During the last two weeks, I’ve been playing this tenor’s 1925 and 1926 Victor red seal orthophonics that are absolutely stunning. he was as good as they came, especially in that period between 1925 and 1930. If you ever get a chance to hear his Brunswick recordings of that same time, make every effort to listen to them. Many thanks to the poster.
It is quite impossible to say who is the greatest tenor also because over a certain level it is really matter of personal taste and affinity to say who is the best one. Said that I should admit that Lauri Volpi is by far the tenor I prefer, the one who is able to produce in me the highest impression and emotions Furthermore I admire as well the singer as the writer, the journalist, the critic and the philosopher. Lauri Volpi was not only a great artist but also a man of extraordinary culture and spirituality and this is something that appears in his singing
The Meyerbeer was absolutely gorgeous! I'd love to hear the entire Grand duet with him. Yes a tenor who sang very lyrically in the dramatic repertoire. Not overly dark in the way many do today.
Lauri-Volpi fue como tenor lo mismo que la Callas como soprano: registro extenso de todos los tipos de voces, que cubría desde Almaviva de El barbero de Sevilla hasta el Otello de Verdi. Con una enorme potencia vocal, bello timbre y un squillo único que sólo hemos escuchado en la voz de Corelli, quien heredó algunas características de la voz de Lauri-Volpi. En algunas arias tienen un timbre similar, lo cual fue anotado por el crítico Johan Steane en su libro The great tradition. Saludos,
Yes we need but they all patronized and marketize mosquitos. Unfortunately some who study old school singing are underrated or on the shadow of mosquitos.
Good luck with finding them. Nowadays this kind of singing (if anyone is still capable of it, that is) is enough to ban you from the world’s greatest stages… Unfortunately, we are generally plagued by mediocrities which the agents and the marketing machines (try to) pass for geniuses...
Centro leggero, registro acuto sfavillante- tecnica perfetta- poi è giunto il verismo,che ha avuto nuove emissioni, a partire se vogliamo da Caruso, i n parte Gigli, poi del Monaco, di Stefano, Corelli... anch’essi ci hanno dato grande gioia!!!
Vorrei fare solo un appunto riguardo la cronologia degli eventi. Una delle ragioni delle grandezza di Lauri Volpi e della sua singolarità rispetto ad altri cantanti a lui contemporanei e pure grandissimi è proprio il fatto che in pieno verismo (LV debutta nel 1919 pochi anni prima della morte di Enrico Caruso) Lauri Volpi fu capace di riproporre in modo stilisticamente attendibile e nelle tonalità originali il repertorio del primo 800, Guglielmo Tell, Ugonotti, Puritani, Sonnambula, Favorita etc. Questo grazie ad'una cultura di prim'ordine, all'eleganza e allo stile appresi dal grande baritono romano Antonio Cotogni, ad una tecnica vocale straordimaria, oltre che ad una voce particolarissima da autentico tenore contraltino estesissima in alto rimanendo però squillante e timbratissima ma anche capace di smorzatuture e mezze voci. Per certi aspetti LV presenta molte affinità con quello che anni dopo sarà il fenomeno Maria Callas, capace di riproporre una stile di canto e una tipologia vocale del passato (il cosiddetto soprano drammatico di agilità di cui si era persa memoria, dato che il repertorio di agilità fino a quel momento era appannaggio di soprani leggeri). Per concludere, il verismo con tutti i suoi pregi e difetti è lo stile che domina quando Lauri Volpi comincia a.cantare È singolare il fatto che nei primissimi dischi di LV a inizio carriera quelli acustici dell'inizio anni 20 si sente una tendenza a scurire artificialmente la voce, quasi LV volesse imitare Caruso adeguandosi alla moda dell'epoca. Successivamente si nota una grande evoluzione sia tecnica che stilistica compiutasi alla fine degli anni venti.Da quel momento almeno fino alla metà degli anni 40 LV al culmine delle sue capacità tecniche vocali ed.espressive lascerà un impronta personalissima non solo nel belcanto ma anche in Verdi spaziando da Rigoletto a Otello con esiti straordinari e illuminando di una nuova prospettiva certo repertorio verista a lui più affine (come il fiabesco Calaf, ma non solo) Credo che il modello di Lauri Volpi abbia influenzato profondamente cantanti come Alfredo Kraus o Luciano Pavarotti anch'essi capaci di riproporre Rossini Bellini Donizetti in modo credibile e stilisticamente corretto. Lo stesso Franco Corelli, in un particolare momento della sua carriera in cui volle estendere il proprio repertorio ad opere del primo ottocento quali Ugonotti e Poliuto si recò spesso da LV per ottenere consigli su come adattare la propria emissione e la propria tecnica a quelle tessiture estreme, cosa che come.documentato gli riuscì assai bene.
