This piece isn't so much 'vocalize', but it gives the same thrill and emotion as quality vocalize..
She's the female background on the back-left in this video.. Sounds like she's three singers simyltaneous...
This song has some super vocalize near the end.. I made it into a loop with Audacity and Sound Converter...
Youtube surf 'Ubuntu Studio-16 demo', 'Audacity demo', and 'sound converter'.. If you aren't familiar with Linux, Google surf Sourceforge and Distrowatch.. Linux is Free and Easy..
(minute 4:25) I made a loop of it.. I asked to her make it into an hour cut.. Got zero response as usual.. If she did, I wager it could heal humanity's busted spirits, hate, and fried minds..
I can't get enough of this background singer's voice.. I emailed the Tokens, asking about her.. They replied that they lost track of her after the recording sessions.. I wish I could get a copy of her practice tapes.. I wish I could find similar music...
This lady has the vocalize perfection, but not vocalize, yet.. WOW!.. and WOW!!
This video was taken-off the Net.. I don't know why.. You might be able to listen to it somewhere if you're lucky.. It doesn't get any better than this.. I was lucky to get a copy of the video..
It makes me fell so much love, freedom, purity, innocence, and youth inside.. Words can't do it justice.. We don't have the words.. This is probably the best piece of music in humanity...
I'm guessing the comments section of the YouTube video became raunchy, so mummy and daddy pulled it from the Net.. I wager this wee lass is an old soul reincarnate.. Her music is angelic, pure, deep, honest, absolute, perfection, alive, seemingly full of love for everything, and she gives it her ALL.. I hope she never gets into coke.. Coke is suicide on all levels...
Unbelievable! 12 Years Old Girl Sing In Beauty Contest Stunning Performance! [360p]
It's gone.. We will be hearing her in the future...
Those deleted videos slots was it.. It's gone.. So sad that it's gone...
Do you have any similar links..?
In the season of celebration a critic may lead the revels or cast a shadow like the uninvited wedding-guest. In the present instance I can't quite wholeheartedly appear as the first and am unwilling to perform as the latter. Dessay is a singer of real merit, distinguished among her present-day colleagues and, as Michel Parouty's notes remind us, in line with some notables of the past. I don't find a personal timbre that might bring a thrill of recognition such as often arises out of a chance encounter with a great singer. Nor, in the flesh or to some extent on records, have I found a purity, warmth or (complete) steadiness of tone to draw me into its orbit and place it (let's say) among these I have loved.
But, make out a form where separate items in the high sporano's attainments are listed and I'd probably have to tick every box. Range, flexibility, intonation, precision, scale-work, trills, staccati: all of these. There is an imaginative care, too, which looks for poetry in the once-hackneyed songs of Dinorah and Lakmé. Juliette's waltz-song is animated with a youthful zest which knows that excitement may lie in the shade as well as in the light. Lucie's madness (for this is the French version) derives its effectiveness from keenly observed hints in the score interpreted with a full exercise of every technical and emotional faculty.
In the three Mozart arias she is particularly admirable. The Queen of Night imposes a glittering, fearsomely precise authority; her daughter (moved along at a quickish tempo) grows into womanhood and turns in dejection towards a kindly death; and in the concert aria Alceste addresses the people of Thessaly with passion, hitting squarely the G in alt, the highest note Mozart wrote for the voice. Rachmaninov's Vocalise muses luxuriously, and Bernstein's Cunegonde brings the unexpected revelation of comic grandeur.
The DVD shows her also to be a producer's dream, acting out his liveliest fancies, and singing just as well whether running about, lying down or copulating with a fly. She seems infinitely adaptable. For instance, in one production of Les contes d'Hoffmann, the doll is all jerky mechanics, in another (the song taken adagio) she appears to be comforting the inmates of an asylum, and in a third she is a diminutive Shirley Temple figure backed by six outsize replicas. There are two Zerbinettas, with only their notes and bare midriffs in common. The mad scenes of Lucie and Ophélie are undoubted triumphs but take an inordinately long time. “Glitter and be gay”, from the Glyndebourne celebration of 1997, is even better seen than merely heard, and so, according to taste (for this contains the copulatory matter) is the mouche duet from Orphée aux enfers, with the finale thrown in for good measure.