I agree, I want to analyze from the perspective of vocal physiology why Caruso was better than others, and how vocal technique can be used to express emotions more accurately. This is something that has not been studied by anyone in over 100 years.
Caruso made everything he sang sound easy, this role he did sing a lot young, but he did sing the arias in Concert. I would have loved to hear him in Donizetti, I think he sings everything with empathy and pathos. You just cannot compare him with other singers. Simply unique, my Grandfather and Grandmother both agreed that he was the only Singer of any Fach that could make them cry. Although I did cry when I heard Kaufmann the first time, but that was not empathy or pathos just ANGER!
@@lisaszxu1961 You talk of Physiology, Caruso had a very Big Mouth when singing also it is a fact that his lung capacity mwas incredible Barrel Chested with a very large expansion, literally from 1919 to 1920, he was singing on one lung. Just think what he could have sung if he had not died.
@@Garwfechan-ry5lk Enrico Caruso's Physical Development and Vocal Achievements Historically, there is some supporting evidence related to Enrico Caruso’s physical condition, though the full truth requires additional context. According to Mario Marafioti, in his early years, Caruso's physical structure was quite ordinary, with nothing remarkable that would make him stand out as a future singer. Early medical examinations even suggested that Caruso should pursue another career, as his body was deemed unsuitable for singing. This reinforces the point that Caruso's success was not due to inherent physical advantages, but rather his intelligence, determination, and relentless work that allowed him to transform his physiology for singing. While many believe that Caruso's large mouth contributed to his vocal power, this wasn't the case from the beginning. For example, Daniele Barioni had a much larger mouth from birth, even larger than Caruso’s, without needing training. Early photos of Caruso show a much smaller mouth and a more confined internal space. Caruso expanded his vocal abilities and internal resonance by mastering breath control and refining his technique, not merely through natural physical traits. The Role of Breath Support Caruso developed his wide internal oral cavity through dedicated breath training. Carreras, on the other hand, despite having a large mouth, did not achieve the same results. His singing, according to critics, often lacked power and sounded more like shouting. Despite a long career, his abdominal support remained insufficient, failing to store and control his breath properly. Lung capacity, which can be trained and developed, was one of Caruso's strengths. It is said that he could hold up to 10 liters of air, while the average person only manages about half of that. The unit of lung capacity is indeed measured in liters, so the claim of 10 liters is plausible and impressive in Caruso’s case. Historical Clarifications Regarding Caruso’s Health 1. Mouth and Chest Development: Caruso became known for his large mouth opening and barrel chest, which contributed to his powerful chest resonance. His ability to produce a rich, resonant sound was deeply tied to his technique and later physical development, rather than an innate advantage from the beginning. 2. Singing with One Lung: The claim that Caruso sang with only one lung during 1919-1920 due to health problems is often exaggerated. While he did experience severe lung issues, including pleurisy and a ruptured pleura, medical evidence does not confirm that he relied solely on one lung. His lung function may have weakened, but he still used both lungs, though perhaps less effectively. 3. Speculation About Caruso’s Future: The speculation of what Caruso might have achieved had he lived longer is hypothetical. He passed away in 1921 at the age of 48. While his health issues impacted his final performances, he left a legacy of iconic recordings and performances that continue to influence singers today. Why Has There Only Been One Caruso? I often wonder why there has been only one Caruso in history, and why no true successor has emerged. Humanity should be capable of producing another singer of his caliber, but unfortunately, many vocalists have strayed down an incorrect path in their vocal training. Improper vocal techniques have persisted in the world of opera for over half a century, yet no one has stepped forward to correct these issues. This is why, today, you rarely hear a tenor of remarkable quality. Thank you for supporting my channel and for engaging in these important discussions about the art of singing.
