I love the almost tenoristic top register--amazing contol!!! I admire baritones that can compete with tenors in terms of tessitura and surprise the audiences!!!
Нужно послушать Бастианини в"Сила судьбы",Энрико Эштон в"Лючия Ди Ламмермур" или "Андре Шенье",Ренато в"Бал Маскарад"-там он очень на верхах красиво звучит!
I found myself humming this aria at my sister's birthday party yesterday, I only heard it a couple of weeks ago and I am really taken with it. I love Sherrill Milnes not just for his top notes but also for his stage presence, vocal expression, his rhythmic style(which became more driven), his legato and his looks, and to hear him in such good voice is just wonderful.
I've had this recording on vinyl since the 1970s. Sometime in the early 1980s I transferred it to cassette using Dolby C. Sometime in the 2000s I "found" that cassette and digitized it. I cleaned up the sound a little bit and broke it into tracks. I compressed these to high qualify mp3 files, which now reside on my ipod, as well as other places. How much do I like this recording? That much. The man could flat out sing. It's more than just the high notes, but gosh are they thrilling.
It's now 2014. Isn't there any dramatic Verdi baritone that can sing this aria like Milnes and top it off with a powerful high B flat and sustain it like he did? I'd almost pay to get and hear a video on here of a current baritone be able to pull this off. No straining, just somewhat confidant and effortless as Milnes made it sound like. Whenever I hear this I get goosebumps. My lord Milnes was so blessed with his utterly phenomenal voice. Sheer perfection. Hands down probably the greatest baritone ever.
@Barone Vitellio Scarpia Già lirico... non certo una voce da grande generale romano... manca il timbro ed il piglio fermo del grande uomo d'armi e di potere... serve un vero baritono per timbro ed aulicità, Milne4s lo vedo meglio in Donizetti, Puccini... e non in tutti i ruoli. Se i cantanti si attenessero al loro ruolo d'elezione manterrebbero intatte le loro doti canore a lungo e non dovrebbero forzare i suoni, che in Milnes spesso risultano schiacciati e qua e là opachi...
His voice sounds mervelous to me. He sings right in the middle between a tenor and a baryton and his style is impeccable. No doubt, one of the greatest singers of our times!!
Thank you Elliot Matheny. I am forever in your debt. Lucas Meachem is brilliant. He has similar characteristics that Miles had. Thanks so much for introducing him to me. I have Goosebumps!!!!!!!!!!
Paul Brown, I am not surprised. After all, Milnes was a tenor (ha,ha). Seriously, I have enjoyed Milnes singing immensely along his good years. I would love to hear that live performance with the b flat. I wish we can hear any baritone now days with his quality, pathos and high notes.
+pacific lyric Hey Pacific Lyric, go to Handelman Podcast. Type in Sherrill Milnes...scroll down go to the second page. You will see podcast Viva La Cabaletta part one. Milnes is singing the Attila live. posted March 26 2006. Im not a big fan of Milnes, but I admire his body of work. This is a prime example of why he became who he did.
Everything you say, I totally agree with. I think as he got older, perhaps he felt more pressure to be in more of the mold of Merrill, Warren, or MacNeil, and artificially darkened a bit too much. I think in essence, Milnes has always been a lyric baritone -- a very full one, though.
Thanks for your information. I am sure I'll enjoy it. You don't have to convince me of why Milnes was who he was in opera. Just an exchange of thoughts. When he came out to the international scene I was mesmerized by his singing. I think his first Traviata and Trovatore are still one of my favorites.
Hey...thanks so much for posting, I used to play this double album to death back in the 80's! especially this Attila with the B flat!!!! I think I had a bit of a Milnes crush!
I remember Jerry Lo Monaco telling me that he and Milnes used to vocalize together. He said that Milnes would match him all the way to the D above high C and that the sound would "knock the doors off the room", as Lo Monaco put it. Jerry asked him why he didn't try singing as a tenor and Milnes replied that, although he had the top notes, he simply couldn't sustain the tessitura.
Incidentally, you can tell by how good he sounds here how early his decline (sadly) began. Just a relatively few years later he was starting to sound a lot more "airy" and slightly less accurate in his vocal production.
