Oh, come on! All you would-be critics. Just listen to the man! Divine voice. Full of love and all his heart. The perfect tenor sound. So he didn't "protect" his voice. He just sang like an angel. And maybe for only a few years. But so what? Just listen and enjoy!
heard him around 1980 well past his prime grabbed his neck with both hands once - I'm with you it was a mountain of velvet even then! Oh to have heard him do Faust in his prime!
I miracoli vocali del grandissimo Pippo Di Stefano... suscitava simpatia il vederlo, ascoltarlo mentre si infervorava nel discorso. Sentirlo cantare era qualcosa di più, perché la sua voce nel canto, si accendeva di un fascino irresistibile con la sua interpretazione riconoscibilissima ,unica , fatto di naturale bellezza e di tantissima dolcezza e queste registrazioni live fanno comprendere a chi non sa!
He had a unique, recognizable voice. Something about the timbre, the passion, the artistry. One (I) can't always recognize other great tenors, but I can always recognize the great di Stefano.
I love his natural voice coming from the depth of his soul. I heard him in Turandot at la Scala in 1959 when I was only 15 years old. I was so in awe that I was at la Scala with all its glory, that I barely could concentrate on the music (Turandot was Birgit Nilsson). But even more joy for me was that in the same week I attended an other opera, Hercules (Handel) with who? Franco Corelli! I fell in love right away, and I'm still in love with him.
you should have heard Callas. You missed a lot the best opportunity ever. Although it's still legendary that you heard the iconic Nilsson, Corelli and Di stefano live
@@Matthew9.__ I was only 15 years old, my mother took me there since we love (loved) opera (my mother introduced me to opera when I was five years old - this is true - and we went to Italy from a poor communist country, so these opera we saw meant a world to us. We were fortunate to get tickets as a present form an acquaintance. This was the only way to being able to attend a performance at la Scala. Concerning Maria Callas, she might not have even been in Milan these two weeks. They sang everywhere, they traveled. But yes, if I had the opportunity to hear Callas, or would have probably been the greatest thing in my life (after my grandchildren). But I saw Corelli who was and remained my love forever.
Pippo di Stefano oltre alla sua straordinaria voce interpretativa, che accarezzava l'anima x chi la possiede, ma ha il grandissimo merito di aver svecchiato, l'immagine del cantante lirico.
I tenori bravi erano e sono molti, ma Di Stefano era unico. Uno dei pochi che mentre cantava non c'era bisogno del libretto o di uno schermo con le parole scritte. Non aveva bisogno della tecnica che per dire "o" doveva pronunciare "a"
If de Stefano had not been a great tenor, Callas would not have worked with him. I always loved him, musicality, passion, tenderness, solid technique. Beautiful artist.
The tenor singers today have technique ,and they all sound the same , no ring in their voices ,all sound muffled . He was a natural ,and revered in his time.
I heard the most wonderful audio recording of Cavalleria Rusticana with both Maria Callas and Giuseppe di Stefano. I never thought that I would get to hear him sing Turridu. Miracle of miracles. There they both were: Callas and di Stefano. The best recording of that opera. It was late. I was tired. I had a lot of work ahead of me the next day. Oh screw it I thought. So I listened in joy for the entire opera. With no regrets.
Он уникален тем как показал всем своим творчеством, что оказывается тенор может знать о чём он поёт, а не тупо любоваться собой, своим голосом. Его рубато очень логично, так как всегда исходит от образа его героя, а не от прихоти очередного "красавца тенора". Техника его вокала на высшем уровне, а идеальных нет и не будет, пока не появится ещё одна чудесная Мария Каллас. Изучайте её технику Дыхания, стремитесь познать элементы. А успех прийдёт в стремлении.!
Igual no era el más técnico pero su calida voz lo compensaba. María no habría cantado tanto con él si no hubiera sido tan grande. La mejor pareja, para mí, sobre el escenario.
Could you tell me if Callas and Distefano sang Butterfly together/ or recorded it?!..I can imagine. Del Monaco singing Turandot..but with Callas?!. ,GE
A great and yes among the all time greats. I developed a new respect for his talent when I heard the 1950 Salute Demure from Faust in San Francisco when he held a high C5 for 10-11 seconds and decrescendo it to an exquisite pianissimo. As great a career he had it could have been greater had he made some slight changes, waiting longer to become involved in certain roles
Para eso hay que tener una gran técnica y para "hablar cantando" también. Y eso lo hacía Di Stefano. Yo soy Krausista pero también se admirar a otros grandísimos tenores y, sin duda, Pippo lo fue. Y no sólo como tenor lírico que era. Aquí podemos escucharlo en el aria de La Forza. Los únicos spintos o spinto/dramáticos que podrían competir con el en este aria son Del Mónaco y Corelli. El resto de "especialistas", a su lado, no tienen nada que hacer. Kraus era perfecto, pero Pippo "embrujaba" con su canto.
@@shirleyrombough8173 Di Stefano com Callas não tem igual na Lá Boheme, Manon Lescaut, Rigolleto, Norman and others. Aquela Gioconda com A Milanov, Rosalind Ellias , Robert Merrill, inigualável. Já Del Mônaco em Il Trovatore, Forza do Destino, Othello, Andréia Chenier são dele. Selecionar as melhores gravações de Óperas não é difícil. Aí entrariam outrs grandes nomes. É o caso da Cavalleria Rusticana com Yussi Bjorling e a Tebaldi. Mas estou conhecendo ótimos nomes após Intrnet. Os meios oficiais de comunicação são de muito baixo nível. Não esquecer também as Zarzuelas.
He had a big voice, indeed. But, reportedly, he's being an erratic and also undisciplined singer, which led him to his early decline. At least for a tenor of this size, Tucker would be more preferable for me.
@@omarsomehow69 Tucker was more comparable to Corelli. Both of them were lirico spintos and shared a lot of core repertory. Di Stefano was more of a pure lyric tenor, although reportedly his voice carried quite well in the house. But his voice was nonetheless lighter. His technique was not really polished though, meaning that he sang more on pure talent than knowledge. So he would’ve coped with heavier roles more sustainably had he been more technically polished.