Right, you can easily say a Lyric Spinto because he sang both types of opera's well and both live, yet had a lyric color to his voice. Bjoerling was a less spinto tenor and also called a lyric spinto by some fans, and by himself a "spinto", in his 40's, he sang on studio recording Calaf, but never live of course, not that kind of voice. So LV whatever label you use a great tenor in his time, as was the Lyric Gigli. All labels often argued about, whatever!
@@sugarbist He Did, taking Liberties IMO isn't as bad as bad habits are, yet some people also will listen to a performance and base an opinion hastily on one or two performances on you tube, which can have show a singer past his prime years and not what he once was, so age must be considered if the singer sounds dry, strained or wobbles --- of course some singers last longer than others. LV lasted.---RIP.
Как звучит голос 80-летнего певца в "Nessun Dorna"! Когда я слышу эти потрясающие заключительные "Vincero! Vincero!" и вижу его не менее потрясающий профиль, показанный крупным планом, я понимаю, что есть еще рай на этой земле, в тот момент, когда гениальный артист празднует свой звёздный час!
Lyric oder Spinto, oder beides!? Ich sehe LV leicht vor Beniamino Gigli, das ist aber keine Wertung sondern nur Geschmackssache! Ich hatte früher, von meinen Großvater aufgehoben, eine Presse Kritik von einem Auftritt in Berlin, etwa 1929 (Il trovatore) Einfach nur sensationell, er galt damals als der legitime Nachfolger Carusos! (meine Lieblingsaufnahme LV und Rethberg in Aida!) Dieses Video ist großartig und macht aber auch traurig! Was haben wir heute, wo sind die großen Stimmen hin?
Lauri Volpi sang again on his 85th birthday and the great Russian bass Mark Reysan sang Prince Gremin aria on his 90th sounding like a bass half his age.
Having well developed lower register and using it to support acute register in the top notes gives you power and using the right amount of air where all of it rings and leaves your throat ringing gives you squillo, it actually has less to do with the voice type. Lauri Volpi had very high natural voice, definitely at least lyric, his passagio was not on F#, but on G or G#, Corelli said. His singing of middle notes was soft and not baritonal-the way Caruso or Corelli sang, since he considered using much of the chest voice on the middle notes to be a bad/unnatural style for tenors. Having saved a lot of energy on that, he "resolved" on the top notes, that's why they were great, but they wouldn't've been if he hadn't had the entirety of his voice developed, like we see with some light tenors today who skip the leg day or the "chest voice" day.
He's no lyric. t This was a voice that could do Otello and Radames and Calaf in a big theater without being drowned out by the orchestra like Kaufmann in even lighter roles.. Sure Jonas could beef up his middle voice when there wasn't much orchestration, the way Jon Vickers did throughout his carrier. Apropos, Birgit Nilsson once commented to him "Why don't you start your damned singing!" This was a reference to Vicker's "Why don't you stop your damned coughing!!" during a performance of his Tristan when some audience members were coughing.
