PLÁCIDO DOMINGO MASTERCLASS, PHILADELPHIA 1982 (enable subtitles-in several languages)

WHYY in association with the  Philadelphia College of the   Performing Arts is proud to present  Placido Domingo the tenor the teacher good morning to all of you thank you very  much and first of all I want to tell you how   happy and how honor I feel then giving this  honor to me I am very very happy to be here   I think then this is the most exciting moment  because is when we are going to listen to some   singers I have really try concentrate  myself to hear them very carefully so   to be able to really tell them something  then I think it will be helpful the first   thing that we are going to listen today  is a tenor and his name is James Longacre Robert that's really beautiful first of all  it's a beautiful voice which is I think is   one of the most important things and you have  to have to be an opera singer one thing that I   can detect right in the beginning let me tell  you that's something that I very rarely heard   because this area it could be very easily  confused this area because of the somehow   melancholic introduction with the bassoon it's  very easily confused into a sad area you know   many people think that is a sad area and it's  not a sad it's a very happy area because finally   he is having the love of the girl that he loves  and it's so much you know you start to hear so so the first thing you have to put yourself is  into the situation of the place and you do it   beautifully you show your happiness even before  during the introduction and it's coming right   away in the first sound don't forget that the  most important thing always for the singing is   something that I think you are very lucky then  frankly Glacius is teaching you which is the   supporting of the voice and I have been carrying  on my career with the supporting and I can tell   you I have never take another singing lesson  so it's really I think then you are lucky if   you can learn about the support that's the one  the most beautiful thing now you have to think   that the Opera House is being small or being big  doesn't matter it all depends on the acoustic how   good is acoustically but you have to be able to  deliver to the people than is at the last place   so don't ever relax this one this is a muscle then  you have to start working with before when you are   warming up and then during the whole performance  you can never let it relax you can never forget   about that that's the most important thing the  breathing at least it has been for me and I think   that most of the singers can tell you the same  then now could you please Gina go to the place   when he said people the people presenting  come from the community for services ok ok is what you have to that's the example  and I want to tell you about when you   had a repetition of a world is especially  when you have especially singing dirty and   sink in donut city most of the time the text is  repeated the same words they get repeat several   times so you cannot say it both ways you have  to make the comp you are repeating just say it   Valmiki if I repeat this until you see you  can operate the same way the inflection has   to come the second time and then it makes a  completely the people some of the people in   the public they might not know what you are  doing but certainly they feel the difference   they cannot say especially okay yes he  underlined the word a pal PT again but   they feel the difference they know somehow the  expression is different okay try to do it just in this race when you are holding the F when it's coming the world cello what I want to tell you is then the  work chelo it has to illuminate it   has to come the sunshine you know I mean  you are building that earth and arriving   to the G it has to really illuminate the  place I mean that's really the the most of   you feeling chan loh support super Marie  I could really die you know so when you   arrive to that moment you really have to feel  you know all the happiness and so you do it   into the crescendo from the F and then the  portamento to the G and when you arrive to   the G sub explosion you know the world has to  come out of your soul let's do it again okay so you are understanding that the I can't you  repeat you know do it don't forget that deep   you don't care when it comes again nan  peered of something different okay yes again be careful just be careful one of the most important  things for me is the way you deliver the   text the text however even if some people  might not understand what you are saying   because we think in Italian in French in  German and Russian whatever but you have   to to feel them some people is in the hole  they really understand what you are saying   and also then you have to be so clear than  the people and doesn't understand they really   do it because you are saying the text right  so don't never underestimate the text every   word has the importance so just take it from  that and I let you finish the Aria beautiful smiles right monkian Oh see that's beautiful just one more thing I am sorry  if I am not brief you know again forgive me but   I can I cannot leave one thing that I hear it's  the timing something very important also the   last word the more you have to really feel the  right timing how did you do the C potpourri see you know don't attack too quick they know  user timings you know it's very important   the timing so when you finish the last  take the last D flag Taurasi morning Oh beautiful okay now the second singer we are going  to hear soprano Cecilia Dempsey so Cecilia probably beautiful sound very very beautiful thank  you now the first thing this is perhaps the first   time that you are talking to demand and you really  love you know and you dare to talk to him only to   talk to him but you dare to give him an advice  you know señoras cold okay and you you have to   do it your approach to him in this case it has  to be a lot more timid a lot more interior you   know first of all let me tell you I think then the  tempo is a little too slow it's a little too slow   in the in the very beginning you know I think  for the phrasing it could go all this between   music is really the rubato line is in every other  bar and you have to feel it you have to go with   the text you have to say the text you have won  the same thing then I was saying before to the   turn or instant you have to be able to underline  something when you repeat it this is really very   very important and you have it when you repeat the  word I mean I make can we and we will just do it no I see he spared silac wall okay see spits son you see you really have to break you really  have to break even if you don't break the   sound is a comma and you repeat the note the  the sentence sorry you have to separate the   two words really but because really that's the  you make emphasis the second time the first time   you just say that the second time you you make  a stronger at the point now call normal call to   nominal anima there is a big difference with the  name with the face the next phrase called to a   nominal anima call Norma - aw so Layla bruh you  know so the first one it is