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Post by cassie on Jan 7, 2013 15:06:08 GMT -5
The movie version sung by a woman is a total cheat. The whole point in the play is that this "woman" comes on and sings this ultra-campy song, only to be revealed as a guy in drag. The ultimate statement of freedom of expression. If a woman sings it, what is the purpose?
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Albiku
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Post by Albiku on Jan 7, 2013 15:12:50 GMT -5
The movie version sung by a woman is a total cheat. The whole point in the play is that this "woman" comes on and sings this ultra-campy song, only to be revealed as a guy in drag. The ultimate statement of freedom of expression. If a woman sings it, what is the purpose? I know. I don't understand it either. lol But they didn't put My Conviction in the movie anyway, so... :  |
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Post by cassie on Jan 7, 2013 15:43:08 GMT -5
Since we are comparing versions of songs, listen to these different versions of CTMBTM.
This guy is, I think, an aspiring singer. He has trouble with those high G4s. (Not meaning to criticize. That is the note where many tenor voices naturally break, meaning that is where they have to switch from chest voice to head voice in order to hit the note.) At :58 when he sings "ALL I can say", he flips to head voice for ALL. You can hear it as a definite change in the tone of his voice. Not fluid. At 1:10, "kiss me GOOD DAY, GIVE ..." he sings in his full chest voice and the notes definitely sound squeezed or strained, not free. Then, on "give me your LIPS," he flips to head voice again. At 2:14, for the climax up to the G4 and then B4, he opts to flip to a light head voice, which, makes it kinda an anti-climax for me. Also, notice his phrasing, and where he takes his breaths. Sometimes in the middle of the phrase in awkward places. Plus, he cheats and doesn't sing the low D3s in the verse, "COME deary near me, SO you can hear me, I'VE got to..." Probably cannot sing those strongly enough in these faster passages.
This is a very good version that I might have really liked prior to hearing Adam's. Now, I don't like the sound of his tone. It sounds like he is almost swallowing the notes, aiming them for his throat instead of the mask in the front of his face. And the tone at times sounds feminine to me. And old. In the play, Charlie is a young man, fresh faced and a bit innocent.
This guy has a tone that is more forward in the mouth, and lighter sounding. More like Adam's. I do hear some tension or tightening in his throat when he goes for the high G4 in in "tis ALL I can say" and "kiss me good DAY". And, when he goes for the high B4 at the end, oops! Funny reaction. He turns it into a joke. But it is obvious that the high B4 is tricky.
And, now, Adam's. Immediately you notice that his tone is round, rich, and ringing throughout, from the bottom to the top. You do not hear any "break" or difference from chest to mixed to head voice. The tone is focused directly into his "mask", the front of his face, for that bright resonance. His phrases are long and musical, and boy, can he stretch out a note that others hit and get off of quickly. The whole song sounds young, lilting, and effortless. "Angels ice skating" indeed. It just floats. Yum!
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Albiku
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Post by Albiku on Jan 7, 2013 16:45:39 GMT -5
Thank you, Cassie!
That was enlightening. Adam makes it seem so easy! And it's clearly not easy at all. But you only notice when you try to sing it yourself or when you listen to other people trying. When he sings, it's as if it was effortless. Wow.
Daniel Reichard's reaction was pretty funny. Great sense of humor. It's good to be able to laugh at yourself like that.
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kim
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Post by kim on Jan 7, 2013 18:18:43 GMT -5
I know nothing about voice other than I like what I like. But for me, what sets Adam's version of MC apart from the rest is not only the obvious vocal excellence but also how he is able to convey the humour and lightheardedness (is that a word?) that is meant to be in the lyrics and storyline. In CTMBTM he also captures the tenderness of the song so beautifully. Would love to see the visuals with these songs.
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Post by Jablea on Jan 7, 2013 18:35:42 GMT -5
wow, now I can hear the flip from chest to head voice in that first guy.
Now I can tell Andy doesn't hold a lot of the notes, doesn't have the range, and he doesn't put in the brogue the other guys do but as a non-opera buff this is what I heard growing up. Anything else?
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Post by jesslala on Jan 7, 2013 19:01:50 GMT -5
I really enjoyed listening to all of these different versions. Thank you. None, IMO, compares to Adam.
I do have a question/concern though. These songs were performed before Adam decided to change direction and go more into pop/rock. It seems to me that Adam doesn't hold his notes as long as he used to and sometimes I don't think his tone is as sweet as it was before TPS era. I'm hoping this is just because of the style songs he is currently singing rather than no longer possessing the ability to still sing like these songs. Is it just me or I should have my hearing checked? Please say it's me and that if he were to sing CTMBTM today that it would still sound as beautiful. I'm so afraid singing songs like AYGGMW and other covers will hurt his voice. I love hearing him sing rock but not if it will change his sound forever.
I'm also a little concerned because he recently said in one of the interviews that he doesn't sing much when he's not working. If the only songs he's singing are those in his current show, will that effect his technical skills or are his skills so solid that they won't be lost.
Sorry for being such a worry wort. I adore Adam's voice and don't want anything to happen to it.
Confession: I listen to CTMBTM every night before going off to sleep.