In my opinion no one has ever come close to the voice, range, etc. that Sherrill Milnes possessed. I was fortunate to see and hear and met him twice in the late 70's and early 80's when the Met was still on tour. What a charming man. His dramatic coloratura was amazing. It would be a true thrill to hear one of today's baritones do this aria justice with the high B Flat.
One of the great Italian baritones, famous for his thrilling high notes, was being interviewed by a journalist who asked, "Isn't it true that most baritones are merely frustrated tenors?" "Perhaps." replied the great baritone, "But so are most tenors."
Cappuccilli sings the high B flat LIVE in this cabaletta twice, the second time as an encore. He also interpolates this note LIVE in the end of Germont’s scene. It’s on You Tube as well.
This is from an old LP called "The Baritone Voice". To my knowledge, it has yet to be released on a CD. For those who feel that Milnes had poor technique - how does poor technique lead to virtually perfect singing as this, and the many, many other examples Milnes has left for us on his recordings? It does not, of course. Who knows the reason for the capillaries bursting? It has been said he was singing a rep too heavy for him. Perhaps this is true. But man, what a singer!
Poor technique leads to a voice degenerating when it's supposed to be in it's prime, ala Milnes. Plenty of singers sing well, DESPITE poor technique, not because of it. Technique does not exist for you to sound Godly, (though that's half of it), it's so you still have a usable voice when you're 50, which Milnes did not.
Aaron, Milnes's technique was excellent - in fact, he was known by his colleagues as a singer without flaws in his technique for many years. His recorded legacy, available for all to hear, leaves no doubt. It was burst capillaries in the vocal folds in 1981 (iirc) and the laser surgery used to attempt correction that did him in, starting a slow, definite decline. Prior to that, he'd been the leading baritone in the world for many years. His bio, "American Aria," discusses all of this.
@@swissarmytenor Unlike you unfortunately, I have sung beside and shared drinks with some of Milnes colleagues. The words most used to describe him were egotistical, arrogant, selfish, and insecure. His technique is never praised. He had a great sound early on DESPITE his technique, not because of it. He himself has said of his own singing that it is an uphill battle every time he steps foot on stage, with never a moment of ease, always fighting for a good sound. That is the opposite of good technique. Please, when you're speaking to individuals with first and second hand knowledge on a topic, don't presume to argue.
@Sherrill Milnes Fan Not sure why you're being confrontational about this, please enlighten me. The way I see it, one of these comparisons has the same tone of character, language, composer, is also a cabaletta, and the other is maybe similar because it has a high note...?
He sang hundreds of performances in the minor leagues before his stardom, which he came to having more wear on the voice than most major singers do. I think his ability to achieve so much when he was young gave him a bit of an invincible complex, which he lost big time in 1980.
belcantospeciaist: keep in mind that is a studio recording. Has he ever sung this cavaletta in the theater with the bflat, like, for example, Cappuccilli? This is not say that is one of best bflast of a baritone I ever heard.
I can testify to hearing Milnes sing plenty of thrilling high B flats in the theater, namely the Metropolitan Opera House in the 1970s and 80s; for example, in "Ballo," end of Act IV "Morte!" and in "La Favorite" at the end of the "De nemici tuoi" cabaletta; also lots of As and A flats in various operas and even a quick B natural in the final reiteration of the curse in "Rigoletto." Milnes was always profligate with his high-notes but it didn't keep him from having very solid middle and lower registers.
Wow. Prime Milnes- I've been looking for this- where'd you get it? =) I believe this recording was used in his documentary "Homage to Verdi." Unfortunately he did not sing a Bb here in his complete recording of the role with Bergonzi etc. Thanks for posting this. If you can let me know how I could get it I'd appreciate it. ;)
Sig.raigekimaru,vedo che il suo dream casts ha ottenuto varie approvazioni;anch'io sono favorevole,ma per i tre quarti e cioé Ramey-Corelli(che non credo abbia mai cantato la parte di Foresto) e la Sig.ra Sutherland. Per quest'opera,io escluderei Milnes e metterei un altro Ezio,semisconosciuto rispetto a Milnes,che può trovare su Ytb cliccando:"Antonio Salvadori Attila dagli immortali vertici".saluti
Sherrill Milnes is receiving a lot of unwarranted criticism on the news groups of late. I always liked his stunning voice & terrific top notes. His characterizations of complex Verdi roles (Rigoletto & Iago) were seriously deficient & sometimes downright silly. Still, that voice....
