All those new school "stars" are related closely to that guy: Domingo. In 1993 he founded Operalia, The World Opera Competition, an international opera competition for talented young singers. The winners get the opportunity to be employed in opera ensembles around the world. Several leading opera singers of recent years have won prizes in the competition, including Joseph Calleja, Joyce DiDonato, Erwin Schrott, Giuseppe Filianoti, and José Cura. In particular, Domingo has performed frequently with Mexican tenor Rolando Villazón, who won three prizes at the 1999 Operalia competition. And He mentored JDF in the mid 1990's. All circle back to the worst of 3 tenros!!! Mingo.
@@zs1968 And a big part of that fame is from 3 tenors campaign. While Pavarotti was the real force and attraction, and Mingo ripe most of the fruits into his mouth. History will judge him fair and harsh, mainly on his refusal to retire and bad influence of young generations worldwide, Sex scandal is bad but not a main thing after years. (someone said that the winner of his competition always goes to pretty female singers...)
Very interesting video and comparisons (minor quibble: the word is distorted, not distorded). I’m unfamiliar with Masini’s singing… he sounds marvelous!! Thank you for posting this. Could you do a similar video comparing old school/new school baritones? Perhaps with recordings of “Di Provenza il Mar”, or “Avant de quitter ces lieux”…
They call it tobacco mix sexy voice in modern singing... like a shining objects that looks attractive but it is made of cardboard painted in gold and silver...
Non è questione di old scholl o new school, è questione di tecnica, il canto è sempre stato "sulla parola" o "recitar cantando", arrotondare e mettere il suono in maschera pregiudica lo squillo, ci vogliono i sottotitoli per capire quello che cantano, e soprattutto si perdono tutte le raffinatezze del "belcanto", piano, mezzavoce, ecc..... che nella maggioranza dei casi sono fatti in bocca e non sull'attacco del suono.
Agreed! It’s like they are trying to sound bad on purpose, even though so many have great voices and could be so amazing. When you go hear it in a theater, very few people even know how to be heard - you strain to hear them.
I agree with your Dans l'école ancienne les voix ne sont pas forcées. Elles conservent une jeunesse et une souplesse sur toute leur étendue. Les voyelles sont plus pures, c'est vrai, et la justesse est assurée. Le fameux "pitch" des Anglais ! Great Jerry Hadley ! Et très problématique Jonas Kaufmann... Unfortunatly.
@@xxsaruman82xx87 My pleasure, I saw this, but I thought it was only one duet, did not know that it is so long so generous. I did not see those pictures before, even Callas' !!!
All those bad stars are related closely to that guy: Domingo. In 1993 he founded Operalia, The World Opera Competition, an international opera competition for talented young singers. The winners get the opportunity to be employed in opera ensembles around the world. Several leading opera singers of recent years have won prizes in the competition, including Joseph Calleja, Joyce DiDonato, Erwin Schrott, Giuseppe Filianoti, and José Cura. In particular, Domingo has performed frequently with Mexican tenor Rolando Villazón, who won three prizes at the 1999 Operalia competition. And He mentored JDF in the mid 1990's. All circle back to the worst of 3 tenros!!!
