Welcome to La Scena Musicale’s new audio section! Immerse yourself in a symphony of articles that explore the intricate science of audio and recording. From the intricacies of recording techniques to exploring the evolving landscape of audio technology, we invite you to tune in and discover the world of sound.–Bienvenue dans la nouvelle section audio de La Scena Musicale ! Plongez dans une symphonie d’articles qui explorent la science complexe de l’audio et de l’enregistrement. Des subtilités des techniques d’enregistrement à l’exploration du paysage évolutif de la technologie audio, nous vous invitons à vous brancher et à découvrir le monde du son.
For many singers, this is the busiest time of the year, filled with holiday concerts, semester-end performances—and, for some, many, many productions of Messiah. For alto, mezzo-soprano, and countertenor soloists, this involves the preparation of showpiece arias from Handel’s oratorio including “But who may abide,” with all of its glory and challenges. The piece appears in Part I of Messiah, and alternates between a pensive, more lyrical, larghetto “But who may abide when he appeareth” section, and a dramatic, coloratura-filled, prestissimo “For he is like a refiner’s fire” section. The contrast between the two sections perfectly encapsulates two very different…
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