Richard Tucker- Celeste Aida- 1949
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- Опубліковано 5 жов 2024
- premiereopera.com
With the great Toscanini conducting, a young Richard Tucker sings a gorgeous "Celeste Aida" from Verdi's Aida. This was the first complete opera ever telecast, in March of 1949. Truly historical, and wonderful.
To all the Tucker haters: Corelli admired him very much.
And so you mentioned the first testimony which agrees with you on an emotional level. Even if it's true, why should it matter to other people? Shouldn't you let opera lovers decide for themselves?
P.S. I remember you from a conversation. Aren't you the one who used to slander Lauri-Volpi's character? I don't have a very good memory but the magnitude of your besmirching was unusual even for the sewage youtube has become. I checked again just to be sure and yes, you are the one. Corelli admired Lauri Volpi very much. How does this sit with you? Hypocrite.
P.P.S. Critique Hate. Character besmirching is hate, politely worded criticism of singers' performance is just critique. I could as well post critical quotes from various reviews and preface them with "To all the Tucker lovers:" I don't do it because I don't feel the all consuming need to have my opinions "validated" by whoever happens to share them.
Corelli, the god, the maestro, the diplomat.
Anyone who hatesTucker is an idiot! He was perhaps not the most nuanceful singer. But, by God, he could always deliver even to his last performance at the Met, a Canio I will never forget. He was a masterful vocal technician. Yes, I heard the great Corelli praise his singing and saw him once standing in the wings at the Met as Tucker was on stage singing. They don't make them like Richard Tucker anymore. There is a reason his bust stands in the Met lobby near that of the great Caruso!
@@kensmith2282 i dont hate tucker, i just think he was light years away from Corelli, Del Monaco, Lauri-Volpi etc.
@@kensmith2282 100% Correct.
Brilliantly sung. The legato is superb. And in front of Toscanini! He kept his nerve throughout, thanks to his wonderful technique.
Hearing Tucker's thrilling voice with its signature ring makes one understand why keeping Tucker on the roster of the Metropolitan Opera was his first priority. This is the sound of a true tenore di forza in development. By the time he sang the role at the Met in the 65 season he was a full fledged tenore di forza with stentorian high notes and a dark middle voice but the singing is still bel canto.
Tenore di Forza. Not a traditional term for categorising tenor voices
@@michaelgioiello78 actually it IS a traditional classification for tenors. Just ask an Italian! Oh! Wait a minute! You are supposed to be Italian! Wow! Never heard "tenore di forza". Stange. Very strange.
The first singer we hear is bass Norman Scott. A commenter below misidentified him as baritone Giuseppe Valdengo.
yes, i thought Valdengo at first too.
Valdengo sang Amonasro in this Recording
@@WolfgangAPalm-ju9er Live on TV at the time, no retakes Etc. and it then in 1949 was new for TV, for 1949, the First Live TV Brdcst. of the "Complete" opera Aida, with the then "35 year old tenor" , (Tucker singing Opera at that time, for only 4 years at the Big old Met. opera house,) his big operatic debut was in Jan. 1945 there at the Met. opera Company in Gioconda as "Enzo", but he had sung many radio Brdcsts. of opera in English for Chicago radio, over WGN, in many opera's and operetta's in short radio versions to fit their time slot of one hour, over national radio, WGN was and still is a popular A. M. radio station, that Brdcsts from Chicago IL.
@@WolfgangAPalm-ju9er Yes in this early live TV performance, and Valdengo was Excellent.
@@shicoff1398 And in the old MET you needed almost more voice than in the new house 🙏
La conduzzione dall maestro Toscanini e maravigliosa!!!, nessuno ha fatto questa opera Aida, comme Toscanini; tutta la orchesta e comme un solo instrumento...grazie per far questa "lyrical jewel" e comprtitrla con tutti noi,BRAVOOO!!!!!!!!!!!!
Incredbile Tucker at only 36 years old. Already that spinto sound was surfacing, and the Bb's were already the best in the business. Great legato and he tosses off this tremendously difficult aria with ease and aplomb.
they are Bflat and there is a big difference
@@therealistjim ???
The reason Tucker sang it like this is because Verdi later went back and changed the score, although the original was already published by then and Verdi no longer had any control to change the published version. When Toscanini took on Tucker for Radames he did not know the role. He sang "Celeste Aida" for Toscanini and the maestro was not impressed and told Tucker that he would teach him the Radames of Verdi and not the Radames of Caruso, Gigli, or Martinelli. And that's exactly what he did.
