There are still greats teaching and singing. We still have people like Salvatore Fisichella and Saoia Hernández who can pass on the great tradition. Jack Livigni is a pupil of Fisichella and is currently doing work to pass on the knowledge of the golden age of singing.
I am so sorry to hear of his passing. His voice was glorious. But more than that he was a great human being. He seems so greatful for the applause, but no one was more worthy. Rest in peace Maestro.
Una delle migliori interpretazioni di nessun dorma, vocalità poderosa,regge la drammaticità del brano in maniera eccellente,molta empatia in chi lo ascolta
Giacomini is one of the most underrated tenors, at least here in America. His voice is the Rolls-Royce of the dramatic tenors, and my favorite. Such an intelligent, kind, and gracious man.
I completely agree with you! He was a contemporary of Pavarotti and, in my opinion, had the better voice. Of course, both are amazing tenors, so maybe I should rephrase and say that I preferred Giacomini's voice for many arias instead of saying that he had the better voice period🤣Anyways, his voice was just so...luscious. So rich and so deeply textured, but also incredibly bright! When he starts to sing, it's like a light from heaven shines into the concert hall, filled with purity and happiness!
@@Tennisisreallyfun Yes, I can tell what you mean! He holds his larynx low even in the high notes and directs the air to hit a full bodied nasal resonance- I can only imagine how it filled the room in a live concert hall with such a bright and wonderful tone!
This is proper technique combined with artistic passion. Old School Italian (and Swedish/Italian) tonality, resonance and lack of laryngal stress leads a bravissimo performance! Perfection!
Could you explain me please what is the old school? I am beginner singer in church and want to know something about great technique of tenors.Thanks a lot.
It takes many years to build the laryngeal muscles up to this level of tonicity, to provide this sustained towering level of output & squillo. Because the voice is held at its full dynamic potential, - a dramatic voice can be variable when it isn't feeling 100%. Which is why Giuseppe feels so grateful that it all came together. A lyric voice like Pavarotti can be more uniform & consistent in performance, as much less is asked of it, dynamically. But a huge rich power packed dramatic voice, even standing two & a half feet to the side of the mic, has the kind of tonal punch that no amount of athleticism can equal in the smaller voice types. Bravo maestro.
Какие овации! Абсолютно заслуженные! Чистейший голос! Великолепное, мощное исполнение! И уважение к зрителю! Эталон оперного певца в самом широком понимании этого слова! Вечная память...
A truly brilliant artist. I was fortunate to meet him and hear him sing this many times over a period of weeks at the Kennedy Center in the early 90s in a production with Eva Marton. Because my late husband sang Timor, I could to sneak into the theater through the artists' entrance to hear him sing this at every performance. The supreme dramatic tenor technique and a very generous and kind colleague.
Io ho avuto la fortuna di essere corista all'Arena di Verona negli anni 80. Mai sentita una voce drammatica cosi potente e generosa , con acuti impressionanti per una voce cosi grande e ricca di armonici. Grazie al cielo di averlo potuto ascoltare. Altri artisti hanno scimiottato il nessun dorma ma come lui più nesuno con quella intensità. Grazie Bepi. Conservo il tuo autografo come gemma preziosa. Maffei l.
Grazie Bepi. Ho cominciato assieme ad altri amici ad accompagnarti nei teatri veneti per le prime esibizioni concorso ( vedi Lonigo,Como ecc,ecc ) . Mi reputo fortunato. Lele Sturaro.
