Here we are! Once again an undeniable proof of GLV's greatness. He was the last, unrivaled, true Master of the "Ancient Singing", the one artist on whose recordings, interviews, books young artists should always study, think and, far beyond every doubt, " practice". Perhaps one day the stature, intelligence and common sense of this huge artist will be clear and undisputed.
@@z.h.a.t8964 Good evening, thanks for your explanation. I didn't wont to be quarrelsome, to be honest I wondered if I had written anything wrong or offensive. You know, now and then it occurs to be misunderstood. Thank you again for your appreciation. A
The interpretation is terrible. Great technique, stentorian power with angelic head voice, but he changes emotion on a dime; it’s headache inducing and sounds a drunken mess
Opera fans often appreciate singers who are passed their prime but still perform at an optimum level. This was true about MDM, FC GDS, Callas, Tebaldi, Gigli and of course Lauri Volpi
I agree 100%. Volpi is definitely past his prime during this performance. This rendition although far from perfect, it is a great rendition. Imperfections aside, Volpi being Volpi makes the aria his own and delivers with great effect. The high C is immense and full of squillo. The pianissimo during "TALOR" is beautiful, and the "LA DOLCE SPERANZA" phrase is amazing. At this point, Volpi's voice was rapidly declining and was not what it used to be a few years back. Regardless, this would not stop me from enjoying and appreciating the greatness and highest level of artistry still present in this performance. After all, Volpi was a legendary tenor, a TITAN. I wish I could have heard him live in the opera house, even during this time when his voice was declining.
Molte grazie per questo documento storico!!!! non sapevo che esisteva! aveva sentito solamente la registrazione di studio. Questa e molto piu "3D" diciamo...si sente meglio la strapotenza dei suoi acuti, e la dolcezza dei suoi pianissimi. Versione molto personale, mi piace moltissimo!! Come lui si definiva a se stesso, lui e un cantante veramente isolato, unico. Un ibrido tra i tenori ottcenteschi e i tenori post-Caruso.
I had a look at the musical score. What others call "a weird interpretation" is respecting the piano markings in the score. He departs one or twice from it but otherwise keeps pretty close.
A really valuable document of Giacomo Lauri Volpi art in a live performance date 1948. As usual the recording devices of the time are not capable to reproduce the full harmonic range of GLV, there are a few imperfection typical of a live recording and perhaps the voice in 1948 is less flexible if compared to the astonishing recording of fragments of la boheme performed at the italian discoteca di stato in 1933. Nevertheless it remains a real lesson of singing for technique of emission, breathing control, clarity of phrasing that all young singers should study carefully IMHO. Thank you for posting it
Quelle grande et longue carrière ..et pourtant souvent dans ses enregistrements certaines harmoniques passent mal ,, ici sur certains aigus dont le contre-ut la voix est dure et semble détonner ?? A 55 ans sa carrière le prouve ..il n’est pas au bout ..et sa technique était exceptionnelle ..reconnue par tous.Une voix moins phonogéniques hélas.. le disque ne donnant pas la réalité d’une immense carrière ..et de la réalité de la scène ??? Pour les grandes voix il est connu que l’aiguille s’enfonçait trop dans la matrice et en ralentissant sur les aigus brillants .. Pouvait donner l’impression de détonner ... avec l’enregistrement moderne c’est fini et même on peut rattraper des "erreurs " ...un si naturel peut devenir un ut ..on peut même intercaler une note ..comme mixer un duo avec des partenaires éloignés ..Eluzalyrics
Yes, Gigli was suppose to be a rival of Volpi's, but I don't really concur, as they had some of the same repertoire but Volpi was more of a stentorian sound and truly built his reputation in high note operas like Puritani, Ugonotti, Guggliemo Tell. I think he also might have been the best Manrico ever. Just my opinion
Pianissimo and falsetto all the same to you? Sigh... utube is full of people who don't know what they're talking about ,calling themselves "opera" whatever or using opera characters' names in the hope this confers them credentials in the eyes of those who know even less than themselves
@@Nangis123 Sir, your reply is a real insult to me, which I put down to the fact that you do not know me and also that you are, like many, full of pride and false certainties. I knew Volpi very well, a very intelligent and educated man, who sang better than that even at the age of 82. I have more than 50 years of Italian vocal practice and teaching the technique used by the artists of the Golden Age in Italy. Since you are so strong, tell me, in front of a student, what would you say to him to do a diminished or perform a pianissimo? If not, visit my website and you will learn a lot! Listen at 2:40 and you will see that I am more used to it than you are, because it is falsetto and not pianissimo, that is to say a voice always rich because placed "forward". This 2nd part of this aria is not sung in pianissimo, and even less in falsetto!
