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1 Beniamino Gigli & Giuseppe de Luca 2 Enrico Caruso & Antonio Scotti Thank you

I really appreciate your recommendation of Gershon Yitzchok Sirota. His natural and genuine singing style surpasses even Caruso. Both share many similarities in their vocal techniques. As a cantor and a devout Jew, every note Sirota sings is imbued with true emotion. His use of sobs and cries in his singing surpasses even the technical skills of Beniamino Gigli! Gershon Yitzchok Sirota was only one year younger than Caruso, born in 1874. It's hard to say he learned from Caruso, but his singing embodies the Italian Bel Canto style. While there is no evidence showing he studied Bel Canto, his singing style coincidentally aligns with it, and he even surpasses many who did train in this method. He is one of the most renowned cantors of the early 20th century, often referred to as the "Caruso of the Synagogue." His vocal technique and emotional expression made him famous in the world of religious music, particularly during the High Holy Days. His rendition of "Ovinu Malkeinu," a traditional Jewish prayer especially significant during Yom Kippur and Rosh Hashanah, stands out. This prayer, meaning "Our Father, Our King," expresses supplication and reverence to God. Sirota's singing is characterized by his powerful vocal range, pure tone, and profound emotional impact. His music is not just a religious ritual but a soulful experience, conveying deep spirituality and devotion, resonating strongly with listeners. When performing "Ovinu Malkeinu," he seamlessly combines technical prowess with emotional depth, infusing every note with the prayer's meaning and spirit. Sirota's recordings are still considered benchmarks in Jewish religious music, continuing to influence and inspire musicians today. His music was highly acclaimed in his time and his legacy endures. His works set a high standard for many cantors, and his recordings remain valuable resources for learning and appreciating Jewish religious music. Thank you for reminding me of him; I almost forgot about him, despite my general disinterest in religion. Yesterday, I even played some religious music, including Joseph Schmidt's "Sch'ma Israel Adonai hu ho elohim," practicing those high notes. I appreciate your high-level recommendations, unlike those of current tenors. Comparing Gershon Yitzchok Sirota to the tenor you mentioned yesterday, their vocal placement is completely different. Sirota sings with an Italian Bel Canto style, while the other singer, whose name I don't even want to remember, projects more than 80% of his sound above the vocal cords, more suited to pop music. As for Sirota's songs, I won't list them here; everyone can search and listen for themselves. Rather than comparing him directly with Caruso, as they excel in different domains, I believe they are both equally outstanding in their respective fields. Thank you again.

Imitating Gershon Yitzchok Sirota, anyone can become an Italian bel canto better than any tenor today. His position of sound, the treatment of notes, the use of breath, are very worth learning. I think I'm gonna collect his songs and sing like him. Thank you for reminding me!

@@lisaszxu1961 My Grandfather saw and heard Sirota in the Albert Hall in London a Few Times, he said his voice was very large and very resonant, he said the compareability with Caruso is plain to see, they were both simply unique in their Fach, Caruso had many Jewish friends and Martinelli said that He and Caruso visited the Synagogue in New York to listen to these Masters of the art of Singing, Sirota was amongst those Cantors, Sirota and Caruso did meet each other, so each would have learned a different art of the Voice, Caruso was always watching and listening to ALL types of voice, from Vaudeville to Opera, so the Synagogue would be a more Spiritual venture, which put Caruso and Martinelli in to the Sense of the way that Jews moved when they sang or talked with gestures, this both Tenors used in the Role of Eleazar in La Juive to immense Critical acclaim. I always have a Tear for Sirota, I find his voice incredibly moving and hear my Grandfather talk about him was a pleasure, there have been many many Great Jewish Opera singers and Cantors , but there was only one Gershon Sirota, I do believe that in which Heaven, they are, both he and Caruso they sit beside God.

