1.Beniamino Gigli 2.Giuseppe Di Stefano 3.Aureliano Pertile 4.Titta Ruffo 5. Evgeny Nesterenko 6. Giuseppe Di Stefano 7. Mario Del Monaco 8.Franco Corelli
These short clips are all great,but at the end when the incomparable Corelli so quiickly modulates from full blast fortissimo to that beautifully soft diminuendo is stunning. Grazie mille for sharing this with us. That last one leaves me breathless !
I've recently had a discovery, after 2 years of lessons I did something in my own practice which to me can neither be described as falsetto nor my normal voice. Instead, it felt like a mix of the two, and this video helped me explain that I may have found my head voice. I still have some time to make sure and discuss it with my voice teacher, but listening to the Gigle gave me hope.
Qué bellas voces la de los cantantes de antaño... Gigli, la más bella de las voces. Esos pianísimos con sus filados respectivos, nada más sublime 😍y un Di Stefano joven, qué voz tan llena, pastosa y musical la que poseía; Aureliano Pertile, uno de mis tenores decimonónicos, perteneciente a la "vieja escuela", la que quizá, se ha dejado de lado, debido a la industria descomunal... Y ni que decir del barítono Titta Ruffo, otro grande... Y para concluir dos tenores, pesos pesados de la lírica, el gran Mario del Mónaco y Franco Corelli, dramático y spinto respectivamente, continuadores de los antes mencionados. Todos ellos son los verdaderos divos de la lírica mundial!!!
@@achmedmohamed4708 Dear Achmed, There's no evidence in this recording and many other recordings that Corelli lisped. But if that's the only comment you can make about him, you are certainly missing out on one of the greatest tenors since 1951 and perhaps in operatic history. No spinto tenor during his time or since has been gifted with the complete amount of attributes as he was. Mezza voce` diminuendo, endless breath, great high notes and upper high notes, up to D-Flat, with the ability to caress the music and a warm quality of voice, successfully being intimate with his listeners, having a strong enough voice to fill any opera house in the world. Corelli sang about 300 performances at the Met alone, through a wide variety of roles from 1961 to 1975 to mostly sold out performances. Every critic that covered or wrote about Corelli both pro and con, never mentioned him lisping. Corelli is one of my favorite tenor's but not my favorite. Enjoy
@@sugarbist I am an absolute fan of Corelli, studied a lot with his arias etc. and yes, if there is one critical thing that can be said then it is him lisping. Can be heard in various pieces he sang. Admittedly, not easy to catch.
@@jenspflug7473 No, his lisp was not easy to detect at all. But too bad Achmed doesn't realize that the few times Corelli might have lisped was NOT what defined the great tenor. Achmed eager to criticize Corelli did not mention his ability to sing mezza voce, diminuendo, great high notes and upper high notes with a warm quality that permitted FC to be intimate with his listeners. He also excluded the fact that FC was a heroic tenor that thrilled many of his listeners. In short Achmed must be a little shallow.
@@brunopicaude3092 Caruso goes into a falsetto voice on the diminuendo. But I think it works fine. Thill the same. The one thing that can't be done is to blast the C. Di Stefano is unique in that his voice is wide open for the C, and yet he doesn't blast it and doesn't go falsetto--a very unique delivery. His voice was white-hot with emotion. What a singer!👍 I'd rather sing ten years like Di Stefano than thirty years like Richard Tucker ANYDAY. Quality over quantity!
After listening to General Radames, I may be wrong saying he goes into a falsetto voice. Perhaps, it is a very weak head voice he is using after all. But it is so weak as to sound almost like a falsetto voice. But as I said before, I think the technique works. It works for Thill too. They both sound quite fine on the diminuendo.🙂
This is a correct and brilliantly stated explanation of head voice and coordinated registration and also how intensity has an impact on the dominance of one register without losing contact with the more synergistic register. The examples are perfect. It’s time for the pedagogy community to stop reinventing the wheel and go back to the truth of how voices work. Thank you for this.
@@the_whistling_jay well, to be fair, it’s not really a community ….. What I meant was that superficial results are being encouraged more often than ever before. Upscale mediocre just won’t convince most audiences.
one of the particularities of the human voice, of the instrument, is the flexibility... so... head voice, mixed voice, etcetera are proprioceptions.... but still valid. The human voice is a marvelous instrument, isn't it? greetings!
Part of singing has proprioceptive and kinaesthetic associations. But most of it is functional. It is up to the teacher and singer on how much they concentrate on which aspect. I think a minimal should be spent on superficial proprioceptive placements, and more should be spent on function and going for the right sound. The curse of the instrument is its flexibility. It allows us to make many various noises under many conditions. This makes it even more difficult to achieve objective goals of great singing. The voice is indeed a marvellous instrument. Thank you for your comment. I hope you enjoyed the video.
Víctor es ambiguo tu comentario, por pensamientos como ese se enseña de la forma que lo hacen ahora y se termina cantando con el culo Podes tener un steinway pero sin la técnica correcta jamás va a sonar como podría Y los que enseñaban la verdadera técnica se murieron hace mucho La voz humana es un maravilloso instrumento que se quedó sin verdaderos maestros y ahora todo es relativo
@@RadamesAida2Operalovers Yes General, I agree with you completely. The most time should be spent on going for the right sound. If a singer like Tito Schipa teaches us anything, he teaches us that beauty rules all.