Egr. Lele, felice di essere in buona compagnia a testimoniare il giusto tributo artistico a questo personaggio che oltre ad essere la voce drammatica immensa più importante mai sentita, era anche persona altamente nobile per la sua umiltà, entrava in scena quasi chiedendo scusa per essere li a far tremare i timpani e i cuori. Voglio raccontare il mio primo incontro con il BEPI;.. Eravamo negli anni 80/82, quando venne da noi a Piacenza, con tutto il cast di Manon lescaut in scena a Brescia per alcune recite. Iniziò il concerto con il basso, poi mezzo soprano, baritono, di seguito il soprano lesuberante e brava GIANNA GALLI che fece crescere l'entusiasmo nel pubblico, venne il turno del BEPI, esordi con "Recondita armonia", gia alle prime note non credevamo cosa stesse succedendo, una immensità di voce invadeva la sala, suoni armonici mai sentiti prima, la brunitura, il velluto, lo squillo negli alti da far tramortire, insomma alla fine della romanza scattammo tutti in piedi, senbravamo impazziti dall'entusiasmo. Sembrava di essere trasportati su di un'astronave fuori dal mondo. Non sto qui a raccontare poi cosa divenne il teatro alla fine del concerto, senza nulla togliere agli altri bravi artisti, quella fu la serata con il marchio del grande GIACOMINI. IL destino volle che le nostre strade si incontrassero in Arena di Verona dove ebbi la fortuna di essere in scena con lui per diversi anni a testimoniare i suoi trionfi serate memorabili, a GIACOMINI si alternavano altri pezzi da novanta, CECCHELE... MARTINUCCI... BONISOLLI... ecc..ecc...Bei ricordi indelebili che non avranno più riscontro. Per la sua semplicità, umiltà il BEPI non ha avuto la notorietà e i meriti artistici che si meritava, chi ha avuto la fortuna di ascoltarlo dal vivo, non può che confermare la mia testimonianza. Cordialità da un vecchio corista
Verdaderamente impresionante. No tiene su bello timbre de voz pero en esta aria, son dos Pavarotti y un Corelli. Y el que no se lo crea que escuche esta versión memorable,
I have yet to hear a greater Nessun Dorma than this. Twice! Even Corelli, Del Monaco and all the other top-rank ‘dramatic’ tenors of the day could not shine his shoes. His was an effortless, huge well-produced instrument, along with excellent musical instincts. Moreover, my friend sang along with him and told me he was a humble, classy, great colleague and highly intelligent who never got credit for all his personal and stage qualities. RIP Maestro Giacomini. I suggest anyone to listen to his interviews on You Tube. Even in his native Italian, his soft spoken voice betrayed his singing one, and I would never have imagined his immense stage sound hearing him speak. Same with Corelli and Del Monaco, whom also had soft speech in conversation.
What an absolutely marvellous version. Absolutely perfect. The rubbish we have had to listen to on ClassicFM and the ghastly tenors they play. I only found this tenor by chance about a month ago. Thank you so much for posting.
This is the best singing from Giacomini from him that I have ever heard. The sound often fell back into his throat and was more baritonal than I prefer - but in this instance, the balance of warmth and brilliance seems perfect. Wow.
Величайшее исполнение! Нет слов, чтобы описать восторги от услышанного! Кто эти 9 безумцев, которые поставили дизлайк! Джузеппе -Вы вершина вокального оперного исполнения! Bravo! Bravissimo Maestro!❤❤❤
Все-таки ничто так не поддерживает, восстанавливает и вдохновляет, как прекрасное исполнение прекрасного произведения. Браво, маэстро, Вы украшали наш мир. 👏
This is the downside of singing well into your later years. People forget just how incredible the prime years were. Yes, Giacomini was still a power house all the way into this century, but in the late 80s and 90s, no one was better. What a joy.
I had never heard of Giacomini until last week when I stumbled on him in a RU-vid video. Not anyone I would have picked out of a crowd as being an opera singer, but what a glorious voice! Other tenors work hard to reach that high note, but Giacomini sails right up without seeming to labor. I must track down more recordings of him.
Il y en a beaucoup sur you tube, quand je pense qu'on a fait de Pavarotti par la force du marketing a outrance et quand j'écoute cet immense ténor je suis dégouté et désolé. Seul le Dieu Franco Corelli était au dessus du soleil 🌞🌞
Это исполнение ведёт к горизонту и перешагивает через него в БЕССМЕРТИЕ! - Энрико Карузо, Марио Ланца, Лучано Паваротти....примут Джузеппе Джакомини в свои ряды, как одного из гениев вокала! Так должно быть! -- А живущим на этой бренной Земле остаётся наследство - не имеющей цены....
Con él se acabaronu los grandes tenores dramáticos. Su voz es tan grande casi como su humildad como persona. Lo conocí y me impresionó como un tenor tan grande pudiera ser tan sencillo... Entraba en el teatro casi pidiendo perdón. Magnífico tenor y magnífica persona.
