Dein Gesang, das französische Stilgefühl, das Volumen und die Diktion sind fantastisch, Bryan! Du hast auch in Deutschland noch sehr viele Fans! Deinen herausragenden Arnold an der Münchener Oper in Guillaume Tell werden wir nie vergessen!
Absolute natural tenor! Beautiful control and power. The impeccable consistency of tone : seems effortless but it isn't. Like all wonderful singers, he just does it with total commitment. beautiful high Bs and he makes it sound easy. God-given voice.
This is some of the best singing I have ever heard in my life. I use this video as inspiration. This is what operatic singing can be. Free, resonant, expressive and totally at ease. This is total, utter, mastery
Romeo is full of passion, of fervor, in fact, he is in love with life, probably with enthusiasm coming off at the seams. However, this Romeo seems a bit anemic, phlegmatic, unresponsive to the things around him.
As time goes by, I appreciate more and more performances that are gathered. The efficiency is the power, the youth is in the tone, the wonder is in the eyes. I have heard many Romeos who huff, puff and bark like a puppy in love, but love can also be introverted and full of wonder, solid and surprising.
I have all of my tenor students listening to you now. The vowels are perfect, and the legato! And you have such beautiful posture and alignment. So happy to see you singing so spectacularly!
the notes are executed very well, the voice feels very supported and focused. however the tone lacks beauty. what I like the most about this aria is the sweeteness that a natural tenor voice can put into it. I think that is lacking. maybe i'm being too demanding. anyway, I did enjoy his performance very much
Diction impeccable, style parfait du chant français.... Je persiste à dire, quoi que puissent proclamer les défenseurs de Corelli et autres beuglants italiens, que l'on n'a jamais si bien chanté qu'aujourd'hui....
We can debate the adjective I'm about to use, but let's not.....This is a "manly" tenorial sound, ie it has some weight to it and probably if one seeks character credibility doesn't apply to a 'young" Romeo. I might have found the tempo a wee slow if I listened again. However, the consonants and vowels were all "there" and the voice wide open and that appears these days to be saying a lot. I would be happy to attend a concert in which there were more dramatic pieces on offer or leading more toward ones "a baritone could sing this too". Some critics I fear can only critique from "outside in" ie with their ears, and have no idea what the effort to sing as Hamel does.
Ditto. There are two aspects to any singer's ability: technique, and the ability to convey emotion; for someone in the audience to say, "I feel the emotion." Technique can be studied, can be learned. Conveying emotion cannot. Any singer can be born with this in varying degrees. Do I want Nicolai Gedda's infallible technique, and the ability to sing well into my seventies? Or do I want Di Stefano's voice and washed up at forty-three? I'd rather have Di Stefano's voice, and for twenty years--even fifteen--to sing like a tenor in the Choir of Angels.
Mickey, believe it or not, it is very possible to sing with technique AND emotion. No need to sacrifice your voice after 15 years. If that's how you (the general you) add emotion, then you aren't doing something right
@@aaronmckone8973 I didn't say that's what I'm doing. I just made a personal point that I'd rather have more of that than a great technique and lacking inspiration. I stand by what I said. I'd rather have Di Stefano's voice from 1945-1960, than Gedda's for my whole life. It's not what I would aim for. But if it turned out that way I'd look back with no regrets, except that it didn't last longer. 1950s Di Stefano excites and inspires. /// Speaking from a technical point of view, Hymel is singing slightly constricted and slightly nasal. This in turn is 1)affecting his squillo and causing his timbre to "thin out" a little, giving it a slightly thin/anemic and strained quality; and 2)this is also inhibiting the full harnessing of his scuro, which would give more warmth and depth to the voice, and therefore better convey the "passion" we both feel is lacking from the performance. So Aaron, I am saying that I agree with you wholeheartedly in the end. Improving the technique would certainly improve the emotion too. But Di Stefano's emotion will always be white hot!
tecnicamente è molto bravo però il rovescio della medaglia un Po freddo e comunque secondo me e verdiano. Molto potente e con timbro robusto. Niente di così eccezionale secondo me. Bravo ma non bravissimo.
