Tal vez eso se debe a que la Música en si misma es aleatoria, lo que gusta a unos no gusta a otros, y ahí reside su subliminal grandeza. Recuerdo que cuando empecé a estudiar Música ya se decía "la Música es el Arte que comienza donde los demás terminan " puede que esa definición de lo que es la Música, sea un poco extrema, pero creo que el autor de esa definición, no iba mal encaminado.
La clase canora de Alfredo inigualable. Que dicción . Como dice cada frase y el timbre de voz está glorioso. Punzante. Redondo. Bellísimo. Es historia vocal del siglo XX
I heard him at the Chicago Lyric Opera. Singers like this transcend the recordings of them (although the recordings are great). In person, you have a physiological response, like a sweet earthquake is happening inside you. It was an unforgettable evening.
Vorreri morir nella stagion dell anno Quando è tiepida l aria e il ciel sereno Quando le rondinelle il nido fan Quando di nuovi fiorn s' orna il terreno Vorreri morir. Vorreri morir. Vorreri morir quando tramonta il sol Quando sul prato dormono le viole Lieta farebbe a dio l alma ritorno A primavera e sul morir del giorno Vorreri morir. Vorreri morir. Lieta farebbe a dio l alma ritorno A primavera e sul morir del giorno Ma quando furia il nembo E la tempesta Allor che l aria si fa scura scura Quando ai rami una foglia più non resta Allor di morir avrei paura Vorrei morir. Vorrei morir. Vorreri morir quando tramonta il sol Quando sul prato dormono le viole Lieta farebbe a dio l alma ritorno O primavera e sul morir del giorno Vorrei morir. Vorrei morir. Lieta farebbe a dio l alma ritorno O primavera e sul morir del giorno E sul morir del giorno Vorrei morir. Vorrei morir.
I've listened/studied the tenor voice for the past 40 years. Kraus was an early favorite of mine, but increasingly I "heard" his voice as thin and narrow. Some may call that "tenore di gracia" which is fair enough, but when he attempts to emote with a "bigger" sound, to my ear he begins to wobble. I hear that more and more as he aged, to be expected, but not all tenors have had such a "reckoning". I use that term, reckoning, to suggest that faults in technique in any endeavor finally show themselves when youthful musculature is no long able to support whatever the effort required in maturity. No doubt a voice for the century, one to use as positive example, but I think, or at least what I translate from my subjective hearing, is that Kraus was not much of the "open throat" school and lacked sufficient diaphramatic support to give his voice a rounder quality that could be sustained into his later years of career. All this is very subjective, so I expect disagreement.
