วีดีโอ

Too many notes out of pitch

senstationell, dass diese übungen aufgezeichnet wurden. puh, er geht immer in die vollen ...

Stunning!

Sounds about a half step higher than the score.

TOSCANINI. UN MALEDUCATO CAFONE COME POCHI. SE QUESTO È UN "DIO"DELLA MUSICA PER MOLTI. ........ALLORA ...POVERA MUSICA.MEGLIO IL SILENZIO. COMUNQUE RIP.

It would be really dangerous game for Corelli to sing Arnoldo on the stage!! This extremely high tessitura could kill forever his tipically baritonal by nature tenor! Corelli's brilliant powerful voice sometimes sounds too forced even in verist tenor parts...

@ZENOBIAmusic's comment written three months ago and showing up right under this comment of mine caught my eye when I sorted the comments in chronological order, newest first. It is almost word for word a comment she wrote in reply to me. I find amusing she calls other people disingenuous when her behaviour is rather underhand. If she saw it fit to write her comment again as standalone comment I don't see why I shouldn't do the same with my reply. A few requests to Zenobia's: 1. Provide proof Nourrit used to sing his high notes in falsetto instead of voix mixte, backed up by citations from the period. Provide proof their understanding of falsetto is the same as yours, whatever yours might be. Giving you fair warning I have read Quicherat's book 2. Proof with citations that orchestra pitch was much lower in Paris at the time Guillaume Tell premiered. Again giving you fair warning I know orchestra pitches were inconsistent all over Europe at the time. Also giving you fair warning that 432 Hz (one example of many) is by no means much lower than orchestra pitch today, it's less than half a semitone. 3. Not interested in modern Fach labels for tenors (like spinto) who sing Guillaume tell, they are wrong 4. I agree Guillaume Tell was not meant for Corelli's voice, or rather, Corelli's poor technique & style wasn't meant for Guillaume Tell. If so, why does your comment read like an apology? It isn't the first time you do this. We actually agree about this point, so why does it rankle you Corelli was totally wrong about his ability to sing Guillaume Tell, and we have audio proof of how wrong he was? He was wrong, he put the brakes on it when he realized he was wrong, or other people took him aside and told him he was wrong, or other people with more common sense than he put the brakes on the project irrespective of what he thought. Why does this matter so much to you to the extend you are prepared to wad through all these comments and write replies? This must be the third or fourth reply to me alone (though I wouldn't swear they were all on this video), I'm not going to waste my time scanning other comments, there are almost 200, to see whether you replied to other people as well. So, WHY? Why these never ending apologies? Why this "Yes he wasn't a good fit for Arnold BUT" But what? her wasn't a good fit, period. In addition to what I wrote above, I let Zenobia know following: 5. All tenors in the 1820s were expected to have agility, period. There were no coloratura tenors, as there were no coloratura sopranos. Zenobia's problem stems from the fact that she thinks in modern Fach labels. Having a low pitched voice was no excuse for lacking agility in the time of Rossini. 6. Arnold was one of Tamagno's bread-and-butter roles. Tamagno was the first Verdi Otello. Perhaps Tamagno's voice sounds lyric in Zenobia's ear? There's no accounting for perceptions but this would be the first time I hear Tamagno described as lyric tenor. And no, he didn't sing in the 1920-1930 when, according to Zenobia, steel strings were introduced in orchestras, requiring heavier voices, also according to Zenobia. Lauri Volpi however used to sing in the 1930s and he was a lyric tenor according to Zenobia, so I wonder how he managed? According to Zenobia he should have failed, he being a lyric tenor singing against larger orchestras with steels and raised pitch. All those critics who wrote he was great must have been mistaken. Filippeschi sang the role in the 1950s and he too was a lyric according to Zenobia, and had to fight those pesky steel strings as well. He should have failed too but, there are those critics again of a different opinion than Zenobia. 7. If Zenobia doesn't like someone's opinion, it doesn't follow that that opinion is a disingenuous assessment, nor does it follow that that person is a purist. It is very possible that that person actually knows more than Zenobia. The funny thing is that Zenobia herself agrees that Corelli was no good whatever in Guillaume Tell, but apparently only Zenobia herself is allowed to say this, everyone else who is of the same opinion but brings in far more arguments than Zenobia could ever think of, is called a purist 😁

un altro cantante della scuola modenese

12:10, cadenza di Roberto Stagno

Better then Lauri-Volpi ❤ but on Limit

Aragal voce bellissima , dizione impeccabile uno dei 3 tenori che possono interpretare questa parte. J.D.Florez e Kraus. Altri non ne ho ascoltati. Bravo Aragal.

