Oh he definitely COULD, he just didn't want to in public, probably because it may sound, gasp, *slightly less than perfectly covered chesty tone*. My god, it may even be fully in head voice!!🙄 Its such a pet peeve of mine, I refuse to believe its possible to have a D5 that good without having at least an acceptable Eb/E5. Especially since the B2 WAS clearly at the edge of the range. If thats his low note, he DEFINITELY could have done at least a head Eb5+. And since thats how the notes were, you know, *supposed* to be performed anyway...
No todo se tiene cantar con técnicas operísticas o de Bel Canto, Pavarotti fue genio en ello de la misma forma que Luis Miguel lo es dentro de la canción romántica. Pero cada género y estilo tiene su estandar de virtuosismo o sus exigencias para un cantante. Imaginense lo horrendo que quedaría en la mescla un cantante de ópera cantando sobre un un beat de Hip Hop o Funk o Rythm and Blues, Soul. Es sensual la opera? No, tampoco tiene que serlo pero hay cosas que no gustan por la técnica si no por lo que transmiten
Claro Que son vices similares por eso la grandeza de Luis Miguel .yo como tenor lirico ligero me Cuesta cantar mas como Luis Miguel con la technica y difficultad de sus canciones como el las canta Que la opera .
Para los que tanbien creen que pavarotti solo hace opera , tambien hay que aclarar que hay muchos mas cantantes que pueden hacer locuras con su voz y tambien hacer muchos generos doferentes solo mira a freddie mercury o david bowie
A ver, dejando a un lado que no se les puede comparar, tendrías que haber puesto al Luis Miguel actual, el de los 90 cantaba bien, pero ni de broma tenía el nivel técnico del actual.
This selection from the final scene of LUCIA finds Edgardo lamenting Lucia's apparent infedelity. Pavarotti is outstanding here. The conductor is undoubtedly Richard Bonynge.
Magnificently performed… I have the privilege of having seen Luciano Pavarotti live in Concert at the Seattle, WA. Coliseum back in the 1980. What a great experience! 🎭 ❤ -May he Rest in Peace.
Simplemente no se puede comparar a un cantante clásico o lírico con uno popular que usa una mala técnica de canto y toda su vida lo a hecho así, hoy ello le pasa la factura. Y menos aún compararlo con uno de los mejores cantantes líricos de la historia de la música, ellos son maestros del canto y uno de ellos vale como un millón de populares ya que sin sus enseñanzas la técnica de canto , la verdadera técnica de canto desaparecería , nadie la podría enseñar, tendría que reinventarse todo, ya que los cantantes populares en la actualidad son los peores de todas las épocas desde el inició de la radio.
Its always crazy to me how abruptly the power of your notes drops as you get lower, even for the greatest singer ever. Just from C#3 down to B2 is a noticeable drop in power and that's only one tone! It's not like that with the upper range.
He was probably as much of a tenor as any tenor can be. One of those who had absolutely nothing baritonish to themselves. B2 probably was the absolutely lowest one he was physically capable of singing on stage, it is an audible strain to him here in this recording. So probably yes, the really powerful notes started at the C#3, D3 level in his case. But a certain weakness in terms of low notes is perfectly acceptable for a lyrical tenor. Especially for a wonderful lyrical tenor with wonderful middle and high notes and no difficulties with the C5 and even some way beyond. (Well, he did develop difficulties hitting the C5 eventually, but not before his old age when probably every tenor does)
@@mysteriumvitae5338 Pretty good analysis. I think his speaking voice probably went down to Ab2, G2 at most. A spinto/dramatic tenor will be able to touch F2/E2 when talking, and have a useable A2 when sung. Not that you'd ever need that note as a tenor lol
@@somerandomguy84 Oh, there are some really interesting ones actually! Chap./St. Phar in Le Postillon actually has a Bb2 (and a B2 later) written. And Rossini wrote multiple tenor roles down to A2. I know Otello, Pirro, and Idreno were all A2-D5, cause Rossini was a lunatic 😆. Rodrigo in La donna and the lead tenors in Armida and Mose (who I cant recall the names of) were actually down to Ab2 (and still up to C5 or D5, cause again, lunatic). Not that youd know it from any recordings. Spyres, Kunde, and Merritt are the only ones I know of whove sang the Ab2s in La donna on albums. The others were all transposing the notes below C3 up an octave. Why take a role to record if you cant sing it lol? They aren't even optional in the scores! Sorry, pet peeve of mine that so many interesting operas just get left behind or altered from the composers intentions like that lol.
Ahora los disparates que hay en este video que si sufriendo y que si no se que es un absurdo … ya a estas alturas no pudiera cantar … valla y lávese la boca y Pavarotti igual se esfuerza para las notas altas que abre la boca que se le ve hasta el páncreas
@@Carpiot544 lógicamente que a cualquiera le cuesta y tiene que esforzarse en las notas altas , tanto cantando como tocando trompeta como hablar normal y gritar para que te escuchen a 700 metros
@@Carpiot544 deje de buscar manchas en el sol . Luis Miguel es un caballo cantando hasta con COVID afónico jodido hace la noche ve a ver que cojone sabes tú de música . El mismo pavarotti dijo que tenía un Stradivarius en la garganta Luis Miguel
This recording is not of very good quality, P. Domingo cannot be understood well, which is not usual for him. Bad acoustics or poorly adjusted sound recording technique? ❤❤❤