Gentile Sig.Radames Questi cantanti DiStefano,Gigli,Pertile sono nati con una natura straordinaria cantano r sembra che parlano tutto sul fiato sostenuto dal diaframma molto semplice ma,tanto difficile non un a sola vocale è gonfiata,distorta appesantita ,c'è un tale equilibrio s distribuzione di suono ,voce sul fiato possono ottenere quello che vogliono cantando in questo modo perfetto, diminuendi,i (vere mezze voci) crescendi ,suoni forti,etc.Invece cantando con sistema suoni forzati voci gonfiate artefatte non si può ottenere questo canto cosi perfetto e nello stesso tempo facile, i pur bravi cantanti con voci ingrossate ingolate forzate senza fare nomi sono anche famosi mai,possono dare un esempio del grande canto ,fanno solo tanto rumori e stancano chi ascolta perchè la voce subisce costrizioni artificiali.Ci vuole comunque una grande disposizione naturale,per fare un grande tenore,baritono,basso etc.complimenti a Lei.Chiedo scusa ,ho omesso Del Monaco e Corelli fra i grandi cantanti veri.
Lester Arbusto I'm glad someone said it, sick of these damn people comparing singers constantly, everyone one of them had their own unique parts to offer in their lifetime, not to be put on a damn rating system. Distefano made me cry while I was listening tovthis piece he just sang, God bless him and all other tenors so much for What they have offered throughout their lives.
Amina Eriksson your statement is not Accurate. Pavarotti’s favorite tenor was Di Stefano, & not 1 word about Bjorling in Pavarotti’s book. Bjorling was an excellent lyric tenor, but cold at times. An old friend of mine told me he saw Bjorling 5 times live and dismissed JB’s voice as being pretty but small. Bjorling never sang Chenier , Carmen, Forza, Ernani, And Turandot live. Jb didn’t get good reviews in Aida in Chicago. The point is that Jb was a great lyric tenor but not great in every role
Amina Eriksson Hey Amina, Pavarotti’s favorite tenor was Di Stefano and Pav never mentioned Bjorling in his book, which makes statement inaccurate and rude as well.
Wonderful post ( Gigli, Di Stefano... sigh ) and very specific when explaining differences between muscular coordination and sympathetic sensations... so crucial and very little understood!
La voz mixta, la voz de cabeza, la controlaban a la perfección…., el pianissimo era fantástico, pues su fiato era interminable y el diafragma obedecía al buen estilo de la antigua escuela italiana.
There is a TV interview from Italy where Di Stefano admits that the decrescendo on the high C in Faust came natural to him. He also said that as soon as he started thinking about “making that happen”, it stopped working for him. Corelli also admitted that it was a quality he possessed naturally. So, as much as all of your examples are true, there is also something to be said about how some singers have aspects of the voice that are natural to them.
@Iloveopera100 DA The first time I ever sang "Salut Demeure" I found the Caruso-Thill method for engaging the C was there for me. It was nothing I consciously did, nothing I set out to achieve. It was there from the first moment.
It's like rain on the summit of similar mountains. Yes, she is so many kilometers in altitude, however the flow is never diverted by the facets of one as they are by another. Thank you
I am SO HAPPY to discover you, GeneralRadames!!!!!! Your vids are a very welcome confirmation and aid to my own teaching which, regrettably, often seems to be in opposition to much very bad teaching going on elsewhere. It seems to be necessary to help young singers to UN-learn much of what they have worked so hard and so long for: practicing just how NOT to do it!!!!!
Yes! Agreed and thank you. Cause and effect and coordinated registration go hand in hand. It has always made sense. Vocal Tricks are for kids. Bel Canto registration is for the serious musician.
It sounded like a full chest voice baritone quality to me for most if not all of it. Why was this included in a video of male singers purportedly using head voice?
Thank you for this education I appreciate it very much, I learned something I didn't no....you've help make my operatic experience more appreciative 👍❤
I am getting so sick of people like you commenting "there's no more great singing or singers today, all hope is lost etc etc" bullshit. stop being so fatalistic, you have not heard every singer there is in this day in age or in time to come. stop it.
@vdarte The thing that makes me mad, is the fact that the public are supposed to put up with this crap... and pay top dollar! The public deserves the best and should not have to put up with lazy singers. It is disrespectful to the people and to Opera.
@@downfromkentuckeh Stop it? Please tell me a single baritone like Bastianini or Merrill, or a bass like Siepi. Saying current singers are as good as the former ones shows an evident lack of knowledge about singing. Sorry for you.
@vdarte If you don't listen to music and singers on your own you won't know the difference. If all you hear are horns honking, car motors, and police and ambulance sirens all week, then go to the Saturday matinee, probably anybody's gonna sound better than that shit you heard all week long.
The Di Stefano film was "The Coward" (1953) a Mexican picture. Aside from the marvelous singing, it was like watching a silent movie with the written introduction, and "no dialogue. We had faces!"
I love three of your main points: 1. Head voice (and good chest voice) is/are a coordination of the two main muscular functions. They are not isolated from each other except in extreme circumstances (very pure falsetto - extremely heavy low notes). Although we may isolate these functions in training exercises (to try and strengthen one set of muscles), we must learn to coordinate them. 2. Registration and dynamics are intertwined. The messa di voce exercise is also an exercise in registration coordination and control. You can often hear this in female singers known mostly for "belting". When they sing softly, it is more head voice. The good ones can start with a soft head voice and crescendo into a few chest/belt. 3. The distinction between "sympathetic sensations" and "resonance". Different sounds cause sympathetic vibrations in different parts of the body (sinuses, bones of the head, chest cavity, etc.). This can be a guide as to understanding what your sound is, but it is NOT resonance. The vocal tone resonates in the vocal tract and it is the shaping of the vocal tract (including vowel shaping) along with the function of the larynx (fold closure, registration) that makes the sound.
Falsetto is not head voice. Falsetto is the use of muscles which do not come into play when singing opera. Except for that statement, I agree with all your other points. When sound resonates in various areas of the body, many consider it a "nasal resonance" or "chest resonance." I do agree that resonation comes from the vocal tract, but the sound can be directed by the singer to various areas of the body to achieve the intended "vocal placement." Depending on the pitch, certain "placements" are almost impossible to achieve with any positive result. Some singers can throw massive amounts of chest voice into a high note - Del Monaco for example - which would take its toll on many tenors, but worked for him. Many sopranos do not "chuck" chest into their low notes, which makes the sound very thin in the lower register. Callas had no problems with her lower register throughout her career, but did that fact take its toll later on? I love talking about the voice and have come to realize a cogent fact: singers are great in spite of voice teachers because they find what works for them after having established good vocal habits. Every voice is different and good teachers can only point the way to greatness, hopefully keeping the singer from damage.
