Jerry Hadley - Rossini: Il Barbiere Di Siviglia - Cessa di più resistere (1992)

Jerry Hadley sings Count Almaviva's aria "Cessa di più resistere" from Il Barbiere Di Siviglia by Gioacchino Rossini - Orchestra della Toscana, Conductor: Gianluigi Gelmetti, 1992
In memoriam Jerry Hadley
(June 16, 1952 - July 18, 2007)
en.wikipedia.org/wiki/Jerry_H...

[@user-py1jg6bb2r]

Beautiful singing, I love his voice!

[@modestofontanez3343]

Loved it! Lovely voice and excellent technique and a superb rendition.

[@user-pe8iv3iu7c]

Full voice bravo 👏

[@oliverdelica2289]

I used not like as low rendition of Ah il Piu Lieto. But listening to Hadley's rendition made me appreciate the intricacy and accuracy of each note he sings 🧐🤩

[@operafairy]

Lovely voice, I do like Hadley, but not in this repertoire. Totally out of Rossinian style.

[@BaroneVitellioScarpia1]

Much better than the overrated Florez.

[@andrzejzborowski4920]

I prefer to listen Jerry Hadley who performs aria in slower tempo but with a frase, taste and selective coloratura than mosquito machine pistols who just tremble its voices and have no legato.

[@operafairy]

if tenor can't sing it in original tempo and with the required fioritura he hasn't to sing it at all. Singing staccato in connection, in legato line is a real technical art and Hadley totally lacks of it. The final section is especially catastrophic. It is just simple lyrical singing which has nothing to do with the Rossinian singing, Rossinian style itself. It's the same wrong thing when too light voice performs too heavy pieces. I'm sure you'd not be pleased with it. It's the matter of proper repertoire, voice and technique.The Rossinian tenor is a very special voice. It was destroyed in 1830s and obviously it will not be revived even in future. BTW in Rossini's time there were no huge, full throated voices, there were virtuoso, agile, flexible voices performing high notes in falsetto. The Rossinian tenor was the successor of castrati as primo uomo in Italian Opera and his sound was never like the voice of his successor, tenore di forza. I'm doubt that you'll like the real Rossinian tenor's voice from that era. But that's how it was performed and for that voices and that technique Rossini created his music. You never can get the real Rossinian singing from Corelli like voice and all argument about full bodied tenors performing Rossini in proper way are just nonsense.

[@andrzejzborowski4920]

@@operafairy Manuel Garcìa was the first Almaviva in Barbiere. But for example he sang Lindoro's aria from Italiana in Algeri a third lower. So he wasn't albe to sing it but he already did. I know that the tenors from Rossini times sang much lighter than romantic and verismo tenors. That flexible style could be heard still in the beginning of the 20th century. Listen Beniamino Gigli singing "Prendi l'anel ti dono" or Lauri-Volpi singing "A te o cara". I can imagine how the bel canto tenors could have sounded. It's not like modern Rossini tenors Florez or Rockwell Blake who perform coloraturas like machine guns. And we're not sure of the tempos in the first half of the 1800. We can only guess.

[@operafairy]

@@andrzejzborowski4920 Bellini and Donizetti created for that type of tenors which was created by Duprez, so, it was rather different than Rossini's one. The technique itself had been changed after Duprez and Gigli and ets sung exactly in this manner not in Rossinian. Garcia became a baritone at the end of his career and Nozzari sung even bass roles, but it's about other special feature of that era which had no vocal standards and classifications. All famous soprano divas of that period had hybrid types of voices, that's why today no one could sing properly Colbran's or Malibrans' roles. Or Nozzari's roles. And that's why I wish we had a time machine :) Oh. and I just can't stand Florez, Camarena an all in their class so called ''Rossinian'' tenors.

[@andrzejzborowski4920]

@@operafairy ua-cam.com/video/ZdgkkFZYfRU/v-deo.html listen to that. It's not verismo style. It's not post-Duprez singing. It's the original bel canto style. Gigli called it "sul fiato-on breath". It was a clear light voice but not weak.

[@operafairy]

​@@andrzejzborowski4920 well, it was just a version of lyrical singing appealing to sweetness of tone as the analogue of light signing which helped to make an effect of good dynamics and work with the colour and volume. Gigli as a successor of Caruso was never a Rossinian tenor. In this way sung almost all Italian tenors of that period - Ederle, Solari, Anselmi, Schipa etc.