Un gigante che canta l'opera più bella di VERDI, dove ogni nota è messa al posto giusto per descivere il dramma di un padre che vuole proteggere la figlia dal predatore di turno. Qui TITTA RUFFO è immenso, da considerare le registrazioni dell'epoca che non rendono giustizia alla grandiosità di questo artista!!!!!
We are studiyng singing with my wife. And she didn't know, that it can be exciting to listen to opera singer. I told her that real singing is better than rock concert.
It's true. Great opera singers convey overwhelming emotions, doesn't matter if we don't understand what they say. I remember the first time I listen Evgeny Belov and Sergei Lemeshev singing Onegin, I couldn't understand what they said but it was amazing... Enjoy your singing, it's indeed a magical experience.
Buenos días Sr. Bodiloto. Discúlpeme por favor, podría Ud decirme (en pocas palabras) si hay algún barítono contemporáneo que le guste a Ud? En mi provincia es muy difícil encontrar música de ópera. Muchas gracias!
@@BaroneVitellioScarpia1 , si, e' proprio così. A furia di studiare il 700 e Mozart la voce si e' alzata e non esistono piu' baritoni e contralti...e anche i bassi latitano.
How stupid of me i meant to say that R. sang too much on the principle of his voice rather than the interest! My late friend Solon Alberti who played for him on tour said he was horribly nervous before each performance ---la voce male no cantare he would say. Then Alberti had an idea he said to him Maestro just go out and sing ONE song--if you dont like it we will cancel the show..Well after that one song Alberti said you couldn t get him OFF the stage!! He loved to sing and loved the sound of his voice and often pushed it to the limit just to see what he could get out of it. Too often unfortunately for his career but in a way fortunate for all of us who can hear a phenomenon like him in 2015. I have been listening and going to the opera since 1959 ive never heared a voice that come anywhere close to his. That snarl always in the tone is incomparable!!
Wow! ... I am sorry (b)atistini lovers... he is good but not even CLOSE to the beauty and power and character of Ruffo ... this recording is yet another miracle.
All the comments in English below are totally erroneous! Are you sure you heard this posting>>?? Ruffo was just reaching his peak when this was recorded--his best years were between 1910 and 1916--too much singing on the interest of the voice rather than the principal. By the mid twenties he was pretty well shredded--the last big thing he did was sing for the opening of Radio City Music Hall. For those of you who have commented on his lack of flexibility i refer you to the recordings he made from Rigoletto with Marisa Galvany--i havent heard anything like this at the Met and ive been going since the late 60s.
Callas famously sang the best version of this aria I have heard in one of her masterclasses. Her interpretation of someone who is trying to contain rage and oscillates between deference, humiliation and violent desire of ripping them appart is extremely accurate.
yes a big hurricane of a voice very impressive but for me the greatest baritone is of course Mattia Battistini, the "Glory of Italy", who outlasted Ruffo and was older then Ruffo.
Battistini was great but he was representative of the old guard much like de Lucia was to caruso. Great singers not willing (or able?) To demonstrate the feelings of the age, that is to say, verismo.
Je n'en suis qu'au récitatif mais c'est déjà excellent,un personnage parfaitement compris.....Glups!..C'est quoi cette coupure?...Bon!..... figliaaaaaaaaa.....a meeeeeeee..huhu...L'excès en toute chose n'est jamais bon,et là ,'celà fait perdre toute crédibilité.Ah,ces chanteurs italiens!...C'est Verdi qui aurait été content!!!Sinon,une voix dont le moule semble cassé depuis bien lontemps et dont on cherche encore les morceaux!
You should get a operatic dictionary and look up the definition of tenore and baritone. When people don't have anything intelligent to say they should just be quiet.
@@bodiloto технически он может и превосходит Gobbi и диапазон шире, но исполняет, выпевая каждую фразу, как на экзамене, а голос Гобби льется легко без вдохов и придыханий, да и артистизма больше.
Ruffo had an astounding voice and was a great singer. But in my book, there have only been two baritones in history whose singing is almost always faultless: Gobbi and Tibbett (though Gobbi had more vocal weaknesses of course). Ruffo's tempo is often too slow for me (as it is in some parts here), and he did not have nearly the freedom of voice that Tibbett had. He often sounds stiff when changing tempos and emotions. Still, he's obviously better though than almost anyone else.
@@falkfink Bastianini had a glorious voice, and was a perfectly fine singer. I put him in the same class as Merrill -- singers who sing everything musically and without faults, but without individuality, and with no matching of emotions to the particular aria or scene. For Gobbi and Tibbett, every word of the "Credo" expresses the sinister evil of someone who is thrilled by his ability to twist the knife into his colleague while making him think he really cares for him. I don't get that feeling when Merrill or Bastianini sings it. For them it is simply wonderful music sung by a glorious singer.
@@lsmart. Gobbi was a great actor. You did not need to tell him how the certain role should look and sound on stage. His voice however, was smaller than Bastianini, Merrill, Warren or Nicolae Herlea.
@@johnfalstaff2270 But his great acting was so effective because it reflected the great "acting" in his singing as well, as was the case for Tibbett. In other words, each aria for them is not just a musical line of notes, but also the telling of a story. Thus, each group of notes in an aria must also express the evolving emotions of the story by modulations in volume, tempo, and emotions. When you hear Bastiannini or Merrill singing Iago's Credo, you hear a wonderful musical piece. When Tibbett or Gobbi sings it you hear an evil and sinister man gleefully and malevolently planning his dastardly act and fantasizing about watching his poison do its job on Othello. The only difference is that the effect of the storytelling and the joy of listening to it is less for Gobbi due to the lesser beauty and power of his sound, whereas Tibbett's voice literally radiates with drama.
