@OscarLevant1 if you have such incredible credentials, why are you hiding behind such a silly pseudonym in your posts, like so many other “authorities” on RU-vid??? (If your name is really Oscar Levant, I do sincerely apologize). What universities employed you?? Where was your operatic career? Do you expect to be taken seriously by saying things that infer “open” to be negative and “closed” to be positive? In singing?? Really?? Mattia Battistini just asked me to tell you, you may want to rethink this.
Sorry her lot who loves too well, Heavy the heart that hopes but vainly, Sad are the sighs that own the spell, Uttered by eyes that speak too plainly; Sorry her lot who loves too well, Heavy the heart that hopes but vainly, Heavy the sorrow that bows the head When love is alive and hope is dead! When love is alive and hope is dead! Sad is the hour when sets the sun - Dark is the night to earth’s poor daughters, When to the ark the wearied one Flies from the empty waste of waters! Sad is the hour when sets the sun - Dark is the night to earth’s poor daughters Heavy the sorrow that bows the head When love is alive and hope is dead! When love is alive and hope is dead!
Pavarotti isn't singing as if he's on stage here, he's just doing the opera singer equivalent of mumbling. In other words he's teaching, not performing.
you can't gloss over the risqué business of taking off shoes and socks. it should be like "...take off our shoes..." *gasp* "and stockings..." *GASP* "and... paddle!" which is of course exactly what they were all thinking and in giddy agreement they cry "the very thing! the very thing!"
This material is gold for a singer. Pavarotti was a singer with great technique, one of my favorite tenors, from au string to light lyric tenor. But that his conception of the technique works for any type of voice
Superb rendition except for a couple of times where his pronunciation of “voi” was not precise: the Italian “i” did not ring clearly, sounding more like an Italian “e”.
@@tenore8he was a brilliant, instinctive performer. He only opened his [i] vowels to [I] post 1973 when was in his 50s, and he began to opened his registration on E and F too. When Leonard Warren asked his teacher Sydney Deitch if he could sing an E natural “open”, Deitch replied, “Sure. ONE in a career.” There’s not a single open E on any recording of Warren. I wonder if he had lived past 50, would he have realized he needed to open the E and the F to keep the ringing, blazing top? MacNeil made the correct choice. I was at the Met Francesca da Rimini and Il tabarro and it was beyond belief to hear the resonance on high notes in this voice “live”.
