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Pappano’s Classical Voices S01 complete (720p HD, soft Eng subs)
Series in which conductor Sir Antonio Pappano explores the great roles and the greatest singers of the last 100 years through the prism of the main classical voice types - soprano, tenor, mezzo-soprano, baritone and bass. Through discussion, demonstrations and workshops, Pappano explores every aspect of the art of great singing.
E01 Soprano
Behind every great voice is not just a rock-solid technique, but also a unique personality. As well as specially shot interviews and workshops with stars such as Jose Carreras, Anna Netrebko, Jonas Kaufmann, Joyce DiDonato, Bryn Terfel, Juan Diego Florez, Christa Ludwig, Thomas Allen, Felicity Palmer, John Tomlinson and Sarah Connolly, Pappano examines key performances from some of history's great operatic icons - Enrico Caruso, Maria Callas, Joan Sutherland - as well as those of singers from the more recent past, such as Luciano Pavarotti, Jon Vickers, Peter Pears and Janet Baker.
Antonio explores such topics as what is going on in a singer's body to produce a great voice; how one 'projects' a Brünnhilde over large orchestral forces; whether great singers also need to be great actors; what is vibrato, legato, staccato; what are chest and head voices - how do they work and when does one use them? He examines passaggio, colorature and support, and shows why a tenor's high C hits can pin you to the back of your seat.
He begins with the soprano - at the heart of nearly every opera, although she isn't always alive come the final curtain. Tragic heroines, warriors, feisty servants, divas - the soprano sings some of the most fabulous roles in opera. But while the prima donna may suffer on stage, she doesn't suffer fools off it. The great sopranos have always been larger-than-life characters, adored by their public and, in the case of Maria Callas, famous far beyond the opera house, her private life of as much fascination to the press as her singing.
But how does the soprano carry off these vocally and dramatically demanding roles? How does the body work to produce the sound, and what techniques are at play? How do you make yourself heard up in the gods if you're competing with a huge orchestra? What is going on in a soprano's throat, indeed her whole body? How does she sing coloratura? What effect does vibrato have on us, the listeners?
To find out, Pappano looks in detail at performances from some of the legendary sopranos of the modern era - Maria Callas, Joan Sutherland, Birgit Nilsson, Leontyne Price, and Renata Tebaldi. And sharing their secrets are some of the leading sopranos of today - Anna Netrebko, Barbara Hannigan, Carolyn Sampson, Diana Damrau, and Eva-Maria Westbroek.
E02 Tenor
The tenor is opera's glamour boy, the king of the high Cs, the leading man. Whether the tragic hero or the young romantic lead, whether dramatic or lyric, the tenor usually gets the girl, even if they rarely live happily ever after. Antonio examines the techniques behind the bravura performances, featuring great tenors such as Enrico Caruso, Luciano Pavarotti, Franco Corelli, Fritz Wunderlich, Jon Vickers, Peter Pears and Mario Lanza.
With contributions from leading tenors of today - Jonas Kaufmann, Juan Diego Florez and Jose Carreras - and a voice lesson from Thomas Allen, Antonio seeks out the tricks of the trade. How does a tenor 'colour' his voice? Why do his high notes provoke an animal response in audiences? How does he sing from bottom to top of his two-octave range without seeming to change gear? Why did the tenor only come centre stage in the 1830s? Why is Enrico Caruso still regarded as the greatest and most influential tenor ever? And what does it do to your nerves to sing a high C?
E03 Mezzo-Soprano
The lowest female voice type, and the one closest to a woman's natural speaking voice, the mezzo-soprano only rarely plays the name part. But when she does - in Carmen, Samson et Dalila, and La Cenerentola - the fireworks begin. More often, she is the rival, and the villainess.
Antonio explores the particular effect the mezzo voice has on the audience. Her low, sultry tones make her voice perfect for the earth goddess, but also the enchantress, the siren. But she has to sing nearly as high as the soprano. So how does she do it? What is the 'chest voice' and what effect does it have? How do you sing ugly to convey the evil of a character without destroying your voice, and at the same time unearth some redeeming qualities?
Antonio finds out what makes the mezzo tick by looking at great performances from Giulietta Simionato, Kathleen Ferrier, Marian Anderson, Shirley Verrett, Cecilia Bartoli and Lorraine Hunt Lieberson, and taking sound
E04 Baritone
Gods, demons, drunks, lechers, silly old codgers, double-dyed villains - life on stage for the bass is rarely dull. The baritone, meanwhile, is the most common male voice type, and yet the parts he sings - especially in the operas of Verdi - are anything but.
Pappano explores the lowest male voice types, and the roles they play, in comedy as well as tragedy. How do basses sing so low? What different qualities does a baritone bring to a Schubert song? He meets the Russian 'oktavists', who sing a whole octave lower than the standard bass. With the help of leading practitioners - Bryn Terfel, John Tomlinson, Ferruccio Furlanetto, Christian Gerhaher, Alessandro Corbelli and Willard White - Pappano uncovers the tricks of the trade. He examines in detail some key performances from the legendary basses and baritones of the past - Feodor Chaliapin, Tito Gobbi, Paul Robeson, Dietrich Fischer-Dieskau, Boris Christoff , Nicolai Ghiaurov and Ezio Pinza.
(with soft subtitles)
First broadcast: July 2015
Duration: 1 hour per episode
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