Gli effetti che hanno sull'ascoltatore le vibrazioni della voce di Schipa restano un mistero che meriterebbe d'essere investigato. La pronuncia, i tempi, la "misura", il rubato, la mezza voce, i diminuendo, le accelerazioni, gli abbandoni tutto in lui è singolare, sentito, unico, personale, inimitabile, delicato.
Tito Gobbi went to see Schipa at the open air Verona arena, which seats many thousands of people. Many a huge tenor voice has been lost in there if the wind blows the wrong way. Gobbi wondered if such a small voice as Schipa's would be heard. So he sat right in the back row. He described being amazed when Schipa's voice sounded as if he were singing to Gobbi from quite close by. Schipa knew the art of projection, which is different to power, which of course he didn't have.
@@Monnarchmonnarchy you replied to one of my videos (which is now unlisted but the comment has been removed) to me months ago about looking at the singers of the past and after months of listening to their recordings (which I will continue to do), I completely agree that Hvorostovsky's voice felt at times constricted and forced but I also think that the recording technology we have today doesn't allow you to hear a person's voice accurately in terms of volume because the recording equipment is too good. Thank you for steering me on the right path though, you've really helped me.
@@pugh.joseph i remember your nickname, now iam already "off" from utube, not so activated, not so obsessed on what people say, on what they trying to argue. On a tapes we can understand how singer is good or he is not a singer, tapes helps, its a fact. But a mounth ago i was so strong at the place that i think that tape cant show how it was, it must be alive to understand a max abilities of singer of course. I was on my max, which i think i cant be more powerful. But trio crooks sre just a trio crooks. pavarati was a small boring squeaker with brutal cuts, mingo was a nasal disaster, pavarati already cracked his voice sonce he started - he was without a colour of voice from the beginning. No need to be with them, hearing that disasters live to understand how they were bad. So, live its to understand full abilities in some moments, but on tapes we can easily understand how bad or good singer, if he is a dilettante or operatic.
Schipa had certainly not a small voice. In the live-Werther you can hear that he is able to reach the whole theatre with his voice. This voice sounds many times somewhat shrill. Perhaps that is to make his voice bigger than it originally was. Hans NL
Hans NL not bigger. More boost in higher frequencies to cut more. A small voice with the right harmonics can be heard perfectly clear over a big orchestra easily
sometimes I think that his voice is too small for opera theaters,, i dunno though..but no doubt his voice color is the most distinguishable and most beautiful of the 20th century.
Handrio Nurhan no such thing as a voice too small for opera. There are big and small voices, but even the smallest voice will be massive with beautiful technique in the hall. On the contrary, many small voices are huge in the hall because it's a voice that projects rather than shouts, and needs a big space to resonate
Gli effetti che hanno sull'ascoltatore le vibrazioni della voce di Schipa restano un mistero che meriterebbe d'essere investigato. La pronuncia, i tempi, la "misura", il rubato, la mezza voce, i diminuendo, le accelerazioni, gli abbandoni tutto in lui è singolare, sentito, unico, personale, inimitabile, delicato.
Tito Gobbi went to see Schipa at the open air Verona arena, which seats many thousands of people. Many a huge tenor voice has been lost in there if the wind blows the wrong way. Gobbi wondered if such a small voice as Schipa's would be heard. So he sat right in the back row. He described being amazed when Schipa's voice sounded as if he were singing to Gobbi from quite close by. Schipa knew the art of projection, which is different to power, which of course he didn't have.
I'm probably the only person here who heard Schipa in person. Great
What it must've been like!
Thanks to you all for being there!
Me fascina esa obra musical y su cantante lorenzo herrera muy buena
Grazie! E complimenti per tutte le sue scelte.
Dogieblitz
Bellissimo, grande Tito Schipa
Meravigliose
Voce.ho conosciut quedyoumo meraviglioso cgrande cuore
This is a major rarity. Thank you for sharing this treasure with us.
THIS IS SPECTACULAR !!!
What a treasure! Thanks for posting this.
thank you so much for this gorgeous video.
This is a clip from the last film that Schipa Senior starred in (1950). Title: "I misteri di Venezia" or "Il faro sulla laguna". Never came out.
What about another films? Where we can find they?
@@Monnarchmonnarchy you replied to one of my videos (which is now unlisted but the comment has been removed) to me months ago about looking at the singers of the past and after months of listening to their recordings (which I will continue to do), I completely agree that Hvorostovsky's voice felt at times constricted and forced but I also think that the recording technology we have today doesn't allow you to hear a person's voice accurately in terms of volume because the recording equipment is too good. Thank you for steering me on the right path though, you've really helped me.
@@pugh.joseph i remember your nickname, now iam already "off" from utube, not so activated, not so obsessed on what people say, on what they trying to argue. On a tapes we can understand how singer is good or he is not a singer, tapes helps, its a fact. But a mounth ago i was so strong at the place that i think that tape cant show how it was, it must be alive to understand a max abilities of singer of course. I was on my max, which i think i cant be more powerful. But trio crooks sre just a trio crooks. pavarati was a small boring squeaker with brutal cuts, mingo was a nasal disaster, pavarati already cracked his voice sonce he started - he was without a colour of voice from the beginning. No need to be with them, hearing that disasters live to understand how they were bad. So, live its to understand full abilities in some moments, but on tapes we can easily understand how bad or good singer, if he is a dilettante or operatic.
Signore,faccio soltanto quel che posso...quel che mi detta il cuore!
NGalantha Nina(Ankhsnammon),dalla lontana terra Argentina
artista a 360 gradi, (come avesse bisogno di dimostrare qualcosa)??
Tito maestro di vita.
He has squillo, a lot. I bet his voice travels very well in the opera house, even though I will never be able to hear him live🥹🥺
Light voice, but outside the Arena in Verona they could hear only him...
GRande,come sempre,il mio benamato tito!!!
Nina(ankhsnammon)
Salve signori/e, potrei avere il titolo di questa splendida melodia? grazie anticipatamente
Schipa had certainly not a small voice. In the live-Werther you can hear that he is able to reach the whole theatre with his voice. This voice sounds many times somewhat shrill. Perhaps that is to make his voice bigger than it originally was.
Hans NL
Hans NL not bigger. More boost in higher frequencies to cut more. A small voice with the right harmonics can be heard perfectly clear over a big orchestra easily
Da quale film e'tratta questa straordinaria interpretazione di TITO SCHIPA.!?Grazie
sometimes I think that his voice is too small for opera theaters,, i dunno though..but no doubt his voice color is the most distinguishable and most beautiful of the 20th century.
Handrio Nurhan no such thing as a voice too small for opera. There are big and small voices, but even the smallest voice will be massive with beautiful technique in the hall. On the contrary, many small voices are huge in the hall because it's a voice that projects rather than shouts, and needs a big space to resonate
*sigh*
I join to vegaselena..please tell us..