What Luciano means is not a real tenor voice because every voice is real. He means that if you want to be an operatic tenor able to sing leading parts you need to be able to cover the upper register. It's a special technique of singing discovered in mid-19th century that helps the singer to sing louder, higher but not shout and which protects the voice from damage.
All male singers cover in the upper register. Tenors, baritones, basses... The difference is where they cover. Tenors usually cover around F#, in a baritone that's going to be closer to Eb. The difference between a tenor voice and a baritone voice is that a tenor can actually sing higher notes *without* covering. There are plenty of problems associated with it, but that's what makes the tenor voice so hard to train. The baritone voice won't go past a certain point without needing to cover, so the cover *must* happen for a baritone. But the tenor can get away with singing open in the passagio, which is why a lot of tenors (especially rock singers) blow their voices out unless they're really well trained. What's funny though is that I don't think Pavarotti always taught and performed the same thing. He keeps saying to cover on F, but I think he tends to sing his F natural open in actual performances. And I think you *should* sing F open. But he is good about covering on F#, and his transition from open to covered is so smooth and beautiful that it leaves absolutely no doubt that he's truly one of the greats of all time.
It's also noted that there are a wide variety of roles for every voice type as generally the proportion of roles for each voice type is pretty representative of the distribution of voice types. (IE, there aren't very many altos so many less alto roles and there are a lot of sopranos so more soprano roles) Just because you aren't a tenor as a lower voice singer doesn't mean you won't be able to perform leading roles it just means you will be able to perform different roles.
this is kind of a funny moment - since pavarotti's time, the science has come out to say that different vowels shift through timbral registers (not chest/head voice, but yell/close/whoop) when they traverse certain pitches, consistent with what he shows here. Here Pavarotti does an arpeggio in F major on an "ah" showing to "cover" (go from yell to close timbre) on the top note - but Pavarotti himself sang this note (F4) on this vowel (ah) without covering it most of the time in most of his recordings. The very next half step up, F#4, he covered almost all the time in all of his recordings, and he has another famous video where he shows how to cover on an F# that is quite a bit more effective. Pavarotti's "ah" therefore probably slips into close timbre more naturally on F#4 than F4 - and while he was incredible at doing what sounds best and clearest and most free in practice, it's likely that his verbal understanding of this principle was not quite as refined. But then again how could it have been? We didn't know this stuff back then. And even now that we do know more we still can't sing like him!
@@vinoverita per a lot of info explained by Ken Bozeman (i'm not affiliated with him at all), it identifies zones of the vocal range that sound different because of where the lowest formant of each vowel is in relation to a given pitch. /i/ and /u/ shift low in the tenor range, /o/ and /e/ flip higher, and /a/ flips the highest. in fact, /i/ and /u/ flip so low that they should theoretically flip into whoop timbre (around Eb4 for tenors) before /a/ flips into close timbre (around F#4 for tenors). This makes that small area of the voice pretty treacherous to navigate freely, and might be why it's gained such a reputation as being "the passaggio". While "yell" is usually associated with chest voice and "whoop" is usually associated with head voice, they are defined by totally different criteria. Yell/close/whoop(/whistle tone) are all only defined by what vowel is on what pitch, whereas chest/head voice (or Mode 1/Mode 2) is defined by what the oscillation pattern of the vocal folds are on a given note. Vocal fry is not a Mode and a mariah carey-type vocal whistle is not a Mode. Tenors should generally go up to C5 or C#5 in chest voice, and sorting out the acoustical changes above is how to get there with the greatest ease and beauty without "cheating" into head voice. hope this makes any sense!
I also want to quickly add that some people distinguish between a "primo passaggio" and a "secondo passaggio". The passaggio referenced above was the secondo passaggio. The primo passaggio, usually around C4, is right where /e/ and /o/ should flip into close timbre.
@@Sam-ke7rn Pavarotti would agree with everything you wrote, but very likely use different words to communicate the same concepts. Experientially, he recognized the first and second passaggio. It’s fascinating that we can now actually see the action of the vocal chords when we sing.
