The depth of emotion is astounding. But even more astounding is the vocal technique. The singers of the past were virtuosos of the art of singing. So many today are shallow vocalists. I’ve been an opera goer in NY for 67 years, and I have witnessed the scrubbing clean of emotion, and the same for virtuoso vocalism that made the singing of the past so compelling. Today, a modern singer would get polite applause, but when Carlo Bergonzi would sing the aria, there would be a shower of bravos that would last 2 or 3 minutes. I did not dream it, I lived it.
Regardless of whether his voice had too much tremolo or not, his singing was appreciated by the audience. Corelli was an admirer. The longevity of his voice shows that he knew how to handle it.
I liked the tremolos. My friend actually advised me to listen to him, because I admire Caruso, Björling and Corelli.. In my opinion, not only is he pretty much on the same level with them, the greatest of the greatest, but, moreover, his voice vibrates in a very tender and delicate manner.
It's beautiful, very regular vibrato, so precise, not too fast, not too slow, almost like a trill. It's what gives the voice overtones and spark. The voice would sound more brilliant but for the limitations of the acoustic recording technology which greatly reduced the brilliancy.
If you read what Corelli said about Lauri-Volpi you'll realize that this is a good example of his earlier singing, in which he covered a fair amount in the middle range. He always naturally sang with a very low laryngeal position, which came naturally to him; he wasn't taught to sing that way. I believe that the covering exaggerated his already quick vibrato rate. Interestingly, despite the low larynx, he does not "grip" in the back of his throat or lose diction. Later he did not cover so much, and his intonation improved. What an example, though, of the old bel canto "portare la voce," such phrasing and romantic nuance. Lauri-Volpi was very careful what repertory he sang at each stage of his development, and so preserved his voice, singing beautifully into his 80s.
The trouble (in my not so humble opinion) with experts who know all about the techniques of singing (and it's fascinating - don't think I don't appreciate it) is that they seem to value the analysis of the singer's technique over what it sounds like to uneducated listeners. Yeah, OK, fine, Franco Corelli did some sort of thing with his larynx that you think was a good thing to do. I, as a mere listener to the singing, think he sounds like a thug that I wouldn't want to meet in a dark alley. He's great as Radames - rushing into battle to do bad things to people - but rubbish in sensitive Neapolitan songs about love and loss. He's not the only one - G L-V managed to get out of his metier, too (as I think we can hear here). You mileage will, I hope, vary: it would be a dreadful world if we all agreed about everything.
@@davidgould9431 If we agree mileage wary ,you are easily wrong on all points in other persons' eyes even if you think are right on everything . Your personal preference doesn't make anything right ,from Aida to Elisir to Neapolitan songs ,it's just your personal preference .Just an example of wrong "thinking": Radames isn't rushing into any battle to do bad things to people , read the libretto ,and his *metier* is best case of marginal importance to the plot (his *rank* is of utmost importance) . Your 21st century sensibilities transplanted into 19th century opera about a plot set a few thousands years back are of no importance .But as I said in other persons' eyes you are wrong on ALL fronts ,Elisir ,Neapolitan songs, importance of technique to other people ,not just on the Radames front ,pun intended .Petillo is wrong too ,wrong as in imagining things . Corelli didn't say anything about LV's larynx position ,and Petillo can't possibly know anything about LV's *natural* larynx position because he didn't use to peer down his throat when he was singing .You are both imagining things ,with the difference you call your imagining "thinking"
It should be noted that this recording is dated 1922 at only 3 years from LV operatic debut that took place in 1919. LV at the time was already famous thanks to an incredible success in Manon (Massenet) in Rome and for this reason had the opportunity to record his early voice. The same LV in an interview admitted that at that time he was influenced by the recordings of Enrico Caruso and in fact there is an attempt to darken the voice. Furthermore LV voice has never been easy to be entrapped in vinyl grooves and surely in this acoustic recording most of harmonics are lost. In a few years he will develop an incredible technique thanks to his wife Maria Ros and also he will abandon any imitation to become the most representative exponent of early800 singing school (20 years later Maria Callas did the same operation reproposing a style of singing forgotten during verism). The best recordings of Lauri Volpi are surely those engraved between the end of 20s and the begin of 40s
Sung with with much refinement and feeling. I love the delicate morendi. This aria is absolutely the wrong moment for playing the rustic simpleton, and he understands this perfectly. People beating the bush about the vibrato don't understand this is an acoustic recording exacerbating a natural rapid vibrato.
