Esultate! - Best Comparison EVER!!!
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- Опубліковано 15 січ 2025
- 00:14 Antonio Paoli
(1871-1946)
00:58 Beniamino Gigli
(1890-1957)
01:39 Flaviano Labò
(1927-1991)
02:32 Francesco Merli
(1887-1976)
03:22 Franco Bonisolli
(1938-2003)
04:15 Franco Corelli
(1921-2003)
05:12 Giacomo Lauri-Volpi
(1892-1979)
06:02 Gianfranco Cecchele
(1938-2018)
06:48 Gianni Raimondi
(1923-2008)
07:29 Giovanni Manurita
(1895-1984)
08:19 Giovanni Martinelli
(1885-1969)
09:03 Giovanni Zenatello
(1876-1949)
10:01 Giuseppe Di Stefano
(1921-2008)
10:42 Giuseppe Giacomini
(1940-2021)
11:18 Helge Rosvaenge
(1897-1972)
11:53 Italo Righi Briani
(1883-1962)
12:50 John O'Sullivan
(1877-1955)
13:48 José Luccioni
(1903-1978)
14:31 Luciano Pavarotti
(1935-2007)
15:08 Mario Del Monaco
(1915-1982)
15:55 Ramón Vinay
(1911-1996)
Oh maestro Corelli! What a marvellous Othello he would make!
Yes! he would have been great in the role .
Corelli aveva paura di affrontare questo ruolo tremendo. Non è mai stato un cuor di leone, soffriva l'ansia da palcoscenico.
@@enricobonacina2044😊
What a marvelous Otello he would make.
@@enricobonacina2044 Dear Enrico, yes Corelli suffered from stage fright, but he still had the heart of a lion and was courageous and brave when appearing even though he had stage fright. You do not know the difference between frightened and bravery. Corelli was brave. You are not.
Thanks for sharing
Franco Corelli excellent
@@eugeniogentili1048 FC had a great voice, but as with both Caruso he didn't sing the complete Otello role, they just didn't think it best for their voices, but could have sung it. Corelli with his dramatic color could have, other big voices avoided it, the American tenor Tucker and German born Kurt Baum, both avoided singing the role. .
All hail - Mario Del Monaco. Whatever you think of him, no one is ever again going to perform Otello 427 times... or whatever the number is.
That number seems to be accurate if you include full dress rehearsals from what I've read
Ɓut Zeffirelli filmed Otello, afterDel Monaco?! With that overrated Domimgo! Was he bribed in some way or other to make that ridiculous Do.imgo as Otello?!! There is no other tenor to rival him in this part!
However, if my favourite tenor ever, Franco Corelli, hadn't refused point blank, it would have been big treat for us his devouted fans.
@@atizaries5512Non è soltanto la vocalità che serve per essere un grande Otello...dopo le qualità vocali,occorre temperamento e studio approfondito del Moro, più difficile che cantarlo...Corelli ,essendo un tenore riflessivo,ha preferito tralasciare e interpretare altri ruoli più adatti...
Per esempio anche Sansone e Des Griex, erano ruoli adattissimi alla vocalità di Francone...
I don't think I even need to watch the video to know it's going to be Del Monaco...
Per me, dato che non abbiamo potuto avere la versione intera di Corelli..Otello, dopo 70, anni è ancora Del Monaco
Mario Del Monaco was king with this role.
Che grande Otello sarebbe stato Franco Corelli.Il suo esultate è da mandare nelle scuole di canto.Ascoltate è imparate:come si diventa un mito.
The Otello " Giovanni Martinelli "
Corelli the greatest of all greats in all parts
Calma...di tenori come Corelli,ne sono esistiti una decina,ed alcuni anche meglio! Naturalmente essendo un N1 non trovo il motivo di questa fansmania!!! Saluti
Your statement is not accurate. Not even Corelli was best in every role
I totally agree 🤝
No one tenor is the greatest in all roles.
@sugarbist
А он и не тенор.
