capable of in repertoire she was at home with.
Her beautiful final encore was sung without orchestral accompaniment, all the more surreal and haunting as her voice reverberated and resounded in the cavernous acoustics of the house in sepulchral silence.
On Thursday morning, Symphony 92.4 managed to invite Dame Kiri Te Kanawa to the studio for an interview. One must admit, her speaking voice, in crisp upper-crust accentuated British accent, was almost as bewitching as her singing voice.
During the interview, she didn't mince her words when she touched on the new generation of "opera" singers who have never sung without a microphone and yet still dare to call themselves as such.
I share this sentiment and remember rolling my eyes to the Heavens when many years ago, two customers were debating the individual merits of Sarah Brightman against Filippa Giordano. The one at least has my vote for the definitive Christine in Phantom, but the other hardly warrants mention for the unmentionables she has passed off as her resume.
Anyway, while my seat on Saturday no way allowed me the same vantage as on Friday, it was still a sore thumb that stuck out when a mic stand was seen on stage. Do I hear hypocrite?
Thus rendered, Kiri sounded fabulous, reminiscent of the glories of yore. It was a calorific treat as the double cream recipe served up a tempting dish.
The question to answer is, just exactly how "good" is our supposedly top-of-the-class acoustics, when compared to the great opera houses of lore?
Both evenings and both divas were sublime, and to borrow a phrase, something to remember. Starved as we are for greatness, catching a live concert in the presence of a legend would be marks enough, no matter the trivials and trifles that get in the way.
The issue of contention here would be the use of microphones. As facts have it, both ladies used it. Whether or not we are going to hold it against them depends on several factors.
I was suprised to find a mic stand on stage on Friday. Having Sumi Jo adjust it to a suitable position compounded the evidence. Gasp! She was singing with amplified assistance?
Strangely though, when she first started, her projection was suspect and in question. God forbid the notion that if this is how she sounds mic-ed, how much more inaudible would she be without!
One is pleased to report that Miss Jo's facilities were unaffected, as she grew in strength from strength. Her use of the equipment was also limited to the first set of lighter repertory pieces, to complement the band tunes appeal of the musical and operetta genre.
"We don't need the microphone..." she trilled and this bode well for after the intermission when the mic stand was removed. It may be the programmed works, but from this point, Jo was a revelation as she showed us what she was capable of in repertoire she was at home with.
Her beautiful final encore was sung without orchestral accompaniment, all the more surreal and haunting as her voice reverberated and resounded in the cavernous acoustics of the house in sepulchral silence.
On Thursday morning, Symphony 92.4 managed to invite Dame Kiri Te Kanawa to the studio for an interview. One must admit, her speaking voice, in crisp upper-crust accentuated British accent, was almost as bewitching as her singing voice.
During the interview, she didn't mince her words when she touched on the new generation of "opera" singers who have never sung without a microphone and yet still dare to call themselves as such.
I share this sentiment and remember rolling my eyes to the Heavens when many years ago, two customers were debating the individual merits of Sarah Brightman against Filippa Giordano. The one at least has my vote for the definitive Christine in Phantom, but the other hardly warrants mention for the unmentionables she has passed off as her resume.
Anyway, while my seat on Saturday no way allowed me the same vantage as on Friday, it was still a sore thumb that stuck out when a mic stand was seen on stage. Do I hear hypocrite?
Thus rendered, Kiri sounded fabulous, reminiscent of the glories of yore. It was a calorific treat as the double cream recipe served up a tempting dish.
The question to answer is, just exactly how "good" is our supposedly top-of-the-class acoustics, when compared to the great opera houses of lore?