You are so right ! His version is like so much of his singing :: Very passionate and involved. ( Don Ottavio is a pretty "weak" character. The women in the opera are much stronger. ) Rolando Villazon gives this aria great masculinity ( that low-note was wonderful to hear ; not heard by other tenors ). He gave a great deal of himself to singing this music ( he is the only tenor, I have heard, who "fires-up" Baroque Tenor Music, as he does here with Don Ottavio ).
I can only think of one word to describe this beautiful voice : effervescent ! It matches his personality perfectly ; a wonderful tenor and a personable , positive , happy individual . 🤩
Absolutely agree on the "stylistic thing" (the generally-accepted truth that to sing Mozart you have to be gay or, at least, seem to be one, wich is just bullshit) but there is also the breathe control thing. And there Villazón can't do what most mozartian tenors do: he needs to take an extra breath at 1:45 that sort of ruins the global impression.
@@robert111k In 50 years I have found only 5 tenors who can take that run in one breath: John McCormick, Luigi Alva, Stuart Burrows, Francisco Araiza, and a new Paraguayan named Diego Godoy. I've heard that Leopold Simeneau did it. So all the other tenors are not to be scorned, but surely Mozart wrote it for a tenor who could do it. After you hear Alva's beautiful voice in it--he did it more than once on stage--you miss it in all other renditions.
@@waltersoto4624 DARE we ask “what is the significance of the long melsima that everyone is so hyped about singing in one breath to the aria as a whole?” In terms of elucidating the drama or the text, it adds NOTHING. It is a total piece of fluff embellishing a dominant seventh chord. It has no emotional or dramtic signficance. NONE. Why is it there? *Showmanship.* Like stage lighting and efx. That’s it. Mozart has composed much gorgeous melody in the aria’s two very distinct dramatic segments “Il mio tesoro…” and “Che sol di stragi…” But this melisma in particular is hardly characterized as gorgeous melody. So why get all excited about singing something so utterly trivial in one breath? Aa purely technical trick here, devoid of dramatic and artistic meaning.
ENDLESS VRAVO DEAR ROLANDO !!! ENDLESS BRAVO DEAR MUSICIANS AND DEAR MAESTRO !!! TRUE PLEASURE IS FOR ME AND FOR ALL MY FRIENDS TO LISTEN THIS FANTASTIC VOICE AND THOSE FANTASTIC MUSICIANS !!! BIG, BIG, BIG THANK YOU FOR THE BIG PLEASURE !!! DEAR Xola Theodore Meki, BIG THANK YOU FOR THE WONDERFUL VIDEO !!! I LISTEN, LISTEN . . . . . . . THE PLEASURE IS FULL !!! VERY HEART GREETINGS FROM SOFIA - BULGARIA
I totally agree with you, McCormack's rendition of "Il mio tesoro" remains the greatest, followed, on my opinion, by Björling's and wunderlich's, although in German, but Wunderlich is exceptionally suited for Mozart.
Me gusta todo tipo de música, salvo la música clásica. Sobre todo la ópera, a la que odio con todas mis fuerzas. Lógicamente, mi cantante favorito es Rolando Villazon .
Yes, and in the complete recording with Yannick Nezet-Seguin & the CEO, he plays the role very differently to the rather wimpish character usually encountered.
Dragan Vidic Yes I agree and I realized when I sent it, that I it wasn‘t what I meant to express. He is a lyric tenor, who could do some dramatic roles well for a time. Maybe the dramatic roles he sang taxed his voice a bit. I am still very impressed with his artistry and versatility.
Powerful singing but for this song there is only one master and that is the great John McCormack. Keep in mind that McCormack's recording was made in the early years of recording technology but his crystal clear voice and breath control were sublime. It is difficult nowadays to know if the recording has been electronically adjusted but with McCormack it was the genuine beautiful natural voice.
What happened at 2:13? I assume he couldn’t take the phrase in one breath, but the passage is missing. Anyway, I saw Villizon as Werther in London, and he was wonderful. I don’t know if that was before or after his vocal crisis.
