Fake musicality; Whimpy vs Vocal musicality; Real men singing
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- Опубліковано 13 січ 2025
- This will be a guessing game; in order to not insult anyone, I will ask the commenters themselves to identify which singer is a modern singer with fake musicality and a bad voice, and which one is a good old school singer who sings like a real man. The solution will be posted in an indefinite future.
You can, of course, add any adjectives you want; if you can name the singer it will be great too!
Have fun!!!
I think the real question is:
"Who are the ones singing with a solid technique??"
Is number 3 that choirboy who infamously sang Wagner?
Number 8 has got to be Kauffann - you can pick out that muffled sound in half a second
1. Real: very good, straightforward.
2. Real: ?Vickers.
3. Someone who has no business singing this repertoire, even if accompanied by a fortepiano (!)
4. Real: WOW!
5. Er ... no ...
6. Fake: vibrato sounds all wrong ("upside down", I think, and Valsalva).
7. Real: good.
8. Someone VERY famous, being "artistic".
9. Wow: Völker
10. Someone not-so-famous, being "artistic".
1. Real. I can't tell who the singer is, (I don't know male voices too well), but he sounded nice, and I could understand all of the words.
2. Real(?) A bit less subtle than the previous one, but he sounds loud and proud.
3. Fake. A tad puny, and the vowels sounded completely different than the previous singers.
4. Real(?) He was very powerful, and he meant every word he said.
5. Fake. Weak, muffled, and gross. Sounded like a wannabe Richard Tucker.
6. Fake. A bit wobbly on nearly every note.
7. Real. Strong voice, and nuanced delivery.
8. Fake. Muffled, unclear words. Was that Jonas Kauffmann?
9. Real.
10. Fake. Sounded aspirated and melodramatic. He was a bit flat too. Is this Kauffmann as well? The bad ones all sound the same......I can't tell.
What opera is this from, I don't recognize it?
the last one is not Kaufmann, but I get the confusion. Bravo for the guesses. It is from Beethoven's Fidelio; the aria is call: Gott welch dunkel hier!
@@1UShawn The dramatic tenor/Heldentenor role? Good choice honestly.
Number 4 has to be Jon Vickers. I know that voice from anywhere :D!
@@deadwalke9588 But it is not, you are wrong :P; He is far better than Vickers in my opinion.
@@1UShawn What, really? Aww, just tell us haha!
I don't understand this talk of "fake musicality". Doubtless what you are talking about in this video is the level of vocal development. But you surely must see that worse vocal development doesn't invalidate the artist's sense of musicality anymore than playing a bad piano would invalidate a good pianist's musicality.
They are two separate things.
Let's follow up with the example of a pianist, a legatto line is something technical that is acheived by technical mean, the lesser pianist while ruins the line wheras the good one will make it smooth and very musical. Technic and music go hand in hand. Notice also that I opposed fake musicality to vocal one, not to being musical in general. Vocal musicality is when the voice makes the music speaks, there is only one way to do that.
@@1UShawn I think it is technically incorrect to say 'fake musicality' since it is still a kind of musicality. The problem is that bad technic makes it hard to be musical (i know ahaha). But good tecnic doesn't automatically mean good musicality. You can have the best voice in the world and still be boring to listen to.
btw, i love your video on aural tradition, it was very helpful and illustrates exactly what is going wrong with singing today
@@beckyyule1228 Yes you can have perfect voice and be boring, but I don't think you can have bad voice and be as fully expressive as you can be with a better one.
@@1UShawnI think an example of that would be Ettore Bastianini. As much as I love him and his legendary voice, sometimes the recordings of his singing such as Rigoletto and even La Forza Del Destino, is a little too perfect for the lack of a better phrase. His filmed live performance in a Urna Fatale showed him not physically acting a lot, a little bit reserved despite the song.
A rare recording of him performing as Rigoletto in Chicago 1962, at the end of the opera where he goes “Gilda, Mia Gilda…” it sounded so cold and lacked emotion.
Anyways, that’s just my opinion and I still love him nonetheless.