Katherine Jenkins

Before you read this, please bear in mind that I have drink taken.

I’ve never made a secret of disliking vibrato, or excessive amounts of it, in the human voice as an art form. One of the reasons Pavarotti was so esteemed was because his voice and high C’s were clear and direct, little warbling (if any) in most cases.

In the female soprano, or mezzo, it amazes me how many warblers there are. My point is, I would like to hear sopranos or mezzos with more of a crystal clear and direct timbre, a kind of sky blue clear Nordic sound, rather than flaunt the limitations and imperfections of their considerable throats.

However, I do find that with French opera I do like more vibrato than I do with other nationalities (of opera). Odd that, but then they did have some different traditions with regard to vibrato. But the use of vibrato is still somewhat controversial anyway. I would prefer less myself, though good singing is good singing.

The problem is worsened when some sopranos age too, so that whilst they may have been tolerable when young, their voice creates a beat or worse when they get older.

I know some blame often gets laid on Wagner’s doorstep, too, for writing parts that only one-in-a-million singers, like Birgit Nilsson or Kirsten Flagstad, can pull off without injuring the audience’s eardrums. I’m no singer or vocal coach, but that whole modern operatic method of vocal production (sort of like fluidly bellowing in key) strikes me as so unnatural that I’m amazed when singers do nail it.

(Interestingly, it’s been adopted rather successfully by some rock singers, like Robert Plant of Led Zeppelin, who ironically have no need to project like that since they’re amplified.)

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