# How do you feel about interpolated high notes?



## Itullian (Aug 27, 2011)

like em? not like em?

always take em when possible?

never take em?

:tiphat:


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## MoonlightSonata (Mar 29, 2014)

If they work well (and sound nice), I don't mind.
If they don't then it can be horrible.


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## Figleaf (Jun 10, 2014)

If you've got it, flaunt it- surely?


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## nina foresti (Mar 11, 2014)

I guess the epitome for me is the unscripted high note in "Di quella pira". Just love it.
On the other hand, I don't appreciate Rodolfo taking the high note along with Mimi who is supposed to take it alone in "O soave fanciulla".
Everything else is up for grabs as long as it is done well like Violetta's final "Sempre libera" note.


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## Becca (Feb 5, 2015)

I can't stand interpolated high notes in 4'33"

I wonder, do bases interpolate low notes?


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## anmhe (Feb 10, 2015)

I'm not against an artist adding her (or his) own flavor to a piece, but not in most operas. Gilbert & Sullivan? Go ahead! Go nuts with it. The material lends itself to tweaks and changes. But I'm weary of it in most operas. If something works, it works. I guess I would accept it on a case-by-case basis.


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## Metairie Road (Apr 30, 2014)

I agree. Unless the composer expressly gives the performer the latitude to improvise - a De Capo Aria for instance - then sing it (or play it) as the composer wrote it. Trust the composer.

Gluck was of much the same opinion - My way or the highway.

Best wishes
Metairie Road


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## Figleaf (Jun 10, 2014)

Figleaf said:


> If you've got it, flaunt it- surely?


Of course, it helps to be able to read the score, which I can't, to know which notes are written and which interpolated. It also does no harm to be familiar with the performance history, which makes us aware of which interpolated notes are traditional, and of the original context in which the notes were interpolated. None of this necessarily has any bearing on the rightness or wrongness of it, but it's always good to be able to see the full picture.


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## Woodduck (Mar 17, 2014)

It depends on the period and style. But even within those parameters, bad taste is possible. If a high note is musically in keeping and adds to the drama it can work. If it achieves only vocal display, distorts the score, and calls undue attention to the singer, no. Needless to say, it had better be well-sung.


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## Seattleoperafan (Mar 24, 2013)

If they were outlawed we would never have the Eb by Callas in Aida in Mexico City!!! Sutherland interpolated a high Eb after that last Pollione Norma duet on her first studio Norma, and it was one of her most spectacular notes ever. Often a D will conclude a piece better than a lower note but composers knew few could sing them. If you can, flaunt it. I would prefer an interpolated high note at the end of the first cabelleta after Casta Diva to match the final note of the piece. I would also prefer the C# in Zweite Brautnacht be held several beats rather than just touched upon, but I must be lacking in taste. Sutherland interpolated high notes in Il Trovatore to great effect. I was disappointed that Jane Eaglen's studio Norma was with Muti, who was a real stickler for adherence to the score, and would not allow her to do the interpolated High D at the end of the big trio. Ewa Podles often took interpolated high and low notes when singing Handle because she had a bigger range than most contraltos. How many contraltos can sing from D2 to D6!!?? Bring them on. Unfortunately there aren't many singers up to the challenge today.


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## Albert7 (Nov 16, 2014)

i'm down with them.


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## Tsaraslondon (Nov 7, 2013)

I do like the Eb at the end of _Sempre libera_ , which works well with the elated feel of the piece. Ditto the top C in _Di quella pira_.

On the other hand, when Callas first sang Leonora in *Il Trovatore* she added quite a few high variants, which she never sang again. I don't think they worked and she obviously thought so herself, as most of them had gone by the time she sang the role again. The notes obtruded on the mood she had created rather than enhanced the line. Incidentally this was in the early 1950s, when she was still easily capable of them, so her decision to eschew them had nothing to do with failing vocal powers.

So tastefully applied, and if they fit with the mood of the music (one might even say that infamous *Aida* top Eb fits with spectacular sweep of the music here), fine, but when it really is just a case of vocal showing off then I'd rather not.


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## schigolch (Jun 26, 2011)

I'm always one for singing what's written on the score, like Maestro Muti. 

This is in the context of a performance of the opera. I don't see any need to sing a high C in the Pira. After all, it can be sung in recitals, disconnected from the rest of the opera. Then again, I wouldn't make of this a casus belli if a tenor wants to take the high C... provided that he is singing a good high C to start with, of course.


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## Tsaraslondon (Nov 7, 2013)

schigolch said:


> Then again, I wouldn't make of this a casus belli if a tenor wants to take the high C... provided that he is singing a good high C to start with, of course.


