Ma che bella voce!!!!!!!!! Ha aronici con sfumature brunite che trasmettono pathos, emozine, non manca di squillo, va sugli alti con facilita', canto nobile... Bravo
I have found that many of the great singers (certainly we can mention Tebaldi and Del Monaco) are less than perfect in their intonation, but we forgive them because their beauty of tone and musicality triumphs over these imperfections. I always forgive singers for occasional tuning issues as the human condition, being what it is, doesn't always allow for perfection - and perhaps that is a good thing as it speaks to the humanity in a performance, and allows a certain pathos, dare I say excitement, in the singing. Perfection, as they say, is sometimes overrated - and certainly, almost never achievable.
@@ozitenor A little bit late to this discussion but I must say that Ozzy is absolutely right about some of the greatest singers being less than perfect in their intonation. Bergonzi was flat many times and so was di Stefano by the end of his career; the great Jussi Bjorling was occasionally sharp. I am sure we could find more examples. Ozzy explained very well why we should forgive these imperfections from the great singers. After all, they were only human. I dare say that nowadays the conductors and people in charge want singers to be so perfect that the end product is mediocrity. Most operatic singers today have monotonous, nasal, constricted voices that need amplification in order to be heard in a big house. But most of all, today's voices, for the most part, are boring, without squillo, and without that passion and fire that the old singers possessed; the kind of expression that would drive audiences crazy and create the most amazing ovations. I wish opera could regress to what it used to be and not the intellectual diarrhea that has become. Forgive me if my comment is insulting to anyone, but that's my opinion.
@@Verist4 Certainly there is a much greater focus on musicality in the current era of opera performance. That's not necessarily a bad thing though. What we tend to find with recorded documents is that we are given a brief temporal sliver of an artists career. Artists with tremendous musicality will still on occasion have moments of imperfection, and granted some more than others. Live performance especially is particularly difficult, and it's not altogether that much easier in the studio because it's rare that you can afford endless time with retakes getting things correct, given the enormous costs of recording an orchestra etc. A lot of the studio recordings are also, indeed, single moments in time memorialized, warts and all. As to the greatness of today's singers compared to yesteryear; I would proffer that there are some absolutely wonderful voices around the world today, just not always on the cover of the opera magazines. And there were plenty of terrible voices in yesteryear also - they just didn't tend to find their way into the broadcasts and studio recordings!
🙏!
Ma che bella voce!!!!!!!!! Ha aronici con sfumature brunite che trasmettono pathos, emozine, non manca di squillo, va sugli alti con facilita', canto nobile... Bravo
Continuo ad ascoltarlo, mi da emozione a non finire, era per me sconosciuto, ora è tra i miei preferiti, bellissima voce, grande performance. Chapeau
Bravissimo! Che bella voce! Optimo tenore.
Bravissimo tenore! Che bella voce, emissione e che emozione.
Semplicemente. SPLENDIDO!!!!!!!!!!!! !!!
Astonishing rendition
meraviglia assoluta
EXQUISITA INTEPRETACION Y VOZ
100 time better than Domingo!
Bravo!
come si può mettere un pollice giù. incompetenza
bravo
Just listened to Carlo di Giacomo. I prefer Barry Morell ,but both are beautiful. Morell has better control of the high notes.
Please listen to the recording of this aria by Carlo di giacomo. And tell me what do you think.
tigranvocalcoach canto straordinariamente bello!! That was a wonderful rendition by Carlo Di Giacomo. Thank you for suggesting it.
He goes just a little flat at times.
I have found that many of the great singers (certainly we can mention Tebaldi and Del Monaco) are less than perfect in their intonation, but we forgive them because their beauty of tone and musicality triumphs over these imperfections. I always forgive singers for occasional tuning issues as the human condition, being what it is, doesn't always allow for perfection - and perhaps that is a good thing as it speaks to the humanity in a performance, and allows a certain pathos, dare I say excitement, in the singing. Perfection, as they say, is sometimes overrated - and certainly, almost never achievable.
Ozzy Tenor thank you for the reminder. You are correct. After you read this I will take down my original comment.
Terry Cloth no need to do that. It’s a worthwhile discussion to have about voice and singers. There is no correct answer, just points of view.
@@ozitenor A little bit late to this discussion but I must say that Ozzy is absolutely right about some of the greatest singers being less than perfect in their intonation. Bergonzi was flat many times and so was di Stefano by the end of his career; the great Jussi Bjorling was occasionally sharp. I am sure we could find more examples. Ozzy explained very well why we should forgive these imperfections from the great singers. After all, they were only human. I dare say that nowadays the conductors and people in charge want singers to be so perfect that the end product is mediocrity. Most operatic singers today have monotonous, nasal, constricted voices that need amplification in order to be heard in a big house. But most of all, today's voices, for the most part, are boring, without squillo, and without that passion and fire that the old singers possessed; the kind of expression that would drive audiences crazy and create the most amazing ovations. I wish opera could regress to what it used to be and not the intellectual diarrhea that has become. Forgive me if my comment is insulting to anyone, but that's my opinion.
@@Verist4 Certainly there is a much greater focus on musicality in the current era of opera performance. That's not necessarily a bad thing though. What we tend to find with recorded documents is that we are given a brief temporal sliver of an artists career. Artists with tremendous musicality will still on occasion have moments of imperfection, and granted some more than others. Live performance especially is particularly difficult, and it's not altogether that much easier in the studio because it's rare that you can afford endless time with retakes getting things correct, given the enormous costs of recording an orchestra etc. A lot of the studio recordings are also, indeed, single moments in time memorialized, warts and all. As to the greatness of today's singers compared to yesteryear; I would proffer that there are some absolutely wonderful voices around the world today, just not always on the cover of the opera magazines. And there were plenty of terrible voices in yesteryear also - they just didn't tend to find their way into the broadcasts and studio recordings!