It was the burst capillaries on the underside of his vocal chord(s) that caused crisis in 1980 or '81. The laser surgery that followed allowed him to continue singing, but certainly sped up his decline, along with the aging process. Or is it being said that oversinging/wrong rep *caused* the burst capillaries?
This is correct re burst capillaries and laser surgery. So many people spend their time speculating. Go straight to the most authentic source, SM's autobiography, American Aria, where he explains.
Sig.Drosner Brawler,lei ritiene virile e scuro Milnes in questa cabaletta ? A me non sembra proprio;se vuol trovare queste caratteristiche provi a cliccare "Antonio Salvadori Attila Dagli immortali vertici" e poi,se vuole,mi dica che ne pensa.
Dear friend,the song sung by Milnes is taken from a Long Playing now unavailable and i have made a repayment on CD.If you make me your address i shall send you with pleasure a copy of the CD. Roman
@ninawally1 I don't know why dame joan never sang odabella. she had the perfect voice for it and is the only singer I can think of that did. it's a true dramatic coloratura role with an extremely high tessitura, substantial agility requirements, and at the same time requiring both extremely lyrical and extremely dramatic singing. the bellowing dramatic sopranos who normally sing odabella do not do it justice
Extended lyric baritone. Sorta like Igor Gorin. Their voices were only a semitone lower than that of a tenor... which is why they had these kinda high notes.
To the best of my understanding, Milnes had some fundamental flaws right off the bat. Even before 1980 you can hear some decline and some bad habits. Whether they *caused* the burst capillary I have no idea but that and the subsequent surgery(s) certainly didn't help.
Good question. He declined in a rather odd way. His middle and lows deteriorated more quickly than his top did, strange. You can pick out some flaws in his singing but I wonder what the problem really was. I don't understand it completely.
Precisely BECAUSE he sang this way his voice was ruined. Yes, he tried to sound too much like Warren, whom he idolized. Pity, he was one of the finest natural baritone voices.
da sogno sono Corelli, Sutherland and Ramey non Milnes! Verdi non é solo lancio di acuti potento, é un insieme di legato, smorzature, messe di voce, passaggi di registro e molto altro in cui Milnes é insufficiente. Peccato, la voce non era male ma il resto ha sempre latitato.
Sono pienamente d'accordo che Verdi non é solo lancio di acuti,di cui Milnes ha fatto un punto di forza.Per il resto a me non é mai piaciuto e non ritengo neppure bella la voce.Nello specifico,trovo questa cabaletta di una noia e sciatteria terribile,posto che dovrebbe esternare lo sdegno e la sfida che Ezio esprime verso il suo imperatore.Se posso,segnalo aria e cabaletta(dal vivo) cliccando"Antonio Salvadori Attila Dagli immortali vertici".saluti
Sherrill Milnes is receiving a lot of unwarranted criticism on the news groups of late. I always liked his stunning voice & terrific top notes. His characterizations of complex Verdi roles (Rigoletto & Iago) were seriously deficient & sometimes downright silly. Still, that voice....
Sherrill Milnes is receiving a lot of unwarranted criticism on the news groups of late. I always liked his stunning voice & terrific top notes. His characterizations of complex Verdi roles (Rigoletto & Iago) were seriously deficient & sometimes downright silly. Still, that voice....
Milnes was incredible! The LAST great baritone. I was so fortunate to have seen him on stage a number of times.
Спасибо "Бастианини.."-ты всегда первый поддержишь коллегу,это благородно,говорит, что ты истинно труженик оперы,благородный
gotta play this Bflat just to remind myself I'm still alive!
I love the almost tenoristic top register--amazing contol!!! I admire baritones that can compete with tenors in terms of tessitura and surprise the audiences!!!
Нужно послушать Бастианини в"Сила судьбы",Энрико Эштон в"Лючия Ди Ламмермур" или "Андре Шенье",Ренато в"Бал Маскарад"-там он очень на верхах красиво звучит!