Он - бог теноров 💫😇
Торнадо страсти🌪️❤️🔥 Ниагара волшебных звуков🪄🎼
Море вокального тепла🌊😊
Стратосфера верхних нот 🎶⚡
Звездный свет уникальных пианиссимо ✨🌌
И океан солнечной красоты🌅☀️
Il Supremo!!
the best! 😎
.......
Все, пора снова начинать - стихи писать 😄)
Corelli. Il più grande tra i grandi! ❤
Gianfranco Cecchele forever.
The best!!!
He had an amazing voice. Very close to the sound of del Monaco
Not quite
@@sugarbist anche meglio.
@@operazioneopera 1976 IL Tabarro review from the Metropolitan.. Even though Mr. Cecchele has a similar sound to Mario Del Monaco, but conversely did not sound large enough. However, my favorite Cavalleria is with Cecchele, Guelfi and Cossotto. You can Google Neil Kurtsman who writes a fine article about Cecchele. Mario Del Monaco's younger brother was his teacher.
@@sugarbist Quando due colossi come Mario Del Monaco e Gianfranco Cecchele, e chi come loro, riescono a fare la carriera che hanno fatto e entrare nella storia della grande lirica, non si deve dire più nulla ma subentra solo un discorso di gusti personali. Ho sempre adorato Mario Del Monaco ma i miei gusti personali mi portano a adorare ancora di più Gianfranco Cecchele anche perchè, mentre Del Monaco era un discografico e quindi aveva la protezione delle case discografiche e dei mass media, Cecchele, non essendo discografico, è riuscito a far parte della storia della lirica mondiale, solamente con le sue forze e doti naturali, oltre che alla tecnica perfetta, che lo ha fatto cantare un repertorio messacrante per ben 48 anni nel mondo...molto più di Mario.
Dedichamo a loro una preghiera, che possano riposare in pace, visto che ci hanno deliziato con le loro possenti voci per tutta la loro esistenza e anche dopo....
Una delle voci piu' belle e' sicuramente quella di Corelli, ma purtroppo non e' "eroica" come quella di Del Monaco. Quello era eroico e nessuno mai lo ha emulato. Comunque grandissimi i nostri tenori
Corelli n.1
Corelli "restituirebbe al tenore la gloria del ruolo di Otello (parafrasando G Lauri-Volpi)"!
Corelli non aveva il carattere per fare il ruolo, e la sua voce risulta insolitamente leggera per l’esultate.
@@user-mp3fb7by4w e per tutto il resto dell'opera Otello, pur essendo un interprete sublime tra i più grandi di tutti i tempi
Corelli was an Italian heroic tenor, Del Monaco was not. Italian heroic tenors have extremely strong and brilliant high notes, they sing assoluto bel canto roles such as Guillaume Tell, Les Huegonots, Il Pirata, Poluito ext. Lauri Volpi is an Italian heroic tenor, the first Otello Tamagno was an Italian Heroic Tenor. Corelli’s voice is much closer to Tamagno then most Otello singers in the last century. Del Monaco would never have been able to sing these types of roles, he was a German heroic tenor if you want to call him a heroic tenor.
bella e interessante raccolta.
Wow, some of these tenors made my floorboards shake! My favourite , as always, is Franco Corelli! I love him in everything he sings! Bravo Franco!
ja klar wir bleiebn bei Franco Corelli, unser Liebling
schöne grosse Arbeit, und so viele comments. Gratulation!
