Such amazing vocal technique so common in those days with beautiful falsetto balanced with powerful chest. This along with his magnificent pharyngeal vowel formation allows him to sing so smoothly, providing his flowing legato. A Caruso of the basso voice. Not a trace of thickness/ woofiness so common in bassos today. Beautiful recording. Thanks, as always, for sharing your wonderful collection.
Thank you! Yes, I understand how you feel. So much was was lost when bel canto was historically eclipsed by verismo. However, the vast number of comments I get (and we're talking thousands) encourage me greatly. A lot of people miss bel canto, and I personally have come to believe that the audience is there and waiting for it to return. That would be a blessing.
One of my teachers studied vocal pedagogy with the great baritone Mario Basiola. Basiola studied with Antonio Cotogni, the earliest born singer to record (b 1831) and teacher of many great singers. In Plançon's singing I hear that Italian bel canto technique - the voice projected through a rather narrow channel as if all the vowels were shaped like 'oo'. Ponselle also spoke about basing the voice on the 'oo' position - the vowel that easily engages the head register. The resulting sound is not always huge, but projects well, is never spread and woofy, is easily moved in coloratura, and lasts well into old age - as witness Cotogni and Battistini, who both recorded at the age of 70.
@@emailvonsour I was close - his last recordings were in 1924 when he was 68. He was planning to sing in La Favorita when he was 72 but became ill and died.
Most of the music he recorded was "new" to the world. The man was born in 1851 and was nearing the end of a great career when recordings became. We must be grateful he saw the value in it (unlike de Reske for example).
Good comments, about Pol P and his lyrical, pharyngeal vowel formation and the RESULTS that this basso, could do. Kipnis and (Richard) Mayr were basses of another type, and WERE very-individual, in their, own ways. ... The Plancon "way" was most-remarkable, and has NOT been approximated in recent days.
Pelleas 1902 Samuel Ramey et Pol Plancon les plus grande basse du XX siècle ?! commentaire tout simplement ridicule . ahahahahahahahahahahahahahahahahahahah !
@@bodiloto e tutto questo senza contare che Plancon (come altri suoi colleghi della stessa generazione) all'epoca di queste registrazioni la sua carriera l'aveva già terminata e non disponeva certo dei mezzi tecnologici per rendere la sua voce più bella, grande, e pompata come Ramey (e come l'ego dei suoi direttori... Sappiamo bene quali... Quelli che lo ritenevano basso verdiano del secolo ...). Oggi, ovviamente, uno con le sue corde non troverebbe spazio nel teatro lirico. Ma d'altronde, chi può competere col bravissimo marito della Netrebko?... Ad ognuno il suo... P. S. Vorrei ricordare un po' di francese ma ormai ho dimenticato quasi tutto ahaha Buona domenica di sole
Je ne dirais pas élégant,mais plutôt maniéré.Même si ce fut écrit en français,la musique demeure italienne et s'accommode mal d'un style(légèrement douteux par ailleurs)qui n'est pas le sien. Je te salue.
C'est complètement faux Verdi a écrit cet opéra d'abord en Francais à Paris , Plancon est tout sauf maniéré nos oreilles d'aujourd'hui nous font des manières d'avoir été tellement déformée , Diction parfaite, légato sublime au service du sens du dire du très grand art moi qui suit le dernier élève de Pierre Lanni qui a travaillé avec les Mario del Monaco, les Gerald Souzay les Ernest Blanc dont je suis la lignée , ce chant est tout bonnerment la perfection et l'esprit dans lequel le compositeur de ce 19 siècle pouvait s'attendre à l'entendre
Such amazing vocal technique so common in those days with beautiful falsetto balanced with powerful chest. This along with his magnificent pharyngeal vowel formation allows him to sing so smoothly, providing his flowing legato. A Caruso of the basso voice. Not a trace of thickness/ woofiness so common in bassos today. Beautiful recording. Thanks, as always, for sharing your wonderful collection.
Thank you! Yes, I understand how you feel. So much was was lost when bel canto was historically eclipsed by verismo. However, the vast number of comments I get (and we're talking thousands) encourage me greatly. A lot of people miss bel canto, and I personally have come to believe that the audience is there and waiting for it to return. That would be a blessing.
How wonderful to hear this great singer sing this tragic aria.
Along with the great Mattia Battistini, Pol Plançon has been one of the greatest influences on my singing. He was truly a master of his craft.
