Відео

Giovanni Ribichesu-I’ve communicated with him before. He grew up in an excellent environment, surrounded by great tenors, baritones, basses, as well as sopranos, mezzo-sopranos, and so on. Unfortunately, he hasn’t grasped the key concepts. He’s spreading vocal techniques, but they’re incorrect. Perhaps he’s working hard. As for his voice, I believe if he had received professional training from the start, it wouldn’t have turned out this way. Even his teacher, Corelli, didn’t have professional training. He learned through self-practice, and the result was winning second place in a vocal competition. The first time, he was practically shouting. What I want to say is that having the correct method from the start is crucial. When Ribichesu sings, his voice immediately goes above the vocal cords. The breath doesn’t sink, and there isn’t even breath below his chest. Of course, he takes in a full breath before singing, but from the first note, it goes wrong. I watched his video, and I wasn’t mainly looking at him-I was watching how the masters guided him. The teachers didn’t point out his issues. When Ribichesu was younger, he also won some competitions, but that doesn’t mean he mastered the correct singing technique. Corelli once said that Ribichesu’s high notes weren’t bad, but after singing them, his breath didn’t drop. The notes and words after the high notes were too high in position. That was an accurate observation. Corelli advised him to practice yawning. Now, when you give guidance on yawning, it’s a nuanced technique with a lot of science behind it. Corelli himself would yawn, but it was only in the area above his throat. The purpose was to prevent the vocal placement from rising. But Corelli’s yawning before singing was at the level where most people yawn in daily life. In reality, you know Caruso and Gigli, for instance, they would yawn by pushing the breath below the vocal cords. Below the vocal cords, it’s like a small balloon expanding. Corelli didn’t do this and didn’t understand it was necessary, so his lower abdomen was always lacking in breath. The typical yawn can’t ultimately solve this issue. You can hear it in his voice when he was in his fifties-it sounded somewhat aged, and he used a lot of effort in his face and other areas while singing. That’s because he wanted to present himself as a professional tenor, which requires good resonance and vibrato. However, his resonance and vibrato weren’t correct. Resonance and vibrato, especially in high notes, should always be driven by abdominal support. He lacked abdominal breath support. These are things I don’t usually talk about publicly. I’m sharing them here because not many people will see it. You understand my theories and intentions very well, and I’m eager to exchange ideas with you. You have a high level of vocal understanding. I completely agree with the points you made at the end. My friend, I hope you’ll use my clock theory to constantly evaluate where your voice is coming from. Is another tenor’s voice good or not? After all, in the past 100 years, no one has divided breath placement into 12 clock regions-that’s my original creation. If you’re a tenor, you can flexibly combine the breath and sound in these regions. For example, Tito Schipa used a combination of the front abdomen and oral cavity. With the clock theory, that would be quickly defined as 7 o’clock (front abdomen) + 10 o’clock (oral cavity). Once you establish the internal space, you can try it out. If you forcefully expand the space in just those two regions, you’ll be able to produce a sound similar to Tito Schipa’s. I can define every great tenor in history using the clock theory, then allocate the main breath to those regions, and I can easily sing like Caruso, Gigli, Del Monaco, or any tenor. You can give it a try. If there are technical issues, we can discuss them and learn together. Thank you for supporting my channel!

Absolutely right! Today's tenors are concentrating all their breath and sound above the vocal cords. Once the breath rises, it can't sink back down. What can they do? They can only force their throats to create artificial resonance and vibrato. However, these sounds are very difficult to move in the high register and sound unnatural. That's why high notes always get stuck at the hard palate. It's because they're using their throats as the driving force for sound, rather than the sound power zone below the diaphragm and lower back. 99% of today's tenors are wrong, including the Three Tenors.

You are very knowledgeable, and you are right. However, their singing technique is built on the foundation of Italian Bel Canto. The question you raised is something I am currently researching, but there is one point: opera was born in the early 1600s, yet Italian Bel Canto started emerging as early as the 1300s. Italian Bel Canto is the true source of opera singing technique. Although McCormack and Rossi differ from true opera singers, for beginners in opera singing, learning from the original Italian Bel Canto singers significantly increases the likelihood of success. Nowadays, beginners train their voices and immediately start singing opera, which ruins their careers. What I mean is that training with slightly lighter, relatively narrowed vocal cords is very important. When Enrico Rosati coached Gigli and Lanza, he didn’t allow them to sing for months, only letting them hum softly with the sound placed in the abdomen. I have chosen a group of four, which is completely different from vocal training in the past half-century. Without the internal breath flowing freely, without the breath circulating and moving throughout the body, one cannot sing opera. Do you understand what I mean? I am practicing how to replicate the singing styles of all the great tenors in history. Can ordinary people achieve this? My conclusion is yes, we can achieve Caruso, Gigli, Del Monaco, and Corelli (even unique but technically incorrect voices can be replicated). Claudio Villa was a folk singer, but his technique was probably much better than all the tenors today. He could easily collaborate with Magda Olivero and sing duets without any opera training. He sang so well that even Magda Olivero was surprised and praised him. At that time, dozens of opera tenors couldn't match his technique. I plan to make a video dedicated to his singing technique. In my opinion, Claudio Villa’s breath control technique was even better than Olivero’s, and his vocal cord management was just as good. So we cannot assume that opera singers represent the absolute pinnacle of singing technique-Italian Bel Canto, which predates opera by 300 years, is the true peak of singing technique. Without Italian Bel Canto, there would be no Italian opera singing technique. My friend, feel free to speak your mind here, even if it’s to criticize me. I hope to further reflect and research vocal music through these discussions. Thank you for supporting my channel.