Giacomini really is a magnificent colossus, but I think you need to listen to more tenors, there are many wonderful tenors today. And yes, age is a problem, especially for tenors.
Age is no problem when you have good technique, Volpi, Loforese are examples. This tenor Giacomini was taught by Marcello DelMonaco who's brother is Mario Del Monaco.
To be fair he was not like any of the other tenors of his day either. There as only ever been one Giacomini . He is completely unique. He did of course age though. This was his prime .
I'm not going to defend today's singers, probably more so for their lack of singing ability than for their lack of voices. However, it is also worth noting that Giacomini was not for everyone's taste. His voice was not sweet and beautiful like a Pavarotti, Bjorling, Corelli, or Wunderlich. He also lacked a smooth lyrical singing style and was not a great or particularly interesting interpreter. Big power and ringing high notes are not the only things that make singers great.
Grande artista e grande persona. Umile di carattere, è stata una di quelle voci che hanno fatto grande la lirica nel mondo. Andate a vedere e principalmente ascoltare, il duetto dell'Otello "Si per ciel marmoreo giuro" eseguito in forma di concerto insieme al baritono Sherrill Milnes. In quel difficile e complesso duetto, tutte le qualità di questa mirabile voce vengono allo scoperto, emozionandoci ancora una volta.
@@xxirapax8830 sì che ci sono stati anche altri. (Sono stato allievo di Corelli , per me il numero uno) Voglio dire però che in queste famose 10-12 arie per tenore drammatico Giacomini ha inciso o cantato dal vivo certe interpretzioni che non puoi valorizzarle come inferiori di nessuno! Puoi dire che ti tocca di piu Del Monaco nel "l anima ho stanca"' ma è difficile dire che la canta meglio! Per questo dico "non ha rivali" nel senso che non è inferiore. Ciao
@@HellasItalia4 ecco ha citato Corelli, numero uno assoluto anche per me. Intanto le dico che discutere di lirica civilmente è la cosa più bella che ci sia per me...quindi la ringrazio. Per quanto riguarda quello che ha detto, sono d'accordo Giacomini è stato un ottimo tenore drammatico. Ch'ella mi creda cantata da lui dal vivo la reputo una delle migliori per esempio. Se poi devo confrontarlo con Corelli, rimango dell'idea che Franco sia superiore in quanto mezzi vocali e interpretazione. Più completo probabilmente..ma stiamo parlando di grandissimi tenori. Avercene di Giacomini al giorno d'oggi..
En mi opinión no existe ni ha existido un tenor dramático con una calidad vocal como la de el,ni Mario del Monaco , ni Franco Corelli ni Domingo ni Vickers , por mencionar solo algunos se le acercan .
Quest'aria meravigliosa, è stata eseguita da( CANI E Porci), vocalmente e artisticamente parlando... Facendola diventare appannaggio per ogni cantante, lirico o chicchessia,.... Finalmente un vero interprete gli rende giustizia!!! Grazie Giuseppe Giacomini... Sicuramente uno degli ultimi grandi tenori!!!
Я помню это выступление Джузеппе Джакомини в Большом Театре СССР! Я был рядом с певцом и наслаждался общением с ним! Это был мой второй год работы в Большом Театре!!!
I wept at this performance. I wept to the point of gasping and I have never done that before. His first time through is pure magic almost otherworldly. This level of performance does not happen. And here it did.
la sua voce è forza della natura ...... natura che ha selezionato fra tanti questo grande artista perchè ricevesse un immane dono...... tutti lo hanno amato ma non ho mai compreso perchè non abbia avuto i riconoscimenti che dovevano assolutamente essergli tributati.... un forte amaro a me resta , tuttavia mi succede che , ascoltandolo cantare , la mia vita cambi improvvisamente diventando più importante e completa.
