Специфическая манера пения, широким и часто открытым звуком, что провоцирует раскачивание голоса. Гяуров, Минжилкиев, Христофф, Рейзен, поют собранным и прикрытым звуком.
It's always a pleasure seing a singer commenting with admiration under some you tube videos about singers of the past! Happy to see you comment here sir. Good luck in your career and keep up the good work!
@@diegoreviati5166 Thank you!!! He is truly my favorite! I admire lots of others and try to take ideas from them and incorporate them into my own presentation! Thank you for your well wishes and kind words!
@@massiveqdawg Thank you, mr. Robinson, for your kind and quick answer. Giaiotti had a very unique voice, like many other great singers, immediately recognizable. The only singer that comes to my mind with a "similar" voice is baritone Silvano Carroli. Yet, his voice, imho, always gave off sort of a "old man" feeling, truly suitable for priests, nobles, Kings and so on, less for other roles. But of course he was a great artist, so incorporating some details will surely do only good. Voices I suggest you to check (but you already know them 100%), are Giulio Neri (booming, powerful, foghorn like basso profondo), Luciano Neroni (deep and versatile basso cantante) and Nicola Zaccaria. Best regards!
Here is a master singer in one of his two superb Mozart roles, the other being DON GIOVANNI. Siepi seemed to have a special sympathy for this composer reflected also in his definitive live performance of the concert aria, PER QUESTA BELLA MANO. He was also notable as a crossover artist before this became as popular as it is now & this is also true regarding his singing of wonderful Italian romantic ballads. He often appeared in the 1950s on the Ed Sullivan TV program & on You Tube one can see & hear his sonorous as supple instrument in ONE ALONE from THE DESERT SONG. The staging may be supremely corny by todays standards but Siepi makes it an eternally memorable moment.
The high lying Verdi bass roles seemed to be wonderfully suited to Giaiotti‘s particular cantante instrument. Zaccaria in NABUCCO was another & with 3 exposed arias that role remains in some ways Verdi’s most extensive & challenging role, vocally anyway, for the bass voice. The LUISA MILLER aria heard here ican even be managed by some Verdi baritones with a range from low B flat to a written high G flat. The tessitura also Madame Milanov would say, IS TREMENDOUS.
Mr. Graham, greetings. I once saw your comments about two particular subjects I'm interested of, in case you receive this notification and is able to answer me, I'd appreciate it: 1) You once mentioned seeing a performance of The Flying Dutchman with Seattle Opera in the early 70s (71/72), where one of the baritones was Cornell MacNeil. That performance was a double bill, where it was between Konya/MacNeil and Herbert Doussant/Archie Drake. Did you get to also hear the other performers? I would be interested if you recall Doussant in particular. 2) I think I also saw you comment on Monte Pederson and his early career in San Francisco, would you also care to add more to what his voice was early on? Thanks, Pedro.
Il Maestro Giaiotti aveva indubbiamente un materiale vocale prezioso e una solida tecnica, ma nonostante queste oggettive qualità non l'ho mai trovato raffinato o elegante nello scolpire i personaggi interpretati. Comunque grande rispetto
Dove sono questi GRANDI...???? Non ci sono piu....La scuola di canto é morta....si é rimasta la scuola di fare presto i soldi....Chi canta oggi nei teatri come La Scala, Met....???
I am sure Verdi would have been pleased with this interpretation. He wouldn’t have wanted him to under-sing so much his music would not be heard over the orchestra. Like it happens so much these days...
