Замечательное исполнение, очень четкое произношение текста арии, что не всегда соблюдают современные певцы, а верхние ноты звучат очень свободно и без напряжения. Великолепный Джильи!
@@lucabernard489 you talk straight to the core! And elite school's masterclass filled with those fake stars(all related or students of Domingo), they are actively discourage students to follow Old School glory.
Well he is 46 years old here, but even at age 60 still sounded very good, but not quite this good! He lasted very well unlike some other Lyric tenors with shorter prime years then Gigli, like Tagliavini and Di Stefano. Bjoerling lasted well also, but he died relatively young, at age 49, so not a surprise that when he died he was still in great voice.
@@aetion Well Di Stefano did that even more so then Tagliavini who also sang sometimes roles , not best for him and Luckily I saw him and Di Stefano in house, when both where still in good voice..
Wow...I hear a very Caruso type of sound here. I know it is said that Gigli was a lyric tenor but there are times when his voice sounds immense. What a voice...and Technique
They were both versatile geniuses, with an extraordinary range of roles they could fit into. Just a clear proof of the advantage of immense talent combined assiduously with impeccable technique.
he sang open and closed vowels equally well where it is deceptive just how closed he starts a word and then opens inside of it; like a flower opens so does the voice, slowly. This is how a lyric sings Aida.
BENIAMINO GIGLI Quando Beniamino Gigli, célebre tenor italiano, esteve na Igreja De Nossa Senhora da Glória, onde foi agraciado com um título Honorário da Irmandade, igual ao galo: pela manhã carcareja, Cantou as músicas que fizeram em sua vida um novo capítulo. Músicas sacras, no ambiente eletivo, lembradas em ladainha, Foram cantadas por Beniamino Gigli, acompanhado pelo coro Dirigido pelo maestro Jonas Travassos, com sinos e campainha, Refletindo dentro e fora da Igreja, ambientes de sacro decoro. Maestro Jonas Travassos, no restaurante Health´s, bem situado Na Rua Senador Dantas, em frente do Banco do Brasil, a sede da Academia de Letras, ambiente por nós muito bem honrado, Cantou, em voz suave, ária "Je crois entendre encore", da ópera "Os pescadores de pérolas", de Bizet, a música que não excede A beleza manifestada por Beniamino Gigli e que hoje prospera. (*) (*) FERNANDO PINHEIRO, presidente da Academia de Letras dos Funcionários do Banco do Brasil. - BENIAMINO GIGLI (poesia), de Fernando Pinheiro. - in O mundo de Morfeu, de Fernando Pinheiro.
La primera vez que escuché a Gigli tenía 9 años. Iba caminando con mis padres por una galería comercial en Mar del Plata Buenos Aires Argentina. Mi emoción fue tal que lloré sin saber por qué. Después me enteré quién era este matavilloso tenor que resultó ser de la ciudad de mi familia Recanati Italia. Por él aprendí a amar la ópera. Gracias.
Acho o melhor intérprete de Radames. Observar a facilidade com que ele canta esta ária, não só ela mas na gravação completa sob a regência de Túlio Serafin.Tem a presença de Maria Caniglia e Dino Bechi entre outros. Acho ser a melhor gravação desta Opera de Verdi.
Eine der besten Interpretationen der Partie, die die Faszination von Beniamino Gigli als Caruso-Nachfolger begreiflich macht. Zu dieser Überzeugung trägt der Umstand bei, dass Gigli auf larmoyante Schluchzer verzichtete, mit denen er sich später ins Abseits stellte. Großes darstellerisches Vermögen blieb im leider versagt. Aber seine Erinnerung als großer Sänger in seiner besten Form hat bleibenswerten Kunstgenuss. .
1939 in NYC was the only time Gigli did not get rave reviews at the Met. in all I've seen in the archives, there in prime age, 49 they felt he was not spinto enough in the big house, similar at age 47 in 1958 in Chicago, but for Bjorling in the role, in that opera house, Tribune critic, Claudia Cassidy liked JB as her favorite tenor (she had said so) but said in her review-- it was dangerous for JB in that big house, JB sang it live in the USA only that time, in 3 performances .