I'm just beginning to talk about my theory. Do you think it's necessary for me to analyze all the tenors throughout history using this theory of balanced breath distribution and sound resonance, based on the 'clock theory'? Analyzing the vocal mechanisms of hundreds, even thousands, of tenors, pointing out their strengths and weaknesses, and how we can learn from the best? It's a huge undertaking, and I'm not sure many people would be interested. Most people prefer to listen to artificial, unnatural, and incorrect singing, thinking that’s what sounds good and worth learning. So yesterday, someone asked me, 'What do you think about Jose Simerilla Romero, the tenor?' I answered them, explaining that it’s impossible for him to have correct vocal production because his teacher, and his teacher's teacher, were all incorrect. Pavarotti’s teacher didn’t have the correct breath distribution for sound, so how could his students be correct? Pavarotti was also influenced by his father, and his father had the same issue-incorrect vocal production with the sound concentrated in only a quarter of the body’s resonance chambers. I personally believe that my theory is the best. Not only the theory but my own voice as well. I don't hold any tenor from the past fifty years in high regard because I think I’m far better than all of them. I’ll let you hear me sing one day. My vocal theory, which hasn’t been done in over 100 years and which no one even thought of, clearly defines sound resonance and breath distribution into 12 parts, from 1 o'clock to 12 o'clock. It’s a fascinating study. Once you understand my theory, you'll be able to quickly judge who sings well and who doesn't. Thank you for always supporting my channel, and I really look forward to discussing this with you. Here, not many people will see my answers, and that’s exactly how I prefer it.

Thank you for supporting me

Thank you for visiting my channel. This singing method, which has inherited errors for more than half a century, lacks chest resonance and penetrating high head tones. There's a thin waist with no breath support below the posterior diaphragm. The sound is all shouting, entirely throat-driven, with the mouth, nasal cavity, and forehead as the driving forces of the voice. So when I listened to this video [link], the pitch was too high. He was solely focused on producing an artificial resonance and vibrato, rather than expressing emotions. He controls the volume with facial movements, which is another mistake. You can hear that he struggles with transitions in the high notes, making them difficult, not smooth, and not soft, because the breath mass is too big and stuck in the mouth. It’s really hard for him to move between notes. It’s beyond saving now. He has developed an incorrect habit. I haven’t heard his high C yet, but I expect it’s stuck at the hard palate. This thin voice won’t be able to handle dramatic tenor roles like Otello. But it’s not his fault; tenors today are all like this.

Thank you, I changed it to Sicilian folk song.

Thank you for telling me. I saw it a long time ago; he was better when he was young. The vocal cords don’t close enough before singing, which results in a much weaker sound. In fact, he could open his vocal cords more, and he would perform better.

ua-cam.com/video/bhp8HRkOGTM/v-deo.htmlsi=HjgKl2sE8kq0Ot_J

Based on the information, Luciano Virgili was a renowned Italian lyrical tenor, not a baritone. He was famous for performing popular songs and operettas, particularly in the 1950s and 1960s. Although his tone was quite round and rich, which might have led some to mistake him for a baritone, his voice classification was indeed tenor. Therefore, the statement "Virgili was once considered a baritone" is inaccurate, as he should be categorized as a tenor. This also aligns with the comparison to "being more like Claudio Villa," since Villa was also a lyrical tenor. Virgili's breath is hidden in the lower back, below the rear diaphragm, and even lower, which corresponds to the 4 o'clock to 6 o'clock position in my clock-breath theory. This allows him to produce very accurate and powerful mid and low notes. His high notes, warmer with a bass quality, surpass the other three singers. The lyrical nature of his voice is something even Gigli does not possess. With the internal expansion space at 4 to 6 o'clock, he can sing effortlessly, and the vibrato comes naturally. You say Di Stefano is the most balanced - from the audience's front perspective, this is the impression they get. In fact, he played to his strengths: the inside and outside of his mouth are his tools. You could say this is his advantage, but also his flaw, because it’s difficult to sense resonance from other parts of the body in his voice. When evaluating his voice, your assessment works for his technique, but he’s not comprehensive enough. Ponselle held a similar view. His over-reliance on the oral cavity is the reason why he struggled with opera singing and why he resorted to shouting after the age of 50. I don't collect his recordings. I only use them for my morning vocal exercises, doing some forced muscle-stretching movements to expand the oral cavity. This helps increase the openness of my voice, but I make sure not to place too much breath in the mouth. Learning from him is like performing surgery - oral surgery. It helps avoid the issue of Ferruccio Tagliavini’s overly narrow oral cavity.