DON OTTAVIO Il mio tesoro intanto Andate a consolar, E del bel ciglio il pianto Cercate di asciugar. Ditele che i suoi torti A cendicar io vado; Che sol di stragi e morti Nunzio vogl'io tornar. In the meantime Go to comfort my love And try to dry the tears from her lovely eyes Tell her that I am going To avenge her wrongdoings That I want to return only As a messager of destruction
DON OCTAVIO Aan mijn geliefde, o haast je, om haar verdrietige hart te troosten. Zoet zijn de tranen die kastijden, maar treur niet degenen die scheiden. Vertel haar, om haar gelijk te zien krijgen, zal ik nooit ophouden met achtervolgen, mijn zwaard en geloof heb ik beloofd. Niets dat mijn vastberadenheid zal dwarsbomen
Contrary to what some others think, I find the interpretation very fitting. This is not an aria for soft interpretation. He is singing "I go to avenge her, and will only return as a messenger of death" ... you should not sound nice and weak while singing that ... and most tenors interpret Ottavio too weak, in my opinion.
Absolut richtig. Many singers, and some very good ones, are so intimidated by the phrase lengths and delicate but demanding ornamentation that they think they are reducing the risk of energy over-expatiation by retaining a mezzo forte rendering. Don Ottavia is not over bright and not very resolute but he is not a wimp. Read the libretto!
@Heber Ferraz-Leite If you haven't already, watch "Kind Hearts and Coronets"; listen to the way Dennis Price murders this aria... beautifully murders this aria. 😊
His Don Ottavio in a complete recording with Yannick Nezet-Seguin & the CEO is an interesting interpretation, far more positive than the rather wimpish character usually encountered.
Luciano never sang Don Ottavio. Unfortunately, Villazon’s opera voice is pretty much shot at this point. Sad, because I saw him in London in 2012, and he was outstanding.
nice, but prefer a more lyric approach like alva or the irish tenor in this song - lighter and more relaxed. leopold simoneau or wunderlich or also better
+finn marius - I don't agree. This is the Prague version of Octavio's aria. Morella in Vienna couldn't sing it so Mozart wrote 'Dalla Sua Pace" for him. I don't think Pavarotti ever sang it (I could be wrong). Villazon is simply great here. He has excellent fioratura and of course it's a full size voice. I like 'manly' Octavios like Villazon or Windberg. I knew Simoneu personally and I loved everything he sang but Villazon is a great Mozart tenor of a different type.
independant of the tessitura, you are right about the relaxation. Try Placido's version and you can listen how he never let the diaphragm go out of his technique, like Rolando does (to give it more "appeal" but it only makes him use the throat and thus, adding more pressure and work to your whole instrument) and he can even be seen singing it at a very young age without any damn trouble at all. This is a matter of diaphragm domination, rather than tessitura.
Alex Orozco When I was practicing for the Met auditions I sang Il Mio Tesoro in the practice rooms. My tenor buddy came by and complained. I'm a bass. I sang Alvise's big aria for my audition. My buddy complained that it sounded like someone was playing a 78 at 33. So I know the aria even though my part in the show is the Commendatore.
Wow, wish I could have that experience of auditioning at the met too. I think you went a bit too far, I mean, singing a lyric tenor aria, but on the other hand maybe practice would've made it sound better (not necessarily good enough thou). I mean, Giuseppe Giacomini sounding like a baritone at 66 years old but singing live Nessun Dorma better than many healthy young tenors pretty much states a difference on why diaphragm is key in healthy singing.
Wow, you cut out lines in the middle. Why? To shorten the video? Not cool. You can hear the really bad edit after "Il mio tesoro intanto..." Where is "Andate, andate a consolar....?"
Love his voice, but not particularly in this piece of music. Bit like Tito Schipa, who I think was the best 'Tenore di grazia' ever to date. It was his only failure. He just couldn't do this piece either.
I love Villazon but not in this aria. He lacks the delicacy of Wunderlich and sounds bombastic in comparison. We know he has a tremendous voice and volume! but this is not the aria to impress us with his nailing the operagoers in the back row to their seats.
Ole Nielson No one will be like Wunderlich. He was born to sing Mozart. Fritz is my all time favorite tenor. I still like Villazon. He has so much feeling for the music.
