Відео

This is Manon Lescaut, I was in this production and there is no pronunciation mistakes.

@@maggitc I know that this is Manon Lescaut. And about the pronunciation mistakes: Just listen to "simile a questa" for example... he sings "si'iiiiila cassaaaaaaa".

Are you a singer? If so, then you should notice that he moves his lips to make an m but to not stop the flow of sound he doesn’t lock the lips. This is called “technique”. If you’re not a singer, then your confusion is valid.

​@@maggitc I am not a singer, but in my opinion a singer has to sing that I can still understand the text... Most of singers are doing that. Corelli for example sings the "m" and the "qu" and it still is legato.

Can't agree more, having seen it in Frankfurt last December. Gives me goosebumps and tears every time I hear and see this.

Indeed. He is sooo good!

I loved every bit of all of it with the exception of his "In - - - ter..."; the notes are b - c - d - e and a bit choppy??? That was not as smooth as all others that were beautifully sung. You are much more "learnded" than I so you can better comment musically. Glad I found this tenor; I've discover many new tenors (to me) within the last 6 months and am enjoying them all.

Thanks for your comments, found educational and I understood (love it when I learn). Only lets us all know that no one is perfect and something objectionable/questionable can be found in anyone's voice. Which is why I don't sing because I'm usually the one "taking apart" someone's singing (mentally) and know others would do the same to mine. Ha ha ha ha!! However, I'm yet to hear perfection. Thanks again and hope we meet up again!! :)

@@Jake-nk4wg I bet you know more than you humbly say - but I was to brief. Let me just expand my observations about Guerrero. 1. The sweetest Guerrero can do is "Deus" at 0:34, what's rather dramatic than sweet. I find it acceptable, fresh and touching. It's not that he can't make it sweet; but he trades sweetness for something else: manly, heroic voice, and good sound projection. 1) He sings "in the mask" (forward - like Torsten Kerl) to achieve "squillo" (to sound like a bell or like a thunder: metalic, bright, powerful). Many times you can hear his "teeth" "ringing". You can hear his "thunder" at 1:26 "quoque" - compare it with muffled Jonas Kaufmann. 2) He uses as much diaphragm as possible to project well (to be loud and consistent without effort). At 1:08 you can hear how he "sighs" while re-setting the muscles for the lower tone, a sign that all the time he "sits" on a huge air "fundation" and he sings "over it" using a little air. That's perfect - only it shouldn't be noticeable - perhaps here he was emotional. 3) He uses as much chest as possible (like Mario del Monaco or Roberto Sacca). Between 0:45-0:52 "Qui Mariam" you can hear that his highs sound the same way his lows do - the only difference is the note. Compare it with young Luciano Pavarotti, who clearly "switches", so his highest notes sound like a different person's (see how his "Quoque" varies from most of his range). Another sign Pavarotti used less chest voice were his sloppy lowest notes - for he preferred more head and less chest voice. Guerrero's lowest are like a baritone. 4) He force-lowers his larynx (to sound fake-dark like Kaufnann, opposite to Juan Diego Florez). For example at 0:46 his "Mariam" sounds "MOrYam". 5) He side-releases soundless air (you can hear his "hairdryer" always in the background) to prevent the "knödel" (the throat collapses when you force-lower your larynx, and you sound like swallowing the words - see Piotr Beczala). This "hairdryer" trick makes his voice sound warm like a woodwind instrument. Now I can be more precize: Guerrero traded sweetness for the safe zone of the force-lowered larynx, but I prefer him (or Roberto Sacca, Torsten Kerl) to the contemporary "tenors" that are pop-ish, boyish, quiet, thin, who swallow the sound. 2. If you'd like to check a really sweet voice, it's Fritz Wunderlich. Or today it's Dimash Kudaibergen - a complete opera singer who chose pop-opera, and who shows what head voice really means (all his "falsetto" is actually head voice, powerful, the chords closed). His SOS from 2017 with subtitles, good God... What Guerrero could achieve if he develops his voice more show Jerry Hadley, Gösta Winbergh, Peter Seifert, Veriano Luchetti. Reiner Goldberg - who had a "floating" larynx (in a neutral, relaxed position), so sweetness was in their reach. He would sound brighter and more natural. There were also huge voices capable of the highest sweetness: young Franco Corelli, Jon Vickers, Franco Bonisolli. Vickers sounded kind of like a goast or a prophet. He crated an illusion that he was breathing in not out, or the time stood still. His Tristan, Parsifal, Siegmund have no match: vibrant, masculine, seductive, over the huge Wagner Orchestra. Check his "Winterstürme", "Vesti la giubba", "Pur ti miro", pure love, my God... Corelli is the loudest tenor on record, louder even than Birgit Nillson who was afraid of singing Turandot with him (at least one time he obliterated her, unbelievable...). His passion, diminuendos and long breaths are unforgettable. See his "Che gelida manina", "Meco all'altar di Venere", "Gia una notte densa", "Ombra mai fu"... Bonisolli in Turandot was louder even than Gwyneth Jones (who was maybe louder than Nilsson) - on the other hand he sung even Rossini. His pianos... Just see his "Fuyez", "O soave fanciulla", "Di quella pira"... Try different recordings till you find good quality and a good day of the singer. 3. I was thinking about exemplary Ingemiscos. One of them is for sure the Pavarotti-Karajan miracle (what a loss hadn't Bergonzi withdrawn than night...). Another two may be: Balanced Vickers ua-cam.com/video/6q41ldoLFAE/v-deo.html Old-sobbing-school Gigli ua-cam.com/video/w9pbly7pgkQ/v-deo.html Domingo-Bernstein moves me very much - but Domingo is a bad example: instead of polishing his technique he has learnt numerous titles and appeared and recorded frequently. If you want to learn a lot, check these channels. youtube.com/@SilverSingingMethod youtube.com/@thisisoperaarchive1583 For example the eye-opening ua-cam.com/video/x0Jo7dW9nJQ/v-deo.html In my case, the voices I had always disliked, turned out bad technique... At the same time the too perfect voices I find... boring. If you want tohave a laugh, check these comparisons (there're more...) You never know if they picked the best of the singers - but the technique becomes visible, and the struggles of the semi-tenors are adorable. Corelli vs half tenors ua-cam.com/video/vTDLIx1mJ_E/v-deo.html Florez vs Bonisolli ua-cam.com/video/6nMX4Jq0wnI/v-deo.html Domingo vs real tenors ua-cam.com/video/PMX3wlhQsL8/v-deo.html Kaufmann vs real tenor ua-cam.com/video/ZzNwDdJtD70/v-deo.html Besides that, Kaufmann has something what always moves me.

