ОДНАКО ,КАК УПАЛ УРОВЕНЬ ПЕВЦОВ СО ВРЕМЕН ВОЛЬПИ ,КАРУЗО И ДР.ВЕЛИКИХ ТЕНОРОВ...!! КАКАЯ "ПЕСТРОТА " ,КАКОЙ "ТОН" У СЕГОДНЯШНИХ ЗВЁЗД ...! КУДА ДЕВАЛСЯ ЭТОТ ЭТАЛОН ПЕРВОКЛАССНОГО ТЕНОРА ...! БОЛЬШИХ ЯРКИХ ГОЛОСОВ ВОВСЕ НЕ СТАЛО ! БЕДА ! ПОЧЕМУ В ЭТОЙ ПОДБОРКЕ НЕТ, НАПРИМЕР, АТЛАНТОВА ?! ВОТ ЭТО БЫЛА СИЛА ,МОЩЬ ...БЛЕСК !
No comparo, solo disfruto. Claro que con el avance de la tecnología se escucha mejor a los más recientes. Para mí es inolvidable el Vesti la Giubba de Mario Del Monaco en esa memorable interpretación en Tokyo. No es solo la voz sino tambien la calidad histriónica. Viendolo a él y oyendo a Corelli con su Nessum Dorma, me enamore de la ópera. Bravo Maestros. Gracias Imanuel.
Maravillosa compilación que fascina los sentidos. Muchas gracias por tan bello trabajo🙏. Me ha sorprendido la novedad, recién, año 2022, descubro la suavidad y potencia de Richard Tucker, así como tbn., la pureza en la agudeza de los tonos perfectos de Laurence Brownlee: mágicos🪄🪄 y exquisitos descubrimientos para mí. Muchos de ellos ya han partido a la eternidad y de seguro, recibieron, con un "Corelli" (😂) angelical😇al gran Maestro Luciano Pavarotti.✨️🔥❤️🔥✨️ Bendiciones🙏 y de nuevo gracias !!
HERMOSAS VOCES . Gracias a todos los que están y los que no están . Dejan un regalo inmenso , Gracias otra vez Y QUE SIRVA DE EJEMPLO . Las voces no deben olvidarse .
I have had since I was a teenager a special admiration for Tito Schipa and his beautiful lyrical tenor voice. I love many of the other, specially Wunderlich, Windgassen, Del Monaco, Corelli, Domingo and Tucker.
For me the one that will always be the most impressive, touching, powerful, distinctive is Mario Lanza.... He is the only one that has always touched the inner depths of my heart and soul since I was a tiny child, have loved him all my life and am so grateful to my Daddy for teaching me to appreciate the great voice of Mario Lanza and beautiful music.
Excelente video.,gracias por el regalo especialmente por incluir a Luigi Alva y el hijo mas querido de mi pais Juan Diego Florez .La musica y su talento los hace inmortales.
@@wicarve , pero gracias al trabajo de Juan Diego habran mas ...no hay que vivir del pasado no podemos negar a la musica los mejores tenores ligeros de esta parte del mundo.
Esto ne demuestra que las bellas e incomparables voces existen en todo el mundo y no hay lugar donde no hayamos sido bendecidos al escuchar a tan maravillosos y auténticos cantantes, maestros del arte. Un aplauso para quien subió este hermoso video y un cariñoso recuerdo para los que ya no están, y para los que aún siguen deleitandonos con su bello arte. Incluidas las sinfónicas sin par. Felicidades!!! Y GRACIAS!!!
Muy buena selección, excelente trabajo. Cabe destacar que en el siglo XX son muchos los tenores famosos, por la cual sería justo nombrar a: el rumano Joseph Schmidt, el norteamericano Jan Peerce, los uruguayos José Oxilia (comtemporaneo de Tamagno) y José Soler, los italianos Ferruccio Tagliavini, Flaviano Labó y Marcello Giordani, el español Pedro Lavirgen, los alemanes Josef Traxel y Peter Schreier, el austriaco Richard Tauber, y otros más...
