Due Grandissimi Tenori fuori dalle Righe con voci diverse Corelli voce scura da lirico spinto drammatico Lauri Volpi con voce piu chiara con acuti diamantini Lirico di grazia .A me piacciono tutti e due hanno fatto la storia della lirica.
This was Lauri-Volpi's greatest recording, apparently effortless...in 1929. Corelli is very good indeed, but the Lauri-Volpi version is definitive! Legendary!
Volpi is much better than Corelli. While Corelli’s performance is quite good, the main issue lies in his vocal technique. He tries to produce the same volume in both the middle and high registers, which prevents his high notes from having the necessary upward placement. The resonance space for high notes should narrow and elevate as the pitch rises, like the keys on a piano. High notes don’t need to be as loud as mid-range notes, and physiologically, this isn't even feasible. By trying to match volumes, his high notes end up sounding strained. Thank you for your high-level commentary.
La dolcezza della voce di Lauri Volpi mi intriga di più della potenza di Corelli, non sono un'esperta ma ascolto col cuore e quello che questi mostri sacri mi trasmettono di bello è tutto quanto chiedo, grazie a che ha postato questo confronto. Saluti Rossina
I'm like you, I never learned Corelli, I sang with his vocal structure for five minutes, ten minutes, and I felt uncomfortable with my vocal chords, but I sang with Enrico Caruso for an hour without feeling tired of my vocal chords. thank you.
Sono due stili e modi di cantare diversi,ma Lauri Volpi ha insegnato a tanti......e alcuni suoi ex allievi hanno tramandato ciò che hanno a loro volta imparato a voci che oggi sono in carriera.Grande scuola quella di Volpi come quella di Corelli.❤
There’s a little bit of comparing apples with oranges here! I hope you folks know that Lauri Volpi was one of Franco Corelli’s voice teachers, and worked a great deal with Franco in solidifying his upper register. They both sang based on the teaching of Enrico Rosati, who also taught Beniamino Gigli and Mario Lanza. Volpi’s vocal approach lends itself more to the sweet more lyric sounds of Gigli, where as Lanza and Corelli choose to take a more stentorian approach to their singing based on the more baritonal nature of their voices. One should not confuse it the use of head voice for sweetness, with the choice to apply squillo to one’s sound to add dramatic effect. Finally, for those who think that Franco Corelli forced his voice, they need to ask themselves how it was possible for him to perform diminuendos on his high notes into almost pure head, voice.
Enrico Rosati's theory was different from Enrico Caruso's, although he taught three disciples, none of whom I think were better than Enrico Caruso. He kind of improved Enrico Caruso's singing style by pushing the voice to the front of the soft palate, which resulted in an excessive breath imbalance, such as Beniamino Gigli and Lauri Volpi, which had too much falsetto for students to grasp. It was obvious to me that Enrico Rosati had changed his ways when he was teaching Mario Lanza. None of Enrico Rosati's students, other than the tenors, had much falsetto. I think Enrico Rosati was aware of the inadequacy of the early guidance of Beniamino Gigli and Lauri Volpi. I'm a big admirer of Corelli, but I have to point out his flaws. Corelli works hard, but he's self-taught. No formal study. Lauri Volpi respected him as a colleague rather than a student. Corelli could not produce pure head,voice at all. He just concentrated his voice power on the larynx, and the neck was highly tense when he sang. This method violated Enrico Caruso's Bel Canto theory. To retire at 55. And Lauri Volpi was in his 80s. Thank you for talking about acoustic technology. I can robocall you if I need to. Let me show you why Corelli has a problem, and how to sing it correctly.
Corelli was able to sing the high notes before he met Lauri Volpi. I would say Lauri Volpi taught him to sing more lyrically, he basically taught him to lighten his voice more. Which was likely not the right choice for Corelli's voice, because Corelli had a very wide voice with a much lower center. Everyone always focus on Corelli's high notes but his low notes could make some baritones blush. This change did help Corelli to sing more lyric tenor roles, but he should have been singing dramatic tenor roles.
The difference between a lyric tenor and a dramatic tenor. Lauri Volpi has one of the greatest versions of this aria, but you can say the same for Corelli as well. Corelli actually sings with a more fluid legato line than Lauri Volpi. Lauri Volpi use all of his skills such as mezza voce, which adds a special touch. Corelli's version is a miracle, how many dramatic versions are there of this aria? It is not about the high notes, it is about the legato lines and flexibility that is required. Corelli naturally had a much wider and lower voice than Lauri Volpi, but one thing they do share is a very high placement of the voice, that is why their high notes really stands out.
I think so too. Corelli uses loud, tense throat, tense face, and no abdominal breath at all. A Te O Cara, when he was young, he could sing, after 45, he couldn't sing A Te O Cara. Thank you for your high level comments
Franco Corelli estuvo en el elenco del registro DECCA de1963 con Joan Sutherland y Richard Bonynge en la batuta, de último momento fue sustituido por Pierre Duval.
@@lisaszxu1961 I had the privilege of corresponding with Giacomo Lauri-Volpi in the early-1970s, and also had the opportunity to talk with three tenors who sought and received his help: Franco Corelli, whom Lauri-Volpi helped to refine his technique; Carlo Bergonzi, whom Lauri-Volpi helped with phrasing and the upper range; and Alfredo Kraus, to whom Lauri-Volpi taught intercostal breathing. To watch the expression of those three legendary tenors when I asked them about Lauri-Volpi was to see their expressions change as if they were talking about a deity. Kraus said, "There are no words to describe the brilliance of this phenomenal singer and phenomenal man!"
Oh my God, you actually had the chance to communicate with the great master Lauri-Volpi-that is truly extraordinary. A century ago, tenors like him defined history, and it seems you are among the few who can bear witness to that era. While Lauri-Volpi helped refine Corelli’s technique, the throat issues Corelli developed in his 30s were not fully identified. It wasn’t until Corelli was nearing 50 that Lauri-Volpi heard him sing and remarked that his method was flawed, saying he relied too heavily on the throat, oral cavity, and forehead resonance. But by then, it was too late-Corelli’s vocal cords had already been damaged by his improper technique. Corelli lamented that he could no longer produce the quality of tone he had in his youth and eventually retired, bidding farewell to the stage. Carlo Bergonzi, on the other hand, always seemed to lock his high notes into the hard palate, unable to fully transition into head voice and pharyngeal resonance. As for Alfredo Kraus, his tone was somewhat monotonous, relying solely on abdominal breath, nasal resonance, and head voice, with insufficient chest resonance and a lack of power below the posterior diaphragm. This prevented him from taking on roles like Otello. Lauri-Volpi was undoubtedly great, but when he taught these three tenors, he likely assumed they shared his mastery of breath support. In fact, all three exhibited a soft lower abdomen and often pushed their sound forward into the chest and below the sternum, assuming that abdominal breath support would naturally follow. However, this approach produced a deceptive sound. In their youth, these tenors relied on some degree of abdominal support due to their age, but by 35, it had entirely disappeared, leaving their voices rigid and trapped in the oral cavity. As for the three tenors you mentioned, along with the famous "Three Tenors," history has never categorized them as belonging to the Italian bel canto tradition. Lauri-Volpi, who claimed to be the successor of Caruso’s Italian bel canto, stood apart. Thank you, esteemed journalist specializing in tenor artistry, for your high-level evaluation and insights!
@: Not only in our correspondence but also during a private lunch he hosted at his Rome estate for Richard Tucker, Lauri-Volpi made clear that he had little regard for Caruso's singing based upon what Toscanini had told him (in 1901, Toscanini had said "By God, if this young Neapolitan sings like this, the whole world will know his name!"--but by 1908, when Toscanini came to the Met with Gatti-Casazza, he told Caruso that he had ruined his once-beautiful lyric voice by singing spinto roles.) When Tucker came to Lauri-Volpi's estate, he (L-V) asked Tucker to sing "Recondita armonia," which Tucker did. When he finished, Lauri-Volpi said to him, "Alla Caruso," and then said, "Now I will show you how it should be sung"--and proceeded to sing the aria with nuances that Tucker was unfamiliar with, having been taught by Paul Althouse, who tried to emulate Caruso at the Met. In our correspondence he told me that among tenors, Alessandro Bonci was one of his idols as a young singer. He added that his own best teacher was his wife, the soprano Maria Ros, who refined the technique he had been taught by Cotogni.
I am very surprised that a young person like you feels that Volpi is superior to Corelli. You could become the best tenor in the world. I can teach you to surpass anyone, because the level of tenors today is a complete mess.
Much as I love Corelli’s voice and his singing I think in this particular aria Lauri-Volpi’s rendition is more suited to this particular piece. It is an expression of love and the sweetness and beauty of Lauri-Volpi’s voice is absolutely perfect for it. Another singer who does justice to this aria is di Stefano who again has that sweetness in the voice which is so perfect for this beautiful Bellini aria.
Corelli does sing with sweetness, but it is the sweetness of dramatic tenor. I do think is a great example to show the difference between a dramatic and lyrical sound. Lauri Volpi's mezza voce is really amazing.
Me quedo con los 7 años inigualables de esplendor vocal de Corelli 1960-1967 que 40 de Volpi. Si quieres escuchar un Tenor con los agudos más fascinantes Iván Kozlovski solo hay un problema que no hay grabaciones de joven pero si con 50 años.
Fueron un poco más pues se considera que a partir de las representaciones de Il Pirata, de Bellini, en la Scala (1958), con Callas y Bastianini, comenzó la era dorada de Franco.
Lauri Volpi era un monstruo si de técnica y estudio hablamos, de una noble línea de canto y una elegancia soberbia muy adecuada para estos roles, Corelli muy gritón en este caso, el prácticamente nunca canto Puritanos
Your comment gets to the essence, Corelli is unable to reach the level of his teacher Lauri Volpi by focusing 100% of his Voice on the throat, mouth, nose, which I do not approve of, thus becoming Shouting.
Está claro que Lauri-Volpi, de joven, tuvo una voz flexible de un tenor ligero y su amplio registro le permitieron cantar en el rango de tenor lírico-spinto, pero en los papeles de tenor dramático no pudo emitir el timbre propiamente obscuro de un tenor dramático, como lo podía hacer Caruso. En su libro Great Singers on Great Singing, el bajo Jerome Hines entrevista a muchos grandes contantes y todos expresan conclusiones diferenciadas sobre la emisión de la voz. Muchos maestros de canto, tanto del pasado como en el presente, arruinaron las voces de grandes prospectos, porque esos maestros suelen ser tiranos porque imponen autoritariamente sus ideas sobre la voz. A Mario del Monaco, el tenor dramático por autonomasia, de joven quiso un maestro de canto hacerlo en tenor ligero sin apreciar la potencialidad de su voz; a los tenores Carlo Bergonizi y Bruno Prevedi los entrenaron incialmente como barítonos; al barítono Ettore Bastianini, un maestro dictaminó que era tenor y otro que era bajo; a Julián (Giuliano para los italianos) Gayarre, un maestro dictaminó que su voz no servía ni para cantar como corista; un crítico afirmó, hace algunos años, que el tenor Alfredo Kraus emitía sus agudos en falsete y no a plena voz; y otro crítico, también hace algunos años, que el tenor Franco Corelli hacía trucos en el estudio de grabación con sus diminuendos bien prolongados, a pesar que las grabaciones en vivo prueban que no eran trucos. En conclusión, existe una anarquía entre las distintas teorías sobre la naturaleza fisiológica de la emisión de la voz. En la actualidad, el tenor estadounidense Michael Spyres, con un rango de 3/8, canta roles desde barítino hasta los tres tipos fundamentales de voces de tenor (ligero, lírico y dramático), tiene sus propios criterios sobre la emisión de la voz, como los tenía también Alfredo Kraus y que los divulgó. A Spyres lo denominan baritenor y el público le busca siempre defectos vocales para descalificarlo, en lugar de reconocer sus grandes méritos vocales, a sabiendas que el uso forzado de la voz trae malas consecuencias, siendo el punto importante que Spyres canta como barítono y como tenor. El tenor Plácido Domingo, iniciado como un barítono lírico, desarrolló su voz pasando de lírico-spinto a dramático, pero al final de su carrera quiso regresar a sus orígenes baritonales, pero hizo el ridículo como barítino. Y el tenor Iván Kozlovsky, dejó una grabación en la que estira su voz hasta tonalidades de un bajo, pasando, sin rozar ninguna nota, de bajo a tenor con un registro super agudo. Bueno, el intercambio de comentarios nos ayuda a aprender más sobre el misterio de la voz, como intituló Lauri-Volpi uno de sus libros. Saludos, .
Grazie mille per aver condiviso con me le tue preziose opinioni. Le ho lette almeno dieci volte e ora, a poco a poco, esprimerò i miei pensieri. È raro trovare commenti di così alto livello come i tuoi. Non vedo l'ora di leggere i tuoi prossimi interventi. Ti risponderò, ma avrò bisogno di un po' di tempo. Posso cantare tutte le parti che hai menzionato, quindi sono davvero desideroso di discutere con te la mia opinione su ciascun tenore. Grazie ancora!