VinylToVideo Could you provide the source of your quote of the comment of Toscanini?
@@grr8048 No, I can't provide a source for a comment I made 11 years ago? Check Jim Drake's biography of Tucker perhaps.
@@VinylToVideo Yes, Jim went into it in the book as I recall.
@@grr8048 this is the youtube comments section, hun, footnotes aren't required
Gosh...the guy just asked a question. "Sorry, no" would be an adequate and appropriate response. People say all kinds of stuff online and it's reasonable to ask where they got it from. Cheers!
Superb!
Every time I hear another hack tenor at the Met (the latest current one being Ricardo Massi) I come here to listen to what a REAL tenor sounds like. None of this fake covered Fs, or shitty vibrato, or thin top notes. Real singing.
How much does it cost a year to feed that high horse you ride around on, sweetie?
Today it’s pretty much squeeze and wobble, and no chest voice.
@@Marcel_Audubon lol. You have no clue. I'm doing very well, thanks. It's hilarious you think this is a put down or can't imagine something other than a troll, sitting in their parents basement. Get a grip.
@@DaDooshinator wow, the "parents' basement" comment. Didn't know there were any dinosaurs around still using that as proof of their complete lack of originality - and yet, here you are!
@@DaDooshinator troll talk - the parting shot of the braindead. You're not exactly a font of originality there, are you, gramps?
So great, so smooth.
Yes, he was a great tenor, one of the very best ever. ---RIP
Incredible! Again, what a technique! Amazing!
"That girl" is Teresa Stich-Randall : she was discovered by Toscanini who called her "the find of the century" and engaged her to sing The High Prietress and Nannetta in his NBC recordings of Aïda and Falstaff.
And most importantly, sang Sophie in the immortal Karajan Rosenkavalier
The Italian is so sweet and everything is clear
Els grans Tucker i Toscanini.
This is what for my 18th birthday night. Wonderful memory
Great Great voice! Proudly Richard Tucker! Bravo,
tucker was the greatest of all tenors
@@peterschmitz8364 Not olympic game, no need to force the final 3 medals.
Yes, it was and this was early, before he reached his prime.
@@peterschmitz8364 he was magnificent and here fairly early in his opera career .
@@shicoff1398 There was a rumor last year someone said that Dr. A passed away, but either way it was not a bad intent, she loved his channel... all I saw was his intensive kind professor like reply to every viewers... it is painful and delightful to see, since I know how much hours it is going to take, not only write but also read through those less english or half and half english from all.
I did go to Mr. Morell's recording, and I now recalled through my email that I did try his arias last year. Not sure his volume, it seems not less than GDS. But I have to confess that he has a special timbre and a flavor that kind of be similar to Carlo Bergonzi. It is handsome, personable and making you to click next for MORE!
It looks like Met did not treat him well. And it seems all lyric tenors got disadvantaged by Olympic operatic Committee critiques and public, they are looking for heroic Calaf to look up to.
Anyway, I am trying to say I do love his singing, and assume that he must be a well crafted and hardworking singers that can be relied upon for most lyrical roles. He is not less than Carlo B, and he also reminds me of younger tenor Jerry Hadley.
Thank you for uploading this wonderful music.
What a joy to see and hear this.
Oh, thank you Operabeauty for this treasure! I knew his Radamés from his recording with Callas 7 years later, but here he is even better. And Toscsnini, he conducted the whole opera like this, without the partitura?!!!
I'm learning again from this! Had some records of Richard Tucker when I was young,but like the years the records have gone! Thanks for this.
stop insulting or offending great singer just beacause you dont like him.
I don't pretend to be a lifetime opera fan but have appreciated it more as I've aged ,my 2 personal favourites are Nicolai Gedda and Richard Tucker .
Oh, yes I have fund memories of seeing both tenors singing in house in opera and concert for both, Gedda a wonderful lyric tenor artist, with a great capacity for language and Tucker a powerful Spinto tenor in his long prime years, that came after this excellent live 1949 version for early TV.
Truly one of the greats and always a gentleman as well.
Very true, he was a very nice gentleman, I knew him very well.
@@shicoff1398
I didn't know Tucker at all but I believe you because I have read Merrill's autobiography (both of them). Merrill confesses that he never has time to spend time with young singers like Tucker. He admits that Tucker is a much nicer person than he is himself. Merrill is more like an average person but speaks of Tucker as if he were a saint.
@@Agorante Tucker kept pushing Bing in the 1960's to hire a young Spanish tenor singing at NYCO , "Domingo" for the Met.--- Tucker later, also got Canadian baritone Norman Mittlemann his Job with Carol Fox in Chicago singing several times with Lyric opera, and with Tucker and Deutekom in Lucia in 1970.