I saw Del Monaco sing it in 1959 when I was 19 years old and many more since then as Otello, including both Domingo, Carlo Cossutta and Ben Heppner, but as Otello as far as those I saw, MDM was the best for me, so just IMO as Otello, the best is "who ever you like best", so saying "so and so" is best is just a personal opinion" even the paid critics for major newspapers also have different opinions, and they are paid to be critical of course, as the name "Critic" implies, if they flame a singer we like, we often then don't like the critic, it also depends on the role, some singers are better in certain roles and not in others, of course, some tenors record better then others, both Pavarotti and Bjoerling usually studio recorded better then some bigger voices, I say that because I saw them in their prime years, I saw Jussi Bjoerling in 1958, firs time for Di Stefano I saw him in 1959, GDS was still great then, as was Del Monaco in that 59' Otello, Corelli was born in 1921, MDM in 1915 and the older Tucker born in 1913, I saw him many times, he sang even when older, so big voices needed to be seen in house and in their prime years, to be most appreciated and not matter what anyone says, a tenor at age 60 isn't going to be quite the same as he was at as age 40, as a comparison, he might still be good, but not "as good" in most cases. So age matters and so does the role. In house is the best way to know a voice, Barry Morell was a good Lyric tenor, but he did record bigger then it was, so did Bjorling and younger Pavarotti, when Pav. was older the voice gained lots of middle power, I saw him in the early 1970's first and later 1980's last. Lyric Shicoff in his prime in the 1980's had great Squillo in house and was a fine vocal actor on stage.
Talking about Otello excluding Plácido Domingo? Sorry. Try again.
Del Monaco, without a doubt. Remarkable Giacomini (the last phrase, from _doppo l'armi,_ in a single breath).
L'unico che rispetta lo spartito è Giacomini pur con qualche difettuccio
Zenatello and Martinelli sound very fierce.
Bonisolli sounds like a BEAST here
He sounds very bad, he is completely overparted, he over pushed and over darkened his voice so much here that his vibrato is slow and wobbling. It sounds like his voice might have cracked at the end, but it might just be the recording quality.
It is a shame because he certainly was a much better tenor than this.
Vinay the Best. Were missing Vickers and Domingo.
We shall give the top prize to Mario Del Monaco! Giacomini was practically just as great Del Monaco here. I really enjoy Lauri Volpi and Corelli’s versions for their incredible squillo, and vocal control. Merli, John O’Sullivan and Martinelli was excellent as well. There was quite a few painful notes and a lot of wobbles in these examples as well.
Both Mccracken and Melchior also have very fine versions not included here. Still I prefer MDM.
Agree.
Bueno, aquí debo hacer una diferenciación obligada, y es que Verdi escribió Otello para un Mesías… y nació Mario del Mónaco. Jamás antes, jamás durante, jamás después… nunca igualado en esta interpretación: Completa, perfecta!!
Prefiero a Paoli, Tamagno, Zenatello o Vinay
@@alejandraponce5629 Magnífico, fueron grandes también e inolvidables.
No, el mejor fue Ramón Vinay. Del Mónaco fue bueno, pero carecía de actuación, él respeto mucho a Vinay. Toscanini, consideró a Vinay el mejor Otello. En los teatros del mundo a Vinay le pagaron mucho mejor a Vinay. Teatros como Metropolitan, Covent Guarden, La Scala. Cuando Vinay deja de cantar Otello por perdida de registro, ahí aparece del Mónaco, pero los críticos consideran a Vinay como el mejor Otello. Referencia José Luis Téllez del teatro Real de Madrid.
Of course some here did not sing the role complete on stage.
Labo on a single breathe , did u mentioned?
„Mario! Mario!Mario! Son QUIIIIIIIIII!!!“
Fenomeno!
Ré!
Paoli, Zenatello 😍😍
Faltó el primer Otello: Francesco Tamagno.
Merli,O'Sullivan,Vinay sono i più adatti vocalmente al ruolo,essendo tenori drammatici...Del Monaco è un"caso" a parte...la sua voce è costruita per quel ruolo,almeno fino al 1962!!! Mio nonno lo ha visto molte volte in teatro,e parla sempre di un fenomenale Otello!!!
Vinay was a heavy baritone, he even sang bass parts
@@ariasemusicaslegendadas7657si ma a fine carriera
Mario del Monaco è stato un fenomeno vocale a livello secolare, oggi millantato a parer mio ma che ha lasciato dietro di sè una serie di incisioni storiche e di riferimento e difficilmente ripetibili, mi spiace oggi sia vilipeso da tenori zanzara e critici incompetenti
@@ciupottoChi osa maltrattare il leggendario Del Monaco? Tali sciocchi che non conoscono l'arte. Ecco chi!