The King of the baritones!!!!!
I found myself humming this aria at my sister's birthday party yesterday, I only heard it a couple of weeks ago and I am really taken with it. I love Sherrill Milnes not just for his top notes but also for his stage presence, vocal expression, his rhythmic style(which became more driven), his legato and his looks, and to hear him in such good voice is just wonderful.
Maestro Milnes is one of the Great Lights of the American Operatic Stage...Superb Gentleman!
I've had this recording on vinyl since the 1970s. Sometime in the early 1980s I transferred it to cassette using Dolby C. Sometime in the 2000s I "found" that cassette and digitized it. I cleaned up the sound a little bit and broke it into tracks. I compressed these to high qualify mp3 files, which now reside on my ipod, as well as other places. How much do I like this recording? That much. The man could flat out sing. It's more than just the high notes, but gosh are they thrilling.
Life is just not fair, is it? So many tenors struggle with Bb and this baritone had such an easy time with it.
Well, back then they were taught to actually sing. This was my former voice teacher: th-cam.com/video/aLaSF-7k98A/w-d-xo.html
내가 들은 e gettata la mia sorte중에서 best of best👍👍👍
It's now 2014. Isn't there any dramatic Verdi baritone that can sing this aria like Milnes and top it off with a powerful high B flat and sustain it like he did? I'd almost pay to get and hear a video on here of a current baritone be able to pull this off. No straining, just somewhat confidant and effortless as Milnes made it sound like. Whenever I hear this I get goosebumps. My lord Milnes was so blessed with his utterly phenomenal voice. Sheer perfection. Hands down probably the greatest baritone ever.
belcantospecialist the simple answer is no. Everybody today sucks at Verdi.
D'archangelo is good, but doesn't even come close to having Milnes' range.
Search for Omar carrion, he has a recording live doing the thing you are asking for :)
@@commandert5 D'Archangelo is a completely different fach than Milnes. Not fair to compare a bass-baritone to a dramatic baritone. Just saying.
@Barone Vitellio Scarpia Già lirico... non certo una voce da grande generale romano... manca il timbro ed il piglio fermo del grande uomo d'armi e di potere... serve un vero baritono per timbro ed aulicità, Milne4s lo vedo meglio in Donizetti, Puccini... e non in tutti i ruoli. Se i cantanti si attenessero al loro ruolo d'elezione manterrebbero intatte le loro doti canore a lungo e non dovrebbero forzare i suoni, che in Milnes spesso risultano schiacciati e qua e là opachi...
His voice sounds mervelous to me.
He sings right in the middle between a tenor and a baryton and his style is impeccable. No doubt, one of the greatest singers of our times!!
Still waiting to hear a current baritone do this powerful dramatic aria with the high B at the end a nail it as Milnes did.
belcantospecialist Correction, B flat.
I bet Lucas Meachem could. Hard to imagine any other top billed baritones sing the Bb4 like that, though.
Thank you Elliot Matheny. I am forever in your debt. Lucas Meachem is brilliant. He has similar characteristics that Miles had. Thanks so much for introducing him to me. I have Goosebumps!!!!!!!!!!
belcantospecialist you will be waiting for a very long time.
Cappuccilli
Ti adoro 🥰🥰💯💯
@swissarmytenor
I bought LP called "The Baritone Voice" years ago and am happy to own this spectacular performance.
Sublime !
Paul Brown, I am not surprised. After all, Milnes was a tenor (ha,ha). Seriously, I have enjoyed Milnes singing immensely along his good years. I would love to hear that live performance with the b flat.
I wish we can hear any baritone now days with his quality, pathos and high notes.
+pacific lyric Hey Pacific Lyric, go to Handelman Podcast. Type in Sherrill Milnes...scroll down go to the second page. You will see podcast Viva La Cabaletta part one. Milnes is singing the Attila live. posted March 26 2006. Im not a big fan of Milnes, but I admire his body of work. This is a prime example of why he became who he did.
Не услышишь
bravo il piu tenore che baritono Milnes
Everything you say, I totally agree with. I think as he got older, perhaps he felt more pressure to be in more of the mold of Merrill, Warren, or MacNeil, and artificially darkened a bit too much. I think in essence, Milnes has always been a lyric baritone -- a very full one, though.