Lauri-Volpi´s voice became unsteady in his high notes when he was about 50 years old, like Maria Callas, but earlier than Lauri-Volpi, when she had not still 40 years old. This is the vocal wobble that also had Leonard Warren, Cornell MacNeil, Sherrill Milnes, Joseph Carreras and Giuseppe Giacomini, among other opera singers. On the contrary, for example, Roberta Peters, Renata Tebaldi, Birgit Nilsson, Dorothy Kirsten, Leontyne Price, Robert Merrill, Ettore Bastianini, Kurt Baum, Iván Kovlosky, Achille Braschi, Jussi Björling, Richard Tucker, Jan Peerce, Mario del Monaco, Franco Corelli Alfredo Kraus, and Pedro Lavirgen, all fo them had an steady voice without wobble. Greetings,
Yes, I did. He was past his prime, while there were other tenors that in old age had their voice very steady, such as Ivan Kovtlovsky, Kurt Baum, Gian-Franco Cecchele and Jan Peerce. This Nessun dorma was to see Lauri-Volpi instead of hearing him. Now, did you hear these tenors at old age in best form than Lauri-Volpi? Greetings,
@@silvioivanbendanamora1682In 1923-1933 he’s perform more than 300 performances at Met and a lot more in a concert. I think that the reason. Lauri Volpi method was almost the same as Kraus. But Kraus still has a consistent vibrato until he’s 70.
"The greatest lyric tenor to ever live" May I remind you that there is a certain Beniamino Gigli who clearly deserves that title more? Not to say LV wasn't great, but THE greatest lyric? Gotta be Gigli. He is the closest tenor to Caruso (vocally speaking).
Dear baoanhnguyen, categorizing tenors does get a little tricky. Gigli of course was a great tenor, but never in the high note operas that Volpi thrived in. Puritani, Gugliemo Tell, Ugonotti, Tuandot and Poliuto. Volpi was also terrific in Trovatore and Aida which are 2 operas that Gigli never thrived in. Gigli of course was great in Romeo, Mignon, Lucia, Manon L, Manon, Boheme, Ballo, Pearl Fishers, Elisir, Gioconda, Chenier, Africana, Faust and just about everything he sang except for Aida and Trovatore. Caruso also never sang the high note operas, but in my opinion has still never been dethroned as the greatest tenor. Can we imagine that we could possibly see Gigli and Volpi during the same week at the Rome Opera house circa 1940? Enjoy
Para @Carloonzo Tienes toda la razon en que no hay que discutir con segun quien, pero cuando se juntan ignorancia y prepotencia la situacion se hace insoportable. Para mi el mejor es Kraus pero entiendo y respeto que para otros pueda ser Corelli, Di Stefano de la primera epoca, Del Monaco, Aragall en dia bueno...etc. Lo que demuestra una ignorancia patologica es afirmar que Lauri-Volpi fue mejor que Kraus en el repertorio belcantista
A great tenor. No doubt. But when you make such resounding comments about him..... I also suppose that you have heard voices like those of Miguel Fleta, Aureliano Pertile, Alfredo Kraus (to name just three....)
@@JavierBorja-bs1dd Dear Javier, Beauty of voice is often subjective. Certainly each tenor was great. Volpi was also a very fine singer early in his career, but as he took on the heavier roles like Aida, Forza, Chenier, Trovatore, Tosca, Luisa Miller, I Lombardi, Gioconda, Norma, Cavalleria, I Pagliacci,Turandot, and even Otello, he did take liberties with the music which pleased the audiences in live performances. Kraus was a very refined singer and only limited in repertoire.
I agree with you in that the beauty of voice IS often subjective but Kraus sang the óperas that were for his voice and was the perfection. Lauri Volpi was not the perfection. Kraus IS the reference in Werther, Favorita, Il duca, Des Grieux (Massenet), Nadir...etc. In muy concept, Lauri Volpi was a great tenor but without the perfection of Kraus and I am not convinced that hi were the golf standard in any role
That vibrato is like from another dimension, I have NEVER heard a tenor which such energetic squillo ringing vibrato, its truly fantastic!!
