@luiscar89 Actually it all depends on how one defines underate. If the definition is on the number of records sold, then he is definitely underrated, while the like of Bocille would be rated the greatest singers of all time. But in terms of recognition by music lovers and fellow musicans of the same genre, Zancanaro is most definitely not underated. For Mario Zanasi, I think he was born at the time when there were several baritones of equal musical abitiliy, but with charismatic personality that unfortunately he did not process. I would say Zanasi is under recognised, rather than underrated
Zancanaro simply the finest baritone I’ve heard over forty years. Such diction and clarity. 1985 was a magical year for me in opera, I attended this Don Carlo and Andrea Chenier a few months later. What a privilege
Isn't this guy outstanding?! Such a well rounded voice...diction, intonation, color, I can't find a weak point anywhere. So inspirational to listen to...
Just brilliant. A singer at the top of their game. I saw him in only a couple of operas live. Traviata and Attila. He was stunning. The theatre went beserk.
This man's voice is amazing! But I just can't take my eyes off the tenor - his acting is the best I've seen from all "Carlo"s. Just looking at him makes me cry, this is such a powerful scene and the both do it justice.
Commenter probably meant "equalized," which is to say that the developed tones of the "head voice" have been brought down the entire range of the so-called chest voice, dominating it, giving it a velvety quality, making it slightly rounder, allowing Zancaro to sing softly on any pitch at will. Having the head voice dominate the entire range makes the whole voice sound of an equal/even quality throughout. It also give Zancaro access to the upper notes that lie above the limit of the chest voice.
+Scott Vanderpool I used to think Merrill owned this aria, and his still stands among the greatest, but I have to agree. Perfection is the exact right word, Zancanaro just sings this so beautifully.
Apart from his glorious timbre he had the most amazing technique when going over to the passagio and what the they call the cuppola - a gorgeous hood over the top notes. If he were still singing today he would be the top baritone in the world.
In many ways, the most satisfying, to the cultured ear. His top was not as dramatic as Warren or MacNeil, but remarkably consistent, with gorgeous color. How he goes up to the ‘cupola’ is a masterclass of male vocal production.
I don't know about all this underrated stuff. I heard him for the first time in Puritani at SF Opera. I had never heard of him. It might have been his American debut. I knew immediately that he was special. Anyone with ears and brains also knew. Wonderful basic sound. Look up "Per me giunto" and you get many recordings by the great Hvorostovsky, sadly now gone. But Zancanaro is in fact better on this particular aria. There's not much higher praise possible.
I think he really has the best technique I have ever heard. Such consistent timbre with crystal clear diction, easy and free vibrato shows an excellent balance in the body's muscular tensions. 3:29 seriously that note has untouchable brilliance that I have never heard in any other great baritones.
first of all, Zancanaro has got the most gorgeous voice on the planet(really - just listen to his videos)....but can we give a shout out to the Carlo and his acting!!!
best acting on Carlo, most of other versions be like a cold blood observer standing there wasting time...he is doing it so fully fit the situation. Bravo!
Giorgio Zancanaro has always been one of my favorite baritones. His leggato and "egalized" tone, have been a raw model for all my apreciation of lyrical voices in general. His superb career, took him to be partners of another great artists as Bonisolli, Martinucci, Giacomini, etc., and in my behalf, never has been second to non of them. One of the best of the best ever, Giorgio zancanaro, BRAVOOO!!!!
Bastianini, это всегда только первый 1 . Но в наше время Занканаро , действительно не дооцененный ! Шикарный баритон , одна фактура, чего стоит! И дикция, и и верха, и пональный обзор- просто великолепный . Bravo !👏👏👏💯❗️🙏🙏🙏😊
Another great example of "the Italian baritone". A vanishing breed, alas. The so-called lyric baritone would appear to reign world wide and to the detriment of the great Verdi roles. The legato is amazing as is his musicality and artistry. A true artist of distinction.
This man is a slayer; he takes no prisoners. All the vowels resonate right were they should be with an impecable controle (support) leaving him the freedom to move his body and facial expression and interpret the role both as a singer and actor in a way that's never done. I've rarely seen such a seamless combination of technic and impecable artistry.
And yet this type of singing all too often derided as “correct” - if only just a dozen more singers out there were this “correct” - a criticism slung around only by critics who are fanboys/fan girls of singers who CAN’T SING…
Thanks for your question; "egalize" or equalized means almost the same color and "vocal caliber", from the low to top range. Maestro Zancanaro, has a vocal range very equal in all of its great extension. I heard that term in a book "Great Singers in great singing" from Jerome Hines ( the book is a recopilation of interviews regarding vocal technic with great world class singers; this term was given by tenor Nicolai Gedda). This book is a "must" for all us interested in lyrical singing. Saludos
I was at the previous performance of this run. Luis Lima as Carlos, Bruna Baglioni as Eboli, Ileana Cotrubas as Elisabetta and Robert Lloyd as the king, with Haitink conducting.
This is what it's supposed to be like. It's supposed to look and sound easy, even though it isn't. A great singer is supposed to make you believe that you can aspire to follow in their footsteps. It's not supposed to be some show-off spectacle verging on a train wreck. Good Lord, but there is too much bad singing out there. Thank God for the Zancanaros of this world
In some ways, Giorgio Zancanaro reminds me of Riccardo Stracciari, which is high praise. Both singers were distinguished by extraordinarily beautiful voices; strong lyric baritones with remarkably even production throughout the registers; superb diction; deep feeling; & excellent musical & dramatic taste. In Robert Merrill's day he practically owned the role of Rodrigo. Giorgio Zancanaro strikes me as his natural successor. For me, Giorgio Zancanaro possesses the most physically beautiful baritone voice since Robert Merrill in his prime. And that is no small praise. SUPERB ARTIST!
I LOVE Ettore Bastianini as well as Giorgio Zancanaro! However, given that Bastianini began as a bass, I think he always remained a bass baritone. Zancanaro is more of a strong lyric baritone (like Stracciari). However, they both share superb legato, genuine feeling, beautiful diction, innate musicality, & the kind of elegance we don't encounter much these days. I love these singers & would not want to live on the difference.
That's an interesting comparison. Of course, Battistini's voice differs from Zancanaro's voice in a different way. Battistini was close to being a second tenor. His is one of those rare, recorded voices that was developed in the true bel canto tradition, before the impact of the verismo style. At least as far as recording technology reveals, Zancanaro has a richer, more rounded sound. We should acknowledge though that when we connect Battistini, Bastianini, & Zancanaro in a discussion we are talking about very distinguished company!
Valerio Borgioni la prima aria la sta interpretando con una intonazione precaria ... di cantare giusto 60 anni fa ci insegnavano durante il primo anno della scuola media ... è calante .
Tengo las versiones de Andrea Chénier cantadas por Bastianini, Zancanaro y Sereni (aparte de haber oído muchas otras), y creo que la de Zancanaro con Domingo es la mejor. La potencia de la voz es impresionante, la musicalidad y la dicción soberbias...
Fantastic technique; beautiful timber with a wide range and focused brilliant top. Absolutely phenomenal singer but he is never mentioned in the top echelon of baritones. Can somebody explain to me why?
The relative lack of studio recordings and the small handful of Met dates (only seven performances in the fall of 1982) seem to be a contributing factor. Still, he was very active in Europe and sang in top productions, so I'm always shocked when opera cognoscenti say they have never even heard of him.
