The prize goes to the pool scene where Mario does gymnastics while singing Esultate at 7:00 am - but all of a sudden is overcome by his titanic impulse and has to hurl the heavy chair to the waters!
His acting of Pagliacci is completely and ridiculously over the top. Corelli was a better actor and a better singer than Del Monaco was. He also had a large voice, which he knew how to use. He didn't bellow loudly all the time.
@@SymphonyBrahms You are entitled to your bias opinion, but your statements are not accurate. Miles Kastendieck review. 11/07/1958: Mario Del Monaco shows some signs of being a character instead of being the star tenor. His Canio is a credit to stage director Quintero, as it is to himself. The day has certainly arrived when the acting ability of singers must be as important as their vocal talents. JB never accomplished this. Peter Davis review 03/11/1964: Corell's Canio was with one exception, sung and acted with unrivaled vocal splendor and passionate involvement. The more is the pity that '' Vesti La Giubba'' was delivered as a veritable orgy of sobbing, gasping, sighing, staggering, and carryings-on that reduced the scene to ridiculous nonsense. Both FC and MDM had voices that could fill any opera house, But Del Monaco's voice was larger. MDM was also a better singer adhering to the music more so than Corelli, who had a great voice, but ran ahead of tempos and the orchestra to get to his great high notes. FC also used excessive portamento where not written and scooped occasionally. Both tenors did hang on to high notes too long which the audiences loved and they both took liberties with the music in live performances. Not a strong quality of his , but there are also many examples of MDM singing in mezza voce with subtlety here on YT. O Paradiso, The Flower song, Cielo e Mar, M'Appari, Lohengrin arias, Juive,The Forza arias, Samson, Ernani, Manon Lescaut with Tebaldi and a 1954 Tosca with Caniglia and Guelfi, where MDM encores the '' E Lucevan Le Stelle with mezza voce and a reinforced diminuendo. No tenor is perfect, and no other tenor in operatic history had the option to sing loud and louder. It's unfortunate you never saw Corelli or Del Monaco in the opera house. Both were grand spectacles in spite of what the critics wrote.
Del Monaco is an Olympic God. Also - he sets the standard for aristocratic living, which mandates a villa with a pool, surrounded by priceless artwork purloined from prestigious art museums purporting to display treasures of the antiquity. How could a Roman God deal with anything less! Thank you Maestro del Monaco! For all the beauty you gave us mortals! Wish you would have sung in Bayreuth and shown what the true Siegfried and Tristan sounded like!
Maravilloso . Oh Dios mio , esto es fabuloso Raudal de energia, gracia , ingenio. Mario del Monaco, Mario del Mundo. Recordando a las monjas salesianas de Maria Auxiliadora en Havana. Sor Flaminia, Sor Maria Bicoti,Iginio Paoli from Trento,a esa maravillosa gente italiana con la que creci les debo lo que soy
Tenore eroico. grande cantante, ottimo attore, voce gloriosa ma la sua personalità é pericolosamente istrionica... a volte rasenta la gigioneria e per favore non confondiamola con l'autoironia.Dopo di che grande rispetto per l'artista...
Cose la sua ..la parola di Dio? Si ricordi che gli artisti veri sono così...ho detto artisti non solo cantanti...è ben diverso...egli gioiva e soffriva della sua vocalità e della maniacale perfezione dei suoi personaggi..Del Monaco è qualcosa di più di un isrtione è un artista perfetto DIVINO.Mi dica chi nella storia curava anche con amorevole e passionale follia l'arte del bel canto? A non viene in mente nessuno mi scusi,ma Del Monaco non era uno spara note.
@@alessandromoccia471 Franco Corelli è stato un grande al pari di Del Monaco, anche lui grande voce e presenza scenica, oggi abbiamo Bocelli e il Volo, finti tenori dalla voce inconsistente imprestati alla lirica, che tristezza.
I agree with some of your points. Though when I spoke of a true reflection of MDM's power, I meant trying to ascertain what was actually coming out of his mouth in terms of decibels & overtones, rather than the effect he had on an audience under theatre & full orchestra conditions. I find it difficult to assess the power of singers in footage of staged performances, but easier under conditions I can more easily relate to.
Just a little... neglecting his original habit, when in Venice to sing at La Fenice Theater, of walking through Venice dressed as Othello or another opera heroes, think about that after some many years in Treviso, the city near his manor, old citizens still remember some anecdotes about him. Just a sample: one day, while he was looking for a parking, a small car stole it. Well, He pushed the gas of his Rolls Roys and wrecked the small car against a wall. After parking his car, he got out, and he immediatly repaid the damage like nothing happened...
dedico esto a la memoria del abogado cubano , maestro en Los Angeles City College. Orestes Perdomo....hubiera disfrutado al maximo este bello documental de Mario del Monaco
Straordinario. Certo in OTELLO è stato uno dei più grandi tenori di ogni tempo. Tenore lirico spinto drammatico, con una potenza di emissione raramente eguagliabile. Voce rotonda pastosa e dotata di bellezza di emissione. Gli son forse mancate la duttilita' e la gradualita dei crescendo : il tutto dovuto ad una possanza e potenza straordinarie difficilmente controllabili.
