Corelli's high note here in this video is a high B and not a high C . And having power does not make you the best. Kurt Baum (like Lauritz Melchior) is a pure dramatic tenor and a bigger voice than Corelli who is a spinto. This doesn't make Baum the best because he has more power than Corelli
Baum never had a more powerful voice than Corelli´s, nor del Monaco.Baum, del Monaco and Corelli sang with Maria Callas and you can compare the power and brilliance of the these tenors in the duets sang with Callas and should check that Baum did no have a more powerful voice than Corell´s. Baum, instead, had a remarkable highC that he was stated The King of the High C, as Lauri-Volpi, Achille Braschi and Filppeschi had a ring high C. Among them, Baum´s and Braschi´s high C were more steady, wihout the wobble that had Lauri-Volpi and Filippeschi vibrato. The Che gelida manina high C was not written by Puccini, but it was added by tenors, as occurred with the highC added to other operas, as Di quella pira from Verdí´s Il trovatore and Corriam, voliam! from Rossini´s William Tell., Greetings,
@@silvioivanbendanamora1682 Callas obliterates Del Monaco and Corelli more than Baum. Baum was a pure dramatic tenor, everyone agrees on that. Corelli was not a dramatic tenor but a spinto. Del Monaco had a bigger voice than Corelli
Pavarotti .. cos he sings it like an Italian peasant, relishing every note. Also the Karajan recording which made the young Pavarotti famous has the incomparable and under-appreciated Mirella Freni :)
After nearly 120 years and recorded in 1906 using the 'primitive' acoustic technology of the period, Caruso remains the yardstick. He died just a few years before the introduction of electrical recording so what we hear is only a fraction of what must have been a veritable cathedral of sound. The others are mere country chapels, excellent though some of them are.
I simply love Bergonzis high notes. He didn't have them every day. But when he was in good shape they had so much space and shimmer ❤. Sure, there is not so much squillo as in Corellis, they are smooth and warm. And I love them...
This is always a very difficult choice. Actually Che Gelida Manina is an aria that many tenors sing really well. Gigli, Di Stefano, Pavarotti, Bjorling all of them sang it really well, I could probably narrow that down to Pavarotti and Di Stefano. Tucker sounded really fantastic on this aria and in this role when he was still a lyric tenor, and Mario Del Monaco as well in his early years. Gedda was also fine in this role. I really enjoy Franco Corelli in this role as well, it is not really traditionally suited to his voice, but he sang and performed it with the most emotion and passion out of everyone.
Once again, thankyou OT for another great compilation! So sad that many of these great tenors died way too young!😢 Franco Corelli, always my favourite! ❤❤❤❤
Alfredo Kraus produced a stunning High C here. Nicolai Gedda also had briliiant high notes. The tiny tenor (not in this video) Josepg Schmidt was also excellent. At this level all the tenors are good.
Yes, Joseph Schmidt is missing (no excuse), he's one of the very best together with Björling, Alfredo Kraus and Gedda. I myself licked Tucker very much too.
La bohemê 4 perfeden oluşan Giacomo Puccini 'in inanılmaz bir operasıdır. Bu arya 1. Perdede söylenir gitmeyen varsa muhakkak tavsiye ederim çok severim teşekkürler emeğinizie sağlık 🙏
Every one of these tenors is incredible! I like to take into consideration when I listen to all of these wonderful comparison vids (thank you @opera.turkiye !), is how the artist sings/interprets the phrase, rather than just focusing on a high note or climax. In other words, I consider the meaning of the words and how its delivered in the context of the entire aria or passage. For example, Bjorling launches a spectacular clarion powerful C--- but to me, comes out a little jarring. The leap from the Ab to the C is sung without the legato written in the score. That tiny fraction-of-a-split-second break in the pronunciation of "speranza" makes a huge impact... On the other hand, Bergonzi's interpretation and execution utilizes portamento very nicely and, again in my opinion, delivers an exceptionally gorgeous rendition. Tucker, Corelli, and Pavarotti also give amazing renditions.
A former voice teacher I had who sang All around Europe and became a celebrated voice teacher loved wunderlich. He said his voice was a combination of Pavarotti and Domingo.
Questa nota è la "pietra miliare" sopra la quale ogni Tenore nella sua carriera dovrà confrontarsi. Ognuno la interpreta con la sua inconfondibile voce ! Chi sarà il vincitore ?