Radames, very good post. Constriction causes most of the problems for singers. Using support from below the diaphragm is generally the cause. I love Tettrazini's simplification of proper breathing and support; a high chest breath without raising the shoulders and using only the muscles to hold that air in as support. It brings in all of the inter-costal muscles into play and allows for proper air flow. Definitely an unconstructed approach. An extremely wise woman. A famous baritone actually leaked from his large intestine after singing an especially high note - lots of constriction. But I will say that using the chest voice on very high notes takes its toll on all voices, especially sopranos and tenors. Of course, there are exceptions, like Del Monaco and currently, Kauffmann. I really do like his voice and sometimes I sit on the edge of my seat wondering if that Bb-C will come out without cracking or strangling. I've never heard him flub a note yet.
Did Callas sing with constriction from her early days ( before weight loss ) or is it a bad habit she acquired after the weight loss ? I've noticed that some of her piano notes after 1954 were constricted ( a bit squeezed ) .. I really enjoy your channel and content. Thanks for spreading knowledge . :)
@@mezzosoprano4778 I think probably a bad habit that went unchecked.It also didn't help that she sang everything from Bel Canto to Wagner.Then again she wouldn't be Maria Callas if she didn't do this things.
A good singer should be able to explain what is going on in his pharyngeal area. I try to "visualize" what all the little muscles are doing, in order to command them more readily. I can actually "feel" a lot of what is going on, especially in the soft palate area. But I have come to conclude that many singers are not like this.
Incredible video! I've watched a couple of your videos now. Thinking about balancing the the TA and CT muscles made singing with a "thin" voice a lot easier. Thanks.
@@achmedmohamed4708 As you define it, yes, you are correct. But why would a cultural appropriationist like you, care? Opera is a Western, Christian art form. Your name clearly marks you as outside that defining ethnos.
Qui chante l'air de Philippe deux ? Il est extraordinaire ,je n'ai jamais rien entendu d'aussi beau dans ce rôle . Les autres chanteurs sont aussi tous magnifiques : Pertile ,Di Stefano ,Corelli !!!!
Hearing the masculine sounding head voices of these men further substantiates the *Countertenor* Fach; unlike these men, *Countertenors* actually have a feminine sounding head voice that can be produced in the Mezzo-Soprano to Soprano tessitura. ✨
@@RadamesAida2Operalovers Everyone has their own voice type. We should respect all of them because it's their natural voice, they can't do anything about it. It's great to be a tenor and it's also great to be a countertenor as long as you're great.
@@brunopena3710 But there's definitely people that born with natural high feminine voice. I think it can whether be a technique or a voice type depends on who is the singer we're talking about.
In di Stefano's second clip he sings the high C in head voice and then appears to diminuendo slowly to a pianissimo while still in head voice. However, it could be a use of falsetto as well but in this case I doubt it. It is possible to transition from head to falsetto on a high C but it usually happens very quickly without a gradual tapering of the volume. He then moves from the C to a G# but interrupts the sound transiently in doing so (glottal stroke to form the "s" for the word so). For many tenors who try this, the voice abruptly cracks or ceases entirely as the volume is decreased from forte or fortissimo down toward piano or pianissimo. He and Corelli were able to do this without cracking or seemingly moving into falsetto. It's not clear to me how they did it.
I was wondering about this too. Once the voice goes into complete falsetto there is a complete separation of the vocal chords. This would be the "crack" in the voice or the ceasing of the volume entirely that you mention above. I saw this explained in one of the comments to George Thill's version of "Salut Demeure Chaste et Pure", from what appears to be a Korean viewer. Here it is, as I understand he explained it: I believe it has to do with maintaining a very strong resonance through the aryepiglottic fold (situated just above the larynx) which is your squillo instrument, basically. Maintaining a strong resonance when going falsetto apparently enables the vocal chords to stay ever-so-slightly engaged, thus avoiding that "break" when you approach the G#. Here is his explanation cut and pasted in: "He started the note on falsetto and elevated the head voice resonance, hence when he descended to G# after the high C it was naturally in full voice with no break or apparent change in voice (Jingren Wang 4 months ago). I highly recommend you listen to both Thill's and Caruso's version of this, as they both approach and execute this the same way. There may be another singer or two who does this, I am not finished analyzing, so cannot say at this point. But I can say it is also quite rare, as it appears extremely difficult for most singers to pull off properly. /// As for Di Stefano, he is what in Latin would be called "sui generis," something so unique it is in a class by itself. He hits the C with an open chest for a split second, then into head voice/falsetto and down to the G#. Only Gabrielle Sabattini does something similar--which is no small compensation, considering he is singing out of his big nose both before and after, so he gets an honorable mention. /// Absolutely, I believe the Caruso-Thill method is the best way to approach and execute this C. It conveys all the tragedy and pathos and fatality inherent in the fact that Faust has made a deal with the Devil, and so not only will never have his love, but will also corrupt and destroy it. To close, I would say that most singers barrel into the C and then barrel out of it, which in my opinion is the absolutely last way this C should be executed. Corelli's way, though perfectly done, also does not best serve the meaning of the aria and the spirit of the opera, in my opinion.
Corelli claimed that he was born with his mezza voce` and diminuendo and could not teach it. I also saw written that Del Monaco's production was based off a falsetto, but in his case, he used a lot of physical strength to sing and for this reason could not sing as often as a lyric tenor could. It seems very complicated
Luigi LaBlache taught that Basses do not use head voice, as their entire range is available in the chest. He also mentioned that tenors and baritones have access to head voice but at different points in the scale (different pitches), and that tenors alone possess the voix mixte and are encouraged to use it always.
