Diminuendo on the high notes is very difficult, and many tenors can’t or won’t bother. Corelli was also a master of the high-Bb diminuendo, and so is Kaufmann. Pav and Vickers resorted to crooning, Domingo simply couldn’t do it (although they were all great in their own way).
It sure is! You're right. One has to be a 9th degree black belt (if you'll allow me the karate reference), a master of producing a tone that is free of all muscular manipulation - to be totally and utterly committed, at all costs, to allowing the tone to ride on the air. Or as Corelli said, "...to imagine a ping pong ball riding on a water jet." It has to be that "free." Unless one has mastered this, the higher they go the harder that gets. Of course, one does not have to be a 9th degree black belt at this skill to be a legendary opera singer as there is so much more to greatness, technically, but to do this feat, they must!
i can do diminuendos easily, the higher the note the easier it is to do it , but still cant bridge the passagio without straining vocally, even if it sounds pleasant on the outside. i know my vocal folds are straining. what pisses me off is that most pop music is settled in the middle of the passagio, i can do High Cs all day long but my D4-G#4 always fatigues me (depending on closed vs open vowel) and feels wrong, even if it sounds 'pleasant'. i just had a performance where i had stage fright and couldnt hear myself and messed up alot except for the final 10 second high note G4 belt which felt really easy and resonant because i had crossed the passagio for that vowel
Jonas says a couple of important things. The high-Bb diminuendo can only be done if the tongue and mouth are loose and don't tense up. Secondly, his piano is dark rather than thin and white. The brilliance one hears when he sings loud is not pushed into the sound but flows from the position. The vowel goes into what ever works for the singer. The tone is more like a long, full yawn than a sung tone. It is not pushed anywhere, it ESCAPES just like a yawn does. That ping is volume dependent. Our ears hear more when louder and less when softer, but the complete voice is working at all times. Doing the Aida example is easy. Doing the Bb after singing the aria to get to the end, is much more challenging.
El diminuendo y piano de Pavarotti no se puede comparar con el de Kaufmann, con diferencia es mejor el de Pavarotti, el sonido está libre. El de Kaufmann, quien es un gran artista y tiene una gran voz, es mucho peor, en realidad no es correcto, lo hace mal, se come el sonido, es forzado. Eso no significa que no sienta un gran respeto por él como cantante, pero las comparaciones con grandes como Pavarotti, Corelli, Del Monaco, Vickers, Gigli, Caruso, Tucker, etc... no favorecen para nada a Kauffmann, técnicamente es inferior.
If you have the correct technique you don't have to modify any thing. The bel canto thecnique involves no action in the throat, no action in the tongue and no action in the jaw.
So what is Pappano talking about? According to you you either were born with it or not? There’s no way you can work on it to acquire it? I don’t think so.
@@catherinecozzano2580 No, it's according to the bell canto technique, the most beautiful and most protective for the voice, yet almost completely gone from modern opera.
All these experts talking sh-t based on a RU-vid video heard on old Iphones. I've heard Kaufmann live at the Met and the Arscht, the two biggest theaters in the US and believe me, you can hear his pianissimi all over to the back seat. Some voices carry live; this ability can't be captured on recordings.
I agree. I saw him live at The Met several times: in Traviata, Tosca, Faust, Carmen and in a recital of lieder with a couple of arias for encore, and his voice definitely carries. It is not a small voice by any means, either.
How do you do it ? Kauffman tries to explain - instantly interrupted with irrelevant conductor commentary - Kauffman tries to explain again “no really how do you do it? The technical aspect is mind boggling.” Kauffman speechless
He doesn't have a proper passagio, head voice has nothing to do here, it is just a different coordination of the laryngeal muscles, when a tenor reaches the passagio the voice wants to give up, then he has to cover the sound by changing the muscular coordination that keeps the chest voice dark all the way up, and it causes the cover to happen, it is well explained in Dougles Stanley's book "your voice"
It's so aggravating that people discuss these concepts as if there is some “trick” to it, when in reality, everything discussed, whether it's passaggio or messa di voce, comes from very complex coordination of the body and voice over years and years of study and self-exploration and with the right tools and concepts. Seamless vocal registration and dynamic abilities come from the voice and body working together in an incredibly balanced way, not from someone sitting at a piano demonstrating a sound (one that is probably truly flawed itself) for you to imitate. It kills me that Kaufmann agreed to put his name on this.