@@Garwfechan-ry5lk You're right, Caruso sang with such ease, and the secret lies in his abdominal breath support. He didn't push, like Gigli often did, nor did he force the breath down excessively, which Lanza did unnaturally in his later years. Caruso took in enough breath, fully relaxed his body, and let the sound flow naturally from his abdomen without any effort. His lips were only used to shape the sound into words, and otherwise had no role-unlike the Three Tenors, who sang with their mouths overly tense. Kaufmann is similar in this regard. Your description is interesting-he never learned the strengths of historical German tenors and instead relies entirely on throat singing, which Caruso considered the most serious mistake in singing. Caruso even provided a method to correct it. Kaufmann always has a thin waist and slender frame, but that simply cannot support tenor singing. Caruso, Gigli, Del Monaco, Jan Peerce, and Tucker all had barrel-shaped chests and abdomens, which is the essential physique for a tenor. Without this, the abdomen lacks enough breath support, the high notes can't open up, and the soft palate can't lift properly. Kaufmann's high notes get stuck at the hard palate. The Three Tenors also experience this issue- their sound gets stuck, and they can't project it outward. Caruso, on the other hand, could throw his voice out, producing a transparent sound that rises like a pyramid. Meanwhile, Kaufmann and the Three Tenors try to keep the same volume for every note, which is absurd. It's like playing the piano-higher notes should be narrower, sharper, and more transparent, with the sound becoming smaller as it gets higher. A tenor's voice shouldn't have the same volume from mid to high notes. Kaufmann's mix of chest and head voice is completely confused, and listening to him could have a negative influence on you.
Your clock theory is useful and intuitive, use it in the future, it makes you immediately understand the resonance spaces visually, I understood that Tenors who sing with a small voice have their voice focused on the face, on the throat and you can hear it, those who trying to imitate chiaroscuro are swallowed like Jonas Kauffman, that sound is trapped in the throat and can't get free. Mario del Monaco sings with a dark, ringing voice because his voice is not concentrated in his throat, it resonates in his chest and is free.
Absolutely right! Today's tenors are concentrating all their breath and sound above the vocal cords. Once the breath rises, it can't sink back down. What can they do? They can only force their throats to create artificial resonance and vibrato. However, these sounds are very difficult to move in the high register and sound unnatural. That's why high notes always get stuck at the hard palate. It's because they're using their throats as the driving force for sound, rather than the sound power zone below the diaphragm and lower back. 99% of today's tenors are wrong, including the Three Tenors.
Yes, Lanza is the most passionate tenor in the world, and no one can put as much emotion into their voice as he does. Early Di Stefano was the same, full of emotion. Tucker could also achieve this. While Gigli had the most comprehensive singing technique, his emotional investment was more internal and restrained. It wasn't as open and expressive as Lanza’s or Di Stefano’s, who both poured their emotions outward. I’ve finally realized a truth: the expression of emotions is entirely determined by how the breath space is distributed and how the abdominal breath is managed. I wonder why, for more than half a century, humanity has remained completely ignorant of this topic?
What do you think of the tenor Giovanni Ribichesu?He personally studied with Corelli at 18 years old, but also with many others, his family studied with Mario del Monaco, Marcello, Cecchele, all the greatest tenors they knew.
Giovanni Ribichesu-I’ve communicated with him before. He grew up in an excellent environment, surrounded by great tenors, baritones, basses, as well as sopranos, mezzo-sopranos, and so on. Unfortunately, he hasn’t grasped the key concepts. He’s spreading vocal techniques, but they’re incorrect. Perhaps he’s working hard. As for his voice, I believe if he had received professional training from the start, it wouldn’t have turned out this way. Even his teacher, Corelli, didn’t have professional training. He learned through self-practice, and the result was winning second place in a vocal competition. The first time, he was practically shouting. What I want to say is that having the correct method from the start is crucial. When Ribichesu sings, his voice immediately goes above the vocal cords. The breath doesn’t sink, and there isn’t even breath below his chest. Of course, he takes in a full breath before singing, but from the first note, it goes wrong. I watched his video, and I wasn’t mainly looking at him-I was watching how the masters guided him. The teachers didn’t point out his issues. When Ribichesu was younger, he also won some competitions, but that doesn’t mean he mastered the correct singing technique. Corelli once said that Ribichesu’s high notes weren’t bad, but after singing them, his breath didn’t drop. The notes and words