A bit of context: Manrico (the protagonist of this aria) is about to get married to Leonora. When he suddenly receives the news that his mother, Azucena, is being burned at the stake So he reunites his soldiers and goes determined to save her from death
Thomas il peggiore, poi grigolo e Kaufmann. Gli altri man mano meglio fino a Corelli che risulta il più calibrato in cui tutto è subordinato all'espressione Tra l'altro è imponente anche prima dell'acuto
Corelli. In any case. Pav. Is a lyric tenor . Manrico's part is for dramatic or cpinto voice. Pav takes liberty to sing any part he choses, which is no good He even was bold enough to risk Othello, whic was a disaster!😮
As my mother pointed out - when we watched 'Trovatore' - this is the first really big aria for the tenor, and he's had to do a lot of singing before it already. So by the time he gets to this point it's been at least 1hr, and suddenly he has to do this major aria ending on a high note (literally). So really, the only way to properly judge this is to judge actual performances, rather than random solos.
El grandioso Franco Corelli,parece que Di quella pira esté hecha para su voz,un agudo expansivo,con brillo,potencia,libertad,aunque hubiese,otros con mejor tecnica, la capacidad fisica de Corelli es incomparable,una voz de tenor robusta de un "Spinto" pero con la agilidad y registro de un lirico ligero,llegando a superar el Do agudo,desde luego sus cualidades fisico-Vocales eran portentosas,sin hablar de su vibrato caracteristico e inconfundible.
Actually, Verdi didn't write the climax with the high C's (or rather the many high B's we are hearing here). It was improvised by a tenor known for his big upper voice, Eric Tamberlick. Tamberlick then visited Verdi to show him and get his approval. Verdi listened and said "if this is what the audience wants, give it to them. But-they had better be good."
Hey dear friend,I hope you don't mind making new friends and music,you seem to be a music lover do you have any recommendations for me,I love gospel songs ❤
@@saintrude oh I've been here and there (mostly in doc's offices) Haha, thanks! Once I get my health to a great state I'm coming back. I don't know how much of physical therapy it's going to take. But I guess A LOT
Hey dear friend,I hope you don't mind making new friends and music,you seem to be a music lover do you have any recommendations for me,I love gospel songs ❤
Corelli Bonisolli Lauri Volpi Caruso Bjorling Lanza Del Monaco Fisichella Pavarotti Este es mi Top10 Ahhh ¿falta uno porque mencioné a 9??? Yo hubiera agregado a Aureliano Pertile, pero no está entre los publicados.
I like your videos and I come here not to compare who sang it best but only to spoil myself with different great interpretations of the greatest musical creations!
Bonisolli and Corelli! At their time, there was not so much PR as later for the 3 Tenors, so they were not so popular outside the opera houses. But their voices still outshine all others.
I think it might have been fairer to have a rendition of Luciano Pavarotti's when he sang it in the original key as he did in the 1970s. The version played was from the 1990s when, still excellent, but below his prime performances of the aria. Both the version Caruso and Mario Lanza sang was a concert version, which in Caruso's case would probably have been down to recording space on an acoustic disk. The version of Mario Lanza's is from the movie Serenade, so I am not quite sure why he did not sing the entire ending... perhaps trying to keep the length of the movie down, the movie was very much edited as it ran quite long. I would have loved to see the full cut as there were whole heaps of stuff cut out. Del Monaco sings everything the same, so ... Hard to judge exactly. As it is not contesting like with like.
One can hear this aria Mario Lanza sang in its entirety, just by looking him up on UA-cam. It is only cut in the movie for the sake of time but he sang the whole aria before the movie cut its beginning. I promise you that you will like it quite a bit.
Hey dear friend,I hope you don't mind making new friends and music,you seem to be a music lover do you have any recommendations for me,I love gospel songs ❤
you have to take into account that the older singers didn't have technologically advanced recording equipment. it was just singing into a horn, basically.
Ooh hi, I have a request! Can you do who does it best for the riffs in Heart of Stone! Here are some examples: - Natalie Weiss (she deserves more recongition) - Jasmine Forsberg (there’s a few, but the one from the Desk show that actually shows how clear her riff was!) - Natalie Parris (OG of the OG) - Abby Mueller - Claudia Karuki - Caitlin Tipping (her whistle notes are very clear!) - Jason Gotay (yes, he actually did a cover!)