@@italopera6036 Anyone can say they are an expert ,including you and me .Anyone can say they knew Lauri Volpi ,including you and me . 2:40 is not falsetto ,but it's just my word against yours . In my experience people call Golden Age whatever period their fav singer happened to be active .From your comment I gather for you it's the 1950-60's when almost every young tenor was pushing their larynx into their shoes ,resulting in losing their top in a few years , poor agility ,inability to do proper dynamics resulting in singing mf to ff most of the time ,including those singers people like to believe they were different like Bergonzi ,live Bergonzi did sing loud and rather uninflected like everyone else . If you listen to old recordings you will hear that tenors of the past had a much better integrated head voice and that comes only with a good developed falsetto .When and where they decided to use falsetto ,or just go close to falsetto ,was up to them and it is not your place ,nor is it mine ,to say the use of falsetto is unacceptable because historically the development of a good falsetto was not only acceptable ,it was essential . For a male singer to sing a good falsetto is even more demanding that to sing chest because in falsetto only the edges of the vocal cords vibrate .It's even more demanding for older singers because the vocal cords have lost elasticity .That being said , I'm still of the opinion 2:40 is not pure falsetto ,but it really doesn't matter .What matters is that you're totally biased to say the use of falsetto is unacceptable ,but this is the nonsense to be expected from all utube commenters who call the period 1950-60's "Golden Age" Young tenors of the 1950-60's had much poorer technique than those born in the 19th century .Look at the wide LIVE repertory some of the 1870-90's born tenors were able to sing ,then look at the restricted repertory the 1920's born tenors did sing . I have lots of data regarding live performances and I am absolutely sure what I'm talking about , *individual* live repertory of the 1920's tenor generation was very restricted compared to the 1870-90's tenor generation .The few tenors of the 1920's generation who attempted a wide rep were so poor in it that it wasn't even funny .And only live repertory matters ,not what singers from the period 1950's onward recorded in modern studios doing many retakes and even splices until they managed something passable sounding .It's a matter of risk .There's no risk in studio but big risk live.If your technique isn't up to the various technical demands of a wide live rep (wide as in different types of roles from different periods ,not wide as in many roles all of the same type),you sing a restricted rep . Fans' effusions always call the technique of whomever as being superlative ,but if a singer has superlative technique they sing a wide repertory of different roles with different technical demands .If not ,they stay put .You may consider this elementary truth insulting too but this does not make it less of a truth
Ninguno de nosotros estuvimos en el teatro en 1948. No podemos decir si el falseto estuvo inaudible, o de mal gusto, etc. Corelli dice que la voz era "squillantissimo", entonces bien vibrante. Tal vez en el teatro se sentía algo como una buena interpretación. Muchos de los comentarios abajo no tienen lugar. None of us were present in that theatre in 1948. We cannot say that the falsetto was inaudible, or in bad taste, etc. Corelli said that the voice had a super ring, a very vibrant quality (many high overtones). Perhaps in the hall this was felt to be a good performance. A lot of the comments below have no validity. They are not critically thought out in terms of voice.
Che gelida manina, se la lasci riscaldar. Cercar che giova? Al buio non si trova. Ma per fortuna é una notte di luna, e qui la luna l'abbiamo vicina. Aspetti, signorina, le dirò con due parole chi son, e che faccio, come vivo. Vuole? Chi son? Sono un poeta. Che cosa faccio? Scrivo. E come vivo? Vivo. In povertà mia lieta scialo da gran signore rime ed inni d'amore. Per sogni e per chimere e per castelli in aria, l'anima ho milionaria. Talor dal mio forziere ruban tutti i gioelli due ladri, gli occhi belli. V'entrar con voi pur ora, ed i miei sogni usati e i bei sogni miei, tosto si dileguar! Ma il furto non m'accora, poiché, poiché v'ha preso stanza la speranza! Or che mi conoscete, parlate voi, deh! Parlate. Chi siete? Vi piaccia dir!