after the high notes were too high in position. That was an accurate observation. Corelli advised him to practice yawning. Now, when you give guidance on yawning, it’s a nuanced technique with a lot of science behind it. Corelli himself would yawn, but it was only in the area above his throat. The purpose was to prevent the vocal placement from rising. But Corelli’s yawning before singing was at the level where most people yawn in daily life. In reality, you know Caruso and Gigli, for instance, they would yawn by pushing the breath below the vocal cords. Below the vocal cords, it’s like a small balloon expanding. Corelli didn’t do this and didn’t understand it was necessary, so his lower abdomen was always lacking in breath. The typical yawn can’t ultimately solve this issue. You can hear it in his voice when he was in his fifties-it sounded somewhat aged, and he used a lot of effort in his face and other areas while singing. That’s because he wanted to present himself as a professional tenor, which requires good resonance and vibrato. However, his resonance and vibrato weren’t correct. Resonance and vibrato, especially in high notes, should always be driven by abdominal support. He lacked abdominal breath support. These are things I don’t usually talk about publicly. I’m sharing them here because not many people will see it. You understand my theories and intentions very well, and I’m eager to exchange ideas with you. You have a high level of vocal understanding. I completely agree with the points you made at the end. My friend, I hope you’ll use my clock theory to constantly evaluate where your voice is coming from. Is another tenor’s voice good or not? After all, in the past 100 years, no one has divided breath placement into 12 clock regions-that’s my original creation. If you’re a tenor, you can flexibly combine the breath and sound in these regions. For example, Tito Schipa used a combination of the front abdomen and oral cavity. With the clock theory, that would be quickly defined as 7 o’clock (front abdomen) + 10 o’clock (oral cavity). Once you establish the internal space, you can try it out. If you forcefully expand the space in just those two regions, you’ll be able to produce a sound similar to Tito Schipa’s. I can define every great tenor in history using the clock theory, then allocate the main breath to those regions, and I can easily sing like Caruso, Gigli, Del Monaco, or any tenor. You can give it a try. If there are technical issues, we can discuss them and learn together. Thank you for supporting my channel!
Caruso is simply incredible
I agree, I want to analyze from the perspective of vocal physiology why Caruso was better than others, and how vocal technique can be used to express emotions more accurately. This is something that has not been studied by anyone in over 100 years.
Caruso made everything he sang sound easy, this role he did sing a lot young, but he did sing the arias in Concert. I would have loved to hear him in Donizetti, I think he sings everything with empathy and pathos. You just cannot compare him with other singers. Simply unique, my Grandfather and Grandmother both agreed that he was the only Singer of any Fach that could make them cry.
Although I did cry when I heard Kaufmann the first time, but that was not empathy or pathos just ANGER!
@@lisaszxu1961 You talk of Physiology, Caruso had a very Big Mouth when singing also it is a fact that his lung capacity mwas incredible Barrel Chested with a very large expansion, literally from 1919 to 1920, he was singing on one lung.
Just think what he could have sung if he had not died.
@@Garwfechan-ry5lk
Enrico Caruso's Physical Development and Vocal Achievements
Historically, there is some supporting evidence related to Enrico Caruso’s physical condition, though the full truth requires additional context. According to Mario Marafioti, in his early years, Caruso's physical structure was quite ordinary, with nothing remarkable that would make him stand out as a future singer. Early medical examinations even suggested that Caruso should pursue another career, as his body was deemed unsuitable for singing. This reinforces the point that Caruso's success was not due to inherent physical advantages, but rather his intelligence, determination, and relentless work that allowed him to transform his physiology for singing.
While many believe that Caruso's large mouth contributed to his vocal power, this wasn't the case from the beginning. For example, Daniele Barioni had a much larger mouth from birth, even larger than Caruso’s, without needing training. Early photos of Caruso show a much smaller mouth and a more confined internal space. Caruso expanded his vocal abilities and internal resonance by mastering breath control and refining his technique, not merely through natural physical traits.
The Role of Breath Support
Caruso developed his wide internal oral cavity through dedicated breath training. Carreras, on the other hand, despite having a large mouth, did not achieve the same results. His singing, according to critics, often lacked power and sounded more like shouting. Despite a long career, his abdominal support remained insufficient, failing to store and control his breath properly.
