@@alessandroscano8 carissimo Amico , come stai ?! ti mando i miei saluti cordiali con la speranza che un giorno ci vedremo di nuovo a Parigi ! io sto bene, in questi mesi faccio molta attenzione visto la mia canuta età ... ti adoro ragazzo, sei Enorme ! non devi dimenticare mai queste parole mie ! a presto ! con affetto il tuo vecchio amico Nicola
@@bodiloto che immenso piacere risentirti amico mio carissimo. Spero di poter venire presto a Parigi per abbracciarti. Viva la lirica e viva gli esperti come te ❤️
a 61 anni interpretare un pezzo cosi drammatico è la migliore lezione che si possa dare ai drammatici puri...è una voce completa di una bellezza straordinaria nessuno come lui
In my opinion, the dramatic vocal temperament Gigli took on starting in the late 1930s that lasted as long as his voice was fully cooperative, until the end of 1951, put him comfortably in the top 5 tenors ever recorded.
Sono un grande ammiratore di Del Monaco,il tenore lirico-spinto/drammatico che ascolto più volentieri.Credo di poter affermare che il più completo tenore del secolo scorso(e ovviamente anche di questo)sia stato proprio Gigli.Un colore bellissimo,un'estensione consona al repertorio(immenso),una facilità di emissione che non ha riscontro in un tenore(pur con tanti magnifici tenori).Inoltre anche Corelli ricorda di quanto fosse "grande" la voce di Gigli in teatro(lo dice chiaramente in un intervista che potete trovare su youtube).Per di più Gigli in quest'esibizione aveva già 61 anni...UN MIRACOLO!!!!!!!!!
Gigli era la summa dei tenori.!!sapeva essere lirico, lirico spinto, drammatico passava da "pescatori di perle, a elisir d'amore, allo chenier, pagliacci, cavalleria e in questa magistrale perfomance di manon lescaut. Grande cuore italiano. Grazie di tutto quello che ci hai dato.
mai sentito niente di simile.............eccezzionale, che pathos, che interpretazione. Grazie Beniamino per essere esistito e per aver donato tutto ciò.
Nesta viagem ao Brasil ele esteve em Juiz de Fora onde se apresentou no Teatro Central. Conheci várias pessoas que tiveram a felicidade de assistir um dos maiores ícones do canto lírico. Em várias Óperas Gigli é insuperável assim como na música sacra. Imbatível nas aves Maria. Também em muitas canções.
Tal vez muchos no lo noten, pero con la verdadera voz de pecho como la que él poseía, podía tumbarse a las demás voces y a la orquesta siendo un tenor lírico ligero, cosa que ningún otro cantante de opera de estos tiempo podrá. Gigli es el más claro ejemplo de técnica de canto italiana de la vieja escuela. Una voz teatral, como la de Lauri Volpi, Franco Corelli, Mario del Monaco, Caruso, Miguel Fleta, Aureliano Pertile.
I still hear much of Gigli's youthful bloom....it's amazing....to me he sounds almost like a young di Stefano here rather than an old Gigli. A testament to his great technique
quando gigli vuole fare il drammatico la sua interpretazione è favolosa .... sembra che esistano tre gigli in una unica persona lirico lirico spinto lirico drammatico questo è un dono della natura ...mezza voce voce voce piena voce forte
Immenso! Mai abbastanza lodato. Gigli è un punto di riferimento tecnico, una autentica summa culturale del canto! E' da Gigli che si dovrebbe cercare di ripartire onde recuperare senso e dignità nel canto. Bellissimo documento: grazie AfroPoli!
Sono d'accordo con lei. Gigli dovrebbe essere preso ad esempio come manuale del canto e della disciplina che serve per arrivare a livelli simili. Immenso artista.
He was a spinto by this time. I wonder why he sang so lightly on studio recordings, and used falsetto. He certainly didn't need to! This performance shows he had balls. Great big ones!