You missed the point. He is speaking in general that a tenor needs to cover around those pitches; it doesn’t preclude the possibility to open the vowel depending on the time place and voice. The point is the vowel must adjust as needed to keep the voice free which often requires the vowel to turn repeatedly through the scale.
Covering F, F sharp or G is relatively easy I find when I am just doing arpeggios on one vowel sound at home, but it becomes much more difficult when I come to do it in a song with mixed vowels and consonants, especially in a performance. This is why it takes 10 years to get right I guess!
Me admira quando você entra em algumas sessões de comentários e você não cansa de encontrar pessoas argumentando que cantor A é melhor do que cantor B porque tem um alcance muito maior kkk como se alcance fosse o fundamento mais importante do canto, Pavarotti tinha uma extensão vocal de 2,4 apenas e sempre foi considerado um dos melhores cantores da história da música por muitos renomados profissionais de canto.
Because Bocelli isn't a real opera singer. He's a pretender with a microphone and a micro voice. I think his entire "Operatic" career has been one small supporting role once.
how do you put air when singing high note? i want to be able to do the second one because it's much more better.. the first one i can but the second one is much better
I’m a 100% absolutely truly and deeply authentic baritone (a voice that’s lower than the tenor), I’ve just woke up and I can easily do this arpeggio run up in both “shouty” and “smooth” tones - the highest note is G4, so it’s the bottom of my mixed voice, - part of my voice, where you can’t tell that it’s not a chest voice at all yet. I’m guessing that for a tenor it must be as easy as you can imagine. Where’s all the hype? I don’t understand. “The Highest Note” for tenor, at least in classical music, is usually C5, and I can live with that, because for tenor it’s usually really the highest note that can be produced at full power with clarity, while me, mr.baritone, can only do it with fully mixed voice, that can either sound harsh, raw and distorted, or too thin and light. (I mean, I can sing “Don’t Speak” by No Doubt in original key, but it will be the hard rock version by default because of all C5’s in a chorus)
I mean, I'm a Bass-Baritone (C0-A4 without falsetto, at 15 y-o if that's any help), and I can confirm that I can rather comfortably hit the notes. I don't think in this specific instance, Pavarotti's demonstration of a "real Operatic Tenor" was all that impressive
I believe you’re supposed to be using pure registration (ONLY chest voice or ONLY head voice, in this case only chest voice). Of course you can hit those notes in your head voice or in your falsetto (or by mixing your registers), but can you do it in full covered pure chest voice and produce a sound that can fill a theatre and be heard over an orchestra playing fortissimo? That’s what Pavarotti meant (at least I think so). If you’re asking why you should even sing in pure registers and not mix them, then it’s because you won’t get a good amount of squillo if you sing mixed. Pure strong chest voice is what gives you squillo (in MEN’s voices, idk about female voices) Hope this could help
In classical, bass notes are hard to project, and in contemporary, there are rarely basses and most recordings of songs aren’t ideal for basses, so tenors get more attention among low voices. The tenor range is a beautiful range for music in general. Soprano parts are carefully crafted. The top and bottom voices are usually imagined and composed first. The higher notes stick out the most. But don’t get me wrong, there’s plenty of great Basses and Altos
There are plenty examples of baritones like Freddie Mercury hitting higher notes than many tenors. At the same time, he would dodge notes live whether you want to admit it or not. I can understand why they receive so much attention. At the same time, if you listen to Geoff Castelucci's Sixteen Tons, as a guy I would never want to sound more like a girl. Geoff sounds like the manliest guy out there. Which would you rather sound like Michael Jackson or a real man?
@@artv4nd3l4y I've never heard of Geoff, and I like Michael Jackson, so maybe him. They're both real men, even though they have different singing ranges and techniques.
@@zekielrodriguez5229 i know. i personally prefer female powerhouses in music - they’re my cup of tea. acknowledging this and their insane abilities i do think we still put them in a place in which other categories of singers are underestimated or kinda forgotten.