Noi italiani abbiamo la fortuna di capire il testo di queste arie, ma non sempre è così. In questo caso il Maestro GLV è totalmente intendibile nel suo canto. Ci sono, oggi, tenori, che neppure noi italiani riusciamo a decifrare. Emettono suoni senza pronunciare sillabe l'ultimo Grande Maestro per chiarezza, fraseggio, pronuncia e potenza fu Pavarotti.
con tutto l'affetto che porto a Lauri Volpi debbo dire che questa esecuzione non mi piace.Non sento riecheggiare lo splendido ed inarrivabile tenore di vent'anni prima
@Giuseppe Diamanti I don't like it either, it's obvious he had had a very bad night begin. But it's pointless to compare someone in their mid-50's with their younger self from 20 years ago, no one is at 55 as good as they were at 35, not even on a good night.
While I have heard better live renditions of this aria from this singer (in my opinion the 1951 live performance is much better) this has still something to recommend it. I give him points for the intention, style, but not necessarily for the execution. It shows how difficult to do are the continuous dynamics which were his hallmark, if the voice isn't in top form like here the dynamics come out too contrasting.
The interpretation is very technical, but I find it disconnected from the heart. The heart is in the written score and technique, not in his own feelings. That’s why as others pointed out, the interpretation is sort of all over the place. Still technically a marvel of singing on display here
So according to you the heart is in the score and TECHNIQUE, you find this a technical marvel of singing, yet it is disconnected from the heart? Wt...? I am able to spot the contradiction in two seconds, but you can't?
@@alexingresss2420 there is no contradiction. I said he is focused on technique rather than his connection to the music. It’s not complicated to understand
@@alexingresss2420 He is Gigli fan ::smile:: , he came here to needle the "competition." On a video of Gigli in which he was WAAAYYYY past the "beaux restes" stage, just embarrassing "restes" with plenty of the typical mannerisms, Ben lectured me the beauty isn't in the voice but in the soul, and called me bitch too for good measure. I told him to enjoy Gigli's soul and leave other people to their own, less esoteric, criteria of excellence, but apparently he isn't content to just enjoy Gigli's soul quietly, he must explain about other singers' hearts too ::tongue:: At least he didn't call Lauri-Volpi names, but that may yet come...
As much as I love LV, his interpretation is kind of all over the place here. Strange phrasing, never heard a tenor sing the phrase "Talor dal mio forziere" the way he did.
The score also calls for mezza voce or piano on the “Talor “ which no one sings and you neglected to mention. You should be a little more thorough or objective in your criticism.
After his late 40's his voice lost its homogeneity as indicated by this recording. He sings in head voice because he could not sustain his medium voice for any extended period. His high C seems strained. He was an excellent tenor in his younger years.
Surprisingly, some of his lower notes are on the flat side. His higher notes seem okay for the most part. The pianissimo A flat on Talor sounds quite nice. I like his interpretation. The thing I'm not crazy about is some of his low notes sounding flat.
He purposely lightened the middle voice (I'm assuming this means disrupting his management of breath) because of aesthetic ideals. He was capable of quite a large sound in the middle voice in things like Manon lescaut ("guardate..." famously) however He did not use it very much. I wonder if it was technical or just getting older.
Nonostante la grandezza di Giacomo Lauri Volpi, la sua interpretazione qui manca di buon gusto. Era sicuramente un esempio di produzione vocale, ma quando il suono non è bello, che altro posso dire?
Er, good taste and beautiful sound are completely unrelated ,one is the product of brains and education , the other the product of the vocal tract .When you have the first , you always have it ,but the second is subject to day form .And when the day form is poor a singer cannot always convey they have taste even when they have it .But when they lack the taste they can't convey it even at the height of their vocal powers .Understand the difference?
No imitation of Caruso in this performance, and generally no imitation of Caruso in any recordings. Imitation aside, you should not judge the whole career of a singer based on one LIVE recording at the end of his third decade of singing. I could say as well I don't understand the fuss around Caruso based on the STUDIO recordings he had made in his last years, transposing down, grunting, pushing, and it was only after 20 years of singing, and those were studio recordings, not live, he used to spend half a day in the studio for one release. But I know better than to base my judgement of Caruso only on his last recordings, and I know better than to base my judgement of Lauri-Volpi on one live recording in which he was ten years older that Caruso in his lasts.
Non mi piace. Troppe variazioni dallo spartito. Non conta solo la voce. Troppi colpi di h agli inizi di frase. Indietro non si torna ma non si canta così questa aria.