Lung capacity, which can be trained and developed, was one of Caruso's strengths. It is said that he could hold up to 10 liters of air, while the average person only manages about half of that. The unit of lung capacity is indeed measured in liters, so the claim of 10 liters is plausible and impressive in Caruso’s case.
Historical Clarifications Regarding Caruso’s Health
1. Mouth and Chest Development: Caruso became known for his large mouth opening and barrel chest, which contributed to his powerful chest resonance. His ability to produce a rich, resonant sound was deeply tied to his technique and later physical development, rather than an innate advantage from the beginning.
2. Singing with One Lung: The claim that Caruso sang with only one lung during 1919-1920 due to health problems is often exaggerated. While he did experience severe lung issues, including pleurisy and a ruptured pleura, medical evidence does not confirm that he relied solely on one lung. His lung function may have weakened, but he still used both lungs, though perhaps less effectively.
3. Speculation About Caruso’s Future: The speculation of what Caruso might have achieved had he lived longer is hypothetical. He passed away in 1921 at the age of 48. While his health issues impacted his final performances, he left a legacy of iconic recordings and performances that continue to influence singers today.
Why Has There Only Been One Caruso?
I often wonder why there has been only one Caruso in history, and why no true successor has emerged. Humanity should be capable of producing another singer of his caliber, but unfortunately, many vocalists have strayed down an incorrect path in their vocal training. Improper vocal techniques have persisted in the world of opera for over half a century, yet no one has stepped forward to correct these issues. This is why, today, you rarely hear a tenor of remarkable quality.
Thank you for supporting my channel and for engaging in these important discussions about the art of singing.
@@Garwfechan-ry5lk
You're right, Caruso sang with such ease, and the secret lies in his abdominal breath support. He didn't push, like Gigli often did, nor did he force the breath down excessively, which Lanza did unnaturally in his later years. Caruso took in enough breath, fully relaxed his body, and let the sound flow naturally from his abdomen without any effort. His lips were only used to shape the sound into words, and otherwise had no role-unlike the Three Tenors, who sang with their mouths overly tense.
Kaufmann is similar in this regard. Your description is interesting-he never learned the strengths of historical German tenors and instead relies entirely on throat singing, which Caruso considered the most serious mistake in singing. Caruso even provided a method to correct it. Kaufmann always has a thin waist and slender frame, but that simply cannot support tenor singing. Caruso, Gigli, Del Monaco, Jan Peerce, and Tucker all had barrel-shaped chests and abdomens, which is the essential physique for a tenor. Without this, the abdomen lacks enough breath support, the high notes can't open up, and the soft palate can't lift properly. Kaufmann's high notes get stuck at the hard palate. The Three Tenors also experience this issue- their sound gets stuck, and they can't project it outward. Caruso, on the other hand, could throw his voice out, producing a transparent sound that rises like a pyramid. Meanwhile, Kaufmann and the Three Tenors try to keep the same volume for every note, which is absurd. It's like playing the piano-higher notes should be narrower, sharper, and more transparent, with the sound becoming smaller as it gets higher. A tenor's voice shouldn't have the same volume from mid to high notes. Kaufmann's mix of chest and head voice is completely confused, and listening to him could have a negative influence on you.
❤🎉as you said, Caruso sang everything, making it seem easy.. tenorino and dramatic 🎉it,s Caruso😊
Borgioli ...❤
Your clock theory is useful and intuitive, use it in the future, it makes you immediately understand the resonance spaces visually,
I understood that Tenors who sing with a small voice have their voice focused on the face, on the throat and you can hear it, those who trying to imitate chiaroscuro are swallowed like Jonas Kauffman, that sound is trapped in the throat and can't get free.
Mario del Monaco sings with a dark, ringing voice because his voice is not concentrated in his throat, it resonates in his chest and is free.
Absolutely right! Today's tenors are concentrating all their breath and sound above the vocal cords. Once the breath rises, it can't sink back down. What can they do? They can only force their throats to create artificial resonance and vibrato. However, these sounds are very difficult to move in the high register and sound unnatural. That's why high notes always get stuck at the hard palate. It's because they're using their throats as the driving force for sound, rather than the sound power zone below the diaphragm and lower back. 99% of today's tenors are wrong, including the Three Tenors.
