If someone isn't feeling emotion from her singing, it's definitely about the material and not her vocal performance.
Either that or they just use it as an excuse to bash her. Which I see many do. If they say it about a particular performance, that's one thing. But they tend to say ________ has no emotion in her voice (I've heard this said about quite a few singers)
And I disagree with your assessment of Anastacia tbh. She sounds like a big scary mean evil witch to me, but not like a man lol. Her tone is extremely dark, but not confusingly androgynous enough for me to call her a contralto. I think she is quite clearly a mezzo...
...but Tina is a dramatic mezzo too!
Only listened to Melonie Daniels so far, but I don't get soprano sfogato at all. One of the main defining qualities about them I first look for in them is that "ugly" contralto-ish timbre. Melonie's is neither, a pretty standard mezzo-ish colour, too dark and low to generally be soprano, with a bit more metal than warmth. Her low notes, like my fave Mariah's, are deceiving, since the first octave or so would be inaudible in an opera house. I believe the closest accurate descriptor for her voice would be dramatic mezzo as well.
Another thing soprano sfogatos should have is a huge upper register like that of a dramatic soprano, and they also have coloratura soprano-like top notes, the only 3 main ones we have any recordings of at all since the early 1900s are Maria Callas, Queen Marisa Galvany, and Leyla Gencer as far as I know. All had, at the very least, an Eb6, Galvany had an E6, and I think Callas had an F6. If they could do it without a mic, a pop singer being given that title should at least be able to do it with one
This is the weight a dramatic soprano's upper register could have
It's pretty short, but listen especially to the two massive C6s at 1:20 and 1:50ish. While not all dramatic sopranos are that big, Ghena isn't the biggest herself in that range, either (Nilsson I think, had a louder C6).
So on second though, I think Melonie would be a dramatic mezzo or dramatic soprano if she were classically trained (the latter takes a lot of assumption, since the head notes she showed in that video were pretty tiny, but most pop singers' are). Or possibly, a singer who straddled the line between both, like Verrett, Bumbry, Norman, etc. Also, I agree with you on Anastacia, now that I think about it her voice is much more witchy and metallic than it is masculine. Tina too, who I believe (like Beyonce), is somewhat underrated vocally since most people in the real world focus on her performance skills.
A national anthem performance is the best way to assess someone's vocal ability in one sitting tbh
She was only 16. Good for a 16 year-old. Understandable because she was 16...I'd say,
I LOVE her version. One of my favorites. Aside from the fact that she was 16 and shy, she wasn't an in your face kinda singer. Like you said, she was the queen of softness. She was about subtlety. And I agree about her voice drawing power when she belted. I also wish she did it more often but she had her own style and stuck with it. One of the things I love about her. She never tried to prove anything. She did her thing, her way.
Aaliyah's, Whitney's, Destiny's Child's are my favorite national anthems. I like Cher's too.
As for America the Beautiful, Mariah hands down. Then Ray Charles.
Only listened to Melonie Daniels so far, but I don't get soprano sfogato at all. One of the main defining qualities about them I first look for in them is that "ugly" contralto-ish timbre. Melonie's is neither, a pretty standard mezzo-ish colour, too dark and low to generally be soprano, with a bit more metal than warmth. Her low notes, like my fave Mariah's, are deceiving, since the first octave or so would be inaudible in an opera house. I believe the closest accurate descriptor for her voice would be dramatic mezzo as well.
Another thing soprano sfogatos should have is a huge upper register like that of a dramatic soprano, and they also have coloratura soprano-like top notes, the only 3 main ones we have any recordings of at all since the early 1900s are Maria Callas, Queen Marisa Galvany, and Leyla Gencer as far as I know. All had, at the very least, an Eb6, Galvany had an E6, and I think Callas had an F6. If they could do it without a mic, a pop singer being given that title should at least be able to do it with one
This is the weight a dramatic soprano's upper register could have
It's pretty short, but listen especially to the two massive C6s at 1:20 and 1:50ish. While not all dramatic sopranos are that big, Ghena isn't the biggest herself in that range, either (Nilsson I think, had a louder C6).
