Does anyone have the full 1990 edition of Pavarotti Plus? The 1989, 1992 and 1994 versions are all online but from 1990 only this segment and a Tosca duet with Leona Mitchell. I remember it was a great concert. I think it had extended scenes from Ballo in Maschera.
I think it means that for 6 years he didn't sing any aria, song or whatever in a "serious" way and thinking of each note as if he were going to project it to the theater, rather, for 6 years, he dedicated himself to practice and build a stable base with which he could support his voice. I do not really know Leo Nucci's journey as an interpreter, but that's what I understood. In fact, it is very impressive. I study singing and I couldn't stand 6 years of just vocalization, without being able to sing anything seriously. I would surrender to the opportunity of singing a piece with passion!
Vocalises are vocal exercises that are conducive to building a voice over the course of a voice's maturation or at least should be. Certain vocalises have different functions that work to bring about and or work on different aspects or qualities of a voice when needed. Some are only used during a certain time during a voice's growth or where a voice may be in its growth. It was not uncommon for singers, especially before WWI or even WWII to have their voices built in this way. In this way you learn sensations that are needed to produce the singers most optimal sound. This includes the elements of projection, space, how you breathe etc. A veritable juggling act of applications or sensations that eventually overtime come together in a very refined synchronistic way so that to the untrained eye and even ears you never really see their technique as everything would look natural. In the end you would have a fully built voice that in some cases was able to sing almost anything. However in today's climate not only is the art of voice building essentially a lost art but the idea of 'building a voice' is unheard of. As well, with all the necessity for constant even unnecessary movement on stage required by what is essentially today's kings and queens of the opera house, the director, in this way, doesn't help a singer either let alone the singing. The time and patience as well as the wisdom and knowledge needed to build a real voice is gone. Today most every singer I have had the chance to perform or collaborate with as well as those I have seen/heard here in Germany and in the US go to muscling, nasality and all matter of vocal contortions or manipulation to sing the notes written. One could also say, just a complete lack of understanding of how to navigate the range of their voice creating the certain 'effects' that one would hear that cause one to wince. Not just that but very few can actually project the full depth of an opera house during a live performance. The proof is in the recordings of the past of great singers. I don't blame the singers entirely however as it just shows that voice teachers or self proclaimed teachers know very little if anything about how to build and guide a voice during its growth so that a singer could one day sing into old age. If anything singers of today have way more confidence than a real ability to sing and give justice to the works they're singing. The ears of the public have truly been dumbed down and the evolution of popular music hasn't helped with that either. This is what I have observed over the course 20 years of exposure to teachers, higher education, master classes, live performances, my own studies and performances/collaborations, recordings and even auditions. Hopefully no one was harmed or offended in the reading of one person's viewpoint. Cheers!
They where from the generation that every operasinger had to do his make up himself. In theatre schools they did teach it to every actor or singer. And you can see they use a very particular old fashioned opera style. Even in later years where they had make up artists Pavarotti would do it himself. Thats why he always had this shade on his nose and those very particular eyebrows.
At the MET in those years they had a great make up director, Victor Callegari. But for some of his regular roles, Luciano preferred to apply makeup himself. He had not been taught make-up, since he attended private sibging classes, no regular courses. He learnt over time what suited him best, and preferred to apply it himself.
quasi tutto vero... purtroppo entrambi davanti la camera hanno dimenticato di dire che avevano delle voci poco adatte al verismo e il repertorio drammatico...
bodiloto , you’re absolutely right !! Both were too much self centered to admit there was something they couldn’t do well !! This is the reason other Artists are more important of them : DOMINGO, HAMPSON and others !!
@@xv12commander Vocally I would agree! I never cared for his voice unless its really early Domingo. Hampson has a lacklustre voice but like Domingo is very musical and a comitted artist.
This was 1990.. with time artists improve their language skills. Hopefully those who criticize such a talented singer, have also improved their vocal technique ....
