Thanks for sharing about GIUSEPPE SABBATINI, truly wonderfull. (i discover him thanks to you i didn't know about him before so i am gratefull to you ) Personally i have three favourites for this aria Enrico Caruso, Beniamino Gigli and of course the one Nicolai Gedda did in Paris in 1975 sorry for my english and thanks for this wonderfull inerpretation 👋 will help to sing
Thank you very much Iryna, it has helped me a lot to study. Can you record M'appari Tutt 'amor (Martha) please? I would greatly appreciate it. Greetings from Chile
Not impressed at all with Sabbatini. He scoops up to the many of his high notes. In the "stage" recording he actually voices a whole note below the high C, as if interpolating a note. Even if not scooping from a lower pitch, there is a shift in registration at the beginning of his high notes. He doesn't seem to know how to place them correctly from the onset. This is simple to train-- if you know the right "place" for the note as you sing the sustained part of it, you just have to drill finding that place at the onset. It's a coordination puzzle and a matter of discipline but that's all. The high C that you found exciting is on the boring end for me-- yes it takes "control" to acheive that kind of delicate high note, but nothing of the control required to actually sing it with power. It's not rooted deep in his body and won't resonate with others in that way-- it's more of a cerebral trick or a undeveloped or immature sound. And in practical terms it cannot carry in the house, where a full-voiced pianissimo note can. Also, it lacks the color of the rest of his range (he "hides" it with some breathiness and rearward placement). If you like that really tender lyric and almost virginal sounding tenor style, check out Lemeshev. Here is a recording of his "Salut" (in Russian) where he does the C very lightly, but at least it retains a more forward placement: ua-cam.com/video/SPOutK6Bk4I/v-deo.html Lemeshev's "Parmi veder le lagrime" is also very good. I like this alright but it's not sticking to bel canto style of consistency of tone throughout the range. That is in fact my main problem with most singers technically, if you can't count on them using a consistent resonance strategy regardless of vowel, note, dynamic level, etc, it's like you're constantly unstable in what you can expect next tonally (and interpretively for that matter). It's as if a trombone in the orchestra were randomly swapping out bells of different shapes on his horn, randomly sticking in a mute, turning around and facing away from the audience, etc. The sound has to orbit around the same focal point of resonance, even though it is changing shape for different vowels and notes. Also another bel canto thing lacking in Sabbatini is true bel canto legato which means that the resonance stays "alive" between notes. Sabbatini and a lot of modern singers tend to have a "sausage-link" kind of legato-- yes the notes are connected, but each one swells and cuts off or narrows before the next. This is in contrast to keeping the tone going as though singing one long note, where the diction just happens so transiently and in such a relaxed fashion so as to not disrupt its continuity. I don't know if you have any vocal background, but please don't recommend these Sabbatini recordings as examples to students or viewers in that context. Fine if you want to comment on musicality or interpretation, but he's just nowhere near the level where students should be studying his technique. Unless they were trying to become vocal coaches and learn to diagnose issues.
Muchísimas Gracias!!! jajjaja mi interpretación favorita? Kraus!!! Maravillosamente interpretado!! Muchísimas gracias por tu canal!!! Un fuerte Abrazo!!! :D
Gabriel Lezcano: Somebody posted Gedda, around 50 years old doing this challenging aria, and the "C" was extraordinary...and in 2017 that fabled minstrel left our world, but not before giving us his incredible gift of music...
Hi! miss! My thought is that the best version of this aria should be the version sung by Enrique Caruso, which was published on UA-cam on April 9, 2008.
My favorite introductions are Turandot and Falstaff, if possible. In addition to Rigoletto. Also Madama Butterfly is beautiful and Der Rosenkavalier. You are the only one who makes videos like this. You are a treasure.
yes he did a very good job even gedda who has a perfect french phrase do not make a nice high than him, but i am a fan of Corelli and he sang it more electrically as usual he makes you stand up btu this one is excellent !!!
un grand bonjour de Belgique, et un grand merci !!!! je prépare un examen de chant avec votre accompagnement... grâce à vous je peux travailler à la maison !!! merci et bravo pour la délicatesse de votre interprétation !!!!
Bravissima... io sono un tenore del conservatorio S Pietro a Majella di Napoli ed i tuoi video mi stanno aiutando tantissimo. ..grazie mille. ..sei bravissima
Fabulous playing. Thank you. I can see why you love Sabatini. Is phrasing control and musicality are incredible. Personally I just prefer Di Stefano's voice. I would love to sing with you someday
Very well done. Thanks for the beautiful music. I agree that Sabbatini did a beautiful job especially with the legato. Gedda had a magnificent high C, but no legato in the end of the aria. Pavarotti's recorded version is a masterpiece of singing.
Your work is so such amazing. It's inspiration to practice . Thank you so much for sharing your work with us. And Sabatini is superb! Thanks for the tip! ;-) I love the colors of Jonas Kaufmann's voice and his musicianship!
