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Caruso was the king no doubt. My Grandfather born in 1880 saw him twice in Chicago and told me often, the old acoustic records do not show the voice as great as it was,. for overtones , Etc.

Caruso è di diversi livelli superiore rispetto agli altri tenori.

Let me tell you, his voice is more balanced and even than Lanza's, with greater roundness and smoothness. Lanza still has some exaggerated and unnatural elements. He is 27 years older than Lanza, so you should say that Lanza resembles him. The placement of his voice in the oral and nasal cavities is very distinctive, and his voice is captivating. I feel like he might be the most charming tenor I’ve ever heard. My intuition is wondering if Lanza might have been influenced by Armand Tokatyan. It’s entirely possible that Mario Lanza was influenced by Armand Tokatyan. Tokatyan was a highly regarded tenor known for his refined technique, elegant phrasing, and expressive interpretations-qualities that Lanza might have admired or drawn inspiration from. Additionally, since Lanza was deeply influenced by the golden age of operatic singing, singers like Tokatyan could very well have served as important references in his artistic development.

Thank you for your suggestion. I don't analyze this type; I only compile and summarize. I haven't listened carefully, and the arrangement based on their performance order is indeed good. In the past, I used various sorting methods-sometimes putting the best at the end, or arranging entirely by age. For this series, I am following the order in my data files without any particular intention. Please forgive me. My analysis is included in the series on my Clock Breath Distribution Theory. Thank you.

Thank you for introducing two tenors with distinct characteristics. You are considering the roles from an appreciation perspective, often leading to historical commentary like the ones you provided. However, my focus is different. I am more interested in how a vocal beginner can master the proper singing techniques to develop the ability to take on various roles and sustain a singing career of over 40 years. That’s what I mainly analyze and consider. When it comes to roles, tone, and singing adaptability, you are the expert. On Francesco Merli Merli was indeed a skilled tenor with a beautiful voice. His singing possessed a unique resilience and flexibility, especially evident in his early recordings. His sensitivity and meticulous phrasing brought artistic refinement to his performances, particularly in his treatment of melodic lines and emotional layers. His tone was clear and elastic, delivering a sense of natural smoothness. On the Role of Pollione Pollione, the tenor role in Norma, is indeed more of a "challenge than a reward." The dramatic weight lies mainly with the lead role of Norma, while the tenor part often functions as a supporting role with limited opportunities to showcase comprehensive artistic expression. Nevertheless, Merli managed to find highlights within such a role through his interpretive abilities and sensitivity, injecting character into the music, which showcases his artistic depth. Comparison of Merli and Del Monaco This comparison is highly fitting. Merli’s tone is akin to the resilience of steel-soft yet firm-allowing him to convey profound emotions through meticulous phrasing. Del Monaco’s tone, on the other hand, resembles cast iron-heavy, powerful, and dramatic. On stage, he often used thunderous volume and energy to meet audience expectations, though sometimes at the expense of subtlety. Despite this, Del Monaco’s performances in dramatic roles (e.g., Otello) remain unforgettable. He excelled at grand emotions, whereas Merli stood out in nuanced expression. The two singers represent different artistic styles. Merli excelled in elegant, sensitive interpretations of melodies, while Del Monaco leaned toward drama and power. If the discussion is limited to tonal flexibility and emotional subtlety, I would lean toward Merli. However, Del Monaco’s “thunderous” voice remains unparalleled for dramatic roles. Historically, people have always believed that a tenor can only have one distinct style. I’ve overturned this vocal theory that has persisted for hundreds of years. If I were young, I could easily sing in both Merli and Del Monaco’s styles. Of course, mastering just two styles would never be enough. Now, I’ve studied the voices of hundreds of true tenors. To me, if others can sing it, I can certainly do it too because my vocal training method is entirely self-created. Singing like Caruso is no problem; any tenor style is within reach. If you asked me to limit myself to just Merli and Del Monaco’s styles, I’d be very reluctant because it would feel too dull. I need a variety of different voices and breath techniques. That’s why I change my learning goals daily. Yesterday, I practiced Alfred Piccaver; today, I’ll switch to someone else. What truly makes me happy is practicing four tenors’ styles at once, which brings me joy and pleasure. Even listening only to Caruso feels unsustainable because my body craves a diversity of vocal experiences. I need to embody the voices of hundreds of true tenors. This way, I always look forward to my progress the next day and feel like I’m improving daily. Historically, people have only been satisfied with one person having one singing style. However, through my vocal experiments and research, I can fully demonstrate that if humans truly master Caruso’s singing techniques, which encompass over a thousand tonal colors, they can master any tenor style. Perhaps my analogy is inadequate, and I am not trying to boast. Rather, I’ve discovered a vocal truth. Using these principles, I suddenly find all tenor singing in the world incredibly easy to replicate. However, humanity has yet to realize this truth. I will carefully analyze and organize my findings in the future. I’ve suddenly realized that today’s tenor level is equivalent to elementary school, not worth listening to. Among the true tenors I’ve listed, except for Caruso, all have strengths and weaknesses. The most fundamental problem is their lack of tonal variety and breath layering. Thank you for the exchange.

1. Francesco Merli - Andres Chénier: Un di all'azzurro spazio (1930) 0:12 2. Herbert Handt - Mozart: Don Giovanni: Il mio tesoro (1950) 3:54 3. Mario Filippeschi - Madama Butterfly: Addio, fiorito asil 8:04 4. Jan Peerce - Miserere 10:34 5. Rudolf Berger - Die Walküre: Siegmund heiß ich 15:07

Thank you Berger died quite young of a Heart attack, Schmedes was a Tenor of the decade previous. Both were Excellent Wagnerian Tenors.

@@Garwfechan-ry5lk Your knowledge is very extensive, thank you for your comments.

@@Garwfechan-ry5lk Wagnerian tenors are widely regarded as some of the most challenging roles in opera, as they require a combination of immense vocal power, enduring stamina, and profound dramatic expression. Roles like Siegfried and Tristan demand not only a wide vocal range but also the ability to sustain strength in the upper register while enduring long and taxing performances. These demands place extraordinary pressure on both the singer's technique and physical condition. In contrast, many modern tenors tend to prioritize vocal beauty and agility, often lacking the robust, enduring, and dramatically charged voices required for Wagnerian roles or for a masterpiece like Otello. This is one of the reasons why so few singers today can perform Otello or Wagner's roles to perfection. Furthermore, while Otello differs from Wagner's repertoire, it demands equally high technical mastery. It requires not only exceptional power and dramatic presence but also refined vocal techniques to convey the character's complex emotions. In today's opera world, singers who can balance these qualities are rare, making the great tenors of the past, such as Mario Del Monaco and Giovanni Martinelli, all the more remarkable. Nowadays, it seems that tenors are incapable of delivering a performance of Otello at the same level.

@@lisaszxu1961 It was said by many Conductors that Lauritz Melchior was capable of Singing ALL Wagner Opera's that he performed not only once but Twice a Day and after each other if required, there has been no other Wagnerian Tenor capable of this,, even Lorenz tired in his performances on occasions.

