RARE ELECTRIC: Titta Ruffo - Credo in un Dio Crudel [Otello] - 1929

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It's not widely known that Ruffo recorded three short films for Metro Movietone (uh...I don't know why I used the Vitaphone logo here). Only one-his film of Largo al factotum-is confirmed to have been presented on screen (as part of the reels before showings of Madame X at the Sam H. Harris Theatre, New York). Though none of the kinescopes are known to exist, the disc incisions of the films' audio have survived. As a belated birthday gift to Signor Ruffo, I'm happy to share the Movietone audio of his Credo, here at the correct pitch for the first time on RU-vid.
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This channel is primarily about vocal emission-aural examples of basically correct singing, correct impostazione-chiaroscuro, vowel clarity, firm and centered pitch, correct vibrato action, absence of throatiness or thickness, sounds free from constriction and from the acoustic noise that accompanies it-with occasional video examples that demonstrate what the body, face, mouth, jaw, and tongue look like when used with correct impostazione-the vocal emission of the one and only Italian school.
Caveat: I'm biased in favor of baritones and baritone literature, but if you want to learn about and listen to all the greatest singers in the old-school tradition, explore this spreadsheet (voice parts are separated by tabs): bit.ly/2W4qmE3

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10 июн 2015

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Комментарии : 74

@golden-63 4 года назад

And to think, this recording is from the period of time that Ruffo said he lost his voice!

@beckyyule1228 5 лет назад

Well that was....electrifying

@bodiloto 9 лет назад

Artista lirico ineguagliato . Un leone della lirica. Immenso . ❤️🌹👏👏👏👏👏👏 il vecchio

@carlklein3806 5 лет назад

A truly great voice thuout the baritone range

@gemmadestate3216 4 года назад

Uno di quegli artisti dell'opera che stanno nell'Olimpo!

@lucianobresciani1034 6 лет назад

There are three "Credo" that I perceive as magnificent references to the history of lyric art, due to the superb voice and sublime expressive ability of the actors: the "Credo" by Titta Ruffo (Movietone Audio 1929); Apollo Granforte (HMV1931) and Ettore Bastianini (RAI 1957 recording of the Milan Symphony Orchestra). All unique and inimitable and diverse as is the beauty of art. This without taking anything away from the art of other very respectable great artists and their valuable labors.

@juancruzgamarra5259 3 года назад

George London?

@robcardinal8430 2 года назад

Lawrence Tibbett?

@cruscante Год назад

Parole non vi appulcro!

@seaquest8 6 лет назад

His voice is aging dramatically here but good god!!!! ---Has anyone ever embodied the evil Iago with more dread or fury?? That demonic laugh and snarling tone. Such depth of character here.

@robcardinal8430 2 года назад

Great dramatic baritone!

@MichaelStBede 9 лет назад

How marvellous to have this recording : thank you.

@ricardobedini5345 4 года назад

La voce del LEONE........ no hay otro como titta ! ! ! * * * * * . . . . . . . . .

@Agorante 3 года назад

Do yourself a favor and read his autobiography - Mia Parabola. Best book of its kind ever written.

@TheGoaneta 3 года назад

His book is better reading than Alexander Dumas.A fantastic person he was!

@marcreuben6012 8 лет назад

I think too many people spend their time looking at scores instead of ejoying the music. They take all the joy out of music and, usually, have little in the way of good judgment, to add to the experience of listening.

@SilverSingingMethod 8 лет назад

Absolutely. Well said. Classical singers tend to sing like robots while taking no tasteful liberties for the sake of expression.

@TimothyJonSarris Год назад

I had heard that these films were made, but had no idea that the audio portion of one of them was still in circulation!!

@alessandrodelmagno9125 2 года назад

Nella frase : siccome crede la vedovella al tempio , nella parola -tempio- , Ruffo non ha più fiato. Difetto di respirazione , aggravatosi con l 'eta'.

