Article Title

The Gedda Technique


Carl Lawrenz


Nicolai Gedda, opera


When Nicolai Gedda died on January 1st 2017, the world of Opera and Classical Music lost one of the most accomplished, and certainly most versatile tenors of the 20th Century. His linguistic, vocal, and musical skills gave him the ability to master a remarkable number of musical styles. Included in Gedda’s stage, concert, and recorded repertoire are Oratorios by Bach and Handel, Operas by Gluck, Weber, Adam, Bizet, Massenet, Gounod, Berlioz, Meyerbeer, Rossini, Bellini, Donizetti, Verdi, Puccini, Mozart, Flotow, Wagner, Tchaikovsky, Mussorgsky and Barber; Operettas by Strauss and Lehar; German, French, Russian, Swedish, and English Art Songs, and Russian Folk Songs. In all of this vast and eclectic repertoire Gedda is vocally, musically, and stylistically correct. To reach this level of accomplishment requires intelligence, vocal and musical talent, discipline, and thousands of hours spent acquiring and perfecting a vocal technique. It is Gedda’s vocal technique that I would like to examine.

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