@@xxsaruman82xx87 He did not learn his lesson, he recovered from Covid 19, but he denied having relationships, but he said he apolizing for his creating of such a bad media coverage!!! What a semi vague politician statement, as always, he should run for president of some country. His sex drive is an open secrete in operatic world for decades, no one is surprised at those 30 plus women... "In August 2019, Domingo was accused by multiple women of sexual harassment. Eight singers and a dancer said that Domingo sexually harassed them in incidents that spanned three decades from the late 1980s.[86] The alleged harassment took place at venues including opera companies where Domingo held top positions. Additional women came forward expressing their discomfort due to his sexual advances. The Associated Press reported speaking to "almost three dozen other singers, dancers, orchestra musicians, members of backstage staff, voice teachers and an administrator who said they witnessed inappropriate sexually tinged behavior by Domingo".[86] It was reported that Domingo's sexual advances towards younger women were an "open secret" in the opera world.[86] Domingo issued a statement, stating "The allegations from these unnamed individuals dating back as many as 30 years are deeply troubling, and as presented, inaccurate", adding that "I recognize that the rules and standards by which we are-and should be-measured against today are very different than they were in the past. I am blessed and privileged to have had a more than 50-year career in opera and will hold myself to the highest standards."[86] In September 2019, the Metropolitan Opera announced it would be ending its 50 year relationship with Domingo in light of the allegations of sexual harassment by "several women". Following the announcement, Domingo issued a statement: "While I strongly dispute recent allegations made about me...upon reflection, I believe that my appearance in this production of Macbeth would distract from the hard work of my colleagues both on stage and behind the scenes."[87] In October 2019, Domingo resigned as general director of the Los Angeles Opera, and withdrew from all forthcoming performances with that company, stating that "recent accusations that have been made against me in the press have created an atmosphere in which my ability to serve this company that I so love has been compromised."[11] In February 2020 Domingo apologized for causing hurt to several women who accused him.[12] Subsequently, Spain's cultural ministry canceled several of his upcoming appearances, and Domingo said his apology gave a "false impression".[88] An investigation conducted by the Los Angeles Opera concluded on 10 March 2020 that the claims levelled against Domingo were credible.[89][90] In his first interview since recovering from COVID-19, Domingo told the Italian newspaper La Republicca that the charges were false. "When I knew that I had COVID, I promised myself that if I came out alive, I would fight to clear my name," Domingo said. "I never abused anyone. I will repeat that as long as I live."
"Good singing" isnt great either Jerry is barely audible in the low notes; his top is suffered, to say the least MDM is neglecting fiato, heard much better of him
They are all good especially Kaufmann and Calleja and they are new schooling. The phrase new school and the old school does not make sense because Joseph Calleja was taught by a very old opera singer.
Good lessons, Shawn! However, here's a much better version of Del Monaco's "Addio" prior to the 1960's when he was in his prime: ua-cam.com/video/Htw5APxvoGU/v-deo.html
That's simply not true, it is not a matter of opinion or taste, there are clear definable facts that make one a better singer than another. The fact you fail to hear differences is by no mean a sign that there are no differences. Just think about it for five seconds.
@@1UShawn I have learned what to listen for. It just takes longer for some people. If they want to learn… 90% of operalovers, singers, conductors and teachers don’t hear this…
I know it is about voice not so much looks, but I am sure quite a lot of the men singers of yesteryear were better looking. Maybe it is the chemicals and food processing of soy etc that mimics oestragen these days, but to me at least the 'old ones' generally did look more handsome and manly. I don't mean all of todays singers look exactly womanly. Some of them are also very male and good looking, but a few look a little less so. Maybe I just like old fashioned men. Nevertheless boys, watch what you eat and drink, and what you let your children consume. Some of those 'old singers' really were heartthrobs, weren't they? :)
I feel the opposite is true. Those men back then didn't rely on looks, their greatness was their voice. I don't find any of them particularly attractive though. Maybe because I'm still young and like younger men.
@@Ignasimp People do have different taste. I am a millennium, so of a somewhat your ger generation. I do think Both Del Monaco and Corelli were attractive. have you seen Corelli in his Carmen movie, he was ridiculously handsome and of course he was also over six feet tall, ua-cam.com/video/RnB3W9sXlCc/v-deo.html But of course the looks was not important, it was all about the voice, as it should be.
Is it possible to just appreciate the individual singer without designating them as belonging to a particular school? Is the “old school” truly in conflict with the “new school” ? I really think all of these artists have their own approach and perspective; do we really need to homogenize our singers into one particular school in order to enjoy the medium? When I read manuscript I see notes, rhythms, and time signatures not boxes!
The fact of the matter is that those schools do exist and they have objectif and observable features that define them. Of course we can ignore them for the sake of political correctness, but you can also learn from those videos and many others. It is a really sad thing that great singing have been lost, it is even sadder that it has been so without anyone realizing it.
