Harolyn Blackwell - Vocal Appreciation and Criticism

Vocal Appreciation and Criticism

At the beginning of her career, Blackwell played mostly soubrette roles and has since moved more into the lyric coloratura soprano repertoire. Blackwell has commented that she felt opera houses were initially uncertain as to how to cast her because of her musical theater background. She said, "They saw me in the lighter repertoire and my voice teacher and I saw me in the lyric repertoire." In addition, her small frame and 5'1" stature in combination with girlish looks made her a perfect physical casting choice for soubrette roles. It wasn't until Blackwell studied in Busseto with Carlo Bergonzi, Renata Tebaldi, and Sylvia Barrachi in the late 1980s that she finally was given direction into the lyric coloratura repertoire. Blackwell recalls, "At the end of the program Mrs. Barrachi and Renata Tebaldi sat down with me and told me what roles I should sing if I wanted to have a major career. Having those two women take the time to talk to me made a big difference. I have always been the type of individual that takes all the information and then makes the decision that's appropriate for me. I can be very stubborn. I really do have to credit those two women for saving me."

However, it took some time before Blackwell felt her voice was ready to tackle these coloratura roles. She has remarked that her own voice has gone through periods of change. "Your voice changes so much; it changes at 17 or 18, and again in your mid-20s and in your 30s. A voice is constantly changing and evolving." Critics have particularly noted a shift in Blackwell's voice in the mid-1990s, commenting on its fuller sound. In 1995 the Seattle Post Intelligencer said of Blackwell, "Her lyric soprano has grown in size. Always flexible, the voice is now richer and fuller." This change in her voice tracks with her move into more mature repertoire in the mid to late 1990s.

Blackwell has received consistent positive praise throughout her career. About her New York City recital debut at Carnegie Hall in 1987 noted music critic Will Crutchfield wrote, "The voice is first rate: a small, clean high soprano that goes from high to low and loud to soft with rare unity and poise. It is beautiful in quality and she has the special ability to take it down to the very tiniest pianissimo with complete control. Her linguistic grasp was secure, and her intonation likewise... Miss Blackwell's personality on the stage is warm and likable, and in one of Roland Hayes's spiritual arrangements she showed an unexpected comic gift." In 1994, the New York Times said, "Her performances at the Met since her 1987 debut as Pousette in "Manon" have won consistent praise, both for the purity and suppleness of her voice and for her poised, persuasive acting." A 2000 article in the Seattle Post Intelligencer in review of her performance of the title role in Lucia di Lammermoor said, "Vocally and dramatically, this is a role that is perfectly suited to Blackwell; the voice is the right size, the right timbre and has the right flexibility for this coloratura challenge. Agile and clear, her soprano soars and floats like an eagle on an updraft. The two big E-flats in the Mad Scene were right on target." In 2001 Opera News said, "Harolyn Blackwell sang beautifully, with crisp, unfussy diction... She sang with a satisfying lyricism, and her "Summertime" was mesmerizing." A 2005 Seattle Times article said in their review of her portrayal of Olympia in Les contes d'Hoffman, "Another scene-stealer was Harolyn Blackwell, who brought down the house with her perfect coloratura fireworks."