-Del Monaco's voice is too dark-. I will answer you on this issue later. Your brief insight about the abdomen is very good.

A very in-depth comment. I will organize my thoughts and share my views later.

I find that his voice is not entirely homogeneous. - I made a new video about Monaco, and I explained this issue. ua-cam.com/video/i-06jqKzegQ/v-deo.html Your observation is very accurate. You've pinpointed Monaco's flaw, especially with that final high note. He over-allocated breath into the throat, mouth, and resonance chambers above the vocal cord level, making the movement of the high note sound unnatural and uneven. My friend, he pushes all the sound above the vocal cords-how can it move smoothly? It's impossible. He can only force it through the mouth. I’ve always said, if you push all your breath above the mouth, it becomes a big air mass. This big air mass moves from the mouth to the top of the head, passing through the throat, nasal cavity, mask, forehead, hard palate, soft palate, and the gap in the back of the head, then it’s released to the sky. My dear Monaco, isn't that exhausting? How would Caruso sing? He would use the main breath support from the abdomen (the big air mass) to drive the throat, nasal cavity, mask, forehead, hard palate, and soft palate. This way, the movement of the smaller air mass (the sound) becomes more even and smooth. Gigli and Virgili do this even better.

In my opinion, Virgili is the champion.Gigli is exaggerated and unnatural. Although his technique is very good, it is detached from real life. Singing is meant to express emotions and reflect scenes from life. If Gigli were to sing to his girlfriend with this artificial sound, she would probably run away. Giuseppe Di Stefano is a master of using his mouth, but his tone is not rich and is monotonous. His breath is also too shallow, making it unsuitable for expressing inner feelings.

@@lisaszxu1961 I look forward to your learned comments.

@@hashatz You always uncover a profound technical topic with great accuracy, and I’m happy to discuss it with you. Thank you.

Luciano's singing technique is fully capable of performing opera. If he sings, he will definitely be better than Di Stefano. His breath control is outstanding, and his vocal placement is low.

Because Pavarotti does not meet the standards of Italian bel canto, even in your country, Russia, within the vocal community and among audiences, Pavarotti is not held in high regard. His singing technique does not align with Italian bel canto, nor does it conform to the traditional Russian vocal standards. That’s why I essentially don't use him as an example. Among the tenors of his era, Russia had better ones, which also reflects the divide between East and West.

Are you Italian? I feel that this song doesn't quite suit Pertile

@@lisaszxu1961 ha,ha no, but his singing style is unique

@@christianroider118 You said he is unique, with a very interesting and distinct vocal production, something others don't have. At the end of every phrase, he forcefully expels the old breath and quickly inhales new breath. This characteristic isn't very noticeable in opera, but you pointed it out. This is not a strength. It's similar to Nino Piccaluga, who also sings this way. However, it gave me inspiration, and I learned something from it. Don't think that Pertile was perfect; in this regard, Caruso did it better. Do you know how? Caruso would inhale just the right amount of breath based on the length of each phrase, and by the time the phrase ended, the breath would be perfectly used up. He didn’t need to close each phrase with a chest 'a' like Pertile. Pertile used extra energy, not as cleverly as Caruso. Why close with 'a'? Because the breath was still strong, pushing the sound out, but the phrase had already ended, so Pertile had to use an 'a' to close in the chest. Caruso also closed some phrases this way, but not every one. That’s because he didn’t take a forceful breath for every phrase, whereas Pertile forcefully inhaled before every phrase, which is incorrect. Have you ever seen anyone in the world dare to criticize Pertile like this? No, everyone treated him like a god. But if Pertile were alive, he would listen to my advice and correct it.

This is an early recording of him, full of youthful energy.

Antonio Melandri; astonishing singing! How does he sing so well?

Regarding Caruso, the Three Tenors all gave him the highest praise, and in vocal training around the world, Caruso is often used as the model-this is a fact. I have inherited these historical practices. If we set aside Italian bel canto, then you can sing however you like. But my channel primarily focuses on Italian bel canto, and if it goes against its principles, I consider it incorrect here. However, my friends, you can choose your favorite singers based on your own preferences. This teacher, Michael Trimble, also believes Caruso is one of a kind. Many people think the same. If you don't like Caruso or Italian bel canto, that's totally fine-no problem at all.