So on second though, I think Melonie would be a dramatic mezzo or dramatic soprano if she were classically trained (the latter takes a lot of assumption, since the head notes she showed in that video were pretty tiny, but most pop singers' are). Or possibly, a singer who straddled the line between both, like Verrett, Bumbry, Norman, etc. Also, I agree with you on Anastacia, now that I think about it her voice is much more witchy and metallic than it is masculine. Tina too, who I believe (like Beyonce), is somewhat underrated vocally since most people in the real world focus on her performance skills.
Verrett, Bumbry, and Norman tend to be referred to as Soprano Falcon. I posted a link describing that voice type
Verrett, Bumbry, and Norman tend to be referred to as Soprano Falcon. I posted a link describing that voice type
Yeah... I mean, I'm not fully convinced. Verrett, I think so. Bumbry always seemed to me to be a dramatic soprano with an extension, rather than an authentic soprano falcon, but close enough.
Quote:
Originally posted by LadyGagaStan93
The best rendition of the National Anthem of all time tbh
Ugh... I still get second hand embarrassment from this
The grunts
The neck rolling
The deviations from the melody
The boos
It's like those comedy skits of someone impersonating... nvm
Only listened to Melonie Daniels so far, but I don't get soprano sfogato at all. One of the main defining qualities about them I first look for in them is that "ugly" contralto-ish timbre. Melonie's is neither, a pretty standard mezzo-ish colour, too dark and low to generally be soprano, with a bit more metal than warmth. Her low notes, like my fave Mariah's, are deceiving, since the first octave or so would be inaudible in an opera house. I believe the closest accurate descriptor for her voice would be dramatic mezzo as well.
Another thing soprano sfogatos should have is a huge upper register like that of a dramatic soprano, and they also have coloratura soprano-like top notes, the only 3 main ones we have any recordings of at all since the early 1900s are Maria Callas, Queen Marisa Galvany, and Leyla Gencer as far as I know. All had, at the very least, an Eb6, Galvany had an E6, and I think Callas had an F6. If they could do it without a mic, a pop singer being given that title should at least be able to do it with one
This is the weight a dramatic soprano's upper register could have
It's pretty short, but listen especially to the two massive C6s at 1:20 and 1:50ish. While not all dramatic sopranos are that big, Ghena isn't the biggest herself in that range, either (Nilsson I think, had a louder C6).
So on second though, I think Melonie would be a dramatic mezzo or dramatic soprano if she were classically trained (the latter takes a lot of assumption, since the head notes she showed in that video were pretty tiny, but most pop singers' are). Or possibly, a singer who straddled the line between both, like Verrett, Bumbry, Norman, etc. Also, I agree with you on Anastacia, now that I think about it her voice is much more witchy and metallic than it is masculine. Tina too, who I believe (like Beyonce), is somewhat underrated vocally since most people in the real world focus on her performance skills.
k so what about the woman singing this bass line here
Sometimes watching these videos of these really amazing opera singers is inspiring, but at the same time it also makes me realize how much WORK I have to do. Cause hunntY. There aint no way.
Cher was very well projected in that performance, I'm impressed. I don't really have a favourite as I'm not Americian
I never get when people bashed Beyonce's tone, it's always been quite distinct to me, especially her head voice(Which I love ).
My favourite Oh Holy Night(Another good indicator) performance is by Lea Michele though, I love Mimi but I'd rather she didn't use the whistle in that performance
Can one of you experts tell me my voice type? I'll PM you a clip of me singing
If sending a PM makes you uncomfortable a good way of determining your voice type is using a tuning app and finding out on what notes your voice shifts from Chest-Mix and Mix-head, don't force it at all just let your voice naturally change
If sending a PM makes you uncomfortable a good way of determining your voice type is using a tuning app and finding out on what notes your voice shifts from Chest-Mix and Mix-head, don't force it at all just let your voice naturally change
Try and match it to one of these, if you're still curious or you don't know how I'm sure anyone here will listen
Ooh, thanks for the link! But I have no idea how to "sing an eight-note ascending scale beginning in comfortable lower range, below the average location for the first passaggio" or how to "begin around F3" You know how you can sing certain notes casually, then others above that you have to belt, then others above that you have to use head voice? I'm looking for what note marks those transitions?
). 
You know how you can sing certain notes casually, then others above that you have to belt, then others above that you have to use head voice? I'm looking for what note marks those transitions?