@@RadamesAida2Operalovers Duprez probably was not the first to sing a full chest high C (Donzelli was the inspiration for Duprez) but he became famous doing so. Unfortunately, singing a high C in pure chest voice took it's toll on Duprez and he had to retire from singing at a too young age. Berlioz remarked that Duprez's voice started to deteriorate as early as 1838, his Cellini in the premier. His last performance was in 1851 at the age of 44. Don't think that pulling that much chest on the high notes has no lasting affect on the voice. It's very chancy at best and detrimental to most voices. There are only a very few who could do that and they did not do it for very long. Usually, something else in the voice suffered at the expense of such forceful singing. Del Monaco could do it, though his soft singing did suffer later on.
I have a question: I often hear people saying that before the passaggio tenors (but I think it applies for all voices) sing in "chest voice" and then on the passaggio they shift to "head voice". So what is "chest voice"? Is it a dominace of the thyroid arytenoid muscles over the Crico thyroid ones? Or is it just the action of the thyroid arytenoid muscles? And falsetto is just the action of the Crico thyroid muscles right?
Pertile's Eb at 3:34 sounds like chest predominance, then by the G and G# that follow he is in head voice to my ear. The F in between sounds like where he converts at the passagio. At 4:09 it sounds like he adds some more chest predominance to the sound.
I've got a few thoights on EHCaesari. IMO EHC had a profound knowledge which stemmed from a deep love of the human voice but also from the fact that he had, at the end of 3 years study with a teacher 'a smashed voice'. He writes about this in Vocal Truth. It's also worth reading his chapter on the Pharyngeal Voice from The Voice of the Mind. I've read an enormous amount about singing technique over 4 decades and for me EHC is the most consistantly impressive scholar. His teachers were Riccardo Daviesi and Antonio Cotogni. In the 1980s I did some work for the EHC Association and spoke to a number of EHC students. Happy days!
Very interesting stuff, thank you! does it mean that a note upper the passagio will necessarily contain this coordination or it is possible to sing it only in chest voice ? Thank you!
Always coordinated. But, we should have the core continuing right through to maintain chest participation. Even when you go to head, it is coordinated. Just different percentages of muscle function.
The whole range of the voice will be coordinated. The degree these muscles work are dependent on pitch and volume. The cover is a muscular change that engages some extrinsic muscles of the larynx that allow the singer to maintain a low larynx and ascend the scale maintaining the same sort of homogeneous sound.
GeneralRadames Do you think this "muscular change" is simply the cricos "kicking in" to elongate the cords in order to maintain (and obtain!) higher pitches?
Was di Stefano in falsetto or head voice on the G natural at the end? It was so light and hollow that it sounded like falsetto not soft focused head voice. I thought his lowest note sung sounded like he slipped into chest voice and then right back into head voice.
I wish each singer had been clearly identified. As is, it is for uber opera fans. I love great opera singing and recognize most of these artists, but not all. Is the bass singing "Ella giammai" Ghiaurov?
Teachers of the past generally describe registers in terms of feelings of sensations. As they did not have the anatomical science to know what was happening functionally. Even though Garcia speaks something about a register as being a set of homogenous sounds of some sort. Past teachers generally thought of it as changes in sensations to denote register changes. As a singer ascends the scale they may feel sensations on the lower notes in the throat and chest areas. In the middle of the range, they feel it in the mouth oral pharynx area, and on the higher notes they feel it in the head. Hence the terms Chest, Middle, Head voice. Sensations are superficial and are not a good indicator for what is happening functionally. I just made a video on Falsetto. You can watch it and my video on chest voice to get a better idea. I should have them all together on a playlist called "Registers".
I think head voice is when the voice feels totally detached from the throat, unrelated to it. I'm not saying it is that way, of course not, but it FEELS that way. Consequently the accompanying effect is the complete lack of any strain in the voice, which makes it maximally controllable, both for volume and dynamics and actually also pitch. I would think this has nothing to do with the register of the voice - a bass can sing this way too, and a soprano MUST or it's a disaster
Resonance (amplification of sound, not sensations) occurs mainly at the larynx and Pharyngeal areas. And leaves the mouth as a passage way. You need to watch my videos on the mask. Go to my Playlists to watch the videos.
@@amadeomiotto4573 Yes, i Have heard of Angelo. Sad to hear he passed away recently. It was nice some of his teaching and singing were left behind for people to see. I am glad you liked my videos. I will try to do more soon. :D
Some functional stuff you can learn from books. But overall you need to take lessons. Unfortunately nothing is clear cut. There are many books that say all sorts of things. That is why I created these videos to help. Find a good teacher.
For another great example of a bass singing in head voice: th-cam.com/video/JcgodcP4N_g/w-d-xo.html Towards the end (4:10 and onward), the 25 year old Boris Shtokolov really shows off control of his big, fat voice in the high range.
Thanks for the link. Indeed a very big bass voice. He does control the voice in the high range, but achieves it by cutting off the chest resonance. Becomes disconnected. At one point goes to falsetto. To me, singers nowadays make the mistake of trying to sound like him -- someone big as a buffalo. He can get away with it, but not everyone is big like a buffalo. He should not be an example of how to build a voice. We should use someone like Caruso. Naturally not big or strong but using the proper technique to build a super-resonant voice that does not strain. That's true skill in my opinion.
All wonderful singers. And not all tenors either. There was one baritone (Ruffo) and a basso cantante who looked and sounded like Ghiaurov but may have been someone else.
What do you make of this? "CONCLUSION: Preliminary findings regarding CT and TA dominance and register control do not support the assumption that all chest and chestmix production has greater TA muscle activity than CT muscle activity or that all headmix and head production require greater CT muscle activity than TA muscle activity. The data indicate that pitch level may play a greater role in determining TA and CT dominance than register."