Gustave Haenschen, founding director of popular releases at Brunswick Records, assisted his classical-releases counterpart, Walter B. Rogers, in recording this and Lauri-Volpi’s other Brunswick discs. Haenschen made clear that not one of Lauri-Volpi’s acoustic recordings captured his voice properly. His electrical recordings, especially his Victor/HMV discs, captured the overtones in his unique voice, although as Franco Corelli, Alfredo Kraus, and Carlo Bergonzi told me and others, the voice of Lauri-Volpi had to be heard in the opera house to be fully grasped and appreciated.
E' Giacomo Lauri Volpi nel 1922. Ancora non ha tolto il vibrato che lo contraddistingueva a quell'età. Dopo, grazi a lla moglie Maria Ros, acquista più padronanza della tecnica ed il vibrato sparisce per poi tornare in età senile. Lo si riconosce da come emette le A e dallo squillo. Non è affatto De Lucia.
@@brunospoleti7318 Fatalità, posseggo alcune incisioni di GLV, le prime in particolare, dove il vibrato eccessivo c'era eccome. Non so se a causa delle incisioni piuttosto approssimative dell'epoca.
The founding recording directors of the Brunswick Company, Walter B. Rogers, who directed all classical recordings and Gustave Haenschen, Rogers' counterpart for popular-music releases, worked with Lauri-Volpi when he accepted an exclusive Brunswick contract. Haenschen, whose first language was German, which Lauri-Volpi spoke fluently, served as an intermediary with Rogers when they recorded Lauri-Volpi. Haenschen, whom I was privileged to know quite well, said that none of Lauri-Volpi's acoustical recordings captured the "ping" of his tones, and inadvertently made his vibrato inordinately prominent. Comparing his Brunswick acoustical recordings with his late-1920s Victor electrical discs, especially the "A te o cara" from "Puritani," confirms Haenschen's judgment.
BASTA ASCOLTARE L'ULTIMO LP VEDI 1974 PER DIRE CHE DOPO 50 ANNI DI CARRIERA SI E' POTUTO PERMETTERE DI LASCIARE UN COSI GRANDE RICORDO DELLA SUA ECCEZZIONALE VOCE
Also, I must disagree with those who suggest that this could be Fernando de Lucia, whose placement was entirely different and much more "masky" particularly his [i] vowel, which was extremely bright and nasal.
non e de lucia e lauri volpi io ho il 33 giri all inizio carriera volpi aveva un suo modo di cantare a volte scuriva la voce in un disco che canta ideale di tosti sembra caruso vi assicuro che e volpi
His vibrato is so fast as to be a "tremolo" which reminds me of a goat bleat. Tone is nice although seems very closed in the middle range of the voice. He is very secure in the technique he used to produce the tone but the "tremolo" begins to wear upon my ear.
+Jeff Frederick Yes, He's very young here, but Take a look at his Bianca Al Par, HIS Puritani arias and Gugliemo Tell. Imo he was the best Manrico in operatic history. Enjoy
The real problem with modern people is that they are literally minded. Opera, particularly bel canto opera, isn't reality tv. Who expects a yokel Nemorino is totally wrong, it's like expecting a barefoot Giselle in coarse skirts and stinking of manure just because the libretto says she's a peasant girl. Adolphe Adam didn't write music for a *literal* peasant Giselle, Perrot didn't choreograph for a *literal* peasant Giselle, and Donizetti didn't write music for a *literal* yokel Nemorino. *Giselle wears satin pointe shoes and moves with sublimated grace* , and *Nemorino sings with vocal nobility* and all the bel canto graces the tenor can think of.
