Today opera is most weak head sounds. The sopranos and the modern mezzos don't have a proper development of her chest voice, and they even don't have squillo in her voices or at least not enough to transcend a big orchestra. An example of bad vocal technique today is Netrebko and Fleming.
Saioa Hernández is the best singer of the century, no wonder, since her main singing teacher was none other than the great Montserrat Caballé. Saioa has a beautiful soprano voice, I think she is a spinto or a full lyric. Her timbre reminds me of Tebaldi, being a little lighter.
I have seen several videos where great sopranos like Montserrat Caballé and Aprille Millo avoided this chest note. I never understood why, in my opinion it is the most dramatic part of the whole aria. For me Miss Tebaldi is the reference Maddalena, all of her live performances include an impressive chest G4. Thank you very much for making this video!
The entire section: Muzio, Pedrini, and Santunione. It's between Pedrini and Santunione for my top spot. I also LOVED Dabusti and Saioa, as well. And WOW, Mancini is so CLEAR! The G4: Callas. That voice is like a thousand rivers. Just thunderous.
I have seven favourite sopranos who have mastered the chest tones of Maddalena de Coigny's famous aria "La Mamma Morta". Those are Claudia Muzio, Claudia Parada, Maria Callas, Maria Pedrini, Bianca Scacciati, Lina Bruna Rasa, and Maria Caniglia. I prefer mostly the older sopranos as well as Fiorella Prandini and Haydée Dabusti, who were such revelations to me, because there was far more technical prowess and actual power in their voices in comparison to the rampant amplification that has otherwise messed up huge singing big time.
It’s also important to know this combination covers a range of lyrics, spintos and dramatics. Voices are also differently ”set” by nature. And the acoustics affects the sound we hear too of course.
Why do you think more female opera singers don’t make this kind of sound? It’s completely natural, free, and not even particularly high in their chest range. Tenors and baritones sing G in full voice all the time, and tenors sometimes even in open chest. Why not sopranos?
Bruna Rasa, Caniglia (although the quality of this recording isn't great) and Pedrini for me. I miss Cerquetti, maybe Milanov and definitely Cigna, who had a really big chest voice. I believe there was also a recording of Boninsegna, but it can't find it.
Thank you for this. This ending has to be done in chest voice. In fact, the entire section has to be sung with an absolute fortissimo sound. The music simply demands it.
Saioa Hernandez did pretty well. On this note and for the strength and size required for this piece as a whole Callas wins. But Claudia Muizo wins for the interpretation.
@@KajiVocals I think people start realising the chest is necessary. Years back it wasn't like that. Although many of them do their chest tones throaty, they need to develop their registers correctly. It's hard to find a teacher who can teach you that. Gladly I found mine.
These Mancini, Dabusti, Parada, Freni, Prandini, Malagrida , Stoyanova were better. Howewer, I prefer high × high × high sopranos like Bogna Sokorska, Evgenyia Miroshneichenko, Erna Sack, Elena Zimenkova, Galina Olineichenko, Halina Mickiewiczowna, Ingeborg Hallstein, Lilly Pons, Mado Robin and Zdzislawa Donat.
Kaji, I need some advice, do you think I'm good to go with classical conservatory training if I wanna sing gospel with a sizable and resonant voice, sadly there're no gospel communities where I live.
@@KajiVocals Ed è un male? E quell'interpretazione tecnicamente "da brividi", parossisticamente e volutamente lenta? È pur vero che sottolinei il F# - G, espressivamente diversi, ma non si può prescindere dall'intera aria. Un callasiano per la vita che ha avuto modo di scrivere "impressionante Renata Tebaldi" proprio in quel registro, quello della Divina. Ci sarà un motivo "culturale" se rimango estasiato nell'ascolto di Magda. Cordialmente.
Interessante compilation. La tebaldi si conferma la voce più bella... spicca su tutte le altre per bellezza cavata torrente di suono uguaglianza di timbro e vibrazione sul si acuto e poi sul fa# e sul sol
@@judygarland7186 Zinka Milanov NEVER sang much on bottom, she has NO "gravi", she had middle "ingolatto" and her voice changes on top, Milanov top is clear in color
@judygarland7186 But Milanov always sang this part in head voice, not chest, and sometimes even transposed it an octave higher. Caballé did the same.
