@shinglebob1 No. He doesn't. There are two options in the aria. In most editions, this is what is written. The G Schirmer Anthology was not quite the original. Also, there is a Db edition as opposed to this Eb one. He is a capable musician and an amazing artist. Furthermore, at an A house like this, he has not only the conductor but a souffleuse prompting his entrance. No one realizes what you see because it is incorrect.
@shinglebob1 You are right. He does come in measure to soon. This is not unusual in live performances, and is usually due to nerves. Conductors have signals ready for the orchestra in order to notify them when these accidents happen, so they can catch up with the singer.
quelqu'un pourrait il me dire où je pourrais me procurer la vidéo complète de ce spectacle car ma fille est sur le manège! et voici onze ans que je cherche à en obtenir la version entière, merci à ceux qui pourraient m'orienter:-)
@shinglebob1 that measure is often omitted in the orchestral version of the scene - different scores vary on this. Listen to most versions on youtube of the scene (not just the aria) and you will see that most omit the orchestral vamp measure.
Braun is a fine singer, and this is not to criticize him. But why don't we have any true dramatic baritones these days? We used to have BORN dramatic baritones, like Warren and MacNeil. Others, like Bonelli, Tibbett, Merrill were first lyric, but with the richness, resonance and vocal size to ascend into dramatic roles. (Probably Milnes as well, though his voice was big during his Met debut and it became mostly darker and thicker as he delved into the dramatic roles)
Late answer I know, but here you go.: We still have the talent, but they are not cultivated and thought properly. When a big voice comes around then they don't let it sing because it is usually "uglier" when untrained and also harder to train. Not to mention that it blows all the other voices out of the water so it does not blend well. So they try to make him sing softer and therefore constricted or just say that he is "pushing" the voice and that it is loud and ugly. They'd rather put a mic on a nice looking guy and there you go. Opera is only a shadow of its former self because singing is no longer in its main focus.
Lawrence Tibbett sang repertoire that spanned from Verdi to Wagner. His was.nkt a purely lyrical instrument; on the contrary, he's one of the few on this list who was indeed a pure drammatico baritono. Merrill and Milnes were both lyric baritones (Milnes almost being quite tenorial with his interloping of high notes passed G4,) that sang repertoire that was high and extended forever. Milnes lost his instrument relatively early on and by the 80's, Merrill, much older, still maintained his instrument.
I would venture to guess that it has to do with vowel. After that intense of an aria, singing the Eb is much easier on an "ah" vowel (Roi) than an "oe" (cieux). Although, as you said, if the conductor wishes it, you better do it, or it will be your last aria!
What a beautiful voice!!!
Wanderfull voice. Bravo
what a fantastic baritone what a simply amazing powerful voice !!
Magnifique !!!
❤️
This guy is great!
you are outstanding. cheers from Greece
Bravo Russell, Bravo!
Simply superb
Bravo!
Este tio tiene muchos amigos y familia.
@shinglebob1 No. He doesn't. There are two options in the aria. In most editions, this is what is written. The G Schirmer Anthology was not quite the original. Also, there is a Db edition as opposed to this Eb one. He is a capable musician and an amazing artist. Furthermore, at an A house like this, he has not only the conductor but a souffleuse prompting his entrance. No one realizes what you see because it is incorrect.
@shinglebob1 You are right. He does come in measure to soon. This is not unusual in live performances, and is usually due to nerves. Conductors have signals ready for the orchestra in order to notify them when these accidents happen, so they can catch up with the singer.
quelqu'un pourrait il me dire où je pourrais me procurer la vidéo complète de ce spectacle car ma fille est sur le manège! et voici onze ans que je cherche à en obtenir la version entière, merci à ceux qui pourraient m'orienter:-)
@shinglebob1 that measure is often omitted in the orchestral version of the scene - different scores vary on this. Listen to most versions on youtube of the scene (not just the aria) and you will see that most omit the orchestral vamp measure.
Epic
He comes in a full measure early. Does anyone else not realize that?
Well I don't care.
Braun is a fine singer, and this is not to criticize him.
But why don't we have any true dramatic baritones these days?
We used to have BORN dramatic baritones, like Warren and MacNeil. Others, like Bonelli, Tibbett, Merrill were first lyric, but with the richness, resonance and vocal size to ascend into dramatic roles. (Probably Milnes as well, though his voice was big during his Met debut and it became mostly darker and thicker as he delved into the dramatic roles)
Late answer I know, but here you go.:
We still have the talent, but they are not cultivated and thought properly. When a big voice comes around then they don't let it sing because it is usually "uglier" when untrained and also harder to train. Not to mention that it blows all the other voices out of the water so it does not blend well. So they try to make him sing softer and therefore constricted or just say that he is "pushing" the voice and that it is loud and ugly. They'd rather put a mic on a nice looking guy and there you go. Opera is only a shadow of its former self because singing is no longer in its main focus.
Lawrence Tibbett sang repertoire that spanned from Verdi to Wagner. His was.nkt a purely lyrical instrument; on the contrary, he's one of the few on this list who was indeed a pure drammatico baritono.
Merrill and Milnes were both lyric baritones (Milnes almost being quite tenorial with his interloping of high notes passed G4,) that sang repertoire that was high and extended forever. Milnes lost his instrument relatively early on and by the 80's, Merrill, much older, still maintained his instrument.
I would venture to guess that it has to do with vowel. After that intense of an aria, singing the Eb is much easier on an "ah" vowel (Roi) than an "oe" (cieux). Although, as you said, if the conductor wishes it, you better do it, or it will be your last aria!
Pro
He sounds like a tenor!
Anyway, I like his voice. Very musical. Bravo!
mais c'est tres bon... un autre Faust . acceptable..
il faut voir comment chantent ces britanniques. ...Quels aigus, quelle expression.
Vocalità purtroppo poco professionale.
Non mi piace affatto.
il vecchio