Amen . David Gould volunteered in another comment his not so humble opinion about Radames being a thug rushing into battle to do bad things to people . Simplistic modern notions abound . I'm not into 19th century classical ballet ,I take it on faith you know what you are talking about .Sounds plausible given 19th century aesthetics :-) , arts got into celebrating mediocrity ,ugliness and aberrant behavior only in the 20th century
@@Nangis123 Thug Radames is even worse than yokel Nemorino. I an very attached to Radames and won't stand this misrepresentation ::twinkle:: He's not a thung, prizefighter, or the wooden martial character most tenors make of him. He is a noble idealist with a strong sense of honor and it's his idealism and his honor that leads to his downfall in the end. His singing throughout the opera is either lyric or dramatic, not heroic. Thug indeed! I am very indignant on Radames' and Verdi's behalf ::grin::
Verdi's Otello is another glaring example of usually misinterpreted role. He usually considered to be some kind of tutto forte 'baritenor' role by most 'opera folks' of today, which is entirely contrary to Verdi's intention. The original Otello, Francesco Tamagno, who sang wide variety of classical virtuosic tenor roles including Arnoldo and Raoul, was by no means a 'baritenor'. And Verdi already was worried about lack of subtlety and nuance in Tamagno's voice. What he would said about del Monaco's Otello? Too many XX century's Otellos were downright veristic in their interpretations, converting sensitive upper-class Shakesperian hero into simplistic plebeian jealous type à la Don José or Canio, doing quite little justice to original Verdi's score.
@@ilgattopardo3231 Couldn't agree more. I have read ecstatic comments about Vinay's suitability as Otello BECAUSE he could sing the Grand Inquisitor in Don Carlo too. 'Opera folks' are in need of a good shaking. It is as you say, Tamagno used to sing Arnoldo, Raoul, (and Manrico), not Grand Inquisiteur, Wagner, and Canio. I used to believe del Monaco did act Canio in everything, but even his Canio bears no resemblance to the Canio of the XIX century. Verdi would have been furious.
caruso was...Lauri Volpi never meddled with the regime (gone to Spain) he was a hero of WWI and nowithstanding he was a conservative monarchic NEVER played ball with the black ones
@@banmadabon you mean gigli, not caruso. Caruso was dead. Gigli did indeed very well during the regime, sang in Rome most of the time, Volpi sang littl in Italy during the period, mostly in Spain, Franc and South America, and returned after the war. Gigli went away after the war and returned after a couple of years for a few performances and concerts. +Donald Ellis This is all you have to say? For shame. Take your political agenda elsewhere, I've seen this comment of yours on other videos too.
В АРХІВІ МОГО ПОКІЙНОГО БАТЬКА - МУЗИКОЗНАВЦЯ ЗБЕРІГАЮТЬСЯ ЛИСТИ ЦЬОГО УНІКАЛЬНОГО ТЕНОРА ЙОГО ІМЕНЕМ БУВ НАЗВАНИЙ БУЛЬВАР ДЕ САМЕ Й МЕШКАВ МАЕСТРО ІЩЕ ПРИЖИТТІ
Very nice singing BUT his interpretation seems like an exact copy of Caruso's recording of 1904 in terms of phrasing/breathing A very unique and beautiful voice though. Bravissimo
@@Nangis123 There's always some idiot who comes along when any singer is posted and states that his favorite sings an aria or a duet better. Everyone can do better than Caruso in bel canto repertoire. Caruso's Nemorino was Canio's twin. We are grateful no one ever thought it worth emulating.
The real problem with this (it sounds lovely - don't get me wrong) it that it sounds distinctly patrician. Here's a posh guy singing - well - stuff. Nicely, to be fair. Gigli (to take a random example) sounds like a proper yokel. Bit stupid but well-intentioned. Anyone who's so in control as Lauri-Volpi isn't a lovestruck, uneducated rural oik. It's a lovely noise, but it's just not convincing.
Doppelt hält besser? Nö. I habe deinen alten Kommentar auch gesehen. Du bist nach wie vor falsch. Dies ist natürliches Vibrato, Voraussetzung fürs Durchschneiden durch Orchester hindurch.