Dear Silvio, some of your statements are pretty interesting, but an attempt to categorize tenors does get very tricky or sometimes awkward. Paoli, Escalais and Tamagno were considered dramatic tenors. Their voices were extremely bright, lacking darkness, but an ability to sing high note operas like Gugliemo Tell and Ugonotti, as well as Otello. Lauri Volpi told Richard Tucker he had a Caruso ''type'' voice and I believe Tucker was a spinto tenor. It's rare for a tenor being categorized as a dramatic,''Caruso'' without having Otello in his repertoire. But also acknowledging that some spinto tenors like Caruso could have sung the role. After Zenatello, the dark quality of an Otello voice is rather rare. Vinay, Del Monaco, Mc Cracken and maybe Merli come to mind. Domingo had a medium size spinto voice with a velvet quality but not dark,and without the impetus phrasing that the role requires. Martinelli who sang 26 Otello's at the Met in his 50s was terrific as the Moor, and it could be debated that he was either a ''spinto'' or dramatic tenor. Volpi and Filippeschi did not have dark voices, but their great dynamics propelled them through many spinto dramatic roles. Maybe in the time of Paoli, Escalais and Tamagno, Volpi may have been considered a dramatic tenor?? My father saw Volpi several times at the Rome Opera House between 1936-1942. Searching for the right words told me his voice was very hard to describe, but the resonance in his remarkable voice rang out further than any tenor he ever heard. He also told me the steely sound of Martinelli's voice in the theater was greatly diminished, but not his vocals.
Spyres does not actually sing baritone roles live on stage. He only recorded baritone arias. That is a huge difference, I am sure there are many tenors that could have recorded baritones arias if they had wanted to do so. It is a sales gimmick from the record companies. Michael Spyres has a normal light lyric tenor voice. His voice is not big enough for dramatic roles. he basically just darkens his voice when he sings roles like Pagliacci, much like Kaufman although not to the same extreme. He is a pretty good leggero tenor, that is really his lane of expertise.
@@ZENOBlAmusic Thank you for providing such a professional comment. I have previously discussed the issues with Michael Spyres and Kaufman with others and shared many thoughts on the topic. I largely agree with your views. The real question is, why don’t we have qualified dramatic tenors today? Why have they all shifted to the lyric tenor style you mentioned? Lauri Volpi had his own theories and techniques, and in terms of singing technique, Corelli was far inferior to him. Corelli’s voice, as I mentioned in the video I made yesterday-comparing Renata Tebaldi to herself singing "Pace, pace, mio Dio"-is of the same nature as Tebaldi’s. His airflow flows horizontally, mimicking human speech patterns. You can check it out. Using abdominal breath to control timbre and dynamics is, of course, challenging. Corelli’s legato lines are good, but they are driven by the throat and amplified speech rather than abdominal breath. The fundamental issue with Corelli’s singing lies in the fact that the power of his voice did not come from the abdomen but from the throat and pharyngeal cavity. Although this is a serious violation of Italian bel canto principles, Volpi, who guided Corelli at the age of 30, did not recognize this problem. By the time Corelli was over 40, he began shouting because the natural flexibility of a young body has its limits. Corelli’s youthful physical “capital” was depleted by his 40s because he didn’t develop abdominal support to enhance vocal resonance. I remember his performances with Tebaldi in the U.S., witnessed by President Kennedy, and I was shocked by the decline in his voice. If you sing yourself and reflect on this, you might understand that the continuity and flexibility of Corelli’s mouth-focused sound are vastly inferior to the abdominally supported sound of Caruso. There’s no comparison. You must reach a certain level to truly grasp this. The tension in Corelli’s sound can be likened to the feeling of yawning and expanding the pharyngeal cavity before singing. Del Monaco is not bel canto at all. In the future, I plan to analyze Del Monaco’s strengths and weaknesses in singing. First, let me tell you, I believe that I can sing in the style of every true tenor (excluding those post-1920). Unlike today’s tenors, who cling to a single singing style and are afraid to challenge others, I can master over 100 singing methods. I often wonder, if there were people who truly understood me, I could analyze and demonstrate my singing. However, the vocal techniques of the past century have deeply disappointed me. That’s why I’ve decided to act for the benefit of some professional singers who want to hear my analysis. You might still think that the singers cultivated by the vocal world starting from the 1960s have even a shred of correctness in their theories. But I don’t study them; they’re not worth my time. In my mind, they are all amateurs. Well, my friend, it’s best if you share your videos and focus on your own work. While I agree with some of your viewpoints, our values regarding vocal technique are completely different. Lastly, thank you again for your comment.
La voix de Corelli est évidemment magnifique mais il est permis de penser qu’il est trop héroïque pour cet air des Puritains et que la voix et le style de Lauri-Volpi sont plus appropriés.Nous sommes en présence de deux princes du chant auprès desquels les ténors actuels sont des valets.
Se han dicho algunos disparates sobre las voces de Corelli y Lauri-Volpi: uno, que Corelli es gritón y Lauri-volpi no, ignorando que son voces de distintos tipos, siendo el primero un tenor lírico-spinto y el otro, fundamentalmente un tenor lírico con una voz extraordinaria, y que tener una voz potente no es gritar, a menos que se emita un sonido sin sentido musical, que es un simple grito. Tamagno, Caruso, Vinay, del Monaco o Vickers no gritaban por tener voces potentes; dos, que Corelli no iguala en técnica a Lauri-Volpi, cuandi cada uno tiene su técnica en particular y es tema de mucha discusión hasta que se invente un aparato que pueda filmar y ver todo el proceso de la emisión de la voz, ya que muchos críticos sostienen que sólo existe un único método de canto, mientras que otros suelen dividerlos en método italiano, método francés o método alemán, y otros, en método del bel canto, método del canto romántico y método del canto veirista, también existen métodos atribuidos a los grandes maestro del canto, como el método de Manuel García, el método de Arturo Melocchi, el método de Hipólito Lázaro, de Francisco Vignas o los métodos de canto combinados de autores modernos como el bajo Jerome Hines, quien sostiene existen cuatro voces de tenor, o el método de canto en la máscara, que lo ha proclamado Alfredo Kraus o el método del canto en la laringe, que lo han proclamado otros cantantes. Cada maestro de canto enseña y hace practicar el método que aprendió, sin que existan conclusiones definitivas sobre le método de canto más correcto; y tres, Lauri-Volpi es más comparable con Beniamino Giglie por sus tipos de voces, no obstante que la voz de Gigli fue más uniforme en todo su registro, su timbre mucho más bello, sus recursos belcantísticos los empleaba con gran maestría y sus recursos expresivos adornados con notorios golpes de glotis, mientras que la voz de Lauri-Volpi, más poderosa, de grandes agudos squillantes, con dominio del bel casnto, también dominio del color vocal para acometer más papeles que Gigli, con un vibrato, primero caprino y después se volvió tremolante (wobble), al comparar lo que cantaron en edades similares, Gigli lo superó en salud vocal, a pesar que la publicidad presenta a Lauri-Volpi cantanto en su fase octegenaria con una voz totalmente desgastada que apenas tocaba algunas notas agudas, sin poder sostenerlas. En conclusión, no es lógico ni válido comparar géneros y especies distintas para medir calidad, sino para determinar las diferencias características de las cosas, de modo que tanto Corelli como Lauri-Volpi fueron grandes tenores dentro sus límites y dentro lo que pudierono cantar durante sus carreras. Saludos,
La differenza tra Corelli e Lauri-Volpi sta nella quantità di sostegno del fiato addominale, che è maggiore o minore. Da giovane, gli organi vocali di Corelli erano elastici e, quando cantava con una risonanza posteriore, riusciva a utilizzare il sostegno del fiato addominale. Tuttavia, Lauri-Volpi aveva ancora più di questo: da giovane il suo vibrato era molto rapido, e tutto proveniva dal sostegno del fiato addominale. Il problema è che, superati i 40 anni, se durante la gioventù non si è particolarmente consapevoli di rafforzare il sostegno addominale, si rischia di perderlo, e una volta perso, ciò che segue è il grido sforzato. La tecnica di Corelli si basava su una teoria errata: lui credeva che la voce fosse creata dalla gola. La teoria di Caruso, invece, affermava che la voce venisse creata dalla coordinazione dell'intera cavità risonante sotto le corde vocali, non dalla gola. Per quanto riguarda il confronto tra Lauri-Volpi e Beniamino Gigli, sono d'accordo con te. All'inizio Lauri-Volpi fu etichettato da alcuni ignoranti come un caprone, ma se sei un tenore e capisci il canto, non diresti mai una cosa simile. Questo era solo un giudizio errato di una parte del pubblico dell'epoca. Il suo vibrato non era affatto il belato dei tenori francesi di cui parlava Caruso, ma piuttosto un vibrato proveniente dal basso addominale, che è una delle tecniche più importanti del canto, una tecnica corretta e non sbagliata. Infatti, il belato dei tenori francesi deriva dall'uso simultaneo del naso e dell'addome inferiore, ma la maggior parte del fiato si concentra sopra le corde vocali. Nel caso di Lauri-Volpi, se lo definisci belato, questo avviene perché utilizza una grande quantità di fiato da tutta la zona addominale per spingere il suono sopra le corde vocali. Probabilmente non hai mai sentito queste mie teorie, ma sì, io le comprendo, e da oltre 100 anni l'umanità non le ha capite. Queste sono teorie che ho creato io stesso. Tu affermi che Lauri-Volpi riusciva a mantenere il sostegno del fiato addominale per un Do acuto anche a 80 anni, e questo è più che sufficiente. Non possiamo aspettarci la perfezione da una persona di 80 anni. Non bisogna limitarsi solo a studiare la tecnica vocale sui libri o nella teoria; io posso cantare sia come Corelli sia come Lauri-Volpi, e conosco i loro pregi e difetti, perciò posso giudicarli. Te lo ripeto ancora una volta: Corelli, a parte alcuni momenti prima dei 40 anni in cui aveva un po' di sostegno addominale, dopo i 45 anni ha iniziato a urlare. Hai Skype? Posso mostrarti dove sbaglia con la sua voce. Non mi interessa chi è considerato grande o meno grande; il mio studio si concentra su chi rappresenta il vero bel canto italiano, e Corelli non lo è. Non lo imiterò. Grazie per la tua disponibilità al dialogo.
I metodi di Manuel García, Arturo Melocchi, Hipólito Lázaro e Francisco Viñas non negano l'importanza del sostegno respiratorio addominale. Nei loro rispettivi sistemi di insegnamento, l'uso del sostegno addominale è fondamentale. Manuel García: Come uno dei più grandi insegnanti di canto del XIX secolo, García sottolineava l'importanza del respiro. Il suo insegnamento promuoveva il controllo del fiato per sostenere la voce, specialmente nel canto del bel canto italiano. La sua "tecnica García" includeva l'“appoggio” - cioè l'uso della forza della parte inferiore dell'addome e delle costole per controllare il respiro, rendendolo stabile e uniforme. Arturo Melocchi: Melocchi è noto come un insegnante molto controverso, ma il suo metodo di "posizione bassa della laringe" si basava su un forte sostegno addominale. Allievi come Mario Del Monaco hanno sviluppato un timbro potente e robusto attraverso questo metodo. Anche se il suo approccio vocale metteva l'accento sull'uso delle corde vocali e sul tono grave, il controllo del respiro tramite l'addome era ancora indispensabile. Hipólito Lázaro: Questo tenore spagnolo estremamente tecnico era famoso per i suoi acuti. Anche lui faceva grande affidamento sulla forza addominale nel sostenere il respiro. Sebbene la sua risonanza fosse prevalentemente concentrata nelle cavità nasali e nel palato duro, il sostegno respiratorio proveniva sempre dall'addome. Francisco Viñas: Come famoso tenore spagnolo, Viñas comprendeva profondamente l'importanza del sostegno respiratorio nel canto. Nelle sue interpretazioni, specialmente nei ruoli wagneriani, dimostrava un controllo eccellente del respiro addominale, che gli permetteva di mantenere la continuità e la forza della voce durante lunghe esecuzioni. Il metodo di Jerome Hines riconosceva anch'esso l'importanza del sostegno respiratorio addominale. Come grande basso-baritono americano e insegnante di canto, Hines aveva una conoscenza approfondita della tecnica vocale e nel suo libro "Le quattro voci dell'uomo" ("The Four Voices of Man") ha discusso in dettaglio la sua comprensione della tecnica vocale. Hines enfatizzava che il “sostegno respiratorio” è la base del canto, in particolare l'uso del diaframma per controllare il respiro. Sottolineava che la coordinazione tra addome e diaframma era fondamentale per garantire un flusso d'aria stabile e uniforme. Questo era in linea con i punti di vista di altri grandi maestri di canto, poiché Hines sottolineava che il controllo addominale era essenziale per mantenere la durata e la forza della voce. Nei suoi scritti e insegnamenti, Hines proponeva la "respirazione bassa" come base per stabilizzare la vibrazione delle corde vocali. Questo metodo prevedeva l'espansione dell'addome e delle costole per mantenere un sufficiente sostegno respiratorio, aiutando i cantanti a ottenere una risonanza più ricca e stabilità vocale. Egli sottolineava anche l'importanza di evitare tensioni eccessive sulle corde vocali, affidandosi invece all'addome e al diaframma per la gestione del fiato. Pertanto, il metodo di Jerome Hines è in linea con i principi tradizionali del bel canto, dove il sostegno respiratorio - in particolare la forza addominale e il controllo del diaframma - è essenziale. Questa era la base tecnica che gli ha permesso di avere grande successo sul palcoscenico operistico. In sintesi, qualsiasi metodo di insegnamento vocale di alto livello non ignora l'importanza del sostegno respiratorio addominale. Una corretta tecnica di canto, che sia nel bel canto italiano, nell'opera tedesca o nella tradizione spagnola, richiede sempre il sostegno respiratorio addominale come fondamento imprescindibile.