For Artists it is o.k and useful to a bit cracy in normal people opinion. His voice was great and i think working with Maria Callas was fine for both. He was full in the roles he sang and that is missing today...
@@SymphonyBrahms You actually have no idea of what you're talking about. BTW, Your favorite tenor''Jussi Bjorling'' failed in Aida in Chicago in 1958. When you get a chance, if you will allow yourself, read David Akins, '' Looking back on Mario Del Monaco" His 2 favorite tenor's were Bjorling and Del Monaco. How odd!
Is this a parody or what?... I really hope so because if not, then this is the most ridiculous thing I´ve ever seen. If he was like that, then he was so full of himself and I would feel sorry for those who had to live next to him. Sorry, but his video is ridiculous!
Over the top Grande Opera. He also played the violin, piano and was a sculpture. Lauri Volpi mentions in his book," That if one day, Otello has deflated him as a tenor, Del Monaco could always sing as a soprano, as He had a trick soprano voice with an extension up to E Flat
Ascolta carlo 331 nessuno vuole minacciarti ritengo però che tu sappia che Del Monaco è stato il più grande tenore della storia del bel canto. Quanto hai visto nel filmato in particolare, la sequanza della piscina, fa parte di un copione che la RAI (per esaltare il personaggio) gli ha fatto recitare. Ti invito ad ascoltare Del Monaco, ne trarrai beneficio. Grazie per avermi letto
Cont', given the immense power for which he was often acclaimed, & rightly so, I suppose I felt somewhat underwhelmed by his voice in this clip. In conditions like these, singing with piano in a relatively small room with bare walls, I guess I expected his voice to sound like a bomb going off, & it just didn't strike me like that. But thank you for responding, I've enjoyed the debate!
Stia attento? Cos'è: una minaccia? Non sia ridicolo. Io dico quello che mi pare e, nel caso specifico, ribadisco che da questo filamto emerge un personaggio con un ego smisurato e tutt'altro che equilibrato.
Ripeto come già detto una persona che a scritto su per giù come lei...se non avesse avuto questo che lei chiama ego e io chiamo arte non sarebbe stato MARIO DEL MONACO poiché i suoi detrattori erano pronti sull uscio a distruggerlo ma grazie a Dio non ci sono mai riusciti W Il DIVINO
In ogni caso,è un personaggio molto diverso dal tenore usuale...molto colto e con un profondo rispetto per il pubblico ...infatti non ha mai cantato se non era al massimo...chi l'avrebbe potuto sostituire in Otello o in Sansone??? Naturalmente aveva delle "fissazioni"...chi non le ha,specialmente fra i tenori...saluti
No opera singer would get anywhere on hype & myth alone, of course. They have to produce the goods live. But your point about amplification is valid for the reason I stated. Opera houses are designed to enhance, amplify, & reflect sound. Rooms in a house are not. This gives a truer reflection of MDM's power than an opera house. I'm not implying that it wasn't a very large voice, just that poetic licence & hype gives it supernatural proportions that it did not possess.
Really,? Look up Hines Corelli and Zucker here on YT, where Hines states , ;;that upon hearing Del Monaco for the first time in a 1951 Aida rehearsal, ''it was the most GIGANTIC sound I ever heard. Am I right Franco? CORELLI REPLIES,'' IT'S TRUE, IT'S TRUE.
Pawelp, I was referring to the fact that in a setting to which we can all relate, (a room in a house with piano accompaniment) Del Monaco's voice was not at all overpowering in the way you might expect of a full dramatic tenor. The accompanist feels no distress from him singing so closely. I listen to what I actually hear, not the hype & the myth.
No Myth, MDM's voice like Richard Tucker's needed space to be fully appreciated. It was a larger voice than Corelli's, as I can testify that I saw them both circa 1962. Jerome Hines also gives testimony here on YT ''Hines, Corelli and Zucker" Hines states, that upon hearing MDM for the first time in a 1951 Aida rehearsal, "It was the most "GIGANTIC "sound I ever heard and the on lookers in the cast remained with their mouths open" Am I right Franco? Corelli's response was" It's True, It's true. Also overlooked is Del Monaco's masculine beautiful bronze quality of voice.
@@sugarbist I agree that MDM possessed a bigger voice than Corelli. Corelli was a spinto, whereas MDM was obviously a dramatic tenor. People who had heard both live, however, in the same house (which is crucial) attested that Tucker had the bigger voice.
