Secrets of Maestro Vladimir Galouzine - Vibrato - Partie 2 - Masterclass (extrait) - Nouvel Opera 

this man has a larger voice than any of the tenors you mentioned, and his vibrato is even and fluid not too wide or wobbly or driven like singers with poor technique, this mans technique is very solid, corelli had the opposite problem early with his vibrato and sounded like a goat if you hear his early recordings. every voice has a different vibrato as everyone has chords of differnt length but the differences shouldnt be astronomical and need to still hold pitch. this mans voice is just verybig

This is a very well trained singer with an unusual voice. Franco Corelli told me he learned to sing his high tones by studying baritone arias. His debut in Spoleto was in Carmen because it had a low tessatura. The point is the connection to the vibration in the chest. Watch where he points his thumb when making examples. He is stressing an open throat, but he indicates chest vibration. When the student sounds stressed it is because he is singing thin: disconnected. That is the point.

Thats amazing. Vladimir is a Heroic Tenor, and that guy is a Ligeiro tenor, both the heaviest and lightest tones of tenor Heroic - Dramatic - Spinto - Lyric - Ligeiro ^^ Thats something to think.

Excellent teaching by Galouzine.

I see you are a big fan of Vladimir so I do not wish to argue any more... Best regards!

Bravo Galouzine thank you!!!

At that part "v'entrar con voi pur ora", Mr. Galouzine teaches the same I had already seen at a Carlo Bergonzi masterclass video, that is, the way of attacking the note. Not to spit the sound, but to leave it flows gently.

comme ça... speEEEEE... comme ça :p :p :p xD

Galouzine: a real master for Masterclass. Just listen to the end of the clip ! An Otello can also persuade as a Rudolfo ! Fantastic demonstration !!

But that fantastic a voice very dramatic issuing the 'high C'. Bravo Galouzine!

honestly vladimir is new to me but i have listened to everything i can of him and i dont hear problems. i understand where you are coming from, i just dont like hearing people get slaughered for giving examples in a masterclass, every singer has different imagery they use and examples of how it feels. some ideas they have sound wrong but the way they produce the sound may be right. i dont understand russian so i didnt hear what he said, just the sounds he makes. im sorry to be arguementative.

I have very much idea what I`m talking about, and yes I agree with you that every singer has to crack in aria sometimes, we are humans not instruments or machines.... But in that recording I mentioned he cracked on the end because he had no idea how he will sing that aria, he just started hopping that he will make it to the end... And listen to his voice timber that is spinto tenor not so dark and closed like today... And that comparison of human voice vibrato with violin is ridiculous...

Did you ever heard Corelli del Monaco Gigli Pavarotti Caruso doing that.... Large vibrato in voice becomes when one start to loose breath control and start loosing strength of all vocal muscles...

i understand human chords work on air flow. but the longer the chords also the more distance of travel to get closure, i didnt mean that long chords make a wide wobbly vibrato. the differences will be minute. this mans vibrato is even when he sings, don't execute him over his example when showing a student how to connect the sound from bottom to top. also do we have any examples of caruso singing in his 50s? 60s? all of his are pretty much in his 30s maybe early 40s i i believe. a young man.

Thank´s, are there more of that videos?

Galouzine seems to be demonstarating to this young singer how to stay in the cover zone and to maintain his support without which it is impossible to keep the voice in that zone. The better term for what I call "cover zone" is the open throated appogio technique which Franco Tenelli explains. This singer doesn't support consistently throughout his phrases-he uses shallow vowels which are meant to hook into the so called "mask". Galouzine has him round these vowels to stay in the "cover zone".

wrong, a large or wide vibrato happens when the tone is driven or pushed, a correctly supported voice will have a natural spinning even vibrato throughout the whole instrument. pavarotti is the perfect example, his vibrato was the same on the high notes as in the mid voice. where carreras or maria callas for example sound fine in the mid voice but the vibrato slows way down on the high notes. im sure he was having an off night in Aida because if he always cracked he wouldnt have been hired.

Are they both trying to learn the Pavarotti high C? (5:38) Del Monaco or Giacomini high C (6:28).

sorry but you are deaf if you cannot hear that Galouzine sings with a lot of nasal pharengeal or "masK" resonance. how do you think his voice carries so well? he sings like a russian not an italian, they have 2 totally different techniques, and while i personally prefer italian, this man knows what he is doing with his voice, or he couldn't sing notes like he does. and for all caruso's fame and even tho i enjoy him aswell, he was the first, not the BEST. people confuse that. he had probs too.

hey...whats the name of this aria?

Кто-нибудь знает,где можно приобрести полный фильм мастер-класс Владимира Галузина?))Подскажите,пож-ста!)

