Well, we must say that a singer of this kind, not a concert singer as for example Schipa was, too (see the advertisements of that time), but rather an Opera singer, who needed to be on the stage in order to be himself, must be judged on the basis of operatic performances given in opera houses, no matter how young or old was Benelli. Anyway, let's try to listen to his 1969 live performance of this Cabaletta at La Scala !!! Also, better to avoid Studio recordings, an artist gives his/her best on the stage and singing-acting live. Consider, also, that in 2001 he sang perfectly well, at Carlo Felice, Un Incredibile in Andrea Chénier. The secret is mainly the breath control and the head voice.
@@operalover3966 Head voice is not an uncovered sound in vocal technique, maybe we do not use the same terms to mean the same practical result. For Chest we mean a specific position of the larynx that is not to be the same between low tones and high tones, otherwise the sound would be INGOLATO in the high tones, if you do not change from the chest register to the head register! Head voice is not a voice laking fullness nor it is to be a falsetto or a white voice. In Italy, since more than a century, we intend that sound which Benelli produced in the high tones, when we speak about the head voice.
Tengo completa esta ópera. Por su condición vocal y emisión Color y facultades, debió dar los 9 C y da 5 C péro, en el dúo, lo termina con el agudo y da otro agudo en el primer acto,y en el final otro agudo péro, la impresión del aria de los 9 C.V,es muy importante, la cadencia y apoyar la emisión para dar con soltura esta nota. En lo particular, es por su tesitura de tenorino, muy débil su temperamento al abordar los agudos.
Bravissimooooooo complimenti di cuore Maestro!!!
Bravissimo!!
Fantastico maestro Benelli!!!
Fenomenal 🙏🙏🙏🙏
Grandissimo artista!
Bravo!
Wow, fabulous
BRAVISSIMO!!!!
Not bad for 55 years of age! Legend!
Amazing.
strabiliante il maestro benelli!!
Best singer
Great
Grande!!!
Però!! Complimenti
Well, we must say that a singer of this kind, not a concert singer as for example Schipa was, too (see the advertisements of that time), but rather an Opera singer, who needed to be on the stage in order to be himself, must be judged on the basis of operatic performances given in opera houses, no matter how young or old was Benelli. Anyway, let's try to listen to his 1969 live performance of this Cabaletta at La Scala !!! Also, better to avoid Studio recordings, an artist gives his/her best on the stage and singing-acting live. Consider, also, that in 2001 he sang perfectly well, at Carlo Felice, Un Incredibile in Andrea Chénier. The secret is mainly the breath control and the head voice.
@@operalover3966 Head voice is not an uncovered sound in vocal technique, maybe we do not use the same terms to mean the same practical result. For Chest we mean a specific position of the larynx that is not to be the same between low tones and high tones, otherwise the sound would be INGOLATO in the high tones, if you do not change from the chest register to the head register! Head voice is not a voice laking fullness nor it is to be a falsetto or a white voice. In Italy, since more than a century, we intend that sound which Benelli produced in the high tones, when we speak about the head voice.
cmpearls 85 no you can sing clear chest in high notes.
@@operalover3966 You call that clear chest, it is the same sound that we call head voice, it is the mechanism the result we intend, not the terms.
Tengo completa esta ópera.
Por su condición vocal y emisión
Color y facultades, debió dar los 9 C y da 5 C péro, en el dúo, lo termina con el agudo y da otro agudo en el primer acto,y en el final otro agudo péro, la impresión del aria de los 9 C.V,es muy importante, la cadencia y apoyar la emisión para dar con soltura esta nota.
En lo particular, es por su tesitura de tenorino, muy débil su temperamento al abordar los agudos.
solo un rammarico.....avrei preferito fosse in lingua originale