Some of the observable characteristics you mention that are associated to a particular school are associated to particularly successful and well known singers and not necessarily the result of the vocal methodology from the “old school”. We have to be careful because we are listening to recordings which do not capture important acoustic factors which are substantive determinants of a sound’s success. Also you had at least three different types of tenors singing the aria in question which demand mid-register singing which then shoots up high. The reason that voice type is important to note, is that different voices (like instruments) must adjust differently to execute the same music. For example, a lyric tenor like the Amazing Jerry Hadley would not need to modify vowels or cover as much as a spinto tenor like Jose Cura. These two voices have different physiological events at different points in their voices registration. Essentially, you are asking a Cadillac to out perform a Toyota in terms of fuel efficiency while ignoring other important metrics like drive quality, torque, horsepower, etc. Your taste and predilection might prefer a higher ringing “forward” placed tenor sound and I respect that, but I fear that having to rigid and harsh an opinion about what you interpret to be a failing “new school” of singing might actually steal the joy out of the experience of listening to opera for you. Relax, let others exist even if you don’t agree, it’s not political correctness to be tolerant of others.
@@williemorales5005 If you know what to listen to, the recording quality doesn't really matter ; Kaufmann is a lyric tenor trying to sing dramatic, Del Monaco is dramatic, Hadley lyric and Masini Spinto, so all the comparaison should be legitimite. In the case of Cura lots of things happen just because of the constrictive tension he adds to his singing. The way the vibrato is produce, the way the air is free, the way they cover the voice, the way the clarity of the vowel is not distortioned, the great singers all have that in common. You are talking to me as if you want to teach me something. As I am a ramdom youtuber you don't have to, but trust me, I know about voices.
Absolutely not “trying” to do anything, I am highlighting that 1. recordings are not always the best way to evaluate vocal sound, 2. Theses are all different types of voices whose repertoire only matches for one or two roles and the challenges in this aria is different for all of the singers, 3. What authority makes you so sure of when a singer is “lyric trying to be a dramatic”? 4. I’m not trying to teach you anything because again recorded sounds are not a fair and comprehensive representation of an artists’ singing ability, 5. it is not important to me whether you are a random “UA-camr” or a colleague with a CAMI management contract, I would share my perspective the same.
Are you singer too? I am a singer and who I am today is not who I was when I started. Is it possible to see and appreciate someone journey along their development instead of saying they belong to a particular school? Professional training of the operatic voice is hard and achievement and recognition is rare, why not see singers along a continuum of development rather than attack whatever school you think is responsible for what you think is their poor execution of a difficult aria. Please be more forgiving, if you are a singer know that we only have each other; when I was on the road hungry, tired, traveling between cities trying to get a gig it was always other singers who took care of me. I guess I am hoping to inspire kindness not to teach you or change your opinion.
La nueva escuela de canto no me permite apreciar el mundo de la lírica a ver Cura es un desastre en su canto no hay expresión ni técnica vocal Jerri fue un tenor con bonita voz pero la ópera no se puede cantar a gritos hay respetar al compositor Calleja con ese horrible vibrato que no lo deja en paz y no sé apreciar lo que canta Kauffman comienza bien un tema y luego comienza a obscurecer su voz por cualquier lado de la sensación que estuviera pensando en otros mundos y no en lo que canta luego los dos últimos Mónaco y massini son de los que muchas personas dicen la escuela antigua de canto la verdadera escuela bell cantora
Manca il sib di Del Monaco. Ttralatro Del Monaco è l'unico a portare l'acuto finale legato senza spezzare la frase con slancio prodigioso. Il video rende molto l'idea ma non ha senso senza l'acuto di un vero Leone.
I cannot edit this video and add the sib of Del Monaco, I will have to make a whole new one;I have the highest respect for the artistry of Mario Del Monaco and I am sorry that it comes across as neglience for the master he truly was.
niente, io Josè Cura non riesco a farmelo piacere, apprezzo l'artista ma non mi piace il timbro, in particolare nel registro acuto dove diventa uno sfarfallato dove si vorrebbe invece il cristallino.