As much as I enjoyed this video, it's really sad to hear, how present singers (even those considered "big stars", like Kaufmann) struggle to sing anything close to old masters. I mean come on: who called Grigolo "the next Pavarotti"? Ridiculous. I like most versions recorderd before the 90s, with the exception of ones, where it was "o teco corro a morir" instead of "All'armi!". I don't know, what year was Fisichella's version recorded, but I liked it too. My favorite? I think here it would be Pavarotti's one. Although in general I love Corelli's performance from his Met debut most- check it out :)
Franco Corelli owns this aria and Manrico, Franco Bonisolli was also very good, as was Lauri-Volpi. Mario Del Monaco was also good in this role. Many of these singers would struggle to sing this role night after night. A lot of them are singing B4, not the C5, it is often customary to sing this one note lower when performed live.
Bonisolli is so ridiculously over the top , is so very old fashioned in his "acting" - running down to the edge of the stage, in case the audience didn't know he was singing - and I do Not need or Want to see his navel, or what passes for chest hair - seriously, that's just gross....lolol Corelli and del Monaco *should* sound decent - their's were pre-recorded in a Sound Studio and they had 25 takes or more to get it right --- and Corelli, as is often the case, scoops up to the final note from about a 3rd below
@rugby8-Philadelphia :: 25 takes to get it right !! If it took that many takes, the tenor shouldn't be singing Manrico ! Corelli, "scooping" ? Corelli rarely scooped and definitely not here.
@@rugby8-Philadelphia Bonisolli was certainly not the most nuanced or thoughtful singer. But he did have a very good voice, opera is about the voice. Corelli probably sang this role live more then anyone else, his live recording with von Karajan from 1962 alongside Price is one of the very best versions available. Del Monaco was a good Manrico but the role was slightly to high for his voice, he only performed the role a handful of times.
@@cliffgaither Scooping? Yes Regarding the takes - have you ever been *in* a recording studio, or sound engineer's booth during the recording process ? Believe it or not, there are Often an inordinate amount of takes. Sections, phrases, etc
@@ZENOBlAmusic Lol - I agree with your comments, except, Opera is not ALL about the voice, or it would have remained in concert, or oratorio, format. Fortunately through the last 6+ decades a larger expectation has been put upon the singers for dramatically valid, and Honest connection to the text. Not running around like a WWE wrestler on steroids showing off his ... "Masculinity". Although, Lord knows, tenors have often done that since the beginning of time 😜😜😜
corelli, and it isn't even close. Bonisolli, Del Monaco, Volpi and Björling were the only other ones doing the climax justice. Arturo Chacon surprised me tho tbh
En la realidad Luciano Pavarotti es el mejor de todos iguala al Doctor Corelli, y a Bonisolli, tomemos es cuenta que las operas que se cantaban en las temporadas no sé puede estar repitiendo a cada rato ese gran reto de estar agudizando la voz hasta Do sobreagudo o lo que muchos le llaman Do de pecho, el exigir estar a cada rato cantando Diquella Pira, en cada presentación estar cantando a cada rato Do sobreagudo desgasta también la cuerda vocal de cada tenor y es por eso que en este video podemos apreciar a Luciano Pavarotti que le hayan bajado medio tono de esa área lo cual en este video no han puesto a Luciano Pavarotti cantando Di quella Pira, en su poderoso y verdadero Do Sobreagudo, que dejaría opacados a todititos los que han puesto acá.
This may not be ideal repertoire for him, but kudos to Fisichella. A well-placed, ringing high C (not a B as in many of these clips) which he sustains well. His high notes were always fantastic.
Someone who got ears in place and watch full video knew 3 or for best voices ever. Caruso, Gigli, Volpi, Del Monaco, Corelli and 2 tenors who have enough technique and intellect to do not this role in full opera. Fisichella and Kraus of course. Bjorling one of most impressive singers)
Tô me, it was Mario Lanza, hands down. Not just in this aria, but also, in every one that he has ever interpreted, and in every song he sang. He is considered to be on top of the greatest tenor and baritone of the nineteenth century. Nobody comes close to him when he sings “Un di allo azzurro spazio”. It os as of Thiago aria were composed especially for him. Also, the aria “Chi mi frena in tal momento”. Spectacular renditions of just two of all his electrifying way of singing.
