@@joaquincanale I think he sounds great here but it does feel a wee bit preplanned? I just wonder what would’ve happened if the cameras weren’t there… Nevertheless it’s a fun moment I will show my elementary school theater students. Minus my somewyskeptical take on it.
Respectfully disagree. Recording technology used in commercial recordings in the past 90 years has generally not had such large speed variations that it could affect the apparent or real vibrato. Early recording techniques (acoustic) had severe limitations in frequency response, which could drastically affect the apparent timbre of the voice, or introduce harmonic distortion or overloading of the recording or playback equipment. Only amateur recordings made with sub-par equipment are likely affect vibrato.
This CAN be true (in cases like callas) but I have heard singers with quick oscillations who are flat, and singers with a warble be sharp. I have also heard both cases be on pitch.
When you see early footage of Pavarotti without his beard, it’s impossible not to stare at his mouth. It’s like a huge cavern that just keeps getting bigger.
Quite contrary. In their days singers demanded to get a chance to show themselves. It was common the score was written according the abilities of certain singer. Those who cannot take this note usually sing the roles of bad guys.
If one really want to "compare" an isolated note like this- perhaps using the same phrase for each singer from the same aria? That way the difference in vowels/words/approach are consistent and we can hear how each approaches the SAME C. The Trovatore C is a much different approach than the Boheme.
Many people, including some so called accomplished conductors and coaches do not know what you are talking about. They think hitting a note in singing is like playing piano.
@@grr8048 I was shocked at how widespread poor vocal methodology is ... and that even the best methodology is pretty crap except for making a select talented group blow their chords out for the most part. I literally invented a new methodology before I was able to actually cover pop and rock ... Some of the best voices I heard don't have a single song out ... nor did they ever perform on stage... the last time a serious scientist took a look at music was Paul Coojimans decades ago when he doubled the number of known chords. Most music is living in a dark age... audible sounds are not even described properly according to modern knowledge of physics and just pure awareness of what is heard
That may be true, but La Boheme is a lyrical role. It is a very regular role for any lyric tenor. Whereas someone like Franco Corelli hardly ever sang La Boheme. The lyric tenors will not sing Il Trovatore very often, Pavarotti only sang the role a handful of times. Singing a high C is not equal for all tenors. For a leggero tenor such as Kraus it is very easy to sing a high C. Most lyric tenors or lyric spinto tenors such as Pavarotti are generally quite good at high C notes. Whereas a tenor with a dramatic voice is not expected to sing high C notes, so for singers such as Corelli with a more dramatic voice a high C is a much more difficult achievement.
yo creo que eso no es cierto. la calidad de alguans voces y su técnica frente a otras es irrefutable sea como sea que se ha realizado la grabación. no hay lugar a dudas
Modern singers will never know how difficult this is. These singers are constantly belting out these arias without mics or with a very low volume mic. They are not covered by auto tune and perform these live almost every night.
The dearth of good male vocalists in particular is depressing. I will say that some singers are very talented, but their sound is dumbed down with bad music and over production.
@@brizzoke You also have to take into account that most modern music is derived from folk music, so the singing style and encouraged timbres are quite literally different.
The human voice is the organ of the soul ... “Shout it aloud, do not hold back. Raise your voice like a trumpet ..." I58 Trough the passing time the softness, maturity and deeper feelings, show up the world the exquisite King of Higher C's. Eternal life to the Greatest ... Il monello Pavarotti
The first guy conducting the conductor… that wouldn’t fly with any conductor I’ve worked with… I’ve played all of these operas many times. I will say I think I’ve only played the end of act 3 trovatore transposed to b tho…great high c’s from the tenore!
I can't really compare tenor with soprano, but I know C6 has always been painfully difficult for me. I don't think I can even squeak it out now. I'm suitably impressed.
A longtime voice faculty of major university (whose opera collection was so vast it was used/borrowed by public radio)...told me Corelli was a "pig" due to his musical ignorance and lack of discipline/liberties taken. However a great master voice teacher when I told him what other first man said about corelli (they knew of each other).. looked up to me with reverence and solemnly said "But the voice!"
@@Michael-mh4vr Dear Michael, Corelli was not musically ignorant and did not lack discipline. To his own admission, FC preferred the studio to live theater. He was a better singer in the studio, where he followed the music or the score more accurately, while not using excessive portamento and occasional scooping. However, he was quite different in his live performances, where he did use excessive portamento where NOT written, scooped to some of his upper high notes, ran ahead of tempos to get to his great high notes, and seemingly holding to them forever. I attribute his bad habits in live performances to the terrible stage fright that stayed with him throughout his entire career. Every great and good tenor has taken liberties with the music in live performances, including Gigli, Tucker, Lauri Volpi, Del Monaco, Di Stefano, Martinelli and even Bjorling, who was an impeccable singer. What defined Corelli was his great warm sounding voice, with the ability to caress the music, using mezza voce`, endless breath and diminuendo, capable of thrilling audiences more so than critics. Any tenor can fall to criticism including your favorite and mine. Can you imagine if we could criticize a tenor today for holding on to high notes too long. This option is not available. Enjoy
1 - Alagna - Che gelida manina 2 - Kaufmann - same 1) 3 - Kraus, Salut, demeure chaste et pure Faust Gounod 4 - Pavarotti same 1) 5 - Corelli, Di quelle pira, Il trovatore Verdi 5 - Martinucci same 1)
1 - Alagna - Che gelida manina, la bohème Puccini 2 - Kaufmann - see 1) 3 - Kraus, Salut, demeure chaste et pure Faust Gounod 4 - Pavarotti see 1) 5 - Corelli, Di quelle pira, Il trovatore Verdi 5 - Martinucci see 1)
Кауфман вообще не достал, больше всех Мартинуччи понравился - сохранилась тембровая окраска, самый красивый звук получился. На второе место Паваротти поставлю ))
1 - Alagna - Che gelida manina, la bohème Puccini 2 - Kaufmann - see 1) 3 - Kraus, Salut, demeure chaste et pure Faust Gounod 4 - Pavarotti see 1) 5 - Corelli, Di quelle pira, Il trovatore Verdi 5 - Martinucci see 1) 6 - Benderov see 5)
Kaufman is sitting backwards in a chair?? 1:10 What kind of sadistic composer writes a high C and then asks the singer to break the word in the middle? That last guy: ouch
1 - Alagna - Che gelida manina, la bohème Puccini 2 - Kaufmann - see 1) 3 - Kraus, Salut, demeure chaste et pure Faust Gounod 4 - Pavarotti see 1) 5 - Corelli, Di quelle pira, Il trovatore Verdi 5 - Martinucci see 1) 6 - Benderov see 5)
Luciano Pavarotti e Franco Corelli i migliori,peccato per la qualità della registrazione datata,infatti Alagna Roberto che è più recente sembra addirittura migliore. Ma il mio preferito è Mario Del Monaco(soggettivo)
1 - Alagna - Che gelida manina, la bohème Puccini 2 - Kaufmann - see 1) 3 - Kraus, Salut, demeure chaste et pure Faust Gounod 4 - Pavarotti see 1) 5 - Corelli, Di quelle pira, Il trovatore Verdi 5 - Martinucci see 1)