It's not only timber, it's a technical issue; lots of people talk about how they like different voices or timbers, they fail to see that voice-quality or timber are directly correlated to technical efficiency. That's exactly why Del Monaco, Caruso, Hadley, Ansseau, Cortis, Masini, Di Stefano, Volker Callas, Tebaldi, Stella, Nilson and so on had beautiful voices and timber and why Cura, Kaufmann, Fabiano, Villazon, Oropesa, Nebretko, Bartoli don't.
i dont want to sound like my grandpa or anybody else, there is little to do with how it is right or wrong to sing... even these artists if u would like to talk about that... are 0 in comparasion with pavarotti.. he actualy made the songs sound like what they are.. all these artists at the same time dont do '' the best'' either... so then again... u are just mad lol
it is not becouse i dont understand in a way where u are heading with the (overdarkened) but i dont think you really understand what the voice really is... it is sound.. any sound you like... as long as people watch you and listens to you.. who is anybody to be able to say it is too overdarkened and his vibrato is bad in 1 way and another.. as you say in ur clips.. i like the people from the past but why do we all act like we want to be them? i dont want to become as good as Pavorotti or second Pavarotti... i wanna become me.. the throat is there to make sound not math.. i dont belive there is such thing as bad or wrong when it comes to sound recreation.. as long as it is made health and not pushed(but even this is only for the health of your own throat...)@@1UShawn
I will in not so long :) ! I do not know who you are but based on what I know, this request can only mean one of two things, either you genuinly think that someone with such great discernement must be himself a well-taught singer and therefore sings well or at least not bad ; or, it means that you want to compare me with Cura, Kaufmann, Calleja just to point out my own faults, in which case you do not identify the vocal faults of theirs as such ; I am pointing vocal faults as of a technical perspective, this have nothing to do with their qualitiy as musician. To anwser the second hypothesis, no matter how I sing, I could be right on what my ear is telling me (Inverted vibrato is a real condition that has physical as well as audible impact as for an example). You can message me in private if you want to dicuss the subject, I will be delighted to approach a discussion in the most benevolent way possible ; you don't have to go out challeging people in public comments.
Fantastic X-ray, ton of value added. Appreciated,
@@xxsaruman82xx87 No. Not yet. You always have new things. Thank you.
@@道-p2e Funnily enough he sang Chenier with Hernandez in 2018: ua-cam.com/video/4ZEUr-CDsaY/v-deo.html
@@xxsaruman82xx87 so ringing and warm, that is a gorgeous young voice... some RichardTucker and Gianni Raimondi...
@@道-p2e It's a shame his career is pretty much over now. So much better than Kaufmann.
@@xxsaruman82xx87 Young Martin put this famous cash cow to shame:
ua-cam.com/video/jeofoa2K09Q/v-deo.html
All those new school "stars" are related closely to that guy: Domingo. In 1993 he founded Operalia, The World Opera Competition, an international opera competition for talented young singers. The winners get the opportunity to be employed in opera ensembles around the world.
Several leading opera singers of recent years have won prizes in the competition, including Joseph Calleja, Joyce DiDonato, Erwin Schrott, Giuseppe Filianoti, and José Cura. In particular, Domingo has performed frequently with Mexican tenor Rolando Villazón, who won three prizes at the 1999 Operalia competition.
And He mentored JDF in the mid 1990's.
All circle back to the worst of 3 tenros!!! Mingo.
As we say, s recognize the tree to its fruits.
Mingo is the spiritual father of a generation of bad singers just like him.
@@zs1968 And a big part of that fame is from 3 tenors campaign. While Pavarotti was the real force and attraction, and Mingo ripe most of the fruits into his mouth.
History will judge him fair and harsh, mainly on his refusal to retire and bad influence of young generations worldwide, Sex scandal is bad but not a main thing after years. (someone said that the winner of his competition always goes to pretty female singers...)
@@zs1968 when will he go away!!! So tired.
@@zs1968 you should send this to Scarpia, he loves JDF the most. Mingo is truly loving his student, promoting him in the mix of Covid 19.