On the contrary, it was Toscanini's personal suggestion that Tucker sing that line at the end...because Tucker didn't sing piano much he wanted a more delicate ending to the aria...instead of a huge high Bflat. He does the same on the 1950 studio version but later discards it in his live performances in the 60s.
Thank you so much for posting.
Stunning!
splendid
On the contrary, it was Toscanini's personal suggestion that Tucker sing that line at the end...because Tucker didn't sing piano much he wanted a more delicate ending to the aria...instead of a huge high Bflat.
Una presentación memorable, empezando con el legendario Toscanini.
Mi primer Radamés fue Tucker
Maestro !!
The 1949 Aida is one of Toscaninis best opera concertante. You could have feared that Jan Peerce would have been chosen to sing the Radames part. But fortunately Toscanini asked Tucker to sing the part, which he does very fine. He also sang Radames opposite Callas in a commercial recording later, and the two recordings show, that Tucker is one of the best Radames-interpretator in 20 century. The only Radames I find better is Bergonzi in the 1959-recording under Karajan.
Everyone looks terrified of Toscanini except Norman Scott. Another day at the office for the Met’s house bass. And btw, Dennis Harbour was excellent and little remembered.
@SHICOFF1 Bjorling was one of the lucky ones that could get away with wobbling, white tone, and a total disregard to the dramatic situation on stage. He was a very great lyric tenor that played pretend in the recording studio. But didn't he collapse from the effort of singing the c'' in the Butterfly duet with De Los Angeles? Of course he did have a serious heart problem not helped in the least by all the booze he drank.
shame on you Jussi is the GOAT
@VinylToVideo Well said my friend!!! Some posters at least take the disgusting stuff off but, of course, they do not have business interests to consider. We can be thankful that Myto now features quite a few of Tucker's best performances since they are well made and well documented, and SONY now has a series of well made reissues.
I liken Tucker's voice to Caruso's...started off as a lyrico spinto, but it darkened to a rich full spinto sound later in his life. HIs phrasing is also similar to Caruso, and how he sings in general...attacks every note with perfect precision and accuracy, and his high notes kind of 'blossom' outward. A phenomenal voice, Tucker.
Tucker's voice was no where near the power or timbre of Caruso
@Baritanist Tremolo? Where did you hear a tremolo in Tucker's singing?
@SHICOFF1 It says a lot about Tucker real greatness that they went out of their way in Italy to offer contracts at the great opera houses--Roma. Florence, Parma, Milano, etc. to an american tenor. The same goes for the recordings of Forza and Aida with Callas where they changed the conductor rather than lose Tucker. The announced conductor's wartime activities were of a nature that Tucker felt it necessary to initially decline the recordings.
Dalla registrazione sembrerebbe una voce piuttosto chiara e non grandissima. Invece, chi lo ha ascoltato dal vivo mi ha detto che riempiva il teatro di suono e si sentiva persino fuori dalla sala. Incredibile davvero.
A me sembra che canta un po' così.....
@SHICOFF1 Some people fail to understand that a large voice needs the large space of the opera house to fully reveal the splendor of the sound. Both Tucker and Del Monaco as well as Corelli belong in this group. Small voices like Bjorling's are best heard in a small hall as was Pavarotti who didn't really cut it in Aida either. A live performance by Pavarotti in a German House still is problematic because the voice just wasn't large enough.
What about Bartollini, Domingo, McCracken and Bergonzi?
@@davidpayne697 Gaytenor wrote ton of great comments, he passed away a year or 2 ago...
I personally do not like Domingo's high notes of softy.
Love Bartollini and Bergonzi's/
I do not think they are huge volumes at all, nothing close to MDM.
@@道-p2e Tucker's very top was bigger then Bergonzi's or Domingo easily in his prime and as Domingo once said, "Tucker had the biggest high B I've ever heard" MDM was very powerful in the upper Middle and top. Tucker ten years after this brdcst. had a much bigger voice then here at age 35 and not yet in his Prime, but already was very great, the big spinto's all had no problem with big roles in house. Records often are not accurate, especially studio ones.
@@道-p2e Gay tenor died about four years ago, he was excellent at writing and telling the truth, also at telling off some people.
@@shicoff1398 I thought he just passed recent 2 years. Wow, I enjoyed reading his words, and so miss that, in general there are so few voices on youtube anymore... even those alive be reluctant to fight through so much magnificent B.S. all over.