@@hiyadroogs Tucker was a spinto as well. My friend or Acquaintance tells me that Tucker equaled MDM on top but not the middle. He also told me that Tucker, like MDM had to be heard in the house to be fully appreciated.
@@sugarbist I agree that someone has to be heard in context. Recordings are not the best way of assessing size or quality. Voice size depends upon many variables. Is the singer hydrated, rested & in good voice? Voice size can vary enormously from that alone. Also, voices with lower harmonic distribution (chest register) carry much further in houses with soft furnishings that damp upper partials, like squillo. Whereas a house with many hard surfaces & good acoustics, will favour voices with high partials (head register predominance} Jussi Bjorling for example, would have sounded fantastic in a hall with good resonance & acoustics, because his high partials would carry brilliantly. But in houses with soft furnishings, it was a small voice.. Acoustics do strange things. Tito Gobbi went to see Schipa in the open air arena in Verona. He wanted to hear how such a small bland voice would sound in such a large open amphitheater, when so many a true dramatic voice was often lost if the wind was heading in the wrong direction. He sat right at the back, yet said that Schipa's voice could be heard almost as if he were standing on the step below. Athleticism is not projection. It is just effort applied, & unforced well resonated voices usually carry best.
What a puffed up old ham he was! lol. & certainly a character. I was surprised though, listening to him singing in his drawing room, in a more realistic setting, where it is easy to judge vocal size, how very much smaller his singing voice is than is often assumed. There is no way on earth that anyone could stay in a drawing room with Francesco Tamagno singing! - The squillo & upper harmonics would literally burst your eardrums.
You obviously never heard Tamagno or MDM. Jerome Hines mentions that Del Monaco's voice was the most GIGANTIC sound he ever heard in rehearsal for his 1951 Aida debut at the Met and the onlookers in the cast for Aida were looking at him with their mouths open in amazement. Here on YT, Zucker Corelli and Hines interview.
Recordings of Tamagno were near the end of his career after age 50. There's no way of telling how big each tenor voice was without hearing them live, However, Del Monaco had the superior quality of voice , phrasing and diction.
@@sugarbist Quality of voice is subjective. Even at 54, 4 years into retirement, forced upon him by the very heart failure that would kill him at 55, Tamagno sang far better technically than Del Monaco did in his entire career. Also, there is no way of telling via the acoustic recording system how a voice actually sounded, since partials below 300 hz & above 3000 hz are not picked up by the primitive tin horn, scratching resultant vibrations onto a wax cylinder via a needle. This is why Sopranos sounded like little girls, & basses & baritones like tenors.
@@sugarbist I think we can agree that Tamagno was purely a tenor voice, with no baritonal hue to his timbre. The baritenor sound only became popular after Caruso. But Caruso had unusually thick vocal cords by nature, so his timbre was entirely natural, with no umlauted artificial vowel sounds to enrich the sound like all modern voices do. Before Caruso, all voices followed the bel canto technique of allowing the head register to predominate. Therefore Tamagno was most likely a dramatic version of Lauri Volpi's lyric voice, which was also a pure tenor, loaded with phenomenal squillo that has never been equalled in my experience. Listening to Lauri Volpi in his acoustic era, the voice sounds muffled and dry in timbre, because those very high partials that form squillo cannot be picked up by the horn. It is very evident that the voice is much smaller & lighter than Caruso. However, in the mid 1930's live footage & electrical recording reveals the voice to be incandescently bright, powerful & loaded with squillo. Though he described his own voice as a lyric voice of the theatre, it was obviously bigger than either Tucker or MDM above the passagio. The same would emphatically would have been true of Tamagno
@@hiyadroogs I don't agree that Tamagno was technically better than MDM. I don't hear Tamagno sing the 1/4 notes in the Pira. I have no idea if Tamagno sang the Scerzo aria in Ballo laughing as MDM and few tenors did. His Improviso is not that good, taking breaths when He seems to need them. But again, FT did not record in his prime, and the recording technology was antiquated. It also seems that the Dramatic tenor in that era Like Tamagno, Escalais and Paoli all sang or had greater facility in their upper high notes, singing Gugliemo Tell, and Ugonotti.
Deaf foolish savage! How dare you!!! Go listen cracked wooden pavaroti, a barkers mingo, careras!!! They are for you, a hypocrates with foolish faces, mask always will be in their faces, they never were a true singers!!! Just for money, their freak popularity. Pavarotti responded to complaints about their incomes: "We make the money we deserve. We're not forcing someone to pay us."
@@sugarbist As i said earlier, it is a serious for him. And my feelings the same when i listen a MDM, and other great singers. It can't be stopted, it is a Verdi, Pucinni music (i mean a lot of composers, who was made and behind the great operatic arias)... You can't hide this. Seems crazy sometimes, but it is s true music and a singer must be opened, show his actor skills. Mario showed high notes on his records! Mario was so mad on music, a true actor and dramatic tenor!