No sé cómo darte las gracias, Inmanuel, por este magnífico vídeo que me dio a conocer a muchos tenores que yo desconocía, muchos pioneros y que tuvieron prolongación, afortunadamente, en este s. XXI. Lo vi 3 veces seguidas, y estoy llorando de emoción. Literalmente. Para mí, la Música es la más noble de las Artes y la Ópera es como el Podium de los Dioses y Diosas dentro de esta noble Arte. Gracias mil veces por la generosidad de compartir a estos dioses con todos nosotros
Coincido en pleno contigo: me ha sucedido igual; descubrir por primera vez la existencia de estos inmensos astros de la ópera con sus maravillosas voces y excepcionales interpretaciones. Es una gran bendición🙏 que podamos verlos y escucharlos gracias a la tecnología actual y al hermoso trabajo realizado por este señor. Saludos cordiales✌️
Que placer escuchar esas notas tan altas, profundas, amplias y sostenidas. Solo pienso en esos pulmones y en las vibraciones de la cuerdas en las gargantas y el la proyección del sonido que te hace sentirte en el medio.
Como me gusta que alguien haya subido este video.? Mi hijo cuando tenía 8 años me hacía buscar esta música, en todos los rincones, hasta en discos de pizarra. PRECIOSO... Gracias. 👏
Grosse Stimmen: Lanza, Bergonzi, auch Tucker und Jussi Börling, aber vor allem Corelli und der fantastische Giacomini (leider weniger bekannt), und selbstverständlich del Monaco, Pavarotti , Domingo und Flores, auch Villazon in seinen guten Zeiten.❤
Gracias Inmanuel.Todos ellos y los que no están en este recopilatorio han dado lo mejor de ellos para nuestra cultura.Mil gracias Y Luigi Alva es Luis Alberto Alva Telledo Tenor peruano
Gloria a Dios por dotar de tan bellos tonos al instrumento sonoro del hombre. Siempre maravilloso y asombrandonos. Para no dejarnos tan atrás del bello canto de las aves.
No one is greater than JUSSI BJORLING. By far the absolute greatest of them all!! His voice were like floating gold! Maybe Placido Domingo could give something close to Bjorling, but only close to....not really there though!
You absolutely lost me when, of all the tenors up there, Corelli, Aragall, Bonisolli, Di Stefano etc, you mention Domingo in the same breath as Bjorling. Domingo always sounds as though he's singing through a pillow in my opinion.
Love Domingo's singing, but seriously comparing him with Jussi Bjorling is crazy! There is not, I doubt there will ever be another one of him! The man died way too young!
Fritz Wunderlich! A singer of an enormous musical intelligence and wonderful voice. Unfortunately he died at 35, so it its difficult to say what might have become of him afterwards.
Thank you. Some very remarkable voices and of course it's very subjective of who was/is best but of course we all have our favourites. I tend to lean towards Jussi Björling and Nicolai Gedda but can never forget Mario Lanza and his influence on me as a singer.
En la biografía maravillosa de Saiz Valdivielso sobre el tenor Fleta, narra que un aficionado de la época, avía oído cantar, a Gayarre, a Caruso, y a Fleta, y que los tres eran únicos, pero que Fleta, era irrepetible. Cuántas buenas voces se an ido al traste por intentar imitarle, entre ellas la mía.
I LOVE, LOVE, VERY LOVE GREAT VOICES !!! ENDLESS THANK You FOR The DIVINE VIDEOS !!! ALWAYS WITH A LOT OF LOVE AND LIGHT Your ETERNAL FAN Nadya Mirkova and all My big family, and all My friends from Sofia - Bulgaria - Europe - Russia - America and all World !!!
You did a great job compiling this video. I have a collection of old records 78 and 33 speed which used to belong to my dad. Some of the 33's is part of a collection I started when I began earning my own salary. It is nice to see the likes of Gigli, Caruso, etc perform live in one video. Thank you.
Glad you added Mario del Monaco in this list. My favorites used to be Corelli and Domingo, but I've added del Monaco to that list as a result of the performances on RU-vid.