Good point. When I heard Domingo sing Manrico at Covent Garden, he had already stated that he would not be doing the high C, for two reasons. One, it wasn't written and two, it wasn't a good note for him.

Some of the ignorenti in the audience still felt the need to boo though.


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## Becca (Feb 5, 2015)

GregMitchell said:


> Good point. When I heard Domingo sing Manrico at Covent Garden, he had already stated that he would not be doing the high C, for two reasons. One, it wasnt't written and two, it wasn't a good note for him.
> 
> Some of the ignorenti in the audience still felt the need to boo though.


And that points out one of the reasons why I have always preferred Domingo over Pavarotti - Pavarotti was a great singer, Domingo is a great musician.

<Becca quickly ducks>


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## Woodduck (Mar 17, 2014)

Becca said:


> And that points out one of the reasons why I have always preferred Domingo over Pavarotti - Pavarotti was a great singer, Domingo is a great musician.
> 
> <Becca quickly ducks>


No need to duck. The duck agrees.


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## mamascarlatti (Sep 23, 2009)

I agree. Interpolated high notes are about the singer rather than the music. 

But then, I'm profoundly indifferent to high notes. If there were such a thing as interpolated low "Osmin" notes, I might change my mind .


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## DarkAngel (Aug 11, 2010)

GregMitchell said:


> I do like the Eb at the end of _Sempre libera_ , which works well with the elated feel of the piece. Ditto the top C in _Di quella pira_.
> 
> On the other hand, when Callas first sang Leonora in *Il Trovatore* she added quite a few high variants, which she never sang again. I don't think they worked and she obviously thought so herself, as most of them had gone by the time she sang the role again. The notes obtruded on the mood she had created rather than enhanced the line. Incidentally this was in the early 1950s, when she was still easily capable of them, so her decision to eschew them had nothing to do with failing vocal powers.
> 
> So tastefully applied, and if they fit with the mood of the music (one might even say that infamous *Aida* top Eb fits with spectacular sweep of the music here), fine, but when it really is just a case of vocal showing off then I'd rather not.


With a skilled singer they can be tremendously exciting and dramatic, for Italian bel canto operas that had virtuosic cabaletta sections why would we want to limit the thrill of moment, some freedom is welcome to capture the immortal moments some singers could produce!

Also we must remember the evolution of opera singing leading up to Italian bel canto, the Italian da capo style demanded a singer to improvise the final section to the greatest dramatic effect possible depending on the singers fancy that night, so I suspect the early bel canto composers would not expect great singers to be limited to only notes on the page.....


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## DarkAngel (Aug 11, 2010)

GregMitchell said:


> I do like the Eb at the end of _Sempre libera_ , which works well with the elated feel of the piece. Ditto the top C in _Di quella pira_.
> 
> *On the other hand, when Callas first sang Leonora in Il Trovatore she added quite a few high variants, which she never sang again.* I don't think they worked and she obviously thought so herself, as most of them had gone by the time she sang the role again. The notes obtruded on the mood she had created rather than enhanced the line. Incidentally this was in the early 1950s, when she was still easily capable of them, so her decision to eschew them had nothing to do with failing vocal powers.
> 
> So tastefully applied, and if they fit with the mood of the music (one might even say that infamous *Aida* top Eb fits with spectacular sweep of the music here), fine, but when it really is just a case of vocal showing off then I'd rather not.


I really like the Mexico Trovatore wild moments, the high climax of cabaletta in "Tacea la notte placida...Di tale amor" is unforgettable to me and does not seem out of place in the heat of the moment.....magnificent!

Who could sing that today after the incredible vocal challenges leading up to it.........4:02 -> climax 5:20


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## Tsaraslondon (Nov 7, 2013)

DarkAngel said:


> I really like the Mexico Trovatore wild moments, the high climax of cabaletta in "Tacea la notte placida...Di tale amor" is unforgettable to me and does not seem out of place in the heat of the moment.....magnificent!
> 
> Who could sing that today after the incredible vocal challenges leading up to it.........4:02 -> climax 5:20


Fantastic singing yes, but, for me, the notes get in the way of the atmosphere she has created. Callas must have thought so too, otherwise she wouldn't have dropped them so quickly.


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## Diminuendo (May 5, 2015)

Depends on the opera. If it fits the mood, like the Aida Eb, then why not.


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## Barelytenor (Nov 19, 2011)

*Russian Basses aka "Oktavisty"*



Becca said:


> I can't stand interpolated high notes in 4'33"
> 
> I wonder, do bases interpolate low notes?


The basses in my Yale Russian Chorus Alumni sure do:






Enjoy!

George


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