Why do we like old school opera? (1st Part) 

Hey! Do you know any teachers who teach the old method to singing opera?

@@TheHolyMan888 My teacher, Valentin Peytchinov, in NYC teaches the old school way. His teacher was Ghena Dimitrova, and he insists upon training the chest voice of every student.

@@toscadonna THANK YOU SOOOOO MUCH!!! I youtubed him and he sounds GOOD!! AHH im so excited! Thank you!

@@TheHolyMan888 You're quite welcome. Good luck!

@@toscadonna спасибо,как правильно! ведь без правильного грудного регистра нельзя вообще правильно спеть верха,нет полноценного голоса

Bel canto training.

Вы правы всегда..

@@СветланаЗабаева-я7б Sorry, but I can't read Cyrillic alphabet... I can't even identify the language to use the translator. What did you say?!

@@FelipeViannaNutriUFRJ I agree with this statement about opera.The old BelCanto skool is merciful to the voice,a person really sings,and does not pinch,imitates, sings not with his own voice,makes faces

@@СветланаЗабаева-я7б Exactly! Only the belcanto can develop the voice to its fullest. It's a pity that this art is so decadent these days...

Her best days are few and far between these days, especially now that she seems to think she is a dramatic soprano!

@@Tsaraslondon I know. Better to do comparisons when she uses her real voice. This voice here is fake.

@@Tsaraslondon сегодня она думает,что она баритон уже..я контральто,но даже я вздрогнула от ее низких грязных нот

Imagine saying Netrebko is the best of all time and Callas is the worse. You'd have to be on some serious drugs or under a strong illusion in order to believe that lie

Not really. Picking up great artists to shit on modern ones is easy.

@@魚-c3d Modern artist sing and shit operas while making lots of money is easy. "Advertising/Commercial"

Я люблю Марию

Callas's interpretations were always meticulous, intelligent and extremely sensitive.

Callas lived each role. I've never known a Mimi punch her own chest or try to sing with what sounds like swollen tonsils. It just makes me laugh but it's a tragedy. Definitely not opera.

Абсолютно фейковая преступница,предавшая священную идею Оперы-священная песнь любви и человеческой Надежды..превратили в балаган и рынок по продаже невест-быстрых голосов

Она не уважает ни одного композитора, Согласна..иначе бы своим баритоном не оскверняла произведение

I think that has to do with our upbringing. We are brought up not to show our emotions. At least in my family. Then when you try to sing this emotional music, it's hard to express or the way it needs to be expressed.

Its not sbout russian. How sbout Bjorling? He was special? No, classical technique

@@Monnarchmonnarchy Jussi was swedish

Why pop singer Magomaev in your list? He never sing opera in original key , always transported to himself.

@@FloriaTosca8 maybe you right. But he got a strong voice, he hot some records. He choosed pop. Lanza was on pop too, but he is different in that pop like russian. And Lanza got some perfomances too

Она в сердце..теплая волна нежности..голос Марии-страсть,любовь,последняя капля крови,наполненная сладкой любовью!

Sorry to say this, but Mrs Netrebko has NOT the "russian school" of singing which Shalyapin had started to distribute.Shalyapin would turn in his grave to listen to her nowadays.... Have a great evening! :-)

Basically it's comparing Callas (greatest of her time) with Nebretko (one of the greatest in the XXI century). The only mistake here is that Nebretko performance is live and Callas performance is a recording, big difference. Although I think that we can't find Nebretko's recordings that are as goods as Calla's. There's this thing with opera fans, people tend to belive that modern singers can't come close to the masters of the golden days of Opera (1930-1970). As a modern singer and a huge fan of Opera, I think it might be true. I don't compare myself with the masters, I just try to be the best version of myself, that's been helpful this far. Cheers

@@pauloferreira4149 Good analysis. Thanks. Best wishes to you.

@@pauloferreira4149 удачи вам,учитесь по старой итальянской школе..ваш голос наконец проявится, он расцветёт,запоете как соловей!