He calls himself gay tenor, but his words are so straight into business, and may offend many due to sharpness, he did not care at all, I love his style. I gained a lot of info through his email.
Dr. EDMUND ST. AUSTELL wrote extensive and was so kind and responsive, but it had not been since 7 years ago. Very sad to me.
Dr. Austell wrote on Tucker, The Tenor of Notre Dame.
It seems to me that he did not get much of his experience through theatre or opera houses?
Amazing video
@wiseroldfart May I suggest 'dumboldfool' Pavarotti modeled his Duca in Rigoletto on Jan Peerce's, was a major fan of Tucker's--read his piece on Tucker in Luisa Miller at La Scala in the Tucker biography--and the best recording of 'minuit chretiens' is the fantastic recording made by Georges Thill in the original French. Thill did not have a tiny voice.
Complexity was, from the reading I've done, not Caruso's strong point and where in the hell did you get that idea?
@wiseroldfart What versatility? Picking out the booze of the night? Compare their repertoires and you might be shocked by how versatile Tucker was. As to a CONSENSUS ask the Met fans of the time. Tucker was said to have had the most beautiful voice at the Met in a company that included Bjorling and Jan Peerce. Bjorling had his little repertoire and his concerts--when he wasn't too bombed to sing--but Tucker kept on learning new roles right up to his death. Its called work ethic.
Baritanist is doing an excellent job at trolling; if you give him no attention he may stop.
How about we change the topic back to the singing on display here?
I personally feel this is Tucker at his absolute peak; that lyric sound and those ringing high notes are strongly evident here.
A Tucker lo apodaron el "Caruso Americano", y también el " Tenor Americano Más italiano que los Italianos". / / No es lirico spinto como dicen algunos, sino, realmente Dramático. Para apreciar esto que estoy afirmando hay que escucharlo decenas de veces en cientos de distintas grabaciones, por una sencilla razón, las distancias que estaban los MICRÓFONOS, y las diferentes calidades de estos, como también, la CALIDAD captadora de los EQUIPOS DE GRABACION, no son iguales, factor por el cual nos equivocamos al juzgar a que rango vocal pertenecia. También influyen las distintas acusticas de cada lugar en que canto........ Nos va a convencer que es DRAMÁTICO: * * * * *
Es totalmente cierto, también por la técnica, las voces coreanas actuales suenan oscuras y dan la sensación de anchura o volumen, y la verdad es que es al contrario, suenan opacas, pequeñas y apretadas, no hay comparación con Richard Tucker, una voz enorme y de resonancia pura, squillante
Bravo!!! piu bella interpretazione dall maestro Tucker, una voce piu propia per il ruolo di Radames. 1949 ch'era un anno di tranzisione per la lirca mundiale.Bravo!!!
dal vivo Tucker aveva una voce meravigliosa,grande!
questa registrazione non rende giustizia.
bodiloto per i canoni di oggi questa resta un'interpretazione inarrivabile, sia dal punto di vista musicale per la correttezza della partitura verdiana e la modernità incredibile della direzione di Toscanini....e poi non parliamo della precisione tecnica di tucker....una vera voce verdiana ampia, sicura, generosa eppure anche morbida e pieghevole....vorrei un suo commento sulla recente versione di aida a Salisburgo e su Francesco Meli....rinnovando la stima per la sua cultura e amore per il teatro e la voce
@@marcocavagnis1707 Altro che Bergonzi, qui siamo a livelli altissimi, Tucker tenore straordinario.
@@marcocavagnis1707 meli credo sia tra le voci peggiori mai esistite
@@fabriziosarcinelli7566 Qualche anno fa mi aveva fatto ben sperare, poi la delusione...gli ultimi ascolti sono al limite dell'imbarazzante a partire dai concerti di capodanno in Fenice per non parlare di Tosca alla Scala...se questo è il meglio che il tenorismo può offrire oggi allora siamo messi maluccio
For heaven's sake!! What a time!! I'm glad I lived it all!! That was great!!!
USABA EL MUSMO LUCK DE CARUSO Y LA ELEGANCIA DE VOZ MAGNIFICO
That ending is an alternate suggested by Verdi to a tenor who could not manage the b-flat mezza voce. Toscanini knew about it due to his personal relationship with Verdi.
Notice that Tucker did not sing the portamento: Celeste Ai-i-da. Even Caruso found it neccesary to add a note to the score.
Probably Toscanini would not allow it
@Carsten Snedsted Adding a "stepping stone" note or sliding up the scale to hit a higher note because you can't attack it directly is not true belcanto portamento ,it's scooping
@@7H7GRm8jm4QCnjuQ Correct.
