Відео

I miss Virgilius Noreika here. A very underated tenor. Bjorling and Corelli are just wonderful (as always)

Instead of presenting your Corelli bias, present a variety of singers. Constantly repeating Corelli achieves nothing but revealing your bias!

Just because some of them can hold a long note doesn't make it pleasant or artistic!

Raimondi sounds amazing on this recording

The recording equipment of the old days may be unfair for some tenors, beside that how to compare the acomperable Pavarotti? In my ears, after Pavarotti is Giuseppe Giacomini

Luciano Pavarotti by a landslide. No doubt. :)

CALLAS AL DO SOPRA DI TUTTE, POI RENATA.

IMHO Giacomo Lauri Volpi in his prime and in one of his iconic roles is the best one. Immediately after him in my personal score there are Alfredo Kraus, Jussi Bjoerling and Luciano Pavarotti. Very good also Tucker and Filippeschi.

My favorite snippet: Cerquetti. The most velvet and suffering.

Bjorling

Il migliore in assoluto è Mario Del Monaco!

Mario del Monaco è Otello ! Quale bella produzione !

Cerquetti is the best.

GIGLI E' GIGLI.

VOCI DIVERSE E SUBLIMI. MANCA GIANNI RAIMONDI.

GIGLI E' GIGLI.

galletti moderni d'allevamento chiudetevi nel pollaio.

GIGLI PERFETTO.

Adore Leyla Gencer!!!! Zinka Milanov🥰, Claudia Muzio😍 But in this cuts for me Ghena Dimitrova and Celestina Boninsegna - bests/beasts😁

Tutti eccelsi. Comunque Mario Del Monaco, Franco Corelli e Aureliano Pertile.

Franco Corelli 1965

Carlo Bergonzi e Jussi Bjorling

Anita Cerquetti e Montserrat Caballè

Joseph Schmidt il mio favorito.

PONSELLE Muzio Tebaldi ...... Sutherland Melba Zeani ...... ....... ...... Vallin Jeritza Cerquetti Milanov Caballé Callas Gencer Olivero Obraztsova Rethberg Pacini Steber Dimitrova Bruna Rasa Nilsson Rysanek Boninsegna Giannini

GIGLI!!! What woman could resist that voice 👌👌👌👌

The best 👌👌

Bella lotta fra Corelli e Del Monaco

Tutti grandi interpreti. Un plauso a Jussi Bjorling per la dizione. Per me Franco Corelli e Pippo di Stefano sono sempre i migliori.

thank you so much for all this!!

Granda: Good. Valente: Long high note, inaudible at times. Ziliani: Not my favorite: Cortis: sounded a bit tired to me Pertile: Pretty good Gigli: Shook me without the orchestra!!! Labo: Not my favorite. Merli: Not the most powerful in my opinion. Corelli: Very good!! Limarilli: OK. Cecchele: Didn't cut through the orchestra in my opinion. Raimondi: Some syllables didn't cut through. OK. Giacomini: Not much power compared to the others. Rosvaenge: Good, but no Gigli. Kiepura: Not my favorite. Schmidt: Pretty good. Baum: Pretty good. Del Monaco: Great! Filippeschi: Good. Piccaluga: Good, but no Gigli. Visconti: Very good. Tauber: Good. Tucker: B was powerful. Pavarotti: Long, but not the most powerful in my opinion. Winners: Corelli, Gigli, Del Monaco

Sutherland does not belong here. Rysanek off key.

A parte Callas che E’ NORMA❤, nessuno cita la Nilsson che dopo “signor” fa’ un autentico miracolo vocale con un calando ed un pianissimo miracoloso

Yes, Corelli sings the most heroic Cavaradossi with an ample note holding in live performances. Greetings,

Comme ces comparaisons sont cruelles, et révélatrices, des faiblesses, des défauts de justesse, des laideurs de certains timbres, même chez les plus célèbres (Di Stefano, Bergonzi, Pavarotti) ! Un seul en sort vainqueur, haut la main, puissant et beau , virile et si juste, l'incomparable, le sublime Franco Corelli !

No mention of Giuseppe di Stefano ? Why ? ua-cam.com/video/soFD0iRnAsc/v-deo.html The emphasis on the High C is overdone and tedious . There is so much more to appreciate .