@@shicoff1398 I believe Rysanek was B.’s Aida in Chicago. Conrad Osborn said that she, Tebaldi, and Nilsson were the only sopranos he ever heard who dominated the Act II finale.
@@ransomcoates546 Yes, she was and even though JB was a better vocal fit with his Chicago Duke, compared to singing in Aida, I saw him the week before those 3 Aida shows , in Rigoletto, with Moffo, I'd have rather seen the Aida with Him and Rysanek , however I did see Rysanek the following year in Otello with MDM in Italy, on a family holiday trip, it was my first Otello and still my favorite one, MDM was better sounding then the LP's I had of him, and as with Tucker, for me, he had a better sound in house then in most studio recordings . I'd really have preferred seeing JB in a concert recital over opera, I think he had few in his time that could rival him in recital, with all he sang and that formal bearing of his. I've seen so many others in concert, but I missed him in concert recital, which actually JB himself preferred singing over opera.
@@ransomcoates546 Can you believe I saw Nilsson sing Tosca with a young 27 year old Jose C. in house in 1974, she was kind with him (as she was also with Bjorling in Aida, in Sweden in 1955) she could have drown either one of them out if she had wanted, but in the duets she did hold back .
As a young tenor had a lyric voice, and with time developed a bigger, more powerful voice, becoming lirico-spinto. Just natural process of voice developing, if a singer knows how to sing. And Gigli did, better than anybody else.
Listen to the live Manon Lescaut from Rio. It will change your opinion about Gigli. A true Spinto at least by 1951. No falsetto, no lightening up. Incredible. This performance isn't indictative of his dramatic capabilities.
Well yes of course and for a basically lyric voice Gigli, when he sang it in 1939 at the Met at age 49 did not get his usually rave review , his voice was great, but they felt in that big house not best in that role. Jussi Bjoerling at age 47 in 1958 in Chicago also got a rather mediocre review also and from a great admirer critic of his, Claudia Cassidy in the TRIBUNE, it wasn't he did not sing well, he did, but in the dramatic parts she felt the voice not Spinto enough in the very big house, so the review was similar to GiglI's at a close age, 49 but in NY, also a very big house, but Gigli was not ever flamed for his sob, that never did bother me, I like him so much in all he does, but in other roles better then in Aida.
...and there is the reason , why he is among the great singers❤
Замечательное исполнение, очень четкое произношение текста арии, что не всегда соблюдают современные певцы, а верхние ноты звучат очень свободно и без напряжения. Великолепный Джильи!
Gigli has the best all round tenor voice......just😍 compare.
Superb!!
Amazing.
Insanely good
Imagine if at his 30's and or with current recording stuff... it would be insanely outstanding.
@@user-py1jg6bb2r i know... it’s all one big joke today. Universities destroy voices.
@@lucabernard489 you talk straight to the core! And elite school's masterclass filled with those fake stars(all related or students of Domingo), they are actively discourage students to follow Old School glory.
A stunning performance. He does justice to this timeless gem from Verdi.
Grazie Beniamino!
Un Tenor inolvidable.....Único.
Strong and e beautiful
MARAVILLA DE VERSION
Maravillosa PERFECCIÓN * * * * * !!!!!!!!!!!!!!!!!!
You're quite right. This is the best version of the aria by Gigli that I've come across [so far, at least!]
Un Bella voce
lui e´nella storia
There is a play about Gigli called the "Gigli concert" about a British man who is besotted by this singer.
Extraordinario muy bonita voz desde Madrid españa
Even at older age, still outstanding quality delivery! Masterful. Great Gigli💝🈵🈴👍
Well he is 46 years old here, but even at age 60 still sounded very good, but not quite this good! He lasted very well unlike some other Lyric tenors with shorter prime years then Gigli, like Tagliavini and Di Stefano. Bjoerling lasted well also, but he died relatively young, at age 49, so not a surprise that when he died he was still in great voice.
