From the depth of her range to the upper limits, does her [a] vowel change? What are the properties of her [a] vowel? How are her ‘e’ and ‘o’ vowels?
Though this video is probably not the most flattering representation of this woman's voice, Tucci, at times, has incredible consistency with her [a] vowels being bright and Italian sounding. When those sounds are on, they are so deep in her resonance as to illicit awe. However, when she gets to the lower notes in her range, sometimes her [a] gets darker and more covered. When it came to the 'e' and 'o' vowels they both sounded very open, which I assume is proper diction for those two vowels. I didn't detect the same amount of inconsistencies.
a
Notice how she sings so cleanly but there is an easy sense of what syllables are a part of multi syllabic words and what syllables are words themselves. How does she achieve this? Also, how are her double consonants? Are her ‘o’s and ‘e’s generally open or closed? Are her [a]s consistent?
In each phrase Galli-Curci sings through absolutely every note. When she sings multiple words, she groups them together, as a result, her diction is so very clear. All of her vowels are consistent that I could audibly observe. Every time she nails the at notes at the top, they sound free and open. She cheats the rhythm a bit to get all the words out, but she has a very clear and concise denotation of her tempi. Her double consonants are subtly incredible: there isn't necessarily a hardened double stop, like one might observe in a lesson, or something of the like. Instead, they sound very natural, and, though the double is always noticeable, I am not drawn away from the words or the phrases.
Generally, the singing of Neapolitan songs is male dominated. My theory is that the style of Neapolitan singing was always considered a bit brutal for females in the past – not refined enough. Can you tell a difference in the style Galli-Curci incorporates as opposed to that of some of the men we’ve heard?
A major audible difference in Galli-Curci's song, in contrast with the men we've heard thus far (except for Pavarotti) the words are so legato and flexible. The sound doesn't sound heavy, pressed, or forced; I can't imagine that it would be difficult for an audience to fall in love with this very free sound. As she sings, there aren't any times when I'm wondering if she's going to make it to the end of the phrase, as her breaths and vocalizations are extremely consistent.