Extraordinario!!!
Milnes, the best!!!!!!!
piero cappucilli
Meglio Milnes di Cappuccilli.
Thanks for your information. I am sure I'll enjoy it. You don't have to convince me of why Milnes was who he was in opera.
Just an exchange of thoughts. When he came out to the international scene I was mesmerized by his singing. I think his first Traviata and Trovatore are still one of my favorites.
Thanks. Bummer, one of the best instruments burned out in (comparatively) short order. Good actor too.
I'd really like to hear Milnes sing some dramatic tenors arias! Lowering them a little he would sound stupendous!
@ShawDAMAN
That is a Bb! somewhere around 500hz (vibrato makes it difficult to tell)
B flat is 493hz if i remember correctly.
Bravo
Hey...thanks so much for posting, I used to play this double album to death back in the 80's! especially this Attila with the B flat!!!! I think I had a bit of a Milnes crush!
I remember Jerry Lo Monaco telling me that he and Milnes used to vocalize together. He said that Milnes would match him all the way to the D above high C and that the sound would "knock the doors off the room", as Lo Monaco put it. Jerry asked him why he didn't try singing as a tenor and Milnes replied that, although he had the top notes, he simply couldn't sustain the tessitura.
Incidentally, you can tell by how good he sounds here how early his decline (sadly) began. Just a relatively few years later he was starting to sound a lot more "airy" and slightly less accurate in his vocal production.
Si, sugli acuti é un pò tenorile, ma l'emissione è sempre buona, e il sib era molto bello. un signor baritono. un saluto
In my opinion no one has ever come close to the voice, range, etc. that Sherrill Milnes possessed. I was fortunate to see and hear and met him twice in the late 70's and early 80's when the Met was still on tour. What a charming man. His dramatic coloratura was amazing. It would be a true thrill to hear one of today's baritones do this aria justice with the high B Flat.
Bravissimo!!!!!!! Mejor imposible.
One of the great Italian baritones, famous for his thrilling high notes, was being interviewed by a journalist who asked, "Isn't it true that most baritones are merely frustrated tenors?" "Perhaps." replied the great baritone, "But so are most tenors."
That’s a great quote.
Он американец же
Cappuccilli sings the high B flat LIVE in this cabaletta twice, the second time as an encore. He also interpolates this note LIVE in the end of Germont’s scene. It’s on You Tube as well.
This is from an old LP called "The Baritone Voice". To my knowledge, it has yet to be released on a CD.
For those who feel that Milnes had poor technique - how does poor technique lead to virtually perfect singing as this, and the many, many other examples Milnes has left for us on his recordings? It does not, of course.
Who knows the reason for the capillaries bursting? It has been said he was singing a rep too heavy for him. Perhaps this is true. But man, what a singer!
Poor technique leads to a voice degenerating when it's supposed to be in it's prime, ala Milnes.
Plenty of singers sing well, DESPITE poor technique, not because of it. Technique does not exist for you to sound Godly, (though that's half of it), it's so you still have a usable voice when you're 50, which Milnes did not.
@@aarondimoff5180 Who's your favourite baritones and best technique?
It is from the baritone voice (I know because I bought it as a birthday present for my dad)
Aaron, Milnes's technique was excellent - in fact, he was known by his colleagues as a singer without flaws in his technique for many years. His recorded legacy, available for all to hear, leaves no doubt. It was burst capillaries in the vocal folds in 1981 (iirc) and the laser surgery used to attempt correction that did him in, starting a slow, definite decline. Prior to that, he'd been the leading baritone in the world for many years. His bio, "American Aria," discusses all of this.
@@swissarmytenor Unlike you unfortunately, I have sung beside and shared drinks with some of Milnes colleagues. The words most used to describe him were egotistical, arrogant, selfish, and insecure. His technique is never praised. He had a great sound early on DESPITE his technique, not because of it. He himself has said of his own singing that it is an uphill battle every time he steps foot on stage, with never a moment of ease, always fighting for a good sound. That is the opposite of good technique. Please, when you're speaking to individuals with first and second hand knowledge on a topic, don't presume to argue.