Estimado Sugarbist: Todos sus comentarios son atinados en cuanto se basan en determinados criterios de los maestros de canto, que, sin embargo, no son unánimes. Mi postura es que es un desacierto buscar el mejor tenor. Algunos historiadores dicen que fue Leonardo da Vinci, del que no sabemos si fue un gran tenor como lo citan; otros, dicen que fue Giovanni Battista Rubini, Matteo Mario, Manuel García; otros, que Enrico Tamberlick; otros, que Julián Gayarre, Hipólito Lázaro, Miguel Fleta, Francesco Tamagno, Jean de Reszke, Enrico Caruso, Francesco Paoli, Benimino Gigli, Giacomo Lauri-Volpi, etc. y, hasta nuestros días, según unos "críticos" británicos, que el mejor tenor de todos los tiempos ha sido Plánido Domingo. Sin embargo, dodo esto no es ninguna verdad absoluta debidamente probada, dado la diversidad de los tipos de tenor. Aunque podemos acercarnos a destacar las cualidades especiales de algunos de los más grandes tenores. Por ejemplo, Giacomo Lauri-Volpi, como María Callas fue una soprano sfogato, podemos decir que fue un tenor sfogato, es decir, que tenía todos los timbres y registros de tenor, desde el tenor de grazia hasta el tenor dramático como lo evidencian sus grabaciones, como, al parecer, lo fue Enrico Tamberlck, que cantaba desde los papeles de tenores ligeros hasta los de tenores dramáticos. El punto es que cada timbre de voz tiene un color fundamental que identifica su tipo de voz. Así, Lauri-Volpi, con todo su amplio registro desde la voz ligera hasta la voz dramática, tenía un timbre básicamente de tenor lírico. Otro ejemplo es el caso de Michael Spyres, que, desde las notas bien oscuras de barítono asciende a las notas ultra agudas de un tenor. Pero no porque estos dos cantantes sean sui géneris, son mejores que otros, ya que todos tienen defectos vocales apreciables. Por ejemplo, el vibrato caprino de Lauri-Volpi, que se le estabilizó en los años 1920, después se le volvió inestable (wobble) y el de Micheal Spyres se nota con tendencia a sufrir de wobble, dado el intenso uso de voz que se lo puede deteriorar, como se nota en el agudo Vinceró¡ al final del aria Nessun dorma, que no suena con el squillo ni con el vibrato consistente de Corelli. Tal vez, en el futuro, un computador podría programar modelos perfectos de los tipos de voces. Otro error, a mi parecer, es que se buscan tenores perfectos en papeles al margen de sus registros y cualidades especiales. Así, algunos critican a Mario del Monaco al compararlo con Franco Corelli, porque no tenía la misma dinamica vocal en su fraseo, cuando este es un aspecto particular que no demerita las grandes cualidades de Mario del Mónaco, ni hace a Corelli mejor porque también tenía sus defectos vocales. En extremo, el tenor perfecto sería aquel que pudiera cantar impecablemente todos los papeles de un tenor, desde el más ligero hasta el más dramático (desde Almaviva o Nemorino hasta Otello o Tristán). Quzás Michael Spyres quiere pasar a la historia con esta distención. Saludos,
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!
Had me there for a second. Expected Lauri Volpi first. Immediately thought wow Corelli really did learn alot from him. Then, of course, realized it was Corelli going first, instead of his teacher. Long time fan of opera (50 years), but not a singer myself. I have always preferred Corelli to most other tenors (not all), including Lauri Volpi. I can't really see the similarities in the voices or what I understand of their techniques. Sound like two different styles and voice types to me. If anyone can educate me I would welcome it.
I'm just like you.Long time fan of opera (50 years) too， But when I learned to sing any of their styles, I knew that their vocals were two different worlds. I also really like Corelli. I've heard almost all his songs. For one thing, I would never imitate him, and if I did, I would destroy my vocal cords. Not only is the style different, the vocal organ structure is different, Corelli does not have a large underbelly. This lower abdominal area, this is the need for long-term exercise. If you look at Caruso, Gigli, Tucker Jan Peerce, real tenors have a big belly. There will be opportunities to communicate in the future. thank you.
In letters I exchanged with Maestro Lauri-Volpi, he emphasized that he did not "teach" Corelli (nor Alfredo Kraus, who also sought his advice on proper breathing techniques) but instead told me (as did Corelli) that Lauri-Volpi would begin a note and have Corelli begin singing the note while Volpi was still singing it. Volpi would then execute a diminuendo and Corelli would follow suit.
They actually had some similarities, the difference is mostly voice type. Both of them followed the bel canto principle of lightening the middle register and resolving on top. Hence why they both had very strong heroic high notes. Another thing that was very similar is the placement of the voice, they both sang with a very high placement, higher then any other spinto and dramatic tenors. The other differences are more due to voice type, Lauri Volpi was an expert in mezza voce and pianissimo. His strategy was that he could rest his voice while singing pianissimo. Of course Corelli also used pianissimo, but he had a dramatic voice, it took much more effort for him to sing in this manner, it wasn't a restful activity for him. It is much easier for a dramatic voice to sing in a more stentorian fashion, in forte. This means that Lauri Volpi was very well suited to bel canto but he did some verismo as well, Corelli could do bel canto but it was much easier for him to do verismo. Rodolfo Celletti thought about Corelli as a bel canto baritenor, when you learn more about bel canto roles you can see how that idea actually makes a lot of sense. Lauri Volpi's voice is darker than you can hear in this example due to the recording technology of the time. If you hear a recording of Corelli with bad recording equipment, you can easily hear how his voice start sound much more similar: th-cam.com/video/WDaUN7E-L6k/w-d-xo.html&ab_channel=Khed14
2 leggende E la leggenda a mio avviso non dipende dal quanto ma dal come . Io personalmente non cambierei i migliori 10/ 12 anni di Corelli con i migliori 40 di Volpi, Gigli, Pavarotti, Kraus o Bergonzi . Ma si tratta non tanto di gusto personale quanto di avere empatizzato con una voce. Sentirla non solo vicino ma addirittura dentro di se, profondamente. Fermo restando che tutti i suddetti , ripeto hanno fatto la storia della lirica del 900.
La Materia prima de Corelli.. Calidad de voz , Timbre (color de voz), Sonoridad, Grandeza etc nunca la tuvo Volpi!! Volpi tenia más extension en la zona aguda por tener una voz mucho mas pequeña !!! Corelli muy inteligentemente nunca canto I Puritani como tampoco Otello. Ya tenia bastante con dus creaciones.. Andrea Chenier, Il Trovatore, Tosca, Turandot, Gli Ugonotti, Poliuto mas tarde su .. Romeo et Juliette etc
en los agudos la voz de Lauri Volpi era más resonante, más brillo, armónicos digamos. Di Stefano cuenta en su libro que lo fue a ver en Turandot en la Scala di Milano, y en "non principessa altera ti voglio tutt`ardente d`amor" hizo vibrar la araña (lampadario) de la sala. El centro de Franco Corelli era más baritonal, más varonil. Dos monstruos de la lírica, la voz de Corelli es para mi gusto, más bella, pero la técnica de Lauri Volpi era mejor, por esa razón tuvo más longevidad vocal, mi ídolo Franco Corelli a partir de 1970 empezó a tener un declive vocal, a los 20 años de carrera, con 50 años, un poco joven para experimentar ese declive, pero también contribuyó su carácter perfeccionista y nervioso.
My point is the same as yours, Corelli learned nothing from his teacher, but relied on his neck, around his throat, and largely on his own vocal cords. Lauri Volpi can still sing Corelli at 80. Retire at 55. Lauri Volpi, who was mentoring Corelli in his 30s, didn't, and didn't see his problem. Treat Corelli like a colleague, not a student. Thank you for your high level comments@@CotaDangelo
@@CotaDangelo La voz de Lauri-Volpi declinó más temprano que la de Corelli, como lo muestran las grabaciones que hizo antes de llegar a sus 50 años: disminución de su fiato y padecimiento de un trémolo (wobble) de su voz, que en su inicio era caprina como la de Corelli, quien, en cambio, mejoró su vibrato. A pesar de la afectación de su voz, Lauri-Volpi conservó la increíble brillantez de sus agudos, pero en sus presentaciones ya anciano no podía sostener ninguna nota aguda, como cuando cantó La donna e móbile y después Nessun dorma, limitándose a rozar los agudos, mientras que muchos otros tenores conservaron sus voces ya ancianos, como Kurt Baum, Richard Tucker, Jan Peerce, Veriano Luccheti, Ivan Kozlovsky o Alfredo Kraus, quien conservó sus agudos con mucho squillo y su amplio fiato, aunque declinó su vibrato. En cuanto a Corelli, es cierto que a partir de sus 50 años su voz mostró fatiga, pero se retiró a tiempo. El testimonio de di Stefano es un lugar común, porque muchos grandes tenores han mostrado su potencia vocal con efectos acústicos similares en que se dice que hacen vibrar las arañas colgantes de luces, que se también se le atribuía a Caruso. Respecto a Corelli, cuando en 1962 inauguró la temporada de La Scala Turandot con Birgit Nilsson y la soprano soviética Galina Vishnevskaya, invitada a cantar el papel de Liú, cuenta ella en su biografía, que al llegar a los ensayos escuchó asombrada una voz estruendosa que parecería estar conectada con amplificadores, que era Franco Corelli. Quizás Lauri-Volpi ha sido una especie única de tenor como lo fue Enrico Tamberlick (1820-1887), que igual cantaba papeles de tenor ligero hasta de dramático, pero su voz no quedó registraba en las grabaciones primitivas, pero existen testimonios de la época que dan fe de su gran potencia, brillantez y capacidad para afrontar papeles tan diversos. Es lo que quiso hacer Plácido Domingo, pero no pudo al carecer de un órgano vocal capaz de cantar eficazmente los más de 160 papeles que cantó aprovechando su fama, la publicidad y gran influencia, pero nos queda la belleza su voz, su potencia y brilantez, como su elegancia y dotes escénicas, que hasta los británicos, en un absurdo "concurso" de tenores lo seleccionaron como el mejor tenor de todos los tiempos. Siempre ha habido mejores tenores, así considerados, desde Leonardo da Vincia, Manuel García, Jean de Reszke, Enrico Tamberlick, Julián Gayarre, Enrico Caruso, Francesco Tamagno y muchos otros, pero lo cierto es que en la historia más bien ha habido grandes tenores ante la imposibilidad de señalar con certeza quién ha sido el mejor de todos, dada la diversidad de registros y papeles no adecuados a todas las voces. Saludos,
@@CotaDangelo La voz de Lauri-Volpi declinó más temprano que la de Corelli, como lo muestran las grabaciones que hizo antes de llegar a sus 50 años: disminución de su fiato y padecimiento de un trémolo (wobble) de su voz, que en su inicio era caprina como la de Corelli, quien, en cambio, mejoró su vibrato. A pesar de la afectación de su voz, Lauri-Volpi conservó la increíble brillantez de sus agudos, pero en sus presentaciones ya anciano no podía sostener ninguna nota aguda, como cuando cantó La donna e móbile y después Nessun dorma, limitándose a rozar los agudos, mientras que muchos otros tenores conservaron sus voces ya ancianos, como Kurt Baum, Richard Tucker, Jan Peerce, Veriano Luccheti, Ivan Kozlovsky o Alfredo Kraus, quien conservó sus agudos con mucho squillo y su amplio fiato, aunque declinó su vibrato. En cuanto a Corelli, es cierto que a partir de sus 50 años su voz mostró fatiga, pero se retiró a tiempo. El testimonio de di Stefano es un lugar común, porque muchos grandes tenores han mostrado su potencia vocal con efectos acústicos similares en que se dice que hacen vibrar las arañas colgantes de luces, que se también se le atribuía a Caruso. Respecto a Corelli, cuando en 1962 inauguró la temporada de La Scala Turandot con Birgit Nilsson y la soprano soviética Galina Vishnevskaya, invitada a cantar el papel de Liú, cuenta ella en su biografía, que al llegar a los ensayos escuchó asombrada una voz estruendosa que parecería estar conectada con amplificadores, que era Franco Corelli. Quizás Lauri-Volpi ha sido una especie única de tenor como lo fue Enrico Tamberlick (1820-1887), que igual cantaba papeles de tenor ligero hasta de dramático, pero su voz no quedó registraba en las grabaciones primitivas, pero existen testimonios de la época que dan fe de su gran potencia, brillantez y capacidad para afrontar papeles tan diversos. Es lo que quiso hacer Plácido Domingo, pero no pudo al carecer de un órgano vocal capaz de cantar eficazmente los más de 160 papeles que cantó aprovechando su fama, la publicidad y gran influencia, pero nos queda la belleza su voz, su potencia y brilantez, como su elegancia y dotes escénicas, que hasta los británicos, en un absurdo "concurso" de tenores lo seleccionaron como el mejor tenor de todos los tiempos. Siempre ha habido mejores tenores, así considerados, desde Leonardo da Vincia, Manuel García, Jean de Reszke, Enrico Tamberlick, Julián Gayarre, Enrico Caruso, Francesco Tamagno y muchos otros, pero lo cierto es que en la historia más bien ha habido grandes tenores ante la imposibilidad de señalar con certeza quién ha sido el mejor de todos, dada la diversidad de registros y papeles no adecuados a todas las voces. Saludos,
Lauri-Volpi ha un gusto "orrimpilante", ma la voce è assolutamente pazzesca, per potenza, dimensione ed estensione. La sua intonazione tende ad essere sempre un po' crescente, ma la qualità dell'emissione fa dimenticare questa caratteristica. Franco Corelli è, come al solito, superbo.