@@jefolson6989 Dear Jef, for me, categorizing tenors does get a little tricky at times. Even though I consider Gigli, Di Stefano, and Bjorling to be lyric tenors, they were successful in some of the spinto dramatic roles, but I believe that their basic quality of voice was lyric, so suitability becomes more so a factor than categorizing a tenor voice. ''Corelli - Zucker'' here on YT, mentions that Gigli was great in Chenier and Forza and he also debuted in La Gioconda. Bjorling refer to himself as a spinto tenor, but JB never touched Gioconda, Forza ,Carmen, and Chenier. However, JB was successful in Trovatore, Cavalleria, Manon L. and Tosca. Both Gigli and Bjorling did not do very well in Aida. Di Stefano, like Gigli did sing everything, but with varying reviews depending on what age he was in his career. Corelli referred to himself as a lyric tenor, where I believe the color of his voice was spinto, or spinto dramatic. I think Tucker's voice transitioned over time from lyric, lyric spinto and finally a full spinto tenor, as he also successfully sang across a wide variety of roles. Pavarotti is another lyric based tenor that did do well in Chenier, Trovatore, Tosca,Turandot, Luisa Miller, I lombardi, and Ernani but mixed reviews in Aida. In my opinion, all these aforementioned tenors were amazing. Enjoy
@@sugarbist Bjoerling was a special case. His voice changed very little throughout his career, and he sang spinto roles in a very lyric way- never forcing. He did Rhadames, which in my opinion is more difficult than Gioconda. I have Trovatores from 41 and 60. Bjoerling is almost identical in both. BUT- he is on fire, and in full spinto mode on the 56 met Manon Lescaut with Albanese. Something about this opera seems to bring it out of tenors. Tucker's performance with Olivero from Carracas is one of his greatest. 3 great tenors in the same role, each giving more , vocally and dramatically, than one would think possible. They transcended classification and fach. Its a great shame Corelli never sang the part! When Zucker asks about it, Corelli says it just never came up. He was busy with Chenier and Calaf. Interesting that Corelli assumed more lyric roles late in the game. Last time I saw him was Rodolfo. ( it was pretty sad. A bundle of neuroses and mannerisms. The sound was still glorious- but he got so sloppy musically )
@@jefolson6989 Bjorling received a disappointing review at the Met as Cavaradossi in 1945. The NY Times critic claimed, he sang tastefully as always, but his voice seemed to be too small. But Bjorling did receive a good review from his Dec. 1959 performance. ''This Cavaradossi singing was sheer delight, his acting truly convincing, while his rousing cry of ''Vitoria Vitoria'' nearly started a peaceful resorgimento in the gallery. Bjorling seemed to be more emotional live than on recordings. Birgit Nilsson from the Andrew Farkas Book; ''Bjorling sang a beautiful Radames with me at the Stockholm Opera house, capacity ''1180'', but when I saw him in Aida in Chicago1959, ''capacity 3563'' his voice seemed too small for the role''. IMO, The grueling 3rd act in Aida needs a voice with heft, like a Corelli, Tucker or MDM. Met review1939 Oscar Thompson NY Sun. It must be said frankly that Mr. Gigli's is NOT a Radames voice. It remains the voice for ''Una Furtiva Lagrima'' rather than for ''Celeste Aida'' The singer began last night's performance by pumping and pounding out the notes of that air and he pumped and pounded through much of the evening thereafter. There were some seductive phrases in the Nile scene and again in the duet with Amneris in the last act. But, it would be only occasionally that his hard-driven heroics permitted the true and treasured quality of voice to be heard. Mr Gigli's is basically good production. Yet his singing was characterized by almost every vice of style that can be charged against an artist -he scooped, sobbed, he aspirated syllables and resorted to the glottis stroke in the attacks. He treated sundry legato phrases as if they were successions of small explosions and in his effort to enlarge his limited top notes, he sang them so ''open'' that they resembled shouts. Yet in spite of the punishment to which the voice was subjected, much of it's beauty remained. There are few such voices , the reason for conserving the lyric charm of this one. I think Corelli may have been taking on the more lyric roles late in the game, to possibly extend his career. He was having trouble holding a steady vocal line in his middle register, even as early as 1970-71. I think his voice was well suited for Manon L. Yes, F.C. had a great voice but he was full of mannerisms, possibly because of having stage fright. Notice that he is a far better singer on his studio recordings than in the theater. But he knew how to light up the stage and the audience. I saw him in an electrifying Trovatore at the Met circa 1961. He received a lukewarm review, but he did set the audience on fire. He was known as Mr. Soldout at the Met. I remember a Don Carlo Matinee circa 1973, where the announcer preempted the performance by stating that Mr. Corelli is under the weather, but will continue with the performance. Some time during the 2nd act, my father turned o me and said, '' it's a good thing he's not feeling well'' meaning that F.C. sounded terrific that day. I only wish we had this great caliber of talent on the operatic stage today. Enjoy
One has just to compare this with, let's say, the "Dream" aria of Massenet's Manon, in order to realize for what and how Gigli was able to sing. He had a versatile voice with seldom natural beauty, combined with an excellent technique and skillful training that allowed him to sing marvelously until the end of his life.