Thank you for paying attention to me. Caruso recorded around 290 songs in total, though some are now lost. However, his voice and singing technique require a certain level of understanding to truly appreciate. Each song offers new discoveries and feelings, something no other tenor can achieve. Every day of his singing career, he was thinking about how to sing better. He was incredibly intelligent. The tenors of today mostly operate within what I call the "9 o’clock to 12 o’clock" range of my breath distribution theory, focusing only on this quarter of the body’s resonance space. They try all sorts of techniques within this limited scope. Caruso, on the other hand, explored the other three-quarters, the "12 o’clock to 9 o’clock" singing technique. Humans today seem to believe that vocal exercises, transitioning registers, forcing the mouth, and exaggerated expressions encompass all of singing technique-but they are completely wrong. This is why you and I will never hear a tenor like Caruso again. Even greats like Gigli, Pertile, Martinelli, and Monaco cannot compare. His tone was incredibly rich because his voice had multiple layers. A single note from him could produce over ten different sounds, spanning from the abdomen to the top of the head. His breath was not like Monaco’s or Lanza’s, which involved forcefully pressing down. Instead, Caruso’s breath was placed gently on the broad “plate” of his abdomen. The sound and breath (like a dish) would be lightly placed on this abdominal plate and naturally lift into the air without needing excessive pressure or force. Thank you for your insightful and high-level commentary!

I am very surprised by his singing technique, which is better here than others. Such an outstanding tenor, yet people don’t know about him. You are an expert and understand well - he is a completely underrated tenor.

Sono d'accordo con ogni parola che hai detto. Il metodo di emissione vocale di Corelli limita il suo coinvolgimento emotivo nel personaggio. Il suo prepararsi a cantare con uno sbadiglio, solleva tutta l'aria, e quando deve esprimere dolore, c'è bisogno di vibrazione nell'addome. La sua voce e il respiro sono tutti sopra le corde vocali, il che porta a un'espressione superficiale del suono. Non riesce a coinvolgere emozioni più profonde. Ti ringrazio per il tuo commento di alto livello.

Sei stato un cantante professionista in passato, e condivido il tuo commento. Anche se Buti è un cantante di stornelli, la sua tecnica vocale supera quella dei cantanti d'opera, perché ha uno spazio addominale molto ampio e una potenza vocale sufficiente. Se avesse cantato in opera, credo che avrebbe avuto successo. Lui usa solo un quinto della potenza del suo grande spazio addominale per cantare dolcemente, e la sua voce di testa è qualcosa che molti cantanti d'opera non riescono a produrre. Barioni, come Kazimierz Pustelak, ha una struttura fisiologica naturale con uno spazio molto grande sopra le corde vocali. Quando dici che usa troppa forza, non è che stia forzando, è proprio che appena apre la bocca, esce questa voce. Lanza appare più drammatico, pur essendo emozionante, si allontana dai principi del bel canto italiano, risultando un po' esagerato, innaturale e irrealistico. MDM ha una respirazione che sembra un piatto, concentrata nella parte bassa dell'addome, e il suo stile di canto ha effettivamente delle carenze: è monotono, con lo stesso tono, privo di variazioni di sfumature vocali. In questo, Caruso è un esempio da seguire.

@@lisaszxu1961 grazie per la lezioncina

in effetti,si diceva che anche nei duetti d'amore sembrava che del Monaco dovesse uccidere qualcuno

@@maxtrentini5589 Innanzitutto, vorrei elogiare il suo modo di respirare: inspira al punto che il corpo sembra quasi esplodere. Per questo motivo, la sua immagine appare sempre come quella di qualcuno pronto a uccidere. Tuttavia, questo tipo di respirazione è necessario. Senza assumere questa espressione, non sarebbe in grado di ottenere una risonanza e un vibrato sufficienti. Per ottenere un buon risultato, è inevitabile sacrificare qualcos’altro. Detto ciò, la sua forza è spesso esagerata, e questo è il suo tratto distintivo. Molte persone non lo apprezzano. Tuttavia, per un vero tenore, è essenziale respirare in questo modo. Il problema è che non sapeva rilassarsi mentre cantava, come faceva Caruso. In generale, sarebbe bastato utilizzare solo il 70% della forza del fiato.

Just sing along, it doesn’t need to be too complicated. You can mix singing along, imitating, and recording together. I can tell from listening. Let me see what you can do. As for Italian, it’s fine to keep it casual; incorrect pronunciation doesn’t matter. I just want to hear how you produce your voice.

Just sing along, it doesn’t need to be too complicated. You can mix singing along, imitating, and recording together. I can tell from listening. Let me see what you can do. As for Italian, it’s fine to keep it casual; incorrect pronunciation doesn’t matter. I just want to hear how you produce your voice.

@@lisaszxu1961Hi teacher, I finished my school work and send over my four recordings of imitation to you on Skype. Since you only wanted to see how I produce my sounds, the recordings aren’t professional at all. Thank you.

@@lisaszxu1961Carlo Buti has a very soft voice, it sounds smaller to me than the other tenors. It's very free or natural and emotionally touching. I can learn from him that singing can be soft and natural, not always big and loud. Daniele Barioni on the other hand has a very big voice and bright voice. Strong resonance, or I think that’s what it's called. I could imagine myself listening to him in a theater and being able to hear him over the orchestra, so maybe a good projection. Mario Lanza sounds so different than everyone else on this list, it almost sounds like he’s speaking. I don’t know how to describe his singing. It's emotional but doesn’t sound like the other professional voices on here. Monaco’s voice is too loud for me, I’m not sure how to approach him. I know he is a dramatic tenor, that's why his vocal quality is different from Barioni and Lanza. My takeaways are soft singing, a bright voice, good resonance, and good projection. Also emotional depth, I’d say in terms of emotion Lanza and Buti really take the win.

@@justsomeguywholikesdavidbo1085 You can analyze this way at the age of 19? Then you are a genius! Everything you said is absolutely correct, but the question is, how do you produce those sounds? Your singing is already very good, but let me tell you one thing: you haven’t yet built the necessary space within your body. While your approach is very natural, your breath support is still insufficient. You have a great ear and analytical ability. I hope you tackle challenges one by one. Start by choosing a specific goal and imitate that type of sound. Focus on one note, one song, and improve step by step. Buti’s vocal production might be quite difficult for you, but I hope you make an effort. At your current age, don’t spend all your energy on learning songs, background knowledge, or the nuances of sheet music. The priority is to build the internal breath support space in your body. If you dedicate a few years to this, you’ll achieve it. You need to reflect on why they were able to produce such sounds. Wishing you great progress!

From an appreciation perspective, many people might agree with your view. However, from the perspective of my understanding of singing techniques, the styles of all four singers are indispensable. Carlo Buti is characterized by deep emotion, a melancholic tone, gentle expression, and a smooth, light quality in both middle and high notes. Particularly notable is his use of chest voice and falsetto, seamlessly transitioning between them, supported by a broad layer of breath in the front. He is No. 1 in this regard. Barioni, on the other hand, exemplifies masculinity with his expansive resonance behind the body, a rich layer of breath in the front, and perfect transitions between middle and high notes. His ability to maintain internal breath support is outstanding. Lanza stands out for his breath support through the diaphragm at the "4 o'clock" position, emphasizing a warm, intimate quality in the oral cavity, combined with a dramatic emotional intensity in the nasal resonance. This dramatic flair, much like his movie performances, is rather exaggerated. Monaco represents another aspect of a dramatic tenor, showcasing a lyrical style. Here, his voice does not deliberately stress power but instead reveals a lyrical vocal effect unique to dramatic tenors. His lyrical singing is akin to placing a plate of breath at the base of the abdomen, allowing the "dish" (the breath, which then transforms into sound) to dance on the plate, leaping from the abdomen to the top of the head. Thank you for visiting my channel.