1:54: High B Flat
No. High B flat.
dream casts:
Attila: Sam Ramey
Ezio: Sherrill Milnes
Foresto: Franco Corelli
Odabella: Joan Sutherland
Sounds pretty good.
I would change the Attilla to Nicholai Ghiaurov , but otherwise yeah .
This sounds like the Baritone version to the Soprano's aria in Verdi's Nabucco "Anch'io dischiuso un giorno...Salgo già del trono aurato"
I think of it as the baritone's di quella pira :)
@Sherrill Milnes Fan Not sure why you're being confrontational about this, please enlighten me. The way I see it, one of these comparisons has the same tone of character, language, composer, is also a cabaletta, and the other is maybe similar because it has a high note...?
He sang hundreds of performances in the minor leagues before his stardom, which he came to having more wear on the voice than most major singers do. I think his ability to achieve so much when he was young gave him a bit of an invincible complex, which he lost big time in 1980.
Actually, this sounds very much like a sharp-tuned b natural to me... ;-)
Amazing anyway.
Hey does this offer still stand? I would love one of those CD's. Let me know by Direct Message or through here. Thank you.
belcantospeciaist: keep in mind that is a studio recording. Has he ever sung this cavaletta in the theater with the bflat, like, for example, Cappuccilli?
This is not say that is one of best bflast of a baritone I ever heard.
actually Milnes did sing the cabaletta in performance w/ the b flat. I have it on a disc....downloaded from Handelmann or premiere opera podcasts.
He was well known for joining tenors in the A4 at the end of Side Pel Ciel
I can testify to hearing Milnes sing plenty of thrilling high B flats in the theater, namely the Metropolitan Opera House in the 1970s and 80s; for example, in "Ballo," end of Act IV "Morte!" and in "La Favorite" at the end of the "De nemici tuoi" cabaletta; also lots of As and A flats in various operas and even a quick B natural in the final reiteration of the curse in "Rigoletto." Milnes was always profligate with his high-notes but it didn't keep him from having very solid middle and lower registers.
@raigekimaru
I totally agree!!!!!!
Did he ever do this role in full?
Wow. Prime Milnes- I've been looking for this- where'd you get it? =) I believe this recording was used in his documentary "Homage to Verdi."
Unfortunately he did not sing a Bb here in his complete recording of the role with Bergonzi etc. Thanks for posting this. If you can let me know how I could get it I'd appreciate it. ;)
It’s from his album the baritone voice, still only available as an LP.
I'm pretty sure it's a "real" B flat. ;-) That's the key its written in.
Sig.raigekimaru,vedo che il suo dream casts ha ottenuto varie approvazioni;anch'io sono favorevole,ma per i tre quarti e cioé Ramey-Corelli(che non credo abbia mai cantato la parte di Foresto) e la Sig.ra Sutherland. Per quest'opera,io escluderei Milnes e metterei un altro Ezio,semisconosciuto rispetto a Milnes,che può trovare su Ytb cliccando:"Antonio Salvadori Attila dagli immortali vertici".saluti
@31122051 Caro amico, sono d'accordo con te... Questo qui è un tenore ingolato senza cultura. Ciao!
Sherrill Milnes is receiving a lot of unwarranted criticism on the news groups of late. I always liked his stunning voice & terrific top notes. His characterizations of complex Verdi roles (Rigoletto & Iago) were seriously deficient & sometimes downright silly. Still, that voice....
It was the burst capillaries on the underside of his vocal chord(s) that caused crisis in 1980 or '81. The laser surgery that followed allowed him to continue singing, but certainly sped up his decline, along with the aging process.
Or is it being said that oversinging/wrong rep *caused* the burst capillaries?
This is correct re burst capillaries and laser surgery. So many people spend their time speculating. Go straight to the most authentic source, SM's autobiography, American Aria, where he explains.
Raigekimaru: I’m agree with you.
Sig.Drosner Brawler,lei ritiene virile e scuro Milnes in questa cabaletta ? A me non sembra proprio;se vuol trovare queste caratteristiche provi a cliccare "Antonio Salvadori Attila Dagli immortali vertici" e poi,se vuole,mi dica che ne pensa.