Be it far from me to point out all the excesses and histrionics of this performance. And that it is way over the top, it is Gigli and it is glorious, much like his commercial recording. Only Gigli could get away with this and do it so wonderfully!
Questa è la migliore interpretazione del brano su UA-cam e i tromboni "drammatici" dei miei coglioni che pensano di essere superiori a Gigli proprio perché dotati di tromboni in gola farebbero meglio ad imparare.
That is verismo opera as it should be ,alive and full of emothion....like a Stage play but its al sung not spoken word...listen also to Sandor Konya and Carlo Bergonzi who both sung this in the same kind of verismo style 20 years later BraviM
At this point in his career, Gigli still towers over most tenors who sing Des Grieux today. Was he the first to sing the interpolated "Ahhh" at 2:31 that other tenors adopted later?
:) I hope someday a young of 19 will see such wonderfull operas with such great voice. Mario Del Monaco has a technic that is no more teached today, except by some olds persons. Del Monaco had no problem with high notes, Otello is not a "baritonal" role, it's high and there is great powerfull acuti to do. And the video where he sings "Di Quella pira" ... perfect high C... Pavarotti was not the only to do it well ^^ The Otello you have seen was certainly wonderfull ^^ Best regards :)
Corelli states that the low larynx technique existed long before the Melocchi school. Lauri Volpi writes that after a devastating outing in La Gioconda in Spain, Del Monaco went to Melocchi and together they fabricated a voice to sing Otello. Corelli - Zucker here on You Tube states that MDM did not have a big voice upon arriving to Melocchi, but emerged from the Melocchi School with a very large voice.
Su Domingo ti do ragione, ottimo tenore, musicale, ma di secondo piano. Su Bergonzi ho da eccepire: grandissima tecnica e fraseggio in superabile, purtroppo penalizzato da un timbro poco metallico. Anche Corelli del resto fu penalizzato da una dizione (delle "s" che sembravano "f") imperfetta.
Haven’t seen the score of Manon Lescaut. Does anybody know if that final high note is in the score or is it just something Gigli did for dramatic purposes?
Jemand soll ihm bitte n Tempo und ne Beruhigungspille geben und ihn nach hause schicken. Wenn er gut war, war er sehr gut. Wenn er schlecht war, war er grotesk.
Hello :) I'm not a specialist, but I think it was lowered, in order to make a great high note in the end more easely (B flat and not B natural). And sustain it more time. It's a difficult piece and it need a very glorious and virile voice. I think he could have perfectly sing it at the good tone, but maybe he wanted to be sure he would make a triumphal ending with the soprano (with such a soprano ^^) Best regards...
@@guidogreco341 I cantanti si distinguono per timbro e per imposto. Il modo di cantare di Gigli era di certo diverso da quello di Del Monaco e a prescindere dal timbro uno poteva essere più efficace dell'altro nell'interpretare la medesima romanza, Per naturalezza di emissione e capacità di fraseggio, quindi per impostazione tecnica, Beniamino Gigli era superiore a Del Monaco e infatti nella sua carriera ebbe la possibilità di cantare ottimamente nei ruoli più disparati, da quelli elegiaci a quelli più drammatici.
@@riccardobarreca8066 nulla da eccepire sulle qualità del grande Gigli rimane il fatto che a mio modestissimo parere nei ruoli di Chenier,Pagliacci,Radames,Otello reputo Del Monaco superiore.Ovviamente Gigli rimane un icona del bel canto e l accostamento forse va fatto con Jussy Byorling o Fleta...comunque grande scuola
@@guidogreco341 Arturo Melocchi fu maestro di Mario Del Monaco e anche di Gastone Limarilli. A suo tempo presi delle lezioni di canto da quest'ultimo e per questo motivo azzardo pareri sul modo di cantare. Il cosiddetto "affondo" comporta dei limiti interpretativi d'imposto, oneroso per il tipo di emissione e appoggio sul fiato. Per questo motivo azzardo a volte pareri sul canto di Del Monaco, pur riconoscendone il grande valore e mi pare in sostanza che per le sue qualità, Beniamino Gigli non gli sia mai stato da meno anche nei ruoli da lei citati.