Corelli,unico
Otello is synonymous with Mario del Monaco. Corelli and others here didn't even dare to sing the role. They limited themselves to recording an "esultate" there, a duet of "Gia nella note Densa" here... and that was it. Listen to Del Monaco's esultate live in Belgium in 1972, already close to 60 years old. Almost in one breath.
Your right! And of course that duet "Gia Nella note Densa " doesn't need a dramatic tenor, so yes, they often limit themselves .
It is strange how some people have this magical believe that Otello can only be completed by a dramatic tenor. That myth has obviously been debunked. Pavarotti performed it live and Alagna currently performs it live. Turandot has a bigger orchestra then Otello and the role is much higher, Del Monaco only did roles such as Turandot and Il Trovatore a handful of times in his career, those roles were obviously much more difficult for him personally then Otello. The real difficult roles are the tenor bel canto assoluto roles such as Guillaume Tell, La Prophete, Les Huguenots, Polliuto. Very few singers have sung these roles in last 100 years, these are the roles that not every tenor can perform. Whereas everyone and their dog are performing Otello these days. I am not saying that everyone is performing the role of Otello well, that is a different matter, but clearly any type of tenor can get through a performance of Otello on stage. It is debatable if Tamagno was actually a dramatic tenor, or if he was more of a spinto like Martinelli.
@@ZENOBlAmusic2 Being able to do it means doing it with quality, doing it well.
Did Pavarotti and Alagna play Othello? Yes. Even Di Stefano (!!!!!) did it live.
But I don't know a single critic who approved of their performance.
"Being able to do it" even Alain Vanzo or Tagliavini could do it. But so what?
Pavarotti's Otello, for example, was called "bland" by critics.
But the Otello's remembered to this day and considered references on paper, whether live or on recordings, are: Vickers, Vinay, Plácido, Del Mônaco.....all dramatic tenors.
So it's not a myth that Othello is for dramatic tenors, it's a fact.
A fact that could only be overturned if a lyrical tenor or lyrical spinto had a great performance in the role. Which hasn't happened at least so far.
Just remember that giants like Corelli, Bjorling, Gigli, Caruso, Tucker, Bergonzi... avoided the role.
Guillaume Tell, La Prophete, Les Huguenots, Polliuto... are difficult because they require lighter voices and easy extreme highs.
Otello's vocal difficulty is of another order: it requires a full-bodied and quite voluminous voice from beginning to end.
In time, I must remember that Del Monaco was a great Manrico.
There are a huge number of live recordings of him on Il Trovatore.
In addition to the studio recording made in 1956, alongside Tebaldi, Simionato and Savarese conducted by Alberto Erede, which is one of the most beloved
@@ZENOBlAmusic2 Dear Zenobia, Pavarotti did perform Otello live in concert form, which is obviously easier. His review in part from the N.Y. Times. Mr. Pavarotti sang better than one could have expected under the circumstances. ''A cold''' The voice was recognizably that of our foremost lyric tenor, but, it was not the trombone needed for Otello's exultant first entry, or for his subsequent demented rages, and thus could not do the role justice. Verdi's own requirement, as difficult to meet in his day as it is in ours, was for an Otello who, '' now warrior, passionate lover, now ferocious as a savage, must sing and howl. Mr. Pavarotti, though probably preoccupied by his medical problems, managed to sing beautifully, if impersonally. Overall, his interpretation was neither tender enough or fearsome enough. The mercurial Otello would seem to be outside his temperamental range. In 2018, Alagna received good reviews in Otello in 2018 at the 2300 capacity Vienna Opera House. The only negative comment was, that he did not have enough thrust to his voice for certain moments in the opera. Alagna had a good outing as Calaf in 2017 at Covent Garden, capacity about 1800. Michael Fabiano received fine reviews in his debut as Calaf at the Rome Opera House capacity 2300 in 2022 and more recently in Spain. Alagna will also be singing Calaf at the Met on Feb. 28th of this year, with subsequent performances through the first week in June. Alagna is 57 years old. It seems that anbody is singing Calaf as well. Richard Tucker 1974 YT interview with George Jellinek.'' I could sing Otello, if I want to, why not? But I feel that myself, that the voice would not fill the requirements that this role demands, and that is the reason why I don't sing Otello''. I also feel that the tenors I mentioned above, do not fill the requirements of Otello or Calaf.