@@fedecastaldi ahah sei troppo crudele! comunque anche Celletti diceva che nelle prime registrazioni ricordava molto De Lucia. Non ricordo la risposta di LV in merito...
I like volpi but this is not great,have heard much better from gigli,bjoerling, mc cormack,and especially joesph scmidth who really sings this with feeling
There's always some idiot who comes along when ANY singer is posted and states that his favorites sing an aria or a duet better. The comment always begins with the childish disclaimer "I like the_posted_singer but" P.S. If you like them so much you could at least spell their names correctly?
plug for your fav singer? you fanboys have no shame. And which Di Stefano do you mean, the 20 something one who could sing, even if his style was questionable , or the 30, 40, 50 something one who couldn't anymore? Volpi is indeed far away from both Di Stefanos ,here at least we have someone who could both sing and had the right style for it, even if he covers too much. The only "immense " thing about Di Stefano was the rapidity with which he blew his voice ,such a pity. And anyway you should know better than to compare horn with electric records
@@eugeniogentili1048 I have the Fonotipia XXPH 5321-2 original with Lauri Volpi's name on it ,it's the same voice as on the other Fonotipias ,same voice as here ,but I guess there's no point arguing with people .You may believe what you want ,not my business
+Mario Pietta "A portait of Giacomo Lauri-Volpi - Volume I Opera Arias and Scenes Songs (1920-1957)" 16 Act 2. Romance: Una furtiva lagrima Gaetano Donizetti Giacomo Lauri-Volpi4:44
@@ccchan7537 yes! Having listened closely it is Lauri Volpi. He doesn't have the beautiful tone of Caruso, but then, very few did or do!! But, a great recording that Ive enjoyed listening to again, many thanks for the reply.
The depth of emotion is astounding. But even more astounding is the vocal technique. The singers of the past were virtuosos of the art of singing. So many today are shallow vocalists. I’ve been an opera goer in NY for 67 years, and I have witnessed the scrubbing clean of emotion, and the same for virtuoso vocalism that made the singing of the past so compelling. Today, a modern singer would get polite applause, but when Carlo Bergonzi would sing the aria, there would be a shower of bravos that would last 2 or 3 minutes. I did not dream it, I lived it.
Более чувственного исполнения я никогда не слышал , и не мог слышать . Тол ко здесь много души !
Se puoi ascolta la versione di Tito Schipa
Regardless of whether his voice had too much tremolo or not, his singing was appreciated by the audience. Corelli was an admirer. The longevity of his voice shows that he knew how to handle it.
I liked the tremolos.
My friend actually advised me to listen to him, because I admire Caruso, Björling and Corelli.. In my opinion, not only is he pretty much on the same level with them, the greatest of the greatest, but, moreover, his voice vibrates in a very tender and delicate manner.
La voz tremola es por la antigüedad de la grabación. Si escuchas las grabaciones de Caruso y de los cantantes de esa época verás que suenan todas así.
Pure belcanto singing, what an artist/
Best Una furtiva i've ever heard!!!
To much vibrato.
It's beautiful, very regular vibrato, so precise, not too fast, not too slow, almost like a trill. It's what gives the voice overtones and spark. The voice would sound more brilliant but for the limitations of the acoustic recording technology which greatly reduced the brilliancy.
MARAVILLOSO ! ! ! PERFECTO * * * * *
If you read what Corelli said about Lauri-Volpi you'll realize that this is a good example of his earlier singing, in which he covered a fair amount in the middle range. He always naturally sang with a very low laryngeal position, which came naturally to him; he wasn't taught to sing that way. I believe that the covering exaggerated his already quick vibrato rate. Interestingly, despite the low larynx, he does not "grip" in the back of his throat or lose diction. Later he did not cover so much, and his intonation improved. What an example, though, of the old bel canto "portare la voce," such phrasing and romantic nuance. Lauri-Volpi was very careful what repertory he sang at each stage of his development, and so preserved his voice, singing beautifully into his 80s.