Can someone tell why does he make a wierd expression every time he finishes a frase? I mean im a singer and know that breathing in a fraction of second is kinda hard, but his expressions are just weird. Great interpretation though 😁
I love Villazon's singing and don't understand why so many hate him. One comment called him a 'disgusting little sewer rat' which mystifies me. True, he emotes too theatrically, but people praised Callas for that. Netrebko gets the same treatment. Rolando is even good looking in a Gremlinesque way.
@@javieroybin4541 Me gusta su voz,transmite,tu eres lo que cantas,trasmites lo que eres y eso a 999 personas le gusta y en todas sus canciones de youtune a la gente le gusta enormemente.1🤷♂️
Et en plus, cet homme est terriblement sympathique
Now this is superb..... the passion and control is just beautiful.❤😊😊😊
Qué orgullo para México tener intérpretes de ópera de este nivel! Qué magnífica voz!
Qué pereza dan los comentarios de este tipo. ¿Que tendrá que ver el culo con las témporas?
!¡BRAVO ROLANDO.EN MEXICO SE TE QUIERE Y ADMIRA!
¡GRANDE ENTRE LOS GRANDES!
Gorgeous voice and phrasing. Why isn't he the most famous tenor in the World?
I've just watched two other performances of this piece, and now I've just watched the definitive version!
In that case, you need to look at more videos. I like Villazon, but this is pretty bad.
This aria suits him so much! Love this performance!
Since this is an , " avenging" song, Mr. Villazon brings the passion and strength to this song that is often missing....
You are so right !
His version is like so much of his singing ::
Very passionate and involved.
( Don Ottavio is a pretty "weak" character. The women in the opera are much stronger. )
Rolando Villazon gives this aria great masculinity ( that low-note was wonderful to hear ; not heard by other tenors ).
He gave a great deal of himself to singing this music ( he is the only tenor, I have heard, who "fires-up" Baroque Tenor Music, as he does here with Don Ottavio ).
I can only think of one word to describe this beautiful voice : effervescent ! It matches his personality perfectly ; a wonderful tenor and a personable , positive , happy individual .
🤩
Voce splendida
I love his voice so much! So beautiful, and his acting is superb! Such a charming, humorous, and gifted man!
Agree! Lovely voice, charming man! What's not to like?
Magnificent.
What a voice! What a singer!!!
Great job. Love it. why does he have to bow to interpretations done by others? Beautiful strong voice. clear tone. Villazon nails it.
Absolutely agree on the "stylistic thing" (the generally-accepted truth that to sing Mozart you have to be gay or, at least, seem to be one, wich is just bullshit) but there is also the breathe control thing. And there Villazón can't do what most mozartian tenors do: he needs to take an extra breath at 1:45 that sort of ruins the global impression.
@@robert111k In 50 years I have found only 5 tenors who can take that run in one breath: John McCormick, Luigi Alva, Stuart Burrows, Francisco Araiza, and a new Paraguayan named Diego Godoy. I've heard that Leopold Simeneau did it. So all the other tenors are not to be scorned, but surely Mozart wrote it for a tenor who could do it. After you hear Alva's beautiful voice in it--he did it more than once on stage--you miss it in all other renditions.
@@robert111k Villazón does EXACTLY what most tenors do. As Roger states below, only few have EVER done this is a single breath.
@@waltersoto4624, yeah. The good ones, at least for Don Ottavio rol.
@@waltersoto4624 DARE we ask “what is the significance of the long melsima that everyone is so hyped about singing in one breath to the aria as a whole?” In terms of elucidating the drama or the text, it adds NOTHING. It is a total piece of fluff embellishing a dominant seventh chord. It has no emotional or dramtic signficance. NONE. Why is it there? *Showmanship.* Like stage lighting and efx. That’s it. Mozart has composed much gorgeous melody in the aria’s two very distinct dramatic segments “Il mio tesoro…” and “Che sol di stragi…” But this melisma in particular is hardly characterized as gorgeous melody. So why get all excited about singing something so utterly trivial in one breath? Aa purely technical trick here, devoid of dramatic and artistic meaning.
Un bel canto cantata da un grande tenore
Il mio tesoro intanto..... È semplicemente meraviglioso!