Reminded me more of Neil Shicoff (but not as solid yet).

Oh indeed! Puccini knew how to make them sing!

You sound pressed.

Please check out soprano Kasondra Kazanjian, "Tu che di gel sei cinta", magnificent voice

Please check out soprano Kasondra Kazanjian, "Tu che di gel sei cinta", magnificent voice

yes, but tempo...

Before I saw your comment I'd written pretty much the same. Having seen more his pieces I'm clear he follows late Corelli with the manner and the power. This kind of forward-open tenors hearable forced diaphragm and squillo are my weakness - he moved me more than Alagna or Wunderlich or Hadley I'd listened to just before. Pity he seems to have finished his evolution while he doesn't control the air and consonants completely.

Please check out soprano Kasondra Kazanjian, "Tu che di gel sei cinta", magnificent voice

Per favore ascolta il soprano Kasondra Kazanjian, "Tu che di gel sei cinta", voce meravigliosa

Chi canta fa più orrore credimi.... oggi non si sa più cosa sia la tecnica belcantista, più urli e più sei bravo.

I was there. He was marvelous!

@@SilfredoSerrano I'm jealous!!! :)

Hope he takes care of that amazing organ. :)

No, no, her last name is "Lescaut," it just SOUNDS like "Let's go." (Sorry, I had to.)

In a good way? Or..

Hick up? Do you mean sob? All the great tenors of the 20th century did that.

@@SilfredoSerrano I didn't agree with "hick up" as well but your description "sob" fits perfectly and I love it; impressive voice to me!!!! :)