@francesca7564 9 лет назад

Impressionnant ... Thanks for sharing .

@andrewmargrave7518 3 года назад

Ruffo is dramatically quite impressive. But his voice was nearly shot by 1929. He was wise to retire about then. He tends to flat everything from upper E-flat upwards, and low passages ("al verme dell' avel", "la morta è nulla") are taken higher. As late as 1923 he still sounded fine, as proven by a wonderful recording he made that year of Nilakantha's aria.

@benharper962 9 месяцев назад

His voice is basically in perfect balance here making sounds better than almost anyone in history. His voice was never “shot”. He did not know how to sing in a psychological sense (he said himself he had no clue what he was actually doing). He likely sang perfectly for years in large part due purely to kinesthetic and aural awareness and sheer luck, then his voice wanted to change, and he was not able to adapt and due to his natural talent, was without the personal tools and strategies to adjust to the physiological changes and thus his voice became out of balance. Singing healthily like this, the voice doesn’t just get “shot”. What I mean is physiologically the voice is likely in pristine condition. His cords sound very healthy. Unfortunately singing is 99% a psychological skill. The most naturally talented will often have the toughest time fixing any issue

@aarondimoff5180 5 месяцев назад

@@benharper962 You sound like a Ruffo cultist. Nothing you said was factually correct, you're simply grasping at straws trying to justify why your idol is singing absolutely terribly. He sang too loud, for too long, and his voice wore out sooner than it would otherwise. Doesn't mean he wasn't the greatest on earth in the early 1920's, he certainly was. Any real singer knows if you go too hard for too long, you pay the price. Del Monaco had a similar problem, as did Corelli. Other tenors with a less forceful approach kept their voices into their 70's and even 80's. Just accept facts.

@alfredbernasek6761 3 года назад

SUPER

@ronaldgoff7499 4 года назад

what a voice before he lost control as he said he never learned how to sing he was caruso of baritones

@michaeldale3096 6 лет назад

Interesting. Some noble tones, some of which are obviously powerful. One can learn something from everyone else so thanks trrill for posting.

@hashatz 7 лет назад

+Marc Reuben. Generations of opera goers have been conditioned to concentrate on the musical aspect of opera, almost exclusively. They don't pay attention to the score and even less to the libretto when without these components, there would be no opera. There is a lot to be learned from studying the score and libretto; they give us an understanding of the reason for telling a story while implementing the musical medium to do so. Since we are listening to an excerpt from Verdi's 'Otello', I pose the following question. In Act II, Iago suggestively says to Cassio: 'You [we both] know that Desdemona is the leader of our leader.' On what basis? Clue: [musical AND textual] Act I beginning with "Abbasso le spade!" and till the Love Duet. It provides a key to the entire drama that unfolds. If the clue does not suffice to clarify, I'll be glad to provide the analysis. I look forward to your reply.

@tomsalmon6334 5 лет назад

Prima la musica, poi, le parole!

@yaelpalombo4093 Год назад

💖👏

@emilyshortvideos3562 3 года назад

Revelation

@giovannidallapria5502 2 года назад

Completamente privo delle note gravi chi qui, infatti, completamente omette. Baritono, da "barùs": grave.

@martincook318 11 месяцев назад

Its been 70 years Since Tito Ruffo died and thank God for the Gramophone so the General-Public can still hear his Wonderful Voice and it Must have been a hell of a shock for him and indeed the Operatic would when Enrico Caruso Died on Tuesday August 2nd 1921 and I've got a copy of there 1914 Recording of the Duet from Otello Recorded Eight Months before World War One Broke out on Tuesday August 4th 1914 a War that was to claim 10 Million lives and the Russian Tasa and his family there lives and the German Kaisa his Throne in October 1918 and over twenty years later Germany was to lead Europe into another War that was to claim 40 Million lives

@1947Rollo 7 лет назад

Certamente non brilla come nei suoi anni migliori,ma sappiamo bene che la carriera di Ruffo nella seconda parte non è stata all'altezza della prima.Dare giudizi negativi,come ho visto qui sotto,basandosi su questa registrazione del 1929 è parziale se non ingeneroso.Questo è accaduto per molti altri grandi cantanti,uno su tutti Miguel Fleta. Oppure sarebbe come a dire che Pertile non fu grandissimo se prendiamo a metro di giudizio le registrazioni dopo il 1930.