Le spiegazioni sono doverosamente tecniche resta il fatto però che quando canta Lanza è tutta un'altra musica. Le altre voci sono fatte di tecnica lui canta col cuore ed è per questo che resta unico e inimitabile

@@Annamaria-iq1wy D'accordo. La premessa è: hai o no la struttura interna e lo spazio che ti permettono di cantare con il cuore? Senza di essi, sarà sempre un'emozione superficiale espressa con gesti falsi. Come si può allora risvegliare l'anima e cantare con il cuore? Questo richiede un addestramento specifico, a partire da come entrare nel personaggio. Anche il cantante deve possedere le qualità attoriali che hanno gli attori di Hollywood. Grazie per il tuo commento.

@@Annamaria-iq1wy Sono d'accordo con la tua affermazione su Mario Lanza.

​@@lisaszxu1961interesting you mention "dish". My old teacher always said that the abdomen is the kitchen. Without the kitchen there is no dish!

Thank you for sharing the details with me. I’m very interested in studying the differences between Tucker’s early and later periods.

@@lisaszxu1961 Yes, when he started it was a Lyric tenor with a strong top , but slowly he took on more spinto roles along the way and he lasted well.

@@shicoff1398 My point is also that if a lyric tenor has correct singing technique, he will naturally develop into a dramatic tenor. There were many such examples in the early 20th century.

​@@lisaszxu1961 Yes, Much like the career of Caruso Tucker started with more singing live of Lyric roles and even Mozart and also lots of operetta on Chicago (live radio) theater of the air over Chicago radio station WGN that began for him in 1944 which was before his Met. operatic debut in Jan. 1945 (As Enzo in Gioconda ) so in Chicago, often once a week, as it was a weekly show he'd go by train from NYC to Chicago with his wife Sara sing the Chicago (coast to coast radio show and travel back to NY. l also note that for the very Chicago popular r radio show at that time, he also sang many operettas besides abridged opera versions sung always over WGN in English for the non opera radio public, the brdcsts where heard nation wide over that still popular radio station, and many of the shows are still heard here on you tube under the Chicago theater of the air Brdcsts. brdcst always in a one hour time slot so short opera versions.

@@lisaszxu1961 Tucker was forced to make his big 1945 Met. operatic debut in the role of Enzo in Gioconda, because it was his big chance, his coach and his own family thought it was too Spinto for the young Lyric tenor at the time but he said, "look they are offering me a lead role for my debut there and I'm not going to turn them down, as we don't know when I'll get the chance again." So he sang Enzo for his debut and was a success with a strong Lyric tenor voice for the role with both Sop. Stella Roman , (also Bass Ezio Pinza was in the cast and other big stars, he did get about 12 curtain calls and the good reviews where saying he had great potential for other roles and a fine future, even if a bit Lyric (at that time in the role) he snag it later many times and in 1946 he sang a met. radio Brdcst of ot with Milanov and Warren , in 1959 a spectacular brdcst of it on radio with both Merrill an Milanov at the old Met. opera house and it wa s surely his best Gioconda IMO. he also sang r the role in South america in the 1960's at opera Colon in BA. Buenos Aires . n m

Thank you very much for your explanation. I am not familiar with the individuals you mentioned, but I will study them. I have already figured out the mechanism behind Caruso's voice and can apply his methods in my own singing. Some of his powerful high notes are like cannon blasts, something no one else possesses. The source of his vocal power lies in the wide base of his conical abdomen, the openness of his throat, the wide mouth, and his prominent cheekbones. His lung capacity for breath storage is 10 liters, which is three times greater than the average person's 3.5 liters.

I am wrong!

You are very knowledgeable. I haven’t studied sketches either, but I feel that Caruso’s sketches and self-portraits are very skillful. Of course, did he draw them himself, or were they done by someone else? You are very familiar with this. The drawing by Caruso, I believe, is of Antonio Scotti.

h, your perspective is always very accurate. From the perspective of rhythm, you’re absolutely correct. However, I chose this song for a specific reason. This technique of rapidly manipulating abdominal breath is extremely important, and there are very few songs with a similar rhythm. My premise is to sing all the sound from the abdomen. The facial expression should remain consistent regardless of singing the five major Italian vowels, while the breath dances in the abdomen. This, I believe, is Caruso’s secret. Historically, no one else in the world has thought of this. You can try it yourself-see if you can keep up with the rhythm using your abdomen to sing. You cannot sing with your mouth; the mouth is only for converting sound into language. The goal is to minimize the use of the mouth and, at that critical borderline where sound transitions into language, place all the sound below the vocal cords. "L'ultima canzone" is my ultimate weapon for training the abdomen.

Hey, hello! I listened to your recording, and it’s very well done-beyond my expectations. With such a solid foundation like yours, improving will be much easier. You didn’t deliberately force your resonance above the vocal cords, like the Three Tenors, which is excellent. Here, I have a few students, but I only see one of them occasionally, and I don’t get much of a feel for them. I often forget after asking. Since you’re young, could you tell me about your background? Including your age (if you’re comfortable sharing). Oh, I remember-you’re from the U.S. and quite young. How long have you been studying vocal music? With whom? What have you learned? I need to know a bit about your background. Your Ave Maria isn’t too difficult, but I’ll give it a careful listen later (I’m heading out to practice). Once I’m home, I’ll reply to you in detail. I promise to help you surpass every tenor in the world.

@@lisaszxu1961 Thank you so much Sir, no it’s no issue at all for me to share. I’m around 19 years old. My parents are Chinese immigrants, I’m the first generation Chinese-American in my family. Both of my parents are in fact Opera Singer, although my interest for the art only started 2 years ago. I’ve never developed a schedule of practicing my voice until recently talking to you. Before that I learned from my mother, she taught me to never force the voice, do not put force in the throat, do not manufacture a dark sounding tone, do not try and sing notes outside of my range. She also taught me to breathe all the way down to my stomach, and that at once my stomach should expand out as I breathe. She showed me several breathing exercises that would help me with breath endurance. She taught me that the voice should be bright and penetrating, singing on the mask, and that when singing my mouth should have a smile like Pavortti. She also told me to keep my larynx low when reaching higher notes. That’s about it.

Oh, I see. You’re 19 years old, and my daughter is also 19. Your parents are opera singers? If they were born in mainland China, there were very few opera singers during that era. I hold some reservations about Chinese singers because their foundation is rooted in Russian vocal techniques. Your parents might be around my age. During my time in China, it was difficult to get guidance in Russian vocal techniques, especially since few predecessors had received formal training. Most were trained at institutions like the China National Opera & Dance Drama Theater or the Vocal Department of the Shanghai Conservatory of Music, where my teacher Qian Yuan taught. Now, having been abroad, I can sense the level of vocal training in China. Fortunately, what your mother taught you is correct. However, building upon that foundation to improve further is not easy. If you aspire to become a tenor, dedicate a few years to winning a global vocal competition to start your singing career. If you have such ambitions, I can teach you. But if your interest in opera is more casual, there might not be a need for such professional-level guidance. I can perform in the style of all the great tenors in the world. On my channel, I analyze many of them as part of my research and personal reflections on singing, without the intention to teach. Still, it’s nice to connect with you, especially as we’re both of Chinese descent, even though I became a Japanese citizen over 30 years ago. Like you, I started singing at 15 or 16, idolizing Pavarotti, but I no longer listen to him. I must tell you that you need to abandon idol worship because none of them are truly correct. Only then can you improve. As for Pavarotti’s smile, it’s often more of a tense expression. He lacked confidence in his singing technique. We can voice chat if you want, but beforehand, I’d have you imitate four tenors and then discuss your thoughts. I can also sing for you. Let me know which tenors you admire, and I can compile a collection of four tenors in an album on TH-cam. Beforehand, you need to do some homework: study their singing, try to imitate them, and then tell me your impressions-what you can sing, what you cannot, and why. I can teach you the correct methods, but you must train your ears from a young age to recognize what is right or wrong in your voice. Let’s start here. Let me know the tenors you admire-they must be tenors I consider real tenors on my channel. Feel free to choose the greatest tenors in history. I’ll create an episode for them. We can connect at around 11 a.m. Japan time, which might be around 11 p.m. your time in the U.S. I’ll be practicing anyway, so I can join you in learning and practicing while studying the great masters. I’ll show you how to sing like Caruso, Gigli, Monaco, and others.