He couldnt sing a full opera esppecially chenier,he was fine singing arias indivdually but singing entire operas no way,its great you love lanza,i like him myself but better tenor than del monaco,corelli,vinay,pertile,bjoerling,bergonzi,di stefano,gigli,caruso,vickers,tucker,martineli,merli,kraus,gedda,etc..not a hope,all these tenors sang real opera on stage not hollywood opera like lanza
Every time I listen to these compilations I wonder... will the user who makes them, who does important work, have an ear? Will you be able to listen? Please, don't even put toned down versions like in this case... Domingo, Pavarotti, Carreras and many others. Let's think about the difficulty that the fragment had for tenors like Gigli, Del monaco and others, or, better yet, the brilliance of a Corelli or a Lauri-Volpi. Thank you
Perché il confronto sia giusto, ogni tenore dovrebbe essere confrontato nelle stesse condizioni, in studio o sul palco e ciascuno al meglio della sua forma. E poi manca almeno un tenore, e non ultimo Bergonzi. Se confrontiamo le versioni in studio (in scena molti traspongono di un semitono, anche il re del controdo Pavarotti), la classifica probabilmente darebbe in 1, Bergonzi e Corelli, in 3, Pavarotti.
So many of these are not even high C's, they're transposed into B major, even Pavarotti's is a high B.........for me the best C's are Corelli, Bonisolli and Fisichella
Pour ne citer que quelques un ... Corelli évidement idéal physiquement et vocalement, Bonisolli purement héroïque et cabotin, Pavarotti et son art du chant incomparable, ses notes solaire et son timbre unique, en on fait un chanteur de légende, Bocelli sonorisé et donc pas adapté à la scène, un point d'orgue final ne suffit pas à faire oublier ceux qui ont affronté ce rôle meurtrier ... Kaufmann trop central, Fisichella excellent et bien trop sous estimé, Gigli "propre" et dans la tradition, Carreras très bon ténor mais qui là, trouve ses limites, belle prestation de "l'inconnu" Cervelli, par contre, rôle trop lourd pour Francesco Méli, qui est plus un Némorino !... Lanza que l'ont ne présente plus, assure comme il se doit, puis viens la "tompette" de Lauri-Volpi, qui résonne comme toujours et pour ça, il faisait le maximum ... Kraus, autre dieu du chant, n'a à ma connaissance jamais chanté Manrico, prudence et conscience, mais question aigus évidement .... Domingo, n'a jamais été un ténor réputé pour ses aigus, mais la couleur et la richesse son timbre, en on fait un incontournable des scènes lyriques. Del Monaco toujours spectaculaire et monolithique ... Saluons Grégory Kunde, qui a fait ses armes chez Rossini ....
Pour que la comparaison soit equitable, il faudrait comparer chaque tenor dans les memes conditions, en studio ou sur scene et chacun au meilleur de sa forme. Et puis, il manque au moins un tenor, et non des moindre, Bergonzi. Si on compare les versions studio (sur scene beaucoup transposent d'un demi ton, mem le roi du contre ut Pavarotti), le classement donnerait probablement en 1, Bergonzi et Corelli, en 3, Pavarotti.
A bit of context:
Manrico (the protagonist of this aria) is about to get married to Leonora.
When he suddenly receives the news that his mother, Azucena, is being burned at the stake
So he reunites his soldiers and goes determined to save her from death
Thomas il peggiore, poi grigolo e Kaufmann.
Gli altri man mano meglio fino a Corelli che risulta il più calibrato in cui tutto è subordinato all'espressione
Tra l'altro è imponente anche prima dell'acuto
Mario Filippeschi and Lauri Volpi
Corelli era un tenor perfecto para esta ópera.
Corelli, Corelli ed ancora Corelli. È irraggiungibile.
Beh, debbo dire che è una bella sfida tra Corelli e Bonisolli
correct. Hands down. He was the master.
As much as I loved Pavarotti, I would have to say Corelli in this case.
Corelli. In any case. Pav. Is a lyric tenor . Manrico's part is for dramatic or cpinto voice. Pav takes liberty to sing any part he choses, which is no good
He even was bold enough to risk Othello, whic was a disaster!😮
Franco Bonisolli and Franco Corelli are the best in this role
Bonisolli has amazing projection
@@amandac9894 He had good projection he was a spinto tenor, Corelli's voice had far more projection and size in realty.