+Riccardo Barreca Il tuo giudizio non ha né capo né coda : Argomenta con osservazioni di merito ! Riguardati la mia risposta data al sig.Visconti ( V. sopra )
+Luciano Zanella Giacomo Lauri Volpi diceva testualmente: “La voce è il mezzo, non il fine di un cantante” e con questo intendeva esattamente quello che è noto a tutti, cioè che il canto è innanzi tutto un’arte nella quale con la voce si possono e devono esprimere i sentimenti dei personaggi, così come caratterizzati dagli autori, per renderli vivi e reali nel momento interpretativo. Sotto questo aspetto non è che Lauri Volpi fosse particolarmente carente ma, ben cosciente delle esigenze del pubblico e dei Teatri, senza trascurare il relativo lato economico e di carriera, utilizzava la sua prodigiosa capacità tecnica e vocale anche per stupire e conquistare le platee. Indulgeva, infatti, come in altri punti del brano, ad effetti di voce secondo necessità, nelle recite che a volte ci sono pervenute. La frase più significativa della romanza, così come fu cantata, ne è la dimostrazione considerato che, spezzandola, permette di prendere il fiato necessario ad eseguire e tenere l’acuto con maggiore facilità e che cosa, ahimè, emoziona e conquista gli spettatori più di un Do4 sfolgorante? In quanto alla difficoltà direi che la stessa frase andrebbe in realtà cantata legando le note una all’altra in un solo fiato, il che unito alla circostanza che si deve parlare sul passaggio, rende il tutto molto più difficoltoso che risolvere il Do nel modo tradizionale, dove è sufficiente eseguire quasi una scaletta premendo semplicemente il fiato dopo aver appoggiato nella posizione finale. Adesso riesce a intravedere il capo e la coda della mia osservazione?
This is not an interpretative disaster. Interpretative disaster is when the voice is in excellent condition but the artistic imagination is poor. Here we have a voice in poor unresponsive day form but excellent artistic imagination.
Here we are! Once again an undeniable proof of GLV's greatness. He was the last, unrivaled, true Master of the "Ancient Singing", the one artist on whose recordings, interviews, books young artists should always study, think and, far beyond every doubt, " practice". Perhaps one day the stature, intelligence and common sense of this huge artist will be clear and undisputed.
period
@@z.h.a.t8964
?
@@alviseluchetta3791 i agree with you; i am saying “period” as in “yes, this is the last word! all that needs to be said about the great lauri volpi!”
@@z.h.a.t8964
Good evening, thanks for your explanation. I didn't wont to be quarrelsome, to be honest I wondered if I had written anything wrong or offensive. You know, now and then it occurs to be misunderstood. Thank you again for your appreciation.
A
Volpi had a great voice and was a great artist, able to do anything with his remarkable voice.R.I.P.
Un squillo asombroso!!!!!
The best The best The best interpretation of this aria!
Where are these great performers now?!
they are running on soccer field...or dancing on Broadway stage
The interpretation is terrible. Great technique, stentorian power with angelic head voice, but he changes emotion on a dime; it’s headache inducing and sounds a drunken mess
@@stone301 no, you are applying your OWN interpretation to HIS singing. HE is correct, YOU are not.
i think yes , is one of the bet interpretation ever
@@stone301 and you are stone301 HAHAHAHAHA... BYE
wow, what an exquisite playful version. Such singing live
Opera fans often appreciate singers who are passed their prime but still perform at an optimum level. This was true about MDM, FC GDS, Callas, Tebaldi, Gigli and of course Lauri Volpi
Who is gds, i dont understood
@@karlgerbert5527 GDS is Giuseppe Di Stefano
I agree 100%. Volpi is definitely past his prime during this performance. This rendition although far from perfect, it is a great rendition. Imperfections aside, Volpi being Volpi makes the aria his own and delivers with great effect. The high C is immense and full of squillo. The pianissimo during "TALOR" is beautiful, and the "LA DOLCE SPERANZA" phrase is amazing. At this point, Volpi's voice was rapidly declining and was not what it used to be a few years back. Regardless, this would not stop me from enjoying and appreciating the greatness and highest level of artistry still present in this performance. After all, Volpi was a legendary tenor, a TITAN. I wish I could have heard him live in the opera house, even during this time when his voice was declining.
It has the beautiful immediacy which only a live performance can give. I can alsmost see him holding Mimi's hand.
Una finezza e un gusto nel canto unici... Solo paragonabile ai grandi come schipa, gigli, Di Stefano e corelli..
Secondo me Lauri Volpi resta imbattuto. Un fraseggio, una potenza e una limpidezza ineguagliabili
Beauttifull intouch voice at 55 years.wonderfull
One of most recognabile voice ever
Vhit vibrato that god is jelous
La tècnica al servei de l’Art.
Voice of lauri volpi is mito!!!!
