S
SpringfieldB
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TGIS, thank god it's Saturday
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Post something just for the heck of it
- Thread starter belamyi
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No, you're the lone guy in the middle picking his nose.
That's impossible
- - - Updated - - -
Not to speak of the fact that he does not shave his back hair.
m1thousand
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How would you know that?
Unless.......
IT'S YOU!
Or unless you simply look at the pic and notice the dark part below the bald top of his head.
Ah! the fantastic English language usage, that takes body hair as synonym for scalp hair...
jumpup2
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Or unless you simply look at the pic and notice the dark part below the bald top of his head.
Ah! the fantastic English language usage, that takes body hair as synonym for scalp hair...
You're not getting away with that one. Back hair is back hair. The only place back hair grows is on the back. Not the head.
You're not getting away with that one. Back hair is back hair. The only place back hair grows is on the back. Not the head.
You are not getting away from the mess in which you have jumped
The rest you can blame on my broken English: "hair" is "hair", not "body hair"
Back hair, hair of the back of the head...and "back" is the buttocks side, or the part above it..? in any case, the bald guy in the white shirt, which is me (although I do not remember the guy beside me there) does not shave his "back hair" very often
only when it has grown about an inch 
Exacto. Xavi y Guardiola dicen esas cosas porque son franquistas: son capaces de llenarse la boca con los derechos humanos hablando de allí donde no les dan de comer, y a la mano de acero que les engorda la barriga, les ponen, agradecidísimos, un guante de terciopelo rosa.
El franquismo es ya como el fascismo: describe una manera de actuar, no una afiliación política.
No se puede ser un gran personaje público si no eres capaz de pegar la lengua a cierta parte del cuerpo de ciertos personajes indicados.
El franquismo es ya como el fascismo: describe una manera de actuar, no una afiliación política.
No se puede ser un gran personaje público si no eres capaz de pegar la lengua a cierta parte del cuerpo de ciertos personajes indicados.
Lo dicho: el comunismo se alimenta de los que viven en la inopia intelectual, y sóis más y creéis más en el comunismo quienes vivís obsesionados temiéndolo, que los inopes que dicen adorarlo, antes de comprarse chalets mientras vosotros seguís pringando.
Los dirigentes sociatas levantan el puño en los mítines... y luego se van a hacer políticas de derechas... pero dejando en la calle a los comunistas antisistema que os decís de derechas: igual que los que se dicen de derechas, proclaman "sus principios" en las plazas de toros, y luego son "más sociales" que nadie juasjuas.
A vosotros sí que se os ha parado el reloj... jaja, a perpetuidad en los tiempos de los salvapatrias revolucionarios, pero disfrazándoos según el viento sople.
Los dirigentes sociatas levantan el puño en los mítines... y luego se van a hacer políticas de derechas... pero dejando en la calle a los comunistas antisistema que os decís de derechas: igual que los que se dicen de derechas, proclaman "sus principios" en las plazas de toros, y luego son "más sociales" que nadie juasjuas.
A vosotros sí que se os ha parado el reloj... jaja, a perpetuidad en los tiempos de los salvapatrias revolucionarios, pero disfrazándoos según el viento sople.
Aquí hay mucho desposeído, mucho fracasado aspirante a arquitecto, mucho chanchullero inmobiliario, que dentro de veinte años estará hablando en contra del capitalismo como hoy habla del comunismo, porque el capital le echó debajo de un puente mientras los rojos comían jabugo en sus chalets, y llevaban a sus niños a colegios concertados.
España es un país de pícaros hidalgos que nunca han sabido defender más principios que el de sus aires (puro aire) de superioridad.
España es un país de pícaros hidalgos que nunca han sabido defender más principios que el de sus aires (puro aire) de superioridad.
J
johaninsc
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J
johaninsc
Guest
nope.
1. Tonality problems
2. Poor coloratura technique (notes all clung together)
All attempted to hid from a much faster tempo.
She wouldn’t make it to the world stage in modern times.
Please stop having this bias that techniques got worse over time. It’s EXACTLY the opposite.
ROFL. Non of the things you listed are actually right. But let me do an actual analysis of Fleming's performance
1- out of tune
2- no air release
3- vibrato is stuck inher throat
4- knödel frog sound
5- no squillo
6-tiny voice
7- no harmonics
8- no chest voice participation in head vocie
9- no chest voice in low notes ....................
10- her tongue closes of the throat
11- not enough phyrangeal space
12- high larynx
13- spread high notes
14- screamy high notes
15- airy sounds
16- no chiaroscuro
most of what you say is a fundamental lack of understanding of how opera progressed.
How Fleming sang is a technique that utilizes pianissimi coloratura—high notes are sung in pianissimo style, it’s something that was popularized by singers like Caballe, and it is a MUCH harder technique than those of early 20th century—when you go up it’s much easier to go forte to push out the notes than pianissimo. This is why you think Fleming is constricting her larynx, it’s because that is the technique—pianissimo on high notes which requires higher skill and agility. On top of that she sang it with a much slower tempo and longer sustained phrasing, which would compromise “volume” or projection which is why she won’t have a “piercing” opera sound that you like, but it is much harder to do. Another good example of this modern technique is Sumi Jo’s Caro Nome performance. You can also see she utilizes pianissimi on the high notes in the coloratura. Cecilia Bartoli is also somebody who specializes in this modern coloratura technique and is a master at it.