@francozambosco2383 7 лет назад

Concordo appieno. Nel 29 inoltre i mezzi tecnici erano quel che erano e Ruffo comunque va rispettato per quello che ha saputo dare alla lirica.

@Ideiasclaras Год назад

Brazillian Song Vicente Celestino Amazing

@yglofmi Год назад

Muito boa dicção mas Apollo Granforte impressiona mais.

@boristemkin Год назад

"Al verme dell' avel" - why he sung it not as written? That isn't that low. And same in "la morte e il nulla".

@cherubello9340 8 лет назад

lontano dal suo standard che conosciamo in altri dischi, la voce è molto affaticata, il registro basso quasi evitato, quello acuto forzoso e privo di squillo, l'intonazione qualche volta approssimativa, la tendenza a suoni nasali accentuata. Basta ascoltare la versione del 1914 dello stesso brano. Evidentemente non fu così longevo, qui aveva "solo" 52 anni

@piealb1 8 лет назад

d'accordo da cima a fondo

@bodiloto 3 года назад

Cherubello Una registrazione sovente è una illusione... 1 parlando del registro basso ... Non voglio parlare dei miei segreti professionali voglio dire solo che i Baritoni dell’epoca di Ruffo Titta facevano molta attenzione alla posizione alta della voce . 2 Questa registrazione scarsa /come tante..../ purtroppo non rende giustizia . Meglio un’anno di carriera con la voce di Titta Ruffo che 100 con la vocina di Nucci ... Questa è la mia modesta opinione. Saluti cordiali il vecchio

@cherubello9340 3 года назад

@@bodiloto ricambio i saluti, altrettanto cordialmente, che è la cosa che più mi preme. Penso che esista tra l'evento originale, unico e irripetibile, e la copia riprodotta, un rapporto similare a quello che Platone immaginò fra l'idea e le copie sensibili che noi percepiamo. Non sapremo mai come avveniva l'originale, ascoltiamo le copie così come sono e sognamo un'idea. Ci sarebbe poi da parlare della dimensione dei nostri ricordi di un evento diretto....un altro mondo, più autentico ma deformabile dalla forza della reminiscenza. Alla fine l'importante è perdersi nell'amore di queste emozioni che provengono dal musicista, il creatore, e dai suoi esecutori storici e occasionali, compresi noi stessi.

@galinamarkova9792 4 года назад

В этой партии он, пожалуй мощнее тито гобби

@bodiloto 3 года назад

Galina Markova Не только в зтой ... 👍🌹 старик

@galinamarkova9792 3 года назад

@@bodiloto все равно Гобби мне больше нравится, в некоторых партиях он неподражаем. У Руффо тембр как из трубы, вязкий какой то, может запись несовершенна.

@TheGoaneta 3 года назад

Ну что вы «уцепились» за Гобби?Да,он был вдумчивым артистом и очень умным,кстати.Но!Руффо-это глыба!А Риголетто мне больше нравится от Роландо Панераи,а не от Гобби.Послушайте,почитайте,сравните и поймете многое.И еще советую прочитать книгу ,написанную Титта Руффо -«Парабола моей жизни».Ни один оперный певец так не писал!(Разве что Шаляпина можно сравнить)Читается,как приключенческий роман.