MAGNIFICO !
SUBLIME !
Parole Santissime amico mio carissimo. Spero stia bene la saluto con affetto ❤️
@@alessandroscano8
carissimo Amico , come stai ?!
ti mando i miei saluti cordiali con la speranza che un giorno ci vedremo di nuovo a Parigi !
io sto bene, in questi mesi faccio molta attenzione visto la mia canuta età ...
ti adoro ragazzo, sei Enorme !
non devi dimenticare mai queste parole mie !
a presto !
con affetto
il tuo vecchio amico Nicola
@@bodiloto che immenso piacere risentirti amico mio carissimo. Spero di poter venire presto a Parigi per abbracciarti.
Viva la lirica e viva gli esperti come te ❤️
Oh my Lord ! What singing this is !!! Remarkable!!!
a 61 anni interpretare un pezzo cosi drammatico è la migliore lezione che si possa dare ai drammatici puri...è una voce completa di una bellezza straordinaria nessuno come lui
In my opinion, the dramatic vocal temperament Gigli took on starting in the late 1930s that lasted as long as his voice was fully cooperative, until the end of 1951, put him comfortably in the top 5 tenors ever recorded.
Qui si sente molto bene come la sua voce riempiva il teatro, altro che tenore leggero!
Nessuno come lui, un caro saluto dall'associazione Gigli di Recanati!!
Olimpo della lirica.
La mejor versión de Non PazZo Son, en vivo 1951 Rio de Janeiro de MANON Lescaut INSUPERABLE GIGLI
straordinario...l'unico tenore lirico che interpreta in maniera sublime una parte per drammatico
Wow, what an unexpected performance bomb that is. Impeccable, strong voice, dramatico......moving!
Che grande tenore del XX secolo!!. Qui appassionato ma sempre su una base belcantista.
Non esiste al giorno d’oggi un cantante simile...
Cantare cosi all´età di 61 anni, portando diabete... che grande, che stupendo Beniamino Gigli!
mi associo e u miracolo divino grande beniami
Sono un grande ammiratore di Del Monaco,il tenore lirico-spinto/drammatico che ascolto più volentieri.Credo di poter affermare che il più completo tenore del secolo scorso(e ovviamente anche di questo)sia stato proprio Gigli.Un colore bellissimo,un'estensione consona al repertorio(immenso),una facilità di emissione che non ha riscontro in un tenore(pur con tanti magnifici tenori).Inoltre anche Corelli ricorda di quanto fosse "grande" la voce di Gigli in teatro(lo dice chiaramente in un intervista che potete trovare su youtube).Per di più Gigli in quest'esibizione aveva già 61 anni...UN MIRACOLO!!!!!!!!!
Avete ragione mi associo e malato di diabete
Al più bo’ ed tuti!
Concordo: Gigli era immenso, nella sua perfezione vocale. Potenza, teatralità, vigore scena.
Gigli era la summa dei tenori.!!sapeva essere lirico, lirico spinto, drammatico passava da "pescatori di perle, a elisir d'amore, allo chenier, pagliacci, cavalleria e in questa magistrale perfomance di manon lescaut. Grande cuore italiano. Grazie di tutto quello che ci hai dato.
mai sentito niente di simile.............eccezzionale, che pathos, che interpretazione. Grazie Beniamino per essere esistito e per aver donato tutto ciò.
Nesta viagem ao Brasil ele esteve em Juiz de Fora onde se apresentou no Teatro Central. Conheci várias pessoas que tiveram a felicidade de assistir um dos maiores ícones do canto lírico. Em várias Óperas Gigli é insuperável assim como na música sacra. Imbatível nas aves Maria. Também em muitas canções.
Tal vez muchos no lo noten, pero con la verdadera voz de pecho como la que él poseía, podía tumbarse a las demás voces y a la orquesta siendo un tenor lírico ligero, cosa que ningún otro cantante de opera de estos tiempo podrá. Gigli es el más claro ejemplo de técnica de canto italiana de la vieja escuela. Una voz teatral, como la de Lauri Volpi, Franco Corelli, Mario del Monaco, Caruso, Miguel Fleta, Aureliano Pertile.
That is UNBELIEVABLE. Wow, incredible Gigli. Just incredible.