Una interpretazione particolare e veramente molto bella
My God. How can anyone sing like this. This is as close to divine as one can imagine! Wow.
Molte grazie per questo documento storico!!!! non sapevo che esisteva! aveva sentito solamente la registrazione di studio. Questa e molto piu "3D" diciamo...si sente meglio la strapotenza dei suoi acuti, e la dolcezza dei suoi pianissimi. Versione molto personale, mi piace moltissimo!! Come lui si definiva a se stesso, lui e un cantante veramente isolato, unico. Un ibrido tra i tenori ottcenteschi e i tenori post-Caruso.
Belcanto singing at its best.
Heroic*
Great vocal control beautifull rendition of this aria
I had a look at the musical score. What others call "a weird interpretation" is respecting the piano markings in the score. He departs one or twice from it but otherwise keeps pretty close.
Who says it's a weird interpretation? People who don't know italian nor what the aria is about?
Possibly the best interpretation of this amazing piece. Lauri Volpi was a genius of singing
I love his voice. Thank you for uploading this recording.
La dolce speranza!♫♪ pocos, o ninguno lo canta
Creo que las opciones son cantar "la speranza" con el do y "la dolce speranza" sin él
@@juancruzgamarra5259 sí, sí llega al C5.
Me refiero a la partitura
Juan Cruz Gamarra Lauri volpi la podía cantar como le viniera en gana. Era un capo, para mi el mejor de la historia.
@@Darksaga28 no solo para ti pa
il est vraiment tenor parfait. c'est pas possible de comparer avec pavarotti ou autre tenor.
2:39 beautiful piano voce. such a sweet and at the same time powerful tenor voice. they don't do it like this anymore.
Bravo, well done interspersing the pianissimos
Great tenor, great performance. Great lungs.
Great diaphragm....
Wonderful! Thank you very much for uploading this gem! ❤
A really valuable document of Giacomo Lauri Volpi art in a live performance date 1948. As usual the recording devices of the time are not capable to reproduce the full harmonic range of GLV, there are a few imperfection typical of a live recording and perhaps the voice in 1948 is less flexible if compared to the astonishing recording of fragments of la boheme performed at the italian discoteca di stato in 1933. Nevertheless it remains a real lesson of singing for technique of emission, breathing control, clarity of phrasing that all young singers should study carefully IMHO. Thank you for posting it
11/19/2016
One of the best Tenors ever !!
Il più grande di tutti i tempi
No.
Quelle grande et longue carrière ..et pourtant souvent dans ses enregistrements certaines harmoniques passent mal ,, ici sur certains aigus dont le contre-ut la voix est dure et semble détonner ?? A 55 ans sa carrière le prouve ..il n’est pas au bout ..et sa technique était exceptionnelle ..reconnue par tous.Une voix moins phonogéniques hélas.. le disque ne donnant pas la réalité d’une immense carrière ..et de la réalité de la scène ??? Pour les grandes voix il est connu que l’aiguille s’enfonçait trop dans la matrice et en ralentissant sur les aigus brillants .. Pouvait donner l’impression de détonner ... avec l’enregistrement moderne c’est fini et même on peut rattraper des "erreurs " ...un si naturel peut devenir un ut ..on peut même intercaler une note ..comme mixer un duo avec des partenaires éloignés ..Eluzalyrics
Exquisita coloratura, cuanta gracia y suavidad ..como siempre
Bravissimo
THE MOST POWERFULL TENOR VOICE. ......... inhuman this is not human
At the age of 56 and he still has an immense high C.
He's passed his prime here, but still amazing!
Yes, Gigli was suppose to be a rival of Volpi's, but I don't really concur, as they had some of the same repertoire but Volpi was more of a stentorian sound and truly built his reputation in high note operas like Puritani, Ugonotti, Guggliemo Tell. I think he also might have been the best Manrico ever. Just my opinion
And the rest is awful
@@Tkimba2 Ignorant comment.
@@Verist4 why? Because it's true?
L'uso del "falsetto" è inammissibile per un artista di questo grande valore!
Lo sapevo, anche alla fine della sua vita!
Pianissimo and falsetto all the same to you? Sigh... utube is full of people who don't know what they're talking about ,calling themselves "opera" whatever or using opera characters' names in the hope this confers them credentials in the eyes of those who know even less than themselves
@@Nangis123 Sir, your reply is a real insult to me, which I put down to the fact that you do not know me and also that you are, like many, full of pride and false certainties.