@@道-p2e A true Santa Claus😊😊😊
Very interesting video and comparisons (minor quibble: the word is distorted, not distorded). I’m unfamiliar with Masini’s singing… he sounds marvelous!! Thank you for posting this. Could you do a similar video comparing old school/new school baritones? Perhaps with recordings of “Di Provenza il Mar”, or “Avant de quitter ces lieux”…
God kaufmann's voice is so fake dark it just makes me angry
They call it tobacco mix sexy voice in modern singing... like a shining objects that looks attractive but it is made of cardboard painted in gold and silver...
Non è questione di old scholl o new school, è questione di tecnica, il canto è sempre stato "sulla parola" o "recitar cantando", arrotondare e mettere il suono in maschera pregiudica lo squillo, ci vogliono i sottotitoli per capire quello che cantano, e soprattutto si perdono tutte le raffinatezze del "belcanto", piano, mezzavoce, ecc..... che nella maggioranza dei casi sono fatti in bocca e non sull'attacco del suono.
what does inverted vibrato mean? I couldn't hear the difference
Даже можно и не сравнивать!Певцы старой школы показывают высокий класс.Сегодня слушаем дилетантов.
There hasn’t been a great Tenor since Jerry Hadley! No Classical singer is being taught the correct way to sing, and this is across all voice types.
Agreed! It’s like they are trying to sound bad on purpose, even though so many have great voices and could be so amazing. When you go hear it in a theater, very few people even know how to be heard - you strain to hear them.
I agree with your Dans l'école ancienne les voix ne sont pas forcées. Elles conservent une jeunesse et une souplesse sur toute leur étendue.
Les voyelles sont plus pures, c'est vrai, et la justesse est assurée. Le fameux "pitch" des Anglais ! Great Jerry Hadley !
Et très problématique Jonas Kaufmann... Unfortunatly.
That's unfortunately true, however I had the honour to be able to find Alessandro Moccia, LISTEN TO HIM!!!
Great video!
@@道-p2e Great video and indeed pictures, thank you!
@@xxsaruman82xx87 My pleasure, I saw this, but I thought it was only one duet, did not know that it is so long so generous. I did not see those pictures before, even Callas' !!!
All those bad stars are related closely to that guy: Domingo. In 1993 he founded Operalia, The World Opera Competition, an international opera competition for talented young singers. The winners get the opportunity to be employed in opera ensembles around the world.
Several leading opera singers of recent years have won prizes in the competition, including Joseph Calleja, Joyce DiDonato, Erwin Schrott, Giuseppe Filianoti, and José Cura. In particular, Domingo has performed frequently with Mexican tenor Rolando Villazón, who won three prizes at the 1999 Operalia competition.
And He mentored JDF in the mid 1990's.
All circle back to the worst of 3 tenros!!!
@@道-p2e Young beautiful sopranos often win prizes in Operalia. Sonya Yoncheva, for example. I wonder why?
@@xxsaruman82xx87 He did not learn his lesson, he recovered from Covid 19, but he denied having relationships, but he said he apolizing for his creating of such a bad media coverage!!! What a semi vague politician statement, as always, he should run for president of some country.
His sex drive is an open secrete in operatic world for decades, no one is surprised at those 30 plus women...
