@@Monnarchmonnarchy yes he was he didn't force anything, like domingo does, strains and drools and yowls and makes faces. pavarotti was superb at diction, in complete control due to 7 years of intense training with large resonating chambers. and the most beautiful voice ever given to a man, the best male voice of all time, its just a given fact because so many experts agree.
@@trottgizz1946 thats because he was the god of all male voices of all time. listen to anyone then him and if you cant hear the superiority well I am sad for you.
Oh he definitely COULD, he just didn't want to in public, probably because it may sound, gasp, *slightly less than perfectly covered chesty tone*. My god, it may even be fully in head voice!!🙄 Its such a pet peeve of mine, I refuse to believe its possible to have a D5 that good without having at least an acceptable Eb/E5. Especially since the B2 WAS clearly at the edge of the range. If thats his low note, he DEFINITELY could have done at least a head Eb5+. And since thats how the notes were, you know, *supposed* to be performed anyway...
B2 no ones lowest note lol. Literally I have never heard of that happening. Youd need to be able to sing down to at least B0 in full operatic voice. Ive never heard of that being done. Ive certainly heard some oktavists do it in decently loud and clear fry, but not with full vibrato and tone and everything. And even those guys can ALSO sing up to at least an A3
a friend of mine is a really high tenor, and he can't physically sing below C3. however, he can pretty much project a C6, where as i, as a lyric baritone can sing down to D2, but my power notes bottom out at A2 ( G2 if i have a really super relaxed open voice, B2 if strained) i can push out a C6, but loose all resonance in my falsetto after A5, and realistically my voice looses most of its support after F5. generally speaking, i can't project above A4 in chest voice.@@andrewbloom7694
Just one thing I'd like to add, Pavarotti never sang above C# live. Also, you might want to check your Eb5 because it seems to be the ending for the oft omitted cabaletta of the Duke Mantua 'Possente Amor Mi Chiama' which ends on a written middle D, which some tenors take up an octave to finish the Cabaletta on the acuto. So, it shouldn't be an Eb5 if it is from Rigoletto. Also, the D5s from Puritani, are they from the studio recordings? I'm asking because he sang C#s live.
@@gabrielgabriel8096 Any chance your recording got sped up and hence sharpened during transfer or something? That's usually what happens especially with old recordings.
Its always crazy to me how abruptly the power of your notes drops as you get lower, even for the greatest singer ever. Just from C#3 down to B2 is a noticeable drop in power and that's only one tone! It's not like that with the upper range.
He was probably as much of a tenor as any tenor can be. One of those who had absolutely nothing baritonish to themselves. B2 probably was the absolutely lowest one he was physically capable of singing on stage, it is an audible strain to him here in this recording. So probably yes, the really powerful notes started at the C#3, D3 level in his case. But a certain weakness in terms of low notes is perfectly acceptable for a lyrical tenor. Especially for a wonderful lyrical tenor with wonderful middle and high notes and no difficulties with the C5 and even some way beyond. (Well, he did develop difficulties hitting the C5 eventually, but not before his old age when probably every tenor does)
@@mysteriumvitae5338 Pretty good analysis. I think his speaking voice probably went down to Ab2, G2 at most. A spinto/dramatic tenor will be able to touch F2/E2 when talking, and have a useable A2 when sung. Not that you'd ever need that note as a tenor lol
@@somerandomguy84 Oh, there are some really interesting ones actually! Chap./St. Phar in Le Postillon actually has a Bb2 (and a B2 later) written. And Rossini wrote multiple tenor roles down to A2. I know Otello, Pirro, and Idreno were all A2-D5, cause Rossini was a lunatic 😆. Rodrigo in La donna and the lead tenors in Armida and Mose (who I cant recall the names of) were actually down to Ab2 (and still up to C5 or D5, cause again, lunatic). Not that youd know it from any recordings. Spyres, Kunde, and Merritt are the only ones I know of whove sang the Ab2s in La donna on albums. The others were all transposing the notes below C3 up an octave. Why take a role to record if you cant sing it lol? They aren't even optional in the scores! Sorry, pet peeve of mine that so many interesting operas just get left behind or altered from the composers intentions like that lol.
For me the B is even above my first passagio :-D But you can never compare opera range to microphone range. Opera singers don't just need to sing a note but the note must be heard over the orchestra. He probably struggled to make the note loud enough. I mean the B is still higher than his speaking voice so just hitting it is most probably not a problem for Pavarotti or any other tenor.