Il n'y a pas que les ténors qui doivent apprendre ce passage, appelé bascule thyroïdienne. Toutes les voix doivent maîtriser ce point de passage très important dans l'aigu. Il est vraiment consternant que certains professeurs de chant n'en parlent pas, notamment dans les académies et conservatoires.
respectfully, there is no "up" or "down"--there is however "on the breath". if the first note is not supported, it all goes haywire from there. no manipulation required: it is right or wrong, no in between, but it does need the muscle memory of that breath support to be effortless. practice the non-forced relaxed production until it comes unbidden...(thank you Mme Loran)
I can sing through Passaggio. You really have to warm up before hand though. I don't recommend going straight into this. I can go way past a C5. I'm a Tenor 1. If you want to sing well just stick it and go to a teacher cause it will save you time in the long run of what your doing and not doing right. If you want to be able to sing any song this is what you want to do. You will sound amazing. It really is like a bridge when you feel the tilt. It also feels like chest is being zipped up when you go to vocal fry. It puts your singing on a whole level. This takes years to learn but with dedication you can do it in 2. Just get a structured course and a teacher. You have to be disciplined and practice every day for a couple of hours.
A couple of hours??!! you're a mad man if you think a couple of hours won't jeopardise the health of your vocal instrument mate. Bloody hell! I'm a spinto btw
To call Kaufmann a bad singer would be an idiotic statement. But I do understand why some people do not like him. According to those who have heard him in person, he is often drowned out by the orchestra (and it's like, what's the point of buying tickets to listen to a performer you cannot hear?). Additionally, he seems to have been trained into habitual tongue retraction, which gives his voice a muddled, false darkness with little relative clarity. I would shy away from calling him a bad singer, but it is true that he is NOT comparable to the great opera singers of the past (Corelli, Björling, Pavarotti, etc.).
@@bharp4390 The mark of a truly trained tenor is SQUILLO!!!!!!! That is the only way a tenor can "cut" through the ORCHESTRA!!!!!! I have been training for 9 years!! I've only recently (within the last year) been able to access proper Squillo!!!!! It is so worth it!!!!! Essential to the tenor vocal instrument are: Squillo Appoggio & Chiaroscuro - without these three elements, you have no career!!!
¿Estará de broma no? ¿Le doy una lista de tenores que se PULEN literalmente a Kauffman? Seguramente no ha escuchado ni la mitad de ellos: 1- Franco Corelli 2- Mario del Monaco 3- Gianfranco Cecchele 4- Giuseppe Giacomini 5- Giorgio Merighi 6-Nunzio Todisco 7- Robleto Merolla 8-Paride Venturi 9- Mario Fillipeschi 10- Franco Bonisolli ¿Le bastan? ¿Continúo? Ahora me dirá usted que Juan Diego Flórez es un excelente Duca. La ópera ha muerto.
@@tecnicaantica Estimado, lamentablemente no coincido con usted. Estamos hablando de técnicas distintas por los cantantes que enlista. Le dejo también algunos cantantes para que pueda cultivar su oído y conocimiento: 1- Jon Vickers 2- Richard Tucker 3- Gianni Poggi 4- Joseph Schmidt 5- Set Svanholm 6- Jussi Bjorling 7- Alfredo Kraus 8- Aureliano Pertile 9- Miguel Fleta 10- Jonas Kaufmann Espero le sirva Saludos
@@tecnicaantica No tiene la más p...idea. debe ser un aficionado al agudo o la ópera por verla así en RU-vid. Que no tiene ni la más mínima idea. Cualquier sabiendo del mundo de la Lírica yla técnica vocal. Lo que hace este tipo con su instrumento es totalmente FABRICADO. Y totalmente insano. Por algo ya fue operado de las cuerdas....por algo será....
No sé, Tomás. Sólo sé que es parte de una serie de videos con Pappano haciendo las entrevistas. Me parece que es parte de una serie de la BBC de Inglaterra
“No seriously, how do you do that?” - check out the answer in "The Missing Link to MIXED VOICE That NOBODY Talks About; Flageolet Tension" at 12:30. Not the same sound, of course. But presumably the same laryngeal transition.
I saw Kaufmann at the Met as Faust: a real let-down. The voice mainly stayed on the stage and yes, he could diminuendo on the high notes, but that was mainly because he couldn't sustain his beefy, manufactured sound, I imagined what a voice like Richard Tucker would have sounded in the role even though he had no high "c'. And Nikolai Gedda? There was the perfect voice for the role, and his high "c" was as good as any heavy tenor's that I've ever heard. Gee, what a shame; they couldn't market Tucker's looks!
Ma fateli tacere! È per cose come queste (direttori/manager ignoranti e cosiddetti cantanti ingolati e microfonati) che siamo dove siamo: nei guai. E adesso ci spiegano la tecnica del canto? Ahahaha....è assurdo!
Pappano is so effeminate and thinks that all men should be that way. One of this days somebody needs to stand up to him and show him what is like to sing like you can get a woman pregnant with your voice. I sooo miss Mario Del Monaco.
Who are you? A nobody! A fart who believes to be a scent. Where do you sing? In the shower? But I bet it sounds as if you are taking a shit, as your type is full of it.