@omarihardy when people talk about the mask they are talking about nasal pharengeal resonance. the vocal folds create the sound obviously. on caruso he was the first, not necessarily the best. i enjoy caruso and have listened to him extensively. but you miss alot in those old recordings and while you can hear what he is doing you are not getting the full sound. i agree he was great but not the greatest, which is of course all a matter of opinion.

@omarihardy i disagree. there have been many other tenors with at least the same level of technical mastery Bjorling and LP to name 2. Yet in the case with LP you much more beautiful phrasing, cleaner diction, and superior legato making for much more exciting listenning in my opinion. Caruso might have arguably had a prettier sound than bjorling but certainly not LP. but here we get inot matters of opinion again. it seems we simply disagree.

Подскажите кто-нибудь,пож-ста!)Где можно приобрести полную версию мастер-класса?))

But you have your opinion and you have the right to have it, but I`m speaking with lot of knowledge so I have no wish to argue with you about what is obliviously your bad taste....

i will take your word for what he is saying, because i have no idea of what he is saying. however i have had voice teachers in the past tell me things that sound completely wrong and even seemed harmful vocally but once i grasped my own voice i could then see what they were trying to get me to do even though the way they told me did not seem right at the time or the imagery did not agree with my ideas i had of my voice at the time. that is my experience however, he could be a poor teacher.

yes but there is not real Operatic voice without understanding LA VOCE IN PETTO. Remember that Domingo, Roswange,Bjoerling, said they learned it from listening to Caruso recordings. There is tendency to sing like musicals in Opera lately, never more Del Monacos that way.

LOL! Vibrato is not related with the lenght of a vocal chords... The name Chord is confusing to many.... Human voice is based on a airflow not chord instrument... The vibrato is not related with the size of vocal the voice!!! Does CARUSO had small voice???? LOL Do you her large vibrate in his voice?

how old is he? i dont think he has 10 years left due to his age probably so its no use being hostile =) his speaking voice and his singing voice are supported and clear as a bell, he is going to be fine, but if you are talking about his student here then thats different, the kid is pushing out of his mind. vladimir just uses his voice and he connects it from top to bottom which it looks like he is telling the kid to do. he shouldnt try to immitate vlad by pushing, his voice is tiny.never imitate

#1 caruso did not have this mans instrument, and even though you must be a super fanatic of caruso, the truth is there have been many greater tenors since him just like the auto mobile has evolved so has the tenor and schools of technique. #2 i was speaking in terms of properly supported voices from small to large. any support problems will obviously effect the vibrato negatively. I understand what you are saying, you can blow too much air thru the vocal chords but this man does not have trouble

Of course you do not!!! Corelli had the thing cold "caprito" what you cold "goat voice" (lol) because of his large lung and muscle capacity witch he couldn`t control in beginning of his period. And I`m sure that with his high resonance of tone and emission Corelli would be heard much further in hall then Vladimir...

oh and by the way im not saying vladimir is the BEST either, but you can't put him on the chopping block for his technique or sound because he has proved it works. you may not like it but that is beside the point. 99% of tenors couldn't make his sound if they were held at gun point because their voices arent big enough. and you cant compare caruso to him because they dont have nearly the same size of instrument. most tenors with his size of voice sound worse and can't sing a C like he just did.

lots of tenors crack/cracked on that aria, its the most vocally difficult aria in the whole tenor rep practically and is a horrible example to use. also everyone cracks once in a while. he has VERY good technique and do not confuse volume with pushing. his voice it very large justifying his volume. also free voices make more sound than a pushed voice does, you have no clue what you are talking about, sorry. He knows what he is doing and what he is teaching. and it is correct, its a masterclass.

Listen to his celeste aida.... Why does hi haven`t got large vibrato there? And he have much lighter voice... Because he is young and strong and hadn`t opportunity to destroy it. with more of this bad "celeste aidas" ........

I think both instructor and student have somewhat unpleasant vibratos tbh...not neccesarily too slow, rather too wide and arduous sounding...

I understand Russian and believe me he is making no sense exceptionally for this liryc tenor ....

Agree.... That is completely wrong.... Like hi is trying to justify broken voice, and bad vibrato what is in his case overused end pushed voice... listen to his celeste aida from 95..... He didn`t had idea how to sing that aria and cracked on the end....

...oh oh, he does not know how to teach.

Отстой. Вместо того чтобы показать как глотку открыть он ему рекомендует добавить вибрато и раскачать голос...вот это совет от корифея...лучше б показал ему куда диафрагму опирать, язык уложить, и вибрато бы получилось как надо.