One of my favorite versions of Celeste Aida is that of Helge Roswange. He sings the high soft ending. But many dismiss Verdi in German.
Listen to Tucker’s interview in which he discussed a letter he has written in Verdi’s hand that approved of the forte ending
@@7H7GRm8jm4QCnjuQ Can you direct us to the utube interview where Tucker says he has a letter in which Verdi approves of the forte ending? I know of the San Francisco 1970 interview where he says Toscanini gave him a letter in which Verdi approved an alternate ending of Celeste Aida . Tucker says Verdi changed it at the last moment before the premiere ,in the tenor's dressing room ,because the tenor allegedly couldn't sing the original ending . This cannot be correct because Verdi had not been present at the Aida premiere in Cairo ,he stayed in Italy .Moreover what Tucker says Verdi allegedly approved of was not the garden variety of forte ending but attacking the B in full ,holding it ,and coming down in a pianissimo afterward
@@Nangis123 that’s the interview I was thinking of, so maybe he was stretching the truth or something
@@7H7GRm8jm4QCnjuQ Yes, that's Correct.
@@7H7GRm8jm4QCnjuQ I can check that in one of my Toscanini books about him, I have two good ones in my house somewhere and let you know what it mentions .
@SHICOFF1 Bergonzi was very, very intelligent in his approach to Radames concentrating on the lyrical moments in the score, but the concertato was problematic to say the least as was the scene of consecration in act one. Tucker's more stentorian tones were awesome in those scenes.
prachtvoll gesungendiese aufnähme begründete den rühm von Richard tucker
@AfroPoli Defending a favorite is still better taste than posting videos for the sole purpose of flaming singers one dislikes. Maybe I should dig up some recordings of my least favorite singers and post them with derogatory commentary?
I agree. Lanza performed this live as well but unfortunately no recording has survived... :-/
You mean the aria I suppose, perhaps in concert he sang it sure, or on his pre-recorded radio show, which is available, he did not however sing the complete Aida opera, he did sing Butterfly opera complete in 1948, two shows in New Orleans . Also Merry wives of Windsor, the role of Fenton complete.
I do not monitor my posts because most of the posts with the offending comments are not from anything I posted. They have been the same for years. Always angrily shouting at anybody who dares say another tenor (such as Bjoerling) is as good or better than Tucker. This starts the "out of control" stuff. If you want to have contests, I speak to Barry four or five times weekly, and David a bit less often. Tucker doesn't need the overt and sometimes nasty defense. His singing speaks for itself.
Of course Corelli admired him! He was technically flawless,! Tucker haters should switch to hip-hop! They deserve no better,!
Agree 100% !
@wiseroldfart Dear expert yes Bjorling had an easy top that he pushed without mercy to the point of wobbling in his later work both in the studio and the opera house. Listen to the 1959 Faust its full of the pushed high notes that are wobbling. Tucker's top was stentorian, unforced and clarion. I actually had the good fortune to hear him in both opera and recital and from the back of the house the high notes were amazing in their power.
"Wobble" means slow vibrato. Whatever Jussi's faults, he never EVER wobbled, which makes him extremely rare among opera singers---maybe he would've one day, had he lived, but many started slight wobbles at a much younger age.
ua-cam.com/video/gFzNByH0Di0/v-deo.html
That top note (obviously a half-step down) has very fast vibrato.
@@sananton2821 sadly to inform that he passed away a year plus ago, his comments are great informative and sharp in understanding... missing him.
@@道-p2e Yes, it's over 3 years now, perhaps 4 years ago he died, been quite a long time ago, but it seems he was correct most of the time, perhaps he meant to say JB had excessive Vibrato at times up top, and that is perhaps a little different then a wobble he did mention, but I mostly did agree with gaytenor in his comments and he was pretty hard to argue with, he was quite a character and very smart and witty, his name was Mike Brady.---- RIP.
@@sananton2821 wobble especially when past prime is a bit more common among soprano's then tenors, perhaps he meant a strong vibrato, I don't know, cannot answer for him but many singers never did wobble. Gay tenor cannot answer anyone, he died several years ago. RIP Gay tenor-- (Mike Brady)
interesting on early t.v. when in the movie theaters everyone was watching tuckers competitors debut Mario Lanza's in films
I agree with the first two.
🌺🌺🌺 so many wonderful singers.
Thank you for this post.
Funny how the comments end up like a twitter social media bun fight.