@@Garwfechan-ry5lk I am very happy to see your narration, Sirota loud, is able to open the vocal cords very well, expand the space in the body, deep breath, very sufficient breath, do these three things, basically can produce this sound. Martinelli was good, too, but not as good as Sirota and Caruso, his voice was more forward, his belly was not so deep, he did not press down hard, the breath. In other words, Sirota and Caruso have more belly space. Martinelli and Caruso may also have learned a lot from Sirota's singing. Sirota's vowels, treble, tremolo fulcrum, strength, breath distribution, application, vocal position, are almost exactly the same, they have not studied together, but the final destination, the two are the same, singing a natural, beautiful, moving song. At this point. Thanks for your comments.

Corelli never learned Caruso, much to his regret. He was cautious and basically did not accept Melocchi, though he learned it a few times. Corelli prevoices, to express prayers for God, need heartfelt feelings, he does not have, he is just a breath above the vocal cords, while Caruso is a breath from the deep abdomen, more infectious, moving people. I don't want to criticize Corelli because he's adapting to the song he's singing and doing well, here, no! Express inner feelings, can not only mouth, nose mask, it appears false, false feelings, not real feelings. So the space between the singer's lower abdomen and the front of the vocal cords is very important. How much of your breath can you hide in there? The larger the space, the more breath, the more room there is to express timbre (overtone). Caruso will always be something to learn. Pav says so. But no one has learned, and from now on, I will sing it to you in the style of Caruso. Thank you for your comments.

Y---es！！

What about you？

The feeling of being a good baritone! I sing like you, like Caruso, like a giant, and the world gets smaller. Have a sense of spirit, excitement, confidence! Caruso has done this to his audience. Caruso, God

This comment of yours is also amazing. The French baritone over there, including you, the American baritone, are experts, very good!

@@lisaszxu1961 Caruso Was no doubt the better musician then Corelli, also, interesting that Tucker in the mid 1960's, he made a complete Bel Canto record Columbia #MS 6667, #Mono ML 6067( "The Art Of bel Canto" ) John Wustman Piano and Harpsichord, with many of these songs, like those of Scarlatti, Gluck, Caldara, Durante, Rossini, and Giordani and not some of his later often heavy accents , that he was taken to task for at times, I doubt even with his great Voice Corelli could be called a great Bel Canto Singer.

@@shicoff1398 You're right. Corelli isn't an Italian bel canto. He's just a breath of yelling.

@@lisaszxu1961 Exactly, just not for him, Lanza sang it also live in concert (Pieta Signore) in much the same way as Corelli, of Course Bjoerling did it much better then they did, in concert, as he was more correct that way.

@@lisaszxu1961 Tucker sang "Pieta Signore" sounding transposed down compared to some others, but he was in his 50's by the time he made those old "Bel Canto" songs "Hi Fi Stereo Review" gave Tucker a very good review for the songs at that time in the 1960's.

Your comments are at God's level. I was practicing or I heard him occasionally, so I got him together. In fact, I share your pain, Corelli is great, I do not want to reveal his shortcomings. My main thought was, what would people say about this video? I'm detecting what humans like to hear. You can tell the rhythm of the conductor, the speed, the accompaniment of the singer, there is a problem, I have to admire your hearing. My attention... wasn't there, but I studied symphonies as much as I did. I pay more attention to the singer's singing, the use of breath, the handling of high notes and so on.

@@lisaszxu1961😊

Well each singer has his strengths and what he is best at, this wasn't best for Corelli , he had other music to call his own. with no rivals.

@@shicoff1398 My original plan was. Every day Caruso and Gigli sing the same one, and I learn at the same time, and my imitation can't be limited to a certain style, and the two, the vocal parts are different. But they all have characteristics. It's a song that's almost never been sung by anyone other than Pieta Signore Caruso, except Corelli, so it's used. For me, one is good, the other is not good, so it is obvious to feel, not good, why not good? There's something wrong with the singing.

@@lisaszxu1961Yes!, Correct.

Daniele Barioni is a highly acclaimed tenor who has achieved a certain level of success in the Italian opera scene, but he may not be as widely recognized as the "Three Tenors" (Pavarotti, Carreras, and Domingo). However, this doesn't mean that his talent is underrated. Every singer has their own unique voice and performance style, and assessments are influenced by personal preferences, historical context, and channels of dissemination. The widespread acclaim for the "Three Tenors" partly stems from their extensive performances in concert halls and opera stages worldwide, as well as substantial media attention and commercial success. In comparison, some excellent singers may not receive equal exposure and recognition for various reasons. For singers, being considered outstanding or underrated depends largely on the perspectives of individual audiences and critics. Nevertheless, every singer has made unique contributions in their field and deserves respect and appreciation.