@@draganvidic2039 M1 laryngeal vibratory mechanism. One of the four LVMs in the voice. This one corresponds to the modal voice mechanism. Mixed voice is done in M2.
Teach the sopranos the CHEST VOICE! Kaji!
Almost belting!! Sad we don't hear this kind of singing in Opera anymore.
Today opera is most weak head sounds. The sopranos and the modern mezzos don't have a proper development of her chest voice, and they even don't have squillo in her voices or at least not enough to transcend a big orchestra. An example of bad vocal technique today is Netrebko and Fleming.
Saioa Hernández is the best singer of the century, no wonder, since her main singing teacher was none other than the great Montserrat Caballé. Saioa has a beautiful soprano voice, I think she is a spinto or a full lyric. Her timbre reminds me of Tebaldi, being a little lighter.
I have seen several videos where great sopranos like Montserrat Caballé and Aprille Millo avoided this chest note. I never understood why, in my opinion it is the most dramatic part of the whole aria. For me Miss Tebaldi is the reference Maddalena, all of her live performances include an impressive chest G4. Thank you very much for making this video!
Aprile Millo is a lyrical soprano with a small voice who wanted to play as a dramatic, pathetic
I liked many but "the blonde diva" is the best of the 21st century..... Saioa Hernández❤
Nice to see sopranos doing chest voice!
As it should be
lol it’s strengthened head voice
?
The entire section: Muzio, Pedrini, and Santunione. It's between Pedrini and Santunione for my top spot. I also LOVED Dabusti and Saioa, as well. And WOW, Mancini is so CLEAR!
The G4: Callas. That voice is like a thousand rivers. Just thunderous.
Orianna and Claudia Parada! GAWD! Great C6(?)! Great G4, too, Claudia! Callas and Tebaldi! Mancini so clear!
I loved Maria Pedrini, and of course La Callas!!
I have seven favourite sopranos who have mastered the chest tones of Maddalena de Coigny's famous aria "La Mamma Morta". Those are Claudia Muzio, Claudia Parada, Maria Callas, Maria Pedrini, Bianca Scacciati, Lina Bruna Rasa, and Maria Caniglia. I prefer mostly the older sopranos as well as Fiorella Prandini and Haydée Dabusti, who were such revelations to me, because there was far more technical prowess and actual power in their voices in comparison to the rampant amplification that has otherwise messed up huge singing big time.
Renata tebaldi and Maria >>>>
Love the different interpretations. Thank you.
It’s also important to know this combination covers a range of lyrics, spintos and dramatics.
Voices are also differently ”set” by nature.
And the acoustics affects the sound we hear too of course.
Why do you think more female opera singers don’t make this kind of sound? It’s completely natural, free, and not even particularly high in their chest range. Tenors and baritones sing G in full voice all the time, and tenors sometimes even in open chest. Why not sopranos?
Are you for real?
@@draganvidic2039 Yup. Women’s chest voice naturally extends into the 5th octave, even without much training.
@@matOpera
It’s not that simple even if you got a point
@@draganvidic2039 More complicated in what sense?
Great collection! More of this type of videos please.
Bruna Rasa, Caniglia (although the quality of this recording isn't great) and Pedrini for me. I miss Cerquetti, maybe Milanov and definitely Cigna, who had a really big chest voice. I believe there was also a recording of Boninsegna, but it can't find it.
Great video Kaji.. ya keep outdoing yourself! THX’s ✌️♥️
Thank you for this. This ending has to be done in chest voice. In fact, the entire section has to be sung with an absolute fortissimo sound. The music simply demands it.
Yes I don’t really get the title here.
It’s chestvoice or don’t sing.
Saioa Hernandez did pretty well. On this note and for the strength and size required for this piece as a whole Callas wins. But Claudia Muizo wins for the interpretation.
I quite like Scuderi’s chest part.
And Maria Pedrini’s was my favourite I think. Along with Callas and Tebaldi.
La Tebaldi...che voce sonora...
This is cool.
E Milanov... A grande Milanov jamais poderia ser esquecida nessa seleção
❤
Great video Kaji 👏 👏 ❤
Maria Pedrini is awesome
I am glad there are modern sopranos who don't avoid the chest!
