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I have listened to all STL from Kiev to London 1 & 3, I still think the best STL is the one from Kiev followed that by London Day3. I'm not crazy about falsetto in Wroclaw


Here're all of them:

Kiev 3:20



Moscow 3:55 - I think the best falsetto on his STL - close to original



Wroclaw 3:45



London Day 1 - 4:00



London Day 3 - 4:08 - One full circle moment, the improvisation is similar to Kiev

www.youtube.com/watch?v=9dtP9XcwoBA

Yup. Dis be da place. We discuss pitch, tempo, technique, head voice vs. chest voice vs. falsetto, sub-harmonics, resonance, breathing, etc. etc. All comments and questions are welcome as long as they are courteous and respectful of others. We encourage discussion, but I don't tolerate arguments.

Welcome.

That whole improv before the intro was BEAUTIFUL. Love that tone in his voice.

Brought over from the daily thread for archive purposes.

Holst wrote:


Holst, you brought up some interesting points. I think it is probably hardwired into humans to compare things. It must serve an important evolutionary purpose. It is remarkable to me that Adam seems NOT to automatically compare things. Witness his dislike of choosing favorites, or his praise for diverse singers and performers. Even his penchant for crossing and combining genres in his own music.

I also agree with you about the success of highly trained opera singers attempting to sing pop/rock. I cringe when I hear it, too. It is another remarkable thing about Adam that he sings with classical technique but sounds so convincing in other genres; rock, pop, blues, funk, R&B. I have an old friend who is a choral director, musical theater performer/director and vocal teacher. I recently introduced him to Adam with little explanation (amazing that someone had NOT been aware of Adam and his amazing voice). I played the YT of Queenbert’s opening medley in London. My friend immediately recognized that Adam had a legitimate, highly trained voice and probably musical theater experience. When he pointed out all the reasons why he concluded that, it was OBVIOUS to me.

Our discussion of Adam’s voice and performance gave me insight to why some folks just don’t care for Adam. With many untrained rock singers, when they perform live there is something raw, gutsy, uncontrolled and a little risky about their performance. One is never quite sure how the next note or phrase is going to sound. They also look like they are pouring every ounce of themselves into singing, leaving it all out on the floor for their audience. That is thrilling and exciting to watch.

On the other hand, Adam’s singing is very precise, controlled and consistent. He meticulously hits every note fully, and with the same tone (unless he intentionally adds a squeeze or bit of grit). He maintains the tone and the intensity throughout his considerable range. He hits outrageously high notes, notes a classical tenor should never be able to sing, with aplomb and with less apparent effort than other singers sing the same note down an octave. “Tenor high C is my highest note? I scoff at your high note and raise you five steps!” All this while playing with Brian and the audience and joking about ripped pants. Perhaps some folks miss the danger and uncertainty of a balls-to-the-wall rock singer. For them, it may be like watching a tightrope walker perform three feet from the ground.

Obviously, I find Adam’s voice and performances thrilling, amazing, beautiful and all-round wonderful. Still, I can understand why others may not. Different strokes for different folks.