@@lisaszxu1961 Non capisco bene l'inglese, ma risponderò in italiano. CARUSO divenne lo standard della tecnica vocale e tutte le voci successive cantarono con il suo fiato e la sua tecnica vocale, fino ad oggi. È impossibile non amare il bel canto, perché è la voce stessa a richiederlo, indipendentemente da come il cantante la maneggia!!! CARUSO è un fenomeno, sulle cui orme hanno seguito le superstar dell'arte vocale!!!

@@Latur47 Thank you for your high-level analysis!

All four tenors in my videos are worth imitating. Please start practicing this way, and you'll make rapid progress. Search through my videos-I have 922 of them. If you have any specific questions, feel free to let me know, and I'll guide you on how to sing.

I agree. He fixes his breath and sound at the front of the hard palate. To be specific, it’s his hard palate and oral cavity that make his voice dry and lacking in roundness. My theory of breath distribution is that he’s using a "9 o’clock + 12 o’clock" distribution-too much breath focused on the hard palate and oral cavity with too much force. His high notes need more breath directed into the nasal cavity and a greater lift of the soft palate. That’s why his high C doesn’t reach the head voice. He lacks a bright and penetrating head voice; everything is stuck in his forehead. When transitioning from baritone to tenor, this serious issue arises, and he doesn’t realize it. In this song, he isn’t natural enough. He’s trying to create a certain vocal effect-resonance and vibrato-but there’s no emotion. All his emotion is concentrated in his mouth. He doesn’t have the dynamic power from the "back of the clock" range, from the lower back and below the diaphragm. His voice is pushed forward overall, lacking the deep breath from the lower abdomen, which prevents him from expressing profound emotion. As a result, his voice, as you said, always sounds dry. Thank you for the discussion.

Thank you for your professional evaluation. I am always very happy to read your comments. Your analysis of singers' methods is very sophisticated. Now, with this 14-minute piece featuring four singers with different styles, I’m imitating them. Gigli = natural beauty, singing effortlessly with a low sound position and low breath support. He almost presses his vocal cords down to the area below his ribs, at the stomach. His voice seems to come from his stomach, with all other resonance chambers relaxed. This practice is very good and necessary. Gigli himself said that his mouth was in his belly. Nikolov is unusually exaggerated and forceful here, probably due to age. In his youth, he was very lyrical and elegant. Now he has become more of a dramatic tenor. After practicing Gigli’s method, I switch to this completely different vocal realm. It’s like connecting scales in human vocal ranges. I imitate these four singers simultaneously to train my vocal cords and give them a wider range of adaptability. As for Di Stefano, he uses his mouth with great force, resulting in a rich but somewhat rigid sound, lacking smoothness. However, the airflow and muscle tension inside the mouth can create a unique tone, which is why I included him. I’m surprised by Joaquín Pixán’s natural voice production, especially since he’s about 60 in this recording. His singing is very natural, though not without flaws. In his younger years, he had a great overall sound, clear, transparent, and well-supported by breath. This song isn’t performed often; two of the Three Tenors sang it, but I absolutely won’t listen to them. I would rather listen to the lesser-known Joaquín Pixán. Nikolov = ua-cam.com/video/36tDNeDzf-cy/v-deo.html Pixán = ua-cam.com/video/mdHHnS39paw/v-deo.html

Pippo？？

@@lisaszxu1961 di Stephano

@@christianroider118 You are right; his singing is not ideal enough. However, I am looking for the position of his voice because there are aspects of his singing from his younger years that are worth learning from. Specifically, he completely opens his mouth internally and frequently engages his muscles to create various timbres. In his youth, he also had abdominal breath support. Joaquín Pixán sings well; he has a voice quality that is also worth studying.

@@lisaszxu1961 Allstar🥂

I use him to train the expansion power of the front abdomen, chest, and the forward space from the oral cavity to the hard palate, not to learn his singing style. His big belly and large chest are famous in the singing world. Some of his sounds are extremely clear and distinctive, and without developing his big belly and chest, you simply can’t produce those sounds. The champion here is Luciano Virgili. Bruno Venturini is overly dramatic, but studying him can also help develop your resonating chambers. With my quartet of tenors, if you practice by imitating them, the internal space expansion will help you progress at least three times faster than normal scale exercises. I've already made 16 episodes of this quartet, each over an hour long, and I plan to make 20 episodes, totaling over 200 hours as part of a vocal training project. Strictly following their singing methods can allow a beginner, after two years of training, to surpass all the world’s tenors. I believe this is achievable. Nowadays, people haven’t even properly developed their internal resonating chambers, yet they talk about how to sing songs technically and how to interpret the composer’s intentions-what a joke! It’s like asking a kindergarten child to lift barbells. It’s absolutely absurd. So, you can go look at almost any so-called teaching on UA-cam-none of these people can produce even a single note correctly. Regardless of who they are, they’d be better off practicing with my quartet. Thank you for your comment.