Schade ist nur, dass der Dirigent den Kaufmann gar nicht erklären lässt wie er das Passagio und vor allem das Diminuendo macht. So werden wir es leider nicht erfahren.
Sind Sie selber im klassischen Gesang ausgebildet? Ich denke nicht, denn dann wüßten Sie wie es geht. Die Behauptung Pappanos, es gäbe jeweils nur einen oder zwei Sänger zur selben Zeit , die das könnten, ist abzuspeichern unter " wir reden uns jetzt selber mal groß". Fast hätte ich geschrieben, die Behauptung ist lächerlich.
Exacto. Ese afán por oscurecer artificialmente su voz, aunado a sus problemas de lengua y de cierre cordal, llevaran a una cadena de constricciones que además de ya tenerlo limitado, le pasarán aún más la cuenta con el tiempo
@@user-cy6xl3vd3f my feelings then a bunch of fanatics, idiots thinks that pavaroti was not even the "best", but not even operatic singer. My feelings the same, he was a mosquito squeaker. Kaufman different and worser in other way
Not sure now. Joseph Calleja and, when he's calm, Grigolo. Saw Kaufmann in Fidelio a couple of months ago and I really wasn't convinced. He seemed very tired.
La voce è tutta ingolata e non a fuoco nella maschera senza punta e squillo!!! Nei teatri si sente a stento…Per il resto la teoria la conosce ,ma avviene tutto nella faringe!
Kaufmann is actually a high baritone with a dark voice who manages to sing as a tenor. A tenor high notes are starting from G (maybe G flat or G sharp, depending on the voice) and he is actually "indecisive" wether his high notes should start either from F or F sharp ;)
Kaufmann is not a baritone. He is a lyric tenor singing in a very dark way. There is no squillo in his voice to balance this darkness. This creates the illusion of a baritonal quaility. If you hear him unamplified in a rehearsal space you will understand.
His voice at the beginning of his career was much lighter, less baritonal. The 'cover' on a note like F depends on various things: volume, vowel, the note before the note after... Pavarotti considered F sharp to be the note where his voice has to 'turn'. Other tenors can sing G, or G sharp open, but they tend to be brighter, lighter voices ( or belting lol)
Tenor hight notes start at F for Dramatic and F+ for lyrico, the term cover is improperly used , listen Lauri volpi or others .....ther is no cover only when you go to sleep then you need a blanquet LOL
6:20 he tells us about larynx, tong and relax the stuff, which is true but says nothing about what he does with fiato and abdomen, where is the real point.
There is no chiaroscuro or squillo in the voice, listen to Gigli or Björling for a clear example in how effortless and free sounding the tenor voice should be. Kauffman looks like he is squatting 200kg when he sings :/
Sehr weit enfernt von der Wahrheit Der Klang kommt zurück zerst;ört das Gehör und das führt zu falschem Gesang aller tone,verstehe nicht wie ein Mensch kann Gesanng unterrichten..Gesang hat niveau der fünfte Dimension,haben Sie es auch ????
I usually don't like Kaufmann, maybe because I just listen to opera from time to time, but, well, Chapeaux!!! He is a total master of voice technique... impressive, really impressive... superlative...
Lo que era hace 15 o 20 años una promesa de buen tenor, se ha convertido en una parodia de cantante. Voz totalmente engolada, enganchada en la garganta. Poco natural, fea. Su técnica primitiva, que tampoco era gran cosa, ha mudado en algo insufrible. Los agudos, siempre forzados, abiertos, con un agravado engolamiento que echa la voz hacia la nuca. Una voz que cada vez "corre" menos por los escenarios. Le vi hace unos meses en el Liceu de Barcelona en "Andrea Chenier" y me dio hasta pena... Lo único bueno que tiene hoy Kauffman es ese público ignorante que jalea lo que los dedos interesados en el "marketing" le dicen que jalee. Hace poco oí en Napoles una frase que es una verdad como un templo, y gigantesco : "Kauffman è il cantante degli ignoranti" (Kauffman es el cantante de los ignorantes). Únicamente éstos y el "marketing" sostienen a lo que pudo ser y no ha sido...