You also need to take into account intensity or volume as stated in the video. These muscle work together at different degrees depending on pitch and intensity.
Who wrote the above and where was it presented? We need to see the actual data including the videos of the direct fiberoptic laryngoscopy and the stroboscopy done simultaneously with it of tenors and sopranos while actually singing first full chest voice, the falsetto and finally head voice (mix). That is the only way I know of to actually test the hypothesis. It may have already been done, if so, we need to find the videos.
Depends on the muscular coordination. The more chest you use the less headier it sounds. The less chest you use the more headier the sound is. If a man sounds more like a woman he is using a minimal amount of chest (TA) function with a lot of falsetto (CT) function. Also, a lighter tenor like Gigli has smaller vocal cords than a heavier tenor. He is going to sound more effeminate.
Also, the larynx position plays a huge role in the sound of the head voice. Properly placing your voice with a low larynx allows more chest, whereas the neutral and high larynx position will lead to more CT function as well.
so i take it in this set of terminology head voice is your mix. it is using the thyroarytenoid and circothyroid muscles together. a blending of the chest (thyroarytenoid) and the falsetto (circothyroid)
That seems like a good way to describe what is actually happening from an anatomical point of view. Does anyone have a video to site in which fiberoptic laryngoscopy with or without stroboscopy is performed with a tenor singing first in midrange chest voice, then very high falsetto, (e.g. high C and up) and finally full head voice on Bb-high C? That would be very interesting to analyze to see if what we are positing is actually occurring.
Mix is not a good term. The voice is not like a cake you cannot mix it. Mix refers to the sound not function. Coordination is a better term. Because the muscles are coordinating in a certain way to make that characteristic sound. So the degree certain muscles are employed is related to intensity of sound. Chest function relates to loudness and volumes, falsetto to softness. Head voice leans more towards falsetto.
These images only show the top of the mechanism functioning, it is limited to a certain perspective. You see in these videos of vocal cords that there are adjustments for pitch and volume made by the mechanism.
Hi. Thanks for the question. There is no up or down in singing. As we ascend and descend the scale all sounds come from the same place. I do not like the term Heavy mechanism as it denotes something labored and cumbersome. Chest voice and head voice are a coordination of the intrinsic muscles of the larynx. Singing is a muscular function These muscles make adjustments at each change of pitch for the vowel sound/volume created. A free and efficient voice will function without the sense of this heaviness that people assume occurs. A free strong chest voice is not "heavy". Constriction and inhibition make voices feel labored. When the voice is produced well there is a homogenous sound that resembles a chest voice sound. What percentages of what muscles being used is dependent on the singer and sound made. Nothing is forced. The Larynx can function quite well and strongly without imposition. We do not need to go into a heady sound to sing higher notes. This is a fake concept. The same concept that goes with the idea of the cords needing to thin as we ascend the scale. Vocal cord adjustments are involuntary actions and are the result of a desired vocal tone. we should not try to thin things. Listen to my other video on "What is chest voice" to hear that all the great singers sang with a brilliant chesty tone to the top of their range. It all started with Duprez with his High C in Chest. Look it up.
Gigli and Lauri Volpi were masters of the mezza voce` and Falsettone using the falsetto without breaks when reinforcing the voice which seems like an impossibility
Gigli had a famously lovely and natural sounding head voice...
Perfect voice type for Lied.
For an Italian Tenor!
eosela7
EVERY sound is build in the head!
@@achmedmohamed4708 please explain
@@achmedmohamed4708 could you explain this?
Falsettone
Wow! di Stefano! The decrescendo on the high c! Speechless!!!!
These short clips are all great,but at the end when the incomparable Corelli so quiickly modulates from full blast fortissimo to that beautifully soft diminuendo is stunning. Grazie mille for sharing this with us. That last one leaves me breathless !
I've recently had a discovery, after 2 years of lessons I did something in my own practice which to me can neither be described as falsetto nor my normal voice. Instead, it felt like a mix of the two, and this video helped me explain that I may have found my head voice. I still have some time to make sure and discuss it with my voice teacher, but listening to the Gigle gave me hope.
Qué bellas voces la de los cantantes de antaño... Gigli, la más bella de las voces. Esos pianísimos con sus filados respectivos, nada más sublime 😍y un Di Stefano joven, qué voz tan llena, pastosa y musical la que poseía; Aureliano Pertile, uno de mis tenores decimonónicos, perteneciente a la "vieja escuela", la que quizá, se ha dejado de lado, debido a la industria descomunal... Y ni que decir del barítono Titta Ruffo, otro grande... Y para concluir dos tenores, pesos pesados de la lírica, el gran Mario del Mónaco y Franco Corelli, dramático y spinto respectivamente, continuadores de los antes mencionados. Todos ellos son los verdaderos divos de la lírica mundial!!!
Gigli was a phenomenon, GDS INCREDIBLE BEAUTY, Pertile was mesmerizing, Del Monaco was a vocal phenom, Corelli was a hurricane.
e titta ruffo nenti?
sugarbist
Corelli was a lispler.
@@achmedmohamed4708 Dear Achmed, There's no evidence in this recording and many other recordings that Corelli lisped. But if that's the only comment you can make about him, you are certainly missing out on one of the greatest tenors since 1951 and perhaps in operatic history. No spinto tenor during his time or since has been gifted with the complete amount of attributes as he was. Mezza voce` diminuendo, endless breath, great high notes and upper high notes, up to D-Flat, with the ability to caress the music and a warm quality of voice, successfully being intimate with his listeners, having a strong enough voice to fill any opera house in the world. Corelli sang about 300 performances at the Met alone, through a wide variety of roles from 1961 to 1975 to mostly sold out performances. Every critic that covered or wrote about Corelli both pro and con, never mentioned him lisping. Corelli is one of my favorite tenor's but not my favorite. Enjoy
@@sugarbist I am an absolute fan of Corelli, studied a lot with his arias etc. and yes, if there is one critical thing that can be said then it is him lisping. Can be heard in various pieces he sang. Admittedly, not easy to catch.