@@lisaszxu1961​​⁠ That’s quite a history there teacher. Yes I’ve been following your channel for about a few weeks now, and have come to the conclusion that you are a man of great expertise and experience, from the analysis that you post to the discussions you have with people in the comments. I am looking to enter into competition but first locally, in the U.S area before trying my hand in any international competitions, but I’m sure as you know this Opera business is not an easy thing, and to train up a good voice could take many many years. So that goal of mine is still very far away. It would be a great pleasure to hear you sing, if I ever get the chance. I’d be happy to communicate with you at the time you’ve given me. As for the four tenors that I admire the most, I would say they have to be: Beniamino Gigli, Tito Schipa, Jussi Björling, and of course Enrico Caruso. I will do my homework and imitate them and let you know what worked for me and what didn’t. I will do what you said and analyze them to the best of my knowledge at this stage of my singing career. Please let me know which application is the best for future communication. Should we message from Skype from now on? Or continue speaking on the channel?

Thank you, I was wrong earlier, but now I have corrected it.

Espandi il petto anteriore, solleva la sommità della testa e amplia questi spazi senza rilassarti. Cantando in questo modo, otterrai anche un'eccellente legatura.

Dovrebbe essere parte di un "live" USA del 1937 circa...periodo nel quale infatti debuttò al Met...

Oh, il tuo livello è davvero alto! Basandomi sulla mia teoria della distribuzione del respiro secondo l'orologio, il suo sostegno respiratorio è troppo alto, posizionato alle 4 (sopra il diaframma posteriore). I suoi medi sono buoni e la loro posizione è alle 8 (nella zona del petto anteriore). La sua emissione si estende dalle 8 all'1, formando un grande spazio aperto e cantando in parallelo. La sua voce, a differenza di Caruso, che si proietta dal basso verso l'alto, si muove in modo parallelo. Una parte del suono rimane bloccata sul palato duro, impedendogli di esplodere come un proiettile. Manca di una vera penetrazione negli acuti, cantando in modo troppo aperto. La stabilità e l'impatto derivano dallo spazio interno ampio che si estende dal petto alla testa. Tuttavia, i suoi acuti non hanno quella sensazione di elevazione, limitandosi a emettere medi e acuti con lo stesso volume. È come se cercasse di rendere i tasti alti di un pianoforte potenti quanto quelli medi, ma colpendoli con troppa forza. In lui, percepisco i primi segni del declino del bel canto italiano. Questo suo approccio agli acuti e medi con lo stesso volume ha influenzato le generazioni successive, tra cui Pavarotti. Non ho mai studiato il suo stile in modo approfondito, poiché, pur essendo eccellente, mi ha sempre dato l'impressione di avere alcune carenze.

Vinay e Nicolae Herlea hanno entrambi una voce posizionata verso il retro, ma nella voce di Nicolae Herlea si può ancora percepire un suono che proviene dai denti, mentre in quella di Vinay questo è assente, essendo interamente concentrata nell’area addominale. Come baritono, Vinay presenta una limitata ampiezza vocale, ma il suo punto di forza è nella linearità: la sua voce è estremamente diretta e ben strutturata, sebbene risulti piuttosto stretta. Tuttavia, questa caratteristica ha anche un vantaggio, rendendo l’uso del fiato molto efficace. La straordinaria capacità di fraseggio di Vinay non si limita alla fluidità. È necessario ascoltare attentamente i toni medi e acuti e analizzare se ogni singola nota possiede profondità e stratificazione. I Tre Tenori utilizzano un timbro uniforme concentrato nella bocca, mentre Vinay si distingue per un timbro stratificato e completamente concentrato nell’addome. La voce di Nicolae Herlea, invece, possiede maggiore profondità e stratificazione, e i suoi acuti possono raggiungere il C5. Herlea è capace di collocare una singola nota con la stessa intonazione nella bocca, nella cavità nasale o completamente nell’addome, dimostrando così una notevole stratificazione del suono. So che sei un grande ammiratore di lui, quindi non mi dilungo ulteriormente.

La mia attenzione si concentra sul primo suono che producono. Kaufmann lo emette tutto dal naso, mentre Jean Löhe, il suo predecessore, lo emette dal petto anteriore. Questo è molto difficile. Sono tutti tenori tedeschi, piuttosto gravi. Storicamente, la voce di Löhe era molto lirica e chiara. Tauber è buono, Craig anche, ma io mi concentro sul primo suono, e lui lo emette dal petto, con una buona risonanza nelle cavità nasale e cranica. Se voglio osservare l'evoluzione storica del tenore, posso affermare con certezza che questo primo suono è la linea di vita del tenore. Dove viene emesso il suono della vocale "a"? Kaufmann lo emette dal naso, così come Domingo, mentre gli altri tenori lo gridano nella bocca, con una qualità di risonanza scarsa. Mi fa soffrire il livello del tenore umano dopo più di mezzo secolo. Non posso incolparlo, perché se provano a cantare questa vocale "a" dal petto anteriore, non riescono a farlo. Credo che un vero tenore debba cantare questo C#4 con il petto aperto. Se non riescono a farlo, non li ascolterò, ma li considererò come esempi sbagliati da usare per mostrare all'umanità ciò che non va.

Oh, sir, you know Tucker better than I do-I only understand his singing technique. Thank you for letting me know.

@@lisaszxu1961 Thank you for your kind reply, it's just that knowing him personally and seeing him in the opera house, concert stage, synagogue, and also when I was a guest in his home, I met his coach Mr. Joe Garnett , he told me basically the same thing, but as far as Tucker's sound, when you saw him in the opera house, (As also said by Rosa Ponselle) compared to his studio records, it wasn't just his sound being larger , it was, but he seemed even better live (the same thing was true with Del Monaco, when I saw him in the house in 1959 singing Otello) the MDM voice sounded more impressive in house, and "less steely" then on studio recordings, contrary to that, many "smaller" voices often record better in the studio and sound larger then they where in the opera house . Tucker also gave more emotion live, as did some others like Bjoerling, as Jussi's singing on some studio records wasn't as warm as he was live. Corelli was a tenor I actually preferred on studio records, he sang more carefully in the studio, not so much scooping, and I could better appreciate his great spinto voice better that way, but he sure had charisma and good looks! Two live complete performances with Tucker in his best years, the middle and late 1950's and early 1960's stand out for me, one is a complete 1959 Met. radio Brdcst. of "Gioconda" with Tucker, Merrill and Milanov from the 1959 Met. radio Brdcst . another is a 1960 Chenier with Tebaldi, Bastianini and Tucker, also a Met. radio Brdcst. and two Forza Brdcsts. from the 1950's, one from 1952 with Warren and Zinka Milanov. and March 17, 1956 with those two again, on another radio Brdcst. Also the Nov. 11th , 1956 Chicago opera gala that he sang arias (Tosca, Cav. Ballo and the final Chenier duet with Tebaldi, ) I believe that was posted by "VinyltoVideo" or by "German opera singer" long ago on you tube.

