Secondo me al giorno d'oggi c'è ancora qualche tenore buono: non è facile trovarlo, ma c'è (es. Camarena). Ma di certo ai livelli di Gigli nessuno può arrivare. Forse l'unico che ci si è avvicinato è stato Di Stefano.
This is one of my absolute favorite recordings of Gigli. As good as the studio recordings are with DeLuca this one is even better…..and not because of Tally at all as I most certainly like Gali Curci far better. The vowel shapes Gigli chooses here are absolutely unbelievable. That perfect balance to be open enough, creating amazing tone, and effortless lyric transmission, but just enough “cover” or chest component to round out the tones. This is an absolute MASTER CLASS on the very pinnacle of lyric singing….and by both male voices I might add. And it doesn’t hurt that Verdi is absolutely at his greatest on how he voices the 4 singers together. I don’t believe there is a greater quartet ever written. Even Mozart himself could have gotten a lesson in economy. This would still be an incredible quartet if it had 20% more notes, but Verdi’s economy here is truly spectacular!!!!! He knows better than anyone how to have so little going on in the orchestra so the voices really stand out. This is one aspect that even his greatest “student”, Puccini couldn’t even come close to mastering. His quartet from Boheme can’t hold a candle to this from a musical standpoint. Even his 3rd act trio can’t compare on this level…..and it is more than just rumor that Verdi himself gave Puccini assistance in writing the third act. I consider this one of Gigli’s 5 great recordings. The very definition of a “desert island recording” and right up there with the greatest recordings of all time…..like Ruffo/Caruso’s Si Pel Ciel, which is my choice for the number 1 in recording history. This recording is very close to that caliber in regards to the male voices. Thank you for sharing!!!
Thank you thank you thank you for getting this historic TREASURE of a video posted at the correct pitch. It’s makes ALL the difference. It is a truly great performance of this quartet (which has a very taxing tenor part, and which the legendary Gigli sails through!). The postings which play a half step too high are almost laughable.
@@Tkimba2 il soprano è semplicemente Meraviglioso. Dal vivo questo questo modo di impostare la voce in modo squillante ha un effetto veramente impressionante nella sala. Da anni questo modo di porgere purtroppo è dimenticato da quasi tutti soprani.
My white label HMV record with Galli Curci & Louise Homer, makes Gigli's voice sound rounder and richer. At first this strikes me as odd, but the ear soon becomes used to the slightly different pitch. You say this is correct pitch and what of the more famous version I have? [i must confess, as famous as the tenor and baritone are, I do not know either of the ladies.].
Both women were Metropolitan Opera stars for a time, but a rather brief time. Marion Talley, "The Kansas City Nightingale," was given a Met contract as a coloratura and accorded so much press that she could never have lived up to--and seemed to know it. As Giacomo Lauri- Volpi wrote of her, "that little teenage goddess with her rosy cheeks ... after only two years had ruined her delicate voice and wrecked her physique." Jeanne Gordon was another beauty who was beset with mental problems that ended her career. Both women were cast in this Vitaphone film because of their beauty and popularity more than their voices. At least the film captures the famous quartet being sung at "opera house tempo" rather than the faster tempo necessary for a four-minute studio recording.
No, such a thing did not exist then. This was toward the beginning of the advent of sound films. In fact this film was done with specific kind of sound synchronization, whereby the film was taken while the sound of the orchestra and singers' voice was incised on a record. Even today, many of the Movietone and Vitaphone kinescopes have been lost or destroyed but the audio of the film, on disc, has managed to be preserved ("see" the Titta Ruffo Credo on my channel). In some cases, the reverse is true.
![Giovanni Martinelli - Celeste Aida - 1929 Vitaphone [CORRECT PITCH]](http://i.ytimg.com/vi/_JkyS8DuZNo/mqdefault.jpg)
voci che roccano il cuore
Thank you!!!
Meraviglioso Gigli un sogno.
Tutti Meravigliosi.
Gigli- divino.
Addio bel passato per sempre addio
il vecchio
Secondo me al giorno d'oggi c'è ancora qualche tenore buono: non è facile trovarlo, ma c'è (es. Camarena).
Ma di certo ai livelli di Gigli nessuno può arrivare. Forse l'unico che ci si è avvicinato è stato Di Stefano.
Sarà che la registrazione ai tempi non era perfetta ma alla voce di Gigli io gli preferisco quella Pertile.
@@lz43p15
Gigli e Pertile- due Fenomeni.