@@lisaszxu1961 🥂

Thank you for the correction; I have made the change. I kept the previous title. Please bring it over quickly for use. Thank you for supporting my channe

Thank you for visiting my channel. Yes, I can sing various styles of tenor using my full vocal range (the entire internal space). Your question covers a broad area and relates to a system of vocal technique theory. For half a century, 99% of opera singers have only developed about a quarter of their vocal technique, focusing on the 9 to 12 o'clock range, while the remaining three-quarters remains unexplored. When you mention using technique, if it refers to the vocal training methods from this past half-century, it implies a comprehensive development of all vocal ranges. The techniques of the three tenors represent only a quarter of true tenor singing, as they lack understanding and training in the remaining three-quarters. For instance, if you asked Pavarotti to sing a sorrowful aria with deep emotion, he would struggle to produce that sound, as he lacks the capability for the 5 to 6 o'clock range. In conclusion, for the past half-century, no one but myself has been able to produce a fully coordinated sound across the entire range. I created this channel to share my learning experiences with tenors, hoping that those interested can listen and feel the emotion. I don't plan to teach on UA-cam, but if you're a young tenor wanting to surpass others, I can assist you in achieving success, which will take a bit over a year. You must first unlearn everything you’ve been taught and follow my training program step by step to reach your goals. Most current teaching on UA-cam is incorrect, and I can explain where the errors lie. If you’re just generally interested in opera, I recommend you daily imitate the tenors I've posted about, learning their vocal techniques and understanding how to produce similar sounds. It’s achievable; I can do it. The key is to grasp their breath placement and the shape and position of their resonance cavities. If you emulate them, you will naturally produce their sound. I easily replicate the voices of great tenors like Caruso, Gigli, and Del Monaco. This requires a process: how much space you create internally matters. With the right methods, you’ll feel daily progress. If you’re not a professional tenor or a different type of opera singer, the complexity of what I’m saying may not be very meaningful to you. If you have specific questions about vocal technique, I will answer them, but your question is quite broad and can’t be fully addressed in casual conversation. It’s a systematic issue of vocal technique. Thank you for visiting my channel.

@@lisaszxu1961 I would like to know about your program. I am a lyric tenor. I have had several teachers since I was 16 years old. First I was trained as lyric tenor, then as an heroic tenor, but finally after some training another teacher 'extracted' the final lyric tenor. (G2 - D#5) After several years out of practice, I restarted practicing by myself. Trying to learn how to find a better sound, more harmonics, more resonance, since I found my singing lessons didn't give me a relaxed complete sound. I have had to unlearn some things of my previous lessons. Currently I am warming up with quiet baritone arias before practicing tenor arias, trying not to change any positition to keep the same color and relaxed sound production. And in order to widen my tessitura. I want to record several arias and popera with professional quality, aiming to capture most of harmonics possible. I have not been training high notes, like B4 and C5, so far. Currently my range of practice is D#2 to Bb4. Slow progress in finding the complete sound with the usual stuff found in UA-cam. Then I found your channel, and your research on sound production and the clock approach to apretiate resonance for a complete sound. I have listened some of your clock related videos with attention. I realized it is difficult to find recordings of good singers. I would like to know about your program. Cheers!

@@carlosagc At this stage, you don't need to pay too much attention to your vocal range. Since you are young, your voice has elasticity, and what matters is the quality of sound you produce. If you do not have abdominal breath support, singing both high and low notes can actually become a bad habit. Every day, do not let a low-quality sound become the sound you accept. I haven't heard your voice, so I can't make a judgment. You need to focus on producing a correctly voiced note and steadily developing both upwards and downwards. What's important is how to store the breath, where to store it, how to maintain it, and how to adjust the position and shape of your resonance cavities in this state. My explanations are just text; it’s best for you to sing along with my videos and mimic the singing. Currently, you are warming up with quiet baritone arias before practicing tenor arias, trying not to change any position to keep the same color and relaxed sound production, and in order to widen your tessitura. This method is correct, but you need to have a plan with specific goals for each month. My Neapolitan songs are the most suitable repertoire for your vocal practice. Do not rush to sing operatic pieces. The Italian bel canto tradition has existed for over 300 years before the establishment of opera in 1600. The technical demands of Neapolitan folk songs are often higher than those of operatic arias. You can sing along with my Neapolitan songs, and you will notice progress in a few months. Please keep in mind that you are not currently performing; rather, you are developing your internal resonance organs through practice, cultivating the physical capacity to sing from a lyric tenor to a dramatic tenor. This is the most important point. It's perfectly fine not to practice high notes right now. Once you find the correct method for developing your voice, you should feel progress every couple of days-that is exactly what you want. My sound production and clock method aim to clearly distinguish what kind of breath distribution and resonance allocation is ideal for you; that is your ideal learning goal. Do not sing on your own. Every note you sing must have a reference. For example, if you are attempting a high note, think of how it sounds when sung by a great singer like Monaco. If you can produce a similar sound, then you can continue and learn more. You need a reference point rather than using your own voice as a benchmark. Currently, most online vocal teachers cannot even produce a correct note; I have not found anyone. What I am referring to is the ability to produce sound with the body’s overall resonance and evenly distributed breath. The three great tenors all fall short of this, let alone others. In my videos, the vocal production of these tenors is more accurate than that of the three great tenors. It's like learning English: if you memorize phrases from native English speakers and replace words within those phrases, you will progress much faster than if you were to try to create sentences based on grammar rules. The principle is the same when you sing and listen to yourself. You won’t see much progress that way. You need to seize the time because you want to surpass any tenor in the world, focusing on efficiency. I will introduce my training projects to you in response to your questions later. Wishing you progress every day.