@@lisaszxu1961 Yes, you do understand technique far more than I do, as I am not a singer.

@@lisaszxu1961 I think Tucker's best live singing with Tebaldi was the complete 1959 Met. radio Brdcst. of Manon Lescaut on you tube, it was when both singers where at their very best in Jan. 1959 , Tucker's own favorite opera to sing was Manon Lescaut but I did prefer him in Forza above all others. early he also sang some Mozart in opera and at the Met. both Cosi and Magic Flute in the late 1940's and the 1950's but he was basically into Italian (and French opera, Carmen, Tales of Hoffmann, Juive, and he sang Faust early when he was a lyric tenor , of course he was a very great Cantor. RIP. Richard Tucker, 1913 -1975.

@@shicoff1398 Thank you for your detailed description. Every time I read your comments, it gives me a lot to think about. I can understand Rosa regarding Tucker and MDM-live performances sound better. This directly relates to the layers of sound. Both singers have similar vocal postures: The back of the head is positioned last. Next is the pharyngeal cavity. Then the vocal cords. Followed by the front chest. Finally, the abdomen, which is positioned the furthest forward. Their mouths form a deep shape, which creates a resonant state that provides sufficient space for the fundamental frequencies and allows for optimal resonance range from the back of the head to the abdomen, leaning back. This produces the best harmonic transition. Their overtones are very rich, which is why they sound better live. Bjoerling, on the other hand, has relatively fewer layers in his sound. His breath support is higher up, not at the bottom of the abdomen. Although his voice is beautiful and bright, it lacks the depth of sound and is more uniform. The production of the fundamental tone and the transition into overtones happens more quickly, sometimes without fully engaging the overtones. The fewer overtones there are, the worse the effect in a live setting, even though the resonance itself is outstanding.

Oh, oh, oh! You saw him? That’s incredible! Vinay’s facial features alone give insight into his voice. Unlike Monaco, he lacked the characteristic of expanding his internal space and inhaling a large amount of breath just before singing. This resulted in suboptimal vocal cord closure and insufficient vocal cord opening during singing. As a result, his voice was muffled and set further back. However, his resonance was remarkable. If he had learned to open his voice like Lauri-Volpi, his tone would have been brighter and more forward, allowing him to project his sound from the front of his body. Instead, his voice remained trapped further back, in the upper abdominal area, creating a dull quality. That said, he was still an excellent singer overall, especially in his breath control.

Forse non stavi rispondendo al mio commento, ma la tua vasta conoscenza solleva alcune questioni degne di approfondimento. Ecco il mio punto di vista. Nel periodo antecedente alle registrazioni sonore, non possiamo ascoltare le voci e quindi non possiamo giudicare. Perciò, non includo questi cantanti nella mia ricerca. Hipólito Lázaro (1887-1974) Miguel Fleta (1897-1938) Enrico Caruso (1873-1921) Beniamino Gigli (1890-1957) Giacomo Lauri-Volpi (1892-1979) Plácido Domingo, invece, utilizza un metodo di emissione completamente errato e non rientra nel mio ambito di studio. Per quanto riguarda i criteri dei grandi maestri, non mi limito a giudizi storici generici basati unicamente sull'ascolto. Non mi fermo a commentare solo le qualità vocali, ma analizzo la struttura fisiologica interna del respiro che genera queste caratteristiche sonore. Mi concentro su tenori con timbri vocali particolarmente versatili. Ad esempio, si dice che Caruso avesse oltre 1.000 variazioni di timbro (secondo un basso russo). Da dove derivano? Come è possibile per l'essere umano produrle? Gli attuali tenori, al contrario, non parlano di caratteristiche vocali ma solo di timbri. Tutta la loro respirazione è concentrata tra le 9 e le 12 (in riferimento alla teoria dell'orologio del respiro). Questo approccio crea una voce priva di stratificazione, con il flusso d'aria che si dirige direttamente dalla gola alla bocca, al naso e alla maschera frontale, senza attraversare spazi di risonanza principali più ampi. Tale metodo produce un'unica dimensione sonora, uniforme e monotona. In più di un secolo, non si è compreso quanto sia fondamentale la distribuzione del respiro per creare un timbro ricco e variegato. Negli ultimi decenni, molti non sanno nemmeno cosa significhi distribuire correttamente il respiro. Questo è dovuto alla mancanza di ampi spazi interni nel corpo, il che porta a due estremi: o un suono debole e incontrollabile (con il volume regolato solo cambiando la tensione dei muscoli facciali, metodo sbagliato), o grida sforzate dalla gola. Sebbene questo tipo di canto possa coprire sia ruoli lirici che drammatici, il risultato è una performance completamente priva di emozione. Non affronterò ora i difetti di Lauri-Volpi o i punti di forza di Caruso. Concordo con te sul fatto che i commenti storici sui tenori non rappresentano verità assolute. Ma tali giudizi, formulati da cantanti in pensione o studiosi di canto che non cantano, sono davvero affidabili? Secondo me, per giudicare correttamente un cantante, dovresti essere in grado di riprodurre la sua voce: solo così potrai comprendere i suoi pregi e difetti. Riguardo alla tua osservazione secondo cui un tenore dotato di una vasta estensione e caratteristiche particolari non è necessariamente superiore agli altri, ti pongo una domanda: Caruso è unanimemente riconosciuto nel mondo della musica vocale come superiore a tutti gli attuali tenori. Puoi davvero affermare che un tenore moderno superi Caruso in alcuni aspetti, o che qualcuno sia complessivamente migliore di lui? È impossibile. Io stesso sono in grado di cantare come Caruso, e posso dirti che un singolo suono prodotto dal suo corpo può avere almeno 5-6 diverse sfumature di timbro. Questo è il motivo per cui la sua voce non stanca mai ed è ricca di espressività. L'espressività vocale è uno standard assoluto. Non è una questione di "ognuno ha le sue caratteristiche"; i tre grandi tenori contemporanei, ad esempio, hanno un timbro monotono e in 10.000 anni non supereranno mai Caruso. Sto cercando di confutare i criteri di valutazione storici sui cantanti, sviluppando la mia teoria unica sulla distribuzione del respiro basata sul modello dell'orologio. Questo è uno strumento infallibile che smaschera i falsi tenori. --- Sul vibrato di Michael Spyres: hai ragione, il suo vibrato mostra segni di instabilità. Il suo uso intenso della voce potrebbe aggravare questa situazione, come dimostrato nell'acuto finale "Vincerò" di Nessun dorma, che manca dello squillo e della stabilità del vibrato di Franco Corelli. --- Amico mio, le tue osservazioni coincidono con i miei commenti su Spyres: utilizza una tecnica da baritono, con un respiro troppo arretrato. La sua voce manca di chiarezza, le sue corde vocali non si aprono e produce un suono confuso e cupo di tipo "mix", che non può essere considerato uno standard per un tenore. --- To be continued. Grazie per il tuo straordinario contributo come critico di tenori professionale!