I still hear much of Gigli's youthful bloom....it's amazing....to me he sounds almost like a young di Stefano here rather than an old Gigli. A testament to his great technique
Grandissimo in tutto tecnica interpretazione e potrei continuare
quando gigli vuole fare il drammatico la sua interpretazione è favolosa .... sembra che esistano tre gigli in una unica persona lirico lirico spinto lirico drammatico questo è un dono della natura ...mezza voce voce voce piena voce forte
Immenso! Mai abbastanza lodato. Gigli è un punto di riferimento tecnico, una autentica summa culturale del canto! E' da Gigli che si dovrebbe cercare di ripartire onde recuperare senso e dignità nel canto. Bellissimo documento: grazie AfroPoli!
parole sante .
Sono d'accordo con lei. Gigli dovrebbe essere preso ad esempio come manuale del canto e della disciplina che serve per arrivare a livelli simili. Immenso artista.
Tell me what lyric tenor can or did sing Manon like Gigli.He sings this with the tenacity of a Dramatic tenor.Amazing
Indeed! I keep coming back to this great artist and magnificent piece that he gloriously magnificently have done.
He was a spinto by this time. I wonder why he sang so lightly on studio recordings, and used falsetto. He certainly didn't need to! This performance shows he had balls. Great big ones!
@@jefolson6989 Dear Jef, for me, categorizing tenors does get a little tricky at times. Even though I consider Gigli, Di Stefano, and Bjorling to be lyric tenors, they were successful in some of the spinto dramatic roles, but I believe that their basic quality of voice was lyric, so suitability becomes more so a factor than categorizing a tenor voice. ''Corelli - Zucker'' here on YT, mentions that Gigli was great in Chenier and Forza and he also debuted in La Gioconda. Bjorling refer to himself as a spinto tenor, but JB never touched Gioconda, Forza ,Carmen, and Chenier. However, JB was successful in Trovatore, Cavalleria, Manon L. and Tosca. Both Gigli and Bjorling did not do very well in Aida. Di Stefano, like Gigli did sing everything, but with varying reviews depending on what age he was in his career. Corelli referred to himself as a lyric tenor, where I believe the color of his voice was spinto, or spinto dramatic. I think Tucker's voice transitioned over time from lyric, lyric spinto and finally a full spinto tenor, as he also successfully sang across a wide variety of roles. Pavarotti is another lyric based tenor that did do well in Chenier, Trovatore, Tosca,Turandot, Luisa Miller, I lombardi, and Ernani but mixed reviews in Aida. In my opinion, all these aforementioned tenors were amazing. Enjoy
@@sugarbist Bjoerling was a special case. His voice changed very little throughout his career, and he sang spinto roles in a very lyric way- never forcing. He did Rhadames, which in my opinion is more difficult than Gioconda. I have Trovatores from 41 and 60. Bjoerling is almost identical in both. BUT- he is on fire, and in full spinto mode on the 56 met Manon Lescaut with Albanese. Something about this opera seems to bring it out of tenors. Tucker's performance with Olivero from Carracas is one of his greatest. 3 great tenors in the same role, each giving more , vocally and dramatically, than one would think possible. They transcended classification and fach. Its a great shame Corelli never sang the part! When Zucker asks about it, Corelli says it just never came up. He was busy with Chenier and Calaf. Interesting that Corelli assumed more lyric roles late in the game. Last time I saw him was Rodolfo. ( it was pretty sad. A bundle of neuroses and mannerisms. The sound was still glorious- but he got so sloppy musically )
@@jefolson6989 Bjorling received a disappointing review at the Met as Cavaradossi in 1945. The NY Times critic claimed, he sang tastefully as always, but his voice seemed to be too small. But Bjorling did receive a good review from his Dec. 1959 performance. ''This Cavaradossi singing was sheer delight, his acting truly convincing, while his rousing cry of ''Vitoria Vitoria'' nearly started a peaceful resorgimento in the gallery. Bjorling seemed to be more emotional live than on recordings. Birgit Nilsson from the Andrew Farkas Book; ''Bjorling sang a beautiful Radames with me at the Stockholm Opera house, capacity ''1180'', but when I saw him in Aida in Chicago1959, ''capacity 3563'' his voice seemed too small for the role''. IMO, The grueling 3rd act in Aida needs a voice with heft, like a Corelli, Tucker or MDM. Met review1939 Oscar Thompson NY Sun. It must be said frankly that Mr. Gigli's is NOT a Radames voice. It remains the voice for ''Una Furtiva