I would amend your statement to say most good singers can do a messa di voce, but only the best of the best can do it *exquisitely* , or heck, even do it well at all. It truly takes mastery of the breath to sustain the vocal line consistently, while manipulating dynamics, AND keep the line silky smooth all the way through. If every good singer has this mastered, we'd hear them all do it....but we don't. We most certainly don't hear all "good" tenors diminuendo on the Bb4 in Celeste Aida, for example. I doubt it's because they don't know Verdi wrote it to be a diminuendo; it's because they don't have mastery of it. And this is not just for tenors, but for other fachs too, including sopranos. Casta Diva is already a difficult aria to sing, however, similar to Celeste Aida, towards the end is a piano/pianissimo Bb(5). Other sopranos attempt to diminuendo on the Bb, but because there isn't a truly constant stream of air going through the cords, the note comes out shrieky and/or without vibrato, or the soprano just touches the note for a second and immediately descends. This is not the case for a singer like Sondra Radvanovsky, who has mastered messa di voce and dynamics control while maintaining silky smooth legato lines. Look up her Casta Diva from 2015 at the Liceu (Barcelona). Her Bb5 is sustained all the way through with a clear, consistent vibrato, indicative of breath support through the cords. In fact it sounds like she's singing normal volume, except you turned the speakers down. It's not shrieky, it's not wobbly, it doesn't have a wide, unsupported vibrato. That's why I consider Sondra truly one of the best sopranos singing today, if not the best period. Pappano, while he's not a voice expert, *does* hear a whole ton of singers day in and day out by virtue of his job as a classical music/opera conductor. So that's why when he hears messa di voce done well, he is justifiably amazed. Again, yes good singers can do it. But the *GREAT* singers do it well, or exquisitely. You can hear the difference, if you know what to listen for.
@AKS, I stand by my point. Being able to do it somewhat well, I will agree with you. Being able to do it well, that's another matter altogether. Watch/listen to enough performances of Celeste Aida, and you'll find only a handful do the diminuendo on the Bb4. I highly doubt disregarding Verdi's dynamics marking on the score (diminuendo) is largely an artistic choice by many of the tenors that blast the Bb instead. Is some of it artistic? I'm sure it is. But mostly, I'd say no. How high the note is definitely plays a part in whether a singer is able to do it well.
@@luomodelloggione6564 That article, while interesting, isn't proof of anything. It's interesting to read, but it's subjective opinion alongside some pretty libelous accusations stated without evidence.
Que feo documental, gastamos mucho tiempo en oír al entrevistador y cuando por fin vamos a escuchar algo escasamente relevante de Kaufmann, el impertinente pianista acompañante lo interrumpe. Que horror!
Kaufmann really failed to showing diminuendo examples is really bad and bad technique if you learn this technique you can learn with my tutorials. Waiting your messages. Thanks
@@Bumblebeebeebee you have an empty channel with not even a pictures of you ...stay in darkness...lol please listen all the tenors from before the war Caruso, Martinelli,Pertile,lauri volpi even miguel Fleta then you would know a bit of what is a real tenor with a projected voice not like Kaufmann who to be amplified at the MET to sing Carmen for example !
@@alfredalfred3571 Yes, your photo really looks like a very great voice expert! By the way, everyone is amplified at the met nowadays, that is not at all a valid point. I heard him twice live with Wagner, unamplified, his voice is nearly as big as your ego.
it is shame !!!! ingolata voice , hesais low larynx watch him on the Bflat of aida he is not he has power no projctive voice he can not get trough the orchestra !!! but people today do know any more about bel canto !!!
@Fritz Wunderlich yes his voice can not get trough an orchestra and hit the far end of the theater, and when he sings wagner opera ,i think wagner himself will turn in his grave ! the shame is kaufman think his is a great singer and ppano is an incompetent idiot,that you can read on his face , he has a face of a dumm!!!!
@Fritz Wunderlich agree,but ocan tell you that Pappano is completely ignorant and incompetent on vocal technic, on one other video with Domingo ,he interrupt domingo saying he know abotu covering the voicebecause his fahter was a vocal teacher!!!!! insane
alfred alfred a friend of mine was sitting in the last seat at the MET during a performance of Carmen where Kaufmann sang the final note in “La fleur” pianissimo. He heard him just fine.
@@giovanniformisanotenorefor4999 you wer not there.....! pianissimo in falsetto can not get trought the orchestra!!! he dreams of it! listen Corelli or Di Stephano , real tenor kaufamn he si singing ingolata , but today nobody what is a rela dramatic tenor because nobodis know nothing on bel canto anymore ,listen Gainni savelli for example and make your home work ! I hear a long time ago Kraus on la fille du régiment in France i heard him in the las row , but he sang whil hugging....but has 58 years old...at lest forgivable
@@giovanniformisanotenorefor4999ru-vid.com/video/%D0%B2%D0%B8%D0%B4%D0%B5%D0%BE-xxLqkp4pTA0.html listen and learn ! ru-vid.com/video/%D0%B2%D0%B8%D0%B4%D0%B5%D0%BE-p-4L2jhGSOY.html an more ru-vid.com/video/%D0%B2%D0%B8%D0%B4%D0%B5%D0%BE-C-TmOJHh3yA.html full ciaro scuro !compare them on the same aria now ru-vid.com/video/%D0%B2%D0%B8%D0%B4%D0%B5%D0%BE-KFYg-fyKxjY.html