I think this vibrato is not 100% "real" , because the recorder is too bad and i think it is not accurate
The vocal technic is that of the so called "voce in maschera" ... and he masters it as no one in the 19th century
He was taught to sing that way
The trouble (in my not so humble opinion) with experts who know all about the techniques of singing (and it's fascinating - don't think I don't appreciate it) is that they seem to value the analysis of the singer's technique over what it sounds like to uneducated listeners. Yeah, OK, fine, Franco Corelli did some sort of thing with his larynx that you think was a good thing to do. I, as a mere listener to the singing, think he sounds like a thug that I wouldn't want to meet in a dark alley. He's great as Radames - rushing into battle to do bad things to people - but rubbish in sensitive Neapolitan songs about love and loss. He's not the only one - G L-V managed to get out of his metier, too (as I think we can hear here). You mileage will, I hope, vary: it would be a dreadful world if we all agreed about everything.
@@davidgould9431 If we agree mileage wary ,you are easily wrong on all points in other persons' eyes even if you think are right on everything . Your personal preference doesn't make anything right ,from Aida to Elisir to Neapolitan songs ,it's just your personal preference .Just an example of wrong "thinking": Radames isn't rushing into any battle to do bad things to people , read the libretto ,and his *metier* is best case of marginal importance to the plot (his *rank* is of utmost importance) . Your 21st century sensibilities transplanted into 19th century opera about a plot set a few thousands years back are of no importance .But as I said in other persons' eyes you are wrong on ALL fronts ,Elisir ,Neapolitan songs, importance of technique to other people ,not just on the Radames front ,pun intended .Petillo is wrong too ,wrong as in imagining things . Corelli didn't say anything about LV's larynx position ,and Petillo can't possibly know anything about LV's *natural* larynx position because he didn't use to peer down his throat when he was singing .You are both imagining things ,with the difference you call your imagining "thinking"
It should be noted that this recording is dated 1922 at only 3 years from LV operatic debut that took place in 1919. LV at the time was already famous thanks to an incredible success in Manon (Massenet) in Rome and for this reason had the opportunity to record his early voice.
The same LV in an interview admitted that at that time he was influenced by the recordings of Enrico Caruso and in fact there is an attempt to darken the voice. Furthermore LV voice has never been easy to be entrapped in vinyl grooves and surely in this acoustic recording most of harmonics are lost. In a few years he will develop an incredible technique thanks to his wife Maria Ros and also he will abandon any imitation to become the most representative exponent of early800 singing school (20 years later Maria Callas did the same operation reproposing a style of singing forgotten during verism).
The best recordings of Lauri Volpi are surely those engraved between the end of 20s and the begin of 40s
Grazie per avermi offerto l'opportunità di questi ascolti!
Вдохновение ! И потрясающий талант! Маэстро нет , но душа его с нами !
Sung with with much refinement and feeling. I love the delicate morendi. This aria is absolutely the wrong moment for playing the rustic simpleton, and he understands this perfectly. People beating the bush about the vibrato don't understand this is an acoustic recording exacerbating a natural rapid vibrato.
Total breath control unmatched technique masterclass of belcanto
One of the best renditions I've ever heard!
fenomenal
Remembering GIACOMO LAURI-VOLPI (1892 - 1979) on his birthday !
Endlich mal ein intelligenter und geschmacksvoller Tenor der es nicht übertreibt mit dem Bauerndasein.
un artista es un artista
INOLVIDABLE Y MARAVILLOSO
UNA VOZ MAGNIFICA
One in a million!
More like one in 100 billions
Provavelmente o maior tenor da época.
Perfezzione, grazie mile :-)
Wonderful..
Gustave Haenschen, founding director of popular releases at Brunswick Records, assisted his classical-releases counterpart, Walter B. Rogers, in recording this and Lauri-Volpi’s other Brunswick discs. Haenschen made clear that not one of Lauri-Volpi’s acoustic recordings captured his voice properly. His electrical recordings, especially his Victor/HMV discs, captured the overtones in his unique voice, although as Franco Corelli, Alfredo Kraus, and Carlo Bergonzi told me and others, the voice of Lauri-Volpi had to be heard in the opera house to be fully grasped and appreciated.