Ruined her voice? I don’t think so. Sure it deteriorated, but it wasn’t ruined.

Well, Callas career was not so short as people keep saying. It starts in 1942 (Tosca, Athens) and ends in 1965 (Tosca, London). After that she sang in public a few times and made records. Her career lasted 23 years.

@@yglofmi Yes, but she has spent quite some time, during those 23 years, without singing ...

She had a muscle wasting disease

Before retiring prematurely she had already interpreted the most roles and set the standard too high. Some others chicks have had careers of a century, but nothing really happened. Just average.

Technique is technique, independent of a live/studio performance.

@@xxsaruman82xx87 you attack anyone who doesn't agree with you about Callas. Mr. Baston here made a very clever observation, Legge was obsessed about recordings, they're a different art and can sort of hide a lot of problems that become obvious on stage. Callas´ hollow middle and thinning voice was one of them.

@@Orfeus80 :: I'm not a fan of Callas, but her thinning & hollow middle voice are what came later ? After years of singing ?

@@cliffgaither critics noted the hollow middle and uneven scale very early 1950/52, especially in heavy roles like Aida and Gioconda. In bel canto roles you barely notice it. It's mentioned in reviews of the time and we can hear it. The thinning of the voice came after she lost a lot of weight and the support to the voice weakened, so after 1954. She never recovered and the hole in the middle just got wider. You hear it clearly in the 70s recitals.

@@Orfeus80 :: Don't you think, to some degree, those early Wagnerian roles took some toll on her voice, later ? ( Elena Souliotis was heavily criticized for heavy roles, too early, which caused her vocal problems & she didn't sing Wagner. ) Why is Callas' early Wagner singing never taken as a contributing factor to the wear & tear of her voice ? Lastly, it must have taken a great talent to turn to bel canto after Wagner ?

wobble? Muzio is probably the only old school female who performed this part of the aria with any justice but to say Callas is wobbly here is stupid. Her voice was easily suited for bel canto aka the dramatic and hard singing but lets not say she couldn't sing everything -- the old school trained in ALL forms of vocal methods to sing ALL forms of music: this includes Jazz (Elena Ferrell) to the dramatic of Operatic roles such as Santuzza, Medea, and Armida (Callas). She also took a trip into the Verismo composers and sang them wonderfully. We must NOT forget her Maddelena from Andre Chenier in 1955.

@@deadwalke9588 I think if you research a bit the rep of the sopranos of the early 20th century you'll find that those who sang all the roles, dramatic and lyric and coloratura and soubrette and spinto were the exception rather than the rule. Rose Bampton is perhaps the most versatile I've encountered. If you read "The last prima donnas" you'll see the old school divas being quite strict about the choice of rep. Muzio stayed within the lyrico-spinto fach. Manon, Mimi, Butterfly, Desdemona, Aida, Giorgetta, Tosca Maddalena. Callas' Maddalena was not a success at La Scala, despite the popularity of her recording due to the Philadelphia soundtrack. Netrebko in fact has followed Callas´s footsteps and has been singing roles that aren't suitable for her. It's exactly the same problem. She can sing them, but HOW? (quote from the last prima donnas).

A singer does not need MUCH SCHOOLING to sing Mimi's first aria... needs of course to know how to sing, and how to project, etc, etc, but let's face it, a young girl with some talent coming out of a good conservatory can sing a rather acceptable Mimi's first aria (the complications of the role, not many, come a bit latter)... I don't mean to be disrespectful of a delightful role in one of the most beautiful master pieces ever written, but TECHNICALLY Mimi is not a very complex role. That is why it became the most beloved role of some soprani with a very beautiful MEDIUM and not much other than that.

@@Lorenzo-be1nm and yet, Callas fails in such "simple" arias like this one because of the fundamental problems in her technique. It's easy to sing the notes perhaps, it's difficult to sing them masterfully technically and dramatically.

@@Orfeus80 Her technique is great here. Callas could sing everything. And her voice isn’t thin and wobbly.