"In August 2019, Domingo was accused by multiple women of sexual harassment. Eight singers and a dancer said that Domingo sexually harassed them in incidents that spanned three decades from the late 1980s.[86] The alleged harassment took place at venues including opera companies where Domingo held top positions. Additional women came forward expressing their discomfort due to his sexual advances. The Associated Press reported speaking to "almost three dozen other singers, dancers, orchestra musicians, members of backstage staff, voice teachers and an administrator who said they witnessed inappropriate sexually tinged behavior by Domingo".[86] It was reported that Domingo's sexual advances towards younger women were an "open secret" in the opera world.[86] Domingo issued a statement, stating "The allegations from these unnamed individuals dating back as many as 30 years are deeply troubling, and as presented, inaccurate", adding that "I recognize that the rules and standards by which we are-and should be-measured against today are very different than they were in the past. I am blessed and privileged to have had a more than 50-year career in opera and will hold myself to the highest standards."[86]
In September 2019, the Metropolitan Opera announced it would be ending its 50 year relationship with Domingo in light of the allegations of sexual harassment by "several women". Following the announcement, Domingo issued a statement: "While I strongly dispute recent allegations made about me...upon reflection, I believe that my appearance in this production of Macbeth would distract from the hard work of my colleagues both on stage and behind the scenes."[87] In October 2019, Domingo resigned as general director of the Los Angeles Opera, and withdrew from all forthcoming performances with that company, stating that "recent accusations that have been made against me in the press have created an atmosphere in which my ability to serve this company that I so love has been compromised."[11]
In February 2020 Domingo apologized for causing hurt to several women who accused him.[12] Subsequently, Spain's cultural ministry canceled several of his upcoming appearances, and Domingo said his apology gave a "false impression".[88] An investigation conducted by the Los Angeles Opera concluded on 10 March 2020 that the claims levelled against Domingo were credible.[89][90]
In his first interview since recovering from COVID-19, Domingo told the Italian newspaper La Republicca that the charges were false. "When I knew that I had COVID, I promised myself that if I came out alive, I would fight to clear my name," Domingo said. "I never abused anyone. I will repeat that as long as I live."
Great old school!!!
Total respect.
New school is sh....
Where is Del Monaco's B flat???))
This is not a recording doing him justice, for sure
What is an inverted vibrato?
The peak is on the low end of the fluctuation, it creates tension.
Shawn Uplaznik Have listened a lot (since my question) and some singers really have this...
@@1UShawnNow I can’t stand it 🤣
Bad schooled - Correctly schooled
Yup
what piece is this?
From Butterfly. Pinkerton’s aria
"Good singing" isnt great either
Jerry is barely audible in the low notes; his top is suffered, to say the least
MDM is neglecting fiato, heard much better of him
Mister chest opened a new chanel if him¿
They are all good especially Kaufmann and Calleja and they are new schooling. The phrase new school and the old school does not make sense because Joseph Calleja was taught by a very old opera singer.
You’re right about the terms not making sense. However Calleja is not good at all.
Kauffmann is painful to listen to
Good lessons, Shawn! However, here's a much better version of Del Monaco's "Addio" prior to the 1960's when he was in his prime: ua-cam.com/video/Htw5APxvoGU/v-deo.html
Thanks
Calleja also has a goat tremolo.
Derek strikes again... I thought this is Opéra was done ...
actually, I did't hear much a difference. It's a matter, if you like the voice, or not.
That's simply not true, it is not a matter of opinion or taste, there are clear definable facts that make one a better singer than another. The fact you fail to hear differences is by no mean a sign that there are no differences. Just think about it for five seconds.
@@1UShawn
I have learned what to listen for.
It just takes longer for some people.
If they want to learn…
90% of operalovers, singers, conductors and teachers don’t hear this…
I know it is about voice not so much looks, but I am sure quite a lot of the men singers of yesteryear were better looking. Maybe it is the chemicals and food processing of soy etc that mimics oestragen these days, but to me at least the 'old ones' generally did look more handsome and manly. I don't mean all of todays singers look exactly womanly. Some of them are also very male and good looking, but a few look a little less so. Maybe I just like old fashioned men. Nevertheless boys, watch what you eat and drink, and what you let your children consume.
Some of those 'old singers' really were heartthrobs, weren't they? :)
I feel the opposite is true. Those men back then didn't rely on looks, their greatness was their voice. I don't find any of them particularly attractive though. Maybe because I'm still young and like younger men.
@@Ignasimp franco corelli and mario del monaco look bettee than most modern opera singers
@@koryos4273 maybe, I don't find them particularly attractive.
Come on! Robert Tucker was not handsome. Jon Vickers was very masculine but no heartthrob
@@Ignasimp People do have different taste. I am a millennium, so of a somewhat your ger generation. I do think Both Del Monaco and Corelli were attractive. have you seen Corelli in his Carmen movie, he was ridiculously handsome and of course he was also over six feet tall, ua-cam.com/video/RnB3W9sXlCc/v-deo.html
But of course the looks was not important, it was all about the voice, as it should be.