So many good tenors - in the top, definitely Krauss, Gedda and Alagna, but my favorite has to be Kaufmann - that guy has a colour to his voice I just love. Btw, is there any version out there where the tenor doesn't look like he's about to have a heart attack singing the high-C?!? I think that must be the hardest one out there! :) Iryna, great job! Thanks a lot for your videos, it's great to be able to properly practice my arias thanks to you!
I just listened to Sabbatini's recording of 'Salut' - WOW! That performance just blew me away! Such grace and lyricism - and that high-C, I've never heard such mastery on such a difficult note - to bring it down from forte to piano without losing any of the quality was just amazing!
![GOUNOD : Faust - "Salut ! Demeure Chaste Et Pure" by Benjamin Bernheim - Live [HD]](http://i.ytimg.com/vi/rRV3FyROa8U/mqdefault.jpg)
I love Jussi for this aria! However, for pure joy I love di Stefano as well! Also I must say, I would love to work with you sometime you are amazing!
Amazing work, thank you. I love Franco Corelli's best recordings of this aria.
Nice playing. Would love to know what you make of Georges Thill's magnificent version and how it compares.
Well. Thill is unsurpassed. The best technique ever.
Joseph Schmidt ist unvergesslich!!
my favored tenor: Alain Vanzo
Thanks for sharing about GIUSEPPE SABBATINI, truly wonderfull. (i discover him thanks to you i didn't know about him before so i am gratefull to you )
Personally i have three favourites for this aria
Enrico Caruso, Beniamino Gigli and of course the one Nicolai Gedda did in Paris in 1975
sorry for my english and thanks for this wonderfull inerpretation 👋 will help to sing
Thank you very much Iryna, it has helped me a lot to study. Can you record M'appari Tutt 'amor (Martha) please? I would greatly appreciate it. Greetings from Chile
I really like Lauri Volpi's 1922 recording of this aria... He has the most colorful high C I've heard...
Jussi Björling!
Not impressed at all with Sabbatini. He scoops up to the many of his high notes. In the "stage" recording he actually voices a whole note below the high C, as if interpolating a note. Even if not scooping from a lower pitch, there is a shift in registration at the beginning of his high notes. He doesn't seem to know how to place them correctly from the onset. This is simple to train-- if you know the right "place" for the note as you sing the sustained part of it, you just have to drill finding that place at the onset. It's a coordination puzzle and a matter of discipline but that's all. The high C that you found exciting is on the boring end for me-- yes it takes "control" to acheive that kind of delicate high note, but nothing of the control required to actually sing it with power. It's not rooted deep in his body and won't resonate with others in that way-- it's more of a cerebral trick or a undeveloped or immature sound. And in practical terms it cannot carry in the house, where a full-voiced pianissimo note can. Also, it lacks the color of the rest of his range (he "hides" it with some breathiness and rearward placement). If you like that really tender lyric and almost virginal sounding tenor style, check out Lemeshev. Here is a recording of his "Salut" (in Russian) where he does the C very lightly, but at least it retains a more forward placement: ua-cam.com/video/SPOutK6Bk4I/v-deo.html Lemeshev's "Parmi veder le lagrime" is also very good. I like this alright but it's not sticking to bel canto style of consistency of tone throughout the range. That is in fact my main problem with most singers technically, if you can't count on them using a consistent resonance strategy regardless of vowel, note, dynamic level, etc, it's like you're constantly unstable in what you can expect next tonally (and interpretively for that matter). It's as if a trombone in the orchestra were randomly swapping out bells of different shapes on his horn, randomly sticking in a mute, turning around and facing away from the audience, etc. The sound has to orbit around the same focal point of resonance, even though it is changing shape for different vowels and notes. Also another bel canto thing lacking in Sabbatini is true bel canto legato which means that the resonance stays "alive" between notes. Sabbatini and a lot of modern singers tend to have a "sausage-link" kind of legato-- yes the notes are connected, but each one swells and cuts off or narrows before the next. This is in contrast to keeping the tone going as though singing one long note, where the diction just happens so transiently and in such a relaxed fashion so as to not disrupt its continuity. I don't know if you have any vocal background, but please don't recommend these Sabbatini recordings as examples to students or viewers in that context. Fine if you want to comment on musicality or interpretation, but he's just nowhere near the level where students should be studying his technique. Unless they were trying to become vocal coaches and learn to diagnose issues.
Muchísimas Gracias!!!
jajjaja mi interpretación favorita? Kraus!!! Maravillosamente interpretado!! Muchísimas gracias por tu canal!!! Un fuerte Abrazo!!! :D
Giuseppe Di Stefano, ineguagliabile
Very well, but the temple is too fast, when you move into "O nature", it would be perfect if you keep temple
It's just a shame that you haven't mentioned Alfredo Kraus live version of this aria...
And, by the way, thank you for doing this! It is a true service :-)
Nicolai Gedda is my favourite. But also spanish tenor Alfredo Kraus.
I love them both!!
Gabriel Lezcano: Somebody posted Gedda, around 50 years old doing this challenging aria, and the "C" was extraordinary...and in 2017 that fabled minstrel left our world, but not before giving us his incredible gift of music...
I love Alfred Kraus, just perfect in my opinion
У вас очень хорошая кантилена!
