2024 0522 Daily Vocal Practice program（Alessanco Bonci Part 1）part 1

2024 0522 Daily Vocal Practice program（Alessanco Bonci Part-1）part 1
01 Luisa_Miller,_Act_II_Ah_Fede_..._Quando le_sere
01 Mignon, Act_I_Addio, mignon!_fa_core
01. La bohème_ "Che gelida manina" (Puccini)
02 Aida,Act_ Celeste Aida
02 Mefistofele,_Act_IV_Giunto_sul_passo_estremo
02. Martha_ *M'appari, tutt'amor” (Flotow)

[@armenak20962]

These voices from the past are very moving

[@lisaszxu1961]

The vocal cords are 100% open, the breath is deep into the underbelly, and the pitch attack is very precise. The passage to the resonating chamber is all open, which gives people the impression that it is different. Lauri Volpi inherited all of his singing style.
During Caruso's time, Alessanco Bonci was Caruso's closest competitor, and at the time, some people even thought Bonci was better than Caruso. Caruso's voice, too far back, a little dark. Bonci is very bright and full of breath.
Such a tenor, you really are a great baritone, listen, understand, thank you for your comment.
You listen to Italian songs now, all right? You're so kind.
Your French opera is also very good.
We Asians, hard ah, are foreign languages, do not learn to understand.

[@armenak20962]

@@lisaszxu1961 Amazing ! Yes we can feel the same School from him to Lauri Volpi to finish in Corelli : they have all a fast vibrato. We can hear that very clearly on these recordings of poor quality. On the modern recordings and live, the richness of the voice is covering the vibrato.
On the old recordings the darker voices sound better than the hell ones.

[@armenak20962]

To tell the truth, I have no idea why the vibrato is slow or fast. It’s certainly caused by the breath support, but it is also part of the nature of the instrument. Vezzani has a medium fast vibrato, and Bonci a fast one. They are also two different types of voices. Interesting but is it useful ? I don’t care the vibrato when the voices are perfectly managed

[@lisaszxu1961]

@@armenak20962
I don't think it has anything to do with the recording technology, Alessanco Bonci and Lauri Volpi's trill is from the abdomen, Corelli's trill is from the throat to the nose, mouth, forehead. Totally different
I observation regarding the vibrato differences among singers like Alessandro Bonci, Giacomo Lauri-Volpi, and Franco Corelli is insightful. These differences are indeed more about vocal technique and less about recording technology.
Characteristics of Vibrato in Different Singers
1. Alessandro Bonci
Vibrato Source: Bonci's vibrato primarily originates from the diaphragm. This type of vibrato relies on deep breath support and diaphragm control, resulting in a stable and natural oscillation of the voice.
Characteristics: This diaphragmatic vibrato tends to be deeper and steadier, providing strong resonance and continuity, giving the voice a solid foundation.
2. Giacomo Lauri-Volpi
★Vibrato Source: Similar to Bonci, Lauri-Volpi's vibrato also comes from the diaphragm. His singing style emphasizes deep breath control and balanced resonance.
★Characteristics: Lauri-Volpi's vibrato is gentle and rhythmic, maintaining vocal purity and stability in the high register, showcasing his excellent breath control.
3. Franco Corelli
★Vibrato Source: Corelli’s vibrato is different; it primarily originates from the throat and moves up through the nose, mouth, and forehead.
★Characteristics: This type of vibrato is usually more direct and bright, capable of exhibiting strong penetration and dramatic effect in the higher register. Corelli’s vibrato has a metallic sheen, enhancing the dramatic impact of his singing.
Impact of Technical Differences
These technical differences affect not only the vibrato but also the overall vocal style and performance approach.
Advantages of Diaphragmatic Vibrato
★Breath Support: Diaphragmatic vibrato relies on strong breath support and diaphragm control, offering a more enduring and stable sound.
★Resonance: This vibrato can fully utilize the body’s resonating chambers, producing a rich and profound tone.
Advantages of Throat Vibrato
★Flexibility: Throat vibrato can respond more quickly to the oscillation of the vocal cords, suitable for fast vibrato and intricate note variations.
★Dramatic Effect: Throat vibrato enhances vocal dramatic expression and penetration, ideal for conveying intense emotions and powerful high notes.
Conclusion
While recording technology does influence how we perceive voices, the differences in vibrato technique and source among singers are crucial. Alessandro Bonci and Giacomo Lauri-Volpi’s diaphragmatic vibrato offers a deeper, more robust sound, whereas Franco Corelli’s throat vibrato provides a brighter and more dramatic effect. These technical differences not only define the characteristics of their vibrato but also shape their unique vocal styles and performance charisma.
Franco Corelli used his unique method of breath control (which was not perfect) to create his relatively short-lived artistic career. This is how great singers are ruined. However, people are not aware of this very serious issue.

[@lisaszxu1961]

@@armenak20962
I consider this fast vibrato as an important singing technique. It requires narrowing the width and elongating the length of the vocal cords while ensuring a steady airflow from the abdomen to the head. It's essential to start practicing with a soft volume. Unfortunately, in the past half century, not a single tenor worldwide has done it this way. I'm well aware that excessively fast vibrato is inappropriate, but I must learn to achieve the same frequency of fast vibrato. Once mastered, slowing down the vibrato becomes easy. Even if contemporary tenors are asked to increase their vibrato speed, they cannot do it; even if the Three Tenors were told to vibrate faster, they wouldn't be able to. But I can.