Yeah, great role model, 10 times better than the three tenors.

@@lisaszxu1961 No contest!

重点词汇 140/5000 通用场景 He sang very well, and in French he sang many pieces of Italian opera. I've always wanted to learn from him... tomorrow. The thing about him, every note, he sings it completely and breathlessly, the vibrato is perfect, it's percussive. His voice can be thrown far away like a grenade, unlike some Italian singers who get stuck in the sound. Who do you think is better, Georges Thill?

@@lisaszxu1961 Georges Thill is more elegant and I’m very sensitive to that. Thill’s voice is more equal from bottom to the top. Vezzani has sometimes a curious position on G-A. I cannot explain technically. Thill, in some recordings seems to have a problem on the voyelle è ( too open at my taste). But how could I criticise the prince of the french tenors!!! At his time Vezzani was very modern concerning the style. His french is perfect, modern and very few current french singers have such a perfection in the language. Thill and him are from the same school.

At the question who is better than Vezzani, at this point it is a question of taste (Corelli or Del Monaco?). I cannot say. Vezzani had two successors: Gilbert Py and Guy Chauvet. I sung with them, they were amazing on stage (not on recording). But none seemed to have his perfection

Vous oubliez José Luccioni.

@@mino7520 I did not forget that I wanted this friend to choose between the two, Jose Luccioni. I have made videos many times before, thanks for reminding me, I also post Jose Luccioni songs. He sings more openly, louder, and his vocal chords are wide open. It's so good.

Yes the description is wrong. Anyway the voice is so beautiful that one forget the poor style, the lack of nuance et, in Carmen, the impossible french. Why didn’t he sing only in italian?

​@@armenak20962non sono per niente d'accordo...ma ognuno ha i propri gusti...salute

@@radames5855 signor Radames, grazie per la sua risposta che non mi aspettavo visto che questo messaggio è arrivato dopo il suo messaggio per errore. Era destinato, come il suo, all'amministratore. Mi dispiace di l’avere offesa con la mia innocente critica al Maestro. Non era il mio obiettivo perché amo molto MDM, ma è vero che a volte mi piaccerebbe un po' più di sfumatura nel suo canto. Per quanto riguarda il francese, non va bene, ma non è un grande problema.

@@armenak20962 grazie a lei...tuttavia conosco poco il francese,ma ho sentito parlare Del Monaco sulla TV francese,e l'intervistatore gli faceva domande in francese,e MDM rispondeva perfettamente in francese...non so che dire... Riguardo alle sfumature Egli non è mai stato troppo raffinato nel gestire le indicazioni del compositore...a volte lo era...cari saluti

@@radames5855 Ho visto questa intervista. Il divo è travolgente. Accanto a lui c'era il suo figlio ad aiutarlo ma non aveva bisogno di nessuno. Parlare francese e cantare in francese sono due cose diverse. La r francese non ha suono e devi trovare un modo per farla suonare. Gli italiani la “rollano”, che è molto vocale ma non francese. C'è anche il problema delle nasale: gli italiani non le fanno (perchè non esiste in italiano) e spesso aggiungono una n alla fine della vocale. Non è più francese. Le vocale in francese sono pure e non sono addattate al canto lirico. Intorno gli italiani le facciono piú rotondi, sono molto belle ma non più francese . MDM lo fa un po' meglio di Franco Corelli che in francese è la caricatura di un cantante italiano. E Dio conosce la mia adorazione per lui!

Thank you for your advice. I'll listen to him right away.

Luis Mariano - ¡ Ay, ay, ay! (1963). th-cam.com/video/8lAfZfaoUjE/w-d-xo.html I am still the first time to hear, what a wonderful song, his vocal cords are 100% open, his whole sense of alto and treble, his head sound, few people than him, alto is very standardized, not like the three tenors, the wrong, the voice singing with the breath to the mouth and then to the chest below the singing, instead of the alto. The lowest midrange of the song, reflecting the true level, he is not flat, it is natural to first expand the distance between the front and the back diaphragm, hide the breath in the back diaphragm, and then, the whole sound relaxed, sound the middle. It's a high level alto that only Robert Merrill can sing, with a perfect pitch. Very open alto. That's great. You're a baritone. You know what I mean. Thank you, give me a good singer, I can learn from him.