During the last two weeks, I’ve been playing this tenor’s 1925 and 1926 Victor red seal orthophonics that are absolutely stunning. he was as good as they came, especially in that period between 1925 and 1930. If you ever get a chance to hear his Brunswick recordings of that same time, make every effort to listen to them. Many thanks to the poster.
Giacomo was an alien.....no way man. What a voice, what a technic!
Guys like this will never come again in our way.
God bless his soul.
The last singer of the garcia tecnique...
@@erichmayr7299 His maestro was Cotogni and when he died his wife, Maria Ross, teached him the Garcia technic.
It is quite impossible to say who is the greatest tenor also because over a certain level it is really matter of personal taste and affinity to say who is the best one. Said that I should admit that Lauri Volpi is by far the tenor I prefer, the one who is able to produce in me the highest impression and emotions Furthermore I admire as well the singer as the writer, the journalist, the critic and the philosopher. Lauri Volpi was not only a great artist but also a man of extraordinary culture and spirituality and this is something that appears in his singing
So well said!
The Meyerbeer was absolutely gorgeous! I'd love to hear the entire Grand duet with him. Yes a tenor who sang very lyrically in the dramatic repertoire. Not overly dark in the way many do today.
Lauri-Volpi fue como tenor lo mismo que la Callas como soprano: registro extenso de todos los tipos de voces, que cubría desde Almaviva de El barbero de Sevilla hasta el Otello de Verdi. Con una enorme potencia vocal, bello timbre y un squillo único que sólo hemos escuchado en la voz de Corelli, quien heredó algunas características de la voz de Lauri-Volpi. En algunas arias tienen un timbre similar, lo cual fue anotado por el crítico Johan Steane en su libro The great tradition. Saludos,
Maravilloso tenor Lauri volpi bravoooo
Absolutely beautiful! One of few best tenors in history. His voice was unusually HIGH and full...
We need more Lauri-Volpi's on those big theaters
Yes we need but they all patronized and marketize mosquitos. Unfortunately some who study old school singing are underrated or on the shadow of mosquitos.
@@mariofilippeschi4855 There's not much to choose from today
Good luck with finding them.
Nowadays this kind of singing (if anyone is still capable of it, that is) is enough to ban you from the world’s greatest stages… Unfortunately, we are generally plagued by mediocrities which the agents and the marketing machines (try to) pass for geniuses...
Won’t happen
There is no great school today.
Lauri volpi came from greatest school.
And his talent is so collosal.
I think most special voices of all time.
God
A wonderful Otello! So unique
Centro leggero, registro acuto sfavillante- tecnica perfetta- poi è giunto il verismo,che ha avuto nuove emissioni, a partire se vogliamo da Caruso, i n parte Gigli, poi del Monaco, di Stefano, Corelli... anch’essi ci hanno dato grande gioia!!!
Vorrei fare solo un appunto riguardo la cronologia degli eventi. Una delle ragioni delle grandezza di Lauri Volpi e della sua singolarità rispetto ad altri cantanti a lui contemporanei e pure grandissimi è proprio il fatto che in pieno verismo (LV debutta nel 1919 pochi anni prima della morte di Enrico Caruso) Lauri Volpi fu capace di riproporre in modo stilisticamente attendibile e nelle tonalità originali il repertorio del primo 800, Guglielmo Tell, Ugonotti, Puritani, Sonnambula, Favorita etc. Questo grazie ad'una cultura di prim'ordine, all'eleganza e allo stile appresi dal grande baritono romano Antonio Cotogni, ad una tecnica vocale straordimaria, oltre che ad una voce particolarissima da autentico tenore contraltino estesissima in alto rimanendo però squillante e timbratissima ma anche capace di smorzatuture e mezze voci. Per certi aspetti LV presenta molte affinità con quello che anni dopo sarà il fenomeno Maria Callas, capace di riproporre una stile di canto e una tipologia vocale del passato (il cosiddetto soprano drammatico di agilità di cui si era persa memoria, dato che il repertorio di agilità fino a quel momento era appannaggio di soprani leggeri).