Bé: pessima abitudine! Romeo esige un timbro e smalto scuri con acuti limpidi e solari. Quindi non è un ruolo per un leggero, certamente! Distinti saluti.
Nice tasteful and unforced singing, though not all that passionate. And doesn't seem to be a very big voice and apparently doesn't carry very well to rows further back in the theatre. Personally I prefer tenors with more squillo in their sound.
@@道-p2e No. He is constricted and slightly nasal. He is raising his larynx up instead of keeping it in its natural relaxed position. This in turn is interfering with the narrowing of the aryepiglottic fold just above his larynx, which is how the squillo is produced. Xu Wang, I like you, I really do! But your last line about "not good to show off too much, since this is not on opera stage" is totally ridiculous. This IS the time for a singer to give everything he can give to his singing voice; not in loudness, as you may be implying with your comment, but in beauty of tone and diction. A singer who can "wow" his audience here is truly victorious!
I agree with you, except I hear some forcing due to the constriction caused by the raised larynx. Raising the larynx or woofing will trash the great squillo sound.
how can you tell how good this guy really is when he is amplified also this role is for a lyric tenor it will kill a spinto and it is doing so in this performance just listen to Roberto to see how it should be sung
He's not amplified....the mic is for the recording. It was filmed at the Wigmore Hall, and no one needs to be amplified there as it only seats about 500 people.
He is not amplified - the mic is there because they are recording his performance. How else do you think you can hear the video? This role is not for a lyric tenor; it is for a larger voice (although I'm sure there are lyric tenors who can sing the aria). Bryan Hymel is an heroic tenor -- a big voice with a clean sound and excellent height. This is his rep.
Dein Gesang, das französische Stilgefühl, das Volumen und die Diktion sind fantastisch, Bryan!
Du hast auch in Deutschland noch sehr viele Fans! Deinen herausragenden Arnold an der Münchener Oper in Guillaume Tell werden wir nie vergessen!
Bravissimo! Wonderful technique! A lesson for all young tenors! Easy vocal production and great breath management!
Beautiful voice, beautiful human ❤❤❤
Well, I guess singing really is as easy as breathing. Damn. So effortless! Bravo!
Beautiful voice! He seems moved himself at the end by the music, his impressive ability, and the audience's delighted and well-deserved reaction.
Absolute natural tenor! Beautiful control and power. The impeccable consistency of tone : seems effortless but it isn't. Like all wonderful singers, he just does it with total commitment. beautiful high Bs and he makes it sound easy. God-given voice.
This is some of the best singing I have ever heard in my life. I use this video as inspiration. This is what operatic singing can be. Free, resonant, expressive and totally at ease. This is total, utter, mastery
Romeo is full of passion, of fervor, in fact, he is in love with life, probably with enthusiasm coming off at the seams. However, this Romeo seems a bit anemic, phlegmatic, unresponsive to the things around him.
As time goes by, I appreciate more and more performances that are gathered. The efficiency is the power, the youth is in the tone, the wonder is in the eyes. I have heard many Romeos who huff, puff and bark like a puppy in love, but love can also be introverted and full of wonder, solid and surprising.
For some beautiful french singing, please hear tenor Georges Thill... Nobody can compare with him...
@@mannail888 Yes, many of us here have arrived at his conclusion.
I have all of my tenor students listening to you now. The vowels are perfect, and the legato! And you have such beautiful posture and alignment. So happy to see you singing so spectacularly!
ua-cam.com/video/t_IOsYUle_M/v-deo.html
Why don't they hear something valuable?
This is unbelievably, ridiculously amazing
Outstanding !
Please open ur own channel. U have so many fans. I’ll listen every day. Ur voice gift from God.
No conocía a este tenor y la verdad Es Que me ha encantado. Preciosa voz y gran técnica. Enhorabuena
Bravo!