@@principecalaff Yes, I do agree. I don't think any of these tenors sung Otello well. But there is an idea that many singers simply couldn't physically sing Otello, which is obviously not true. You said others didn't dare to sing the role, as if they somehow wouldn't have been able to do so. I perhaps purposely forgot that even Di Stefano sang Otello. lol He obviously did not care about the traditions of the time.
In practice many singers could sing it, but it might not be very good. It might not be up to expectations. Unfortunately, Otello hasn't been performed up to expectations for decades now, the same is true for the other heavy roles as well.
Dramatic and spinto tenors used to sing Guillaume Tell, Polluito and other Meyerbeer roles. It wasn't meant for leggero tenors as it is performed today.
Domingo has certainly never been a dramatic tenor. Many spinto tenors did perform the role successfully. Marinelli was a very popular Otello, and Lauri Volpi also received some acclaim.
MDM unmatched, Cecchele very close 👏🏻👏🏻👏🏻
Хм.. стоит подумать.. 🤔
1. Corelli, все -таки.
кроме прочего, верх - длинный, свежий, открытый и экспрессивный. Один тут такой.
и сценка - смешная.
кто в ней - за Отелло? )
Блин, ну как можно было не исполнить Отелло, хоть разок в студии запись сделать!
аж обидно 😒
2. MDM. ну, это его партия, конечно. Он даже внешне - Отелло и чувствует себя в роли - "как рыба в воде".
3. Vinay. удивилась силе исполнения , хоть и запись аховая.
4. Gigli. хотя он и лиричен. немного поверхностно, но очень точно.
5. Paoli.. не знаю, почему. Понравился, представила - как было "вживую". но слышу его впервые.
6. Giacomini. очень хорошо.
7. Martinelli... он посильнее Giacomini здесь, по-моему, но запись плохая.
8. O' Sullivan. просто понравился.
9. Merli. здорово, но слишком героически и отрывисто.. как дрова рубит )
10. Briani - тоже потому, что понравился. и так же плохо слышно запись.
11. Lauri - Volpi. все очень точно, ювелирно, но опять тягуче.. какая-то бесконечная "ириска" )
и голос светловат для этой роли
12. Checcele. нормально, но простоват. разухабистый такой - Отелло.. "вдоль по Питерской, эх!".. впрочем, более правильно: "из-за острова - на стрежень" (с))
Zenatello. хорошо спел, просто не нравится - как. не мое
Rosvaenge
Manurita - интересно, но с записью что-то странное, дрожь и реверберация катастрофическая.
Labo.
Raimondi
Bonisolli
Pav роль не подходит,
еще меньше она подходит Di Stefano.
Mario del Monaco =Otello!
Yes Yes Yes!! He was simply great!
Un espectáculo todos péro, nó creo que no se tiene registro de un otello joven como giuseppe borgatti, bueno quien como Franco corelli tenor spinto heroico único Franco.
Del Monaco, Corelli y Vinay... 2 portentos
Cossutta ? Vickers ?
Mario del Monaco il più grande Otello di tutti i tempi, ancora oggi ineguagliabile
The spectacular Zenatello performance is the November 1926 HMV studio recording.
Me parece extraordinaria la actuación del Chileno Ramón Vinay a lo largo de toda la Opera
💥
So many of them sing a C natural on SEpolto instead of the written B natural.
