Lyric Tenor Carlo Bergonzi VS Dramatic Tenor Aureliano Pertile~'Vicino a te'
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- Опубліковано 22 тра 2024
- Lyric Tenor Carlo Bergonzi VS Dramatic Tenor Aureliano Pertile~'Vicino a te
Carlo Bergonzi and Aureliano Pertile, despite their primary classifications as lyric and dramatic tenors respectively, both possess the versatility to cross into each other's territories in certain performances. This versatility is a testament to their exceptional vocal technique and artistic sensitivity.
Carlo Bergonzi
Primary Classification: Lyric Tenor (Lirico Tenore)
Vocal Characteristics: Known for his warm, smooth tone and impeccable technique, Bergonzi's voice is ideally suited to the lyrical, expressive lines of composers like Verdi and Puccini.
Dramatic Power: Despite his classification as a lyric tenor, Bergonzi could produce strong, dramatic high notes when required. This ability comes from his excellent control over breath support and resonance. His technique allowed him to add weight and intensity to his voice without losing its natural beauty and lyrical quality.
Performance Example: In "Vicino a te" from Andrea Chénier, Bergonzi's ability to convey emotional intensity and produce powerful high notes demonstrates his capacity to handle more dramatic moments effectively.
Aureliano Pertile
Primary Classification: Dramatic Tenor (Tenore Drammatico)
Vocal Characteristics: Pertile's voice was powerful, resonant, and capable of conveying intense emotions, making him ideal for dramatic roles with strong, demanding vocal lines.
Lyric Qualities: Pertile's vocal technique and artistry allowed him to sing lighter, more lyrical passages with agility and finesse. His ability to adjust his vocal approach to suit the demands of the music enabled him to sing with a lighter touch when necessary.
Performance Example: In roles that required both dramatic intensity and lyrical beauty, Pertile could transition seamlessly between powerful, dramatic singing and lighter, more delicate passages, showcasing his versatility.
Explanation of Versatility
Vocal Technique:
Breath Control: Both Bergonzi and Pertile had exceptional breath control, which is crucial for both powerful dramatic singing and the sustained, smooth lines of lyrical passages. This control allows for dynamic variation and the ability to manage the vocal weight as needed.
Resonance and Placement: Mastery of resonance and vocal placement enables singers to adjust their tone quality. By modifying the focus and resonance of their voices, they could achieve both the brilliance and power required for dramatic singing and the sweetness and lightness needed for lyrical passages.
Musical Interpretation:
Emotional Range: Great singers like Bergonzi and Pertile possess a wide emotional range and the ability to convey different moods and characters effectively. Their understanding of the music and the emotional content of their roles allows them to adapt their vocal approach to suit the context of the performance.
Stylistic Adaptability: Both singers had a deep understanding of different vocal styles and the flexibility to adapt their technique accordingly. This adaptability is essential for performing a diverse repertoire and handling varying demands within a single role or piece.
In summary, Carlo Bergonzi's ability to produce dramatic high notes and Aureliano Pertile's capacity to sing lighter, more lyrical passages highlight their exceptional vocal versatility. Their mastery of technique, combined with their deep musicality and interpretative skills, allowed them to transcend their primary classifications and excel in a wide range of vocal demands.
No es un rol que le va como anillo al dedo para Bergonzi pero..Quién lo canta así hoy o dentro de 15-20-25 años, nadie!!!
Pertile ese color masculino en su timbre... cambiando siempre las vocales, un Fenómeno!!!
Praising Pertile, I agree. What specific aspects make Bergonzi less good? Can you be more specific? I know he's not perfect, maybe you know more.
Bergonzi is a very talented tenor, but there are some viewpoints suggesting he might be slightly lacking in certain aspects. Here are some possible perspectives:
Variability in tone color: Bergonzi's voice sometimes lacks variability, possibly lacking some diversity in expressing different characters. Some might find his tone relatively uniform, lacking some dramatic tension.
Performance style: While Bergonzi's voice is excellent, some may find his performance style relatively conservative, lacking some impact or passion. Compared to some singers with more dramatic and emotional tension, he might appear somewhat mild in his performances.