Is it possible to just appreciate the individual singer without designating them as belonging to a particular school? Is the “old school” truly in conflict with the “new school” ? I really think all of these artists have their own approach and perspective; do we really need to homogenize our singers into one particular school in order to enjoy the medium? When I read manuscript I see notes, rhythms, and time signatures not boxes!
The fact of the matter is that those schools do exist and they have objectif and observable features that define them. Of course we can ignore them for the sake of political correctness, but you can also learn from those videos and many others. It is a really sad thing that great singing have been lost, it is even sadder that it has been so without anyone realizing it.
Some of the observable characteristics you mention that are associated to a particular school are associated to particularly successful and well known singers and not necessarily the result of the vocal methodology from the “old school”. We have to be careful because we are listening to recordings which do not capture important acoustic factors which are substantive determinants of a sound’s success. Also you had at least three different types of tenors singing the aria in question which demand mid-register singing which then shoots up high. The reason that voice type is important to note, is that different voices (like instruments) must adjust differently to execute the same music. For example, a lyric tenor like the Amazing Jerry Hadley would not need to modify vowels or cover as much as a spinto tenor like Jose Cura. These two voices have different physiological events at different points in their voices registration. Essentially, you are asking a Cadillac to out perform a Toyota in terms of fuel efficiency while ignoring other important metrics like drive quality, torque, horsepower, etc. Your taste and predilection might prefer a higher ringing “forward” placed tenor sound and I respect that, but I fear that having to rigid and harsh an opinion about what you interpret to be a failing “new school” of singing might actually steal the joy out of the experience of listening to opera for you. Relax, let others exist even if you don’t agree, it’s not political correctness to be tolerant of others.
@@williemorales5005 If you know what to listen to, the recording quality doesn't really matter ; Kaufmann is a lyric tenor trying to sing dramatic, Del Monaco is dramatic, Hadley lyric and Masini Spinto, so all the comparaison should be legitimite. In the case of Cura lots of things happen just because of the constrictive tension he adds to his singing. The way the vibrato is produce, the way the air is free, the way they cover the voice, the way the clarity of the vowel is not distortioned, the great singers all have that in common. You are talking to me as if you want to teach me something. As I am a ramdom youtuber you don't have to, but trust me, I know about voices.
Absolutely not “trying” to do anything, I am highlighting that 1. recordings are not always the best way to evaluate vocal sound, 2. Theses are all different types of voices whose repertoire only matches for one or two roles and the challenges in this aria is different for all of the singers, 3. What authority makes you so sure of when a singer is “lyric trying to be a dramatic”? 4. I’m not trying to teach you anything because again recorded sounds are not a fair and comprehensive representation of an artists’ singing ability, 5. it is not important to me whether you are a random “UA-camr” or a colleague with a CAMI management contract, I would share my perspective the same.
Are you singer too? I am a singer and who I am today is not who I was when I started. Is it possible to see and appreciate someone journey along their development instead of saying they belong to a particular school? Professional training of the operatic voice is hard and achievement and recognition is rare, why not see singers along a continuum of development rather than attack whatever school you think is responsible for what you think is their poor execution of a difficult aria. Please be more forgiving, if you are a singer know that we only have each other; when I was on the road hungry, tired, traveling between cities trying to get a gig it was always other singers who took care of me. I guess I am hoping to inspire kindness not to teach you or change your opinion.
La nueva escuela de canto no me permite apreciar el mundo de la lírica a ver Cura es un desastre en su canto no hay expresión ni técnica vocal Jerri fue un tenor con bonita voz pero la ópera no se puede cantar a gritos hay respetar al compositor Calleja con ese horrible vibrato que no lo deja en paz y no sé apreciar lo que canta Kauffman comienza bien un tema y luego comienza a obscurecer su voz por cualquier lado de la sensación que estuviera pensando en otros mundos y no en lo que canta luego los dos últimos Mónaco y massini son de los que muchas personas dicen la escuela antigua de canto la verdadera escuela bell cantora
Manca il sib di Del Monaco. Ttralatro Del Monaco è l'unico a portare l'acuto finale legato senza spezzare la frase con slancio prodigioso. Il video rende molto l'idea ma non ha senso senza l'acuto di un vero Leone.
