Wow! In listening to Gigli here, one can certainly hear certain characteristics of the old Caruso recordings...the sound seems so foreign when compared to modern tenors. It is hauntingly beautiful.
I think its impossible to compare Gigli to a tenor like Corelli as a couple people did in these comments.Gigli was a pure lyric tenor and Corelli was a dramatic tenor with a huge voice. in terms of his legato and pianissimi and mezza voce singing,Gigli was just superb.He,Schipa,Bjorling and Fritz Wunderlich were among the best lyric tenors of any era.
Ах , господа . Многие из вас просто блещут умом и познаниями ! Я не знаю как оценить то , что кто-то не делится своими знаниями и опытом с ищущими и жаждущими . Ведь с собой в мир иной мы это не заберём .
Thank you for a wonderful and rare clip even if it started and ended a bit wrongly. Gigli taught my father in Rome shortly after the war and that makes him very special for me.
No, My Mom is jean friedlander and she was taught by Martinelli for 2 years after winning the american opera auditions in 1957. My late Dad took some lessons from Rosati.
I think I know what you mean, but I mainly listen to Caruso. The reason is that there would be no tenors like Volpi to have taught others if it were not for Caruso. Caruso is the only tenor who could have said "who's your daddy now"
When Pavarotti said to pronounce and concentrate etc, I don't think he was kidding. But everything else, just like Kraus they put singers toward a direction but no spoon feeds. And words used like Passagio can be interpreted about 600 ways. But what that means is such a secret, I wouldn't post it. Send me an email and I'll tell you. And, no way it's not 20 years whatsoever.
I tried answering your email but it bounced back. Anyway, I would suggest you listen to Gigli's master class wherein he says 'non e necesario'. And remember, Caruso did teach a 12 year old how to make a beautiful tone in just a few weeks. Caruso didn't teach anyone how to sing though. When Caruso said he "learned a couple of things" one day it wasn't because of his teachers. If anyone can't see that in his face, they should dial 911.
Can I ask you something? I have heard much about covering the passaggio, and using the diafragm in order to do it. Pavarotti sayd he needed 20 years for doing it, kan you explain it? can see you "Pavarotti about covered sound". Thank you.
Marcrosa "covering" often refers to the conception of covering found in German pedagogy or "deckung"; this is not what Gigli is doing. What Gigli is doing is traditional aggiustamento or simply shading the voice darker as the scale ascends to avoid screaming or strained, white sounds, basically to sound like an adult in the higher register. rounding or slightly shading the vowel darker (the mental conception of the vowel not the throat) invites participation of the muscles that are responsible for introducing intensity to the voice (chest voice) and producing that "ring" we all yearn for. the breathing aspect is involved as well but you don't have conscious control over the diaphragm. what you are supposed to do is maintain the action of the muscles and sensation of inhalation during the singing phrase, this is appoggio or singing ben appoggiata.
Maybe, but I never heard of a coach that said the words about vocal apparatus that Rosati specifically spoke and said to my Dad which he said to Gigli. Odd "coach"
No, I feel fine. But, if I had to listen to Corelli (in a chair tied down) I would pray for a song in which after he sang the first 6 or 7 words, each following word didn't sound as if it were from Otello.