Lagrima'' rather than for ''Celeste Aida'' The singer began last night's performance by pumping and pounding out the notes of that air and he pumped and pounded through much of the evening thereafter. There were some seductive phrases in the Nile scene and again in the duet with Amneris in the last act. But, it would be only occasionally that his hard-driven heroics permitted the true and treasured quality of voice to be heard. Mr Gigli's is basically good production. Yet his singing was characterized by almost every vice of style that can be charged against an artist -he scooped, sobbed, he aspirated syllables and resorted to the glottis stroke in the attacks. He treated sundry legato phrases as if they were successions of small explosions and in his effort to enlarge his limited top notes, he sang them so ''open'' that they resembled shouts. Yet in spite of the punishment to which the voice was subjected, much of it's beauty remained. There are few such voices , the reason for conserving the lyric charm of this one. I think Corelli may have been taking on the more lyric roles late in the game, to possibly extend his career. He was having trouble holding a steady vocal line in his middle register, even as early as 1970-71. I think his voice was well suited for Manon L. Yes, F.C. had a great voice but he was full of mannerisms, possibly because of having stage fright. Notice that he is a far better singer on his studio recordings than in the theater. But he knew how to light up the stage and the audience. I saw him in an electrifying Trovatore at the Met circa 1961. He received a lukewarm review, but he did set the audience on fire. He was known as Mr. Soldout at the Met. I remember a Don Carlo Matinee circa 1973, where the announcer preempted the performance by stating that Mr. Corelli is under the weather, but will continue with the performance. Some time during the 2nd act, my father turned o me and said, '' it's a good thing he's not feeling well'' meaning that F.C. sounded terrific that day. I only wish we had this great caliber of talent on the operatic stage today. Enjoy
One has just to compare this with, let's say, the "Dream" aria of Massenet's Manon, in order to realize for what and how Gigli was able to sing. He had a versatile voice with seldom natural beauty, combined with an excellent technique and skillful training that allowed him to sing marvelously until the end of his life.
Impressionante!!! Senza parole....
What a wonderful recording! This is what opera is.
""Le Magicien de la voix""
Come non perdonare a un Gigli sessantenne i singhiozzi e il finale della romanza?Nascondetevi piccolo popolo di tenorini che girate ora per i teatri!
perché perdonare? sarà istrionico ma in linea con il pathos dell'aria. Emoziona!
This is the performance that completely changed my opinion of Gigli! Fantastic!
ECCEZZIONALE!!!! W GIGLI!!!!
Il teatro è pieno del lirismo e della magia musicale di Gigli!!
Be it far from me to point out all the excesses and histrionics of this performance. And that it is way over the top, it is Gigli and it is glorious, much like his commercial recording. Only Gigli could get away with this and do it so wonderfully!
Sin dudas uno de los mejores para esta aria!!! Tremendo!!!!
Que maravilla de voz y de técnica no en vano fue máxima figura decla lírica, en unos tiempos en los que no había las trampas y componendas de hoy.
Wow! Amazing!! The best ever! Great technique and what a charisma! Thanks for sharing!
Fantastico!!
Meraviglioso!!!!
gigli war einfach klasse-heute nix mehr
migliore versione di quest'aria
Questa è la migliore interpretazione del brano su UA-cam e i tromboni "drammatici" dei miei coglioni che pensano di essere superiori a Gigli proprio perché dotati di tromboni in gola farebbero meglio ad imparare.
bravo hai capito tutto gigli inmenso grande
Tra l'altro Gigli negli ultimi anni di carriera era diabetico e gli era stata riscontrata anche una miocardite, un leone della lirica.
Vocalmente è una cannonata! ❤
HOLY SHIT
FANTASTISCH DRAMATIK PUR UNERREICHBAR
That is verismo opera as it should be ,alive and full of emothion....like a Stage play but its al sung not spoken word...listen also to Sandor Konya and Carlo Bergonzi who both sung this in the same kind of verismo style 20 years later
BraviM
A God !!!!
Gigli is a lyric tenor??? I don’t believe it😱😱😱😂😂😂👏👏👏👏👏👑👑👑👑👑
Pertile👑👑👑👑👑 has the voice of a 🦁! I always think that he can even be considered as a dramatic tenor.
Gigli has dark timbre when in forte.
I have to go lie down now. Excuse me…
At this point in his career, Gigli still towers over most tenors who sing Des Grieux today.