Great singing and almost perfect French. One comment. Are you narrowing or squishing on B flat?
Bravissimo!!!
Брависсимо его связкам...
pure, clear and beautiful.
Aah, that page-turner is cute! :)
corelli e intoccabile . Fa parte dell'eccellenza e comunque sono due tenori differenti
素晴らしい！音楽もいいし高音の響きに艶がある！
Aber es tut mir leid..... da nur stimme schön, wo ist die Musikalität? Nichts da!
I thought the same..
Wow!
❤️
Lovely !!!!!!!!!!!! Beautifully sung !!!! BRAVO.
Reading these comments you would never guess that in 2022 he is washed up.
Had the same thought. We see this in opera and sports.
Une interprétation un peu morne et sans élan pour cet air qui devrait témoigner d'un enthousiasme juvénile vibrant.
Je suis d'accord. Pourtant Hymel peut atteindre des sommets. E.G. Enée au Met il y a quelques années: 'Reine, je suis Enée' digne de John Vickers.
esas cmparaciones con Corelli ,Bjoerling , o Heppner o Kraus, Dejadlo , cada uno tiene matices que no tiene el otro
¡BRAVO!
Me hubiera gustado que en la última nota hubieras hecho una mezza di voce <
PERO ¡BRAVOOOOOOOOOOO!
the notes are executed very well, the voice feels very supported and focused. however the tone lacks beauty. what I like the most about this aria is the sweeteness that a natural tenor voice can put into it. I think that is lacking. maybe i'm being too demanding. anyway, I did enjoy his performance very much
There are many of us here who have arrived at the same conclusion as you.
Amazing technic and voice! Bravo
his technique is UNREAL it is so good. That's how you have a long career in singing.
Diction impeccable, style parfait du chant français.... Je persiste à dire, quoi que puissent proclamer les défenseurs de Corelli et autres beuglants italiens, que l'on n'a jamais si bien chanté qu'aujourd'hui....
Mooooolto bravo!
sublime!!!!
A dependable tenor. Suggestion is to LISTEN to JUSSI BJORLING. to hear a genuine Romeo.
So Bjorling is your favorite, but he was not a French specialist like Hymel could never do some of the roles Hymel has done-Tell, Aeneas
Alagna in his young years . The reference
모든ㅡ프로를ㅡ악기도잘 알기쉽게 맞날수있고 노래 음향
프로도 알기쉽게. 해주셔서감사 합니다ㅡㅡㅡㅡㅡㅡㅡㅡㅡㅡㅡ
HAVE SOME OF YOU HEARD JiUSSI BJORLING SING THIS? PLEASE DO.
What on earth has happened to him
We can debate the adjective I'm about to use, but let's not.....This is a "manly" tenorial sound, ie it has some weight to it and probably if one seeks character credibility doesn't apply to a 'young" Romeo. I might have found the tempo a wee slow if I listened again. However, the consonants and vowels were all "there" and the voice wide open and that appears these days to be saying a lot. I would be happy to attend a concert in which there were more dramatic pieces on offer or leading more toward ones "a baritone could sing this too". Some critics I fear can only critique from "outside in" ie with their ears, and have no idea what the effort to sing as Hamel does.
Nicely sung, but where is the passion?
Ditto. There are two aspects to any singer's ability: technique, and the ability to convey emotion; for someone in the audience to say, "I feel the emotion." Technique can be studied, can be learned. Conveying emotion cannot. Any singer can be born with this in varying degrees. Do I want Nicolai Gedda's infallible technique, and the ability to sing well into my seventies? Or do I want Di Stefano's voice and washed up at forty-three? I'd rather have Di Stefano's voice, and for twenty years--even fifteen--to sing like a tenor in the Choir of Angels.