As my mother pointed out - when we watched 'Trovatore' - this is the first really big aria for the tenor, and he's had to do a lot of singing before it already. So by the time he gets to this point it's been at least 1hr, and suddenly he has to do this major aria ending on a high note (literally). So really, the only way to properly judge this is to judge actual performances, rather than random solos.
El grandioso Franco Corelli,parece que Di quella pira esté hecha para su voz,un agudo expansivo,con brillo,potencia,libertad,aunque hubiese,otros con mejor tecnica, la capacidad fisica de Corelli es incomparable,una voz de tenor robusta de un "Spinto" pero con la agilidad y registro de un lirico ligero,llegando a superar el Do agudo,desde luego sus cualidades fisico-Vocales eran portentosas,sin hablar de su vibrato caracteristico e inconfundible.
There were not many tenors that had better technique than Corelli.
@@ZENOBlAmusic For example Kraus
I suppose at the back of his mind Verdi must have imagined a voice that could do justice to this aria and generations later along came Corelli.
Agree. The most dramatic and the best voice.
Actually, Verdi didn't write the climax with the high C's (or rather the many high B's we are hearing here). It was improvised by a tenor known for his big upper voice, Eric Tamberlick. Tamberlick then visited Verdi to show him and get his approval. Verdi listened and said "if this is what the audience wants, give it to them. But-they had better be good."
Corelli, of course 🥰
I’ve missed you, Golightly!
Thanks for being there Arden! It's always nice to see/read you!! 💜💜
Hey dear friend,I hope you don't mind making new friends and music,you seem to be a music lover do you have any recommendations for me,I love gospel songs ❤
@@MisterGolightly Where have you been? Your videos are a high point of life.
@@saintrude oh I've been here and there (mostly in doc's offices) Haha, thanks!
Once I get my health to a great state I'm coming back. I don't know how much of physical therapy it's going to take. But I guess A LOT
@@MisterGolightly
Corelli: absolutely!
1) Corelli, 2) DelMonico, 3) Fisichela I can go either way on 2&3 but Corelli #1 in this case.
del Monaco was a B, Corelli and Fisichella were C's
We agree on the first two places. Corelli was unmatched, and Del Monaco next. They were both cannons and violins at the same time.
C. O R E. L L. I👏👏👏👏👏
Corelli! Bonisolli!
1. Corelli, 2. Del Monaco, then I wouldn't argue Bonisolli 3rd.
Sempre delmonaco e Corelli! Voce e bellezza!
Hey dear friend,I hope you don't mind making new friends and music,you seem to be a music lover do you have any recommendations for me,I love gospel songs ❤
Franco Corelli as Manrico, Calaf and Andrea Chenier ❤❤❤👏👏👏👏👏👏👏👏👏👏👏👏👏👏👏👏👏👏
Bjorling! The always most accountable high note singer
I agree!
В данном случае у него излишнее вибрато.
@@nataliyayatsenko8986 Да. У Бьёрлинга всё портит вибрато и сам голос у него очень "металлический".
Bjorling was one of my favourites, but for that aria, dramatic wins out over lyric. Corelli and Del Monaco were the "tenori di forza".
Corelli
Bonisolli
Lauri Volpi
Caruso
Bjorling
Lanza
Del Monaco
Fisichella
Pavarotti
Este es mi Top10
Ahhh ¿falta uno porque mencioné a 9??? Yo hubiera agregado a Aureliano Pertile, pero no está entre los publicados.
Etore bergamaschi
Mario Filippeschi
Filippeschi! Filippeschi!!! King of acuti!!!
Love the respect that you give to a lot of opera legends 💚
Corelli without a doubt. I actually think Bocelli hit it right on and held it for forever. Great vid!
I like your videos and I come here not to compare who sang it best but only to spoil myself with different great interpretations of the greatest musical creations!
Giacomo Lauri Volpi is over the top. Corelli is wonderful too. They are from another planet IMHO.
Corelli Corelli and corelli omg
Bonisolli and Corelli! At their time, there was not so much PR as later for the 3 Tenors, so they were not so popular outside the opera houses. But their voices still outshine all others.
I think it might have been fairer to have a rendition of Luciano Pavarotti's when he sang it in the original key as he did in the 1970s. The version played was from the 1990s when, still excellent, but below his prime performances of the aria.
Both the version Caruso and Mario Lanza sang was a concert version, which in Caruso's case would probably have been down to recording space on an acoustic disk. The version of Mario Lanza's is from the movie Serenade, so I am not quite sure why he did not sing the entire ending... perhaps trying to keep the length of the movie down, the movie was very much edited as it ran quite long. I would have loved to see the full cut as there were whole heaps of stuff cut out.