Per concludere, il verismo con tutti i suoi pregi e difetti è lo stile che domina quando Lauri Volpi comincia a.cantare È singolare il fatto che nei primissimi dischi di LV a inizio carriera quelli acustici dell'inizio anni 20 si sente una tendenza a scurire artificialmente la voce, quasi LV volesse imitare Caruso adeguandosi alla moda dell'epoca.
Successivamente si nota una grande evoluzione sia tecnica che stilistica compiutasi alla fine degli anni venti.Da quel momento almeno fino alla metà degli anni 40 LV al culmine delle sue capacità tecniche vocali ed.espressive lascerà un impronta personalissima non solo nel belcanto ma anche in Verdi spaziando da Rigoletto a Otello con esiti straordinari e illuminando di una nuova prospettiva certo repertorio verista a lui più affine (come il fiabesco Calaf, ma non solo)
Credo che il modello di Lauri Volpi abbia influenzato profondamente cantanti come Alfredo Kraus o Luciano Pavarotti anch'essi capaci di riproporre Rossini Bellini Donizetti in modo credibile e stilisticamente corretto.
Lo stesso Franco Corelli, in un particolare momento della sua carriera in cui volle estendere il proprio repertorio ad opere del primo ottocento quali Ugonotti e Poliuto si recò spesso da LV per ottenere consigli su come adattare la propria emissione e la propria tecnica a quelle tessiture estreme, cosa che come.documentato gli riuscì assai bene.
Un prodigio de la madre naturaleza la belleza y potencia jamás lograda
And listen to how steady his sound is!
Bravissimo!!!
He's a super human!!!
il maestro de maestro !!!!!! the best even Corelli train with him!
БравоБравоБраво!!! ❤
Brilliant at any age. Simply, a vocal wonder at any level or range. Clear, pure, and, viral.
Fantastico... His vibrato sound a little strange... But what a powerful squillo and what a legato!!!
Почтение, великому мастеру!
yes old school singing, never again.
Divina voz!
Wow! So grand, legendary and much more than lyric only…bravo㊗㊗㊗
Lyric tenor? perhaps a lyric spinto, or spinto, or a lyric dramatic. The category doesn't matter. Lauri Vopli was a great tenor.
Right, you can easily say a Lyric Spinto because he sang both types of opera's well and both live, yet had a lyric color to his voice. Bjoerling was a less spinto tenor and also called a lyric spinto by some fans, and by himself a "spinto", in his 40's, he sang on studio recording Calaf, but never live of course, not that kind of voice. So LV whatever label you use a great tenor in his time, as was the Lyric Gigli. All labels often argued about, whatever!
@@shicoff1398 Volpi could be delicate or heroic, singing through a wide variety of roles with great success.
@@sugarbist He Did, taking Liberties IMO isn't as bad as bad habits are, yet some people also will listen to a performance and base an opinion hastily on one or two performances on you tube, which can have show a singer past his prime years and not what he once was, so age must be considered if the singer sounds dry, strained or wobbles --- of course some singers last longer than others. LV lasted.---RIP.
@@shicoff1398 Some up loaders will also compare a tenor in his 30s or 40s to a tenor in his 50s or 60s, which is obviously an unfair comparison
Tenore drammatico è che fu.
Как звучит голос 80-летнего певца в "Nessun Dorna"! Когда я слышу эти потрясающие заключительные "Vincero! Vincero!" и вижу его не менее потрясающий профиль, показанный крупным планом, я понимаю, что есть еще рай на этой земле, в тот момент, когда гениальный артист празднует свой звёздный час!
Bellissima selezione complimenti.