Hi! miss! My thought is that the best version of this aria should be the version sung by Enrique Caruso, which was published on UA-cam on April 9, 2008.
Benjamin Bernheim is my favorite tenor for this aria
She does not feel, but only plays. What a pity !
For those of Catalunya, let me bring up a name not mentioned nearly enough...Jaume Aragall, who, when at his best, was ideal for this aria...surely!
Can a woman be more beautiful and so, so intelligent? Incredible.
My favorite introductions are Turandot and Falstaff, if possible. In addition to Rigoletto. Also Madama Butterfly is beautiful and Der Rosenkavalier. You are the only one who makes videos like this. You are a treasure.
Alfredo Kraus: both Japan and Chicago...Both on UA-cam
BELLA INTERPRETAZIONE E BELLA DONNA
SALUTI.
amazing pianist， thank you share all of music for us ！！！
Thank you so much!!
Thanks :-)
I love your channel thank you for sharing your work!
Sabatini - my god! Never heard a high C diminuendo like that!
Your accompaniments are wonderful! (If you’re interested, please have a look at my channel.)
Francisco Araiza
Giuseppe Di Stefano! And your playing is fantastic!
Povero de Stefano!
Alfredo Kraus
yes he did a very good job even gedda who has a perfect french phrase do not make a nice high than him, but i am a fan of Corelli and he sang it more electrically as usual he makes you stand up btu this one is excellent !!!
listen to Shicoff !
For a French opera a French tenor is better : Alain Vanzo. ( But Gedda is perfect !)
un grand bonjour de Belgique, et un grand merci !!!! je prépare un examen de chant avec votre accompagnement... grâce à vous je peux travailler à la maison !!! merci et bravo pour la délicatesse de votre interprétation !!!!
Thank you!!
My favorite recording of this aria is from the great French tenor Georges Thill
Agree with you
Thank you so much for this wonderful record!!!
I love Nicolai Gedda
Guissepe Filianoti
My personal favorites are Giuseppe di Stefano, Franco Bonisolli, and Roberto Alagna.
I wholeheartedly agree with your assessment of Sabbatini's performance. It certainly is quite something to behold!
Eugene Conley
Uh... Hermoso acompañamiento... Gracias.
Jussi Björling!
Definitely Jussi Bjorling, but also Salvatore Fiaichella!
Bravissima... io sono un tenore del conservatorio S Pietro a Majella di Napoli ed i tuoi video mi stanno aiutando tantissimo. ..grazie mille. ..sei bravissima
Nice playing. Would love to know what you make of Georges Thill's magnificent version and how it compares.
0:55
Jussi Bjoerling is the best!!!!
Yeah :-)
Wonderful, sensitive accompaniment. Thanks for posting!
Bjoerling
Fabulous playing. Thank you. I can see why you love Sabatini. Is phrasing control and musicality are incredible. Personally I just prefer Di Stefano's voice. I would love to sing with you someday
Thank you for your comment!
Very well done. Thanks for the beautiful music. I agree that Sabbatini did a beautiful job especially with the legato. Gedda had a magnificent high C, but no legato in the end of the aria. Pavarotti's recorded version is a masterpiece of singing.
Absolutely :-)
Thanks!!!
Bitte bitte mehr Arien! Das ist super toll. Sie spielen sehr gut! Ich habe gleich mal abonniert
Wonderful!!! thank you so much!
Brillante can I use it in a recording and upload it to UA-cam with your permission. I would like to collaborate if possible (IN FRENCH)??
No, I am sorry! I don't allowed to upload my videos in another channels.
Okay thanks nice job though!
di stefano is the best,the best diminuendo
Alfredo Kraus is the best.
you are so right about Sabbatini
Thank you from uk 🤗
No, I only like mario bahg korean young singer . He is perfect!!!! just listen
Thank you for being here.
Alfredo Kraus :)
Do stefano. 100 percent hands down.
He is great
Georges Thill!
MARIO BAHG!!!!!!!
Grazie mille！！！
brava!
You are absolutely right. Sabatini is amazing!
you have hear di stefano
Your work is so such amazing. It's inspiration to practice . Thank you so much for sharing your work with us. And Sabatini is superb! Thanks for the tip! ;-) I love the colors of Jonas Kaufmann's voice and his musicianship!
Thank you!
Sabattini did very well. Excellent. I didn't know about him. He has another fan and thanks for sharing.
:)
So many good tenors - in the top, definitely Krauss, Gedda and Alagna, but my favorite has to be Kaufmann - that guy has a colour to his voice I just love.
Btw, is there any version out there where the tenor doesn't look like he's about to have a heart attack singing the high-C?!? I think that must be the hardest one out there! :)
Iryna, great job! Thanks a lot for your videos, it's great to be able to properly practice my arias thanks to you!
I just listened to Sabbatini's recording of 'Salut' - WOW! That performance just blew me away! Such grace and lyricism - and that high-C, I've never heard such mastery on such a difficult note - to bring it down from forte to piano without losing any of the quality was just amazing!
He is just amazing!!!!
Corelli
Franco. Correlli