Yup, those singing C5, not B4, got lost in pitches in the middle of singing.
Gianfranco Ceccele is super good.
Del Monaco inarrivabile.
Sel Monaco is the best one!!!
Interessante ter versões em francês e alemão. A propósito, soa muito bem em alemão!!!
Del Mónaco y después para mí Vinay.
Di Stefano faceva meglio a fumarsi un bel sigaro....
Si fuese posibil un video:
Otello: "Ah dannazione. Pria confessi il delitto. E poscia muoia.
Confession. Confessione. La prova.
Jago: Cassio è là.
Otello: Là. Cielo.
Oh giooo(Sib)oooia !"
Gracias 👍
Mancano Manuel Salazar Pier Miranda Ferraro Set Svanholm
I forgot about the great Svanholm, he sang it also at the Met. once that I know of, besides Sweden, an excellent tenor for German opera etc.
Unfortunately there isn't a recording of Salazar singing Esultate.
@@PedroZamagna Did Fleta ever sing the role?
without Melchior and Vickers this list is rather flat
Merli è impressionante !!!
You have forgotten Vladimir Atlantov, he is a very good dramatic tenor.
ua-cam.com/video/9evKsGXyz44/v-deo.html
Corelli.
Premesso che ci troviamo davanti ai nomi di alcuni fra i più grandi tenori degli ultimi 100 anni, non ci vuole molto a capire che fra le voci presenti in questa compilation, quelle che meglio si adattano al carattere e alla portata vocale di questo meraviglioso ruolo verdiano, sono quelle che poi hanno avuto maggior successo nei teatri di tutto il mondo e cioè: Merli, Del Monaco e Vinay. E' vero che a questi sarebbe corretto aggiungere anche le voci di Corelli e Giacomini, entrambe perfette per il ruolo di Otello, ma mentre il primo non ci ha regalato riscontri in quanto non l'ha mai voluto affrontare, Giacomini si è invece lasciato frenare dalle numerose critiche subite e relative all'interpretazione, impedendogli così di trovare il giusto tempo per maturare un suo Otello.
Va notato infine, che tutti e 5 tenori sopra citati sono bari-tenori, così come Tamagno (che lo ha debuttato sotto la regia di Verdi), Caruso, Vickers, Domingo. E questo dice molto dell'impronta timbrica che Verdi voleva e cercava per questo ruolo.
No, Tamagno era un lirico spinto. Le poche registrazioni che ci sono mostrano una voce insolitamente morbida per l’Otello cui siamo abituati. Non è un caso che la generazione successiva abbia avuto in Gigli e Lauri Volpi degli eccellenti interpreti .
@@user-mp3fb7by4w Posso concordare sul fatto che probabilmente Tamagno era un tenore lirico spinto. Aneddoti dell'epoca dicono infatti che usasse studiare le arie un tono sopra, cosa che un bari-tenore si guarderebbe bene dal farlo. E' pur vero però che si dice quanto Verdi faticò per fargli digerire i piano e pianissimo che lui voleva, cosa che invece un tenore lirico solitamente non ha difficoltà a produrre .
La verità è che è molto difficile stabilire dai vecchi 78 giri il vero colore di una voce, in quanto sono registrazioni che tendono a schiarire il timbro delle voci maschili e a inasprire quelle femminili. Inoltre quelle che ci riportano la voce di Tamagno sono peraltro tra le più antiche.
Verdi sapeva bene che l'Otello che musicalmente ritraeva era un uomo vicino ai 50 anni, ecco perché molti storici pensano che per corretta drammaturgia egli volesse dal tenore dal colore pieno e scuro. Un colore che potesse abbracciare una tessitura teatralmente centrale e poter duettare alla pari con il baritono Jago che nella vicenda è addirittura più giovane di Otello.
I passato questo ruolo è stato addirittura ricoperto da voci come quella di Paolo Silveri, che inizialmente è stato un basso, poi un baritono affermato e alla fine un tenore che cantava Otello.