I rarely disagree with Pavarotti, but I am a singer, and I know that no two voices are alike. We have individual anatomies, and the structures vary from person to person, so we can't sing exactly alike. Some tenors don't cover F, they may get a "mixed" quality instead, and sometimes it depends on which vowel they are singing. There is no "one size fits all" in vocal music IMHO.
except more often than not, it is a technical issue. If you sound "mixed" on F4 like most tenors to today, it is because you're too thin/larynx too high and/or nasal on top of it. today's opera singers just make too many excuses.
@@youngornitier If the shape of the soft palate, and the hard palate, vary widely, how can the production of an individual note be identical singer to singer? Transitioning out of the upper-middle early is what Luciano is talking about...entering the passagio entirely on the F. Some tenors aren't fully in the passagio on F, and get a mixed quality instead. There's nothing wrong with that. The vowel being sung can be a determining factor.
@@youngornitier My original comment was regarding Pavarotti's assertion that a "real tenor" must cover F, F# and G. I don't agree with that for obvious reasons. Kraus did not sing passagio notes like Pavarotti, but I believe he was a "real tenor". The idea that "lackluster performances" are the result of errors on the passagio seems odd, but I have no comment on that subject.
I watched the video, and heard what he said. You may have ideas about what he really meant, but that's pure conjecture. And you can stop with the straw man arguments anytime. My comment was regarding tenors covering the F. I'm was not comparing Pavarotti's greatness to other singers. I'm not expressing an opinion about whether or not covering F is the cause of lack-luster performances. YOU brought those things up. I SAID not all tenors cover the F. That's what I said. That doesn't make them baritones, or sopranos, and it doesn't make them bad singers. Sheesh.
@@rivalinnn Pavarotti said "cover F, F# and G". There have been famous tenors, even legends like Alfredo Kraus, who didn't do that. Some tenors get a mixed quality on the F natural. Understand? They cover f# and G, but not always the F. That doesn't mean they aren't a "real" tenor. Btw, any singer can sing the wrong repertory, or in the wrong "fach". The results are usually not very good, or eventually a ruined voice. Sounds like you were trying to sing in the tenor's range, even though you aren't a tenor. Covering the F won't make any difference if you aren't a tenor. It won't make you a tenor. Not covering the F doesn't mean you aren't a tenor either.
"Прикрыть" в кавычках, на самом деле все верхние ноты поются открыто. Послушайте внимательно романс "Неморино", кто - то "кроет" две верхние ноты (наверху), кто - то одну.
@@razvan2632 I've been a fan of his voice for more than 4 decades... I heard him speaking English many times. Reason why I know his English was not good at all. Sorry. And... his Spanish was even worse.
@@Monnarchmonnarchy 51 years of operatic career and Pavarotti only sold discs, don’t you see how idiotic is that? You wannabe opera expert, tell me then why Pavarotti is the king of the second vocal formant and why Corelli succeeded in his daffondo vocal technique making La Scala a Milano fall apart with his voice if they are so bad as your supreme ignorance suggests? Really, you are saying so many bs you don’t have idea!
@@Monnarchmonnarchy sure if they are scream why their harmonic partials in all of those cases were perfectly balanced reaching chiaroscuro qualities? A scream does not have any of it because it is forced and only the fundamental larynx frequencies are produced. So easy to speak when you don’t know what you’re talking about. Go some place else!
That came across to me as a neutral statement, not bragging. He's not comparing himself to anyone, just stating it took years of practice for him and others to create that kind of sound
What Luciano means is not a real tenor voice because every voice is real. He means that if you want to be an operatic tenor able to sing leading parts you need to be able to cover the upper register. It's a special technique of singing discovered in mid-19th century that helps the singer to sing louder, higher but not shout and which protects the voice from damage.
It's called Chiaroscuro.
All male singers cover in the upper register. Tenors, baritones, basses... The difference is where they cover. Tenors usually cover around F#, in a baritone that's going to be closer to Eb.