In terms of tonality, perhaps you think she’s out of tune because you got used to listening to out of tune singing of this piece.
the "technique" that you talk about is not an actual technique. This is not real piano singing. Real piano singing still has to have core/ chest voice participation. Also you may not be avere of this but, the singing that you talk about is physiologically based on constriction instead of release. No one will hear fleming/ sumi jo "piano" singing because they don't have core. Old singers had core in the ppp and still were able to be heard
again, nope.
The resonance of piano singing you are referring to is one that was not used in coloratura—no early 20th century singer, not even the great Maria Callas, sang with this technique because it was not developed yet.
If you want to hear the resonance you are talking about you can go and listen to Fleming’s Dove Sono in 1999 Met production of Le Nozze Di Figaro, when she sang the second stanza she used this piano singing with “chest” resonance that you are talking about, and in fact her technique was so good that that the resonance would still be heard when she closes each phrase that she sung in one long breath.
What I was refereeing to is a technique that as you go through the coloratura notes, you go from forte to piano very fast. Each of the coloratura notes are short so you cannot have that resonance you are talking about , this is why it requires quite a lot of control of releasing the sound by quick constricting then release to create a more dynamic singing, all the while still keep to tonality and sustain. It is absolutely not because these singers have “no core.”
i think you should study the anatomy before going around talking ablut improved technique nonsense. Because the stuff you say is physically not possible
I know you would think it’s physically not possible
But that’s how much opera singing techniques have been developed over time for more challenging singing and just better.
But you are free to be stuck in early 20th century as you wish!!
The rest of us have moved on.
1. Tonality problems
2. Poor coloratura technique (notes all clung together)
All attempted to hid from a much faster tempo.
She wouldn’t make it to the world stage in modern times.
Please stop having this bias that techniques got worse over time. It’s EXACTLY the opposite.
ROFL. Non of the things you listed are actually right. But let me do an actual analysis of Fleming's performance
1- out of tune
2- no air release
3- vibrato is stuck inher throat
4- knödel frog sound
5- no squillo
6-tiny voice
7- no harmonics
8- no chest voice participation in head vocie
9- no chest voice in low notes ....................
10- her tongue closes of the throat
11- not enough phyrangeal space
12- high larynx
13- spread high notes
14- screamy high notes
15- airy sounds
16- no chiaroscuro
most of what you say is a fundamental lack of understanding of how opera progressed.
How Fleming sang is a technique that utilizes pianissimi coloratura—high notes are sung in pianissimo style, it’s something that was popularized by singers like Caballe, and it is a MUCH harder technique than those of early 20th century—when you go up it’s much easier to go forte to push out the notes than pianissimo. This is why you think Fleming is constricting her larynx, it’s because that is the technique—pianissimo on high notes which requires higher skill and agility. On top of that she sang it with a much slower tempo and longer sustained phrasing, which would compromise “volume” or projection which is why she won’t have a “piercing” opera sound that you like, but it is much harder to do. Another good example of this modern technique is Sumi Jo’s Caro Nome performance. You can also see she utilizes pianissimi on the high notes in the coloratura. Cecilia Bartoli is also somebody who specializes in this modern coloratura technique and is a master at it.
In terms of tonality, perhaps you think she’s out of tune because you got used to listening to out of tune singing of this piece.
the "technique" that you talk about is not an actual technique. This is not real piano singing. Real piano singing still has to have core/ chest voice participation. Also you may not be avere of this but, the singing that you talk about is physiologically based on constriction instead of release. No one will hear fleming/ sumi jo "piano" singing because they don't have core. Old singers had core in the ppp and still were able to be heard
again, nope.
The resonance of piano singing you are referring to is one that was not used in coloratura—no early 20th century singer, not even the great Maria Callas, sang with this technique because it was not developed yet.
If you want to hear the resonance you are talking about you can go and listen to Fleming’s Dove Sono in 1999 Met production of Le Nozze Di Figaro, when she sang the second stanza she used this piano singing with “chest” resonance that you are talking about, and in fact her technique was so good that that the resonance would still be heard when she closes each phrase that she sung in one long breath.
What I was refereeing to is a technique that as you go through the coloratura notes, you go from forte to piano very fast. Each of the coloratura notes are short so you cannot have that resonance you are talking about , this is why it requires quite a lot of control of releasing the sound by quick constricting then release to create a more dynamic singing, all the while still keep to tonality and sustain. It is absolutely not because these singers have “no core.”
i think you should study the anatomy before going around talking ablut improved technique nonsense. Because the stuff you say is physically not possible
I know you would think it’s physically not possible
But that’s how much opera singing techniques have been developed over time for more challenging singing and just better.
But you are free to be stuck in early 20th century as you wish!!
The rest of us have moved on.
jumpup2
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