Lui dizione impeccabile, lei muggisce incomprensibilmente e senza distinzione. Sigh ...

È un.dolore ascoltarla così.. Non dovevate..È. ingiusto....

Assolutamente irrispettoso...lasciate perdere...

❤Ну очень красивое пение .Б Р А В И С С И М О...❤❤❤

Se Pertile era un maiale sgozzato, figuriamoci cosa avrebbe detto dei tenori di oggi!

Se Pertile era un maiale sgozzato, figuriamoci cosa avrebbe detto dei tenori di oggi!

La Barcaccia ha rovinato la dignità dei cantanti Lirici. Se si ride delle sventure altrui, tra l'altro provocate dalla malattia, c'è poco da divertirsi o da parlare. È stata una grande artista e voi invece cosa siete?????? Due poverini. Vergognatevi

bravo Maestro

Unico,la piu" bella voce del novecento.

IMMENSO IL PIU GRANDE DELLA LIRICA GRAZIE PER TUTTE LE EMOZIONI CHE CI HAI DATO

Questa salsa alla Moffo potevano evitarla.

Amazing, thank you for publishing!

Che bella parlata anconetana! Grande maestro! Grandissima voce, tecnica, volume, metallo, timbro, impeto! Grandissimo cantante!

Il fatto di essere Toscanini non lo autorizzava a comportarsi come l'ultimo dei villani. Tra l'altro ascoltarlo adesso è ampiamente superato.

Bonisolli -the best big voice in this aria ! Corelli like schoolboy) not enough apoggo

Grande!

Bel documento

Beautiful.Thank you for posting.💗

Come on folks, he is trying out a role he was not suited for, and for good reason. I give him credit for realizing it was not for him, and moving on.

La voce più bella di sempre.

ma a me sembrava che cantasse tutto nel naso...forse mi sbaglio.

Sono senza parole my Lord💖

grandissimo!

Divino.

0ltre ad essere stato uno dei più grandi tenori di tutti i tempi , è stato anche il cantante per eccellenza.

Even maestro Franco Corelli would have to bow to Aureliano Pertile.

When I heard this the first time, I felt so bad. I was so embarassed: the marvellous voice of Anna Moffo in a despicable state. Shame on those who aired it.

Le offese personali non fanno mai piacere.... Comunque era Toscanini, aveva semplicemente conosciuto Verdi, Puccini, Leoncavallo.. E altri.....

Peut être qu'il lui fallait une femme comme sa pour l'encourager 👍💐❤️

Il più grande di tutti!

Se si vuole imparare bisogna seguire gli insegnanti veramente tali,ossia in grado di insegnare e bravi.Lui lo era perché analizzate bene ciò che è riuscito a tirare fuori da se stesso.Non c'è altro da dire perché è già tanto e tutto ciò che c'è da dire...Bravissimo Maestro e poi so questo con cognizione di causa..

Pertile is sensational. No tenor has sung this better..

Existen muchos defensores de Domingo que confunden el marketing y la popularidad con el arte del canto y no salen del espectáculo circense de los tres tenores. Eso no es opera, es un espectáculo masivo cantado con micrófono si el mayor rigor técnico.

Words fail me to describe how rough and wrong this is.

Quello che dice a proposito della nota acuta del primo atto della Tosca è verissimo. Danise insegnava la stessa cosa a Valdengo. Molti hanno una concezione sbagliata del suono coperto e di come superare il cosiddetto passaggio. Coprono nella gola e il suono va indietro...

Auweia. Was war das?! Bellow Canto

Lucrezia Borgia is one of the few recordings Sutherland and Bonynge made during her peak (which I would say was mid-sixties to late seventies, but YMMV) that did not have Pavarotti as lead tenor. And for that we are very very lucky.

Un leone della lirica. La perfezione.

Thanks for sharing !!!