I go to opera regularly. Multiple times a month. And honestly - I find that sopranos who DON’T use chest are quite rare.
@@KajiVocals I think people start realising the chest is necessary. Years back it wasn't like that. Although many of them do their chest tones throaty, they need to develop their registers correctly. It's hard to find a teacher who can teach you that. Gladly I found mine.
This is really interesting
¡¡Buen Vídeo!! 🤍🤍👏🏻👏🏻👏🏻
Shawn Mendez is still a baritone.
LOL Mendez ain't no baritone.
Would you say these Gs or (at least most) of them are "pure" chest?
Yes, many of them.
Some have a more dose of headvoice so it’s not either this or that.
@@draganvidic2039 Kaji confirmed what I thought already. Also, your statement is contradictory.
@@draganvidic2039 there is no such thing as sing in chest voice with a dose of head voice
These Mancini, Dabusti, Parada, Freni, Prandini, Malagrida , Stoyanova were better. Howewer, I prefer high × high × high sopranos like Bogna Sokorska, Evgenyia Miroshneichenko, Erna Sack, Elena Zimenkova, Galina Olineichenko, Halina Mickiewiczowna, Ingeborg Hallstein, Lilly Pons, Mado Robin and Zdzislawa Donat.
Loved Latonia Moore and Hyun Ae Cho the best.
Latonia is thin and strident on her high note
What is the fach of these singers?
Kaji, I need some advice, do you think I'm good to go with classical conservatory training if I wanna sing gospel with a sizable and resonant voice, sadly there're no gospel communities where I live.
0:47 coloratura?
I think that or a lyric.
Child sacchi was flat on those notes before the F# and G, Lool
Yeah she lost her top early due to health apparently. Moved to mezzo rep cuz of it.
Yeah I see why but the voice doesn't strike me as mezzo either so she was doomed from the start it seemed.
She sounded shrill and wobbly to me. It wasn't a good time for her.
@Noack Somewhere He was not talking about the high B.
Sacchi had health problems and in 1953 started singing mezzo parts
Were's Anita Chercquetti?
Callas!
Renata Tebaldi impressionante! Maria Callas non è la migliore registrazione; ma dov'è Magda Olivero????
Magda non canta il finale di quest'aria con la voce di petto. Lo canta nel registro medio o con voce piena in testa.
@@KajiVocals Ed è un male? E quell'interpretazione tecnicamente "da brividi", parossisticamente e volutamente lenta? È pur vero che sottolinei il F# - G, espressivamente diversi, ma non si può prescindere dall'intera aria. Un callasiano per la vita che ha avuto modo di scrivere "impressionante Renata Tebaldi" proprio in quel registro, quello della Divina. Ci sarà un motivo "culturale" se rimango estasiato nell'ascolto di Magda. Cordialmente.
Oh, sono d'accordo che Magda la canta molto bene. Sto semplicemente dicendo che non è idoneo allo scopo di questo video.
@@KajiVocals Hai ragione, me ne sono accorto in ritardo🤗
Interessante compilation. La tebaldi si conferma la voce più bella... spicca su tutte le altre per bellezza cavata torrente di suono uguaglianza di timbro e vibrazione sul si acuto e poi sul fa# e sul sol
La Tebaldi era incredibile nella parte centrale della voce, sempre corposa e calda.
Where's zinka?
Zinka has no strong low notes
@@ginopietracupa4305 Milanov absolutely has strong low notes, you are wrong
@@judygarland7186 Zinka Milanov NEVER sang much on bottom, she has NO "gravi", she had middle "ingolatto" and her voice changes on top, Milanov top is clear in color
@judygarland7186 But Milanov always sang this part in head voice, not chest, and sometimes even transposed it an octave higher. Caballé did the same.
Eileen Farrel y Gina Cigna Faltarian.
Some of them mix to a varied degree while a few go FULL chestvoice…
All of these are M1. The lesser density in some of them does not make it mix.
@@KajiVocals M1…?
@@draganvidic2039 M1 laryngeal vibratory mechanism. One of the four LVMs in the voice. This one corresponds to the modal voice mechanism. Mixed voice is done in M2.
@@KajiVocals Yes
Which is why your statement is incorrect..