I knew Volpi very well, a very intelligent and educated man, who sang better than that even at the age of 82.
I have more than 50 years of Italian vocal practice and teaching the technique used by the artists of the Golden Age in Italy.
Since you are so strong, tell me, in front of a student, what would you say to him to do a diminished or perform a pianissimo? If not, visit my website and you will learn a lot!
Listen at 2:40 and you will see that I am more used to it than you are, because it is falsetto and not pianissimo, that is to say a voice always rich because placed "forward".
This 2nd part of this aria is not sung in pianissimo, and even less in falsetto!
@@italopera6036 Anyone can say they are an expert ,including you and me .Anyone can say they knew Lauri Volpi ,including you and me . 2:40 is not falsetto ,but it's just my word against yours .
In my experience people call Golden Age whatever period their fav singer happened to be active .From your comment I gather for you it's the 1950-60's when almost every young tenor was pushing their larynx into their shoes ,resulting in losing their top in a few years , poor agility ,inability to do proper dynamics resulting in singing mf to ff most of the time ,including those singers people like to believe they were different like Bergonzi ,live Bergonzi did sing loud and rather uninflected like everyone else . If you listen to old recordings you will hear that tenors of the past had a much better integrated head voice and that comes only with a good developed falsetto .When and where they decided to use falsetto ,or just go close to falsetto ,was up to them and it is not your place ,nor is it mine ,to say the use of falsetto is unacceptable because historically the development of a good falsetto was not only acceptable ,it was essential . For a male singer to sing a good falsetto is even more demanding that to sing chest because in falsetto only the edges of the vocal cords vibrate .It's even more demanding for older singers because the vocal cords have lost elasticity .That being said , I'm still of the opinion 2:40 is not pure falsetto ,but it really doesn't matter .What matters is that you're totally biased to say the use of falsetto is unacceptable ,but this is the nonsense to be expected from all utube commenters who call the period 1950-60's "Golden Age"
Young tenors of the 1950-60's had much poorer technique than those born in the 19th century .Look at the wide LIVE repertory some of the 1870-90's born tenors were able to sing ,then look at the restricted repertory the 1920's born tenors did sing . I have lots of data regarding live performances and I am absolutely sure what I'm talking about , *individual* live repertory of the 1920's tenor generation was very restricted compared to the 1870-90's tenor generation .The few tenors of the 1920's generation who attempted a wide rep were so poor in it that it wasn't even funny .And only live repertory matters ,not what singers from the period 1950's onward recorded in modern studios doing many retakes and even splices until they managed something passable sounding .It's a matter of risk .There's no risk in studio but big risk live.If your technique isn't up to the various technical demands of a wide live rep (wide as in different types of roles from different periods ,not wide as in many roles all of the same type),you sing a restricted rep . Fans' effusions always call the technique of whomever as being superlative ,but if a singer has superlative technique they sing a wide repertory of different roles with different technical demands .If not ,they stay put .You may consider this elementary truth insulting too but this does not make it less of a truth
Very uot of tune.
Che bellezza ❤👏
Mamma mia! È INASCOLTABILE! Stonato come una campana, per giunta.
....ecco cosa succede quando non ci si sa ritirate con dignità.....
@@eugeniogentili1048 torno a dire che negli anni buoni era nella top 5 di sempre
Ninguno de nosotros estuvimos en el teatro en 1948. No podemos decir si el falseto estuvo inaudible, o de mal gusto, etc. Corelli dice que la voz era "squillantissimo", entonces bien vibrante. Tal vez en el teatro se sentía algo como una buena interpretación. Muchos de los comentarios abajo no tienen lugar. None of us were present in that theatre in 1948. We cannot say that the falsetto was inaudible, or in bad taste, etc. Corelli said that the voice had a super ring, a very vibrant quality (many high overtones). Perhaps in the hall this was felt to be a good performance. A lot of the comments below have no validity. They are not critically thought out in terms of voice.
Thanks a lot!
the best high C even better than Corelli and a such interpretation !!!
I'm not a great fan of Corelli but....no way in hell was this high C even close to the stentorian secure sound of the C of FC !!!
@@sgnmath1234 how not so? Corelli himself said Volpi had the most shining and intensely vibrating voice of all tenors
Che gelida manina,
se la lasci riscaldar.
Cercar che giova?
Al buio non si trova.
Ma per fortuna
é una notte di luna,
e qui la luna
l'abbiamo vicina.
Aspetti, signorina,
le dirò con due parole
chi son, e che faccio,
come vivo. Vuole?