I think I understand your point the high notes on girls sound better but he is good I mean if u put a high note from Monserrat caballe and him she is gonna sound better
![ร้อยพ่อพันแม่ - WanMai [Official MV]](http://i.ytimg.com/vi/XY2pNYASEbg/mqdefault.jpg)
Pavaratti's voice is unique.. Clear, great.. Strong and romantic.. Full of temper.. The best tenor ever..
He wasnt the best, he was the only 1 tenor on tapes, who singing like a tenor.
Pav did a lot of forcing and was bad in heavy roles
Completamente de acuerdo contigo el brillo y el color de su timbre es único.
Absolutely disagree. They just put on him "GOD" label
@@Monnarchmonnarchy yes he was he didn't force anything, like domingo does, strains and drools and yowls and makes faces. pavarotti was superb at diction, in complete control due to 7 years of intense training with large resonating chambers. and the most beautiful voice ever given to a man, the best male voice of all time, its just a given fact because so many experts agree.
@@trottgizz1946 thats because he was the god of all male voices of all time. listen to anyone then him and if you cant hear the superiority well I am sad for you.
That F5 is a thing of beauty. El Maestro. 🙏🏻
Absolutely.
I wish male Opera Singers used head voice/falsetto more often.
@@CipherSerpico same it sound so beautiful
@@Shicomogs 👊
his high F - Beauty? Really?? That shows how little you understand in vocal))
@@trottgizz1946I can only speak for myself, and yes I know very little. Can you provide us an example of a good F5 from a tenor? Thank you.
The one labelled Eb5 is actually a slightly sharp D5. He couldn't go above D5 without falsetto
Oh he definitely COULD, he just didn't want to in public, probably because it may sound, gasp, *slightly less than perfectly covered chesty tone*. My god, it may even be fully in head voice!!🙄 Its such a pet peeve of mine, I refuse to believe its possible to have a D5 that good without having at least an acceptable Eb/E5. Especially since the B2 WAS clearly at the edge of the range. If thats his low note, he DEFINITELY could have done at least a head Eb5+. And since thats how the notes were, you know, *supposed* to be performed anyway...
Sus Do 5, Do 5# son únicos y maravillosos
His lowest note is my highest note, LOL
you are an extremely low bass than?
@@ArtGarfunkel1941 Just a bass, Pavarotti is a tenor, that's why lol
@@yourhappyuncle6055 i'm a bass too my range goes from D2 to D4 but how can a B2 be your highest note? what is your lowest chest note than?
B2 no ones lowest note lol. Literally I have never heard of that happening. Youd need to be able to sing down to at least B0 in full operatic voice. Ive never heard of that being done. Ive certainly heard some oktavists do it in decently loud and clear fry, but not with full vibrato and tone and everything. And even those guys can ALSO sing up to at least an A3
a friend of mine is a really high tenor, and he can't physically sing below C3. however, he can pretty much project a C6, where as i, as a lyric baritone can sing down to D2, but my power notes bottom out at A2 ( G2 if i have a really super relaxed open voice, B2 if strained) i can push out a C6, but loose all resonance in my falsetto after A5, and realistically my voice looses most of its support after F5. generally speaking, i can't project above A4 in chest voice.@@andrewbloom7694
I love this channel 😍😍
Thanks You so much!
👍❤️
He starts sounding like a theremin once he gets to Eb5.
Es inconmensurable!!!!! 🎉🎉😮😮😇😇👏👏👏👏👏👏
THAT F5????????!!!!!!!!!!!!!!!!!!!!!!!!!!!!! HOOOOOWWWWWW
It is, thats Pavarotti's magic
@@todoopera4996 i wish he could sing some contratenor arias, His head voice was clear and sweet 😭
@@farrinellibroscci3881 It was really beautiful, but i don't know if he could Sing that kind of repertoire 😅
@@todoopera4996 oh well sadly we will never know 💔😞
F5 it's not his vocal range, because it's not chest voice or head voice
Que buenmozo 💯💋
I like Pavarotti but his low B is almost vocal fry.
I think C#3 is the low chest voice he can do haha
@@jhdde8001 i think it is D3
Bruh it sounds nothing like vocal fry
probably because of the vibrato
i mean he was a leggiero tenor what would you expect
Just one thing I'd like to add, Pavarotti never sang above C# live. Also, you might want to check your Eb5 because it seems to be the ending for the oft omitted cabaletta of the Duke Mantua 'Possente Amor Mi Chiama' which ends on a written middle D, which some tenors take up an octave to finish the Cabaletta on the acuto. So, it shouldn't be an Eb5 if it is from Rigoletto. Also, the D5s from Puritani, are they from the studio recordings? I'm asking because he sang C#s live.