@@lisaszxu1961 very happy that you liked him. Even when I sung heavier roles like Macbeth, Rigoletto or Golaud, I had him in a corner of my mind. Mariano never sung opera but only french operetta and popular songs (not always the best taste). Women were crazy about him (hopeless), he was an absolute star.

@@armenak20962 He's kind of like Claudio Villa, but Claudio Villa can sing opera directly and very well, and his vocal opening technique is very good, despite being very short. When he was young, the Italian ladies were crazy about him. Magda Olivero e Claudio Villa - Duetto delle ciliegie (L'Amico Fritz di Pietro Mascagni) th-cam.com/video/eUP9UyuD9ow/w-d-xo.html

My video, you can comment on it, I want to see the comments of a highly qualified person like you, this person is called the Caruso of Spain, it is said that he has no teacher, he has been mentored by Caruso.

Konstantin Pluzhnikov ，This is the first time I've heard of him, and I'm absolutely amazed. He has almost no flaws, just perfect! Much more outstanding than many Italian singers of his time. How many people in the world know about such a great tenor? He surpasses the level of the three tenors by several levels.

Konstantin Pluzhnikov - La donna e mobile (in Russian) th-cam.com/video/pHwLSWOcY70/w-d-xo.html It was amazing singing, and he had this look on his face, laughing at the three tenors, and he was saying, look at me, this is how I should sing! You can't beat me. I'm the best tenor. Can you tell me how you know about him? Konstantin Pluzhnikov could serve as a role model for today's tenors. Just follow his example.

our level, higher than the average person, what you said has a certain truth, this song, not necessarily these two people, the first second. Maybe other people are better, the ones you listed, I'll do videos later, compare, thank you

Caruso the best!

@@pedromotta9324 Y--es！！！

Thanks for telling me the details. Penno's vocal cords are 100% open, making his voice louder than average. Tenors today, they don't understand that, they've never really opened their vocal cords in their lives, and they don't know what it sounds like to open them. This exercise, it's mandatory at first, it's okay to open the vocal cords very stiffly. Once you get used to it, half a second to a second before you sing the note, you open the vocal cords with your breath, and before you sing the note, there is a very short pause, and now the tenor opens his mouth and the voice comes out, the voice can't come out too fast, too fast, the vocal cords don't open enough time. Your friend here is very happy and has had so many good experiences.

What I want to say is that our great tenor lived in an unfortunate time of war, and let me not forget that the Nazi war took Schmidt's life, otherwise he would have sung many more songs for us, and we mourn him. Never forget that the Nazis took 38 years of his young life.

@@lisaszxu1961 that is why I was shocked to see a Nazi symbol behind his photo!

I wasn’t. Finally somebody showing without any modesty the horror of the history. The portrait of this small man with one of the most incredible voice of the century became a symbol. Never forget, this is what means this “collage”. And be aware that these monsters are still behind our doors

@@armenak20962 es, the country that used to be socialist and then introduced democratic elections is still at war today. Peace is the right path. Instead of going to war to satisfy the prestige vanity of a few.

All here (Except both Lanza and Peerce) have sung the opera "complete, and live in opera houses" Jussi Bjoerling never sang it in this country, but did in Europe, especially several times in Sweden, at the Stockholm opera, and of those here Tucker is the only one who sang it at the "Metropolitan opera" and also in Italy in Florence, complete of course. Peerce and Lanza never sang it live complete. I don't list them in order of my own opinion, because it would be only what I think is best and least best, all here had great voices, (and all of them made more then just one version of the aria, as played here) and it is your personal opinion who you prefer, so enjoy them, all these tenors (now all dead) where famous..