ENDLESS VRAVO DEAR ROLANDO !!! ENDLESS BRAVO DEAR MUSICIANS AND DEAR MAESTRO !!! TRUE PLEASURE IS FOR ME AND FOR ALL MY FRIENDS TO LISTEN THIS FANTASTIC VOICE AND THOSE FANTASTIC MUSICIANS !!! BIG, BIG, BIG THANK YOU FOR THE BIG PLEASURE !!! DEAR Xola Theodore Meki, BIG THANK YOU FOR THE WONDERFUL VIDEO !!! I LISTEN, LISTEN . . . . . . . THE PLEASURE IS FULL !!! VERY HEART GREETINGS FROM SOFIA - BULGARIA
This aria is owned by John McCormack from a recording made for Victor Records in 1916, more than 100 years ago. It still has not been equaled!
Thank you for making me discover him! Gösta Winbergh was also exceptional in the role of Don Ottavio.
Was it the 1911 version, that is on You Tube ? It makes all the others look small, even Villazon.
Luigi Alva did the run in one breath live on stage repeatedly.
I totally agree with you, McCormack's rendition of "Il mio tesoro" remains the greatest, followed, on my opinion, by Björling's and wunderlich's, although in German, but Wunderlich is exceptionally suited for Mozart.
@@marinellabakken7491 Don't forget Gigli!
Me gusta todo tipo de música, salvo la música clásica. Sobre todo la ópera, a la que odio con todas mis fuerzas. Lógicamente, mi cantante favorito es Rolando Villazon .
Esta interpretación es p e r f e c t a, absolutamente perfecta .
BRAVISIMO
voix toujours aussi merveilleuse et inégalée
Beautiful voice!! great
I am impressed!!! And it is not easy to impress me!
wow. He has a high mpb rating - Miles Per Breath. I was running out of breath just listening to him.
Maravillozo voz me gusta mucho maestro sobretodo cuando cantas en alemán
I hadnt really listened to Vilazon in magnificent full voice before, - quite staggering really when compared with the 'others'.
Bravo, Rolando! Mozart suits his voice perfectly.
beh, nn è tenore mozartiano. Bravo, nn c è che dire però...
When Don Ottavio becomes the main macho character
Yes, and in the complete recording with Yannick Nezet-Seguin & the CEO, he plays the role very differently to the rather wimpish character usually encountered.
Geweldig, Groots, fantastisch!!
Great singing and great versatility! This is a tough piece for a dramatic tenor! He could do it all!
It’s a lyric role and Villazon is not a dramatic
Dragan Vidic Yes I agree and I realized when I sent it, that I it wasn‘t what I meant to express. He is a lyric tenor, who could do some dramatic roles well for a time. Maybe the dramatic roles he sang taxed his voice a bit. I am still very impressed with his artistry and versatility.
Not many dramatic tenors could sing this role without having problems.
Phil Phillips He ruined his lyric voice by singing everything. Period.
Dragan Vidic Not before he made a lot of money.
I love your voice Rolando Villazon.
I ě4żf+
I would be interested to learn which the other two recordings were, if he considers this to be the definitive version.
Powerful singing but for this song there is only one master and that is the great John McCormack. Keep in mind that McCormack's recording was made in the early years of recording technology but his crystal clear voice and breath control were sublime. It is difficult nowadays to know if the recording has been electronically adjusted but with McCormack it was the genuine beautiful natural voice.
I fully agree......its incredible that a recording McCormack made 100 years ago is still the standard for this aria!!........Bravo!
His voice is quite pleasant when he doesn't push it so hard. Bravo!
Hy sing pragtig met ń sterk stem!
maravilhosa apresentação.
Bravo!!
What happened at 2:13? I assume he couldn’t take the phrase in one breath, but the passage is missing. Anyway, I saw Villizon as Werther in London, and he was wonderful. I don’t know if that was before or after his vocal crisis.
Villazon sings great!
Bravo...
ПРЕКРАСНЕЙШИЙ голос !!! БРАВО маэстро !!!
oh yeah. love VIllazon's interpretation. balls to the wall!
iimio tesoro es la bella voz q tienes bello q dios t bendiga maestro q viva rolando q viva el tenor
I feel like he could have exploded if he wanted to, he's so powerful
Ganz wunderbar,,,
He sing looks like domingo
All de defects of Domingo
Spoiled at 2min 14 sec with that cut/jump in the music. Scrap the recording - that jump will get engraved in your mind - trust me!
Kai
Jis rimtai dainuoja patinka!
