Браво!!! Маэстро!!! Очень часто человек уже умеет петь, на самом высоком мировом уровне, но он об этом ещё не знает!!! (Все, или многие хористы). Виноваты педагоги!!! Самому, на упражнениях, когда миксуем (то есть, не поём фальцетом, а поём на piano, или меццо воче), идя наверх (достаточно уже, когда можем миксовать на переходниках), тут же пробовать местечки из арий с верхними нотками. Секрет : чтобы не звучали натужно, пытайтесь вибрировать эти ноты, как бы отпуская голос. Затем, на тех же ощущениях прибавляем дыхание и добавляем темперамента. Всё!!! Готовый великий певец. А мы, в большинстве случаев - орём, что есть мочи, превышая возможности нашего голоса и не можем допеть до конца даже одну арию, отрезая таким образом все концы к большой карьере.
Речь идёт о всей арии, всю арию вначале петь на piano и только верхние ноты (после переходников) полноценным голосом. И вначале вперёд, вперёд, к последней ноте каждую фразу.
Tagliavini was under appreciated in my estimation. A beautiful, lyric voice, at times pushed to extremes. His use of dynamics and phrasing puts him in a special class. It is too bad that so many wonderful tenors were on the scene in the1940's and 1950's. Many complained that the use of his head voice was gimmicky. Pavarotti did the same and it was considered artistic. Different era entirely, but Tagliavini used it better.
Pavarotti was a good singer the early 70s. After that he started singing to loud, trying to convince his audience with long and loud notes..... this is real singing!
Careers overlap, as they do today. Tagliavini is near the top of my list. His falsetto is lovely and effective. His Lucevan le stelle, which I'm hearing for the first time here, is gorgeous. It has all the drama and finesse the aria needs. Pavarotti can't touch it for tenderness, and feeling. Tagliavini's seems to unfold as thought itself does. Some fine tenors were outshined by the giants of the times, e g. di DiStefano, Corelli, Beorling. But Tagliavini was surely never at a loss for engagements. Could it be more about how those really big names are cultivated by today's 'archivists', because they're a little shallow? My father loved Pavarotti, and only Pavarotti. Indeed, he was much better as a lyric in the 60s and 70s, but never so expressive as Tagliavini. Dad dismissed Domingo as 'reedy', despite Domingo's far superior musicianship and artistry. His melodic line is always superb and refined.
Beautiful. I love Tagliavini. His Ella mi fu rapita (Rigoletto) is tender and lovely. He seems to be able, in it, to mitigate the Duke's bad character.
A true representation! Hate pavaroti with his band! How they dare to sing!?? With cracked voices, without a good singing??? Also, people can't understand, that in his freak concerts he can't produce a good melody, a true voice! And this is how it must be sing!!!
Finally someone who doesn't like Pavarotti either! I always disliked his voice and the mannerism. Thank God we have all these sublime singers like Tagliavini...
