What makes this scary to sing: Brilliance and effortless power required in the high notes. If you’re a darker-sounding mezzo, the challenge is not forcing the sound, and remaining loose. What makes this scary to sing: It uses the whole mezzo range and requires a crazy amount of power – and a high B-flat at the end. What opera it’s from: Don Carlos, by Verdi It’s also a huge acting challenge … there’s the danger of becoming too tense and unable to navigate the high notes. So it’d be easy to unintentionally squawk. What makes this scary to sing: The notes sit in the awkward part of the voice where you transition from your lower voice to the head voice. What opera it’s from: Peter Grimes, by Britten What makes this scary to sing: Dangerous high F! A few of them! What opera it’s from: The Magic Flute, by Mozart. Here are her top 10 most scary arias to sing, and why.ġ) Aria: “Queen of the Night” (coloratura soprano) She’s already an animated, engaging speaker (all those years as a performer!) but when you ask her specifically about opera or singing in general, she becomes REALLY excited. Keeping the body loose is a challenge when you’re acting theatrically, too. Singers are incredibly exposed in a way instrumentalists are not, and their health has a direct impact on how they perform (whereas a pianist could technically make it through a recital with a bad cold). I spoke to our morning show co-host, Jean Stilwell, about the top 10 most scary arias to sing. Photo by Gary Beecher, The Epoch Times of Jean appearing in Toronto Operetta Theatre’s “Earnest, The Importance of Being”, in 2015
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