Signor Greco come sta? che piacere risentirla......a presto e godiamoci le splendide voci che la nostra Italia ha saputo regalare a tutti noi anche se oramai sono voci in disco. un abbraccio
Nunca he sabido de una ovación más prolongada y ferviente. Todo es poco para celebrar esta interpretación del Insuperable y grandioso Guiuseppe Giacomini
I am a woman with a previous masculine history and an emigrations story. Years ago I sang as a dramatic or heldentenor in Germany. I studied with James King, Jerome Hines, Franco Corelli, and a few others along my path. Jon Vickers and Del Monaco I never got to study with, but admire their musical accomplishments and art. I learned something years ago Gigli did that Giacomini had on the evening of this performance. The key is to float a tone as big as a train. He is actually singing piano but it does not sound like it to the listener...only it is for the singer. To the audience it sounds like a train but for the singer, he is barely breaking a sweat. Bravo. Exactly right. One of the challenges as a singer is, if this is your kind of voice, you have to work with people like you, because the difference in size makes you stick out way to much for you to get regular work. That is critical to being heard earlier and longer and to learning. Sadly nobody teaches you how to use a canon of a voice. I credit a 40 second example and explanation I heard from a symposium Beniamino Gigli gave in the 50s with the secret of how it is done. I also had to repeat Nessun Dorma in a concert in Mönchengladbach where I had to sing it two times just as he did. What I love is that the 2nd time through the conductor picks up the tempo and Giuseppe floats his voice and it sails. He nailed it. Makes me feel good to see this here. I have only an audio recording of my repeat of the aria that evening. I share it with friends. This is a wonderful performance and caught on film. Singing like this is rarer than angel dust.
Thank you for this fantastic, insightful comment! First off, I'm excessively jealous of that list of teachers you studied with -- Wow! But as someone who has been dubbed a Helden in waiting, spending years trying to find the fit of my voice, your comments make complete and total sense. I have often remarked at how when it feels right, it hardly feels like anything at all. For years I would try to press the sound for largeness with diminishing returns, and by the time I realized how it is properly produced, the greatest revelation is how small it should feel within, while ringing the space outside. I'm only recently starting to feel comfortable in my sound production and am hoping to make a venture back into the opera realm. Your comment helps to solidify my concept of proper sound production for large voices. Much appreciated!
@@dmcg8400 There is no difference in sound production/technique for a large or smaller size voice. Obviously the end result sound different. I really cannot make much sense of what Claire above is saying at all, I can only guess what she is hinting at but I guess these kind of descriptions are always pretty personal. Perhaps large voices can get away with sloppy singing and therefore don't bother to learn the technique well and then they are surprised it doesn't require brute force. But to say Giacomini is singing piano is weird.
@@susandrakenviller3683 : No, it's just a matter of knowing what you're talking about, but that's okay. There is a different use of the instrument for larger voices. You get a different result when forcing the sound and there's a false sense of ease when the largest sounds are being produced. As the original comment says, it feels like a piano internally, but sounds like a train out in the space. It's a spot on representation of the technique for larger voices to produce a healthy, open, ringing sound. You're outnumbered in the opinion of actual heldentenors here, 2-0.
@@ThePeaceandgoodwill You read that incorrectly. I did speak with him about an offer made to me to sing Tristan. I was asked by a prominent KS in Germany to audition after they heard me sing Der Kaiser in Die Frau ohne Schatten with success. Tristan is over 5200 words of Text, you are on a very long time and the role is quite low. My career was at the beginning and I wanted to sing for a long time (I did for 15 years). His words to me were simply...if it is for your voice it is no problem to sing, but if you are successful you can forget singing the italian repertoire. When the houses know you can sing Tristan they will pigeonhole you. James King told me to sing the italian repertoire until they did not ask for it anymore, then you are ready for the long roles. James told me he could abuse his voice for short periods of time but not the long roles. That is why he did the shorter difficult roles. His longest sing was Meistersinger. He did not do it often, but he did sing beautifully. Both of them did but had quite different voices. Both were true Helds not pushed up character tenors. Heldentenors should have a sound of nobile suffering: James King's opinion.
MAGNIFIQUE! Que d'émotion en écoutant la splendide et puissante voix de Giuseppe GIACOMINI...Sa technique de chant est PARFAITE...Un ténor UNIQUE et IRREMPLACABLE!🙏
Qui il NESSUN DORMA , riceve la sua sublimazione , mai lasticella è stata posta così in alto!!!! Sembra FANTASCIENZA!!!!!!!! il pubblico lo ha percepito,rendendogli un meritato tripudio collettivo. Riposa in pace GIGANTE🙏🙏🌹