@@jenspflug7473 No, his lisp was not easy to detect at all. But too bad Achmed doesn't realize that the few times Corelli might have lisped was NOT what defined the great tenor. Achmed eager to criticize Corelli did not mention his ability to sing mezza voce, diminuendo, great high notes and upper high notes with a warm quality that permitted FC to be intimate with his listeners. He also excluded the fact that FC was a heroic tenor that thrilled many of his listeners. In short Achmed must be a little shallow.
That Di Stefano high C diminuendo is so so gorgeous! I’ve never heard it interpreted like that in Faust’s aria, his rendition stands out!
A prescient observation. Let me recommend you try George Thill's and Enrico Caruso's versions as well.
@@mickey1849 You're right. May I add also Alain Vanzo who was a master of this exercise.
@@brunopicaude3092 Caruso goes into a falsetto voice on the diminuendo. But I think it works fine. Thill the same. The one thing that can't be done is to blast the C. Di Stefano is unique in that his voice is wide open for the C, and yet he doesn't blast it and doesn't go falsetto--a very unique delivery. His voice was white-hot with emotion. What a singer!👍 I'd rather sing ten years like Di Stefano than thirty years like Richard Tucker ANYDAY. Quality over quantity!
After listening to General Radames, I may be wrong saying he goes into a falsetto voice. Perhaps, it is a very weak head voice he is using after all. But it is so weak as to sound almost like a falsetto voice. But as I said before, I think the technique works. It works for Thill too. They both sound quite fine on the diminuendo.🙂
So its Faust...
This is a correct and brilliantly stated explanation of head voice and coordinated registration and also how intensity has an impact on the dominance of one register without losing contact with the more synergistic register. The examples are perfect. It’s time for the pedagogy community to stop reinventing the wheel and go back to the truth of how voices work. Thank you for this.
Thank You!
I have made many other videos. Please have a look. I have a video on Chest voice as well.
Hi Arthur... :)
Arthur how would you say the pedagogy community is reinventing things?
@@the_whistling_jay well, to be fair, it’s not really a community ….. What I meant was that superficial results are being encouraged more often than ever before. Upscale mediocre just won’t convince most audiences.
@@Vocalgold1955 what mediocrity, what has been taken away from the previous generations of singers
Слава Господу за голосовые связки человека. Дать людям способность петь, и петь ТАК было отличной идеей)
аминь
one of the particularities of the human voice, of the instrument, is the flexibility... so... head voice, mixed voice, etcetera are proprioceptions.... but still valid. The human voice is a marvelous instrument, isn't it? greetings!
Part of singing has proprioceptive and kinaesthetic associations. But most of it is functional. It is up to the teacher and singer on how much they concentrate on which aspect. I think a minimal should be spent on superficial proprioceptive placements, and more should be spent on function and going for the right sound. The curse of the instrument is its flexibility. It allows us to make many various noises under many conditions. This makes it even more difficult to achieve objective goals of great singing.
The voice is indeed a marvellous instrument.
Thank you for your comment. I hope you enjoyed the video.
You sound romantic gimme your number LOL
marvelous instrument indeed! like yours Victor!
Víctor es ambiguo tu comentario, por pensamientos como ese se enseña de la forma que lo hacen ahora y se termina cantando con el culo
Podes tener un steinway pero sin la técnica correcta jamás va a sonar como podría
Y los que enseñaban la verdadera técnica se murieron hace mucho
La voz humana es un maravilloso instrumento que se quedó sin verdaderos maestros y ahora todo es relativo
@@RadamesAida2Operalovers Yes General, I agree with you completely. The most time should be spent on going for the right sound. If a singer like Tito Schipa teaches us anything, he teaches us that beauty rules all.
Gigli is a God what a magnificent artist and technique so magical he can do anything with his voice
That Di Stefano diminuendo is the most crazy thing i[;ve heard in a long while. Wow wow
Beniamino Gigli. La voz del cielo 🙏
These excerpts are exquisite. ❤
Gentile Sig.Radames Questi cantanti DiStefano,Gigli,Pertile sono nati con una
natura straordinaria cantano r sembra che parlano tutto sul fiato sostenuto dal
diaframma molto semplice ma,tanto difficile non un a sola vocale è gonfiata,distorta
appesantita ,c'è un tale equilibrio s distribuzione di suono ,voce sul fiato possono
ottenere quello che vogliono cantando in questo modo perfetto, diminuendi,i (vere mezze voci)
crescendi ,suoni forti,etc.Invece cantando con sistema suoni forzati voci gonfiate artefatte
non si può ottenere questo canto cosi perfetto e nello stesso tempo facile, i pur bravi
cantanti con voci ingrossate ingolate forzate senza fare nomi sono anche famosi
mai,possono dare un esempio del grande canto ,fanno solo tanto rumori e stancano
chi ascolta perchè la voce subisce costrizioni artificiali.Ci vuole comunque una grande
disposizione naturale,per fare un grande tenore,baritono,basso etc.complimenti a Lei.Chiedo
scusa ,ho omesso Del Monaco e Corelli fra i grandi cantanti veri.
Bravo Aureliano Pertile!
the first di stefano ....it's really just about as good as it gets. Almost baritonal, in all the right ways. Incredible.
It's good for sure. But no one will ever be better than Jussi Björling in the opera world. And this was agreed upon by the three tenors as well.
Isn't it great that one doesn't have to be better than another?
Lester Arbusto I'm glad someone said it, sick of these damn people comparing singers constantly, everyone one of them had their own unique parts to offer in their lifetime, not to be put on a damn rating system. Distefano made me cry while I was listening tovthis piece he just sang, God bless him and all other tenors so much for What they have offered throughout their lives.