A me Leo Nucci piace molto. Ma Pavarotti non so come lo abbiano lanciato (o si è lanciato..) e si continua a portarlo nell’Olimpo dei grandi (...per decenza!!) con quella voce priva di emozione, di bellezza e credo poco adatta a ruoli drammatici. Una macchina del pop per fare soldi e basta...
Fernando, fino al 1985, Luciano era insuperabile in tutti i punti di vista. Poi c’è stato il declino. Ti invito ad ascoltare il concerto del 1980 a Lincoln Center, Luciano aveva una tecnica perfetta, non puoi negare questo. E non puoi dire che non emozionava... ovviamente non devi avere pregiudizi. th-cam.com/video/UHQEoTPGie8/w-d-xo.html
Nucci e' un fake baritono, x quanto riguarda Pavarotti ricordo che quando cantava lui c'erano dei tenori molto meno pubblicizzati che davano la paga al tenore romagnolo come Atlantov Merighi Cecchele Spiess Moldoveanu Martinucci Buzea Bonisolli Giacomini Aragall.
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6 years just vocalizing - this is why Leo Nucci is still enjoying his magnificent vocal career!
same as Luciano he studied for 6-7 years before he hit the opera stage, a thing of the past.
Who does not love this guy. Great voice, nice person, and a class-act.
I love Leo Nucci! These two are my favs! Thanks!
Two humble, well grounded Italians.
Just loved Leo in a fantastic concert here in London. Still amazing!
grazie
He reminds me of Tony Soprano, very likable character.
Does anyone have the full 1990 edition of Pavarotti Plus? The 1989, 1992 and 1994 versions are all online but from 1990 only this segment and a Tosca duet with Leona Mitchell. I remember it was a great concert. I think it had extended scenes from Ballo in Maschera.
Bless you,Leo,such kind humility
Alles fur junge Leuten,die mussen FOLNEN!!!
6 years just vocalizing. I'm not sure I know what that means. Could someone explain that to me please.
I think it means that for 6 years he didn't sing any aria, song or whatever in a "serious" way and thinking of each note as if he were going to project it to the theater, rather, for 6 years, he dedicated himself to practice and build a stable base with which he could support his voice.
I do not really know Leo Nucci's journey as an interpreter, but that's what I understood.
In fact, it is very impressive. I study singing and I couldn't stand 6 years of just vocalization, without being able to sing anything seriously. I would surrender to the opportunity of singing a piece with passion!
just doing vocal exercises to build up the strength in the body so it works like an instruments obeying the commands of your brain
Vocalises are vocal exercises that are conducive to building a voice over the course of a voice's maturation or at least should be. Certain vocalises have different functions that work to bring about and or work on different aspects or qualities of a voice when needed. Some are only used during a certain time during a voice's growth or where a voice may be in its growth.
It was not uncommon for singers, especially before WWI or even WWII to have their voices built in this way. In this way you learn sensations that are needed to produce the singers most optimal sound. This includes the elements of projection, space, how you breathe etc. A veritable juggling act of applications or sensations that eventually overtime come together in a very refined synchronistic way so that to the untrained eye and even ears you never really see their technique as everything would look natural. In the end you would have a fully built voice that in some cases was able to sing almost anything.
However in today's climate not only is the art of voice building essentially a lost art but the idea of 'building a voice' is unheard of. As well, with all the necessity for constant even unnecessary movement on stage required by what is essentially today's kings and queens of the opera house, the director, in this way, doesn't help a singer either let alone the singing.