@@shicoff1398 Tagliavini and Di Stefano had destroyed their most beautiful lyric voices by undertaking too heavy roles for them.
@@aetion Well Di Stefano did that even more so then Tagliavini who also sang sometimes roles , not best for him and Luckily I saw him and Di Stefano in house, when both where still in good voice..
Did you ever meet anyone who saw/heard Caruso live?.
@@YortOK I wish.
A powerful voice! Lots of pathos. Thanks for sharing.
PERFEKT
Astonishing!
ABSOLUT PERFEKT
Meraviglioso!
Gigli was a singing GENIUS
Tenor isn’t a voice
It’s a disease lol 😂
Sublime
Wow...I hear a very Caruso type of sound here. I know it is said that Gigli was a lyric tenor but there are times when his voice sounds immense. What a voice...and Technique
They were both versatile geniuses, with an extraordinary range of roles they could fit into. Just a clear proof of the advantage of immense talent combined assiduously with impeccable technique.
@@hallu6666 well said!
he sang open and closed vowels equally well where it is deceptive just how closed he starts a word and then opens inside of it; like a flower opens so does the voice, slowly. This is how a lyric sings Aida.
BENIAMINO GIGLI
Quando Beniamino Gigli, célebre tenor italiano, esteve na Igreja
De Nossa Senhora da Glória, onde foi agraciado com um título
Honorário da Irmandade, igual ao galo: pela manhã carcareja,
Cantou as músicas que fizeram em sua vida um novo capítulo.
Músicas sacras, no ambiente eletivo, lembradas em ladainha,
Foram cantadas por Beniamino Gigli, acompanhado pelo coro
Dirigido pelo maestro Jonas Travassos, com sinos e campainha,
Refletindo dentro e fora da Igreja, ambientes de sacro decoro.
Maestro Jonas Travassos, no restaurante Health´s, bem situado
Na Rua Senador Dantas, em frente do Banco do Brasil, a sede
da Academia de Letras, ambiente por nós muito bem honrado,
Cantou, em voz suave, ária "Je crois entendre encore", da ópera
"Os pescadores de pérolas", de Bizet, a música que não excede
A beleza manifestada por Beniamino Gigli e que hoje prospera. (*)
(*) FERNANDO PINHEIRO, presidente da Academia de Letras dos Funcionários do Banco do Brasil. - BENIAMINO GIGLI (poesia), de Fernando Pinheiro. - in O mundo de Morfeu, de Fernando Pinheiro.
La primera vez que escuché a Gigli tenía 9 años. Iba caminando con mis padres por una galería comercial en Mar del Plata Buenos Aires Argentina. Mi emoción fue tal que lloré sin saber por qué. Después me enteré quién era este matavilloso tenor que resultó ser de la ciudad de mi familia Recanati Italia. Por él aprendí a amar la ópera. Gracias.
@@sidneikovacs5499 Gracias por su comentario.
Bravo 🅰🅰🅰
Acho o melhor intérprete de Radames.
Observar a facilidade com que ele canta esta ária, não só ela mas na gravação completa sob a regência de Túlio Serafin.Tem a presença de Maria Caniglia e Dino Bechi entre outros. Acho ser a melhor gravação desta Opera de Verdi.
Divino.
❤️🌹👏👏👏👏👏
Sulla sua tomba c'è scritto "cantò come nessuno mai" .....ed è proprio così!
Awesome
Per qualcosa come 85 anni fa direi molto bene.
Gigli rimane ancora oggi il.num.1 dei tenori "lirici"poi vengono gli altri.
In che senso?
@@antonioschiavi6870 Nel senso che è una registrazione del 1936, quindi sono passati ben 86 anni.
Si, anch'io.