@@giovannipaisiello289Lei lo ascolti bene. In Bohème, ad esempio, è completamente fuori ruolo, in tutti i ruoli in cui è richiesta un po' di sensualità è ridicolo, oltre ad essere stonato. Ma nei ruoli eroici, soprattutto quelli verdiani, è splendido, ha una dizione impeccabile. Trovatore, Aida, Luisa Miller. Certo non ha la musicalità di Pertile o Gigli, ma ha uno squillo pazzesco. Io comunque farei anche una settimana di fila per vedere Lauri-Volpi.
Later Corelli lost his position of singing because he was not able to hold it up. Volpi did never loose his voice and was singing in the old tradition what Corelli was not doing
Thank you for your correct comment. The main reason was that Corelli used incorrect vocal methods (using the throat, mouth, as the voice power), did not use abdominal breath at all, prematurely destroyed his vocal cords, and in his late 50s, he was unable to produce a decent voice. Volpi is a professor of vocal music, and he is very clever, always open the vocal cords, let the breath cover the voice transmission band, the vocal cords are greatly protected, so his artistic life is more than 20 years than Corelli.
@@lisaszxu1961why are you saying false things? Corelli was a great example of belcanto technique until 1970 when he changed his technique and tried the affondo method (which he then refused), that's why he struggled. The different qualities of Corelli and Lauri Volpi aren't due to a different technique (at least in their prime) but due to a different vocal nature.
The important thing is not to sing with a loud voice, it is necessary to sing all the notes correctly, maintaining the continuous musical line without unnecesary exaltations and shouts. With Correlli it is necessary not to fall into noise production, and with Lauri Volpi not to make falceto. Both do their job divinely. Kozlovsky (student of Lauri Volpi) lacked solidity of voice. The trebles is not everything. It is my opinion.
Dear Alex, some voices are just louder than others. Exclamations, exaltations and shouts are sometimes employed in singing for the interpretations of some roles, where emotions come into play mostly in live performances, rather than studio recordings where emotions are more tempered and the singer adheres more so to the score with less liberties taken. It could be said that the great Jussi Bjorling sang all the notes correctly, but yet his voice was not ''loud'' enough to be effective in heavier roles, but he still remains a great impeccable singer. Gigli, Volpi and perhaps Di Stefano, were masters of the mezza voce and falsetto, where the listener could hardly tell the difference which was employed. Of course singing the notes correctly is extremely important, but how the singer reaches his listeners may take precedence. Gigli, Corelli, Di Stefano, and some others had the ability in becoming intimate with their listeners. Rarely if never does the public go to a performance with an open score, but there have been professional critics giving their objective opinions that have fallen on deaf ears. Corelli specifically received many unattractive reviews'' never for his voice''during his tenure at the Met, but that didn't stop the public from attending, earning Corelli the title,'' Prince of Tenors and Mr. Soldout''. Enjoy
@@sugarbist Dear Sr. Sugarbist First, I thank you for a professional presentation that I agree with. I think I have expressed my position poorly. I completely understand that the role may require exclamations and even a scream. My criticism was against the singer's desire for sacrificing the melody to singing loudly, only trying to reach the high notes with all the power of the voice, even damaging the harmony of sounds. The opera has given many wonderful male voices with their particularity: the pianissimo of Gigli, emotional singing of Bjorling, they are equally important as Powerful Correli. It is the richness of opera that there is diversity. In my opinion, only Pavarotti had maximum versatility like no one else. But I very much agree with you that many times singers try to replace the voice with dramatic acting, and forget the opera is to sing. The current theater is losing some good singers preferring good actors and actresses; or simply beautiful women (like Netrebko). I adore Franco Correlli in Cavalleria Rusticana, or Turandot, but in Les pecheurs des perles I prefer Gigli. I also think that if Corelli had given equal importance to the piano sound, we would have enjoyed the combination of the powerful and sweet voice. And He was capable of doing this. Once again, I thank you for your kind comments, which are very useful and interesting for me.
@@alexandersporykhine Dear Alexander, of course suitability of roles for a specific voice comes to the forefront. I do value your thoughts and my first intention on You Tube is do share information. Enjoy
@@alexandersporykhine Corelli actually keeps a very good line in this aria, better than Lauri Volpi. Corelli had a dramatic voice. Corelli did do a lot of pianissimo, and all other things, for a dramatic voice he had great nuance. Corelli is singing sweetly here with great legato, but in is a dramatic voice. How many dramatic tenors regularly sings this aria? The legato and flexibility that is required is difficult for a dramatic voices. Lyrical voices are more at ease singing or in a natural state when they are singing in mezza voce. A dramatic voice is more at easy when they are singing in forte, this is difference. These voice have completely different attributes despite being tenors. It takes a lot of effort for a dramatic voice to sing in pianissimo, legato and I think with flexibility. Pavarotti was versatile with with some leggero roles and lyric roles, but his heavy roles was not convincing at all. Gigli was better at the heavier roles for a lyric tenor because he had very good declamation.
Как можно сравнить эти две версии ? Карели словно маляр , который пытается рисовать картину валиком. Лаури Вольпи , напротив , грамотный художник рисующий картину тонкой кистью : штрихи четкие , плавные линии. Вы сравниваете недоучку , обладающего огромными природными данными и настоящего мастера бель Канто. На мой взгляд Лаури Вольпи идеально исполняет эту арию. Техника исполнения бесподобна. Ноты переливаются в его устах. Уникальная техника. Вы сравниваете художника и маляра . Даже Беньямино Джильи не смог спеть " a te , o cara " лучше Лаури Вольпи.
Though I am a great fan of Corelli. I dislike this interpretation of this aria he sings a very harsh rendition. Volpi however caresses every note seductively and really gives a master class in singing
Lauri-Volpi's voice reverberates; it breathes and is, therefore, buoyant. Corelli's voice is "pushed" and requires force to sustain it. The difference is that Volpi uses a hammer on an anvil; Corelli employs a wooden mallet on wood. Volpi's voice is directed further back in the throat than Corelli's voice.
Nice comment！Let me add, Volpi uses a Soft hammer（Whole-body resonance）on an anvil（Vocal cord） Corelli uses a wood hammer（only Throat, mouth and nose） on an wooden （Vocal cord） Lauri-Volpi's had a long career as an artist in his 80s, Corelli's career was short, around 50 years old,
Pretty wrong, Corelli's voice was not pushed at all he did sing from far back. Corelli's center was much lower than Lauri Volpi's voice, compare their low notes if you want to understand this. Both sang with a technique that lightened the middle voice, but Corelli's middle voice was much more robust, it was a much wider voice. There is a reason why people at first though that Corelli was a baritone. I dont know why anyone would think two tenors will sound same even if they did use the same technique, people have unique voices. The recording quality also creates different ideas.
I have read an article that Lauri Volpi wrote in 1971 that criticized Corelli. He’s say that Corelli singing are bad because Corelli voice didn’t go to the mask and he will lost his voice.I have found a lot of articles and record that Lauri Volpi criticized “Low larynx techniques” he’s say larynx should stay at the same position as you speaking and he really like Alfredo Kraus mask technique .
Oh, my God, thank you so much for that precious, important information. Lauri Volpi invited Corelli to stay at his house and learn his vocals for a few months. Volpi treated Corelli not as a student, but as a peer, and treated him more leniently. I always wondered why Lauri Volpi didn't point out Corelli's shortcomings (high tension and congestion in the muscles around the throat) to his face. Using the throat as the driving force, Caruso's driving force is ideal, below the rear diaphragm, so there is plenty of driving range. With Corelli, the breath is concentrated in the mouth, nose and throat. This is the wrong approach that Caruso wrote about in a book more than 100 years ago. Lauri Volpi should have pointed out Corelli's shortcomings to his face. Corelli was against masks, against Low larynx techniques. In fact, he also said: Arturo Melocchi is respected, but not adopted. he’s say larynx should stay at the same position as you speaking Exactly. That's what Caruso advocated. Thank you for your high-level comments and look forward to the opportunity to discuss the art of singing with you.
@@lisaszxu1961 Great to have a discussion with you too. Now I’m studying Opera in college as a Lyric tenor. My first teacher taught me to sang making big sound and low larynx. I practiced really hard and I can’t sing above A and sometimes I got pain on my throat. After that I changed the teacher and he teach me to sing more “natural” . Just like Caruso and Gigli method. Free sound,sing like speaking,stable larynx and open throat. Now I have effortlessly high B or high C. I won’t say that Corelli method is bad because his voice is really beautiful. But I think his technique aren’t healthy.
@@robertlewandowski7983 You should listen to Corelli Zucker comments here on YT on mask singing and also the detriment that it was to Tita Ruffo and Gino Bechi, even both baritones were terrific.
@@sugarbist if voice aren’t go the mask. It can’t be Squillo ,that the human anatomy. Corelli are sang in mask too but may be he didn’t know himself. Also ng sound are produced in nasal resonance. You can’t say the word like “name” clearly without nasal. Corelli has really great voice but his technique aren’t healthy. Checkout his record after 1973. He can’t sing over high A without strain. And checkout old Alfredo Kraus that always sing in the mask. He can still hit a solid high C while he is 70.
@@robertlewandowski7983 Corelli sang 15 Metropolitan opera productions of Turandot in 1974, including high Cs. Strain? who cares about strain? Del Monaco had a 35 year career singing with strain or physical strength throughout his career. Technique? How was Corelli's technique not good? He started singing a little late at age 30 and was able to effectively do mezza voce`, diminuendo off a B-flat in Celeste Aida as few or no other tenor does well. He had great high notes and upper high notes, including endless breath. Corelli states that the voice should NOT be pushed into the mask, but should go into the mask traversing the breath. Corelli had a great 25 year career. Notice that Kraus was a great leggero tenor, but Kraus at 70 sounded very nasal. Corelli never sounded nasal. Sigh me up for Corelli's technique.
Due Grandissimi Tenori fuori dalle Righe con voci diverse Corelli voce scura da lirico spinto drammatico Lauri Volpi con voce piu chiara con acuti diamantini Lirico di grazia .A me piacciono tutti e due hanno fatto la storia della lirica.
Very accurate comment, thank you！
This was Lauri-Volpi's greatest recording, apparently effortless...in 1929. Corelli is very good indeed, but the Lauri-Volpi version is definitive! Legendary!
Volpi is much better than Corelli. While Corelli’s performance is quite good, the main issue lies in his vocal technique. He tries to produce the same volume in both the middle and high registers, which prevents his high notes from having the necessary upward placement. The resonance space for high notes should narrow and elevate as the pitch rises, like the keys on a piano. High notes don’t need to be as loud as mid-range notes, and physiologically, this isn't even feasible. By trying to match volumes, his high notes end up sounding strained. Thank you for your high-level commentary.
❤❤❤follow real wonderful old singing tenors❤❤❤
La dolcezza della voce di Lauri Volpi mi intriga di più della potenza di Corelli, non sono un'esperta ma ascolto col cuore e quello che questi mostri sacri mi trasmettono di bello è tutto quanto chiedo, grazie a che ha postato questo confronto. Saluti Rossina
I'm like you, I never learned Corelli, I sang with his vocal structure for five minutes, ten minutes, and I felt uncomfortable with my vocal chords, but I sang with Enrico Caruso for an hour without feeling tired of my vocal chords. thank you.