Certamente ci fu anche il grande Lauti-Volpi e a interpretare questo personaggio, ma le critiche del tempo (non le mie) furono implacabili.
Per quel che riguarda invece Gigli, faccio notare che non ricoprì mai questo ruolo, quello che gira in rete è uno spezzone tratto da un film americano.
1.ZENATELLO CORELLI DEL MONACO MARTINELLI🎉
Дель монако лучший!!!!!!!!!!!!!!!!!!!!!
1. RAMON VINAY
2. DEL MONACO
I didn't see Vinay, he was known as a very great Otello, even Del Monaco himself has said Vinay was great, but I did see in 1959 in house, MDM when I attended a performance of Del Monaco singing it, and he was terrific.
@@shicoff1398
I love Vinay very much as Otello. Also,Del Monaco is Great. Domingo was famous too.
@@shicoff1398
"Dio mi potevi". Vinay sing this Aria the best,for me.
@@lilikaamore2123 Thanks, I'll have to listen to it again, as it's been a long time since I heard it.
Giacomini🎶❤😜😜
1)Corelli 2)del Monaco 3)Vinay 4)Raimondi(a cappella!)5)Rosvaenge
1. Monaco 2. Monaco 3 Monaco 4. KORELLI
yes
Ehm purtroppo Raimondi stona in diversi punti.
1. Giacomini. 2. Del Monaco.
Raimondi isthe best Rodolfo evet
Corelli tenía todo para ser un gran Otello, pero los nervios de que padecía lo limitaron mucho a realizar sus proyectos, como cantar Arnoldo de Guillermo, Los puritanos y Otello. Tenía una gran stamina, como lo demuestran las siete veces que cantó Los Huguenotes en La Scala, con gran energía y brillantez vocal. Habría sido un Otello tan grande o más grande que del Monaco, como lo demostró en el Esultate¡, aria en que en la frase final “Dopo l’armi lo vinse l’uragano”, ninguno de estos tenores emite con el gran squillo de Corelli el agudo de "l´uragano", emite un superagudo brillante en la letra "u", que es una vocal cerrada y difícil que sea brillante. Todos los tenores aquí presenados, no logran ese agudo de Corelli, que lo emite con un golpe de glotis y bien squillante. Y sus grabaciones de Gia nella notte densa, con Teres Zylis.Gara, con mucha brillantez y su larga nota final en "venere splende" de este dueto, sólo se compara con del Monaco, que también solía hacerlo bien extenso. En cuanto a Ramon Vinay, escogido por Toscanini para grabar Otello en 1947, en el dueto Sí pel ciel, es opacado por el barítono Giuseppe Valdengo, quien parece el tenor y Vinay el barítono. Realmente, Vinay fue un barítono que cantaba como tenor con una voz potente de barítono con un sonido opaco, a diferencia de del Monaco, que tenía una gran potencia vocal con squillo. El bajo estadounidense Jerome Hines, que cantó con del Monaco en el Metropolian de Nueva York, escribió que nunca había escuchado un si bel tan grande como el de Mario del Monaco y un amigo que lo escuchó La ópera de Roma, cantando Otello, creo que en 1964 o l965, me dijo que tenía la voz más potente que el resto de los grandes tenores de su época. La belleza vocal, el fiato, la expresión y brillantez de del Monaco, en un recital de 1974 en París, en el que cantó Niun mi tema, entre otras arias, no tiene parangón. Estoy de acuerdo que el Otello supremo acaso haya sido Mario del Monaco. Saludos,
Pavarotti shouldn't have bothered with this aria, which is totally wrong for him. Gigli, also a lyric tenor, did a much better job
No solo grabó la salida, grabó la ópera y la cantó en vivo una vez. Totalmente fuera de estilo.