Chi son? Sono un poeta.
Che cosa faccio? Scrivo.
E come vivo? Vivo.
In povertà mia lieta
scialo da gran signore
rime ed inni d'amore.
Per sogni e per chimere
e per castelli in aria,
l'anima ho milionaria.
Talor dal mio forziere
ruban tutti i gioelli
due ladri, gli occhi belli.
V'entrar con voi pur ora,
ed i miei sogni usati
e i bei sogni miei,
tosto si dileguar!
Ma il furto non m'accora,
poiché, poiché v'ha preso stanza
la speranza!
Or che mi conoscete,
parlate voi, deh! Parlate. Chi siete?
Vi piaccia dir!
Noi italiani abbiamo la fortuna di capire il testo di queste arie, ma non sempre è così. In questo caso il Maestro GLV è totalmente intendibile nel suo canto. Ci sono, oggi, tenori, che neppure noi italiani riusciamo a decifrare. Emettono suoni senza pronunciare sillabe l'ultimo Grande Maestro per chiarezza, fraseggio, pronuncia e potenza fu Pavarotti.
l' unico a cantare la dolce speranza !!!
con tutto l'affetto che porto a Lauri Volpi debbo dire che questa esecuzione non mi piace.Non sento riecheggiare lo splendido ed inarrivabile tenore di vent'anni prima
Si sturi le orecchie
@Giuseppe Diamanti
I don't like it either, it's obvious he had had a very bad night begin. But it's pointless to compare someone in their mid-50's with their younger self from 20 years ago, no one is at 55 as good as they were at 35, not even on a good night.
Piuttosto stonato,gli anni passano x tutti.
@@eugeniogentili1048 esatto
I don’t buy his interpretation here, but it is very interesting.
While I have heard better live renditions of this aria from this singer (in my opinion the 1951 live performance is much better) this has still something to recommend it. I give him points for the intention, style, but not necessarily for the execution. It shows how difficult to do are the continuous dynamics which were his hallmark, if the voice isn't in top form like here the dynamics come out too contrasting.
Great
11/19/2016
One of the best Tenors ever.
EXQUISITO
La dolce speranza.
56 here.
Erede di Rubini e Tamagno
Caro Marco " de gustibus non disputandum"
Millora lo sublim ! Fou un fenòmen de la Naturalesa !
Great voice, but weird interpretation.
Il più grande tenore di tutti i tempi
The interpretation is very technical, but I find it disconnected from the heart. The heart is in the written score and technique, not in his own feelings. That’s why as others pointed out, the interpretation is sort of all over the place.
Still technically a marvel of singing on display here
So according to you the heart is in the score and TECHNIQUE, you find this a technical marvel of singing, yet it is disconnected from the heart? Wt...? I am able to spot the contradiction in two seconds, but you can't?
@@alexingresss2420 there is no contradiction.
I said he is focused on technique rather than his connection to the music. It’s not complicated to understand
@@benharper962 Yet other users here write he is blending tenderness and ardor in a quite unique way. Each its own, perception is subjective.
@@alexingresss2420 He is Gigli fan ::smile:: , he came here to needle the "competition." On a video of Gigli in which he was WAAAYYYY past the "beaux restes" stage, just embarrassing "restes" with plenty of the typical mannerisms, Ben lectured me the beauty isn't in the voice but in the soul, and called me bitch too for good measure. I told him to enjoy Gigli's soul and leave other people to their own, less esoteric, criteria of excellence, but apparently he isn't content to just enjoy Gigli's soul quietly, he must explain about other singers' hearts too ::tongue:: At least he didn't call Lauri-Volpi names, but that may yet come...
@@arepo 😂️ for his 'esoteric' criteria of excellence, it made my day.
As much as I love LV, his interpretation is kind of all over the place here. Strange phrasing, never heard a tenor sing the phrase "Talor dal mio forziere" the way he did.
The score is written with a pianissimo on the ''Talor'' phrase. Volpi could do everything with his voice
I agree and literally HORRIBLE pitch.
E espetacular vor limpa nítida bel lazaro😂 4:59
@horowitz109 Sorry, there's no need to transpose, the note on the word talor is written as an A flat, check the score...
The score also calls for mezza voce or piano on the “Talor “ which no one sings and you neglected to mention. You should be a little more thorough or objective in your criticism.
Absurd performance alternating crooning with leathery screams.
After his late 40's his voice lost its homogeneity as indicated by this recording. He sings in head voice because he could not sustain his medium voice for any extended period. His high C seems strained. He was an excellent tenor in his younger years.
