Now this is singing! ⭐️🌹⭐️ Gigli teaching a young singer how to use his instrument - and how to be humble in the face of true art... Present-day tenors, watch this - some of you might need an extra lesson! Thank you for sharing this wonderful snippet from one of Gigli‘s old movies! 🙏🍀 Such a pity they don‘t play these any more...
@everyday tenor I‘m afraid I never saw a movie with Schipa... but when I was a child there were several of Gigli‘s movies running on television. I realize that there are also movies to be watched on RU-vid, but right now I have so little time... not even enough for my beloved musical sessions... But maybe, someday, I‘ll get a chance for more than one wonderful movie evening... Once more, all the best!!! 🍀🍄🍀 I should have asked before: Is there a chance to listen to you singing on RU-vid?
I know I’m stating the obvious but u think this tenor is acting when he appears to be moved by what Gigli is doing…..OMG FAR FROM. I can only hope you singers and teachers understand what’s actually going on here. It’s an absolute LESSON in chiaroscuro. This is an example of Gigli shading his voice…..and I mean throughout the whole aria……he decides to use inherently DARK tones with light rims!!!!! This is so opposite to what comes naturally to him……Gigli in his dramatic roles typically sings inherently light notes with DARK rims. Not hear….he sings the ENTIRE ARIA WITH DARK NOTES….but he adds just enough of a chiaro rim (light) around each note to give it squillo. Just enough resonation in the head cavity to let the notes ring….else they would sound like regular chest notes with PERFECT control/vibrato but no resonance….no head tone…no squillo. And pls remember, he doesn’t have the luxury of a Tamagno to be able to sing chest note and have it ring throughout the theater. Gigli can only accomplish this if he lets at least 25% of it resonate in his perfect head cavity. I know the German singer is not acting at all….cus what Gigli is doing is as difficult as it gets…..if you want to maintain that quality….and effortless transmission, while shading dark enough to be dramatic but light enough so the notes are alive with resonance (squillo ). If there are any Gigli lovers out there or students or teachers who want to learn something…..please search for Gigli’s live recording of this area from Covent Garden in the same year…1938. Type in encore to help find for Gigli is “forced” By the patrons of Covent Garden to sing this aria twice in 1938. The first time is TOTALLY different than this…..he uses inherently OPEN tones with DARK RIMS. When he is forced to sing it again due to the ceaseless applause he totally changes his approach after the open “O dolce baccio….etc”. He moves to the tones created right here….throughout this version. I used this as a teaching example to a British friend of mine nearly 20 years ago. And my friend had a wonderful voice. He was floored by the contrast and told me he understood exactly….even though he couldn’t reproduce the technique…..hell, who can….this is Gigli for Gods sake. The more I can spread this knowledge….the better the world of singing becomes. But the difference in tones between these two renditions is amazing. I’m sure you all will be able to hear it!!!!!!!
"...u think this tenor is acting when he appears to be moved by what Gigli is doing…" Absolutely. They are all acting - the woman, the German singer and the two men at the door. That's because they ARE actors and were directed. This scene, nowadays it appears a bit ridiculous, reflects the typical filming style including the over the top acting of that time. There are many more b/w examples out there.
In fact, if a teacher gives singing lessons with demonstrations on this level - he will never have many students - a beginning singer will not be able to sing like that, and unsuccessful attempts can undermine faith in his own abilities. Moreover, I am not touching on the issue of natural vocal abilities - it is clear that such voices are very rare... But beginners themselves are obliged to listen and re-listen to the recordings of the Greats, if only in order to realize their own imperfections and the need to strive for perfection. Вообще-то, если преподаватель будет давать уроки пения показами такого уровня - у него никогда не будет много учеников - начинающему певцу так не спеть, а неудачные попытки могут подорвать веру в собственные возможности. Притом, я не касаюсь вопроса о природных вокальных данных - ясно, что подобные голоса - большая редкость... Но сами начинающие обязаны слушать и переслушивать записи великих хотя бы для того, чтобы осознавать собственное несовершенство и необходимость к совершенству стремиться.
