Giacomo Puccini - Opera Medley Instrumental

13-year-old Laura Bretan's NESSUN DORMA raises deep concerns

13-year-old Laura Bretan’s Nessun Dorma ‘raises deep concerns’ says singing teacher

By Elizabeth Davis, CLASSIC FM LONDON

A 13-year-old singer has wowed audiences with her performance of Puccini’s iconic aria – but some in the classical world have a very different view. Now opera singers and music specialists have voiced concerns over a promising young singer forcing herself to mimic much older voices

Since the clip of Laura Bretan singing Puccini’s famous ariaappeared online a few days ago it has been viewed millions of times. But it’s fair to say it has divided the classical music world.

Laura this weekend won Romania's Got Talent and is still in the running to win America's Got Talent.

Here's the clip that has caused such controversy:

While some cheered to see classical music reaching a mass audience – and to see millions of people sharing and enjoying Puccini’s music, others raised concerns over Laura’s technique and her choice of repertoire.

An open letter from an opera singer

Opera singer Heidi Moss wrote an open letter to the young singer on Facebook saying: “There are things I heard in your sound that concern me. True classical training takes years of hard work, and forcing a sound that isn’t truly your own is dangerous.

“Over time, the irritation of singing that way can cause swelling or even worse, nodes or popped vessels.”

 

A singing teacher's point of view on Laura Bretan

Claudia Friedlander, a voice teacher from New York, took a more positive approach in an article on her blog and soon to be published in Classical Singer Magazine . She said: “Bretan delivered an earnest, authentic outpouring of passion, and she allowed it to flow through her voice with steadfast courage and commitment…

“But a young singer’s instrument is not yet even a fair facsimile of the voice they will late access as an adult. Thus there can be no true operatic prodigies. The young voice simply has not physiologically matured to the point that it is capable of projecting a healthy, balanced sound over an orchestra.

“This is why Bretan’s performance raises such deep concerns for experienced opera singers and voice teachers. She possesses both a promising voice and strong musical instincts, but most of the sounds she is producing are the result of effortful, unsustainable manipulations of a body that is not yet mature enough.”

Are they just jealous?

But Claudia goes on to say that jealousy may partly account for the classical world’s knee-jerk negative reaction to Laura’s performance – after all, this clip has made the news around the world precisely because it's rare to see an audience react so enthusiastically to a performance of an opera aria.

She asks: “Does our desire to correct Bretan’s fans about the nature of opera make us snobs?”

Meanwhile, one opera fan has started a crowd-funding campaign to raise money to ‘Send Simon Cowell to the Met’ …

Gaetano Donizetti - His Music and his Life

A native of Bergamo (born November 29, 1797), Donizetti was, for nearly a decade after the early death of Bellini in 1835, the leading composer of Italian opera. He had his first success with Zoraida di Granata in 1822. There followed a series of nearly sixty more operas and removal to Paris, where Rossini had been induced to settle to his profit. His final illness confined him to a hospital in France for some 17 months, before his return to Bergamo, where he died in 1848. Donizetti was not exclusively a composer of opera, but wrote music of all kinds, songs, chamber music, piano music and a quantity of music for the church.

The opera Anna Bolena, which won considerable success when it was first staged in Milan in 1830, provides a popular soprano aria in its final Piangete voi? Deserto in terra, from the last opera, Dom Sébastien, staged in Paris in 1843, has been a favourite with operatic tenors from Caruso to Pavarotti. The comedy Don Pasquale, staged in Paris in 1843, is a well-loved part of standard operatic repertoire, as is L’elisir d’amore (The Elixir of Love), from which the tenor aria Una furtiva lagrima (A hidden tear) is all too well known. Mention should be made of La Favorita and La Fille du régiment (The Daughter of the Regiment), both first staged in Paris in 1840 and sources of further operatic recital arias. Lucia di Lammermoor, based on a novel by Sir Walter Scott, provides intense musical drama for tenors in the last act Tomba degl’avei miei (Tomb of My Forebears).

Donizetti passed away on April 8, 1848 also in Bergamo.

Luigi Cherubini - His Music and His Life

Born on September 14, 1760 in Florence, the great Italian composer Luigi Cherubini receceives his first teaching by his father. The Earl of Toscana, Italy, later the Emperor Leopold II, sent Cherubini to Venice, where he studied together with Guiseppe Sarti (1729, Faenza - 1802, Berlin).

Since 1780, Cherubini composed innumerable operas. He received incredible appreciations in most of all places in Italy. 1784 London followed. 1786 Pisa in Italy. The opera "Demophoon" (1789) became a great success after Napoleon's regency.

"La doiska" (1791), "Eliza" (1794), "Medee" (1797), and "Les Deux Journees" (The Two Journeys, 1800) came into being. Many more beautiful compositions followed. The "Oratorio f-major" has been composed 1808. The opera "Ali Baba" got its premiere only in 1963 (!) in Essen/Germany.

The native born Italian Cherubini lived most of the time in France - connected mostly with German classical music. He passed away in Paris on March 15, 1842.

Guiseppe Verdi - His Music and his Life

The Italien Guiseppe Verdi was born near Busseto, Roncole, Parma on October 10,1813 and was one of the few composers whose genius was recognized while he as still alive. His reputation as the greatest of all Italian opera composers is beyond dispute.

It was the same year that the Great German Richard Wagner was born - a remarkable parallel to the year 1685 when Bach and Händel have been born.

Verdi started to work as clerk for the trader Antonio Barezzi. Barezzi, a great music lover, made it possible for Verdi to get a grant and scholarship.

Verdi studied also under a Milan Scala's music conductor and was lucky to get theatre practice. In 1835, Verdi became an organ musician. he later became a music conductor in his native town Bussett.

His first opera "Oberto" (1839) received a favorably appreciation. In 1840, Verdi composed his second "opera comique" ("Un Giorno de Rigno") - for him an objectionable work: during the composition period Verdi's wife and two children passed away.

Verdi didn't like to compose operas anymore, but when he read another songbook, his phantasm has been fulfilled with the composition of "Nabucco" (1842): "Fly my thought on golden wings!" Verdi received the name of honor "Maestro della rivoluzione italiana".

More operas followed: "I Lombardi" (1843), "Emani" (1844), Macbeth" (1847, after a drama by Shakespeare), and "Luisa Miller" (1849).

The operas "Rigoletto" (1851), "Il Travatore" (1853) and "La Traviata" (also 1853) remained as a grip musical three-constellation. "La Donna e Mobile" became Verdi's most popular opera song.

"Aida" (1871), "Othello" (1887) and "Falstaff" (1893) followed. Verdi belonged to one of the most blessed opera composers, while other music works of him never reached the same immense popularity.

Verdi passed away in Milan on January 27, 1901.