E' Giacomo Lauri Volpi nel 1922. Ancora non ha tolto il vibrato che lo contraddistingueva a quell'età. Dopo, grazi a lla moglie Maria Ros, acquista più padronanza della tecnica ed il vibrato sparisce per poi tornare in età senile. Lo si riconosce da come emette le A e dallo squillo. Non è affatto De Lucia.
Andrea, - GIACOMO LAURI VOLPI - non ha mai avuto il vibrato ...
@@brunospoleti7318 Fatalità, posseggo alcune incisioni di GLV, le prime in particolare, dove il vibrato eccessivo c'era eccome. Non so se a causa delle incisioni piuttosto approssimative dell'epoca.
The founding recording directors of the Brunswick Company, Walter B. Rogers, who directed all classical recordings and Gustave Haenschen, Rogers' counterpart for popular-music releases, worked with Lauri-Volpi when he accepted an exclusive Brunswick contract. Haenschen, whose first language was German, which Lauri-Volpi spoke fluently, served as an intermediary with Rogers when they recorded Lauri-Volpi. Haenschen, whom I was privileged to know quite well, said that none of Lauri-Volpi's acoustical recordings captured the "ping" of his tones, and inadvertently made his vibrato inordinately prominent. Comparing his Brunswick acoustical recordings with his late-1920s Victor electrical discs, especially the "A te o cara" from "Puritani," confirms Haenschen's judgment.
beautiful !!!!
BELLLEZA !!!!!!!!!!!!!!!!!!!!!!!!!!!!
BASTA ASCOLTARE L'ULTIMO LP VEDI 1974 PER DIRE CHE DOPO 50 ANNI DI CARRIERA SI E' POTUTO PERMETTERE DI LASCIARE UN COSI GRANDE RICORDO DELLA SUA ECCEZZIONALE VOCE
siempre exquisito
I like Schmidt best of all
Heavenly!
Giacomo y Maria Homenaje en Godella❤
Also, I must disagree with those who suggest that this could be Fernando de Lucia, whose placement was entirely different and much more "masky" particularly his [i] vowel, which was extremely bright and nasal.
Si mama? Both diffenced, but it just a 1 second.
Che cantante. Che te
non e de lucia e lauri volpi io ho il 33 giri all inizio carriera volpi aveva un suo modo di cantare a volte scuriva la voce in un disco che canta ideale di tosti sembra caruso vi assicuro che e volpi
He is certainly singing in the FDL style, but I don't think it is FDL as it is not baritonal enough. Lovely singing though. Henry Webb
only the old singing-tenor is a tenor
Ce n'est pas GLV et ce n'est pas de 1949, disque periode accoustique
Ele está cantando igual ao Caruso! Muito igual, talvez imitando-o.
Não achei, achei bem diferente do Caruso. Achei a vós dele mais Baritonal. Strucon
His vibrato is so fast as to be a "tremolo" which reminds me of a goat bleat. Tone is nice although seems very closed in the middle range of the voice. He is very secure in the technique he used to produce the tone but the "tremolo" begins to wear upon my ear.
+Jeff Frederick Yes, He's very young here, but Take a look at his Bianca Al Par, HIS Puritani arias and Gugliemo Tell. Imo he was the best Manrico in operatic history. Enjoy
I can't see how it could be anyone else but GLV.
The real problem with modern people is that they are literally minded. Opera, particularly bel canto opera, isn't reality tv. Who expects a yokel Nemorino is totally wrong, it's like expecting a barefoot Giselle in coarse skirts and stinking of manure just because the libretto says she's a peasant girl. Adolphe Adam didn't write music for a *literal* peasant Giselle, Perrot didn't choreograph for a *literal* peasant Giselle, and Donizetti didn't write music for a *literal* yokel Nemorino. *Giselle wears satin pointe shoes and moves with sublimated grace* , and *Nemorino sings with vocal nobility* and all the bel canto graces the tenor can think of.