The difference between a tenor voice and a baritone voice is that a tenor can actually sing higher notes *without* covering. There are plenty of problems associated with it, but that's what makes the tenor voice so hard to train. The baritone voice won't go past a certain point without needing to cover, so the cover *must* happen for a baritone. But the tenor can get away with singing open in the passagio, which is why a lot of tenors (especially rock singers) blow their voices out unless they're really well trained.
What's funny though is that I don't think Pavarotti always taught and performed the same thing. He keeps saying to cover on F, but I think he tends to sing his F natural open in actual performances. And I think you *should* sing F open. But he is good about covering on F#, and his transition from open to covered is so smooth and beautiful that it leaves absolutely no doubt that he's truly one of the greats of all time.
It's also noted that there are a wide variety of roles for every voice type as generally the proportion of roles for each voice type is pretty representative of the distribution of voice types. (IE, there aren't very many altos so many less alto roles and there are a lot of sopranos so more soprano roles) Just because you aren't a tenor as a lower voice singer doesn't mean you won't be able to perform leading roles it just means you will be able to perform different roles.
Yuppp
Obviously...
So he practically excluded 2 of 3 tenors.
😂😂😂😂
One Tenor that rules all
🤣🤣🤣
😂😂😂
@@themelancholyofgay3543why do i keep finding you in comment sections of other videos
this is kind of a funny moment - since pavarotti's time, the science has come out to say that different vowels shift through timbral registers (not chest/head voice, but yell/close/whoop) when they traverse certain pitches, consistent with what he shows here. Here Pavarotti does an arpeggio in F major on an "ah" showing to "cover" (go from yell to close timbre) on the top note - but Pavarotti himself sang this note (F4) on this vowel (ah) without covering it most of the time in most of his recordings. The very next half step up, F#4, he covered almost all the time in all of his recordings, and he has another famous video where he shows how to cover on an F# that is quite a bit more effective. Pavarotti's "ah" therefore probably slips into close timbre more naturally on F#4 than F4 - and while he was incredible at doing what sounds best and clearest and most free in practice, it's likely that his verbal understanding of this principle was not quite as refined. But then again how could it have been? We didn't know this stuff back then. And even now that we do know more we still can't sing like him!
What does “yell/close/whoop identify? I’m curious to know how this differs conceptually to the classic open/closed conceptualization of the passaggio.
@@vinoverita per a lot of info explained by Ken Bozeman (i'm not affiliated with him at all), it identifies zones of the vocal range that sound different because of where the lowest formant of each vowel is in relation to a given pitch. /i/ and /u/ shift low in the tenor range, /o/ and /e/ flip higher, and /a/ flips the highest. in fact, /i/ and /u/ flip so low that they should theoretically flip into whoop timbre (around Eb4 for tenors) before /a/ flips into close timbre (around F#4 for tenors). This makes that small area of the voice pretty treacherous to navigate freely, and might be why it's gained such a reputation as being "the passaggio". While "yell" is usually associated with chest voice and "whoop" is usually associated with head voice, they are defined by totally different criteria. Yell/close/whoop(/whistle tone) are all only defined by what vowel is on what pitch, whereas chest/head voice (or Mode 1/Mode 2) is defined by what the oscillation pattern of the vocal folds are on a given note. Vocal fry is not a Mode and a mariah carey-type vocal whistle is not a Mode. Tenors should generally go up to C5 or C#5 in chest voice, and sorting out the acoustical changes above is how to get there with the greatest ease and beauty without "cheating" into head voice. hope this makes any sense!
I also want to quickly add that some people distinguish between a "primo passaggio" and a "secondo passaggio". The passaggio referenced above was the secondo passaggio. The primo passaggio, usually around C4, is right where /e/ and /o/ should flip into close timbre.
@@Sam-ke7rn Pavarotti would agree with everything you wrote, but very likely use different words to communicate the same concepts. Experientially, he recognized the first and second passaggio.