Bullshitt
Surprisingly, some of his lower notes are on the flat side. His higher notes seem okay for the most part. The pianissimo A flat on Talor sounds quite nice. I like his interpretation. The thing I'm not crazy about is some of his low notes sounding flat.
sven sundquist IMO, the tenor voice matures in a singers 40s, where I believe the tenor voice is at its best.
He purposely lightened the middle voice (I'm assuming this means disrupting his management of breath) because of aesthetic ideals. He was capable of quite a large sound in the middle voice in things like Manon lescaut ("guardate..." famously) however He did not use it very much. I wonder if it was technical or just getting older.
@horowitz109 Ok, maybe Puccini wished something more than a falsetto, but it's a new idea, anyway, I think it's an A-flat, in any case...
Nonostante la grandezza di Giacomo Lauri Volpi, la sua interpretazione qui manca di buon gusto. Era sicuramente un esempio di produzione vocale, ma quando il suono non è bello, che altro posso dire?
Er, good taste and beautiful sound are completely unrelated ,one is the product of brains and education , the other the product of the vocal tract .When you have the first , you always have it ,but the second is subject to day form .And when the day form is poor a singer cannot always convey they have taste even when they have it .But when they lack the taste they can't convey it even at the height of their vocal powers .Understand the difference?
Canto ampolloso e manierato con anche ,nell'acuto finale, imitazione alla Caruso. Per me rimane un mistero la fama che tutt'ora gode tale personaggio
No imitation of Caruso in this performance, and generally no imitation of Caruso in any recordings. Imitation aside, you should not judge the whole career of a singer based on one LIVE recording at the end of his third decade of singing. I could say as well I don't understand the fuss around Caruso based on the STUDIO recordings he had made in his last years, transposing down, grunting, pushing, and it was only after 20 years of singing, and those were studio recordings, not live, he used to spend half a day in the studio for one release. But I know better than to base my judgement of Caruso only on his last recordings, and I know better than to base my judgement of Lauri-Volpi on one live recording in which he was ten years older that Caruso in his lasts.
Imitazione di Caruso...... volpi ne è l antitesi più assoluta
Non mi piace. Troppe variazioni dallo spartito. Non conta solo la voce. Troppi colpi di h agli inizi di frase. Indietro non si torna ma non si canta così questa aria.
un disastro interpretativo!
+Riccardo Barreca Il tuo giudizio non ha né capo né coda : Argomenta con osservazioni di merito ! Riguardati la mia risposta data al sig.Visconti ( V. sopra )
+Luciano Zanella
Giacomo Lauri Volpi diceva testualmente: “La voce è il mezzo, non il fine di un cantante” e con questo intendeva esattamente quello che è noto a
tutti, cioè che il canto è innanzi tutto un’arte nella quale con la voce si possono e devono esprimere i sentimenti dei personaggi, così come caratterizzati dagli autori, per renderli vivi e reali nel momento interpretativo. Sotto questo aspetto non è che Lauri Volpi fosse particolarmente carente ma, ben cosciente delle esigenze del pubblico e dei Teatri, senza trascurare il relativo lato economico e di carriera, utilizzava la sua prodigiosa capacità tecnica e vocale anche per stupire e conquistare le platee. Indulgeva, infatti, come in altri punti del brano, ad effetti di voce secondo necessità, nelle recite che a volte ci sono pervenute. La frase più significativa della romanza, così come fu cantata, ne è la dimostrazione considerato che, spezzandola, permette di prendere il fiato necessario ad eseguire e tenere l’acuto con maggiore facilità e che cosa, ahimè, emoziona e conquista gli spettatori più di un Do4 sfolgorante? In quanto alla difficoltà direi che la stessa frase andrebbe in realtà cantata legando le note una all’altra in un solo fiato, il che unito alla circostanza che si deve parlare sul passaggio, rende il tutto molto più difficoltoso che risolvere il Do nel modo tradizionale, dove è sufficiente eseguire quasi una scaletta premendo semplicemente il fiato dopo aver appoggiato nella posizione finale. Adesso riesce a intravedere il capo e la coda della mia osservazione?
@@lucianozanella5833 Un disastro interpretativo. Può anche piacere, ma è un disastro interpretativo.
This is not an interpretative disaster. Interpretative disaster is when the voice is in excellent condition but the artistic imagination is poor. Here we have a voice in poor unresponsive day form but excellent artistic imagination.
Do5 Do5 Do5 Do5 non Do4