@shiicoff1 Your totally correct!! Tucker had a voice of gold and there is no way he was going to ruin a fantastic technique using the so-called Stanley method. When I studied singing years ago my first singing teacher warned me about this so-called method and there is an excellent article on the net that details the problems caused by this nonsense. The singing(?) offered by Baritanist as both a bass and a tenor is bad and squalid as to prove the point that the Stanley method SUCKS!!!!!!!!!!!!!!
@snedsted1 Peerce knew that Radames would have required him to force to be effective so he passed on the role. How could you fear that Peerce would be selected 62 years after the fact? As SHICOFF1 has pointed out Bergonzi was not an ideal Radames when compared with more robust ringing voices like Tucker or Del Monaco. Your cheap shot at Peerce was tasteless!
All the singers in that performance look scared to death. I think that Toscanini was a great conductor, but they all knew that they were up against a monster in the pit. The singing is cold and precise, but not very exciting.
They sang as the Maestro wanted.
@wiseroldfart: Most of the so called lists you cite are from Europe. The BBC poll has Peter Pears among the top ten and over here no one would so list him. Find me a poll from Italian opera fans that lists Bjorling who was not liked in Italy while Tucker was loved over there.
Second language flame from a Simpson's fan? I actually covered baseball and had a byline in a newspaper of course I probably would be better off watching the Simpsons. Read the essays by John Steane.
This recording could have been great, had Toscanini chosen two top-drawer female singers for Aida and Amneris. Both Hervi Nelli and Eva Gustafson were merely adequate, especially since there were other sopranos and mezzos around at the time who could have done so much better.
@wiseroldfart Two questions: Why are you comparing a lyric tenor to a tenore forza? And why are you promoting Bjorling on a Tucker video? If you love Bjorling so much why don't you talk about him on a Bjorling video. I love Bjoerling as well but I don't just start talking about him on every video comments section I post in.
@AfroPoli I'm not doing anything. Other than the reply to your comment (and this one I'm writing now) I posted only one other comment, so I have no idea what you're talking about. I am still confused as to why you blocked me from posting on your videos; my comments were always constructive and never personal attacks. Additionally, I never posted in excess, but since apparently you've purposely made an enemy out of me by blocking me for no particular reason, I've lost all respect for you.
do you know the anecdote that Jerome Hines tells about the performance of Forza with Tebaldi, Warren and Tucker.
Tebaldi was the singer of the night and Warren and others singers went to Hines's camerino to complaint in bad manners about it.
Warren envy made him sing louder and louder and it was his last singing.
Not sure if Corelli's short career was due to a bad technique or simply a technique that in itself took a heavy toll on the voice. Di Stefano on the other hand most certainly had problems with his technique...He chose to sing the passaggio notes (F, F#) with full blown chest voice, which in itself is not permanently damaging...but the habit stuck and he began to try to sing Gs, G# and even As with open voice...his mixed voice became almost nonexistent, he couldn't cover his higher notes.
@Melomondo You have pity for me? What gall you have to constantly insult people for answering your churlish and ignorant insults of a great singer. Those of us who have defended Tucker against your childish pointless insults. I have, at various sites that you have polluted, asked for an opinion based for once on the musical performance not your desire to troll Tucker sites and trash him. Since you have not provided said argument I must conclude that you know hate not music.
@gaytenor Gaytenor, is that really you singing that Mattinata Cafiero has posted?
No shit "Sadiesexy." He was replying to a comment made by ShawDAMAN mentioning a live performance of the aria by Lanza.
In essence this is what ultimately wasted di Stefano's beautiful voice so prematurely. Notice that Tucker covers the passaggio notes...which can be seen in this recording. He sings the first Fs with chest voice, but integrates a little head resonance into the third F later on. Di Stefano didn't do this and that is what led to the regression of his technique, bad habits which destroyed his voice.
exactly.....
Did he always look so stiff?
Yes especially from 1975!
With Toscanini conducting everyone took it extremely serious.
That would be Norman Scott, and he was a bass...
@AfroPoli Please! I assume you place me in the Tucker-fanclub so I plead guilty since I love great singing, but iin fact my favorite tenor is Jan Peerce.You do, however, need to know your Bjorling better. Bjorling sang a good deal of pure muck like 'the desert song' etc., I do not attack him for turning a buck and it never hurt the quality of his song recitals. In the real world a singer has a fairly short window of opportunity to build up his security for his or her declining years. Grow-up!
toscanini conducting with NO score is the ONLY thing virtuosic about this clip. tosca. learned so much from verdi during those rehearsals for the premier of otello when tosca. was the second cellist in the orchestra during that run of shows.tucker singing always was clean and VERY american. please rich, a portamento wouldn't hurt. feel it. but, a great american tenor. along with his brother in law jan! great jewish american tenors for sure.