İsimlerini saydığınız üç tenor benim de favorılerimdir,genç tenorlardan Florez’ide beğeniyorum. Aslında hepsi de bizlere mutluluk veriyorlar, hayatta olanları diliyorum uzun ve sağlıklı ömürleri olsun
I am most grateful to Imanuel Bocelli for this vid of the Great Tenors of 20 Century. Thank you so much for educating me !!!!!!!!Sincerely, Robert S.J. Hu March 23, 2020
57 years after his death, the magic of Mario Lanza still operates. This is to say the extraordinary impact that this exceptional artist, died only at 38 years, left in the memories. Albanese, Callas, Domingo, Carreras, Pavarotti, Leech, Nucci, Ricciarelli, Calleja, Alagna, Ben Heppner, Kiri Te Kanawa ... To name just a few. In exclaiming stupefied: "The voice that came out of this throat was prodigious, unforgettable, it seemed to come from another world! Boris Goldovski, choir conductor of the Metropolitan Opera, who conducted the Tanglewood Festival Orchestra on the evening of August 7, 1942, probably did not imagine the fabulous destiny of this 20-year-old singer, Extraordinary voice was already sensation on the public. Mario Lanza, with his films and especially with "The Great Caruso" (MGM-1951), was not only enthusiastic about the crowds (as predicted by Louis B. Mayer, owner of the all-powerful MGM), but also inspired the career of Several generations of singers who have not stopped for 57 years (an eternity) to pay him repeated homage. In 2016, three talented Irish singers include Sean Costello (Tenor), Frank Naughton (baritone), Sandra Oman (soprano) and the Slovak Festival Orchestra, led by Vladimir Jablokov, with their show The Loveliest Night of the Year. A series of 10 sold-out shows that will end on October 20, 2016 at the Cork Opera), pay tribute to the Grand Mario Lanza.
antidote to cultism BROKEN PROMISES (Derek Mannering's reissued biography of Mario Lanza further mythologizes the tragic tenor and his legacy) Mario Lanza:Singing To the Gods by Derek Mannering HE CAME, HE BINGED, HE DIED That in brief is the sorrowful life of Mario Lanza, the gifted Philadelphia-born tenor whose definitive film role, as the title character in the Great Caruso, inspired a generation of opera singers, but whose indulgent lifestyle-short bursts of musical glory followed by gluttonous, alcohol fueled benders-destroyed his career and ended his life in 1959 at age thirty-eight. Though Lanza made (and lost) his fortune in movie musicals and studio recordings, Mannering mythologizes those choices as circumstantial diversions from a stellar career in opera, the totality of which comprised two student performances of Fenton in The Merry Wives of Windsor at Tanglewood, and two professional performances as Pinkerton in Madama Butterfly with New Orleans Opera. Of a purported invitation, when he was 36, from Rome Opera to sing Cavaradossi, Mannering offers a naive assessment: "If he had managed to get his weight and his drinking under control, he could have undoubtedly made it the operatic portrayal of his career"- as if native talent and abstemiousness were sufficient for success as an opera singer. As Mannerling himself reveals, Lanza was completely lacking in the other 99 percent of the job requirements-preparation, discipline and showing up. That Rudolph Bing would have nothing of him at the Met is presented as a slight, rather than good judgement. This new edition of Singing to the Gods, with additional interviews, photos and updated documentation of his films, recordings, live performances and television appearances, deserves a place on every Lanza-phile's shelf. For the lay reader, the MYTH of the would-be opera legend is trumped by the real story of a failed movie star who destroyed his family as well as himself. Despite the author's wish, a Hollywood ending to Lanza's history is unlikely. "It surely is only a matter of time," Mannerling writes, "before his event-filled life is told on the movie screen." An odd statement from a fan who bemoans the stage career his subject should have had. With an outsized vocal talent and a death so tragically young, might not Lanza finally be ready for the opera stage?
Labienus -- You puke you, about M.L. , while you yourself, fully eaten, fat as a pig, senile, drunk, full of drugs, in your filthy home, sits on your rotten butt, and wait for the money from the social office. My answer, quotes just from expert mouth. A short video, recognition, the way Mario Lanza, see you, at Vincent di Placido. Titel: Pappano on Lanza. Pappano explores every aspect of the art of great singing. Sir Antonio Pappano (music director of the Royal Opera House since 2002) explores the great roles and the greatest singers of the last hundred years through the prism of the main classical voice types - soprano, tenor, mezzo-soprano, baritone and bass. Through discussion, demonstrations and workshops, Pappano explores every aspect of the art of great singing.