Ignoro cuál ha sido el criterio que ha empleado el autor de la lista para confeccionarla. ¿La facilidad para los agudos, quizá? En tal caso, no sé qué hace ahí un tenor cortísimo como Ramón Vinay. En cualquier caso, y con todos mis respetos, la relación da risa, pues tiene tela haber incluido en ella a tenores como Giuseppe Di Stefano, o Beniamino Gigli, y dejado fuera a cantantes como Tamagno (creador del rol), Melchior, o a dos intérpretes que llevaron el rol por todos los teatros del mundo y lo cantaron muchísimas veces en directo: Jon Vickers y Plácido Domingo. ¿"The Best Comparision EVER"? Venga, hombre...
Grandissimi tutti ma chi fa' la differenza e' solo DEL MONACO. Lui si sente e' il capo, il condottiero, poi gli altri, tutte belle voci ma subalterni.
My personal favorites are Antonio Paoli, Giovanni Zenatello, Giovanni, Martinelli, John O'Sullivan, Italo Righi Briani, Francesco Merli, Giacomo Lauri-Volpi, Helge Rosvaenge José Luccioni, Ramon Vinay, Mario del Monaco, Franco Corelli, Flaviano Labó, Gianfranco Cecchele, and Giuseppe Giacomini. However, the seven best vocalists that reign supreme as Otello are Antonio Paoli, Giovanni Zenatello, Francesco Merli, Helge Rosvaenge, José Luccioni, Ramon Vinay, and Mario del Monaco.
I was a big fan of prime Martinelli, I'm going by records as I never saw him, but soprano Stella Roman told me he was her favorite tenor partner and she sang Otello with him many times. With many of these voices from the past long gone we didn't see, and at least have their records .
Finally someone who mentions Zenatella and Merli...together with MdM, of course. Thanks...
Christ, did you forget anyone whoever sang the role!?!?
@@johnpickford4222 The tenors I listened to and admired in this collection had something outstanding.
Corelli never sang the role and wisely so
Del Mónaco y Vinay
You omitted the outstanding performances by Zanelli, Tamagno, Scampini, Cesarani, etc - however of your chosen favourites shown in the video, the believably delivered are Lauri-Volpi, Martinelli, and Di Stefano. Zenatello almost succeeds but he unnecessarily overdoes the “Dopo l’armi lo vinse l’uragano”.
È inutile...la lirica per lei è cosa misteriosa !!! É un fatto...
Rosvaenge is present in the video.
@@shaafeeshameem6219 quella signora, non sa cosa scrive. .scrive solo cose che non hanno né capo né coda!
Saluti
@@shaafeeshameem6219 I was listening while on the go and skimmed through it before work. I then noticed he was on the audio when I came back later. I do apologize for my earlier error and correct myself on that inaccuracy. Thank you though and God bless!
@@radames5855 Dimostri ancora la tua immaturità e la tua ingiustificata ostilità, tuttavia ti perdono per la tua calunnia e ignoranza.
Bonissolli espectacular, pero del Mónaco es la encarnación de Otello❤
Il migliore in assoluto è Mario Del Monaco!
Meter a Pavarotti en esta lista es ridículo
Y en su mayoría todos los de la lista mejores Otellos que Domingo. El tenor o bajobaritenor más sobrevalorado de la historia
Con tanti Otelli che ha fatto Cossutta... 😢
E anche Pier Miranda Ferraro... Vickers... 😢
Simpaticissimo Corelli 😂
Oltre ad essere un Otello mancato...
Non mi soddisfano quelle performance che quando arrivano dall'uragano sembra un'ululato comunque senza strabigliare per potenza quella di Gigli è quella che più ho apprezzato ma alle esecuzioni italiane chapeau
Anche secondo me Gigli è un grande Otello. Si tratta soprattutto di accento. E Gigli era perfetto. Ma Otello e’ e sempre sarà Del
Monaco
Considering Tamagno created the role. it is strange you omit him. He was probably the best interpreter of this role. Verdi's choice and favourite.ua-cam.com/video/0faSU1vYJPc/v-deo.html
Very wrong my friend, del monaco has a lot of competition
Francesco Merli strepitoso, devastante.