It would be very nice if we could enjoy the singing of Tucker without having to read the lies, threats, etc., of Baritanist! On his singing(?) of the 'star spangled banner' it was posted by a viewer that Baritanist = Mr. Cafiero and God knows how many more screen names. His new found love for the Tucker voice is merely a device to enable him to troll. In the past he commented to me that Giuseppe Giacomini was a better tenor than Tucker Giacomini wasn't as good as Kurt Baum was by a long shot.
@GermanOperaSinger You got blocked because of your fanatic posting and attacking. Just like under this video and under any other video of Tucker. It's very simple.
Not so young he was 36, closer to middle age.
@AfroPoli You obviously must be mistaking me for someone else. I never made personal attacks. Don't get the wrong idea, I'm not writing an appeal trying to get myself unblocked. I honestly could care less, but I needed to set the record straight. You're not so praiseworthy yourself. If you hate Tucker so much why do you keep returning to his videos to flame him? (That's a rhetorical question by the way, don't bother to reply, I'm not posting any more comments.)
who is the baritone?
Norman Scott.
Valdengo, not Scott.
5:07
Who is the bass?
Norman Scott. Here is the full broadcast if you want to hear more: watch?v=Ozyezf9dUyA There used to be one on youtube where the audio and video were synced properly, I can't seem to find it now.
+loniousmonk thank you very much.
Musically, this ending is terrible. A poor solution for a tenor who could not execute what Verdi had written in the score.
ua-cam.com/video/5vq2mFXr97g/v-deo.html
@wiseroldfart The "general consensus" overrules all of our onions and declares Andrea Bocelli or Paul Potts to be the greatest tenor to ever walk to earth; doesn't mean that's really the case. Tucker was more than just "good." His 30+ year career in opera was comparable ONLY to Caruso's. Bjorling was smart enough to avoid Radames with his tiny cold voice, except in the studio where they could shove the microphone down his throat.
Maestro Toscanini hasst Portamenti.
Povero Tucker
@wiseroldfart Caruso was actually fairly accurate in singing as written except for the occasional downward transposition. Caruso was bypassed for both La Boheme and Tosca and the only role Puccini tailored to Caruso's voice was Dick Johnson in La Fanciulla del West. Only a musical moron would assume that you can alter the music to suit your needs. That abysmal style of performing went out with Fernando De Lucia and his ilk. As to Pavarotti read the Drake book mentioned above.
Only a musical moron would assume that singing come scritto was the prevailing style for belcanto works of the 18th and first half of the 19th century .Only a musical moron would assume de Lucia added embellishments to suit his needs .SIMPLIFYING is what singers do to suit their needs .Also transposing down. De Lucia did transpose down on occasion as did Caruso ,as did every other baritenor or tenor with a short top out here,and THAT was done to suit their needs . But De Lucia certainly didn't embellish the melodic line to suit his needs . There is also a difference between transposing down a semitone on occasion and transposing down the entire role ,and doing it often. How do you believe Caruso did manage to sing Puritani ,hm? I wish I could say the abysmal custom of grabbing whatever role you want and transposing down a great many semitones until you can safely sing it went out with C and his ilk ,but I can't ,it's still being practiced
Lo mismo hizo Plácido Domingo en el Metropolitan. Lo siento pero no cuela.
@wiseroldfart The tenor was straight which I'm not and he was, unlike you a really classy human being that loved his fans. Anyone who finds Corelli superior in terms of vocal quality(you cannot mean technique) is a tone deaf totally unmusical fool. Unlike you I am a trained musician and I know good technique. Lastly I'm gay and make no secret of it Mary may be you should do the same Nellie.
@wiseroldfart While I'm a devoted fan of Del Monaco he was never in Tucker's league as a singer and Corelli was too busy doing his scooparamas to bother learning to sing. As to Pavarotti get a life you tone deaf turkey. Pavarotti was a slightly warmer voiced reedy version of Bjorling, but not nearly as talented. The heart problems Bjorling had were not helped by his being a drunk. In the nice little repertoire he sang after the war Bjorling was outstanding when he didn't wobble.
@signorinissimo Funny how gaytenor dares to insult others when he cannot sing better than that. Thank you for forwarding.