Sono due stili e modi di cantare diversi,ma Lauri Volpi ha insegnato a tanti......e alcuni suoi ex allievi hanno tramandato ciò che hanno a loro volta imparato a voci che oggi sono in carriera.Grande scuola quella di Volpi come quella di Corelli.❤
There’s a little bit of comparing apples with oranges here! I hope you folks know that Lauri Volpi was one of Franco Corelli’s voice teachers, and worked a great deal with Franco in solidifying his upper register. They both sang based on the teaching of Enrico Rosati, who also taught Beniamino Gigli and Mario Lanza. Volpi’s vocal approach lends itself more to the sweet more lyric sounds of Gigli, where as Lanza and Corelli choose to take a more stentorian approach to their singing based on the more baritonal nature of their voices. One should not confuse it the use of head voice for sweetness, with the choice to apply squillo to one’s sound to add dramatic effect. Finally, for those who think that Franco Corelli forced his voice, they need to ask themselves how it was possible for him to perform diminuendos on his high notes into almost pure head, voice.
Enrico Rosati's theory was different from Enrico Caruso's, although he taught three disciples, none of whom I think were better than Enrico Caruso. He kind of improved Enrico Caruso's singing style by pushing the voice to the front of the soft palate, which resulted in an excessive breath imbalance, such as Beniamino Gigli and Lauri Volpi, which had too much falsetto for students to grasp. It was obvious to me that Enrico Rosati had changed his ways when he was teaching Mario Lanza. None of Enrico Rosati's students, other than the tenors, had much falsetto. I think Enrico Rosati was aware of the inadequacy of the early guidance of Beniamino Gigli and Lauri Volpi.
I'm a big admirer of Corelli, but I have to point out his flaws. Corelli works hard, but he's self-taught. No formal study. Lauri Volpi respected him as a colleague rather than a student.
Corelli could not produce pure head,voice at all. He just concentrated his voice power on the larynx, and the neck was highly tense when he sang. This method violated Enrico Caruso's Bel Canto theory. To retire at 55. And Lauri Volpi was in his 80s.
Thank you for talking about acoustic technology. I can robocall you if I need to. Let me show you why Corelli has a problem, and how to sing it correctly.
Corelli tenor spint.o y lauri volpe lirico ligero
Corelli was able to sing the high notes before he met Lauri Volpi. I would say Lauri Volpi taught him to sing more lyrically, he basically taught him to lighten his voice more. Which was likely not the right choice for Corelli's voice, because Corelli had a very wide voice with a much lower center. Everyone always focus on Corelli's high notes but his low notes could make some baritones blush. This change did help Corelli to sing more lyric tenor roles, but he should have been singing dramatic tenor roles.
Very high quality of remarks and notices, thank you
@@lisaszxu1961 very high quality your knowledge, thank you so much
The difference between a lyric tenor and a dramatic tenor. Lauri Volpi has one of the greatest versions of this aria, but you can say the same for Corelli as well. Corelli actually sings with a more fluid legato line than Lauri Volpi. Lauri Volpi use all of his skills such as mezza voce, which adds a special touch. Corelli's version is a miracle, how many dramatic versions are there of this aria? It is not about the high notes, it is about the legato lines and flexibility that is required. Corelli naturally had a much wider and lower voice than Lauri Volpi, but one thing they do share is a very high placement of the voice, that is why their high notes really stands out.
very interesting your profound knowledge about these fine differences in the voice. thank you for your comment.
I don't believe that Corelli ever sang an entire performance of Puritani. But, his recording of A Te O Cara is very impressive.
I think so too. Corelli uses loud, tense throat, tense face, and no abdominal breath at all. A Te O Cara, when he was young, he could sing, after 45, he couldn't sing A Te O Cara. Thank you for your high level comments
Franco Corelli estuvo en el elenco del registro DECCA de1963 con Joan Sutherland y Richard Bonynge en la batuta, de último momento fue sustituido por Pierre Duval.
@@lisaszxu1961 I had the privilege of corresponding with Giacomo Lauri-Volpi in the early-1970s, and also had the opportunity to talk with three tenors who sought and received his help: Franco Corelli, whom Lauri-Volpi helped to refine his technique; Carlo Bergonzi, whom Lauri-Volpi helped with phrasing and the upper range; and Alfredo Kraus, to whom Lauri-Volpi taught intercostal breathing. To watch the expression of those three legendary tenors when I asked them about Lauri-Volpi was to see their expressions change as if they were talking about a deity. Kraus said, "There are no words to describe the brilliance of this phenomenal singer and phenomenal man!"
Oh my God, you actually had the chance to communicate with the great master Lauri-Volpi-that is truly extraordinary. A century ago, tenors like him defined history, and it seems you are among the few who can bear witness to that era.
While Lauri-Volpi helped refine Corelli’s technique, the throat issues Corelli developed in his 30s were not fully identified. It wasn’t until Corelli was nearing 50 that Lauri-Volpi heard him sing and remarked that his method was flawed, saying he relied too heavily on the throat, oral cavity, and forehead resonance. But by then, it was too late-Corelli’s vocal cords had already been damaged by his improper technique. Corelli lamented that he could no longer produce the quality of tone he had in his youth and eventually retired, bidding farewell to the stage.
Carlo Bergonzi, on the other hand, always seemed to lock his high notes into the hard palate, unable to fully transition into head voice and pharyngeal resonance. As for Alfredo Kraus, his tone was somewhat monotonous, relying solely on abdominal breath, nasal resonance, and head voice, with insufficient chest resonance and a lack of power below the posterior diaphragm. This prevented him from taking on roles like Otello.
Lauri-Volpi was undoubtedly great, but when he taught these three tenors, he likely assumed they shared his mastery of breath support. In fact, all three exhibited a soft lower abdomen and often pushed their sound forward into the chest and below the sternum, assuming that abdominal breath support would naturally follow. However, this approach produced a deceptive sound. In their youth, these tenors relied on some degree of abdominal support due to their age, but by 35, it had entirely disappeared, leaving their voices rigid and trapped in the oral cavity.
As for the three tenors you mentioned, along with the famous "Three Tenors," history has never categorized them as belonging to the Italian bel canto tradition. Lauri-Volpi, who claimed to be the successor of Caruso’s Italian bel canto, stood apart. Thank you, esteemed journalist specializing in tenor artistry, for your high-level evaluation and insights!
@: Not only in our correspondence but also during a private lunch he hosted at his Rome estate for Richard Tucker, Lauri-Volpi made clear that he had little regard for Caruso's singing based upon what Toscanini had told him (in 1901, Toscanini had said "By God, if this young Neapolitan sings like this, the whole world will know his name!"--but by 1908, when Toscanini came to the Met with Gatti-Casazza, he told Caruso that he had ruined his once-beautiful lyric voice by singing spinto roles.)
When Tucker came to Lauri-Volpi's estate, he (L-V) asked Tucker to sing "Recondita armonia," which Tucker did. When he finished, Lauri-Volpi said to him, "Alla Caruso," and then said, "Now I will show you how it should be sung"--and proceeded to sing the aria with nuances that Tucker was unfamiliar with, having been taught by Paul Althouse, who tried to emulate Caruso at the Met.
In our correspondence he told me that among tenors, Alessandro Bonci was one of his idols as a young singer. He added that his own best teacher was his wife, the soprano Maria Ros, who refined the technique he had been taught by Cotogni.
2:06, 3:02 Corelli 5:56, 6:38 Lauri-Volpi
VOLPI !!!!!!
I am very surprised that a young person like you feels that Volpi is superior to Corelli. You could become the best tenor in the world. I can teach you to surpass anyone, because the level of tenors today is a complete mess.
Franco the greatest
Much as I love Corelli’s voice and his singing I think in this particular aria Lauri-Volpi’s rendition is more suited to this particular piece. It is an expression of love and the sweetness and beauty of Lauri-Volpi’s voice is absolutely perfect for it. Another singer who does justice to this aria is di Stefano who again has that sweetness in the voice which is so perfect for this beautiful Bellini aria.
Corelli does sing with sweetness, but it is the sweetness of dramatic tenor. I do think is a great example to show the difference between a dramatic and lyrical sound. Lauri Volpi's mezza voce is really amazing.
Me quedo con los 7 años inigualables de esplendor vocal de Corelli 1960-1967 que 40 de Volpi. Si quieres escuchar un Tenor con los agudos más fascinantes Iván Kozlovski solo hay un problema que no hay grabaciones de joven pero si con 50 años.
Totally agree. Not Corelli over 45. Thanks for the recommendation. I'll find out
Fueron un poco más pues se considera que a partir de las representaciones de Il Pirata, de Bellini, en la Scala (1958), con Callas y Bastianini, comenzó la era dorada de Franco.
L'interpretazione di Volpi è unica. La mezzavoce appartiene ai tenori dell' 800 e và cantata, perchè così è scritta.
Oh oh oh, mio Dio, il tuo commento è di un livello divino, al di sopra dell'umanità. Concordo completamente con ogni tua parola.
Lauri Volpi era un monstruo si de técnica y estudio hablamos, de una noble línea de canto y una elegancia soberbia muy adecuada para estos roles, Corelli muy gritón en este caso, el prácticamente nunca canto Puritanos
Your comment gets to the essence, Corelli is unable to reach the level of his teacher Lauri Volpi by focusing 100% of his Voice on the throat, mouth, nose, which I do not approve of, thus becoming Shouting.
Брависсимо!!! ❤❤❤
PERFEKT 😊
⁹gran profesor de franco corelli li fue lauri volpe ambos de los mejores tenores de lao historua
Está claro que Lauri-Volpi, de joven, tuvo una voz flexible de un tenor ligero y su amplio registro le permitieron cantar en el rango de tenor lírico-spinto, pero en los papeles de tenor dramático no pudo emitir el timbre propiamente obscuro de un tenor dramático, como lo podía hacer Caruso. En su libro Great Singers on Great Singing, el bajo Jerome Hines entrevista a muchos grandes contantes y todos expresan conclusiones diferenciadas sobre la emisión de la voz. Muchos maestros de canto, tanto del pasado como en el presente, arruinaron las voces de grandes prospectos, porque esos maestros suelen ser tiranos porque imponen autoritariamente sus ideas sobre la voz. A Mario del Monaco, el tenor dramático por autonomasia, de joven quiso un maestro de canto hacerlo en tenor ligero sin apreciar la potencialidad de su voz; a los tenores Carlo Bergonizi y Bruno Prevedi los entrenaron incialmente como barítonos; al barítono Ettore Bastianini, un maestro dictaminó que era tenor y otro que era bajo; a Julián (Giuliano para los italianos) Gayarre, un maestro dictaminó que su voz no servía ni para cantar como corista; un crítico afirmó, hace algunos años, que el tenor Alfredo Kraus emitía sus agudos en falsete y no a plena voz; y otro crítico, también hace algunos años, que el tenor Franco Corelli hacía trucos en el estudio de grabación con sus diminuendos bien prolongados, a pesar que las grabaciones en vivo prueban que no eran trucos. En conclusión, existe una anarquía entre las distintas teorías sobre la naturaleza fisiológica de la emisión de la voz. En la actualidad, el tenor estadounidense Michael Spyres, con un rango de 3/8, canta roles desde barítino hasta los tres tipos fundamentales de voces de tenor (ligero, lírico y dramático), tiene sus propios criterios sobre la emisión de la voz, como los tenía también Alfredo Kraus y que los divulgó. A Spyres lo denominan baritenor y el público le busca siempre defectos vocales para descalificarlo, en lugar de reconocer sus grandes méritos vocales, a sabiendas que el uso forzado de la voz trae malas consecuencias, siendo el punto importante que Spyres canta como barítono y como tenor. El tenor Plácido Domingo, iniciado como un barítono lírico, desarrolló su voz pasando de lírico-spinto a dramático, pero al final de su carrera quiso regresar a sus orígenes baritonales, pero hizo el ridículo como barítino. Y el tenor Iván Kozlovsky, dejó una grabación en la que estira su voz hasta tonalidades de un bajo, pasando, sin rozar ninguna nota, de bajo a tenor con un registro super agudo. Bueno, el intercambio de comentarios nos ayuda a aprender más sobre el misterio de la voz, como intituló Lauri-Volpi uno de sus libros. Saludos,
.
Grazie mille per aver condiviso con me le tue preziose opinioni. Le ho lette almeno dieci volte e ora, a poco a poco, esprimerò i miei pensieri. È raro trovare commenti di così alto livello come i tuoi. Non vedo l'ora di leggere i tuoi prossimi interventi. Ti risponderò, ma avrò bisogno di un po' di tempo. Posso cantare tutte le parti che hai menzionato, quindi sono davvero desideroso di discutere con te la mia opinione su ciascun tenore. Grazie ancora!