Sono molto sorpreso dal fatto che, nelle sue prime fasi, Di Stefano riuscisse a produrre una voce così bella, quasi non sembrava lui, suonava come un tenore straordinario che non avevo mai sentito prima. Ah, perché non è riuscito a mantenere quella tecnica vocale straordinaria? È stato forse l'effetto negativo che la sua collaborazione con la soprano Callas ha avuto su di lui, con l'uso della voce di gola e nasale? Perché sono stati i suoi partner più frequenti, e quando studio un tenore, il soprano con cui collabora sempre lo influenza. Pavarotti, ad esempio, è stato influenzato dalla soprano di coloratura Joan Sutherland (la cui voce si muove tutta nella bocca), e di conseguenza, nelle sue prime registrazioni aveva un buon supporto diaframmatico, che però ha perso col tempo. Caruso ha avuto Rosa Ponselle, e Rosa Ponselle, influenzata dalla voce di Caruso, ha sicuramente avuto una grande influenza positiva. Il mio caro amico, guarda me, sto studiando argomenti che l'umanità non ha mai considerato per più di 100 anni. Ho molte idee creative e molti, molti video da fare. Grazie per il supporto al mio canale.

@@lisaszxu1961 Di Stefano da ragazzo studiò male,con cattivi maestri,e poi dopo i 40 anni affrontò repertori inadatti a lui.Peccato,sarebbe stato il primo.

@@maxtrentini5589 Secondo me, per quanto riguarda l’insegnante di Giuseppe Di Stefano, i documenti storici indicano che il suo principale maestro di canto fosse Luigi Montesanto, che ho ascoltato cantare e ritengo piuttosto valido. Tuttavia, essere un eccellente tenore non significa necessariamente essere un eccellente insegnante. Definirlo “non qualificato” potrebbe essere esagerato. Più probabilmente, le critiche storiche sull’“apprendimento scorretto” si riferiscono all’atteggiamento personale di Di Stefano nello studio o ai limiti delle sue basi vocali nei primi anni. Personalmente, propendo per l’idea che un baritono come Luigi Montesanto insegni con alcune differenze tecniche rispetto a un maestro tenore. Naturalmente, ogni tenore, sotto la guida di un insegnante con un diverso registro vocale, tende a mantenere un proprio approccio personale per la gestione degli acuti. Pensano tra sé e sé: “Imparerò le tecniche generali, ma per quanto riguarda gli acuti, devo costruire il mio suono da solo, senza seguire esattamente il consiglio del maestro.” In apparenza rispettano sempre il maestro, ma interiormente la pensano così. Di solito cambiano insegnante più volte, cercando di apprendere da ciascuno qualcosa e mettere insieme un metodo proprio. Ma si sbagliano: il maestro non può sempre insegnarti ogni dettaglio. I metodi specifici devono essere scoperti e affinati personalmente. Ci sono moltissimi casi in cui l’insegnante non riesce a individuare gli errori gravi degli studenti. Ad esempio, Giovanni Ribichesu, ancora oggi, canta in modo scorretto. Il suo maestro, Franco Corelli, non è riuscito a correggere i suoi errori. Certo, rispetto molto Ribichesu, ma ha avuto più di dieci maestri, senza risultati. Basta ascoltare la sua voce: grida eccessivamente e suona come quella di un anziano. Il problema è che canta senza supporto addominale, pur credendo di avere ragione. Alcuni sostengono che Di Stefano, da giovane, puntasse troppo sulla bellezza naturale del suo timbro, trascurando un adeguato supporto tecnico, specialmente nel controllo del fiato e nella protezione delle corde vocali. Questa mancanza contribuì ai frequenti problemi alle corde vocali negli anni successivi. Inoltre, dopo i 40 anni, affrontò ruoli drammatici come Canio e Otello, che andavano ben oltre i limiti di un tenore lirico, accelerando il declino della sua voce. Detto ciò, credo comunque che un tenore lirico, se in giovane età si dedica a sviluppare il sostegno del fiato attraverso un buon uso del diaframma, possa cantare naturalmente anche ruoli da tenore drammatico senza bisogno di un addestramento speciale. Ad esempio, Charles Craig, che inizialmente aveva un’impostazione molto lirica, riuscì più tardi a cantare Otello in modo piuttosto convincente.

@@maxtrentini5589 Here is my reference for others. Sebbene Lauri-Volpi abbia fornito un aiuto tecnico a Corelli, i problemi legati all’uso della gola da parte di Corelli nei suoi trent’anni non furono individuati. Solo quando Corelli si avvicinò ai cinquant’anni, Lauri-Volpi ascoltò il suo canto e osservò che il suo metodo era sbagliato, poiché si basava troppo sulla gola, sulla cavità orale e sulla zona frontale. Tuttavia, era ormai troppo tardi: le corde vocali di Corelli erano già state compromesse dalla sua tecnica inadeguata. Corelli si lamentò di non riuscire più a produrre il timbro della sua giovinezza e fu costretto al ritiro, dicendo addio al palcoscenico. Carlo Bergonzi, invece, ha sempre bloccato i suoi acuti sul palato duro, senza riuscire a passare completamente alla voce di testa o alla risonanza faringea. Alfredo Kraus, dal canto suo, aveva un timbro monotono, basato esclusivamente sul respiro addominale, sulla risonanza nasale e sulla voce di testa, ma con una risonanza toracica insufficiente e una mancanza di forza sotto il diaframma posteriore, il che gli impediva di affrontare ruoli come Otello. Lauri-Volpi era un maestro eccezionale, ma quando insegnava a questi tre cantanti, probabilmente li considerava capaci di gestire il respiro come faceva lui. In realtà, tutti e tre mostravano un addome inferiore morbido e tendevano a spingere il suono verso il petto e sotto lo sterno, pensando che il supporto del respiro addominale sarebbe arrivato naturalmente. Tuttavia, questo approccio creava un suono ingannevole. Nei primi anni della loro carriera, grazie alla giovane età, questi tenori riuscivano a mantenere un certo livello di supporto addominale, ma dopo i 35 anni, il supporto svaniva completamente, rendendo il loro suono rigido e confinato nella cavità orale. Per quanto riguarda i tre cantanti menzionati, così come i celebri "Tre Tenori", la storia non li ha mai classificati come rappresentanti del bel canto italiano. Lauri-Volpi, che si dichiarava l'erede del bel canto italiano di Caruso, si distingueva chiaramente.

La tua conclusione è corretta. Ha adottato una tecnica di canto da baritono, fissando il suono nella parte anteriore del palato duro e usando la gola per espandere lo spessore dei medi. Se fosse diventato un baritono, non sarebbe comunque stato un vero baritono. La sua voce è sicuramente eroica, ma il timbro e lo spessore del suono rimangono uniformi, limitandosi alla zona tra il petto anteriore e il palato duro, con l'aggiunta di un supporto respiratorio centrale nel diaframma posteriore. Tuttavia, il motore vocale di un baritono corretto dovrebbe trovarsi sotto il diaframma posteriore, intorno alle 5 in punto, vicino ai lati posteriori della vita. Questo è il punto in cui il respiro può essere meglio ancorato. Caruso, ad esempio, utilizzava la parte più bassa dell'addome, intorno alle 6 in punto, come il "tan tien". Se lui cantasse come baritono, avrebbe dovuto dirigere il suono dalla gola verso la parte bassa del petto, ma ciò non sarebbe comunque corretto. Il modello ideale di baritono resta Nicolae Herlea.