It’s fascinating that we can now actually see the action of the vocal chords when we sing.
You missed the point. He is speaking in general that a tenor needs to cover around those pitches; it doesn’t preclude the possibility to open the vowel depending on the time place and voice. The point is the vowel must adjust as needed to keep the voice free which often requires the vowel to turn repeatedly through the scale.
Probably the greatest small gathering of opera talent in one session. Sutherland, Pavarotti, Bonynge and Horne.
@@philster611-ih8te Not the greatest in looks. That's for sure!
Covering F, F sharp or G is relatively easy I find when I am just doing arpeggios on one vowel sound at home, but it becomes much more difficult when I come to do it in a song with mixed vowels and consonants, especially in a performance. This is why it takes 10 years to get right I guess!
Dez anos e isso por que o saudoso maestro Pavarotti estava extremamente generoso e bem humorado nesse dia (risos).
Sim. Ele geralmente dizia que só depois de 20 anos de prática se passa a cantar assim com naturalidade
Me admira quando você entra em algumas sessões de comentários e você não cansa de encontrar pessoas argumentando que cantor A é melhor do que cantor B porque tem um alcance muito maior kkk como se alcance fosse o fundamento mais importante do canto, Pavarotti tinha uma extensão vocal de 2,4 apenas e sempre foi considerado um dos melhores cantores da história da música por muitos renomados profissionais de canto.
@@luamoliveira3467 verdade! O importante é saber fazer musica com o que se tem e de qualidade.
la reaccion del que esta al piano cuando dice que Despues de 10 años...
"El que está al piano" es Richard Bonynge...
Lyric tenor here. [Bb2] C3-B4 [Eb5]. I usually have to modify the vowel at either F4 or F#4. It's hard.
In summary, he was dissing Bocelli 😂
Because Bocelli isn't a real opera singer. He's a pretender with a microphone and a micro voice. I think his entire "Operatic" career has been one small supporting role once.
@@aarondimoff5180 True, but Bocelli's whole career has practically been facilitated by the "Pavarotti & Friends" crap Luciano made popular back then.
@@rodrigoodonsalcedocisneros9266 Yeah, you're right, I never approved of Pav's odd end of career weirdness.
how do you put air when singing high note? i want to be able to do the second one because it's much more better.. the first one i can but the second one is much better
The Arrigo Pola' Singing method. International Breathing Institute. The many voices of man.
0:25 0:33 hear the difference
He was simple the tenorator.
I am no operatic boy... But what did he say about singing those notes similar to an AH vowel vs something similar to an OH vowel?
Diego Flores. Not a real tenor. I always new it
Diego Flores is a Leggero Tenor. Leggero tenor cover the sound Ab not F# or G
Nasal tenor
Wow John Rhys-Davies great singer))
1-9
Jack Black tryin' to be Pavarotti.
That was a g4 what!!!!!!
I’m a 100% absolutely truly and deeply authentic baritone (a voice that’s lower than the tenor), I’ve just woke up and I can easily do this arpeggio run up in both “shouty” and “smooth” tones - the highest note is G4, so it’s the bottom of my mixed voice, - part of my voice, where you can’t tell that it’s not a chest voice at all yet. I’m guessing that for a tenor it must be as easy as you can imagine. Where’s all the hype? I don’t understand.
“The Highest Note” for tenor, at least in classical music, is usually C5, and I can live with that, because for tenor it’s usually really the highest note that can be produced at full power with clarity, while me, mr.baritone, can only do it with fully mixed voice, that can either sound harsh, raw and distorted, or too thin and light. (I mean, I can sing “Don’t Speak” by No Doubt in original key, but it will be the hard rock version by default because of all C5’s in a chorus)
I mean, I'm a Bass-Baritone (C0-A4 without falsetto, at 15 y-o if that's any help), and I can confirm that I can rather comfortably hit the notes. I don't think in this specific instance, Pavarotti's demonstration of a "real Operatic Tenor" was all that impressive
c0...15..uh-huh. you'll realize how silly you sound in a few years son.