Very nice!! But the ultimate Don Ottavio is Luigi Alva, IMHO!!
Don Giovanni or Don Ottavio? 'Il mio tesoro...' is Don Ottavio's love song, and I agree that Luigi Alva's interpetation of it is outstanding.
Terrie Tackett I agree with you, but can’t we just enjoy this wonderful singing?
DON
OTTAVIO
Il mio tesoro intanto
Andate a consolar,
E del bel ciglio il pianto
Cercate di asciugar.
Ditele che i suoi torti
A cendicar io vado;
Che sol di stragi e morti
Nunzio vogl'io tornar.
In the meantime
Go to comfort my love
And try to dry the tears from her lovely eyes
Tell her that I am going
To avenge her wrongdoings
That I want to return only
As a messager of destruction
Thank you for this ;-)
DON OCTAVIO
Aan mijn geliefde, o haast
je, om haar verdrietige hart te troosten.
Zoet zijn de tranen die kastijden,
maar treur niet degenen die scheiden.
Vertel haar, om haar gelijk te zien krijgen,
zal ik nooit ophouden met achtervolgen,
mijn zwaard en geloof heb ik beloofd.
Niets dat mijn vastberadenheid zal dwarsbomen
There is a problem with the sound at 2:14. What happened?
Ah.. New favored aria ❤️
Contrary to what some others think, I find the interpretation very fitting. This is not an aria for soft interpretation. He is singing "I go to avenge her, and will only return as a messenger of death" ... you should not sound nice and weak while singing that ... and most tenors interpret Ottavio too weak, in my opinion.
Yes!! Thank you.
Absolut richtig. Many singers, and some very good ones, are so intimidated by the phrase lengths and delicate but demanding ornamentation that they think they are reducing the risk of energy over-expatiation by retaining a mezzo forte rendering. Don Ottavia is not over bright and not very resolute but he is not a wimp. Read the libretto!
I concur. He portrays Ottavio as a decent man who is enraged, not as one who is weak and ineffectual.
@Heber Ferraz-Leite
If you haven't already, watch "Kind Hearts and Coronets"; listen to the way Dennis Price murders this aria... beautifully murders this aria. 😊
This sounds like a love aria. I had no clue. The melody is so soft.
now hear Stuart Burrows
His Don Ottavio in a complete recording with Yannick Nezet-Seguin & the CEO is an interesting interpretation, far more positive than the rather wimpish character usually encountered.
1000 mal Bravo ❤
Villazon's voice really suits this song! Brilliant rendition!
I’d love to hear Villazón singing Tamino in Die Zauberflöte
He sang Papageno at the Met in New York during a recent season. Sad to say, his tenor range is pretty much shot.
E' come dire "t'amo" con il coltello tra i denti.
wtf was that cut in the midle
Yeah. That ruins the global impression of this, otherwise, quite good rendition.
John McCormack, please.
No está completa la pieza¡¡ que mal.
He's no Luciano yet maybe one day. (there are not a lot of them about) I like him the more I hear of him.
Luciano is Luciano. Why should any other singer be Luciano?
Luciano never sang Don Ottavio. Unfortunately, Villazon’s opera voice is pretty much shot at this point. Sad, because I saw him in London in 2012, and he was outstanding.
꿀 성대 보유자! 너무 큐티. 아직 세련미는 쫌 미미한듯..ㄲㄲ
3 cheers for the Villazon passionate dramatic interpretation......and blah-blah for the wimpwad irish tenor "interpretation"
pushing too much, but overall it was great:D
That's Stadttheater. Not more.
Grotesque.
nice, but prefer a more lyric approach like alva or the irish tenor in this song - lighter and more relaxed. leopold simoneau or wunderlich or also better
+finn marius
Couldn't agree more.
+finn marius - I don't agree. This is the Prague version of Octavio's aria. Morella in Vienna couldn't sing it so Mozart wrote 'Dalla Sua Pace" for him. I don't think Pavarotti ever sang it (I could be wrong).