Great video for singers
Thank you 😊
Lyric oder Spinto, oder beides!? Ich sehe LV leicht vor Beniamino Gigli, das ist aber keine Wertung sondern nur Geschmackssache! Ich hatte früher, von meinen Großvater aufgehoben, eine Presse Kritik von einem Auftritt in Berlin, etwa 1929 (Il trovatore) Einfach nur sensationell, er galt damals als der legitime Nachfolger Carusos! (meine Lieblingsaufnahme LV und Rethberg in Aida!)
Dieses Video ist großartig und macht aber auch traurig! Was haben wir heute, wo sind die großen Stimmen hin?
Lyric und Spinto, eine kraftvolle Stimme, die jedes Repertoire abdecken kann, das ihm gefällt.
Es gibt keine solchen Sänger!
1:25 - 😮!!!
This man was not a singer… He was a god!
Lauri Volpi sang again on his 85th birthday and the great Russian bass Mark Reysan sang Prince Gremin aria on his 90th sounding like a bass half his age.
ENRICO CARUSO.
Lyric? He was a true spinto I think, with huge power and squillo.
He had a very huge voice, but he sang phrases so lyrically and sang lyrical roles so well he considered himself a true lyric tenor.
Haha I feel you mate. I thought he was a dramatic at first because he nails Otello and Il Trovatore
Having well developed lower register and using it to support acute register in the top notes gives you power and using the right amount of air where all of it rings and leaves your throat ringing gives you squillo, it actually has less to do with the voice type. Lauri Volpi had very high natural voice, definitely at least lyric, his passagio was not on F#, but on G or G#, Corelli said. His singing of middle notes was soft and not baritonal-the way Caruso or Corelli sang, since he considered using much of the chest voice on the middle notes to be a bad/unnatural style for tenors. Having saved a lot of energy on that, he "resolved" on the top notes, that's why they were great, but they wouldn't've been if he hadn't had the entirety of his voice developed, like we see with some light tenors today who skip the leg day or the "chest voice" day.
@@UrosKovacevic91 haha I agree. Not having chest voice is like skipping leg day at the gym 😂
@@Chris-wm4th He said he was a "lyric but in theatre" (ie a lirico spinto)
um den rang von Laura-volpi hat es heftige kontroversen gegeben.eine ungewöhnliche Stimme. vice islolata dennoch hinreißend
7:25, dilegua
La tecnica della voce in maschera. Nessuno ne è più capace da 80 anni a questa parte.
Un di all’azzuro spazio was probably played too fast because the pitch is a step higher
He's no lyric. t
This was a voice that could do Otello and Radames and Calaf in a big theater without being drowned out by the orchestra like Kaufmann in even lighter roles.. Sure Jonas could beef up his middle voice when there wasn't much orchestration, the way Jon Vickers did throughout his carrier. Apropos, Birgit Nilsson once commented to him "Why don't you start your damned singing!" This was a reference to Vicker's "Why don't you stop your damned coughing!!" during a performance of his Tristan when some audience members were coughing.
I’d say he was full lyric or lyric spinto .
Lauri-Volpi´s voice became unsteady in his high notes when he was about 50 years old, like Maria Callas, but earlier than Lauri-Volpi, when she had not still 40 years old. This is the vocal wobble that also had Leonard Warren, Cornell MacNeil, Sherrill Milnes, Joseph Carreras and Giuseppe Giacomini, among other opera singers. On the contrary, for example, Roberta Peters, Renata Tebaldi, Birgit Nilsson, Dorothy Kirsten, Leontyne Price, Robert Merrill, Ettore Bastianini, Kurt Baum, Iván Kovlosky, Achille Braschi, Jussi Björling, Richard Tucker, Jan Peerce, Mario del Monaco, Franco Corelli Alfredo Kraus, and Pedro Lavirgen, all fo them had an steady voice without wobble. Greetings,
Did you hear his "Nessun Dorma" when he was 79?