Amen . David Gould volunteered in another comment his not so humble opinion about Radames being a thug rushing into battle to do bad things to people . Simplistic modern notions abound .
I'm not into 19th century classical ballet ,I take it on faith you know what you are talking about .Sounds plausible given 19th century aesthetics :-) , arts got into celebrating mediocrity ,ugliness and aberrant behavior only in the 20th century
@@Nangis123 Thug Radames is even worse than yokel Nemorino. I an very attached to Radames and won't stand this misrepresentation ::twinkle:: He's not a thung, prizefighter, or the wooden martial character most tenors make of him. He is a noble idealist with a strong sense of honor and it's his idealism and his honor that leads to his downfall in the end. His singing throughout the opera is either lyric or dramatic, not heroic.
Thug indeed! I am very indignant on Radames' and Verdi's behalf ::grin::
Verdi's Otello is another glaring example of usually misinterpreted role. He usually considered to be some kind of tutto forte 'baritenor' role by most 'opera folks' of today, which is entirely contrary to Verdi's intention. The original Otello, Francesco Tamagno, who sang wide variety of classical virtuosic tenor roles including Arnoldo and Raoul, was by no means a 'baritenor'. And Verdi already was worried about lack of subtlety and nuance in Tamagno's voice. What he would said about del Monaco's Otello? Too many XX century's Otellos were downright veristic in their interpretations,
converting sensitive upper-class Shakesperian hero into simplistic plebeian jealous type
à la Don José or Canio, doing quite little justice to original Verdi's score.
@@ilgattopardo3231 Couldn't agree more. I have read ecstatic comments about Vinay's suitability as Otello BECAUSE he could sing the Grand Inquisitor in Don Carlo too. 'Opera folks' are in need of a good shaking. It is as you say, Tamagno used to sing Arnoldo, Raoul, (and Manrico), not Grand Inquisiteur, Wagner, and Canio. I used to believe del Monaco did act Canio in everything, but even his Canio bears no resemblance to the Canio of the XIX century. Verdi would have been furious.
Mussolini's favorite tenor! Still in the running!
caruso was...Lauri Volpi never meddled with the regime (gone to Spain) he was a hero of WWI and nowithstanding he was a conservative monarchic NEVER played ball with the black ones
@@banmadabon you mean gigli, not caruso. Caruso was dead. Gigli did indeed very well during the regime, sang in
Rome most of the time, Volpi sang littl in Italy during the period, mostly in Spain, Franc and South America, and returned after the war. Gigli went away after the war and returned after a couple of years for a few performances and concerts.
+Donald Ellis This is all you have to say? For shame. Take your political agenda elsewhere, I've seen this comment
of yours on other videos too.
Sometimes sadistic S.O.B.s can have good taste.
В АРХІВІ МОГО ПОКІЙНОГО БАТЬКА - МУЗИКОЗНАВЦЯ ЗБЕРІГАЮТЬСЯ ЛИСТИ ЦЬОГО УНІКАЛЬНОГО ТЕНОРА
ЙОГО ІМЕНЕМ БУВ НАЗВАНИЙ БУЛЬВАР ДЕ САМЕ Й МЕШКАВ МАЕСТРО ІЩЕ ПРИЖИТТІ
ну что тут можно сказать, чего только не увидишь в комментариях в самых неожиданных местах
Very nice singing BUT his interpretation seems like an exact copy of Caruso's recording of 1904 in terms of phrasing/breathing
A very unique and beautiful voice though. Bravissimo
FavoriteSopranoHinaSpani Can anyone do better than that Caruso rendition?
@@matOpera no
EC is verista in his 1911 recording .This does not sound like a copy of the 1904 recording
@@Nangis123 There's always some idiot who comes along when any singer is posted and states that his favorite sings an aria or a duet better.
Everyone can do better than Caruso in bel canto repertoire. Caruso's Nemorino was Canio's twin. We are grateful no one ever thought it worth emulating.