@@lisaszxu1961 sono curioso:che mi dici di Ramòn Vinay(che io adoro?)

@@maxtrentini5589 Haha, dormirò ancora un po', e quando mi sveglio, analizzerò la sua tecnica vocale.

Kazimierz Pustelak, thank you. I almost forgot about him, he is too outstanding. As a tenor, his technique is superb. Kaufmann’s onset is completely wrong, as he replaces the first note with nasal sound. Compare this with the German tenor predecessors I listed, like Jean Löhe, and listen to their first note. Thank you, I appreciate your high level! 1. Jonas Kaufmann's Nasal Sound Issue Jonas Kaufmann's C#4 sounds like a nasal tone, suggesting that he may be relying too much on head and nasal resonance for this note, with insufficient involvement of abdominal support and chest resonance. Although he is a technically mature singer, this improper breath distribution results in an imbalance in his tone quality. Nasal sounds tend to make the voice sharp and lack depth, especially in the higher registers. Without good abdominal support and chest involvement, the tone can appear thin. 2. Jean Löhe and Richard Tauber's Breath Distribution As you pointed out, Jean Löhe and Richard Tauber’s renditions are perfect and stable for the C#4 starting note. Both singers base their breath distribution on the middle voice, which ensures the depth and warmth of the sound without relying solely on high register resonance. Abdominal support is central to their singing, ensuring that the sound remains powerful, while the high notes still maintain a rounded quality and do not lose their luster. Through this approach, they are able to smoothly transition into the high notes while maintaining a very delicate tone quality. 3. Charles Craig's Warmth and Poise Charles Craig's C#4 starting note is perfect. As you described, he exhibits the warmth of the high notes combined with the steadiness of the middle voice in this note. This combination shows that he can precisely control his breath distribution, blending chest resonance and high note resonance effectively. The sound does not become too sharp, nor does it lose its brightness in the high range. His breath support and the coordination of resonance make the high notes solid and full of depth. 4. Joseph Schmidt’s Superb Performance Joseph Schmidt’s starting note of D4, which is a half-step higher, is indeed an astonishing technical achievement! He raised the usual C#4 to D4 and managed to produce it using chest voice, showcasing his exceptional control over high notes. What is even more impressive is that he did not lose the resonance and brightness of the high notes while maintaining the fullness of the sound. By singing the note in the front chest and combining it with appropriate head resonance, Schmidt broke the traditional limitations of high notes. He was able to maintain a rich tone even when starting a half-step higher and controlled his breath in such a way that each note felt full and powerful. This technique demonstrates his extraordinary singing ability and ultimate understanding of vocal control.

Kazimierz Pustelak, as an individual, surpasses all tenors in the world today. It's a pity that his recordings are so few

@lisaszxu1961 his daughter has established an excellent channel dedicated only to the memory of her father Kazimierz Pustelak ....

@@meisterwue Oh, oh, oh, very good! Thank you for letting me know; I’ll go subscribe to his channel.

1. Jonas Kaufmann - Dein ist mein ganzes Herz (2011-2) - 0:12 2. Jean Löhe - Im Zauberreich der Operette (Lehar) - Land des Lächelns - 4:07 3. Richard Tauber - Das Land des Lächelns Dein ist mein ganzes Herz - 7:44 4. Charles Craig - Dein ist mein ganzes Herz (1964) - Love let me dream again - 11:05 5. Joseph Schmidt - Das Land des Lächelns: Dein ist mein ganzes Herz (Remastered 2022) - 14:20 Thank you for visiting my channel

@@lisaszxu1961 Thank you very much

Il tuo commento è di nuovo molto preciso. Di recente, sento sempre più che la profondità del respiro di Jussi Björling non è sufficiente, perché la sua posizione respiratoria si trova al centro del diaframma posteriore, approssimativamente alle ore 4:30, troppo in alto. Il petto è già espanso, e nel momento in cui emette la nota, la posizione del respiro sale ulteriormente. Non mi riferisco alla posizione del suono, ma alla posizione di mantenimento del respiro mentre si emette il suono. Dovremmo considerare il suono e il respiro separatamente: il suono è la voce umana, che è già emessa attraverso le corde vocali e trasformata in linguaggio nella cavità orale, mentre il respiro è la forza motrice, situata nella zona dinamica del suono (quella che ieri ho indicato come la Body Room D, dalle ore 3 alle ore 6). Questa area è separata dal suono e il respiro guida il suono. I tre grandi tenori emettono insieme suono e respiro dalla gola. Quindi, la voce dei tenori e il respiro dovrebbero essere ascoltati separatamente. Il supporto respiratorio in alto di Björling limita la sua capacità di esprimere emozioni profonde. La sua voce è sempre esteticamente superficiale, luminosa, chiara, ma sempre priva di emotività. Caruso, con il suo grande addome, se esprimeva dolore, poteva sicuramente spaventare chiunque, e la sua emotività si esprimeva tramite l'ampia zona inferiore dell'addome. I bassi russi dicono che la sua voce conteneva 1000 sfumature, e io ci credo. Lo stesso tono aveva 7-8 livelli di risonanza, dati dalla distanza e dall'altezza del respiro che dal diaframma arrivava alla cavità di risonanza sopra le corde vocali. L’altezza della voce dei tre grandi tenori va solo dalla gola alla fronte: possono esprimere molte emozioni con ciò? No! Con Caruso, lo stesso suono nell’addome può avere tre livelli. Sono davvero sorpreso dalla complessità dei suoi livelli sonori. Björling non può esprimere le emozioni di Caruso, perché il suo respiro non scende fino alla parte inferiore dell'addome. Raramente usa il respiro profondo dell'addome. Il suo vantaggio è dato dal petto ampio, dal palato molle alto, dai muscoli dietro la testa ben sviluppati e dallo spazio posteriore della faringe. In questi aspetti, è eccellente. Mi considero storicamente la persona che ha spiegato più accuratamente la tecnica vocale di Björling. Che ne pensi?

@@lisaszxu1961 io non ho le tue nozioni tecniche....per me Jussi è il migliore perchè è lineare,non ha"salti"da una tessitura all'altra,e una tecinca perfetta.Il fatto che esprima poche emozioni forse deriva dal suo essere svedese.fosse stato italiano......

@@maxtrentini5589 Oh, oh, oh, I totally agree. Are Swedes not good at using emotions? Hahaha, your conclusion is very interesting.