Dear Silvio, some of your statements are pretty interesting, but an attempt to categorize tenors does get very tricky or sometimes awkward. Paoli, Escalais and Tamagno were considered dramatic tenors. Their voices were extremely bright, lacking darkness, but an ability to sing high note operas like Gugliemo Tell and Ugonotti, as well as Otello. Lauri Volpi told Richard Tucker he had a Caruso ''type'' voice and I believe Tucker was a spinto tenor. It's rare for a tenor being categorized as a dramatic,''Caruso'' without having Otello in his repertoire. But also acknowledging that some spinto tenors like Caruso could have sung the role. After Zenatello, the dark quality of an Otello voice is rather rare. Vinay, Del Monaco, Mc Cracken and maybe Merli come to mind. Domingo had a medium size spinto voice with a velvet quality but not dark,and without the impetus phrasing that the role requires. Martinelli who sang 26 Otello's at the Met in his 50s was terrific as the Moor, and it could be debated that he was either a ''spinto'' or dramatic tenor. Volpi and Filippeschi did not have dark voices, but their great dynamics propelled them through many spinto dramatic roles. Maybe in the time of Paoli, Escalais and Tamagno, Volpi may have been considered a dramatic tenor?? My father saw Volpi several times at the Rome Opera House between 1936-1942. Searching for the right words told me his voice was very hard to describe, but the resonance in his remarkable voice rang out further than any tenor he ever heard. He also told me the steely sound of Martinelli's voice in the theater was greatly diminished, but not his vocals.
Spyres does not actually sing baritone roles live on stage. He only recorded baritone arias. That is a huge difference, I am sure there are many tenors that could have recorded baritones arias if they had wanted to do so. It is a sales gimmick from the record companies. Michael Spyres has a normal light lyric tenor voice. His voice is not big enough for dramatic roles. he basically just darkens his voice when he sings roles like Pagliacci, much like Kaufman although not to the same extreme. He is a pretty good leggero tenor, that is really his lane of expertise.
@@ZENOBlAmusic
Thank you for providing such a professional comment. I have previously discussed the issues with Michael Spyres and Kaufman with others and shared many thoughts on the topic. I largely agree with your views. The real question is, why don’t we have qualified dramatic tenors today? Why have they all shifted to the lyric tenor style you mentioned?
Lauri Volpi had his own theories and techniques, and in terms of singing technique, Corelli was far inferior to him. Corelli’s voice, as I mentioned in the video I made yesterday-comparing Renata Tebaldi to herself singing "Pace, pace, mio Dio"-is of the same nature as Tebaldi’s. His airflow flows horizontally, mimicking human speech patterns. You can check it out. Using abdominal breath to control timbre and dynamics is, of course, challenging. Corelli’s legato lines are good, but they are driven by the throat and amplified speech rather than abdominal breath. The fundamental issue with Corelli’s singing lies in the fact that the power of his voice did not come from the abdomen but from the throat and pharyngeal cavity.
Although this is a serious violation of Italian bel canto principles, Volpi, who guided Corelli at the age of 30, did not recognize this problem. By the time Corelli was over 40, he began shouting because the natural flexibility of a young body has its limits. Corelli’s youthful physical “capital” was depleted by his 40s because he didn’t develop abdominal support to enhance vocal resonance. I remember his performances with Tebaldi in the U.S., witnessed by President Kennedy, and I was shocked by the decline in his voice.
If you sing yourself and reflect on this, you might understand that the continuity and flexibility of Corelli’s mouth-focused sound are vastly inferior to the abdominally supported sound of Caruso. There’s no comparison. You must reach a certain level to truly grasp this. The tension in Corelli’s sound can be likened to the feeling of yawning and expanding the pharyngeal cavity before singing. Del Monaco is not bel canto at all. In the future, I plan to analyze Del Monaco’s strengths and weaknesses in singing.
First, let me tell you, I believe that I can sing in the style of every true tenor (excluding those post-1920). Unlike today’s tenors, who cling to a single singing style and are afraid to challenge others, I can master over 100 singing methods. I often wonder, if there were people who truly understood me, I could analyze and demonstrate my singing. However, the vocal techniques of the past century have deeply disappointed me. That’s why I’ve decided to act for the benefit of some professional singers who want to hear my analysis.
You might still think that the singers cultivated by the vocal world starting from the 1960s have even a shred of correctness in their theories. But I don’t study them; they’re not worth my time. In my mind, they are all amateurs. Well, my friend, it’s best if you share your videos and focus on your own work. While I agree with some of your viewpoints, our values regarding vocal technique are completely different. Lastly, thank you again for your comment.
La voix de Corelli est évidemment magnifique mais il est permis de penser qu’il est trop héroïque pour cet air des Puritains et que la voix et le style de Lauri-Volpi sont plus appropriés.Nous sommes en présence de deux princes du chant auprès desquels les ténors actuels sont des valets.
Thank you very much for your high praise. Today's tenors simply can't compare with them. There's a significant gap.
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Se han dicho algunos disparates sobre las voces de Corelli y Lauri-Volpi: uno, que Corelli es gritón y Lauri-volpi no, ignorando que son voces de distintos tipos, siendo el primero un tenor lírico-spinto y el otro, fundamentalmente un tenor lírico con una voz extraordinaria, y que tener una voz potente no es gritar, a menos que se emita un sonido sin sentido musical, que es un simple grito. Tamagno, Caruso, Vinay, del Monaco o Vickers no gritaban por tener voces potentes; dos, que Corelli no iguala en técnica a Lauri-Volpi, cuandi cada uno tiene su técnica en particular y es tema de mucha discusión hasta que se invente un aparato que pueda filmar y ver todo el proceso de la emisión de la voz, ya que muchos críticos sostienen que sólo existe un único método de canto, mientras que otros suelen dividerlos en método italiano, método francés o método alemán, y otros, en método del bel canto, método del canto romántico y método del canto veirista, también existen métodos atribuidos a los grandes maestro del canto, como el método de Manuel García, el método de Arturo Melocchi, el método de Hipólito Lázaro, de Francisco Vignas o los métodos de canto combinados de autores modernos como el bajo Jerome Hines, quien sostiene existen cuatro voces de tenor, o el método de canto en la máscara, que lo ha proclamado Alfredo Kraus o el método del canto en la laringe, que lo han proclamado otros cantantes. Cada maestro de canto enseña y hace practicar el método que aprendió, sin que existan conclusiones definitivas sobre le método de canto más correcto; y tres, Lauri-Volpi es más comparable con Beniamino Giglie por sus tipos de voces, no obstante que la voz de Gigli fue más uniforme en todo su registro, su timbre mucho más bello, sus recursos belcantísticos los empleaba con gran maestría y sus recursos expresivos adornados con notorios golpes de glotis, mientras que la voz de Lauri-Volpi, más poderosa, de grandes agudos squillantes, con dominio del bel casnto, también dominio del color vocal para acometer más papeles que Gigli, con un vibrato, primero caprino y después se volvió tremolante (wobble), al comparar lo que cantaron en edades similares, Gigli lo superó en salud vocal, a pesar que la publicidad presenta a Lauri-Volpi cantanto en su fase octegenaria con una voz totalmente desgastada que apenas tocaba algunas notas agudas, sin poder sostenerlas. En conclusión, no es lógico ni válido comparar géneros y especies distintas para medir calidad, sino para determinar las diferencias características de las cosas, de modo que tanto Corelli como Lauri-Volpi fueron grandes tenores dentro sus límites y dentro lo que pudierono cantar durante sus carreras. Saludos,
La differenza tra Corelli e Lauri-Volpi sta nella quantità di sostegno del fiato addominale, che è maggiore o minore. Da giovane, gli organi vocali di Corelli erano elastici e, quando cantava con una risonanza posteriore, riusciva a utilizzare il sostegno del fiato addominale. Tuttavia, Lauri-Volpi aveva ancora più di questo: da giovane il suo vibrato era molto rapido, e tutto proveniva dal sostegno del fiato addominale. Il problema è che, superati i 40 anni, se durante la gioventù non si è particolarmente consapevoli di rafforzare il sostegno addominale, si rischia di perderlo, e una volta perso, ciò che segue è il grido sforzato. La tecnica di Corelli si basava su una teoria errata: lui credeva che la voce fosse creata dalla gola. La teoria di Caruso, invece, affermava che la voce venisse creata dalla coordinazione dell'intera cavità risonante sotto le corde vocali, non dalla gola.
Per quanto riguarda il confronto tra Lauri-Volpi e Beniamino Gigli, sono d'accordo con te. All'inizio Lauri-Volpi fu etichettato da alcuni ignoranti come un caprone, ma se sei un tenore e capisci il canto, non diresti mai una cosa simile. Questo era solo un giudizio errato di una parte del pubblico dell'epoca. Il suo vibrato non era affatto il belato dei tenori francesi di cui parlava Caruso, ma piuttosto un vibrato proveniente dal basso addominale, che è una delle tecniche più importanti del canto, una tecnica corretta e non sbagliata.
Infatti, il belato dei tenori francesi deriva dall'uso simultaneo del naso e dell'addome inferiore, ma la maggior parte del fiato si concentra sopra le corde vocali. Nel caso di Lauri-Volpi, se lo definisci belato, questo avviene perché utilizza una grande quantità di fiato da tutta la zona addominale per spingere il suono sopra le corde vocali. Probabilmente non hai mai sentito queste mie teorie, ma sì, io le comprendo, e da oltre 100 anni l'umanità non le ha capite. Queste sono teorie che ho creato io stesso.
Tu affermi che Lauri-Volpi riusciva a mantenere il sostegno del fiato addominale per un Do acuto anche a 80 anni, e questo è più che sufficiente. Non possiamo aspettarci la perfezione da una persona di 80 anni. Non bisogna limitarsi solo a studiare la tecnica vocale sui libri o nella teoria; io posso cantare sia come Corelli sia come Lauri-Volpi, e conosco i loro pregi e difetti, perciò posso giudicarli. Te lo ripeto ancora una volta: Corelli, a parte alcuni momenti prima dei 40 anni in cui aveva un po' di sostegno addominale, dopo i 45 anni ha iniziato a urlare. Hai Skype? Posso mostrarti dove sbaglia con la sua voce.
Non mi interessa chi è considerato grande o meno grande; il mio studio si concentra su chi rappresenta il vero bel canto italiano, e Corelli non lo è. Non lo imiterò. Grazie per la tua disponibilità al dialogo.
I metodi di Manuel García, Arturo Melocchi, Hipólito Lázaro e Francisco Viñas non negano l'importanza del sostegno respiratorio addominale. Nei loro rispettivi sistemi di insegnamento, l'uso del sostegno addominale è fondamentale.
Manuel García: Come uno dei più grandi insegnanti di canto del XIX secolo, García sottolineava l'importanza del respiro. Il suo insegnamento promuoveva il controllo del fiato per sostenere la voce, specialmente nel canto del bel canto italiano. La sua "tecnica García" includeva l'“appoggio” - cioè l'uso della forza della parte inferiore dell'addome e delle costole per controllare il respiro, rendendolo stabile e uniforme.
Arturo Melocchi: Melocchi è noto come un insegnante molto controverso, ma il suo metodo di "posizione bassa della laringe" si basava su un forte sostegno addominale. Allievi come Mario Del Monaco hanno sviluppato un timbro potente e robusto attraverso questo metodo. Anche se il suo approccio vocale metteva l'accento sull'uso delle corde vocali e sul tono grave, il controllo del respiro tramite l'addome era ancora indispensabile.
Hipólito Lázaro: Questo tenore spagnolo estremamente tecnico era famoso per i suoi acuti. Anche lui faceva grande affidamento sulla forza addominale nel sostenere il respiro. Sebbene la sua risonanza fosse prevalentemente concentrata nelle cavità nasali e nel palato duro, il sostegno respiratorio proveniva sempre dall'addome.
Francisco Viñas: Come famoso tenore spagnolo, Viñas comprendeva profondamente l'importanza del sostegno respiratorio nel canto. Nelle sue interpretazioni, specialmente nei ruoli wagneriani, dimostrava un controllo eccellente del respiro addominale, che gli permetteva di mantenere la continuità e la forza della voce durante lunghe esecuzioni.
Il metodo di Jerome Hines riconosceva anch'esso l'importanza del sostegno respiratorio addominale. Come grande basso-baritono americano e insegnante di canto, Hines aveva una conoscenza approfondita della tecnica vocale e nel suo libro "Le quattro voci dell'uomo" ("The Four Voices of Man") ha discusso in dettaglio la sua comprensione della tecnica vocale.
Hines enfatizzava che il “sostegno respiratorio” è la base del canto, in particolare l'uso del diaframma per controllare il respiro. Sottolineava che la coordinazione tra addome e diaframma era fondamentale per garantire un flusso d'aria stabile e uniforme. Questo era in linea con i punti di vista di altri grandi maestri di canto, poiché Hines sottolineava che il controllo addominale era essenziale per mantenere la durata e la forza della voce.