Amina Eriksson your statement is not Accurate. Pavarotti’s favorite tenor was Di Stefano, & not 1 word about Bjorling in Pavarotti’s book. Bjorling was an excellent lyric tenor, but cold at times. An old friend of mine told me he saw Bjorling 5 times live and dismissed JB’s voice as being pretty but small. Bjorling never sang Chenier , Carmen, Forza, Ernani, And Turandot live. Jb didn’t get good reviews in Aida in Chicago. The point is that Jb was a great lyric tenor but not great in every role
Amina Eriksson Hey Amina, Pavarotti’s favorite tenor was Di Stefano and Pav never mentioned Bjorling in his book, which makes statement inaccurate and rude as well.
Wonderful post ( Gigli, Di Stefano... sigh ) and very specific when explaining differences between muscular coordination and sympathetic sensations... so crucial and very little understood!
Nice to hear and to see Nesterenko!
La voz mixta, la voz de cabeza, la controlaban a la perfección…., el pianissimo era fantástico, pues su fiato era interminable y el diafragma obedecía al buen estilo de la antigua escuela italiana.
Very clearly demonstrated...FINALLY...this is what and how I teach !!!
There is a TV interview from Italy where Di Stefano admits that the decrescendo on the high C in Faust came natural to him. He also said that as soon as he started thinking about “making that happen”, it stopped working for him.
Corelli also admitted that it was a quality he possessed naturally.
So, as much as all of your examples are true, there is also something to be said about how some singers have aspects of the voice that are natural to them.
@Iloveopera100 DA The first time I ever sang "Salut Demeure" I found the Caruso-Thill method for engaging the C was there for me. It was nothing I consciously did, nothing I set out to achieve. It was there from the first moment.
It's like rain on the summit of similar mountains. Yes, she is so many kilometers in altitude, however the flow is never diverted by the facets of one as they are by another. Thank you
Titta Ruffo just is top of top of top
Joao Aurelio Caruso first
@@mateodedios4507 that one, that the other - performers of a galactic scale. I am sure there will be no more of this level.
I am SO HAPPY to discover you, GeneralRadames!!!!!! Your vids are a very welcome confirmation and aid to my own teaching which, regrettably, often seems to be in opposition to much very bad teaching going on elsewhere. It seems to be necessary to help young singers to UN-learn much of what they have worked so hard and so long for: practicing just how NOT to do it!!!!!
Try "This is opera" also.
Eric Halfvarson Good for you, Mr. Halfvarson. I've been an admirer since I read about you in Classical Singer. Keep up the good work!
It's very important the singers themselves realize this.
@@brianlandrytenor
This Halfvarson has only one voice colour.
Yes! Agreed and thank you. Cause and effect and coordinated registration go hand in hand. It has always made sense. Vocal Tricks are for kids. Bel Canto registration is for the serious musician.
despite being a baritone this technique help me hit high notes and makes me look like a tenor for a bit 😂
Nesterenko is awesome , his recording of Nabuco is great !!
It sounded like a full chest voice baritone quality to me for most if not all of it. Why was this included in a video of male singers purportedly using head voice?
@@jphubert Потому что у него бас
I would never bump into y'all in my life but I really wish our world caused us to bump into each other more. The exposure is refreshing
Thank you for this education I appreciate it very much, I learned something I didn't no....you've help make my operatic experience more appreciative 👍❤
Nesterenko great perfomance
A perfectly splendid example of great singing by superb artists, NON-EXISTENT on the OPERATIC STAGE TODAY, indeed NOT
FOR A VERY LONG WHILE.
I am getting so sick of people like you commenting "there's no more great singing or singers today, all hope is lost etc etc" bullshit. stop being so fatalistic, you have not heard every singer there is in this day in age or in time to come. stop it.
@vdarte The thing that makes me mad, is the fact that the public are supposed to put up with this crap... and pay top dollar! The public deserves the best and should not have to put up with lazy singers. It is disrespectful to the people and to Opera.
@@downfromkentuckeh Stop it? Please tell me a single baritone like Bastianini or Merrill, or a bass like Siepi. Saying current singers are as good as the former ones shows an evident lack of knowledge about singing. Sorry for you.
@vdarte If you don't listen to music and singers on your own you won't know the difference. If all you hear are horns honking, car motors, and police and ambulance sirens all week, then go to the Saturday matinee, probably anybody's gonna sound better than that shit you heard all week long.
@vdarte The lack of great singers with solid technique is also worrisome.
The Di Stefano film was "The Coward" (1953) a Mexican picture. Aside from the marvelous singing, it was like watching a silent movie with the written introduction, and "no dialogue. We had faces!"
Ernesto Alonso y Andrea Palma. Excelentes actores mexicanos.
I love three of your main points:
1. Head voice (and good chest voice) is/are a coordination of the two main muscular functions. They are not isolated from each other except in extreme circumstances (very pure falsetto - extremely heavy low notes). Although we may isolate these functions in training exercises (to try and strengthen one set of muscles), we must learn to coordinate them.
2. Registration and dynamics are intertwined. The messa di voce exercise is also an exercise in registration coordination and control. You can often hear this in female singers known mostly for "belting". When they sing softly, it is more head voice. The good ones can start with a soft head voice and crescendo into a few chest/belt.
3. The distinction between "sympathetic sensations" and "resonance". Different sounds cause sympathetic vibrations in different parts of the body (sinuses, bones of the head, chest cavity, etc.). This can be a guide as to understanding what your sound is, but it is NOT resonance. The vocal tone resonates in the vocal tract and it is the shaping of the vocal tract (including vowel shaping) along with the function of the larynx (fold closure, registration) that makes the sound.