BROKEN PROMISES (Derek Mannering's reissued biography of Mario Lanza further mythologizes the tragic tenor and his legacy) Mario Lanza:Singing To the Gods by Derek Mannering HE CAME, HE BINGED, HE DIED That in brief is the sorrowful life of Mario Lanza, the gifted Philadelphia-born tenor whose definitive film role, as the title character in the Great Caruso, inspired a generation of opera singers, but whose indulgent lifestyle-short bursts of musical glory followed by gluttonous, alcohol fueled benders-destroyed his career and ended his life in 1959 at age thirty-eight. Though Lanza made (and lost) his fortune in movie musicals and studio recordings, Mannering mythologizes those choices as circumstantial diversions from a stellar career in opera, the totality of which comprised two student performances of Fenton in The Merry Wives of Windsor at Tanglewood, and two professional performances as Pinkerton in Madama Butterfly with New Orleans Opera. Of a purported invitation, when he was 36, from Rome Opera to sing Cavaradossi, Mannering offers a naive assessment: "If he had managed to get his weight and his drinking under control, he could have undoubtedly made it the operatic portrayal of his career"- as if native talent and abstemiousness were sufficient for success as an opera singer. As Mannerling himself reveals, Lanza was completely lacking in the other 99 percent of the job requirements-preparation, discipline and showing up. That Rudolph Bing would have nothing of him at the Met is presented as a slight, rather than good judgement. This new edition of Singing to the Gods, with additional interviews, photos and updated documentation of his films, recordings, live performances and television appearances, deserves a place on every Lanza-phile's shelf. For the lay reader, the MYTH of the would-be opera legend is trumped by the real story of a failed movie star who destroyed his family as well as himself. Despite the author's wish, a Hollywood ending to Lanza's history is unlikely. "It surely is only a matter of time," Mannerling writes, "before his event-filled life is told on the movie screen." An odd statement from a fan who bemoans the stage career his subject should have had. With an outsized vocal talent and a death so tragically young, might not Lanza finally be ready for the opera stage?
Si en esa lista no pones a ENRICO CARUSO es como sentarse en una silla de solo tres patas .El es el dios del "bel canto " , los demas , no desmerecen .La CALLAS y la CABALLE , son las diosas por excelencia .
Este f. greu de ales dintre aceste voci minunate pe cea mai....minunata;eu am totusi un preferat pe CARUSO .Este minunata si muzica care le pune in valoare vocea.👏👏👏👏👏👏
Javier Camarena y Juan Diego Florez por ser latinos transmiten alegría y calidez a sus interpretaciones, Bocelli es armonioso y de voz dulce, se entiende la letra de la cancion, no grita la canción
اصوات رائعة مدهلة اصوات من السماء تبعت الراحة والسكون والسعادة في النفوس ارتاح لكل هده القمم لا فرق بين الورد والقرنفل اتمنى السعادة للاحياء منهم واارحمة لمن غادرونا (مصطفى اجكني اسفى المغرب)
Dalszych sukcesów dla Piotra Beczały. To wybitny polski tenor, niestety w Polsce mało propagowany, podobnie jak wielu innych polskich, wybitnych artystów.
Credo che Bjorling dovrebbe essere rivalutato e piazzato nell'olimpo dei più grandi anche lui, molto in alto, era impressionante! Non essendo italiano ragazzi!
thank you for this unique compilation of greatest singers of all times (so far!) . There is NO best, each and every singer gave his best ❤️ I listened to famous tenors for about 70 years....including older 78 recordings that cannot be compared to nowadays technical standards. 🙏🏼
@@judithbrandl Most of us have a favorite. That's human, but there are several singers on this list who do not rank with those at the top. There is, for example, a big, big difference between the quality of Di Stefano's singing and the singing of Juan Diego Florez. Di Stefano would beat him every time. Did Di Stefano need a body mic to be heard in an opera house? Of course not. One wasn't available to him when he was singing, so if he needed one to be heard in an opera house, he never would have had a career. I just picked Di Stefano. I could have picked one of several others. My point is this: prior to recent times, opera singers performing on stage sang without the aid of modern electronics, in this context, body microphones. Consequently, they had to train their voices in such a way that they could project their singing from the orchestra level clear to the very top of the opera house, to the last tier of seating. They also had to be able to do this type of singing over the sound of an orchestra. With maybe a very few exceptions--depending on when mics first became available to opera--All the late 20th century and very early 21st century opera singers sang without body mics when they were singing opera in