Droooooool!!!! Or interchange Milnes with Cornell MacNeil. Oh, if only..
Dear friend,the song sung by Milnes is taken from a Long Playing now unavailable and i have made a repayment on CD.If you make me your address i shall send you with pleasure a copy of the CD. Roman
@raigekimaru I'm there.
@ninawally1
I don't know why dame joan never sang odabella. she had the perfect voice for it and is the only singer I can think of that did. it's a true dramatic coloratura role with an extremely high tessitura, substantial agility requirements, and at the same time requiring both extremely lyrical and extremely dramatic singing. the bellowing dramatic sopranos who normally sing odabella do not do it justice
Grazxie per la segnalazione. Salvadori é davvero notevole e certamente superiore a Milnes per interpretazione e "piglio" verdiano
Milnes's face at 2:04: Your move tenors.
@raigekimaru In other words: operagasm..
was milnes a heldentenor? there is no way in hell I could go straight up to a Bb like that.
Definitely not. He is a real baritone. And some baritones could sing higher than Milnes, but IMHO Milnes is the best Ezio ever.
Extended lyric baritone. Sorta like Igor Gorin. Their voices were only a semitone lower than that of a tenor... which is why they had these kinda high notes.
@leadoffeohippus I daresay his Bb was probably more powerful than Corelli's too!
To the best of my understanding, Milnes had some fundamental flaws right off the bat. Even before 1980 you can hear some decline and some bad habits. Whether they *caused* the burst capillary I have no idea but that and the subsequent surgery(s) certainly didn't help.
Good question. He declined in a rather odd way. His middle and lows deteriorated more quickly than his top did, strange. You can pick out some flaws in his singing but I wonder what the problem really was. I don't understand it completely.
Read SM's autobiography American Aria. He explains very clearly his vocal troubles in the eighties, including the laser surgery he had.
@raigekimaru A heldontenor could not match that nore. Hell, Domingo (a supposed tenor) could never sing that note in his "best" days!!!!!!
Precisely BECAUSE he sang this way his voice was ruined. Yes, he tried to sound too much like Warren, whom he idolized. Pity, he was one of the finest natural baritone voices.
POTREBBE ANCHE NON ESSERE UN SIB MA UN SI NATURALE ADDIRITTURA
da sogno sono Corelli, Sutherland and Ramey non Milnes! Verdi non é solo lancio di acuti potento, é un insieme di legato, smorzature, messe di voce, passaggi di registro e molto altro in cui Milnes é insufficiente. Peccato, la voce non era male ma il resto ha sempre latitato.
Non e' vero.
nel si bemolle meglio Cappuccilli
Sono pienamente d'accordo che Verdi non é solo lancio di acuti,di cui Milnes ha fatto un punto di forza.Per il resto a me non é mai piaciuto e non ritengo neppure bella la voce.Nello specifico,trovo questa cabaletta di una noia e sciatteria terribile,posto che dovrebbe esternare lo sdegno e la sfida che Ezio esprime verso il suo imperatore.Se posso,segnalo aria e cabaletta(dal vivo) cliccando"Antonio Salvadori Attila Dagli immortali vertici".saluti
In qst ruolo Carroli supera tutti
Molto molto bravo! Decisamente meglio di Cappuccilli!
Timbro leggero, canto scarsamente aulico, Ezio é un grande generale romano non un toreador.....canta cadenzato con effetto da banda...
numetutelare Oui, Les toreadors
igual, es el mejor,
Попсовый налёт исполнения..у Милнса иногда это напрягает,он красуется для публики как поп-исполнитель
Non mi è mai piaciuto ha solo gli acuti per il resto lo sempre trovato inespressivo con la voce “indietro” e privo di legato
Sherrill Milnes is receiving a lot of unwarranted criticism on the news groups of late. I always liked his stunning voice & terrific top notes. His characterizations of complex Verdi roles (Rigoletto & Iago) were seriously deficient & sometimes downright silly. Still, that voice....
Sherrill Milnes is receiving a lot of unwarranted criticism on the news groups of late. I always liked his stunning voice & terrific top notes. His characterizations of complex Verdi roles (Rigoletto & Iago) were seriously deficient & sometimes downright silly. Still, that voice....