@@vibey8558
I believe you’re supposed to be using pure registration (ONLY chest voice or ONLY head voice, in this case only chest voice). Of course you can hit those notes in your head voice or in your falsetto (or by mixing your registers), but can you do it in full covered pure chest voice and produce a sound that can fill a theatre and be heard over an orchestra playing fortissimo?
That’s what Pavarotti meant (at least I think so).
If you’re asking why you should even sing in pure registers and not mix them, then it’s because you won’t get a good amount of squillo if you sing mixed. Pure strong chest voice is what gives you squillo (in MEN’s voices, idk about female voices)
Hope this could help
@@vibey8558LOL. not a single fucking chance you can sing a C0. subharmonics don't count.
@Celatra Ah, my bad, thanks for the information
Natural voice, I can go down to like G0 if I recall correctly
That was not the speaking voice I was expecting from the big man.
Interesting what did you expect him to speak like?
@@bradycall1889 Brian Blessed
If you were expecting a deep voice you need to learn a little bit more about tenors
That's really how Pav speaks: his normal speaking voice. I've heard him talk numerous times.
@@mickey1849 This was my first time
E, take it or leave it.
im a tenor
I'm a tenor too
I'm a fiver at best.
My balls too
I am Dramatic Baritone E2-G4
Everybody on the internet claims to be a tenor. Post your chesty C5 or get out.
Takes 10 years? No. It actually doesn't sound any simple
Shut up
@@tikitorchgamin1842 👏
why do we praise tenors and sopranos so much? not being one doesn’t automatically exclude you from being a singer.
In classical, bass notes are hard to project, and in contemporary, there are rarely basses and most recordings of songs aren’t ideal for basses, so tenors get more attention among low voices. The tenor range is a beautiful range for music in general.
Soprano parts are carefully crafted. The top and bottom voices are usually imagined and composed first. The higher notes stick out the most.
But don’t get me wrong, there’s plenty of great Basses and Altos
There are plenty examples of baritones like Freddie Mercury hitting higher notes than many tenors. At the same time, he would dodge notes live whether you want to admit it or not. I can understand why they receive so much attention. At the same time, if you listen to Geoff Castelucci's Sixteen Tons, as a guy I would never want to sound more like a girl. Geoff sounds like the manliest guy out there. Which would you rather sound like Michael Jackson or a real man?
@@artv4nd3l4y I've never heard of Geoff, and I like Michael Jackson, so maybe him. They're both real men, even though they have different singing ranges and techniques.
I've never met a "fake" man in my life. Can you show me one?@@artv4nd3l4y
@@zekielrodriguez5229 i know. i personally prefer female powerhouses in music - they’re my cup of tea. acknowledging this and their insane abilities i do think we still put them in a place in which other categories of singers are underestimated or kinda forgotten.
I think he's saying "aria" tenor, not "a real" tenor.
I rarely disagree with Pavarotti, but I am a singer, and I know that no two voices are alike. We have individual anatomies, and the structures vary from person to person, so we can't sing exactly alike. Some tenors don't cover F, they may get a "mixed" quality instead, and sometimes it depends on which vowel they are singing. There is no "one size fits all" in vocal music IMHO.
except more often than not, it is a technical issue. If you sound "mixed" on F4 like most tenors to today, it is because you're too thin/larynx too high and/or nasal on top of it. today's opera singers just make too many excuses.
@@youngornitier If the shape of the soft palate, and the hard palate, vary widely, how can the production of an individual note be identical singer to singer? Transitioning out of the upper-middle early is what Luciano is talking about...entering the passagio entirely on the F. Some tenors aren't fully in the passagio on F, and get a mixed quality instead. There's nothing wrong with that. The vowel being sung can be a determining factor.
@@youngornitier My original comment was regarding Pavarotti's assertion that a "real tenor" must cover F, F# and G. I don't agree with that for obvious reasons. Kraus did not sing passagio notes like Pavarotti, but I believe he was a "real tenor". The idea that "lackluster performances" are the result of errors on the passagio seems odd, but I have no comment on that subject.