Del Monaco sings everything the same, so ... Hard to judge exactly. As it is not contesting like with like.
One can hear this aria Mario Lanza sang in its entirety, just by looking him up on UA-cam. It is only cut in the movie for the sake of time but he sang the whole aria before the movie cut its beginning. I promise you that you will like it quite a bit.
Well, considering they're not all singing C's, here's my verdict. 1. Fisichella 2. Corelli 3. Pavarotti
Fischella underrated unfortunately.
Франко Корелли, Марио дель Монако, Сальваторе Физикела - 👍🏻
Corelli, Bonisolli and Lauri-Volpi are the best by far. Some should not have been listed, they are not good at all.
At the original key 1.-Corelli 2.-Fisichela 3.-Bonisolli. And Domingo to the last.
Corelli con su extraordinario do sobreagudo sostenuto.
Corelli. As Pavarotti put it, "He had vocal cords of steel,"
1.- Corelli 2.- Fisichella 3.- Bonisolli 4.- Pavarotti 5. Caruso 6.- Arturo Chacón
Corelli, Lauri-Volpi (Corelli stated that he always wanted to sing like Lauri-Volpi), Bonisolli.
Bjorling and Corelli !!
Both Francos are bringing their A-game. Super clean
Fisichella as well
Volpi, Corelli and Bonisolli❤
Curiosamente los dos Francos: Bonisolli y Corelli y por supuesto Del Mónaco
You saved the best for last.
Hey dear friend,I hope you don't mind making new friends and music,you seem to be a music lover do you have any recommendations for me,I love gospel songs ❤
1:30 was...
Poor
Gigli right after was good though
Salvatore Fisichella & Arturo Chacón Cruz + FRANCO CO/REL/LI (chapeau)
you have to take into account that the older singers didn't have technologically advanced recording equipment. it was just singing into a horn, basically.
Corelli, Bonisolli !
The recording of Jussi didn’t do him justice. The tone is gorgeous but it sounds like he is behind the orchestra.
Ooh hi, I have a request! Can you do who does it best for the riffs in Heart of Stone! Here are some examples:
- Natalie Weiss (she deserves more recongition)
- Jasmine Forsberg (there’s a few, but the one from the Desk show that actually shows how clear her riff was!)
- Natalie Parris (OG of the OG)
- Abby Mueller
- Claudia Karuki
- Caitlin Tipping (her whistle notes are very clear!)
- Jason Gotay (yes, he actually did a cover!)
Golightly 🥰 I’m glad you’ve posted again even if it was almost a year ago
Corelli obviously
As much as I enjoyed this video, it's really sad to hear, how present singers (even those considered "big stars", like Kaufmann) struggle to sing anything close to old masters. I mean come on: who called Grigolo "the next Pavarotti"? Ridiculous.
I like most versions recorderd before the 90s, with the exception of ones, where it was "o teco corro a morir" instead of "All'armi!". I don't know, what year was Fisichella's version recorded, but I liked it too.
My favorite? I think here it would be Pavarotti's one. Although in general I love Corelli's performance from his Met debut most- check it out :)
Franco Corelli fue el mejor y más rotundo Manrico de toda la discografía.
Pavarotti, Bonisolli, MDM, Corelli (Grigolo and Eyvazov are not seriously in this contest…)
Бочелли тоже 😊
Corelli,
¡¡¡Corelli!!!!
you should do one for the high F in credeasi, misera!
I'll get onto it!
I have my favorites, but can't decide. Anyway, thanks for posting this.
Franco Corelli owns this aria and Manrico, Franco Bonisolli was also very good, as was Lauri-Volpi. Mario Del Monaco was also good in this role. Many of these singers would struggle to sing this role night after night. A lot of them are singing B4, not the C5, it is often customary to sing this one note lower when performed live.
Bonisolli is so ridiculously over the top , is so very old fashioned in his "acting" - running down to the edge of the stage, in case the audience didn't know he was singing - and I do Not need or Want to see his navel, or what passes for chest hair - seriously, that's just gross....lolol
Corelli and del Monaco *should* sound decent - their's were pre-recorded in a Sound Studio and they had 25 takes or more to get it right --- and Corelli, as is often the case, scoops up to the final note from about a 3rd below
@rugby8-Philadelphia ::
25 takes to get it right !! If it took that many takes, the tenor shouldn't be singing Manrico !
