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But because Bryan Hymel is a distinguished dramatic tenor, Firsova had crafted an intriguing programme which combined her music with showcasing Hymel in a number of arias for roles he does not yet sing, 'Wintersturme' from Wagner's Die Walkure and 'Walther's Prize Song' from Die Meistersinger von Nurnberg, as well as hearing Irini Kyriakidou-Hymel in 'Elsa's Dream' from Lohengrin.
And Firsova wove these together with Liszt's Lugubre Gondola II and Liszt's arrangement of Wagner's Liebestod, plus her own arrangement of the 'Adagietto' from Mahler's Symphony No. It was lovely to hear relatively intimate performances of the Wagner arias, and Firsova's own songs (preceded by Wolrich reading the relevant poems) proved fascinating with Firsova weaving a seductive web of piano round the voices.
The other lip will vibrate with less intensity and serve in some ways to be more like a clarinet mouthpiece, as a hard surface for the reed/other lip to vibrate against.
There is a school of thought that feels that too low a placement will inhibit the vibrations of the upper lip, leading to embouchure problems.
Note that with the vermilion removed you can see that the main muscle group encircling the mouth, the orbicularis oris, can be seen to include not just the area surrounding the red of the lips, but also runs underneath the vermilion as well.
It would appear that Campos’s information that the vermilion cannot accept the rim pressure because it is composed primarily of fatty tissue is false.
A private concert on Thursday mixed the intriguing talents of pianist/composer Alisa Firsova, tenor Bryan Hymel, soprano Irini Kyriakidou-Hymel and poet Peter Wolrich.
The link was the Chateau de Canisy in Normandy where Firsova was resident for a number of years and came to know Wolrich.
It incorrectly implies that there are no muscles under the red of the lips.