I watched the video, and heard what he said. You may have ideas about what he really meant, but that's pure conjecture. And you can stop with the straw man arguments anytime. My comment was regarding tenors covering the F. I'm was not comparing Pavarotti's greatness to other singers. I'm not expressing an opinion about whether or not covering F is the cause of lack-luster performances. YOU brought those things up. I SAID not all tenors cover the F. That's what I said. That doesn't make them baritones, or sopranos, and it doesn't make them bad singers. Sheesh.
@@rivalinnn Pavarotti said "cover F, F# and G". There have been famous tenors, even legends like Alfredo Kraus, who didn't do that. Some tenors get a mixed quality on the F natural. Understand? They cover f# and G, but not always the F. That doesn't mean they aren't a "real" tenor. Btw, any singer can sing the wrong repertory, or in the wrong "fach". The results are usually not very good, or eventually a ruined voice. Sounds like you were trying to sing in the tenor's range, even though you aren't a tenor. Covering the F won't make any difference if you aren't a tenor. It won't make you a tenor. Not covering the F doesn't mean you aren't a tenor either.
CÖ
If you can't sing like this or if you can't do this you're not a real tenor. OMG.😎hahahaha
🤣🤣🤣
Ok boomer
Это хитрость итальянцев, не лет 10, а две попытки : прикрыть на "О" и всё (стихи между прочим, а истина в стихах).
Когда ММ : Магомаев и Атлантов это поняли, тут же уехали из Милана и вместо 2х лет проучились 1год.
"Прикрыть" в кавычках, на самом деле все верхние ноты поются открыто.
Послушайте внимательно романс "Неморино", кто - то "кроет" две верхние ноты (наверху), кто - то одну.
ТолькО и всегО 👻.
Райгородский ты ли это?😅
It's incredible. How did he manage to communicate in the English language, if his vocabulary and pronunciation were so poor?
His english is actually very good what are you on about
@@razvan2632
I've been a fan of his voice for more than 4 decades...
I heard him speaking English many times.
Reason why
I know his English was not good at all.
Sorry.
And... his Spanish was even worse.
Pav's English was not bad at all.
@@mickey1849
Ok...
Who cares?
@@juanmatus4922 Apparently you do.
İbrahim Tatlıses daha tenor
😡🤬👿😈
No mention of Groban??? Bocelli??? Polenzani???
Who are those?
@@Monnarchmonnarchy you on weed?
@@Monnarchmonnarchy 51 years of operatic career and Pavarotti only sold discs, don’t you see how idiotic is that? You wannabe opera expert, tell me then why Pavarotti is the king of the second vocal formant and why Corelli succeeded in his daffondo vocal technique making La Scala a Milano fall apart with his voice if they are so bad as your supreme ignorance suggests? Really, you are saying so many bs you don’t have idea!
@@Monnarchmonnarchy sure if they are scream why their harmonic partials in all of those cases were perfectly balanced reaching chiaroscuro qualities? A scream does not have any of it because it is forced and only the fundamental larynx frequencies are produced. So easy to speak when you don’t know what you’re talking about. Go some place else!
@@Monnarchmonnarchy you sound so much like a failed screamer. You show your insecurities for singing so well.
La voix est trop en arrière faut pas chanter comme ça c c'est pas bon
Overrated
"IT TAKES PROBABLY TEN YEARS TO MAKE A SOUND LIKE THAT"… ABSOLUTELY NOT TRUE. SORRY!
This is one of those moments where Pavarotti just being full of himself, so biased.
He probably meant something else. He probably meant that he has practiced making that sound for ten years.
That came across to me as a neutral statement, not bragging. He's not comparing himself to anyone, just stating it took years of practice for him and others to create that kind of sound
Except it actually is extremely true lol, I’m a classical singer training for opera and it’s incredible difficult I can assure you