Corelli, "scooping" ?
Corelli rarely scooped and definitely not here.
@@rugby8-Philadelphia Bonisolli was certainly not the most nuanced or thoughtful singer. But he did have a very good voice, opera is about the voice. Corelli probably sang this role live more then anyone else, his live recording with von Karajan from 1962 alongside Price is one of the very best versions available. Del Monaco was a good Manrico but the role was slightly to high for his voice, he only performed the role a handful of times.
@@cliffgaither
Scooping? Yes
Regarding the takes - have you ever been *in* a recording studio, or sound engineer's booth during the recording process ? Believe it or not, there are Often an inordinate amount of takes. Sections, phrases, etc
@@ZENOBlAmusic
Lol - I agree with your comments, except, Opera is not ALL about the voice, or it would have remained in concert, or oratorio, format.
Fortunately through the last 6+ decades a larger expectation has been put upon the singers for dramatically valid, and Honest connection to the text. Not running around like a WWE wrestler on steroids showing off his ... "Masculinity". Although, Lord knows, tenors have often done that since the beginning of time 😜😜😜
Franco Corelli, obviously!!!
Corelli!
The 3 best for me in this video are the two Francos and Salvatore Fisichella
Franco and Mario, bar none. Luciano for the lyric tenor sound.
Franco Bonisolli, Franco Corelli, Andrea Bocelli. Pavarotti.
corelli, and it isn't even close. Bonisolli, Del Monaco, Volpi and Björling were the only other ones doing the climax justice. Arturo Chacon surprised me tho tbh
This piece was written for Corelli
JFranco Coreli , sin duda
En la realidad Luciano Pavarotti es el mejor de todos iguala al Doctor Corelli, y a Bonisolli, tomemos es cuenta que las operas que se cantaban en las temporadas no sé puede estar repitiendo a cada rato ese gran reto de estar agudizando la voz hasta Do sobreagudo o lo que muchos le llaman Do de pecho, el exigir estar a cada rato cantando Diquella Pira, en cada presentación estar cantando a cada rato Do sobreagudo desgasta también la cuerda vocal de cada tenor y es por eso que en este video podemos apreciar a Luciano Pavarotti que le hayan bajado medio tono de esa área lo cual en este video no han puesto a Luciano Pavarotti cantando Di quella Pira, en su poderoso y verdadero Do Sobreagudo, que dejaría opacados a todititos los que han puesto acá.
As much as i love Pavarotti, this one is done the best by Del Monaco, his Pinkerton is also unbeated!
Corelli and Fisichella
There is a reason why Corelli is last in the compilation. Save the best for last!!!
Bonisolli, Lauri Volpi and Corelli are the best. Mario del Monaco... did it running? Wow.
This may not be ideal repertoire for him, but kudos to Fisichella. A well-placed, ringing high C (not a B as in many of these clips) which he sustains well. His high notes were always fantastic.
BOCELLI不愧是CORELLI的徒弟 有CORELLI的风采
Franco Corelli!!!!
Of course, the best one is the last one.
Someone who got ears in place and watch full video knew 3 or for best voices ever. Caruso, Gigli, Volpi, Del Monaco, Corelli and 2 tenors who have enough technique and intellect to do not this role in full opera. Fisichella and Kraus of course. Bjorling one of most impressive singers)
Corelli no doubt
Corelli ATE that omg
Amazing how many of them take the aria down. Not Corelli. He's the master
Miss you 😢
C6orelli, the only one❤
se la giocano Corelli e Del Monaco
Tô me, it was Mario Lanza, hands down. Not just in this aria, but also, in every one that he has ever interpreted, and in every song he sang. He is considered to be on top of the greatest tenor and baritone of the nineteenth century. Nobody comes close to him when he sings “Un di allo azzurro spazio”. It os as of Thiago aria were composed especially for him. Also, the aria “Chi mi frena in tal momento”. Spectacular renditions of just two of all his electrifying way of singing.
