Glitter and be gay natalie dessay

"Glitter" is technically demanding due to its florid phrases and plentiful high notes. The singer must maintain a beautiful legato line in the lower, more lyric passages (when Cunegonde is waxing poetic about what might acquire been) without tiring the voice in order to facilitate a seamless transition to the swift, staccato "laughter" phrases. She must also treat the notes in the coloratura passages as though they are all in one place vocally in order to avoid producing glaringly different sounds in the high and shallow registers. One of the leader goals of operatic singing is to maintain a consistent tone quality throughout the range, and "Glitter" is an excellent measure of that skill.

So how does the singer tackle this complicated work? Here, as in all operatic singing, it's all about good posture, maximum resonance, and, above all, BREATH SUPPORT. When the singer inhales, she expands her ribs, engages her bring down abdominal muscles, and energizes her facial muscles in order to produce a healthy, free, resonant sound. She keeps her consonants quic