Yes, Lanza is the most passionate tenor in the world, and no one can put as much emotion into their voice as he does. Early Di Stefano was the same, full of emotion. Tucker could also achieve this. While Gigli had the most comprehensive singing technique, his emotional investment was more internal and restrained. It wasn't as open and expressive as Lanza’s or Di Stefano’s, who both poured their emotions outward. I’ve finally realized a truth: the expression of emotions is entirely determined by how the breath space is distributed and how the abdominal breath is managed. I wonder why, for more than half a century, humanity has remained completely ignorant of this topic?
What do you think of the tenor Giovanni Ribichesu?He personally studied with Corelli at 18 years old, but also with many others, his family studied with Mario del Monaco, Marcello, Cecchele, all the greatest tenors they knew.
Giovanni Ribichesu-I’ve communicated with him before. He grew up in an excellent environment, surrounded by great tenors, baritones, basses, as well as sopranos, mezzo-sopranos, and so on. Unfortunately, he hasn’t grasped the key concepts. He’s spreading vocal techniques, but they’re incorrect. Perhaps he’s working hard. As for his voice, I believe if he had received professional training from the start, it wouldn’t have turned out this way. Even his teacher, Corelli, didn’t have professional training. He learned through self-practice, and the result was winning second place in a vocal competition. The first time, he was practically shouting. What I want to say is that having the correct method from the start is crucial. When Ribichesu sings, his voice immediately goes above the vocal cords. The breath doesn’t sink, and there isn’t even breath below his chest. Of course, he takes in a full breath before singing, but from the first note, it goes wrong. I watched his video, and I wasn’t mainly looking at him-I was watching how the masters guided him. The teachers didn’t point out his issues. When Ribichesu was younger, he also won some competitions, but that doesn’t mean he mastered the correct singing technique. Corelli once said that Ribichesu’s high notes weren’t bad, but after singing them, his breath didn’t drop. The notes and words after the high notes were too high in position. That was an accurate observation. Corelli advised him to practice yawning. Now, when you give guidance on yawning, it’s a nuanced technique with a lot of science behind it. Corelli himself would yawn, but it was only in the area above his throat. The purpose was to prevent the vocal placement from rising. But Corelli’s yawning before singing was at the level where most people yawn in daily life. In reality, you know Caruso and Gigli, for instance, they would yawn by pushing the breath below the vocal cords. Below the vocal cords, it’s like a small balloon expanding. Corelli didn’t do this and didn’t understand it was necessary, so his lower abdomen was always lacking in breath. The typical yawn can’t ultimately solve this issue. You can hear it in his voice when he was in his fifties-it sounded somewhat aged, and he used a lot of effort in his face and other areas while singing. That’s because he wanted to present himself as a professional tenor, which requires good resonance and vibrato. However, his resonance and vibrato weren’t correct. Resonance and vibrato, especially in high notes, should always be driven by abdominal support. He lacked abdominal breath support. These are things I don’t usually talk about publicly. I’m sharing them here because not many people will see it. You understand my theories and intentions very well, and I’m eager to exchange ideas with you. You have a high level of vocal understanding. I completely agree with the points you made at the end. My friend, I hope you’ll use my clock theory to constantly evaluate where your voice is coming from. Is another tenor’s voice good or not? After all, in the past 100 years, no one has divided breath placement into 12 clock regions-that’s my original creation. If you’re a tenor, you can flexibly combine the breath and sound in these regions. For example, Tito Schipa used a combination of the front abdomen and oral cavity. With the clock theory, that would be quickly defined as 7 o’clock (front abdomen) + 10 o’clock (oral cavity). Once you establish the internal space, you can try it out. If you forcefully expand the space in just those two regions, you’ll be able to produce a sound similar to Tito Schipa’s. I can define every great tenor in history using the clock theory, then allocate the main breath to those regions, and I can easily sing like Caruso, Gigli, Del Monaco, or any tenor. You can give it a try. If there are technical issues, we can discuss them and learn together. Thank you for supporting my channel!