He couldnt sing a full opera esppecially chenier,he was fine singing arias indivdually but singing entire operas no way,its great you love lanza,i like him myself but better tenor than del monaco,corelli,vinay,pertile,bjoerling,bergonzi,di stefano,gigli,caruso,vickers,tucker,martineli,merli,kraus,gedda,etc..not a hope,all these tenors sang real opera on stage not hollywood opera like lanza
Corelli y Del Monaco
Every time I listen to these compilations I wonder... will the user who makes them, who does important work, have an ear? Will you be able to listen? Please, don't even put toned down versions like in this case... Domingo, Pavarotti, Carreras and many others. Let's think about the difficulty that the fragment had for tenors like Gigli, Del monaco and others, or, better yet, the brilliance of a Corelli or a Lauri-Volpi. Thank you
0:18 He looks like hes about to die lol
Perché il confronto sia giusto, ogni tenore dovrebbe essere confrontato nelle stesse condizioni, in studio o sul palco e ciascuno al meglio della sua forma. E poi manca almeno un tenore, e non ultimo Bergonzi. Se confrontiamo le versioni in studio (in scena molti traspongono di un semitono, anche il re del controdo Pavarotti), la classifica probabilmente darebbe in 1, Bergonzi e Corelli, in 3, Pavarotti.
Lauri Volpi, the Corelli Mentor..
Both Francos and Del Monaco!
5:37 thats impressive though, I literally cant sing ANY note consistently while walking or jogging lol
I'm the same! I'll crack or go off key lol
CORELLI...the best
Cervelli is the best for me. He hit and held the note clearly, on pitch throughout with great tonal quality, and held it for the longest time.
Corelli no hay otro
BONISOLLI.
Franco Corelli in questo collage io lo metterei al primo posto.
From the order presented in the video: Franco Bonisolli, Salvatore Fisichella, Franco Corelli clearly sang the best Di Quella Pira.
Mario Del Monaco?
@@maximtuboltsev6046 yeah don't sleep in mario del monaco
Back to front.
So many of these are not even high C's, they're transposed into B major, even Pavarotti's is a high B.........for me the best C's are Corelli, Bonisolli and Fisichella
Giacomo Lauri Volpi for ever !!! ❤
Fisichella.
Luciano amor mío ❤️❤️❤️❤️❤️❤️❤️
As for me, the king of this aria will always be Franco Bonisolli. But looking at this compilation, I have to say that Bocelli really stands out.
I hate to admit I was impressed by Bocelli. Sounds like a real opera singer. Just this once!
He is using a microphone.
@@ZENOBlAmusicStill better than Grigolo, Eyvasof or Kaufmann 😂
@@s.p3738 Lol That might be true.
@@ZENOBlAmusicHa I had the same reaction. I wonder if the mic was located in his throat.
Franco corelli all the way
Nell'ordine bonissolli e corelli, immensi
Pour ne citer que quelques un ...
Corelli évidement idéal physiquement et vocalement, Bonisolli purement héroïque et cabotin, Pavarotti et son art du chant incomparable, ses notes solaire et son timbre unique, en on fait un chanteur de légende, Bocelli sonorisé et donc pas adapté à la scène, un point d'orgue final ne suffit pas à faire oublier ceux qui ont affronté ce rôle meurtrier ...
Kaufmann trop central, Fisichella excellent et bien trop sous estimé, Gigli "propre" et dans la tradition, Carreras très bon ténor mais qui là, trouve ses limites, belle prestation de "l'inconnu" Cervelli, par contre, rôle trop lourd pour Francesco Méli, qui est plus un Némorino !...
Lanza que l'ont ne présente plus, assure comme il se doit, puis viens la "tompette" de Lauri-Volpi, qui résonne comme toujours et pour ça, il faisait le maximum ...
Kraus, autre dieu du chant, n'a à ma connaissance jamais chanté Manrico, prudence et conscience, mais question aigus évidement ....
Domingo, n'a jamais été un ténor réputé pour ses aigus, mais la couleur et la richesse son timbre, en on fait un incontournable des scènes lyriques.
Del Monaco toujours spectaculaire et monolithique ...
Saluons Grégory Kunde, qui a fait ses armes chez Rossini ....
are
Pour que la comparaison soit equitable, il faudrait comparer chaque tenor dans les memes conditions, en studio ou sur scene et chacun au meilleur de sa forme. Et puis, il manque au moins un tenor, et non des moindre, Bergonzi. Si on compare les versions studio (sur scene beaucoup transposent d'un demi ton, mem le roi du contre ut Pavarotti), le classement donnerait probablement en 1, Bergonzi et Corelli, en 3, Pavarotti.