I mean you are get   it you have been being very there you really  are daring there the first one you are talking   about the soul and the second one you are talking  about the lips and it has to be a certain almost   you have to be almost sorry you say you know so  you are going to say but the first one you say then you have to continue because you realize  then you are going too fast saying so you have   to change and you have to change the tempo in  a way you know that Roboto now just be careful   with the legato line because your voice is  so rich and so beautiful and full really   then when you make the legato line just  be careful then you don't tend to do this you know what I mean I am exaggerating  a little bit but you have to have to be   able to have the line of the legato you have  to go from one node to the other one without   chopping a little bit the sound which is  already full so you just have to make the   right leg out of there with it can we do  it maybe from here okay okay the next face just be careful be careful with the ARS a pair  there are a pair there are don't say a / there   don't make are there the are sound has to be  very light they're repeated again be careful no   you are making a little bit not so interesting  sOooo figlio is the real interest of the face you have been to musical there you know  in a way the music is written in a certain   way the interpretation it has to be sometimes  different you know it's not exactly the music   so go from one phrase and the arriving point  is superior and then the same thing with the   next your own barrel dunes or okay do it that  and I let you finish that okay a per diem okay the first thing we are going to listen today  is a tenor and his name's Paul Robinson well well this area is very difficult because it  has different F sharps and before hitting that a   national honor then you have the repetition of the  F sharps with really drives you crazy I want you   to store the area and I will tell you something  when you get to the first F sharp okay just from ER now what's very good the f-sharp you don't  commit yourself to march into the tenuto of   the note but that could come later it could be  nicer if you really hold a little bit they're   sharp and making a little bit of diminuendo go  into the next place now we are on pony Ivana never use a tweak in the very small if  you feel it do it but don't do harm you   know never do it if the voice breaks if  isn't feeling in it do it but never try   to do something that you don't feel because you  are destroying the line and you are not being   sincere let me just sit at the piano  one moment for the next phrase can do now one thing don't forget that as important  as this day in a shuttle here there really the   importance is coming when you hit the gene you  know so don't get out of bread and don't use   any everything on the a Nashville then you  know that you are not going to be able to   give everything on the gene after now just  be careful for me the F sharps they were a   little too wide to open because that it provokes  the going from the F sharp to the a national it   makes it becomes more difficult you know and  try to go with the diaphragm really for the you know don't try to hit F a but it he said yourself in the f and go today Cara then the important note is them  okay let's see with this fish okay just one more thing they're cooking Fielding's you can feel the  expression you can use that expression then   it comes natural almost as in yourself  and is not much but use the cedar and the next senior we have a  soprano my name is Julie Kelly father that's beautiful also and now the  first thing in this area is as always it's   not a repetition but it really is the character  the idea of the first love it has to come really   fully in the area right in the beginning you  know impeccable area for the first color at   all and you have it has to come really like the  sunshine like is the first you know really they   what you call Cupid really you know like the  arrow going into your heart right away for   the first time in your life you have to feel  it with the music and it's right there he's   right there you know now however immediately  after the first session of the area the very   first one is coming a second one then you have  to use them your romanticists all the other so I want to feel that contrast just few bars to   the end of the the first part which you  are really absolutely really in heaven exactly the excitement of this is the  astronaut so they are puja tools with   the shore notes don't overdo it that's exactly  the excitement of the moment telling marine her   you know don't underestimate those little  notes okay now one suggestion Debbie flag   is the important note but don't start  ah hold a little bit the first note you   know so then you set on the B flat  otherwise is to honor Specter okay now you see Newsday use the they delegate  relate TR TR you know like everything is   going into your heart you feel the arrows  coming in every every moment because with the   legato in French is the difference from the  legato in French than in ditalion in French   you have to exaggerate the pronunciation  of some of the consonants more than the   Italian the Italian you work you will if  you would sing in Italian who can say no   are you are even more awesome yeah yes you  have to underline the consonants okay let's   go now to the very ending no let's do that  that's that's worth it let's do it again we're going to change the mood we are  going to be a base now a James Butler but I think we have been lucky because this  it's very little you can say sometimes when   you hear bad voices but we have had  beautiful and really talent singers   I think fantastic talent and I feel very  happy because it's easier for me to speak   that again I mean no I don't think the devil  beats an introduction strange enough in this   case it needs because it's coming from  the piano it's coming from the piano I start from the beginning I will enjoy it again and then the contrast in Denis really enjoy enjoy before the laughing  enjoyed the phrase before I mean you   enjoy it so much that you laughter  really prepare yourself into the move   of lovely because where you're saying  is so terrible really I mean then you   are really you will enjoy the next way so it  really prefer okay repeat just the last race you small Nagato the cursor again  would you repeat the world again   father to say the Sigma really just  plain thing you know very clever ok No okay the first one really enjoyed second  one show a little more of seriousness really   more contact you know now you are already  rusting Foust I mean you see him already you are really rusting in soft  okay okay so let's go just today each other pavarotti's master  classes at the Juilliard Opera   school Monday nights at 10:30 here on 13

Channel: Enrique A.

Views: 31,931

Keywords: iMovie, Placido Domingo, tecnica, vocale, vocal, technique, canto, singing, opera, verdi, voce, verdiana, covered, passaggio, song, aria, cover, bridge, head voice, notes, acuti, masterclass

Id: uqlmkUfzBnA

Length: 54min 42sec (3282 seconds)

Published: Thu Feb 22 2018