@XP11XP These members of the Tucker-fanclub always throw a fit when someone does not like their darling Tucker. But they are fanatics, and what do you expect from a fanatic. Btw, Björling would never touch a bad piece of music like the Exodus song. Björling did not sing Hollywood kitsch.
yes, but cold as ice...
@GermanOperaSinger A completely meaningless post. You do not even notice how it backfires I guess. You are in fact admitting that what you are doing is bad. Thanks.
@signorinissimo Admitting that Baritanist = Cafiero ! That probably ruined your day. Since you are the one that posted the nonsense YOU KNOW IT ISN'T ME. The sound of that godwful noise is about the same as the ghastly recording of the awful Nessun Dorma. Running the two through a voice recognition program would prove that they were made by the same voice. Unlike Baritanist I have pride and I would never even think of recording something with that bad a sound.How many screen names do you have?
I do not think it is anyone famous.
Ca. 5 Fanatiker schreiben bis zum 07.02.2015, 242 Kommentare und zerfleischen sich gegenseitig bis auf die Knochen. Damit wird Tucker kein Gefallen erwiesen, das Gegenteil ist der Fall. Keiner der Hysteriker ist sachlich und kompetent.
It's something like this: The approximate amount of the 242 fanatics that have written each other do mangle one another to the bone. Non of these hysterics are factual or competent. Thus Tucker is not proven to be the contrary in this case. In other words, 'it's an insult"
I've seen the photos and I obviously believe you.
Photos with celebrities does not mean, with those to be good friend. SHICOFF1 (and also you), puts everything in question, is something good said about M.Lanza. Pavarotti did made this statement in France TV. He can do the research (if he is capable). What does SHICOFF1 as resistance, he babbles of di Stefano and Björling. This is poor. For the surviving daughter of M. L. A blow in the face, from alleged,
Good house friends. Information, for you and your Compagnons. I've never claimed M L has been an Opersänger. Although he has actually been it, in the short term. A man, he writes a single book, is an author.
The American writer Harper Lee: This has written a single book. Is not you an author ??????????????????
No, I don't put everything in question. Let us start again. In my opinion, Lanza's quality of voice was beautiful and possibly 2nd to no one. He had an innate quality to be intimate with his listeners, more so in the American and Italian songs than in his operatic arias. His interpretations of his American songs are truly a tribute to his beautiful quality of voice. I think Lanza's daughter is aware that her father never recorded a complete opera or has a live performance of a complete opera. You don't seem to worry about Tucker's children and friends that are still alive, when you go on a Tucker site and say Lanza sang it better, rather than just appreciating another tenor. Harper Lee wrote one book ' To Kill A Mockingbird" No, I'm not an author as you are not. There have been several books written about Lanza that have some actual facts in them which some of course you will refuse to believe. But will give you an insigt and possibly answer some question of why he was such an enigma. Enjoy
Information. I never said Tucker is bad, I have said his canio is exaggerated (for me)
But this is a matter of taste. And has nothing to do with the great voice of Tucker.
Tucker is America's greatest opera singer, was, and still is today, everyone knows and I too.
Personally I did not want to hurt you, i am really sorry, that I have annoyed you on your old days,
I am not a Jew-hater, as you said, on the contrary. I love Kafka, Gershwin, Billy Wilder, L.Bernstein, Irving Berlin, Garfunkel, Perlmann, Burt Bacharach, Tony Curtis (Bernard Schwartz),
Ephraim Kishon, etc.
Lanza fanatics I'm not, I just love his voice, I can not understand why at Lanza,
So much criticized and mocked. And in his fine interpretations,
every time the hint comes, this is studio and not worth much.
In an interview with French television on December 12, 1984, Pavarotti said: "For me, the three greatest tenors in the world, Caruso, Gigli and Lanza" You can check this. Can be, he lied, but he really said it.
Excuse me for bad english. Unfortunately I can not do it better.
I can not believe that Toscanini can not understand that this man is not a Radames .
@wiseroldfart The "O Holy Night" recording is nothing special and actually makes his voice sound small as it was. I've enjoyed Tucker's singing more on every occasion I've heard it. If you don't care for Tucker I'd suggest you stick with the videos of your God and leave your bullshit comments on a blog or something where perhaps you'll find someone who agrees.
@wiseroldfart: While you watch the Simpsons I listen to opera often with the piano-vocal score of the opera. I do not waste my time cooking up lurid sexual fantasies such is the activity of a teenager with no other outlet. I have a loving partner whom I'm devoted to he's real and not a lurid dream. From comments here and other sites your knowledge of good singing is pre-school at best. You also cook up facts to suit your purpose that you seemingly have sole access to. Your a creep!!