Handling of high notes: Some believe Bergonzi might be somewhat lacking in handling high notes, possibly lacking some control and stability in the upper range. While his voice is smooth, in some roles or passages requiring stronger high-note tension, he might seem somewhat underpowered.
It's important to note that these viewpoints are based on personal subjective feelings and preferences, and different listeners may have different perspectives. Bergonzi remains a respected and beloved tenor, with a high reputation for his voice and performance style in the music world.
The Sheridan Pertile Partnership was often in Covent Garden and La Scala and they were a tremendous success, Sheridan also did the role with Gigli and Zanelli in London also with tremendous success, I would say that you cannot compare Bergonzi with Pertile, for the Latter was immense in this role. Sheridan was a Favourite wherever she sang Tall blond and Beautiful a Great Irish Soprano.
I saw Bergonzi many times and he was undoubtedly a very fine Tenor, Gulin also I saw many times often with Domingo, who she outsung with ease, but I never saw her with Bergonzi, they sound very good and well matched, he was a much better Tenor than Domingo, in my opinion.
There are live recordings of Sheridan with Pertile in Chenier from Covent Garden , the Baritone was Stracciari in one performance, also a performance of Chenier with Gigli with Granforte the Baritone. These are in the BBC archives, they could not be released because of recording Copyright, same happened with Lehmann and Zenatello in Otello, later Martinelli with Turner and Tibbett in Aida and Tosca with Caniglia Tibbett also his Otello's with Norene and Tibbett were recorded and not released, but scenes with Formichi and Martinelli were released, Ricordi was the problem, for that Copyright stopped both Caruso and Martinelli recording anything commercially from Fanciulla, with Martinelli it also applied to a number of his roles.
If Caruso had recorded with Edison he would have been able to record much more of his very big repertoire.
You're right, two very good. I collected Bergonzi's CDS, the best when he was young, more charming voice than Pav of the same age.
Sheridan Pertile's perfection is God. My purpose of comparison is to show that lyric tenor Bergonzi also has the characteristics of a good dramatic tenor. Pertile is a dramatic tenor, but here his high notes are also lyrical and delicate.
I mean, this division of four types of tenors is unscientific, one can sing at least three, the great baritone GIAN GIACOMO GUELFI said, GIGLI has all three, Caruso can do them all.
My point of comparison is to tell people, don't be limited by the style of singing, don't develop the style of singing that you can do well, and if you don't study hard enough, then you'll never know more than one. I study and imitate hundreds of tenors, and I'm trying to do that. Thank you for coming to my channel.
Bergonzi was a wonderful singer artist, but as his voice matured his top became opaque and center was without depth at times. Pertile had a constant depth of sound, while using mezza voce and coloring his tones. Sheridan is terrific
Your critique is very insightful. Bergonzi's vocal technique is somewhat forward-placed. Although he expresses tone color very well due to his large chest, which holds a lot of breath and produces rich overtones, his transition from mid-range to high notes-switching from chest voice to head voice-lacks clarity in head voice brightness. Additionally, Bergonzi's breath control mainly relies on the front abdomen. In contrast, Pertile's breath is stored under the posterior diaphragm, which is the most ideal place for breath support. This gives Pertile ample space and powerful high notes. Sheridan is absolutely perfect!
@@lisaszxu1961 Bergonzi had nothing perfect about .
Bergonzi had and "opaque" voice (and old man voice). Ugly portamenti, high notes are back, without timbre and do not ring,
Yes Bergonzi is correct to say: despite the not beautiful voice, the somewhat approximate technique, he was an important presence in the operatic scene between 1950 and 1980, having sung a lot at Scala, at the Met, at the Arena di Verona. And that's that
he was never a Verdi tenor and he wasn't for Aida, Trovatore, Otello ... but not even for Traviata, Rigoletto. Perhaps acceptable in Attila, Joan of Arc, Alzira, Attila, where he sings little and the tenor is not the protagonist
he was always uncertain in the ascent to the high notes, he almost always helped himself with the portamentos and to keep the high notes in tune he always had to force it, or was flat very often. His luck lay in his big nose, so, despite having the emission behind, what little was "forward" he used that big nose as a sounding board.