| re: This gives me hope for a film of THE MOST HAPPY FELLA | |
| Posted by: Michael_Portantiere 08:43 pm EST 02/15/21 | |
| In reply to: re: This gives me hope for a film of THE MOST HAPPY FELLA - Chromolume 07:34 pm EST 02/15/21 | |
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| "Opera roles are not generally adapted in terms of keys. Some individual arias are. But outside of roles in early operas changed over time in various ways because they were written for castrati, or specific adaptations (by the composers) for alternate voices (Werther and I Puritani come to mind), full roles themselves are not changed." Yes, WERTHER and I PURITANI, and THE BARBER OF SEVILLE is another major, famous example you didn't mention. "I don't think Pav's voice worked in the same way. And again, the score wouldn't permit him to really take advantage of the brilliant upper register that was his calling card. For someone like Domingo, this might have made more sense. Also, we're talking A LOT of music, not just a handful of songs as in most musicals. I'm sorry to say this, but in this case, your argument really does not make sense. Make of that what you will." I wish you would look/listen to HAPPY FELLA again to reacquaint yourself with how high so much of it is written, even in the original keys. In the same vein, I would say that very little of it is written in a lower baritone range. So, again, even if the original keys would have been a little too low to show off Pavarotti's voice in a film -- and I'm not sure they would have been -- only slight transpositions upward would have solved that issue. That makes perfect sense to me, even if it doesn't to you. P.S. I'm pretty sure that two or three of the ensemble numbers in the score, including the title song, end on high Cs for the sopranos. It's not written for Tony to join in on those high notes, but Pavarotti certainly could have done so without in any way destroying the integrity of the piece. "I also think that learning a role in fractured English such as Tony might actually be harder, because one would have to learn that specific take on the dialect. Tony's lyrics are not academic in that sense, they are written from the standpoint of an American trying to write pidgin dialect, and it's not necessarily how a true Italian might speak. You're also giving the studio(s) a lot of credit for having 'lots of time' for rehearsal/retakes/etc - how much money was going to be spent on this???" Now, there's an argument of yours that makes zero sense to me, so I'm not going to address it. |
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