The real problem with this (it sounds lovely - don't get me wrong) it that it sounds distinctly patrician. Here's a posh guy singing - well - stuff. Nicely, to be fair. Gigli (to take a random example) sounds like a proper yokel. Bit stupid but well-intentioned. Anyone who's so in control as Lauri-Volpi isn't a lovestruck, uneducated rural oik. It's a lovely noise, but it's just not convincing.
This is not veristic opera though.
@@ilgattopardo3231 Yes - good point!
Ohne dieses Vibrato wäre er größer !
Doppelt hält besser? Nö. I habe deinen alten Kommentar auch gesehen. Du bist nach wie vor falsch. Dies ist natürliches Vibrato, Voraussetzung fürs Durchschneiden durch Orchester hindurch.
Piacevole, anche se il finale cosi non mi piace.
Ma è sicuro che è Lauri Volpi? A me sembra De Lucia!
+Errico Bonelli esatto non lo e'
non solo è lauri volpi ma de lucia poi, il tenore di grazia con un meraviglioso filino di voce|
@@fedecastaldi ahah sei troppo crudele!
comunque anche Celletti diceva che nelle prime registrazioni ricordava molto De Lucia.
Non ricordo la risposta di LV in merito...
I like volpi but this is not great,have heard much better from gigli,bjoerling, mc cormack,and especially joesph scmidth who really sings this with feeling
There's always some idiot who comes along when ANY singer is posted and states that his favorites sing an aria or a duet better. The comment always begins with the childish disclaimer "I like the_posted_singer but"
P.S. If you like them so much you could at least spell their names correctly?
Lovely singing, not by Giacomo Lauri-Volpi.
Leider dieses zittrige Timbre !
Timbre and natural vibrato have nothing in common
Un espanto! Hay, por lo menos 25 Nemorinos mejores que Giacomo Volpi. (Nada de "Lauri")
Lontanissimo dall'immenso Di stefano, voce scura, inesoressiva la voce e poi quell'oribile vibrato.
plug for your fav singer? you fanboys have no shame. And which Di Stefano do you mean, the 20 something one who
could sing, even if his style was questionable , or the 30, 40, 50 something one who couldn't anymore? Volpi is indeed far away from both Di Stefanos ,here at least we have someone who could both sing and had the right style for it, even if he covers too much. The only "immense " thing about Di Stefano was the rapidity with which he blew his voice ,such a pity. And anyway you should know better than to compare horn with electric records
Questo non è Lauri Volpi.
@@eugeniogentili1048 Sure he is . this is the Fonotipia XXPH 5321-2
Qualcuno dice che è De Lucia, probabile.
@@eugeniogentili1048 I have the Fonotipia XXPH 5321-2 original with Lauri Volpi's name on it ,it's the same voice as on the other Fonotipias ,same voice as here ,but I guess there's no point arguing with people .You may believe what you want ,not my business
questo non e' lauri volpi!!!!!!!!!!!!!!!!!!!! ma hai dei problemi di udito
+Mario Pietta
"A portait of Giacomo Lauri-Volpi - Volume I
Opera Arias and Scenes Songs (1920-1957)"
16
Act 2. Romance: Una furtiva lagrima
Gaetano Donizetti
Giacomo Lauri-Volpi4:44
Rio1949
deve essere un errore,non e' lauri volpi sembra de lucia
+Rio1949 There is certainly a mistake. Nothing in this aria sounds like Lauri-Volpi. Fernando de Lucia? Perhaps.
+Mario Pietta Ja, das ist die Stimme von Fernando de Lucia.
Certo che di cretinate se ne leggono ma questa e da antologia !
caruso, not lauri volpi
nope
I am 100％ sure this is volpi
@@ccchan7537 yes! Having listened closely it is Lauri Volpi. He doesn't have the beautiful tone of Caruso, but then, very few did or do!! But, a great recording that Ive enjoyed listening to again, many thanks for the reply.
@@DC-fy8cg Yes, definitely not Caruso. Caruso sang this aria in a way no other ever has.
@@cooloox Chamlee sang many arias like Caruso ,Walter B Rogers coached him to do so,Caruso's style was easy to copy