Villazon is simply great here. He has excellent fioratura and of course it's a full size voice. I like 'manly' Octavios like Villazon or Windberg. I knew Simoneu personally and I loved everything he sang but Villazon is a great Mozart tenor of a different type.
independant of the tessitura, you are right about the relaxation. Try Placido's version and you can listen how he never let the diaphragm go out of his technique, like Rolando does (to give it more "appeal" but it only makes him use the throat and thus, adding more pressure and work to your whole instrument) and he can even be seen singing it at a very young age without any damn trouble at all. This is a matter of diaphragm domination, rather than tessitura.
Alex Orozco When I was practicing for the Met auditions I sang Il Mio Tesoro in the practice rooms. My tenor buddy came by and complained. I'm a bass. I sang Alvise's big aria for my audition.
My buddy complained that it sounded like someone was playing a 78 at 33. So I know the aria even though my part in the show is the Commendatore.
Wow, wish I could have that experience of auditioning at the met too. I think you went a bit too far, I mean, singing a lyric tenor aria, but on the other hand maybe practice would've made it sound better (not necessarily good enough thou). I mean, Giuseppe Giacomini sounding like a baritone at 66 years old but singing live Nessun Dorma better than many healthy young tenors pretty much states a difference on why diaphragm is key in healthy singing.
Wow, you cut out lines in the middle. Why? To shorten the video? Not cool. You can hear the really bad edit after "Il mio tesoro intanto..." Where is "Andate, andate a consolar....?"
this is.... different....
Too open!!!!!
Puro artificio
This is not Mozart...
Love his voice, but not particularly in this piece of music. Bit like Tito Schipa, who I think was the best 'Tenore di grazia' ever to date. It was his only failure. He just couldn't do this piece either.
Как будто не о том поёт.
Т
This is an extremely difficult aria. However, Villazòn makes it sound more Mascagni than Mozart. Sorry, nice try though.
Trop dramatique!
Sentimental and sacharine dramatic and overdone
Maestro Villazon is possibly the greatest living tenor, equal to Juan Diego Florez.
Yeah, they’re both awful. 😉
@@wotan10950 Actually, Villazón has a better voice than Florez, but I think he sounds a little throaty.
I love Villazon but not in this aria. He lacks the delicacy of Wunderlich and sounds bombastic in comparison. We know he has a tremendous voice and volume! but this is not the aria to impress us with his nailing the operagoers in the back row to their seats.
Ole Nielson No one will be like Wunderlich. He was born to sing Mozart. Fritz is my all time favorite tenor. I still like Villazon. He has so much feeling for the music.
Wunderlich took it much too slow.
Can someone tell why does he make a wierd expression every time he finishes a frase? I mean im a singer and know that breathing in a fraction of second is kinda hard, but his expressions are just weird. Great interpretation though 😁
Matización cero.
안면마비 오것다. 좀 편안하게 노래했으면. . . . . .
Fuera de repertorio !!!!
Villazon cantando Mozart es como querer hacer un grabado con una moladora...
Too heavy. Too much acting. Too much screaming. Too spinto. Not very Mozart. Sorry.
let's ask Mozart how he wants it done, mr. f****ing expert.
I love Villazon's singing and don't understand why so many hate him. One comment called him a 'disgusting little sewer rat' which mystifies me. True, he emotes too theatrically, but people praised Callas for that. Netrebko gets the same treatment. Rolando is even good looking in a Gremlinesque way.
Todo lo canta con un verismo exagerado
Totalmente fuera del estilo de mozart. Falta de gusto. Esto no esto es verdi y puccini
mejor es juan diego florez
No me gustó...muy pesado
Great voice and singer -but I don’t like the interpretation he is doing in this aria.
Basura
parece que canta en un cuarto, no tiene timbre y fuerza de sonido, parece que hablara´..... feo feo feo...
ah también es feo esa cosa...jejeje
Absolutamente de acuerdo, todo forzado sin técnica alguna, el sonido está ahogado por la fuera que hace al cantar.
@@javieroybin4541 Tuviste la mala suerte de haber estudiado opera o algo relacionado,no puedes dejar de analizar las voces tecnicamente.
@@RosaSilva-bq5sp Todo se trasluce en el canto.
@@javieroybin4541 Me gusta su voz,transmite,tu eres lo que cantas,trasmites lo que eres y eso a 999 personas le gusta y en todas sus canciones de youtune a la gente le gusta enormemente.1🤷♂️
Villazon's voice really suits this song! Brilliant rendition!