Mickey, believe it or not, it is very possible to sing with technique AND emotion. No need to sacrifice your voice after 15 years. If that's how you (the general you) add emotion, then you aren't doing something right
@@aaronmckone8973 I didn't say that's what I'm doing. I just made a personal point that I'd rather have more of that than a great technique and lacking inspiration. I stand by what I said. I'd rather have Di Stefano's voice from 1945-1960, than Gedda's for my whole life. It's not what I would aim for. But if it turned out that way I'd look back with no regrets, except that it didn't last longer. 1950s Di Stefano excites and inspires. /// Speaking from a technical point of view, Hymel is singing slightly constricted and slightly nasal. This in turn is 1)affecting his squillo and causing his timbre to "thin out" a little, giving it a slightly thin/anemic and strained quality; and 2)this is also inhibiting the full harnessing of his scuro, which would give more warmth and depth to the voice, and therefore better convey the "passion" we both feel is lacking from the performance. So Aaron, I am saying that I agree with you wholeheartedly in the end. Improving the technique would certainly improve the emotion too. But Di Stefano's emotion will always be white hot!
Hated DiStefano’s extremely wild and unmusical singing. Ugliness!
tecnicamente è molto bravo però il rovescio della medaglia un Po freddo e comunque secondo me e verdiano. Molto potente e con timbro robusto. Niente di così eccezionale secondo me. Bravo ma non bravissimo.
scusi ma se questo è un timbro robusto, Corelli che timbro aveva? Scusi il mio disappunto...
almeno per questa romanza. Abituati a tenori con timbri piu leggeri. Vedi kraus e co
Bé: pessima abitudine! Romeo esige un timbro e smalto scuri con acuti limpidi e solari. Quindi non è un ruolo per un leggero, certamente! Distinti saluti.
mauro bernardini diciamo ke qst tenore fa skifo
With a large head and broad chest, he has the ideal physiognomy for a singer.
Presque, mais pas...aussi bien que Roberto Alagna! Pas mal, un grand Bravo!
BJÖRLING❗😉
Nice tasteful and unforced singing, though not all that passionate. And doesn't seem to be a very big voice and apparently doesn't carry very well to rows further back in the theatre. Personally I prefer tenors with more squillo in their sound.
What the fuck are you talking?
Ben Klaus What.................talikng ABOUT?
@@道-p2e No. He is constricted and slightly nasal. He is raising his larynx up instead of keeping it in its natural relaxed position. This in turn is interfering with the narrowing of the aryepiglottic fold just above his larynx, which is how the squillo is produced. Xu Wang, I like you, I really do! But your last line about "not good to show off too much, since this is not on opera stage" is totally ridiculous. This IS the time for a singer to give everything he can give to his singing voice; not in loudness, as you may be implying with your comment, but in beauty of tone and diction. A singer who can "wow" his audience here is truly victorious!
I agree with you, except I hear some forcing due to the constriction caused by the raised larynx. Raising the larynx or woofing will trash the great squillo sound.
@@BK-cg4wt No need to get so testy. We're only trading ideas, not ideologies.
Nice voice but boring
Soo nasal
Yes; and you should have added, "and constricted."
how can you tell how good this guy really is when he is amplified also this role is for a lyric tenor it will kill a spinto and it is doing so in this performance
just listen to Roberto to see how it should be sung
He's not amplified....the mic is for the recording. It was filmed at the Wigmore Hall, and no one needs to be amplified there as it only seats about 500 people.
He is not amplified - the mic is there because they are recording his performance. How else do you think you can hear the video? This role is not for a lyric tenor; it is for a larger voice (although I'm sure there are lyric tenors who can sing the aria). Bryan Hymel is an heroic tenor -- a big voice with a clean sound and excellent height. This is his rep.
Quelle sale marotte de vieux maniaques de vouloir comparer ce qui n'est pas comparable ! Ecoutez chacun pour ce qu'il a de bon à apporter au chant.
He sings with no emotion. VERY
GOD PLEASE GIVE US A ADHER PAVAROTTI AND AND THE GREATEST FOR EVER CORELLI
He's picking up weight.
Bravissimo!!!