My own favorite Lanza Studio recording with Lanza from his last move film, " The Title was "For the first time' (1958 Rec. for the film) You can see a video of it with Lanza on you tube and it's excellent, wonderfully matched to the video of Mario, sing perfectly , better IMO then any other he made and one of the best studio records of it sung by anyone. As far as live , my favorite Canio is "Mario Del Monaco" he also made two different complete recordings of the opera complete, several years apart, then Richard Tucker in it live, , both men sang it far better live then on their recordings in the studio. Tucker did a very good one on the old "Ed Sullivan TV show" in 1970 at age 57, (it's on you tube) I saw him sing it live at the Met.at near age 60in 1973 , then in 1974 just 6 weeks before he died he sang the role complete again several times at the Met.. and there is a video clip from the complete opera there, both are on you tube of his live singing the aria from a complete performance. atched

@@shicoff1398 thank you

Yes, in the 18th century, Russian vocal music was indeed influenced by Italy. This influence primarily came through the dissemination of Italian opera and the performances of Italian vocalists. During the reign of Peter the Great, Russia began to engage with Western culture, particularly Italian culture. As the Russian Empire developed, Italian opera became fashionable among the nobility, and the Russian royal court and aristocracy often invited Italian opera troupes to perform. Consequently, Italian vocal techniques and styles gradually integrated into Russian vocal performance, exerting a profound influence on the development of Russian vocal music. I also feel influenced by Italian vocal music, Russian vocal music level was very high in the late 18th century, China and Korea are influenced by Russian vocal music. Entering the 1950s, Italian vocal music declined, but Russia survived intact. After the Cold War, communication was reduced, the original artists left, and the level of new Russian singers dropped a lot, and now there is not even one.

Your comment is very interesting and I really need to know what the French say about it. I was trying to find this song in Italian. It takes too long. That's it. You speak so highly of Stefano. Unexpected. Again, no impression of Lemeshev, which is interesting.

@@lisaszxu1961 I heard Lemeshev later. I feel that they recorded that with a very near microphone. I heard no projection . But true that musically, it is very well made, elegant, a bit boring. Di Stefano, if we forget the second half of his carrier, like MDM, and if we accept his too opened technic, is never boring. I do understand why you put him there but for me it is to hard to forget the beauty of Di Stefano interpretation

@@armenak20962 I also admire Stefano's voice early on, no one can beat it. But they're Italian folk songs. Singing the opera was another story. He challenged Aida, had his vocal chords destroyed, and then screamed. th-cam.com/video/qFMei07Cabk/w-d-xo.html This is an opera, not a concert microphone, and his voice is in front, very clever, and his chest all the way to the front of the abdomen surface, are full of breath, and he does the best of mankind, because, with this space, and filled with breath, his timbres are very rich. The breath is very smooth, he has a smooth breath here trill, I think the whole human No1. There's no one like it.

Ivan Kozlovsky is amazing!! His voice is not as forward as Lemeshev's, that is, there is not as much breath on his chest as Lemeshev. The echo zone is behind the human midline. The whole sense of the rear is very good! The Lemeshev's rear overall feel is also good.

The difference in recording technique doesn't affect anyone's ability to distinguish the structure of the sound they produce, it's just that there's a difference in the overtone, in where the base sounds go. For example, Gigli has the same high note, and he puts the sound forward, whereas Caruso always puts the sound back, from the bottom of the diaphragm to the top of the head, and the space is open to deal with each note, Give each note more or less breath and vibrato. Gigli, on the other hand, wanted to sound brighter, pushing the sound below the mask (not above the mask), not above the nose level. Such a problem appears, on the basis of this position, he has to sing high notes behind, and the breath has come up, so only falsetto processing can be carried out, and there is too much falsetto. I've never been in favor of that, Why does it make a real sound? No, make a falsetto? Is that necessary? Does the composer have a note? This way, it feels unnatural. I think Caruso is better. I only recognize the structural parts of singing. Where are they? As for how the tone is, what method is used to record, whether it is close to my voice, this is a big topic, we can not get a correct solution to the problem. I am now using the sources I have purchased and collected enough to identify the tenor's voice. Of course, you're studying, what recordings, closer to the person, I'm a subject outside of my subject, your specialty. Thanks for your comment