Was he the first to sing the interpolated "Ahhh" at 2:31 that other tenors adopted later?
Conosco desde caruso hasta aora ma gigli es un milagro de la naturalesa
Beautiful voice ❤🎉❤🎉❤🎉❤🎉
Unbelievable.
This is not transposed, which makes it all the more remarkable.
My goodness.
:) I hope someday a young of 19 will see such wonderfull operas with such great voice. Mario Del Monaco has a technic that is no more teached today, except by some olds persons.
Del Monaco had no problem with high notes, Otello is not a "baritonal" role, it's high and there is great powerfull acuti to do. And the video where he sings "Di Quella pira" ... perfect high C... Pavarotti was not the only to do it well ^^
The Otello you have seen was certainly wonderfull ^^
Best regards :)
Corelli states that the low larynx technique existed long before the Melocchi school. Lauri Volpi writes that after a devastating outing in La Gioconda in Spain, Del Monaco went to Melocchi and together they fabricated a voice to sing Otello. Corelli - Zucker here on You Tube states that MDM did not have a big voice upon arriving to Melocchi, but emerged from the Melocchi School with a very large voice.
Non parlate mai più di Domingo o Bergonzi !
Lei ha capito tutto.
Mingo piccolo piccolo voce
Su Domingo ti do ragione, ottimo tenore, musicale, ma di secondo piano. Su Bergonzi ho da eccepire: grandissima tecnica e fraseggio in superabile, purtroppo penalizzato da un timbro poco metallico. Anche Corelli del resto fu penalizzato da una dizione (delle "s" che sembravano "f") imperfetta.
Bergonzi è assai migliore di nasal Domingo.
Haven’t seen the score of Manon Lescaut. Does anybody know if that final high note is in the score or is it just something Gigli did for dramatic purposes?
Dramatic
TALE E QUALE AI TENORI DI OGGI....AHAHAHAHAHAHA
大哥作为一个意大利人，意大利话太牛屄啦
Jemand soll ihm bitte n Tempo und ne Beruhigungspille geben und ihn nach hause schicken. Wenn er gut war, war er sehr gut. Wenn er schlecht war, war er grotesk.
Cabot! Mais belle santé...
Just out of curiosity, who was the soprano during that performance?
TRAUMHAFT
Hello :)
I'm not a specialist, but I think it was lowered, in order to make a great high note in the end more easely (B flat and not B natural). And sustain it more time. It's a difficult piece and it need a very glorious and virile voice. I think he could have perfectly sing it at the good tone, but maybe he wanted to be sure he would make a triumphal ending with the soprano (with such a soprano ^^) Best regards...
To Gigli's credit, it was *not* transposed!!
BRAVO GIGLI! MA DEL MONACO E' UN'ALTRA COSA....GRAZIE.
si, certamente peggio
@@riccardobarreca8066 due voci troppo diverse per fare dei paragoni....
@@guidogreco341 I cantanti si distinguono per timbro e per imposto. Il modo di cantare di Gigli era di certo diverso da quello di Del Monaco e a prescindere dal timbro uno poteva essere più efficace dell'altro nell'interpretare la medesima romanza, Per naturalezza di emissione e capacità di fraseggio, quindi per impostazione tecnica, Beniamino Gigli era superiore a Del Monaco e infatti nella sua carriera ebbe la possibilità di cantare ottimamente nei ruoli più disparati, da quelli elegiaci a quelli più drammatici.
@@riccardobarreca8066 nulla da eccepire sulle qualità del grande Gigli rimane il fatto che a mio modestissimo parere nei ruoli di Chenier,Pagliacci,Radames,Otello reputo Del Monaco superiore.Ovviamente Gigli rimane un icona del bel canto e l accostamento forse va fatto con Jussy Byorling o Fleta...comunque grande scuola
@@guidogreco341 Arturo Melocchi fu maestro di Mario Del Monaco e anche di Gastone Limarilli. A suo tempo presi delle lezioni di canto da quest'ultimo e per questo motivo azzardo pareri sul modo di cantare. Il cosiddetto "affondo" comporta dei limiti interpretativi d'imposto, oneroso per il tipo di emissione e appoggio sul fiato. Per questo motivo azzardo a volte pareri sul canto di Del Monaco, pur riconoscendone il grande valore e mi pare in sostanza che per le sue qualità, Beniamino Gigli non gli sia mai stato da meno anche nei ruoli da lei citati.