Nei suoi scritti e insegnamenti, Hines proponeva la "respirazione bassa" come base per stabilizzare la vibrazione delle corde vocali. Questo metodo prevedeva l'espansione dell'addome e delle costole per mantenere un sufficiente sostegno respiratorio, aiutando i cantanti a ottenere una risonanza più ricca e stabilità vocale. Egli sottolineava anche l'importanza di evitare tensioni eccessive sulle corde vocali, affidandosi invece all'addome e al diaframma per la gestione del fiato.
Pertanto, il metodo di Jerome Hines è in linea con i principi tradizionali del bel canto, dove il sostegno respiratorio - in particolare la forza addominale e il controllo del diaframma - è essenziale. Questa era la base tecnica che gli ha permesso di avere grande successo sul palcoscenico operistico.
In sintesi, qualsiasi metodo di insegnamento vocale di alto livello non ignora l'importanza del sostegno respiratorio addominale. Una corretta tecnica di canto, che sia nel bel canto italiano, nell'opera tedesca o nella tradizione spagnola, richiede sempre il sostegno respiratorio addominale come fondamento imprescindibile.
@@lisaszxu1961 But you somehow think Del Monaco represent bel canto? That is hilarious. Bel canto died in the middle of the 19th century.
Corelli although wonderful here, does sing the aria a half tone down, which is acceptable for such a large voice.
Lauri Volpi also sings this aria half a tone down, I am pretty sure Corelli just copied Lauri Volpi's version exactly.
Estimado Sugarbist: Todos sus comentarios son atinados en cuanto se basan en determinados criterios de los maestros de canto, que, sin embargo, no son unánimes. Mi postura es que es un desacierto buscar el mejor tenor. Algunos historiadores dicen que fue Leonardo da Vinci, del que no sabemos si fue un gran tenor como lo citan; otros, dicen que fue Giovanni Battista Rubini, Matteo Mario, Manuel García; otros, que Enrico Tamberlick; otros, que Julián Gayarre, Hipólito Lázaro, Miguel Fleta, Francesco Tamagno, Jean de Reszke, Enrico Caruso, Francesco Paoli, Benimino Gigli, Giacomo Lauri-Volpi, etc. y, hasta nuestros días, según unos "críticos" británicos, que el mejor tenor de todos los tiempos ha sido Plánido Domingo. Sin embargo, dodo esto no es ninguna verdad absoluta debidamente probada, dado la diversidad de los tipos de tenor. Aunque podemos acercarnos a destacar las cualidades especiales de algunos de los más grandes tenores. Por ejemplo, Giacomo Lauri-Volpi, como María Callas fue una soprano sfogato, podemos decir que fue un tenor sfogato, es decir, que tenía todos los timbres y registros de tenor, desde el tenor de grazia hasta el tenor dramático como lo evidencian sus grabaciones, como, al parecer, lo fue Enrico Tamberlck, que cantaba desde los papeles de tenores ligeros hasta los de tenores dramáticos. El punto es que cada timbre de voz tiene un color fundamental que identifica su tipo de voz. Así, Lauri-Volpi, con todo su amplio registro desde la voz ligera hasta la voz dramática, tenía un timbre básicamente de tenor lírico. Otro ejemplo es el caso de Michael Spyres, que, desde las notas bien oscuras de barítono asciende a las notas ultra agudas de un tenor. Pero no porque estos dos cantantes sean sui géneris, son mejores que otros, ya que todos tienen defectos vocales apreciables. Por ejemplo, el vibrato caprino de Lauri-Volpi, que se le estabilizó en los años 1920, después se le volvió inestable (wobble) y el de Micheal Spyres se nota con tendencia a sufrir de wobble,
dado el intenso uso de voz que se lo puede deteriorar, como se nota en el agudo Vinceró¡ al final del aria Nessun dorma, que no suena con el squillo ni con el vibrato consistente de Corelli. Tal vez, en el futuro, un computador podría programar modelos perfectos de los tipos de voces. Otro error, a mi parecer, es que se buscan tenores perfectos en papeles al margen de sus registros y cualidades especiales. Así, algunos critican a Mario del Monaco al compararlo con Franco Corelli, porque no tenía la misma dinamica vocal en su fraseo, cuando este es un aspecto particular que no demerita las grandes cualidades de Mario del Mónaco, ni hace a Corelli mejor porque también tenía sus defectos vocales. En extremo, el tenor perfecto sería aquel que pudiera cantar impecablemente todos los papeles de un tenor, desde el más ligero hasta el más dramático (desde Almaviva o Nemorino hasta Otello o Tristán). Quzás Michael Spyres quiere pasar a la historia con esta distención. Saludos,
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!
Had me there for a second. Expected Lauri Volpi first. Immediately thought wow Corelli really did learn alot from him. Then, of course, realized it was Corelli going first, instead of his teacher. Long time fan of opera (50 years), but not a singer myself. I have always preferred Corelli to most other tenors (not all), including Lauri Volpi. I can't really see the similarities in the voices or what I understand of their techniques. Sound like two different styles and voice types to me. If anyone can educate me I would welcome it.
Their vocal organs are exercised to a completely different degree.
In my opinion,Corelli method are suited just for Corelli. Most of singer who use his method end up like Giancarlo Monsalve.
I'm just like you.Long time fan of opera (50 years) too， But when I learned to sing any of their styles, I knew that their vocals were two different worlds. I also really like Corelli. I've heard almost all his songs.
For one thing, I would never imitate him, and if I did, I would destroy my vocal cords.
Not only is the style different, the vocal organ structure is different, Corelli does not have a large underbelly. This lower abdominal area, this is the need for long-term exercise. If you look at Caruso, Gigli, Tucker Jan Peerce, real tenors have a big belly. There will be opportunities to communicate in the future. thank you.
In letters I exchanged with Maestro Lauri-Volpi, he emphasized that he did not "teach" Corelli (nor Alfredo Kraus, who also sought his advice on proper breathing techniques) but instead told me (as did Corelli) that Lauri-Volpi would begin a note and have Corelli begin singing the note while Volpi was still singing it. Volpi would then execute a diminuendo and Corelli would follow suit.
They actually had some similarities, the difference is mostly voice type. Both of them followed the bel canto principle of lightening the middle register and resolving on top. Hence why they both had very strong heroic high notes. Another thing that was very similar is the placement of the voice, they both sang with a very high placement, higher then any other spinto and dramatic tenors. The other differences are more due to voice type, Lauri Volpi was an expert in mezza voce and pianissimo. His strategy was that he could rest his voice while singing pianissimo. Of course Corelli also used pianissimo, but he had a dramatic voice, it took much more effort for him to sing in this manner, it wasn't a restful activity for him. It is much easier for a dramatic voice to sing in a more stentorian fashion, in forte. This means that Lauri Volpi was very well suited to bel canto but he did some verismo as well, Corelli could do bel canto but it was much easier for him to do verismo. Rodolfo Celletti thought about Corelli as a bel canto baritenor, when you learn more about bel canto roles you can see how that idea actually makes a lot of sense. Lauri Volpi's voice is darker than you can hear in this example due to the recording technology of the time. If you hear a recording of Corelli with bad recording equipment, you can easily hear how his voice start sound much more similar:
th-cam.com/video/WDaUN7E-L6k/w-d-xo.html&ab_channel=Khed14
2 leggende E la leggenda a mio avviso non dipende dal quanto ma dal come . Io personalmente non cambierei i migliori 10/ 12 anni di Corelli con i migliori 40 di Volpi, Gigli, Pavarotti, Kraus o Bergonzi . Ma si tratta non tanto di gusto personale quanto di avere empatizzato con una voce. Sentirla non solo vicino ma addirittura dentro di se, profondamente. Fermo restando che tutti i suddetti , ripeto hanno fatto la storia della lirica del 900.
agree.
La Materia prima de Corelli.. Calidad de voz ,
Timbre (color de voz), Sonoridad, Grandeza etc nunca la tuvo Volpi!! Volpi tenia más extension en la zona aguda por tener una voz mucho mas pequeña !!! Corelli muy inteligentemente nunca canto I Puritani como tampoco Otello. Ya tenia bastante con dus creaciones.. Andrea Chenier, Il Trovatore, Tosca, Turandot, Gli Ugonotti, Poliuto mas tarde su ..
Romeo et Juliette etc
高いレベルのコメント、有難う！
en los agudos la voz de Lauri Volpi era más resonante, más brillo, armónicos digamos. Di Stefano cuenta en su libro que lo fue a ver en Turandot en la Scala di Milano, y en "non principessa altera ti voglio tutt`ardente d`amor" hizo vibrar la araña (lampadario) de la sala. El centro de Franco Corelli era más baritonal, más varonil. Dos monstruos de la lírica, la voz de Corelli es para mi gusto, más bella, pero la técnica de Lauri Volpi era mejor, por esa razón tuvo más longevidad vocal, mi ídolo Franco Corelli a partir de 1970 empezó a tener un declive vocal, a los 20 años de carrera, con 50 años, un poco joven para experimentar ese declive, pero también contribuyó su carácter perfeccionista y nervioso.
My point is the same as yours, Corelli learned nothing from his teacher, but relied on his neck, around his throat, and largely on his own vocal cords. Lauri Volpi can still sing Corelli at 80. Retire at 55. Lauri Volpi, who was mentoring Corelli in his 30s, didn't, and didn't see his problem. Treat Corelli like a colleague, not a student. Thank you for your high level comments@@CotaDangelo
@@CotaDangelo La voz de Lauri-Volpi declinó más temprano que la de Corelli, como lo muestran las grabaciones que hizo antes de llegar a sus 50 años: disminución de su fiato y padecimiento de un trémolo (wobble) de su voz, que en su inicio era caprina como la de Corelli, quien, en cambio, mejoró su vibrato. A pesar de la afectación de su voz, Lauri-Volpi conservó la increíble brillantez de sus agudos, pero en sus presentaciones ya anciano no podía sostener ninguna nota aguda, como cuando cantó La donna e móbile y después Nessun dorma, limitándose a rozar los agudos, mientras que muchos otros tenores conservaron sus voces ya ancianos, como Kurt Baum, Richard Tucker, Jan Peerce, Veriano Luccheti, Ivan Kozlovsky o Alfredo Kraus, quien conservó sus agudos con mucho squillo y su amplio fiato, aunque declinó su vibrato. En cuanto a Corelli, es cierto que a partir de sus 50 años su voz mostró fatiga, pero se retiró a tiempo. El testimonio de di Stefano es un lugar común, porque muchos grandes tenores han mostrado su potencia vocal con efectos acústicos similares en que se dice que hacen vibrar las arañas colgantes de luces, que se también se le atribuía a Caruso. Respecto a Corelli, cuando en 1962 inauguró la temporada de La Scala Turandot con Birgit Nilsson y la soprano soviética Galina Vishnevskaya, invitada a cantar el papel de Liú, cuenta ella en su biografía, que al llegar a los ensayos escuchó asombrada una voz estruendosa que parecería estar conectada con amplificadores, que era Franco Corelli. Quizás Lauri-Volpi ha sido una especie única de tenor como lo fue Enrico Tamberlick (1820-1887), que igual cantaba papeles de tenor ligero hasta de dramático, pero su voz no quedó registraba en las grabaciones primitivas, pero existen testimonios de la época que dan fe de su gran potencia, brillantez y capacidad para afrontar papeles tan diversos. Es lo que quiso hacer Plácido Domingo, pero no pudo al carecer de un órgano vocal capaz de cantar eficazmente los más de 160 papeles que cantó aprovechando su fama, la publicidad y gran influencia, pero nos queda la belleza su voz, su potencia y brilantez, como su elegancia y dotes escénicas, que hasta los británicos, en un absurdo "concurso" de tenores lo seleccionaron como el mejor tenor de todos los tiempos. Siempre ha habido mejores tenores, así considerados, desde Leonardo da Vincia, Manuel García, Jean de Reszke, Enrico Tamberlick, Julián Gayarre, Enrico Caruso, Francesco Tamagno y muchos otros, pero lo cierto es que en la historia más bien ha habido grandes tenores ante la imposibilidad de señalar con certeza quién ha sido el mejor de todos, dada la diversidad de registros y papeles no adecuados a todas las voces. Saludos,
@@CotaDangelo La voz de Lauri-Volpi declinó más temprano que la de Corelli, como lo muestran las grabaciones que hizo antes de llegar a sus 50 años: disminución de su fiato y padecimiento de un trémolo (wobble) de su voz, que en su inicio era caprina como la de Corelli, quien, en cambio, mejoró su vibrato. A pesar de la afectación de su voz, Lauri-Volpi conservó la increíble brillantez de sus agudos, pero en sus presentaciones ya anciano no podía sostener ninguna nota aguda, como cuando cantó La donna e móbile y después Nessun dorma, limitándose a rozar los agudos, mientras que muchos otros tenores conservaron sus voces ya ancianos, como Kurt Baum, Richard Tucker, Jan Peerce, Veriano Luccheti, Ivan Kozlovsky o Alfredo Kraus, quien conservó sus agudos con mucho squillo y su amplio fiato, aunque declinó su vibrato. En cuanto a Corelli, es cierto que a partir de sus 50 años su voz mostró fatiga, pero se retiró a tiempo. El testimonio de di Stefano es un lugar común, porque muchos grandes tenores han mostrado su potencia vocal con efectos acústicos similares en que se dice que hacen vibrar las arañas colgantes de luces, que se también se le atribuía a Caruso. Respecto a Corelli, cuando en 1962 inauguró la temporada de La Scala Turandot con Birgit Nilsson y la soprano soviética Galina Vishnevskaya, invitada a cantar el papel de Liú, cuenta ella en su biografía, que al llegar a los ensayos escuchó asombrada una voz estruendosa que parecería estar conectada con amplificadores, que era Franco Corelli. Quizás Lauri-Volpi ha sido una especie única de tenor como lo fue Enrico Tamberlick (1820-1887), que igual cantaba papeles de tenor ligero hasta de dramático, pero su voz no quedó registraba en las grabaciones primitivas, pero existen testimonios de la época que dan fe de su gran potencia, brillantez y capacidad para afrontar papeles tan diversos. Es lo que quiso hacer Plácido Domingo, pero no pudo al carecer de un órgano vocal capaz de cantar eficazmente los más de 160 papeles que cantó aprovechando su fama, la publicidad y gran influencia, pero nos queda la belleza su voz, su potencia y brilantez, como su elegancia y dotes escénicas, que hasta los británicos, en un absurdo "concurso" de tenores lo seleccionaron como el mejor tenor de todos los tiempos. Siempre ha habido mejores tenores, así considerados, desde Leonardo da Vincia, Manuel García, Jean de Reszke, Enrico Tamberlick, Julián Gayarre, Enrico Caruso, Francesco Tamagno y muchos otros, pero lo cierto es que en la historia más bien ha habido grandes tenores ante la imposibilidad de señalar con certeza quién ha sido el mejor de todos, dada la diversidad de registros y papeles no adecuados a todas las voces. Saludos,
Both excelente, but Corelli 5/5 and Lauri 4,8/5
Lauri-Volpi ha un gusto "orrimpilante", ma la voce è assolutamente pazzesca, per potenza, dimensione ed estensione.