There are many wonderful performances of this passage here. I especially love the way Claudia Muzio sings with effortless power and rich tonality. She floats her high notes with power and ease, with no signs of shouting, screeching, hooting or stridency as in some of the other performances. Sutherland has similar qualities, but with not quite as warm a tone. Caballe's tone is deliciously rich and creamy, yet with a bell-like clarity and tremendous power. Tebaldi's tone is clear, golden and powerful, and she floats her high notes with lovely delicacy.

Se comete un grave error en estas presentaciones, que es comparar versiones con tenores en la plenitud de sus facultades vocales con las de otros tenores en decadencia. Como la voz se deteriora por el paso del tiempo, por el uso intenso y por problemas de técnica vocal, las comparaciones no tienen una validez objetiva. No es lo mismo, por ejemplo, poner la versión de Corelli de 1973, cuando su voz ya no tenía la frescura de los años 1960 en que tenía más brillantez, mejor vibrato, mejor fraseo y dinámica vocal que en su versión filmada, que es la que se presenta, mientras que Gigli, con 48 años en la versión que grabó, se presente con sus facultades a plenitud. También es un error incluir tenores para quienes no cabe este papel, que fue escrito para un tenor dramático, Giuseppe Borgatti, como Alessandro Bonci o Lucicano Pavarotti, tenores lírico-ligeros, que no tuvieron la voz para este papel, que es muy agotador y encaja meejor en tenores lírico-spintos y dramáticos. Entre los tenores presentados, la versión de Mario Lanza, grabada para RCA Victor, en plena forma, nos ofrece la versión más dramática con golpes de glotis y énfasis expresivo, además de brillante. No es posible señalar la mejor versión, porque ninguna es perfecta, pero sí señalar las mejores por algunas particularidades interpretativas. La de di Stefano, muestra a sus esasos 40 años una voz agotada con agudos bien opacos y cortos, mientras que la de Nicola Martinucci, con una edad un poco mayor que la de di Stefano, se escucha bien brilllante y con un amplio fiato. La de Richard Tucker, bien brillante y expresiva. Otro problema es que las grabaciones son engañosas por sus volúmens diferenciados. Faltaron algunos tenores también notables, como Plácido Domingo, Pedro Lavirgen y José Soler. Saludos,

❤❤❤😊😊😊🎉🎉🎉

❤❤❤❤❤❤❤❤❤

CALLAS is Norma❤

Ebe, Fedora, Giulieta eternas. Hay las nuevas que me gustan Malgorzata e Guadalupe Barrientos muy buenas

Где Марио Дель Монако? Это неуважение

Del Monaco, without a doubt. Remarkable Giacomini (the last phrase, from _doppo l'armi,_ in a single breath).

What a great compilation of artists. I must confess I did not know most of them and I am very positively surprised of the quality of those voices. I must also confess that Chénier is for me one of the greatest roles for a tenor and more in particular this, his first aria.

Giacomini brillianto tenore! Best of the best 👌

You forgot Jean Madeira and Lili Chookasian both tremendous Ulrica's with baritonal low G's!!!!

Jerry Hadley, Pavarotti, jussy Berling , Filippeschi e niente male Del Monaco.

HOW OFTEN IS TEBALDI'S GREAT INTERPRETATION DISMISSED AS ...GREAT VOICE PITY ABOUT HER ACTING! WATCH HOW SHE MOVES.....YOU KNOW THAT WHILE ON STAGE NO ONE CAN TAKE THERE EYES OFF HER! SHE DRAWS YOU IN......AND NEVER DOES ANYTHING TO DISTRACT THE AUDIENCE FROM THE DRAMA. SHE IS PURE CLASS.......OTHER SO CALLED ACTORS DISTRACT AND SPOIL THE INTEGRITY OF THE MUSIC WITH BOXING...WRESTLING AND IN ONE THE RECENT CASE...A SPOT OF THE BOSTON STRANGLER...IN CASE OF ONE OF THE MULTIPLE STABBINGS NOT HAVING THE CORRECT EFFECT! NO....TEBALDI RISES ABOVE ALL THIS....THUS THE AUDIENCE IS CAUGHT IN THE MIDDLE OF A REAL DRAMA. THIS IS AN IMPORTANT DOCUMENT........HOW LUCKY WE ARE WE CAN SEE IT!!!

Maria Caniglia?