This is all from studio, except the b2, but Pavarotti sang a High D live at the met in 1976
@Benjamin Washington yes...
Yes, the Eb5 is a D and the Ds are from the studio recording of vieni fra queste braccia with Sutherland
No... I have got a live recording of I Puritani (60's I think) and he sings Vieni fra queste braccia in key. Those high Ds (natural) are just stunning
@@gabrielgabriel8096 Any chance your recording got sped up and hence sharpened during transfer or something? That's usually what happens especially with old recordings.
Its always crazy to me how abruptly the power of your notes drops as you get lower, even for the greatest singer ever. Just from C#3 down to B2 is a noticeable drop in power and that's only one tone! It's not like that with the upper range.
He was probably as much of a tenor as any tenor can be. One of those who had absolutely nothing baritonish to themselves. B2 probably was the absolutely lowest one he was physically capable of singing on stage, it is an audible strain to him here in this recording. So probably yes, the really powerful notes started at the C#3, D3 level in his case. But a certain weakness in terms of low notes is perfectly acceptable for a lyrical tenor. Especially for a wonderful lyrical tenor with wonderful middle and high notes and no difficulties with the C5 and even some way beyond. (Well, he did develop difficulties hitting the C5 eventually, but not before his old age when probably every tenor does)
@@mysteriumvitae5338 Pretty good analysis. I think his speaking voice probably went down to Ab2, G2 at most. A spinto/dramatic tenor will be able to touch F2/E2 when talking, and have a useable A2 when sung. Not that you'd ever need that note as a tenor lol
@@somerandomguy84
Oh, there are some really interesting ones actually! Chap./St. Phar in Le Postillon actually has a Bb2 (and a B2 later) written.
And Rossini wrote multiple tenor roles down to A2. I know Otello, Pirro, and Idreno were all A2-D5, cause Rossini was a lunatic 😆. Rodrigo in La donna and the lead tenors in Armida and Mose (who I cant recall the names of) were actually down to Ab2 (and still up to C5 or D5, cause again, lunatic).
Not that youd know it from any recordings. Spyres, Kunde, and Merritt are the only ones I know of whove sang the Ab2s in La donna on albums. The others were all transposing the notes below C3 up an octave. Why take a role to record if you cant sing it lol? They aren't even optional in the scores!
Sorry, pet peeve of mine that so many interesting operas just get left behind or altered from the composers intentions like that lol.
Jay Chou does Eb5 CHEST VOICE live.
falsetto bro
jay choi and pavarotti are two different styles bro what
I might be a baritone because that "low" B to him was such a struggle while for me is extremely easy.
It only gets difficult after a F2/E2 for me
Maybe, but remember, Pavarotti had a light lyric voice, I vocalize an E2, But singing in the stage i can sing down to a Bb2
I am a bass and for me an F2 is middle voice and E2 same, lol.
@@Pachinanonim middle voice?? Damn😳I could never. my larynx drops to hell at E2
I can actually hit a Bb -0.02 quite comfortably.
For me the B is even above my first passagio :-D
But you can never compare opera range to microphone range. Opera singers don't just need to sing a note but the note must be heard over the orchestra. He probably struggled to make the note loud enough. I mean the B is still higher than his speaking voice so just hitting it is most probably not a problem for Pavarotti or any other tenor.
Tremendously overvalued voice !
You’re such a hater, holy shit.
hahahhaaha. no. his voice is UNDERVALUED in the modern society, by ignoramuses like you lol
I’m not sure I’d count the F5 because he went into falsetto
2:30 Aria?
"O Muto Asil del Pianto" That C5 is from the Cabaletta "Corriam Voliam"
@@todoopera4996 Gracias ❤
Guelmo Tell in the middle🌸
3:16 aria?
Rigoletto
Good, but not great. Bonisolli is much better
But Bonisolli didn't sing I Puritani. Giuseppe Di Stefano is the best Arturo ever.
@@BaroneVitellioScarpia1, yep, you are right. But i’ said in general, not only about this role
not so pleasant to the ear.
@@BaroneVitellioScarpia1 Pava did) With falsetto))
@@mikenicolaev...But true)
So hes not that good then
?
Umm, so you’re not that good then. 😒
@@m.e.w.4394 pavarotti isnt that good....rubbish vocal range and sounds the same in everything....glad you agree
lol lol JEALOUS MUCH? And to be clear, No I don’t agree, at all.
I think I understand your point the high notes on girls sound better but he is good I mean if u put a high note from Monserrat caballe and him she is gonna sound better