Звучит красиво, технично. Но слишком быстро. Слишком дерганно. Не верится в то, что израненный Игорь, которого пленили, унизили в глазах всего его народа, у которого иссякают силы, которого на минуту посетила в душе его верная супруга. В оркестре даже духовые не успеют спеть свои партии, оркестр не звучит совсем из-за темпа. Нет. Это совершенно не то. Если виноват дирижер в этом, то он дилетант. Если певец, то это либо волнение от незнания своей роли, либо не осознание роли.
Why are you asking? Many basses have also sung this part! Maybe now days it is not so common, but in the past one could almost say that the part was equaly sung by dramatic barytons and basses.
@@ДенисГригорьев-к7л My dear fellow listener, have you ever actually sung? To beggin with. Not in theory, but actually. What you say is ...sorry but a joke. There are BASSES that have sung a high sol!!! Or you concider Paata Burchuladze, Adamo Didur, Josef Greindl, Nazzarreno De Angelis, and Mark Reizen, just to name a few, to be dram barytons? Also a bass has numerous high fa diez written in his repertoire! Zaccaria, Filippo, Boris, again only some simple examples, of parts that a bass must sing a high fa diez! Also what exactly do you mean that his diapason beggins with a low la?? A bass deffinitely must have a low fa, and there are witten low mi, and even low re in opera for basso profondi, like Osmin. La is where a baryton beggins. So, all in all, about any subject, it is another thing to ''know'' things based on knowledge given by books in THEORY, and a different thing to actualy DO what you are talking about.
@@ДенисГригорьев-к7л First of all, La-mi is no kvarta, but a kvinta! Mi-la is a kvarta, just to beggin with. Going on, a simple question, have you ever actually sung your self? Where exactly and how you made such a conclusion, as the one you write??? A bass should have a resonant sound from a low F. And has written sometimes a low E, or even a low D - Osmin-. Then a bass must have a very good high register that goes up till F sharp. Filippo, Zaccaria, Boris, just to name some examples, are parts that demand from a bass to sing an F sharp. Finally, there have been many basses that had a good high G!!! Mark Reizen, Paata Burchulatze, Adamo Didur, Nazzarreno de Angelis, Josef Greindl, again just to mention some examples. Or you concider them to be....dramatic barytons? A baryton by the way, should sound resonant from the low A, just above the F of a bass. Of course it will not be the most resonant notes of his diapason, but it must be present enough to cut through the orchestra. So what exactly are you trying to say with your comment? First of all, what you write is not correct. But appart from that, what is the point, and most of all, where exactly does it answer to my previous reply? You, not exaclty in a polite maner, asked the singer using his name and not surname- as if you are friends or something- if he is a baryton or a bass, trying to play it smart. I explained to you, that this part has been sung by both basses and barytons. After that, where does your reply add anything correct or useful to the convertation?
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Звучит красиво, технично. Но слишком быстро. Слишком дерганно. Не верится в то, что израненный Игорь, которого пленили, унизили в глазах всего его народа, у которого иссякают силы, которого на минуту посетила в душе его верная супруга. В оркестре даже духовые не успеют спеть свои партии, оркестр не звучит совсем из-за темпа. Нет. Это совершенно не то. Если виноват дирижер в этом, то он дилетант. Если певец, то это либо волнение от незнания своей роли, либо не осознание роли.
Так вы бас или баритон, Глеб?
Why are you asking?
Many basses have also sung this part!
Maybe now days it is not so common, but in the past one could almost say that the part was equaly sung by dramatic barytons and basses.
Если есть в диапазоне ,хотя бы нижняя звучная кварта("ля-ми" большой октавы) тогда бас, если нет то драмбаритон
@@ДенисГригорьев-к7л My dear fellow listener, have you ever actually sung?
To beggin with. Not in theory, but actually.
What you say is ...sorry but a joke.
There are BASSES that have sung a high sol!!!
Or you concider Paata Burchuladze, Adamo Didur, Josef Greindl, Nazzarreno De Angelis, and Mark Reizen, just to name a few,
to be dram barytons?
Also a bass has numerous high fa diez written in his repertoire!
Zaccaria, Filippo, Boris, again only some simple examples,
of parts that a bass must sing a high fa diez!
Also what exactly do you mean that his diapason beggins with a low la??
A bass deffinitely must have a low fa, and there are witten low mi, and even low re in opera for basso profondi, like Osmin.
La is where a baryton beggins.
So, all in all, about any subject, it is another thing to ''know'' things
based on knowledge given by books in THEORY,
and a different thing to actualy DO what you are talking about.
@@ДенисГригорьев-к7л
First of all, La-mi is no kvarta, but a kvinta!
Mi-la is a kvarta, just to beggin with.
Going on, a simple question, have you ever actually sung your self?
Where exactly and how you made such a conclusion, as the one you write???
A bass should have a resonant sound from a low F.
And has written sometimes a low E, or even a low D - Osmin-.
Then a bass must have a very good high register that goes up till F sharp.
Filippo, Zaccaria, Boris, just to name some examples,
are parts that demand from a bass to sing an F sharp.
Finally, there have been many basses that had a good high G!!!
Mark Reizen, Paata Burchulatze, Adamo Didur, Nazzarreno de Angelis,
Josef Greindl, again just to mention some examples.
Or you concider them to be....dramatic barytons?
A baryton by the way, should sound resonant from the low A, just above the F of a bass.
Of course it will not be the most resonant notes of his diapason,
but it must be present enough to cut through the orchestra.
So what exactly are you trying to say with your comment?
First of all, what you write is not correct.
But appart from that, what is the point, and most of all,
where exactly does it answer to my previous reply?
You, not exaclty in a polite maner, asked the singer using his name
and not surname- as if you are friends or something-
if he is a baryton or a bass, trying to play it smart.
I explained to you,
that this part has been sung by both basses and barytons.
After that, where does your reply add anything correct or useful to the convertation?