# How long before singers sound unique?



## nefigah (Aug 23, 2008)

I realized the other day that I'm new enough to opera that I still have the all-too-common "sounds the same" syndrome. (By which I mean, though the tenors sound different from the basses and whatnot, it is hard for me to tell one tenor from another. This makes it quite challenging to listen to opera on CD without visuals.)

This is not to say I don't think it sounds *good*, because I do. But has anyone perchance gone through something similar? If so, how long was it until you could actually recognize a singer by name just from his voice?


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## phoenixshade (Dec 9, 2008)

*Distinguishing Singers...*

I experienced something similar with male voices. Females are another matter. Perhaps it's genetic, but I was able to differentiate between female sopranos, for instance, from the very start. (Now, learning to associate the _names_ with the voices is another matter; that is still an ongoing process after years of listening!)

I think that the difficulty in differentiating classical voices arises because classical singing technique has been formalized (not least because singers need to preserve their voices), whereas easily-distinguished pop singing has not (and singers wreck their voices correspondingly). Since classical singers tend to use similar techniques, it takes a bit of ear training to hear the differences. (Note: this is my opinion. I welcome any actual singers who can provide more light on this matter...)

Attached are a couple of samples of different baritones singing the same piece (the beginning of "Frühlingstraum" from Schubert's _Winterreise_). Listen to them a few times and see if you don't notice some notable differences (aside from the fact that they are singing in different keys).

View attachment 322
(0:33, 128 kbps)
View attachment 323
(0:32, 128 kbps)
_(These samples are intended for illustrative purposes only. Since they are low-quality and do not represent a significant portion of the original recording, I believe their inclusion is protected under the fair-use clause of United States copyright law.)_

One thing you should notice is a difference in artistic interpretation. Fischer-Dieskau sings this section with a wider dynamic range, while Braun's dynamic interpretation is a bit more subtle.

Also, notice that each voice has a different "tone color." Braun's voice has a stronger emphasis of the higher harmonics, giving it an almost brassy, trombone-like quality; whereas Fischer-Dieskau carries a more rounded tone, with more of a woodwind, bassoon-like tone.

You could also listen for differences in vowel shaping (which has a direct impact on the tone color described above.) If you are specifically listening for these kinds of factors, you will probably get over that problem of "sameness" much faster than I did.


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## R-F (Feb 12, 2008)

While I think vibrato must be used with any singer, I still can't get over the amount of it used in Opera singers. It's just too much for me, and that's one of the main reasons I don't listen to a lot of Opera. I'm sure I'll get over it one day.


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## Louigi Verona (Nov 19, 2008)

Yeah, I have the same problem with opera vibrato. I prefer jazz vibrato more, like the one you can hear in Sinatra's singing.


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## nefigah (Aug 23, 2008)

Thank you, phoenixshade. I appreciate the input, and especially enjoyed the comparison. Indeed, the two do sound quite different.

RF and LV, I was in the same boat as you for much of my life, but I've learned to appreciate the vibrato. My challenge of late has been, as phoenix noted, differentiating between people using the same formalized technique and singing in the same register. 

Now that I've thought on it a bit, I imagine it must be quite similar to telling apart two great pianists when they play the same piece. I'm not at that level yet, either!


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