The time and patience as well as the wisdom and knowledge needed to build a real voice is gone. Today most every singer I have had the chance to perform or collaborate with as well as those I have seen/heard here in Germany and in the US go to muscling, nasality and all matter of vocal contortions or manipulation to sing the notes written. One could also say, just a complete lack of understanding of how to navigate the range of their voice creating the certain 'effects' that one would hear that cause one to wince. Not just that but very few can actually project the full depth of an opera house during a live performance. The proof is in the recordings of the past of great singers. I don't blame the singers entirely however as it just shows that voice teachers or self proclaimed teachers know very little if anything about how to build and guide a voice during its growth so that a singer could one day sing into old age. If anything singers of today have way more confidence than a real ability to sing and give justice to the works they're singing. The ears of the public have truly been dumbed down and the evolution of popular music hasn't helped with that either. This is what I have observed over the course 20 years of exposure to teachers, higher education, master classes, live performances, my own studies and performances/collaborations, recordings and even auditions. Hopefully no one was harmed or offended in the reading of one person's viewpoint. Cheers!
LEO NUCCI - DAS PHÄNOMEN DER OPER 2020 @9dbM
Do you know where i could find full video?
Luis López Pavarotti Plus 1990 (published several times in Youtubbe but removed because copyright - MET)
Wait... WHERE THE HECK IS THEIR MAKE-UP ARTISTS??? DO THEY EVEN HAD HAD ONE?
They where from the generation that every operasinger had to do his make up himself. In theatre schools they did teach it to every actor or singer. And you can see they use a very particular old fashioned opera style. Even in later years where they had make up artists Pavarotti would do it himself. Thats why he always had this shade on his nose and those very particular eyebrows.
At the MET in those years they had a great make up director, Victor Callegari. But for some of his regular roles, Luciano preferred to apply makeup himself. He had not been taught make-up, since he attended private sibging classes, no regular courses. He learnt over time what suited him best, and preferred to apply it himself.
Nucci pretending he fits in.
quasi tutto vero...
purtroppo entrambi davanti la camera hanno dimenticato di dire che avevano delle voci poco adatte al verismo e il repertorio drammatico...
bodiloto , you’re absolutely right !! Both were too much self centered to admit there was something they couldn’t do well !! This is the reason other Artists are more important of them : DOMINGO, HAMPSON and others !!
@@Abigayl1950 Domingo is not better for sure...
@@xv12commander Vocally I would agree! I never cared for his voice unless its really early Domingo. Hampson has a lacklustre voice but like Domingo is very musical and a comitted artist.
Head microphone at 2:21?
I think it is the wig
no, è la parrucca .
il microfono si trovava da distanza che nessuno lo veda e si rende conto che esiste...
Lol sad but true 🙁
You’d think in six years of vocalizing somebody would have pounded out of him that terrible hook to top notes he did.
It didn't stop him from lasting so long.
Leo Nucci’s English is so funny !! He’s not able to talk English .... no way !! Oh Godness .......
ASSOCIAZIONE CULTURALE we don’t give a fuck about english
This was 1990.. with time artists improve their language skills.
Hopefully those who criticize such a talented singer, have also improved their vocal technique ....
Could you talk italian or spanish?
A me Leo Nucci piace molto. Ma Pavarotti non so come lo abbiano lanciato (o si è lanciato..) e si continua a portarlo nell’Olimpo dei grandi (...per decenza!!) con quella voce priva di emozione, di bellezza e credo poco adatta a ruoli drammatici. Una macchina del pop per fare soldi e basta...
Pavarotti era famoso prima di fare concerti pop, la voce era bella, estesa, nel suo repertorio era un gigante
Fernando, fino al 1985, Luciano era insuperabile in tutti i punti di vista. Poi c’è stato il declino. Ti invito ad ascoltare il concerto del 1980 a Lincoln Center, Luciano aveva una tecnica perfetta, non puoi negare questo. E non puoi dire che non emozionava... ovviamente non devi avere pregiudizi.
th-cam.com/video/UHQEoTPGie8/w-d-xo.html
Esagggerato!
rispondevo a Fernando Gagliardo.
Nucci e' un fake baritono, x quanto riguarda Pavarotti ricordo che quando cantava lui c'erano dei tenori molto meno pubblicizzati che davano la paga al tenore romagnolo come Atlantov Merighi Cecchele Spiess Moldoveanu Martinucci Buzea Bonisolli Giacomini Aragall.