Pertile might not have the technique of Caruso or Lauri-Volpi, but I respect him a lot more as a musician. But yes, we need to see videos of both Pertile and Penno singing. We have videos of Gigli and Lauri-Volpi and we can see they both raised the head slightly up and I’ve noticed some others did it too (like Joseph Schmidt). I wonder how would Pertile and Penno’s head position be when they’re singing. And also I’m interested in how other Cotogni pupils (tenors, baritones and even some basses) would be like on video, besides Gigli and Lauri-Volpi.
You are right. If there were videos, it would be a more direct way to understand these aspects. However, for me, just by listening to the voice, I can determine a singer’s posture, chest position, head, and neck alignment. Most importantly, I believe I can judge a singer's height based on their voice. I can recognize it. Schmidt’s high notes are filled with the tonal quality of middle and low notes, with an excellent sense of vocal unity from the bottom to the top, so he must be short. In contrast, singers like Eugenio Fernandi, Nicolai Gedda, and Georges Thill, who are over 180 cm tall, lack the lower register's resonance in their high notes due to physiological factors. Nicolai Gedda’s voice shows a complete disconnect between low, middle, and high registers - each seems to operate independently, and this, too, is determined by physical characteristics. I’d like to hear your opinion on the essential differences between Pertile and Caruso. Lauri-Volpi believed himself to be Caruso’s heir, but his vocal technique was entirely different. Of course, Pertile also differed from Lauri-Volpi. I can demonstrate these three types of voices on Skype if there is a chance, as I have already shown my students. The best way to understand these tenors' posture, mouth cavity, and resonance chamber configuration is to produce the same kind of sound. You must match their vocal tract configuration; otherwise, it’s impossible to reproduce the same voice. Currently, I can replicate over 100 voices of tenors I consider true greats without needing to see their videos. This allows me to identify Pertile’s flaws and what Lauri-Volpi lacked. When singing the same piece, I also know how I would improve upon their renditions. Lauri-Volpi’s issue lies in forcing his vocal cords into his windpipe with too much muscle tension around the vocal folds. In contrast, Caruso maintained extreme abdominal tension while keeping everything else completely relaxed. This shows that Lauri-Volpi’s breath support was not deep enough. I will analyze this more in the future.
![Chris Langan - The Interview THEY Didn't Want You To See - CTMU [Full Version; Timestamps]](http://i.ytimg.com/vi/9miVG2xT5jY/mqdefault.jpg)
Pertile might not have the technique of Caruso or Lauri-Volpi, but I respect him a lot more as a musician. But yes, we need to see videos of both Pertile and Penno singing. We have videos of Gigli and Lauri-Volpi and we can see they both raised the head slightly up and I’ve noticed some others did it too (like Joseph Schmidt). I wonder how would Pertile and Penno’s head position be when they’re singing. And also I’m interested in how other Cotogni pupils (tenors, baritones and even some basses) would be like on video, besides Gigli and Lauri-Volpi.
You are right. If there were videos, it would be a more direct way to understand these aspects. However, for me, just by listening to the voice, I can determine a singer’s posture, chest position, head, and neck alignment. Most importantly, I believe I can judge a singer's height based on their voice. I can recognize it. Schmidt’s high notes are filled with the tonal quality of middle and low notes, with an excellent sense of vocal unity from the bottom to the top, so he must be short. In contrast, singers like Eugenio Fernandi, Nicolai Gedda, and Georges Thill, who are over 180 cm tall, lack the lower register's resonance in their high notes due to physiological factors. Nicolai Gedda’s voice shows a complete disconnect between low, middle, and high registers - each seems to operate independently, and this, too, is determined by physical characteristics.
I’d like to hear your opinion on the essential differences between Pertile and Caruso. Lauri-Volpi believed himself to be Caruso’s heir, but his vocal technique was entirely different. Of course, Pertile also differed from Lauri-Volpi. I can demonstrate these three types of voices on Skype if there is a chance, as I have already shown my students. The best way to understand these tenors' posture, mouth cavity, and resonance chamber configuration is to produce the same kind of sound. You must match their vocal tract configuration; otherwise, it’s impossible to reproduce the same voice. Currently, I can replicate over 100 voices of tenors I consider true greats without needing to see their videos. This allows me to identify Pertile’s flaws and what Lauri-Volpi lacked. When singing the same piece, I also know how I would improve upon their renditions.
Lauri-Volpi’s issue lies in forcing his vocal cords into his windpipe with too much muscle tension around the vocal folds. In contrast, Caruso maintained extreme abdominal tension while keeping everything else completely relaxed. This shows that Lauri-Volpi’s breath support was not deep enough. I will analyze this more in the future.