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Post by butterknife on Jan 7, 2013 19:19:58 GMT -5
Adam's version of My Conviction really blows me away every time I hear it. His comical way of interpreting this song really makes me laugh wholeheartedly. Oh, the singing part. Did I mention the vocals! The quality of his sound and the POWER in his voice are really incomparable IMO. I heard there are male singers that actually learn how to sing soprano sound specifically. But it is not what Adam did, he is just brilliant enough to add something to his voice to really sound like a mezzo soprano. And I also LOVE the last word he sang. Head voice (?) with so much power. It just boggles my mind that why his head voice can be so powerful when he wants it to be.
CTMBTM, I almost can not find proper words to describe it. I don't listen to a lot of musicals so I might not know what are the nuances to make it a good version, a very good version and a GREAT/OUTSTANDING version. But in Adam's version I really hear the ultra strong vocal technical support behind the voice. Like the way he stretches out and holds those notes and at the same time is able to maintain the quality of the sound through out. I think it is very rare. The crystal clarity in his tone surely sounds young and 'innocent' to me. Very very pleasant to hear.
I actually kinda like the phrasing in John's version. I think it sounds fragile to me. But it might not make sense in this musical.
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Post by cassie on Jan 7, 2013 20:08:37 GMT -5
wow, now I can hear the flip from chest to head voice in that first guy. Now I can tell Andy doesn't hold a lot of the notes, doesn't have the range, and he doesn't put in the brogue the other guys do but as a non-opera buff this is what I heard growing up. Anything else? Ah, Andy Williams. Someone a little while ago asked about the term "crooner", and Andy sure was one. A warm, mellow, easy-going voice that sounds very "approachable." In other words, not refined or classical. But very pleasant to listen to. I wouldn't call him a tenor, but rather a high baritone. He had a very "pop" style of singing, as opposed to legitimate musical theater/opera. The biggest difference in Andy's version is that he sang it in a lower key; a step and a half lower than it was originally written in. I am no Andy Williams expert. I just remember some of his classic, easy-listening ballads. But, I don't remember him doing anything really upbeat, loud, or particularly vocally challenging. Hey, he was the best at what he did, and his voice was loved by multiple generations. |
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Post by cassie on Jan 7, 2013 20:24:56 GMT -5
I really enjoyed listening to all of these different versions. Thank you. None, IMO, compares to Adam. I do have a question/concern though. These songs were performed before Adam decided to change direction and go more into pop/rock. It seems to me that Adam doesn't hold his notes as long as he used to and sometimes I don't think his tone is as sweet as it was before TPS era. I'm hoping this is just because of the style songs he is currently singing rather than no longer possessing the ability to still sing like these songs. Is it just me or I should have my hearing checked? Please say it's me and that if he were to sing CTMBTM today that it would still sound as beautiful. I'm so afraid singing songs like AYGGMW and other covers will hurt his voice. I love hearing him sing rock but not if it will change his sound forever. I'm also a little concerned because he recently said in one of the interviews that he doesn't sing much when he's not working. If the only songs he's singing are those in his current show, will that effect his technical skills or are his skills so solid that they won't be lost. Sorry for being such a worry wort. I adore Adam's voice and don't want anything to happen to it. Confession: I listen to CTMBTM every night before going off to sleep. I understand where you are coming from. You are not alone. I frequently read comments about whether or not Adam can still sing in the classical style, whether he has already blown out that pure tenor voice, whether he still uses proper technique, etc. My "go-to" expert, Angelina, reassured me that his voice is only getting better. He is using proper technique regardless of the style. He is using techniques that do not stress his vocal cords when he sings with that rock-style grit in his voice. Since she is not only a well-respected opera singer but also a sought after vocal coach, I'm going to take comfort in her reassurance. Adam doesn't want to sound "classical" IMO. He wants to sound pop. In the TP era he has done more with a pop style that de-emphasizes long lyrical lines, sustained notes, and that crystal clear, ringing voice. (IMO, hiding behind the sofa, no offense, Adam, I think it is a waste of one of the most beautiful tenor voice I have ever heard. But, hey, it is his voice.) But, I still hear the ring, sustain, and purity in, of all things, songs that he did with Queen. It's still there. Still available to him. And, when he hits the sky-high notes in in TP, Cuckoo, Fever, or Shady, I still hear a brilliant ring to them. I did read that comment about him not singing much at home when he is not working. Hmmm. Thing is, we don't know what his "not much" means. I'd be willing to bet he does drills or scales or some kind of vocal work for at least a half hour a majority of days. He knows his voice is his meal ticket. If he takes time out to exercise, jog, bike, etc to stay in shape, why wouldn't he do the same for his voice? I"d also bet that he constantly plays music, and for someone of his musicality, he probably cannot help singing along or riffing a harmony. It's in his bones. Once a co-worker commented to me that she frequently heard me singing or humming while I worked or walked to a fro. Really? I had no idea I was even doing it. If Adam were ever to decide to go back and do musical theater or light opera (PULLLLLEEEEEEEZ, Adam, just once! Or twice! Or a full album.) he would no doubt need to get back into "training" with a classical vocal coach. He's probably a bit rusty. But, I am sure the tools are still there, and the sense memory, and the physiology. |
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