@@lisaszxu1961 thanks!

Agreed. All four are very good, and they all have excellent abdominal breath support. Human inhalation and exhalation seem like a single flow of breath in operation: breathe in, breathe out. I’ve discussed this with some top-level experts, and what I’ve been saying is that people’s understanding of Italian bel canto is too superficial and lacks depth. Breath is not just a single flow. For instance, before singing, you expand the lower abdomen and hold it - this is the primary breath, and it cannot all be released. In this state, another secondary breath is distributed to the necessary resonance cavities. This isn’t one flow of breath, but two or more. People have been unaware of this for over 100 years. There might be theories that touch on it, but no one has explicitly explained it this way. I’m quite surprised because I believe that when studying Italian vocal techniques, we must analyze them with a scientist’s theoretical approach. It has to be broken down into details. Otherwise, for over 100 years, people haven’t truly understood how breath is utilized in singing. Simply saying that inhaling means storing breath, and exhaling means releasing the voice is completely insufficient. What you mentioned about Cecil’s vibrato being too pronounced is caused by two physiological actions: first, the vocal cords are too narrowed; second, his secondary breath is overexerted, and the point of resonance is misplaced, overly concentrated in the nasal mask, making it sound monotonous. The sound always coming from those areas gets boring. However, I included him because beginners can learn proper vocal production and breath control by studying him. As for your ranking, I also tend to put the best at the end. Between Anselmi and Giorgini, who’s better? Using my theory, it’s easy to explain. If Rosa Ponselle were here, she’d agree with me. Rosa Ponselle worked with Caruso and Gigli, two of the world’s highest-ranking tenors, often called the world’s No. 1 and No. 2. No one else in the world compares, right? Just think about it - a soprano recognized by Caruso and Gigli must have been at an extremely high level. She was a great authority in America. She didn’t approve of Lanza’s singing, but no one dared to say much about it. I often communicate with Rosa Ponselle, and I give my assessments of the world’s tenors, then see what she has to say - it’s quite interesting. We agree 95% of the time. Basically, my critique is equivalent to what Ponselle would say. Now, between Anselmi and Giorgini, who is better? I’d like to hear your thoughts first, if you’d like to dive deeper into the discussion. Thank you for your consistently high-level and insightful comments. You always point out the key issues. Thank you.

Valdengo is a baritone, with a lower register that differs from tenor singing. His technique is worth studying because it can expand the resonance chamber in that range. Gigli is great overall, except for the end; the resonance on the sustained high note is a bit uneven. He used forceful breath support, pushing too hard. You see, he pushes the breath up from the abdomen, so when he tries to sustain that long note, all the breath goes to the mouth, and since the note isn’t finished, he has to rely on force above the vocal cords to maintain the length of the note. This makes the final note seem fragmented. Of course, I might be the only one in history to be this critical of Gigli, as others regard him as a god and think he’s perfect. Those people lack understanding. How should it be sung? It’s simple: the breath should descend more into the lower abdomen, expanding like a big balloon. Then, for that final high note, instead of pushing the abdominal breath upward, new breath should be forcefully pressed from below the abdomen, causing the breath to rebound upward. This way, the vibrato can be even, and the control of power can be better managed. Pauli and Albanese are good, but they didn’t challenge themselves on the final high note, which was disappointing for me. Even baritone Valdengo takes on high notes; is the sheet music different? Is there no research in improvisation?

I agree with your comments. I have selected these four singers. Franco Bonisolli has a good breath support and powerful high notes, but his vocal cords don't fully open. At the moment of singing, his vocal cords don't close enough, resulting in breathiness and a reduction in sound clarity. Mario del Monaco, with good breath support, has penetrating high notes and his vocal cords are very open, producing a sound that is twice as powerful as Bonisolli's. However, he has a drawback: the breath pressure from the chest, oral cavity, and nasal passages can be too strong, lacking nuance in emotional expression. Corelli consistently relies on throat tension with insufficient abdominal support, concentrating his sound in the oral cavity and nasal passages, resulting in a thin voice that lacks depth in emotional expression. In contrast, Tucker has a very balanced breath distribution, providing both power and lyricism, with ample abdominal support and fully open vocal cords, creating a penetrating sound. My final conclusion is that the champion here belongs to Tucker."

