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Double Bass Taking a Bass orchestral solo up a level

B

BHurn

Sep 29, 2008
34
0
Baltimore, MD
#1
I recently got the All-State audition music for Maryland. One of the requirements is the bass solo from Act IV of Otello (Verdi). Has anyone played this that would have any suggestions musically that I could use to enhance my own interpretation and musicality?

Thanks,
Brandon
 
#2
Find a good recording of it. Reeaaally listen to it and get familiar with it. Engrain it in your head. Then listen to different recordings of it. Decide what you like or don't like about how it is played in each recording. Then based on those conclusions, you should have a good idea of what you want to express yourself as your own interpretation. Good luck!
 
#4
Be sure to read about the plot of the opera, esp. Act IV. I've seen bassists play this excerpt evoking the completely wrong mood because they do not have any idea what is happening in the opera when this excerpt is played. Instead of evoking the fearful anticipation of Desdemona getting strangled to death as the shadow of her murderer is projected on stage, I have heard bass players who don't do their homework play this excerpt with a light, playful style thinking that they are playing the correct "Italian" style. Ha!
 
#6
ILIA said:
Be sure to read about the plot of the opera, esp. Act IV. I've seen bassists play this excerpt evoking the completely wrong mood because they do not have any idea what is happening in the opera when this excerpt is played. Instead of evoking the fearful anticipation of Desdemona getting strangled to death as the shadow of her murderer is projected on stage, I have heard bass players who don't do their homework play this excerpt with a light, playful style thinking that they are playing the correct "Italian" style. Ha!
Click to expand...

Great idea! I've never played any opera repertoire before, but when I do I'll keep this in mind. Great insight. Also, you can apply this idea to any symphonic piece that is based on a familiar story, like Tchaikovsky's Romeo and Juliet. When I played that with my youth orch our conductor kept stressing the importance of understanding what is going on in the plot that is being represented in the music. Very interesting and a great performance technique!
 
#8
All the above +1
You should also learn to sing this solo. A lot of it's dramtic tension is very vocal in nature and knowing the 'song' is going to help intonation and phrasing. Plus Learn one good bowing and stick to it for the audition. It may not be what the band will do on the night but what they are expecting to hear is a solid, well in tune, dynamic and dramatic performance of this gem. Think 'Pavarotti' and not 'Duncan McTier'. Don't let them down!
Cheers,
FC
 

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