Eine der besten Interpretationen der Partie, die die Faszination von Beniamino Gigli als Caruso-Nachfolger begreiflich macht. Zu dieser Überzeugung trägt der Umstand bei, dass Gigli auf larmoyante Schluchzer verzichtete, mit denen er sich später ins Abseits stellte. Großes darstellerisches Vermögen blieb im leider versagt. Aber seine Erinnerung als großer Sänger in seiner besten Form hat bleibenswerten Kunstgenuss. .
He certainly knew exactly how to get through the very difficult opening with its passaggio problem. Corelli never did, and often flatted.
1939 in NYC was the only time Gigli did not get rave reviews at the Met. in all I've seen in the archives, there in prime age, 49 they felt he was not spinto enough in the big house, similar at age 47 in 1958 in Chicago, but for Bjorling in the role, in that opera house, Tribune critic, Claudia Cassidy liked JB as her favorite tenor (she had said so) but said in her review-- it was dangerous for JB in that big house, JB sang it live in the USA only that time, in 3 performances .
Some purists don't like the occasional Gigli Sob but it never bothers me, nor most critics in reviews, his voice was so beautiful. RIP.
@@shicoff1398 I believe Rysanek was B.’s Aida in Chicago. Conrad Osborn said that she, Tebaldi, and Nilsson were the only sopranos he ever heard who dominated the Act II finale.
@@ransomcoates546 Yes, she was and even though JB was a better vocal fit with his Chicago Duke, compared to singing in Aida, I saw him the week before those 3 Aida shows , in Rigoletto, with Moffo, I'd have rather seen the Aida with Him and Rysanek , however I did see Rysanek the following year in Otello with MDM in Italy, on a family holiday trip, it was my first Otello and still my favorite one, MDM was better sounding then the LP's I had of him, and as with Tucker, for me, he had a better sound in house then in most studio recordings . I'd really have preferred seeing JB in a concert recital over opera, I think he had few in his time that could rival him in recital, with all he sang and that formal bearing of his. I've seen so many others in concert, but I missed him in concert recital, which actually JB himself preferred singing over opera.
@@ransomcoates546 Can you believe I saw Nilsson sing Tosca with a young 27 year old Jose C. in house in 1974, she was kind with him (as she was also with Bjorling in Aida, in Sweden in 1955) she could have drown either one of them out if she had wanted, but in the duets she did hold back .
I doubt his classification he's either Lirico-spinto or a lyric
As a young tenor had a lyric voice, and with time developed a bigger, more powerful voice, becoming lirico-spinto. Just natural process of voice developing, if a singer knows how to sing. And Gigli did, better than anybody else.
Listen to the live Manon Lescaut from Rio. It will change your opinion about Gigli. A true Spinto at least by 1951. No falsetto, no lightening up. Incredible. This performance isn't indictative of his dramatic capabilities.
@@jefolson6989 he had a tenacity of a dramatic tenor in that aria (Pazzo son)
Not Caruso
Well yes of course and for a basically lyric voice Gigli, when he sang it in 1939 at the Met at age 49 did not get his usually rave review , his voice was great, but they felt in that big house not best in that role. Jussi Bjoerling at age 47 in 1958 in Chicago also got a rather mediocre review also and from a great admirer critic of his, Claudia Cassidy in the TRIBUNE, it wasn't he did not sing well, he did, but in the dramatic parts she felt the voice not Spinto enough in the very big house, so the review was similar to GiglI's at a close age, 49 but in NY, also a very big house, but Gigli was not ever flamed for his sob, that never did bother me, I like him so much in all he does, but in other roles better then in Aida.
Of course it's not Caruso, Gigli is better.
Caruso alone will be boring to death for All. This version is gorgeous too, and Gigli was almost 50. Unique and masterful.
Gigli e' meglio di Caruso.
EINFACH PERFEKT BESSER GEHT ES NICHT
ALSO listen to JOSEPH SCHMIDT, TENOR