Io ho sentito in teatro molti grandi tenori in Bohème, Pavarotti, Aragall, Bergonzi, addirittura Corelli nella sua ultima recita al Festival pucciniano, ma quello che mi ha impressionato maggiormente, come vocalità ed interpretazione, è stato sicuramente Gianni Raimondi: peccato non averlo inserito in questo contest !!!
about the comment by Ilecier and Jussi singing slightly sharp on the high C, Bjoerling actually had a very great ear and often when he sang live would sing slightly sharp intentionally for effect, I saw Jussi live singing in the opera house in 1958 in Chicago (I was age 18) there where no high C's in the opera I saw him in however, but also so did the Movie tenor Lanza sing slightly sharp in some concerts he gave. both men had good ears, of course in oera Jussi was the more polished tenor so singing slightly sharp, increases the excitement, but here some recordings used could be slightly off in speed, changing the pitch, which has nothing to do with the singers, anyhow the whole aria is beautiful and many singers chose especially too transpose it down and sing it as B, not the high C, yes there is more then high C's to a great aria like this one and usually Boheme is an opera best sung by Lyric or lyric spinto tenors such as Bjoerling, Pav., Gigli, Gedda, GDS, Tagliavini, early Tucker and also Peerce etc. . but here we have Spinto's like Corelli and Tucker doing a fine job also. Tauber skipped even transposing it down to high B and avoided it completely as he was older here, he died of lung cancer in 1948.
@@marinellabakken7491 Yes and of course Schmidt did sing the complete opera Boheme in Brussels, in their opera house with good reviews, except of course for his height, which hurt him in opera, where as in concert recitals or here at Carnegie Hall in concert in 1937 he was much appreciated, yes even at four foot ten, his voice in quality was a great Lyric and six feet tall, plus he was a polished intelligent singer and artist who in fact recorded this aria in both Italian and German, her also was a great Cantor and sang in songs and arias in English, Spanish, German, Italian and French, sang in Hebrew also of course as a Cantor, back then that was not as common as today where a opera singer is expected to be multi gifted in languages now, so sorry he wasn't included and agree 100% with you.
@@marinellabakken7491 yes of course I miss Schmidt and as I've said he actually sang the role complete and live in Brussels. RIP Josef Schmidt 1904-1942 who died unnecessarily young at age 38, he was a Jew, so as a result of WW2, he spent his last days in a Swiss internment camp, he was only four foot ten, a small man, he died in Nov. 1942.
Really good voices, geeat singers all! sometimes the aria in original tone, sometimes transposed. I like Bergonzi, Bjoerling, Caruso, Gigli, not to much Hadley, Lauri Volpi, Baum. Ah, maybe I'm wrong but seems to me Bergonzi right before the big phrase he cough, clear the voice??
En gustos se rompen géneros y si bien es cierto que un sobre agudo es una nota importante e impresionante difícil de dominar y darlo esplendoroso, yo, en cambio prefiero valorar al cantante por su línea de canto musical primero, pero sin dejar de considerar su calidad y nivel interpretativo, que tiene que ver con su capacidad de actor intérprete y su nivel de artista creador del personaje teatral que interpreta... Hay cantantes como Kraus y Pavarotti que no interpretan casi nada y se subordinan a la técnica vocal para no fallar la nota aguda y no interpretan para no arriesgarse o porque no son lo suficientemente artistas teatrales.
I sang 11 times the part we hear, in 18 minutes. 11 HIGH C´s. (Not al the tenors sing the C... ) Find my video as " karifrid,Che gelida manina, 11 high C " I was 55 at that time...I learned 9 tenorparts, but NEVER got to sing on stage...
Sound is not great on some recordjngs so hard to judge some of them like massini,volpi,for me tucker,bjoerlig,gigli,kraus,bergonzi and yes del monaco is super here
@@oktaygozcu4799 absolutely not! You know, great tenors like Pavarotti, José Carreras and many more saw him as someone unattainable, Maria Callas (probably the best soprano in history) said that the only thing she didn't like about her career was not having been able to sing with Mario Lanza, and , Arturo Toscanini (considered by many experts of that time and now, as the greatest orchestra director of the 20th century) said that Mario Lanza was the best tenor he had ever heard. That is why I do not believe that Mario Lanza does not have a way to compete with other tenors, I rather think that the others are the ones who seek to compete with him.
@@hwoarang_2982 Like I said I like Lanza. For Maria, Toscanini and you it could be like this but this is just my technical and timbre taste. I am not saying he is bad or overrated but for me he couldn’t be like Corelli, Baum, Masini, Visconti, Raimondi… Don’t be offended this is just my taste and thanks for your informations about Lanza 🌹
@@ulrikewermann1268 Completely agreed with you. Aragall, specially in the 60s and 70s, sang many Bohemes, Rigolettos and others operas (some of them are recorded and available) and he's almost unbeatable in respective roles. Kind regards.
Why not di Stefano? His Core'ngrato is the best ever. You could cry with him and luxuriate in his final "e non c'e piense quiu." Believe me I am well aware of how poor my written Italian is. My most heartfelt apologies.
@@shirleyrombough8173 I find it almost impossible to listen to him. I have missed many wonderful Callas operas because of him. It’s down to personal choice I guess.
No mention of Giuseppe di Stefano ? Why ? ru-vid.com/video/%D0%B2%D0%B8%D0%B4%D0%B5%D0%BE-soFD0iRnAsc.html The emphasis on the High C is overdone and tedious . There is so much more to appreciate .