Yes, I did. He was past his prime, while there were other tenors that in old age had their voice very steady, such as Ivan Kovtlovsky, Kurt Baum, Gian-Franco Cecchele and Jan Peerce. This Nessun dorma was to see Lauri-Volpi instead of hearing him. Now, did you hear these tenors at old age in best form than Lauri-Volpi? Greetings,
@@silvioivanbendanamora1682In 1923-1933 he’s perform more than 300 performances at Met and a lot more in a concert. I think that the reason. Lauri Volpi method was almost the same as Kraus. But Kraus still has a consistent vibrato until he’s 70.
1_ volpi, bergonzi, corelli, pavarotti, kraus, di stefano.
e sai osa cha la voce der Cardelli
Yo no he visto a Lauri-Volpi en el teatro pero, si a esto le llamais voz bella, como llamais a las voces de Aragall, Kraus o Di Stefano ?.
"The greatest lyric tenor to ever live"
May I remind you that there is a certain Beniamino Gigli who clearly deserves that title more? Not to say LV wasn't great, but THE greatest lyric? Gotta be Gigli. He is the closest tenor to Caruso (vocally speaking).
Gold vs. Gold.
I prefer Volpi, but it is a decimal difference, both are the glory of opera.
@Barone Vitellio Scarpia Filippeschi is not a lyric he is a spinto tenor.
Gigli gets the title for me too
Dear baoanhnguyen, categorizing tenors does get a little tricky. Gigli of course was a great tenor, but never in the high note operas that Volpi thrived in. Puritani, Gugliemo Tell, Ugonotti, Tuandot and Poliuto. Volpi was also terrific in Trovatore and Aida which are 2 operas that Gigli never thrived in. Gigli of course was great in Romeo, Mignon, Lucia, Manon L, Manon, Boheme, Ballo, Pearl Fishers, Elisir, Gioconda, Chenier, Africana, Faust and just about everything he sang except for Aida and Trovatore. Caruso also never sang the high note operas, but in my opinion has still never been dethroned as the greatest tenor. Can we imagine that we could possibly see Gigli and Volpi during the same week at the Rome Opera house circa 1940? Enjoy
Para @Carloonzo
Tienes toda la razon en que no hay que discutir con segun quien, pero cuando se juntan ignorancia y prepotencia la situacion se hace insoportable. Para mi el mejor es Kraus pero entiendo y respeto que para otros pueda ser Corelli, Di Stefano de la primera epoca, Del Monaco, Aragall en dia bueno...etc. Lo que demuestra una ignorancia patologica es afirmar que Lauri-Volpi fue mejor que Kraus en el repertorio belcantista
Perdón: @carlomonzo
A great tenor. No doubt. But when you make such resounding comments about him..... I also suppose that you have heard voices like those of Miguel Fleta, Aureliano Pertile, Alfredo Kraus (to name just three....)
Kraus was a leggero, Fleta and Pertile never had the upper high notes that Volpi had.
Kraus fue lírico ligero. Ligeros fueron Alva, Benelli y otros.
Ademas, Kraus tenía una voz mas bella y cantaba mucho mejor que Lauri-Volpi
@@JavierBorja-bs1dd Dear Javier, Beauty of voice is often subjective. Certainly each tenor was great. Volpi was also a very fine singer early in his career, but as he took on the heavier roles like Aida, Forza, Chenier, Trovatore, Tosca, Luisa Miller, I Lombardi, Gioconda, Norma, Cavalleria, I Pagliacci,Turandot, and even Otello, he did take liberties with the music which pleased the audiences in live performances. Kraus was a very refined singer and only limited in repertoire.
I agree with you in that the beauty of voice IS often subjective but Kraus sang the óperas that were for his voice and was the perfection. Lauri Volpi was not the perfection. Kraus IS the reference in Werther, Favorita, Il duca, Des Grieux (Massenet), Nadir...etc. In muy concept, Lauri Volpi was a great tenor but without the perfection of Kraus and I am not convinced that hi were the golf standard in any role
Zisi si di grandi acuti ma non di grande belleza