Bryan Hymel - GOUNOD, Ah! lève-toi, soleil! (Romeo et Juliette) 

Romeo is full of passion, of fervor, in fact, he is in love with life, probably with enthusiasm coming off at the seams. However, this Romeo seems a bit anemic, phlegmatic, unresponsive to the things around him.

As time goes by, I appreciate more and more performances that are gathered. The efficiency is the power, the youth is in the tone, the wonder is in the eyes. I have heard many Romeos who huff, puff and bark like a puppy in love, but love can also be introverted and full of wonder, solid and surprising.

For some beautiful french singing, please hear tenor Georges Thill... Nobody can compare with him...

@@mannail888 Yes, many of us here have arrived at his conclusion.

ru-vid.com/video/%D0%B2%D0%B8%D0%B4%D0%B5%D0%BE-t_IOsYUle_M.html

Why don't they hear something valuable?

Брависсимо его связкам...

I thought the same..

Had the same thought. We see this in opera and sports.

There are many of us here who have arrived at the same conclusion as you.

his technique is UNREAL it is so good. That's how you have a long career in singing.

Je suis d'accord. Pourtant Hymel peut atteindre des sommets. E.G. Enée au Met il y a quelques années: 'Reine, je suis Enée' digne de John Vickers.

So Bjorling is your favorite, but he was not a French specialist like Hymel could never do some of the roles Hymel has done-Tell, Aeneas

Alagna in his young years . The reference

프로도 알기쉽게. 해주셔서감사 합니다ㅡㅡㅡㅡㅡㅡㅡㅡㅡㅡㅡ

Ditto. There are two aspects to any singer's ability: technique, and the ability to convey emotion; for someone in the audience to say, "I feel the emotion." Technique can be studied, can be learned. Conveying emotion cannot. Any singer can be born with this in varying degrees. Do I want Nicolai Gedda's infallible technique, and the ability to sing well into my seventies? Or do I want Di Stefano's voice and washed up at forty-three? I'd rather have Di Stefano's voice, and for twenty years--even fifteen--to sing like a tenor in the Choir of Angels.

Mickey, believe it or not, it is very possible to sing with technique AND emotion. No need to sacrifice your voice after 15 years. If that's how you (the general you) add emotion, then you aren't doing something right

@@aaronmckone8973 I didn't say that's what I'm doing. I just made a personal point that I'd rather have more of that than a great technique and lacking inspiration. I stand by what I said. I'd rather have Di Stefano's voice from 1945-1960, than Gedda's for my whole life. It's not what I would aim for. But if it turned out that way I'd look back with no regrets, except that it didn't last longer. 1950s Di Stefano excites and inspires. /// Speaking from a technical point of view, Hymel is singing slightly constricted and slightly nasal. This in turn is 1)affecting his squillo and causing his timbre to "thin out" a little, giving it a slightly thin/anemic and strained quality; and 2)this is also inhibiting the full harnessing of his scuro, which would give more warmth and depth to the voice, and therefore better convey the "passion" we both feel is lacking from the performance. So Aaron, I am saying that I agree with you wholeheartedly in the end. Improving the technique would certainly improve the emotion too. But Di Stefano's emotion will always be white hot!

Hated DiStefano’s extremely wild and unmusical singing. Ugliness!

BJÖRLING❗😉

What the fuck are you talking?

Ben Klaus What.................talikng ABOUT?

​@@user-py1jg6bb2r No. He is constricted and slightly nasal. He is raising his larynx up instead of keeping it in its natural relaxed position. This in turn is interfering with the narrowing of the aryepiglottic fold just above his larynx, which is how the squillo is produced. Xu Wang, I like you, I really do! But your last line about "not good to show off too much, since this is not on opera stage" is totally ridiculous. This IS the time for a singer to give everything he can give to his singing voice; not in loudness, as you may be implying with your comment, but in beauty of tone and diction. A singer who can "wow" his audience here is truly victorious!

I agree with you, except I hear some forcing due to the constriction caused by the raised larynx. Raising the larynx or woofing will trash the great squillo sound.

@@BK-cg4wt No need to get so testy. We're only trading ideas, not ideologies.

He's not amplified....the mic is for the recording. It was filmed at the Wigmore Hall, and no one needs to be amplified there as it only seats about 500 people.

He is not amplified - the mic is there because they are recording his performance. How else do you think you can hear the video? This role is not for a lyric tenor; it is for a larger voice (although I'm sure there are lyric tenors who can sing the aria). Bryan Hymel is an heroic tenor -- a big voice with a clean sound and excellent height. This is his rep.

Quelle sale marotte de vieux maniaques de vouloir comparer ce qui n'est pas comparable ! Ecoutez chacun pour ce qu'il a de bon à apporter au chant.

He sings with no emotion. VERY

GOD PLEASE GIVE US A ADHER PAVAROTTI AND AND THE GREATEST FOR EVER CORELLI

scusi ma se questo è un timbro robusto, Corelli che timbro aveva? Scusi il mio disappunto...

Bé: pessima abitudine! Romeo esige un timbro e smalto scuri con acuti limpidi e solari. Quindi non è un ruolo per un leggero, certamente! Distinti saluti.

mauro bernardini diciamo ke qst tenore fa skifo

Yes; and you should have added, "and constricted."