One of my teachers studied vocal pedagogy with the great baritone Mario Basiola. Basiola studied with Antonio Cotogni, the earliest born singer to record (b 1831) and teacher of many great singers. In Plançon's singing I hear that Italian bel canto technique - the voice projected through a rather narrow channel as if all the vowels were shaped like 'oo'. Ponselle also spoke about basing the voice on the 'oo' position - the vowel that easily engages the head register. The resulting sound is not always huge, but projects well, is never spread and woofy, is easily moved in coloratura, and lasts well into old age - as witness Cotogni and Battistini, who both recorded at the age of 70.
Battistini never made records at the age of 70.
@@emailvonsour I was close - his last recordings were in 1924 when he was 68. He was planning to sing in La Favorita when he was 72 but became ill and died.
Most of the music he recorded was "new" to the world. The man was born in 1851 and was nearing the end of a great career when recordings became. We must be grateful he saw the value in it (unlike de Reske for example).
REfined,exquisite singing...and the original of Don Carlo was in FRench.Mes compliments pour poster cette merveille!
So elegantly sung......thank you 😘
Exquisite and moving, great technique and diction. Thank you!
Thank you, my friend. A beautiful description!
An excellent interpretation and a voice as rich as Burgundy.
My pleasure, to be sure, Nate. By the way, I just did a piece on Plancon today on my blog, if you would care to drop by Great Opera Singers.
C'est un plaisir, mon amie. Merci pour le commentaire!
Thank you, Stephen. Yes, that's about as refined as it gets!
The technique of the old Italian school is beautifull, natural, like when the people speak. I love it!
@@emailvonsour Italian TECHNIQUE! Read more carefully next time.
Thank you, my friend; great comment!
Good comments, about Pol P and his lyrical, pharyngeal vowel formation and the RESULTS that this basso, could do. Kipnis and (Richard) Mayr were basses of another type, and WERE very-individual, in their, own ways. ... The Plancon "way" was most-remarkable, and has NOT been approximated in recent days.
S'íl vous plait!A vrai plaisir!
Le plus grand interprète de ce rôle, tout simplement. Il est aussi, avec Samuel Ramey, la plus grande basse du XXe siècle.
Pelleas 1902
Samuel Ramey et Pol Plancon les plus grande basse du XX siècle ?!
commentaire tout simplement ridicule .
ahahahahahahahahahahahahahahahahahahah !
@@bodiloto ridicolo, si. Perché Plancon era una fiorentina al sangue e Ramey un hamburger scongelato del McDonald's.
@@Tkimba2
parole sante .
@@bodiloto e tutto questo senza contare che Plancon (come altri suoi colleghi della stessa generazione) all'epoca di queste registrazioni la sua carriera l'aveva già terminata e non disponeva certo dei mezzi tecnologici per rendere la sua voce più bella, grande, e pompata come Ramey (e come l'ego dei suoi direttori... Sappiamo bene quali... Quelli che lo ritenevano basso verdiano del secolo ...).
Oggi, ovviamente, uno con le sue corde non troverebbe spazio nel teatro lirico. Ma d'altronde, chi può competere col bravissimo marito della Netrebko?...
Ad ognuno il suo...
P. S. Vorrei ricordare un po' di francese ma ormai ho dimenticato quasi tutto ahaha
Buona domenica di sole
@@Tkimba2
carissimo, auguroni di una bellissima domenica piena di sole e amore anche per te !
Un timbre intéressant,une interprétation moindre.
Oui, je sais; peut-être un peu trop élégant, trop de chanteur bel canto pour ce genre de musique.
On n'est jamais trop "élégant". Verdi est l'héritier direct de Donizetti et Bellini.
Je ne dirais pas élégant,mais plutôt maniéré.Même si ce fut écrit en français,la musique demeure italienne et s'accommode mal d'un style(légèrement douteux par ailleurs)qui n'est pas le sien.
Je te salue.
ah, la sensibilité ...
c'est fini tout ça ...
C'est complètement faux Verdi a écrit cet opéra d'abord en Francais à Paris , Plancon est tout sauf maniéré nos oreilles d'aujourd'hui nous font des manières d'avoir été tellement déformée , Diction parfaite, légato sublime au service du sens du dire du très grand art moi qui suit le dernier élève de Pierre Lanni qui a travaillé avec les Mario del Monaco, les Gerald Souzay les Ernest Blanc dont je suis la lignée , ce chant est tout bonnerment la perfection et l'esprit dans lequel le compositeur de ce 19 siècle pouvait s'attendre à l'entendre
Beautiful French. So intimately sung. So sad. So wonderful.
Along with the great Mattia Battistini, Pol Plançon has been one of the greatest influences on my singing. He was truly a master of his craft.
Along with the great Mattia Battistini, Pol Plançon has been one of the greatest influences on my singing. He was truly a master of his craft.