Absolutely gorgeous voice, like Merrill, Herlea, and Tucker. Almost flawless technique and interpretation from top to bottom. His top sounds like a less metallic Warren and even occasionally reminds me of Del Monaco.
I find his high notes have a similar timbre to mine but his lows are too light compared. Its crazy how much control is necessary to even sing above E4 let alone phrase and be comfortable there. Gorgeous voice
@@KajiVocals Yes, and people really dont understand how hard that is, belting a full out F5 like Whitney did was more difficult a coordination than a SoHyang's C6
Different formant coupling though. Igor is covering those notes while Whitney was belting. But I agree that belting in curbing mode like she did up there is way more difficult than mixing.
@@youngornitier I am going off the passaggi there, in full voice. And talking about a specific type of belt. And voices physiologically speaking operate the same way if coordinated the same way… Many studies that confirm this.
Do you know any videos that talk about vocal covering? I hear about it alot, but have not seen a video showing examples. Thanks your videos are very much appreciated.
@@youngornitier Joseph shore was never woofy, only pitchy & tensed because he pushed his covered aproach technique too much past the limits of his natural tessitura to sing tenor/bass roles, of which it was of a higher set dark dramatic baritone
@@youngornitier woofy for me is a forcibly depressed larynx, overthickened, over densed singing approach like kaufmann. Shore for me wasn't me wasn't woofy as his natural mid voice (when not overreaching himself for the rangewanking) still had the natural colour/timbre of a darker baritone. He only became pitchy & overtensed with his covering when stretching it past where his natural high tessitura ends which is g#4/a4 for a dark verdi baritone
@@youngornitier @young ornitier Giuseppe giocomini never was woofy, he just never able to master the fluidity richness of his timbre/colour to his legato (probably due to a ailment condition on his chords) causing him to have that thin, dry, not so pleasant/beautiful timbre to his voice. Other than that he was great singer who knew how to be emotive & manouver around the appropriate arias. He managed to drown Milnes in the verdi duet
@@youngornitier yeah I get what you saying bright dramatic baritones to dark light lyric tenors will all have the same dark full timbre which what confuses the perception & leads to the mistraining to the wrong fach
I won't call Igor a high baritone. Although he has endurance with booming resonance in high notes, his passaggios are quite clear in this video: Bb3-Eb4-F4-G#4. Average baritone indeed, neither higher-set nor lower-set. Jerome Hines, Feodor Chaliapin also have Igor's high notes as basses. His cover technique is good enough for an average baritone to stand in lower part of tenor's golden high notes. Robert Goulet is a high baritone, on the same high notes it sounds like Igor is reaching for a higher note with his instrument, an indication of lower-set instrument.
Hmm. I would certainly not call Robert a high baritone. I’ve seen him choke on A3 before. I spoke with a student of Gorin’s. He spoke of Gorin’s passaggio technique and his shift on C and F.
I would push his passagio to c4/c#4-f4/f#4 given how he phrases the g4s in old man river like a Lowe tenor or any tenor at his mid range. I'm sure he could've sang a Walse given how many sustained g4s he has