I also think MDM is the best.

Two Francos, which one are you referring to

@@lisaszxu1961 Corelli, of course

The phrase "Dellanatalsuaterrailpadre O tu che in seno agli angeli" comes from the aria "O tu che in seno agli angeli" in Verdi's opera La forza del destino. This aria is sung by the character Alvaro and expresses his pain and struggle against fate.

​@@lisaszxu1961not quite correct: "Della natal sua terra il padre volle Spezzar l'estranio gioco", but the aria is usually known as "La vita è inferno all'infelice... O tu, che in seno agl'angeli"

@@XPRT10R It's possible that I made an error in referencing the audio title. Thank you for letting me know.

@@XPRT10R Hilde Güden and Nicolai Gedda。I checked before, and it's indeed her, Hilde Güden.

I think it should be Maria Callas.In Nicolai Gedda's performance of "Carmen," the soprano who usually sings the aria "C'est toi" is Maria Callas. Their duet features a classic interaction between Gedda's character and Callas's character.

Nicolai Gedda and Maria Callas collaborated on several major versions of Carmen, with the most notable being: 1958 Recording: This was their first collaboration, conducted by Herbert von Karajan. 1961 Recording: This version is also very famous, showcasing their vocal techniques and chemistry. 1970 Recording: In this version, they collaborated again, offering a different interpretation. These versions are all well-regarded and highlight the unique styles and expressiveness of both singers. In each version, I hear that the singing style varies slightly. This is from The Greatest Tenors of All Time.

@@lisaszxu1961 that's definitely not Callas

@@XPRT10R I looked up some information, but it might be incorrect. I also think it doesn’t sound like Callas-Callas' voice isn't that dull, and her abdominal support isn't that strong. I really like this soprano as well, and I'll continue researching. Thank you for letting me know.

The recording of Carmen conducted by Herbert von Karajan features Giulietta Simionato, Hilde Güden, and Nicolai Gedda, and it was recorded in 1963.

My dear friend, you are truly amazing! I really enjoy reading your comments. It’s so rare to come across someone like you, as I just mentioned to another friend. If I had to pick a champion, I would choose Verreau. I feel certain that you must be over 80 years old, because without such age, it would be impossible to write such high-level commentary. Thank you, and I hope to read your comments again.

Not quite. I was 20 when I saw that performance and wrote the words quoted above.@@lisaszxu1961

@@leslieepstein4700 That doesn't matter. I estimate you are already over 80 years old. I hope you have a pleasant day every day and live a long, healthy life.

I agree with you. These four versions were selected from over a hundred tenors, and they each have completely different breath distribution. To me, this is incredibly fascinating. Studying the resonance placement of their voices for just one day could surpass all current tenors (assuming the same size of resonating space and the ability to adjust its shape and position). Overall, Verreau is the most balanced. He is simply outstanding, and his emotional expression here is undoubtedly the best. In fact, I don't really want to rank them because all four have voice qualities that the others lack. Tucker always conveys a grand, deep sound, a sense of masculinity. Barioni's performance of this song might be the best of his career, filled with youthfulness, vitality, openness, and a sense of longing for life. Lanza consistently emphasizes nasal resonance, which, although charming, is something I don't agree with. In terms of vocal balance, his sound is overly concentrated in the nasal cavity. However, he has excellent abdominal breath support, which is different from Domingo, whose nasal sound lacks abdominal breath support. In general, focusing the sound too much in the nasal cavity is too monotonous. Nasal resonance is indeed a tool for conveying emotion, but it shouldn’t be overdone. Verreau is much better at expressing emotion in this regard. As for Barioni, his breath distribution is more focused in the oral cavity, so his emotional expression isn't as deep.

