Corelli Diminuendo in Studio Aida

On the other network, people are again debating whether Corelli's
glorious diminuendo on the final high B flat of Celeste Aida in the
second complete studio reocrding he did was real or achieved by the
recording engineers. I was not at the recording session or in the
editing room, and I do not know the answer to this question. Corelli
might not have been able to supply a perfect dim on the day it was
required. High notes are often spliced in on studio recordings. He
may have sung the aria beautifully several times but have been unhappy
with the dim and so sang it forte and had it faded out. All of these
things are possible. But he could and did do spectacular dims over
and over in live performance.

I have found that I can do a dim on that same high B flat by keeping
the mouth wide open, maybe even stretching it slightly wider. The
tendency is to close the mouth somewhat for a dim, but this can
undermine breath support and lead to flatness or a crack. By keeping
the mouth fully open, one tends to maintain the requisite level of
support. Another trick is to smile a bit while reducing volume. This
can keep the tone supported and the throat open, while helping to
focus the reduced sound. Corelli's trick was being able to maintain
good tone and to keep the throat open while reducing volume. Others
might cut volume but lose focus and carrying power.

Samurai

.

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