Your comment is once again very precise. Recently, I have increasingly felt that Jussi Björling’s breath lacks depth because the position of his breath is located at the center of the posterior diaphragm, approximately at the 4:30 position-too high. His chest is already expanded, and at the moment of producing a note, the breath position rises even higher. I’m not referring to the position of the sound but the position where the breath is maintained while producing the sound. We need to view sound and breath separately. Sound is the human voice, already emitted through the vocal cords and transformed into language via the oral cavity, whereas breath is the driving force. It resides in the sound power zone I referred to yesterday (Body Room D, from 3 o'clock to 6 o'clock in the afternoon). This area is separate from the sound, and the breath drives the sound. The three great tenors emit sound and breath together, starting from the throat. Therefore, the sound and breath of tenors should be heard separately. Björling’s high breath support limits his ability to express deep emotions. His voice is always aesthetically beautiful, bright, and clear on the surface but always lacks emotion. Caruso, with his large abdomen, could convey such pain that he might scare humanity, and his emotions were conveyed through the wide lower part of his abdomen. Russian basses claim his voice had a thousand nuances, and I completely believe it. The same note in Caruso’s voice had 7-8 layers of resonance. This is due to the distance and height of the breath, traveling from the diaphragm to the resonance cavity above the vocal cords. The height of the sound produced by the three great tenors only extends from the throat to the forehead. Can that convey many emotions? No! With Caruso, the same note in the abdomen could have three levels. I am truly amazed by the complexity of his vocal layers. Björling cannot replicate Caruso’s emotions because his breath does not settle in the lower part of the abdomen. Strictly speaking, Björling rarely uses the deep breath from the bottom of his abdomen. His advantages lie in his spacious chest, the height of his soft palate achieved through training, the strength developed behind his head, and the configuration of the space at the back of his throat. In these aspects, he excels. I consider myself the most accurate historical interpreter of Björling’s vocal technique. What do you think? This video did not turn out well. The first part has no sound-that was another song that didn’t produce sound. I don’t want to redo it. Here are some comments from friends. Friends, please manually adjust a bit. The above is my reply to someone, related to breath and vibrato. I am sharing it with you for reference. What you said about Caruso is truly astonishing: his vibrato, with its layers of sound and the flow of breath moving up and down, is a living vibrato. Whether in low notes or high notes, it possesses a unique vitality. Meanwhile, all other tenors in the world, especially over the past half-century, have a vibrato that is trapped inside the oral cavity. From an acoustics perspective, it lacks harmonic amplitude. These vibratos are incorrect because their power source is located only in the oral cavity. A large volume of breath within the oral cavity is returning to vibrate the vocal cords. It is a stiff vibrato without the movement of airflow, like holding a small ping-pong ball in the mouth and producing a rigid sound with all your strength. Caruso’s vibrato, on the other hand, has its power source at the bottom of the abdomen. The airflow moves from the lower abdomen to the top of the head, and the sound within the body circles around, producing a full-body vibrato. Your insights are at a very high level, and I sincerely thank you for sharing them with me.

Yes, I am here organizing my book. The draft is saved here.

@@lisaszxu1961That’s wonderful teacher. Also I’d like to add that I’ve been following you your previous instructions for singing and imitation. From which I made an amateur recording. Is there anyway for me to send that to you? As you’ve said the early stages of a young singer is important, and that mistakes from the beginning can damage the voice forever. I want to correct any vocal mistake I may have now before it’s too late.

@@justsomeguywholikesdavidbo1085 Skype: richter6331. You can send it to me first, and if necessary, I will explain how to sing it to you by voice. However, our time zones are different, and I usually don't speak English, so I rely on translation software to communicate. Generally, I can still understand, but it's difficult for me to respond quickly in English. I can speak Japanese and Chinese, and I can communicate in English, but more slowly.

Спасибо за ваш профессиональный комментарий, полностью согласен.

А Вы поете оперу ? Хотелось бы услышать, как Вы поете

Я занимаюсь пением по часу каждый день, и вы скоро услышите, как я пою. У меня есть абсолютная уверенность, что мой метод пения правильнее, чем у других, и он обладает большим количеством тембров. Я подражал сотням настоящих теноров, в том числе и вашим русским. Сегодня я учился подражать Георгию Виноградову, который представляет собой типичную вокальную технику вашей страны. Он поет русские художественные песни, такие как «В прекрасный май» (Sung in Russian Dichterliebe), «Роза, лилия, голубка» (Sung in). Найти резонансные позиции внутри тела очень сложно, я потрачу время, чтобы овладеть этим. Очень открытые резонансные полости тела, образующие пирамидальную дыхательную колонку внутри, звук идет из нижней части живота, рот отвечает только за преобразование звука в речь, область от 9 до 12 часов очень расслаблена, не требует никаких усилий. Сергей Лемешев поет так же, с пирамидальной дыхательной колонкой внутри, и когда он поет высокие ноты, его голос обладает потрясающей проникающей силой

@@lisaszxu1961 Очень интересно послушать Вас. С уважением, Леонид

@@ЛеонидЦепедилов Многие друзья хотят услышать, как я пою, но у меня сейчас нет такого энтузиазма. Петь лучше других - это само собой разумеется. Я не воспринимаю никого в мире как своего соперника. Я точно буду лучше их. В будущем будет возможность поговорить с вами по голосовой связи, но я не говорю по-русски. Ваш русский язык очень характерен, вы все производите звук в животе, возможно, это связано с холодным климатом. Вам нужно усилие в животе для дыхания, поэтому я считаю, что русские очень подходят для пения оперы.

You are truly the highest-level critic in the opera world; I really admire your knowledge. Which country are you from? The United States, right?

@@lisaszxu1961 Wrong, Diolch yn Fawr nos da.

Very well-put professional description. For me, lowering the key in Nessun dorma is simply disgraceful. As a tenor, if you don’t sing the high C, you lose your purpose. I’ve made a special compilation of 50 tenors and found that the earlier the era, the shorter the duration of held high notes. Perhaps that was the value system of the time? Valente and Alessandro have excellent abdominal breath placement and control, but they didn’t realize that abdominal breath can also be used to control soft tones. Apart from the final A4, they are nearly perfect. However, I still noticed flaws-keeping the abdominal expansion steady while lifting the soft palate and back of the head is something they do well, making their high notes outstanding and their sound and breath seamlessly unified. However, during the final high A4, he opens the lower abdomen while lifting the top of his head, a state that should be maintained even after the phrase is complete. He failed to do this-after singing the high note, he relaxed the breath support in the soft palate and back of his head too soon. This habit causes his high notes in any climax to lack the full extension they should have. Thank you for the discussion. I can now hold any high note in any tenor aria, as I understand exactly how to do it. For a great tenor like him, only I can point out his shortcomings. His issue isn’t just about breath support. Look at Jan Peerce: after he finishes a high note, his internal resonance chambers maintain their shape, and he doesn’t relax immediately. Alessandro, however, relaxes his upper breath support too soon.

Ogni tua parola riflette un altissimo livello professionale, sono completamente d'accordo con ogni tua frase. Sei così competente, ma non canti? Sarebbe un vero peccato. Non importa quanti anni hai, posso garantirti che, con il mio metodo, potrai cantare altrettanto bene.

@@lisaszxu1961 te l'avevo detto sono un(ex)cantante,ma di musica leggera.mi intendo di lirica perchè mio nonno era tenore-ho 67 anni e canto dal 1978(night,pianobar,dischi,concerti)grazie per il tuo apprezzamento

@@maxtrentini5589 I’m very sorry, I forgot, but I will remember this time-I am also 67 years old. Ah, you are also a singer, so you are very knowledgeable about vocal techniques. As a pop singer, I am amazed at how well you understand the art of operatic singing. Thank you for your high-level reviews.

@@lisaszxu1961 io ho la mia tecnica,che conosco molto bene-niente gola,niente naso,io lavoro col petto ovviamente spingendo con l'addome,ma non mi intendo come te così bene-non sono mai andato più su del la se non di passaggio-anche mia madre era una cantante professionista ho cominciato nei night nel 1978 8888888888888

@@lisaszxu1961 ho la mia tecnica anche se non ho le tue nozioni-no gola,no testa,ma solo petto e un po'di spinta addominale-mia madre era pure una cantante professionista