BARITONE BEAST MODE: Cornell MacNeil - O monumento [La Gioconda] - LIVE 1966, correct pitch

The other copies of this performance on UA-cam are from a recording that was erroneously transferred at too high a pitch/speed, making the voices/vowel colors too open and shrill.
Now with the pitch corrected, the Mac's voice has more depth, more thump and twap-making that penultimate high G simply volcanic.
Teatro Colón
Buenos Aires
June 24, 1966
Bruno Bartoletti, conductor
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Yes, the singing is... extra.
Trrill™ is about florid passages, improvisatory underpinnings, staccato'd intuitions, and virtuosities even at their most ridiculous.
But it's also about the biggest, boldest form of vocal emission, with aural examples of basically correct singing, correct impostazione-chiaroscuro, vowel clarity, firm and centered pitch, correct vibrato action, absence of throatiness or thickness, sounds free from constriction and from the acoustic noise that accompanies it-with occasional video examples that demonstrate what the body, face, mouth, jaw, and tongue look like when used with correct impostazione-the vocal emission of the one and only Italian school.
Caveat: I'm biased in favor of #baritones and baritone literature, but if you want to learn about and listen to all the greatest singers in the old-school tradition, explore this spreadsheet (voice parts are separated by tabs):
bit.ly/2W4qmE3
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#baritones #opera #highnotes

[@demadesgomes76]

Straordinario, Meraviglioso! Bravo maestro. ❤️

[@ComteAnckarstrom]

Nothing comparable nowadays😢...

[@giuseppedimarco8358]

AMAZING VOICE!

[@umaratabilgi161]

God damn

[@tonshaad1230]

Is there any way that you could correct the audio transfer speed of some of his Si Puos that's on here? They make Cornell sound shrill and even make him sound like a dramatic tenor with high A's and Abs.

[@trrill]

Yeah, post a couple links here and I’ll take a look.

[@ransomcoates546]

His top notes did sound like a very good dramatic tenor.

[@hanslick3375]

MacNeil at his best could outsing almost any baritone. Unfortunately, there are terribly few recordings of MacNeil at his best, and this is not one of them either. His bad habit of singing E flat and even E open is quite obvious, pitch problems, unrefined diction, hardly any dynamics, quite harsh color at times. His instrument was truly huge, and he had trouble stabilizing it more often than not. I think it's nerves, honestly. The first note is already sharp, Corelli had the same issues sometimes. There is too much tension in the body due to nerves, leading to slightly sharp singing. This, by the way, explains why he resorted to CNS depressants.

[@JTS578]

I performed several operas with Cornell (in the pit), and would say that he was pretty much incapable of singing with a conventional cover, especially in his later years. Still a thrilling sound, and great actor...but his technique was a bit unusual.