an opera house. Now, things have changed. Because a singer--no matter how weak or thin his/her voice is--can be easily heard with the use of a body mic, then that singer does not need to develop the special skills of earlier performers. And so, for the most part, they don't. It does involve a tremendous amount of very hard work. Consequently, what we are hearing is an amplified voice, one amplified by the use of a body mic. I know I am picking on Florez a bit here, but his name is on the list as one of the great singers, so he--like anyone else on the list--is a candidate for criticism. Now, lots of people are oohing and aahing over Florez's high C's, someone even saying he makes them effortlessly. I have watched the video, the A Mes Ami. Yes, he does make the 9 high C's. Effortlessly? Go listen to the aria again. Fast forward toward the end so you don't have to hear the entire aria if you don't want to. Now, go find the Pavarotti video of the same aria. Remember: no body mic. Listen from beginning to end. Listen to what I call that beautiful, clear, rounded, gorgeous, golden, Italian bel canto sound! Listen very carefully to Pavarotti when he begins the string of high C's. I read--I think it was in one of the tributes published after his death--that the loud, clear, ringing sound of those high Cs shocked the audience right out of their chairs. No one ever expected to hear anything quite like that, something so brilliantly executed it made your hair stand on end. The singing of this aria marked the true beginning of Pavarotti's long and stellar career as an opera tenor. Now go back and listen to Florez sing the same aria. If you aren't laughing, something is wrong. What is my point in writing so much. I really am unhappy when people say something to the effect that all of these tenors are great, and each is great in his own way. I would argue with anyone who says they are all great if what they want to say is they can't or won't decide who is better than someone else. We have to discriminate the good, from the not so good, the poor, and then the very poor. Otherwise, we are saying we have no taste, and anything is fine with us. It doesn't matter. Here, we talk about opera. Unless you are content listening to slim--or maybe just a bit overweight--physically attractive singers who do not sing in the tradition of opera but instead sing with the AID of a body mic, then you and I need to stop paying the exorbitant prices we pay to hear these singers in an opera house. Even the person I would put on my list as "very poor", Bocelli, commands, I believe, $1,300 a ticket. I think that was the charge to see him recently in Charleston, SC. Why my ranking of Bocelli? Briefly, a very, very thin voice made somewhat pleasant by the aid of microphones and modern electronics. Listen to all that reverb! Lots, and lots of people love him, I know, but go read some Bocelli criticism written by classical music critics! Enough of me for now.
Siempre es de alabar estos aportes a la cultura y al Bello Canto, aunque es incómodo juzgar y comparar a estos tenores, que cada uno tiene mucho valor. Me asombró el tenor Giovanni Martinelli que en las notas super altas se paseaba como si cantara notas intermedias; otro que me asombró fue el tenor negro Lawrence Brownlee por la enorme belleza y firmeza de su voz pero que nunca llegará al Olimpo por evidentes e infames razones y porque las grandes Óperas se escribieron por blancos y para blancos. Del mismo video puedo criticar que muchos verdaderamente grandes se mostraron con canciones populares que por muy buenas que sean no se pueden comparar con Nessun Dorma, por ejemplo. Tambien puedo observar que las interpretaciones de algunos grandes tenores, como Richard Tucker, fueron cortadas antes de llegar a la parte de mayor lucimiento. A mí, personalmente, me gustan mucho Mario Lanza, poderoso e inconfundible aún en los agudos y en los pianissimos y el maravilloso Franco Corelli, tenor spinto, con una bella y poderosa voz, con la potencia de un barítono y la altura y delicadeza de un tenor lírico y que, como María Callas, sacrificaba el aburrido canto tradicional y técnico para lograr un bello efecto al actuar, era apasionado y dramático y solía pasar de notas altas a bajas y viceversa sin el corte de notas o alargaba la duración de notas que le parecían particularmente bellas. Además, aunque no tiene nada que ver con el mismo canto tuvo la mas impresionante precencia en escena, por su esbeltez y gran apostura. Con relación a Lanza, el si cantó ópera, aunque muy poco, y entiendo que al dejar el cine tuvo ofertas para cantar en La Scala, pero la muerte lo sorprendió a los 38 años.
Miguel Fleta ha sido lo máximo. Estrenó Turandot y fue el primer Calaf por indicación de Giacomo Puccini. ¡ Cómo sonaría con las actuales tecnologías ¡¡ Algunas de sus antiguas grabaciones pueden escucharse por este medio. No se lo pierdan ¡¡¡¡¡¡¡