Manca il sib di Del Monaco.
I cannot edit this video and add the sib of Del Monaco, I will have to make a whole new one;I have the highest respect for the artistry of Mario Del Monaco and I am sorry that it comes across as neglience for the master he truly was.
@@1UShawn Si ma perché evitare il Sib? Non ha nessun senso il video senza il sib di colui che lo cantò nel modo assoluto.. Il migliore
@@alessandromoccia471 I didn't do it on purpose, this was one of my first video, I was really bad with video editor software.
@@1UShawn Rifallo
niente, io Josè Cura non riesco a farmelo piacere, apprezzo l'artista ma non mi piace il timbro, in particolare nel registro acuto dove diventa uno sfarfallato dove si vorrebbe invece il cristallino.
It's not only timber, it's a technical issue; lots of people talk about how they like different voices or timbers, they fail to see that voice-quality or timber are directly correlated to technical efficiency. That's exactly why Del Monaco, Caruso, Hadley, Ansseau, Cortis, Masini, Di Stefano, Volker Callas, Tebaldi, Stella, Nilson and so on had beautiful voices and timber and why Cura, Kaufmann, Fabiano, Villazon, Oropesa, Nebretko, Bartoli don't.
Man, Masini seems to be struggling really hard.
Are you for real?
i think you are frustrated on things you dont understand... sound is to be made as you wish not as others think
i dont want to sound like my grandpa or anybody else, there is little to do with how it is right or wrong to sing... even these artists if u would like to talk about that... are 0 in comparasion with pavarotti.. he actualy made the songs sound like what they are.. all these artists at the same time dont do '' the best'' either... so then again... u are just mad lol
@@deaddarkones1089 Can you tell me what am I mad against please?
it is not becouse i dont understand in a way where u are heading with the (overdarkened) but i dont think you really understand what the voice really is... it is sound.. any sound you like... as long as people watch you and listens to you.. who is anybody to be able to say it is too overdarkened and his vibrato is bad in 1 way and another.. as you say in ur clips.. i like the people from the past but why do we all act like we want to be them? i dont want to become as good as Pavorotti or second Pavarotti... i wanna become me.. the throat is there to make sound not math.. i dont belive there is such thing as bad or wrong when it comes to sound recreation.. as long as it is made health and not pushed(but even this is only for the health of your own throat...)@@1UShawn
you basicly say that there is a true vibrato and a fake one, too dark and good dark@@1UShawn
music is not math@@1UShawn
From those newschool-singers mr. Kauffman is by far the the best sounding tenor. Let's not talk about the oldschool-guys in same sentence....
he is awful. sounds horrible
Care to share your singing, you must be great yourself
I will in not so long :) ! I do not know who you are but based on what I know, this request can only mean one of two things, either you genuinly think that someone with such great discernement must be himself a well-taught singer and therefore sings well or at least not bad ; or, it means that you want to compare me with Cura, Kaufmann, Calleja just to point out my own faults, in which case you do not identify the vocal faults of theirs as such ; I am pointing vocal faults as of a technical perspective, this have nothing to do with their qualitiy as musician. To anwser the second hypothesis, no matter how I sing, I could be right on what my ear is telling me (Inverted vibrato is a real condition that has physical as well as audible impact as for an example). You can message me in private if you want to dicuss the subject, I will be delighted to approach a discussion in the most benevolent way possible ; you don't have to go out challeging people in public comments.
You certainly have answered my questions. Thanks
@@Davidsohn-l8v it's done, it's now out there.
@@1UShawn Please share a link
@@Davidsohn-l8v it's my last video Challenge accepted
Kauffmann is simply awful......I cannot understand why anyone would wish to listen to his wailings