Also, Lemeshev recorded that aria like 5 times. He was much older than Sobinov in the one they picked. It makes no sense. The older ones are more similar in recording quality too.
My Request for the voice of the all tenors singers in the all of the world among the others : YOUNG TEEN SON YOUNG TEEN BOY YOUNG TEEN KID YOUTH TEEN SON YOUTH TEEN BOY YOUTH TEEN KID TEENAGE SON TEENAGE BOY TEENAGE KID TEEN SON TEEN BOY TEEN KID THIN SON THIN BOY THIN KID TINY KID BAD SON BAD GUY BAD BOY BAD KID
THEN I WANT TO LISTEN OF THE ALL TENORS SINGERS ARE SING WITH THE VOICE LIKE A RUSSELL HITCHCOCK, QUENTIN MORIOT, QUENTIN BRUNO, CHARLIE PUTH, MITCH GRASSI, TOMMY PAGE, TENDERLING, PRETTY BOY, ZAYN MALIK, WONDERKID, BRAD KANE, COVER BOY, BABY GLOW, BABY FACE, CHILDREN, BABY BOY, CHILDISH, BABY KID, CHILD, SON, GUY, BOY, AND A KID.
Some nonsense going on here. The unequivocal role model of nasal singing, Alain Vanzo, is shown and can easily serve as a benchmark for nasal singing. Is Lemeshev singing nasal in comparison? No. What can be said is, that Lemeshev and singers like him add tads of nasality for certain notes or short phrases here and there within their interpretation. Legit. Given they are leggero tenors that is acceptable. Wouldn't make any sense with other voice types like (strong) lyric, spinto and Helden.
According to Mister Opera a lot of medium and lighter singers use subtle nasality to make certain transitions easier. Maybe the issue is that the word "nasal" actually covers a vast number of situations. Just one word for a half dozen possibilities and no way to distinguish them - that's a recipe for confusion.
@@Thisisopera So you are not Mister Opera? This subtle nasality for transition idea is in line with what I wrote in my first post. Singing nasal facilitates the transition and the singing in general. Apart from the poor sound, nasal singers don't stand a chance to sing over an orchestra in a theater. Actually, there is only one situation where nasal singing becomes apparent.That's when the tone is pressed into the nose (nasal) instead of bypassing it. Bypassing is achieved by clenching the hard palate, thus blocking the entrance into the nose. Again, listening to Alain Vanzo makes everything clear.
This channel has multiple mods, so you may at some point be talking to Mister Opera. From Mister Opera specifically: yes that's right, and you can see in the videos on visualizing vocal acoustics there is a demo with a computer simulation showing how opening the nasal passage introduces "anti-resonance" because the nose behaves as a Helmholtz resonator. For more robust singing it's not recommended but LOTS of "Italian tenors" are using nasality especially in the middle of the voice. Not my favorite TBH but probably a lot more sustainable than nasalizing above the "passaggio".
That nasal comes because of open mouth and of roundy, singing on a soft sky, singers smtimes wrong to sit on the nose but Lemeshev isnt so bad. Look at atlantov: he is much worser, nasal, without high notes, throaty