I'm very pleased to read your highly professional commentary on vocal technique. There's no issue with placing Renée Fleming at the top. My thoughts are that, first and foremost, Renée Fleming is undoubtedly excellent. However, with her very first note, she directs most of her breath into the oral and nasal cavities, creating an artificial sound effect. This is something I cannot accept at all. Caruso once said that the most important aspect of singing is the first note, which must come from the chest. A chest-supported soft sound is the most natural and correct. The song, titled "Songs My Mother Taught Me," depicts a daughter recalling the songs her mother sang to her during childhood. There's no reason for the mother to use such strong oral and nasal resonance or excessive breath pressure when singing to her child. The child is right there, so is it necessary to sing like this? Renée Fleming's rendition focuses on vocal technique and sound effects, rather than conveying true emotion. This is reflective of her era, where she often performed alongside the three tenors, constantly comparing vibrato and resonance. She didn’t fully grasp the deeper meaning of the song. Aafje Heynis, on the other hand, sang naturally and softly, without exaggerated sound production, and was far better than Renée Fleming. Even the opera singer Rosa Ponselle exercised great restraint in controlling her volume, preventing it from being overly concentrated in the oral and nasal cavities. Even if this song were sung from the diaphragm, it would sound far more beautiful and realistic than Renée Fleming's interpretation. Elena Kuzheleva, who is about ten years younger than Renée Fleming, has completely fallen into the abyss in her time. While Renée Fleming still uses a small amount of abdominal breath support, Kuzheleva has completely abandoned it, relying almost entirely on pushing sound from the oral and nasal cavities, similar to shouting. The mask resonance technique has been the subject of some controversy throughout history, particularly in its teaching and application. Originally, mask resonance was a method used to correct students who focused their sound production too much on the larynx. By directing the resonance sensation to the mask area (the front of the face, such as the nasal cavity and forehead), it effectively avoided excessive tension in the throat and pressure on the vocal cords, helping the voice achieve greater projection through head resonance. However, the issue lies in the fact that many people overlook the foundation of the mask technique-abdominal breath support. The successful application of mask resonance relies on deep abdominal breathing, particularly the control of breath from the lower abdomen. Without sufficient breath support, if the breath is pushed directly into the mask area, the sound can become tense, shrill, and even out of control. This leads students to shout rather than produce a natural and smooth resonance through proper breath management. The ideal technique should involve the coordination of the chest and abdominal cavities, with the chest raised and supported by the strength of the abdomen. Only with this stable foundation can a portion of the breath be properly directed toward the mask area, creating healthy head resonance. Once you start learning the mask resonance technique during the beginner stage, you're already on the wrong path. You mentioned that you're a tenor with a baritonal quality, which is actually an advantage. You have better abdominal breath support than most tenors. I'm very curious to know what you learned from your first four teachers. A friend of mine, also a professional tenor, went down the wrong path with vocal training and deeply regrets it, having gained nothing. I'm not sure about your experience. Fortunately, you've now mastered it on your own, and congratulations for that. If you hadn't mastered it, I would be happy to study together with you-even if you're in your 70s, it's still possible to learn. Thank you for recommending Michael Trimble, though I’ve never looked into him. I never study any tenors after the era of the Three Tenors, because they all have the wrong technique. One thing I'm glad you've realized is that opening the vocal cords is closely related to extending the vocal range. In this regard, you can learn from Lauri-Volpi, who is quite profound. He is the only scholar and professor among tenors. Claudio Villa’s technique will show you how to fully open the vocal cords. This is one aspect, but another important one is that for each note, the vocal placement must be as low as possible. Without doing this, your high notes won’t have any penetrating power. I’m very happy to discuss vocal technique with you. If you have more questions, feel free to continue the conversation with me.

Michael Trimble, I've listened to a few of his performances, and overall, I feel he has a lot of vocal knowledge to learn from. However, the key issue is with his overall voice distribution; his breath support comes too much from the throat, oral cavity, nasal cavity, and head resonance. According to Caruso's theory, the foundation of any sound must be in the chest, with deep abdominal power driving the chest resonance. The area above the vocal cords should occupy more than 50%, but Trimble occupies even more. I wonder if I live to be 80, whether I could produce a sound like his, primarily focused in the throat, oral cavity, nasal cavity, and head. It’s really a matter of breath distribution, not age. I always make sure that when I sing any note, I maintain a breath volume of 60% or more below the vocal cords. Without this, any technique is useless. If you want to explore further, we can continue. However, I recommend you check out Raymond Modesti's UA-cam channel; he exemplifies correct breath distribution. Although he is a bass, he can also produce high notes very correctly. www.youtube.com/@raymondmodesti

Daniele Barioni continued singing and was still performing until the age of 70. ua-cam.com/video/7FtFSIFUdHs/v-deo.html He is the best-preserved tenor in history at his age. No one at 70 years old has been able to produce such a youthful voice. His breath control is exceptional. I admire him greatly.

@@lisaszxu1961 ma a 36 anni gli morì la moglie e si limitò al necessario per vivere

@@maxtrentini5589 Thank you for telling me this important thing. It's unfortunate... but his voice was well maintained, and even at 70, he could still sing like that.

Historically, Corelli has generally been regarded as a Spinto tenor rather than a Dramatic one. As for Lázaro's style, one might say it comes across as affected. Perhaps Kony is even more affected. It depends on how you define "affected" or "mannered." In my opinion, aside from maintaining maximum tension in the abdomen, the other individual resonance chambers should not be overloaded with too much breath-too much leads to affectation. If the breath is distributed evenly among the resonance chambers outside of the abdomen, then no matter how one sings, it won't be considered excessive or affected.