Thank you for visiting my channel. This singing method, which has inherited errors for more than half a century, lacks chest resonance and penetrating high head tones. There's a thin waist with no breath support below the posterior diaphragm. The sound is all shouting, entirely throat-driven, with the mouth, nasal cavity, and forehead as the driving forces of the voice. So when I listened to this video [link], the pitch was too high. He was solely focused on producing an artificial resonance and vibrato, rather than expressing emotions. He controls the volume with facial movements, which is another mistake. You can hear that he struggles with transitions in the high notes, making them difficult, not smooth, and not soft, because the breath mass is too big and stuck in the mouth. It’s really hard for him to move between notes. It’s beyond saving now. He has developed an incorrect habit. I haven’t heard his high C yet, but I expect it’s stuck at the hard palate. This thin voice won’t be able to handle dramatic tenor roles like Otello. But it’s not his fault; tenors today are all like this.
prima di tutto quella che canta Buti è l'Ave Maria di Schubert....poi chi ha insegnato i fiati a de Lucia?orribili.....McCormack bene,Rossi anche ma non mi sembra impostato da cantante lirico,in quanto a Buti non lo era affatto.lisaszxu scusa i miei giudizi un po'così
You are very knowledgeable, and you are right. However, their singing technique is built on the foundation of Italian Bel Canto. The question you raised is something I am currently researching, but there is one point: opera was born in the early 1600s, yet Italian Bel Canto started emerging as early as the 1300s. Italian Bel Canto is the true source of opera singing technique. Although McCormack and Rossi differ from true opera singers, for beginners in opera singing, learning from the original Italian Bel Canto singers significantly increases the likelihood of success. Nowadays, beginners train their voices and immediately start singing opera, which ruins their careers. What I mean is that training with slightly lighter, relatively narrowed vocal cords is very important. When Enrico Rosati coached Gigli and Lanza, he didn’t allow them to sing for months, only letting them hum softly with the sound placed in the abdomen. I have chosen a group of four, which is completely different from vocal training in the past half-century. Without the internal breath flowing freely, without the breath circulating and moving throughout the body, one cannot sing opera. Do you understand what I mean? I am practicing how to replicate the singing styles of all the great tenors in history. Can ordinary people achieve this? My conclusion is yes, we can achieve Caruso, Gigli, Del Monaco, and Corelli (even unique but technically incorrect voices can be replicated). Claudio Villa was a folk singer, but his technique was probably much better than all the tenors today. He could easily collaborate with Magda Olivero and sing duets without any opera training. He sang so well that even Magda Olivero was surprised and praised him. At that time, dozens of opera tenors couldn't match his technique. I plan to make a video dedicated to his singing technique. In my opinion, Claudio Villa’s breath control technique was even better than Olivero’s, and his vocal cord management was just as good. So we cannot assume that opera singers represent the absolute pinnacle of singing technique-Italian Bel Canto, which predates opera by 300 years, is the true peak of singing technique. Without Italian Bel Canto, there would be no Italian opera singing technique. My friend, feel free to speak your mind here, even if it’s to criticize me. I hope to further reflect and research vocal music through these discussions. Thank you for supporting my channel.
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What do you think about Jose Simerilla Romero Tenor?
Thank you for visiting my channel. This singing method, which has inherited errors for more than half a century, lacks chest resonance and penetrating high head tones. There's a thin waist with no breath support below the posterior diaphragm. The sound is all shouting, entirely throat-driven, with the mouth, nasal cavity, and forehead as the driving forces of the voice. So when I listened to this video [link], the pitch was too high. He was solely focused on producing an artificial resonance and vibrato, rather than expressing emotions. He controls the volume with facial movements, which is another mistake. You can hear that he struggles with transitions in the high notes, making them difficult, not smooth, and not soft, because the breath mass is too big and stuck in the mouth. It’s really hard for him to move between notes. It’s beyond saving now. He has developed an incorrect habit. I haven’t heard his high C yet, but I expect it’s stuck at the hard palate. This thin voice won’t be able to handle dramatic tenor roles like Otello. But it’s not his fault; tenors today are all like this.
prima di tutto quella che canta Buti è l'Ave Maria di Schubert....poi chi ha insegnato i fiati a de Lucia?orribili.....McCormack bene,Rossi anche ma non mi sembra impostato da cantante lirico,in quanto a Buti non lo era affatto.lisaszxu scusa i miei giudizi un po'così
You are very knowledgeable, and you are right. However, their singing technique is built on the foundation of Italian Bel Canto. The question you raised is something I am currently researching, but there is one point: opera was born in the early 1600s, yet Italian Bel Canto started emerging as early as the 1300s. Italian Bel Canto is the true source of opera singing technique. Although McCormack and Rossi differ from true opera singers, for beginners in opera singing, learning from the original Italian Bel Canto singers significantly increases the likelihood of success. Nowadays, beginners train their voices and immediately start singing opera, which ruins their careers. What I mean is that training with slightly lighter, relatively narrowed vocal cords is very important. When Enrico Rosati coached Gigli and Lanza, he didn’t allow them to sing for months, only letting them hum softly with the sound placed in the abdomen.
I have chosen a group of four, which is completely different from vocal training in the past half-century. Without the internal breath flowing freely, without the breath circulating and moving throughout the body, one cannot sing opera. Do you understand what I mean? I am practicing how to replicate the singing styles of all the great tenors in history. Can ordinary people achieve this? My conclusion is yes, we can achieve Caruso, Gigli, Del Monaco, and Corelli (even unique but technically incorrect voices can be replicated). Claudio Villa was a folk singer, but his technique was probably much better than all the tenors today. He could easily collaborate with Magda Olivero and sing duets without any opera training. He sang so well that even Magda Olivero was surprised and praised him. At that time, dozens of opera tenors couldn't match his technique. I plan to make a video dedicated to his singing technique.
In my opinion, Claudio Villa’s breath control technique was even better than Olivero’s, and his vocal cord management was just as good. So we cannot assume that opera singers represent the absolute pinnacle of singing technique-Italian Bel Canto, which predates opera by 300 years, is the true peak of singing technique. Without Italian Bel Canto, there would be no Italian opera singing technique.
My friend, feel free to speak your mind here, even if it’s to criticize me. I hope to further reflect and research vocal music through these discussions. Thank you for supporting my channel.