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re: I've been waiting for "Some of Christine's high notes are on tape" at PHANTOM.

Posted by: Chromolume 11:50 am EST 11/19/14
In reply to: re: I've been waiting for "Some of Christine's high notes are on tape" at PHANTOM. - Delvino 10:46 am EST 11/19/14

Well, it's been going on at least as far back as The Pajama Game, for various purposes and reasons. (And recorded orchestra tracks go back at least as far as 1937 and Weill's The Eternal Road.) The "sweetening" done for shows such as Company and Follies is well-documented - there was also a good deal of taped music (both vocal and orchestral) in the original La Cage, both for sweetening and for scenic effect.

You may not like it, but it HAS been part of theatre technology for many years, and as long as it's not misused (and I don't tend to think it's misused in Phantom), I think it's acceptable. No, I'm not ever advocating Contact-style (or touring Rockettes style) replacement of orchestras, nor a singer being extensively lipsynched. But like any technology, if it's used carefully as an occasional tool, I think it's essentially no different than any other technical theatrical device.

Granted, most of the time recording is used for specific effect, not as "replacement" vocals. And I don't think anyone wants to easily rely on such methods. But I think there are occasional times when the technology can be used to help, such as with the extreme range demands called for in that moment in Phantom. The alternative would probably be having a long line of sopranos killing their voices for the sake of that one "freak" high E, 8 times a week. The role is a tough sing as it is (and that slow build up to that high note is taxing as well.)

Live should always be the first choice. But when an OCCASIONAL certain "effect" is wanted that can't be reasonably achieved live, we at least have the technology to consider.


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Next: Thank you; much appreciate the historical info; a note on what is "deception" - Delvino 03:08 pm EST 11/19/14

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