Fortunatissimo il pubblico chi ha sentito le loro voci dal vivo .
This is one of my absolute favorite recordings of Gigli. As good as the studio recordings are with DeLuca this one is even better…..and not because of Tally at all as I most certainly like Gali Curci far better. The vowel shapes Gigli chooses here are absolutely unbelievable. That perfect balance to be open enough, creating amazing tone, and effortless lyric transmission, but just enough “cover” or chest component to round out the tones. This is an absolute MASTER CLASS on the very pinnacle of lyric singing….and by both male voices I might add. And it doesn’t hurt that Verdi is absolutely at his greatest on how he voices the 4 singers together. I don’t believe there is a greater quartet ever written. Even Mozart himself could have gotten a lesson in economy. This would still be an incredible quartet if it had 20% more notes, but Verdi’s economy here is truly spectacular!!!!! He knows better than anyone how to have so little going on in the orchestra so the voices really stand out. This is one aspect that even his greatest “student”, Puccini couldn’t even come close to mastering. His quartet from Boheme can’t hold a candle to this from a musical standpoint. Even his 3rd act trio can’t compare on this level…..and it is more than just rumor that Verdi himself gave Puccini assistance in writing the third act. I consider this one of Gigli’s 5 great recordings. The very definition of a “desert island recording” and right up there with the greatest recordings of all time…..like Ruffo/Caruso’s Si Pel Ciel, which is my choice for the number 1 in recording history. This recording is very close to that caliber in regards to the male voices. Thank you for sharing!!!
Absolutely agree
Beautiful!
Thanks at last the right pitch!
Thank you thank you thank you for getting this historic TREASURE of a video posted at the correct pitch. It’s makes ALL the difference. It is a truly great performance of this quartet (which has a very taxing tenor part, and which the legendary Gigli sails through!). The postings which play a half step too high are almost laughable.
It simply couldn't get any grander than this!
Life long baritone. Sign me up ❤
I love this clip of Gigli. Thanks for posting the right pitch ❤️❤️❤️❤️❤️
Thank you again trrill for the marvelous and generous work you do.
Bravi a tutti.
Eccetto il sopranino coccodè
@@Tkimba2 il soprano è semplicemente Meraviglioso.
Dal vivo questo questo modo di impostare la voce in modo squillante ha un effetto veramente impressionante nella sala.
Da anni questo modo di porgere purtroppo è dimenticato da quasi tutti soprani.
Gigli did not look like a Duke and could not act. However when you can sing like that WHO CARES !!!!!
Истинное искусство! Сейчас уже разврат на сцене (((
My white label HMV record with Galli Curci & Louise Homer, makes Gigli's voice sound rounder and richer. At first this strikes me as odd, but the ear soon becomes used to the slightly different pitch. You say this is correct pitch and what of the more famous version I have? [i must confess, as famous as the tenor and baritone are, I do not know either of the ladies.].
Both women were Metropolitan Opera stars for a time, but a rather brief time. Marion Talley, "The Kansas City Nightingale," was given a Met contract as a coloratura and accorded so much press that she could never have lived up to--and seemed to know it. As Giacomo Lauri- Volpi wrote of her, "that little teenage goddess with her rosy cheeks ... after only two years had ruined her delicate voice and wrecked her physique." Jeanne Gordon was another beauty who was beset with mental problems that ended her career. Both women were cast in this Vitaphone film because of their beauty and popularity more than their voices. At least the film captures the famous quartet being sung at "opera house tempo" rather than the faster tempo necessary for a four-minute studio recording.
Is there a full opera version?
No, such a thing did not exist then. This was toward the beginning of the advent of sound films. In fact this film was done with specific kind of sound synchronization, whereby the film was taken while the sound of the orchestra and singers' voice was incised on a record. Even today, many of the Movietone and Vitaphone kinescopes have been lost or destroyed but the audio of the film, on disc, has managed to be preserved ("see" the Titta Ruffo Credo on my channel). In some cases, the reverse is true.
trrill thanks for the answer
DAS WAR NOCH OPER UNERREICHBAR
Sorry...who are the two women?
Gilda - Marion Talley, Maddalena - Jeanne Gordon.
@@trrill Thank you! I especially like Gordon. Isn't she the mezzo (Wikipedia says contralto) Ponselle talked about that was such a great Amneris?
Que horrible canta esa soprano, por dios!
O got here3 years later bit nontheless this is avtreat. Your whole xhannel is one of the best things that ever happened to me