@galinamarkova9792 3 года назад

@@TheGoaneta ну а если мне нравится в его воколе тембр, легкость, он именно поет, а не выпевает, как на экзамене каждую фразу, голос его льется легко, такое впечатление, что и не дышит. Такого баритона пока не слышала, старалась прослушать многих. Джино Бекки понравился, больше никто. Да Руффо считается королем баритонов, только вот мне по душе Гобби. Хочу добавить, что неаполитанские песни в исполнении Гобби мне не очень, а вот драматические партии - это блеск, как артист он хорош.

@TheGoaneta 3 года назад

@@galinamarkova9792 Ну,это просто личные пристрастия у Вас .Здесь уже речь не об опере...Каждому своё...Просто если отступить от личных симпатий и понять смысл звукообразования ,интерпретации,фразировки,тембра голоса и артистизма,то можно получать значительно больше удовольствия от Оперы...Не буду вдаваться в дискуссию.Удачи Вам!

@alfredbernasek861 Год назад

UND TROTZDEM KEINER KOMMT AN IHN HERAN FANTASTISCH

@Perrosiutico 2 года назад

One of the great voices, to be sure, but he really didn't have the low notes of the baritone range and simply faked them.

@dennisferrara6940 2 года назад

Thank you even the voice from the 1929 Vitaphone; do you have access to the complete films?

@trrill 2 года назад

Ruffo’s films? No, they’ve all been lost. Only two still photos from the Figaro and the Africana shorts survive.

@JairFerreira1947 6 лет назад

And the low notes? Where are them???

@JairFerreira1947 6 лет назад

The low notes are in his record of 1914.

@AfroPoli 8 лет назад

Sure, this man had the voice of a lion and fabulous high notes and great register balance.. But hell, he was unmusical. Also, there are some pitch issues and a weak low register. Nothing below the C... unbelievable for a baritone.

@trrill 8 лет назад

+AfroPoli I agree. I don't listen to Ruffo all that much because his "style" annoys me. The musicality and *use* of the proportions of the music simply aren't on par with, say, Battistini. By the time of this particular recording, he was definitely feeling the effects of the changes (whether on purpose or accidental) he had made to his technique; constrictive tensions crept in and affected his ability to center the pitch and access the low end, just as you say.

@user-qu5rs7be3q 8 лет назад

+AfroPoli wonderfull dark bariton!

@SilverSingingMethod 8 лет назад

+AfroPoli I think we have to keep in mind that Ruffo had a huge career and was one of the greatest singers the world has ever seen. By the time he made this recording he was not at his prime. Having said that I don't think people understand that when someone like him gets in the position he was in he definitely took liberty. He definitely did not sing to "follow" the conductor. He made his own choices and tempi. If you look at this recording while looking at a Verdi score then it is easy to point out musical inaccuracies. Ruffo didn't care. Within the music and character this recording more than does its job. The emotion comes across. He sounds diabolical. I do not believe for one second that composers were not open to things musically. What I hear as far as intonation is just a matter of being tired or the technique being a bit off. Every voice has weaknesses. Not having notes below C3 is not a big deal to me. He had them, but not super strong.

@mrrkdino 8 лет назад

Tullio Serafin " In my lifetime, there have been three vocal miracles: Caruso, Ruffo and Ponselle".

@mropera6887 7 лет назад

Ruffo does care. He is managing his resources *very* carefully here. Given the reductions in his capacity at this point, this allows him to give a better overall performance than a "correct" one would be at this point.

@jairferreirabaritono6747 Год назад

I do not like this interpretation. He does not sing the lower notes of this aria.

@aarondimoff5180 9 месяцев назад

Honestly, this recording just proves that all you need to succeed is a reputation. It's objectively, TERRIBLE. Of course, years earlier, he was the best baritone alive, but AT THIS MOMENT I'm sure any up and coming baritone could have given a far better performance. It just proves that it's not about how good you sound, it's just about who you are. If you're a nobody, it doesn't matter at ALL how good you are, and if you were good a decade ago, you'll still get opportunities and money you no longer deserve. It's enough to kill the artform for the next generation.