La sua intonazione tende ad essere sempre un po' crescente, ma la qualità dell'emissione fa dimenticare questa caratteristica.
Franco Corelli è, come al solito, superbo.
Very high level comments, Lauri-Volpi and Corelli, vocal methods, are completely different.
"gusto orripilante"? che significa?
@@giovannipaisiello289Lei lo ascolti bene. In Bohème, ad esempio, è completamente fuori ruolo, in tutti i ruoli in cui è richiesta un po' di sensualità è ridicolo, oltre ad essere stonato. Ma nei ruoli eroici, soprattutto quelli verdiani, è splendido, ha una dizione impeccabile. Trovatore, Aida, Luisa Miller. Certo non ha la musicalità di Pertile o Gigli, ma ha uno squillo pazzesco.
Io comunque farei anche una settimana di fila per vedere Lauri-Volpi.
Credo che CORELLI sia un milione di volte superiore al suo maestro!!!!!!!!!
VOLPI !!!!!!!!!
Thank you.
Thank you.
Later Corelli lost his position of singing because he was not able to hold it up. Volpi did never loose his voice and was singing in the old tradition what Corelli was not doing
Thank you for your correct comment. The main reason was that Corelli used incorrect vocal methods (using the throat, mouth, as the voice power), did not use abdominal breath at all, prematurely destroyed his vocal cords, and in his late 50s, he was unable to produce a decent voice. Volpi is a professor of vocal music, and he is very clever, always open the vocal cords, let the breath cover the voice transmission band, the vocal cords are greatly protected, so his artistic life is more than 20 years than Corelli.
@@lisaszxu1961why are you saying false things? Corelli was a great example of belcanto technique until 1970 when he changed his technique and tried the affondo method (which he then refused), that's why he struggled. The different qualities of Corelli and Lauri Volpi aren't due to a different technique (at least in their prime) but due to a different vocal nature.
The important thing is not to sing with a loud voice, it is necessary to sing all the notes correctly, maintaining the continuous musical line without unnecesary exaltations and shouts. With Correlli it is necessary not to fall into noise production, and with Lauri Volpi not to make falceto. Both do their job divinely. Kozlovsky (student of Lauri Volpi) lacked solidity of voice. The trebles is not everything. It is my opinion.
You are so great! I think so too. Correlli concentrated his voice too much in his throat, sort of yelling. Lauri Volpi Too much falsetto.
Dear Alex, some voices are just louder than others. Exclamations, exaltations and shouts are sometimes employed in singing for the interpretations of some roles, where emotions come into play mostly in live performances, rather than studio recordings where emotions are more tempered and the singer adheres more so to the score with less liberties taken. It could be said that the great Jussi Bjorling sang all the notes correctly, but yet his voice was not ''loud'' enough to be effective in heavier roles, but he still remains a great impeccable singer. Gigli, Volpi and perhaps Di Stefano, were masters of the mezza voce and falsetto, where the listener could hardly tell the difference which was employed. Of course singing the notes correctly is extremely important, but how the singer reaches his listeners may take precedence. Gigli, Corelli, Di Stefano, and some others had the ability in becoming intimate with their listeners. Rarely if never does the public go to a performance with an open score, but there have been professional critics giving their objective opinions that have fallen on deaf ears. Corelli specifically received many unattractive reviews'' never for his voice''during his tenure at the Met, but that didn't stop the public from attending, earning Corelli the title,'' Prince of Tenors and Mr. Soldout''. Enjoy
@@sugarbist Dear Sr. Sugarbist
First, I thank you for a professional presentation that I agree with.
I think I have expressed my position poorly. I completely understand that the role may require exclamations and even a scream.
My criticism was against the singer's desire for sacrificing the melody to singing loudly, only trying to reach the high notes with all the power of the voice, even damaging the harmony of sounds.
The opera has given many wonderful male voices with their particularity: the pianissimo of Gigli, emotional singing of Bjorling, they are equally important as Powerful Correli. It is the richness of opera that there is diversity. In my opinion, only Pavarotti had maximum versatility like no one else. But I very much agree with you that many times singers try to replace the voice with dramatic acting, and forget the opera is to sing. The current theater is losing some good singers preferring good actors and actresses; or simply beautiful women (like Netrebko).
I adore Franco Correlli in Cavalleria Rusticana, or Turandot, but in Les pecheurs des perles I prefer Gigli. I also think that if Corelli had given equal importance to the piano sound, we would have enjoyed the combination of the powerful and sweet voice. And He was capable of doing this.
Once again, I thank you for your kind comments, which are very useful and interesting for me.
@@alexandersporykhine Dear Alexander, of course suitability of roles for a specific voice comes to the forefront. I do value your thoughts and my first intention on You Tube is do share information. Enjoy
@@alexandersporykhine Corelli actually keeps a very good line in this aria, better than Lauri Volpi. Corelli had a dramatic voice. Corelli did do a lot of pianissimo, and all other things, for a dramatic voice he had great nuance. Corelli is singing sweetly here with great legato, but in is a dramatic voice. How many dramatic tenors regularly sings this aria? The legato and flexibility that is required is difficult for a dramatic voices. Lyrical voices are more at ease singing or in a natural state when they are singing in mezza voce. A dramatic voice is more at easy when they are singing in forte, this is difference. These voice have completely different attributes despite being tenors. It takes a lot of effort for a dramatic voice to sing in pianissimo, legato and I think with flexibility.
Pavarotti was versatile with with some leggero roles and lyric roles, but his heavy roles was not convincing at all. Gigli was better at the heavier roles for a lyric tenor because he had very good declamation.
Как можно сравнить эти две версии ? Карели словно маляр , который пытается рисовать картину валиком. Лаури Вольпи , напротив , грамотный художник рисующий картину тонкой кистью : штрихи четкие , плавные линии. Вы сравниваете недоучку , обладающего огромными природными данными и настоящего мастера бель Канто. На мой взгляд Лаури Вольпи идеально исполняет эту арию. Техника исполнения бесподобна. Ноты переливаются в его устах. Уникальная техника. Вы сравниваете художника и маляра . Даже Беньямино Джильи не смог спеть " a te , o cara " лучше Лаури Вольпи.
А как насчет Ди Стефано. Пуритане ,где он поет вместе с Каллас, не знают себе равных
@@SuperArkleo На мой взгляд, у Лаури Вольпи техника лучше в этой арии. Но Ди Стефано более достойный конкурент, чем Карели. А так это дело вкуса.
Though I am a great fan of Corelli. I dislike this interpretation of this aria he sings a very harsh rendition. Volpi however caresses every note seductively and really gives a master class in singing
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Lauri-Volpi's voice reverberates; it breathes and is, therefore, buoyant. Corelli's voice is "pushed" and requires force to sustain it. The difference is that Volpi uses a hammer on an anvil; Corelli employs a wooden mallet on wood. Volpi's voice is directed further back in the throat than Corelli's voice.
Nice comment！Let me add,
Volpi uses a Soft hammer（Whole-body resonance）on an anvil（Vocal cord）
Corelli uses a wood hammer（only Throat, mouth and nose） on an wooden （Vocal cord）
Lauri-Volpi's had a long career as an artist in his 80s,
Corelli's career was short, around 50 years old,
@@lisaszxu1961 Thank you. I appreciate your response for the attention paid to the content and its implication to the art of singing.
Pretty wrong, Corelli's voice was not pushed at all he did sing from far back. Corelli's center was much lower than Lauri Volpi's voice, compare their low notes if you want to understand this. Both sang with a technique that lightened the middle voice, but Corelli's middle voice was much more robust, it was a much wider voice. There is a reason why people at first though that Corelli was a baritone. I dont know why anyone would think two tenors will sound same even if they did use the same technique, people have unique voices. The recording quality also creates different ideas.
I have read an article that Lauri Volpi wrote in 1971 that criticized Corelli. He’s say that Corelli singing are bad because Corelli voice didn’t go to the mask and he will lost his voice.I have found a lot of articles and record that Lauri Volpi criticized “Low larynx techniques” he’s say larynx should stay at the same position as you speaking and he really like Alfredo Kraus mask technique .
Oh, my God, thank you so much for that precious, important information. Lauri Volpi invited Corelli to stay at his house and learn his vocals for a few months. Volpi treated Corelli not as a student, but as a peer, and treated him more leniently. I always wondered why Lauri Volpi didn't point out Corelli's shortcomings (high tension and congestion in the muscles around the throat) to his face.
Using the throat as the driving force, Caruso's driving force is ideal, below the rear diaphragm, so there is plenty of driving range. With Corelli, the breath is concentrated in the mouth, nose and throat. This is the wrong approach that Caruso wrote about in a book more than 100 years ago. Lauri Volpi should have pointed out Corelli's shortcomings to his face. Corelli was against masks, against Low larynx techniques. In fact, he also said: Arturo Melocchi is respected, but not adopted.
he’s say larynx should stay at the same position as you speaking
Exactly. That's what Caruso advocated. Thank you for your high-level comments and look forward to the opportunity to discuss the art of singing with you.
@@lisaszxu1961 Great to have a discussion with you too. Now I’m studying Opera in college as a Lyric tenor. My first teacher taught me to sang making big sound and low larynx. I practiced really hard and I can’t sing above A and sometimes I got pain on my throat. After that I changed the teacher and he teach me to sing more “natural” . Just like Caruso and Gigli method. Free sound,sing like speaking,stable larynx and open throat. Now I have effortlessly high B or high C. I won’t say that Corelli method is bad because his voice is really beautiful. But I think his technique aren’t healthy.
@@robertlewandowski7983 You should listen to Corelli Zucker comments here on YT on mask singing and also the detriment that it was to Tita Ruffo and Gino Bechi, even both baritones were terrific.
@@sugarbist if voice aren’t go the mask. It can’t be Squillo ,that the human anatomy. Corelli are sang in mask too but may be he didn’t know himself. Also ng sound are produced in nasal resonance. You can’t say the word like “name” clearly without nasal. Corelli has really great voice but his technique aren’t healthy. Checkout his record after 1973. He can’t sing over high A without strain.
And checkout old Alfredo Kraus that always sing in the mask. He can still hit a solid high C while he is 70.
@@robertlewandowski7983 Corelli sang 15 Metropolitan opera productions of Turandot in 1974, including high Cs. Strain? who cares about strain? Del Monaco had a 35 year career singing with strain or physical strength throughout his career. Technique? How was Corelli's technique not good? He started singing a little late at age 30 and was able to effectively do mezza voce`, diminuendo off a B-flat in Celeste Aida as few or no other tenor does well. He had great high notes and upper high notes, including endless breath. Corelli states that the voice should NOT be pushed into the mask, but should go into the mask traversing the breath. Corelli had a great 25 year career. Notice that Kraus was a great leggero tenor, but Kraus at 70 sounded very nasal. Corelli never sounded nasal. Sigh me up for Corelli's technique.