Falsetto is not head voice. Falsetto is the use of muscles which do not come into play when singing opera. Except for that statement, I agree with all your other points. When sound resonates in various areas of the body, many consider it a "nasal resonance" or "chest resonance." I do agree that resonation comes from the vocal tract, but the sound can be directed by the singer to various areas of the body to achieve the intended "vocal placement." Depending on the pitch, certain "placements" are almost impossible to achieve with any positive result. Some singers can throw massive amounts of chest voice into a high note - Del Monaco for example - which would take its toll on many tenors, but worked for him. Many sopranos do not "chuck" chest into their low notes, which makes the sound very thin in the lower register. Callas had no problems with her lower register throughout her career, but did that fact take its toll later on? I love talking about the voice and have come to realize a cogent fact: singers are great in spite of voice teachers because they find what works for them after having established good vocal habits. Every voice is different and good teachers can only point the way to greatness, hopefully keeping the singer from damage.
Radames, very good post. Constriction causes most of the problems for singers. Using support from below the diaphragm is generally the cause. I love Tettrazini's simplification of proper breathing and support; a high chest breath without raising the shoulders and using only the muscles to hold that air in as support. It brings in all of the inter-costal muscles into play and allows for proper air flow. Definitely an unconstructed approach. An extremely wise woman. A famous baritone actually leaked from his large intestine after singing an especially high note - lots of constriction. But I will say that using the chest voice on very high notes takes its toll on all voices, especially sopranos and tenors. Of course, there are exceptions, like Del Monaco and currently, Kauffmann. I really do like his voice and sometimes I sit on the edge of my seat wondering if that Bb-C will come out without cracking or strangling. I've never heard him flub a note yet.
Did Callas sing with constriction from her early days ( before weight loss ) or is it a bad habit she acquired after the weight loss ? I've noticed that some of her piano notes after 1954 were constricted ( a bit squeezed ) .. I really enjoy your channel and content. Thanks for spreading knowledge . :)
How do you train to take the chest voice to the upper register pass the passaggio?
@@mezzosoprano4778 I think probably a bad habit that went unchecked.It also didn't help that she sang everything from Bel Canto to Wagner.Then again she wouldn't be Maria Callas if she didn't do this things.
Titta Ruffo a miracle of a natural voice produced without him actually knowing how he did it by his own admission
Yet he knew enough to teach Giangiacomo Guelfi.
Guelfi was another great voice in my opinion I loved his demonstration on Ee Eh Aa O Oo forward placement but never nasal
A good singer should be able to explain what is going on in his pharyngeal area. I try to "visualize" what all the little muscles are doing, in order to command them more readily. I can actually "feel" a lot of what is going on, especially in the soft palate area. But I have come to conclude that many singers are not like this.
@@mickey1849 these sensations can also help to find where you are and what you are doing!
Pertile was fabulous!
Incredible video! I've watched a couple of your videos now. Thinking about balancing the the TA and CT muscles made singing with a "thin" voice a lot easier. Thanks.
Tous sont fabuleux même si mon cœur bat pour Franco Corelli
Evgeny Nesterenko. Wow. A Siepi-like voice, with falsetto resonance! Who knew? That's a revelation.
Moirbasso:
The only bass with falsetto was Hans Rippert, aka Iwan Rebrow.
Siepi and Nesterenko NEVER sung falsetto!
@@achmedmohamed4708 As you define it, yes, you are correct. But why would a cultural appropriationist like you, care?
Opera is a Western, Christian art form. Your name clearly marks you as outside that defining ethnos.
Nesterenko was a sensation!
Very interesting! Thank you
Nesterenko bravo, bel baritono verdiano!
Not baritone..Bass
hugely enjoyable....thank you..
Qui chante l'air de Philippe deux ? Il est extraordinaire ,je n'ai jamais rien entendu d'aussi beau dans ce rôle . Les autres chanteurs sont aussi tous magnifiques : Pertile ,Di Stefano ,Corelli !!!!
God had, blessed Gigli ❤
Fenomeno.
Divino.
addio bel passato per sempre addio .
il vecchio
Hearing the masculine sounding head voices of these men further substantiates the *Countertenor* Fach; unlike these men, *Countertenors* actually have a feminine sounding head voice that can be produced in the Mezzo-Soprano to Soprano tessitura. ✨
No
If you are a man why would you want to sing like a woman?
@@RadamesAida2Operalovers Everyone has their own voice type. We should respect all of them because it's their natural voice, they can't do anything about it. It's great to be a tenor and it's also great to be a countertenor as long as you're great.
Counter tenor is clearly a technical fach, not a voice type
@@brunopena3710 But there's definitely people that born with natural high feminine voice. I think it can whether be a technique or a voice type depends on who is the singer we're talking about.
Thank you very much for this General Radames. I am studying it carefully!!
The greatest thing I’ve ever heard in my life
A singer or the video?
Fantastic....sono orgoglioso di rappresentare la categoria dei Tenori.
In di Stefano's second clip he sings the high C in head voice and then appears to diminuendo slowly to a pianissimo while still in head voice. However, it could be a use of falsetto as well but in this case I doubt it. It is possible to transition from head to falsetto on a high C but it usually happens very quickly without a gradual tapering of the volume. He then moves from the C to a G# but interrupts the sound transiently in doing so (glottal stroke to form the "s" for the word so). For many tenors who try this, the voice abruptly cracks or ceases entirely as the volume is decreased from forte or fortissimo down toward piano or pianissimo. He and Corelli were able to do this without cracking or seemingly moving into falsetto. It's not clear to me how they did it.
I was wondering about this too. Once the voice goes into complete falsetto there is a complete separation of the vocal chords. This would be the "crack" in the voice or the ceasing of the volume entirely that you mention above. I saw this explained in one of the comments to George Thill's version of "Salut Demeure Chaste et Pure", from what appears to be a Korean viewer. Here it is, as I understand he explained it: I believe it has to do with maintaining a very strong resonance through the aryepiglottic fold (situated just above the larynx) which is your squillo instrument, basically. Maintaining a strong resonance when going falsetto apparently enables the vocal chords to stay ever-so-slightly engaged, thus avoiding that "break" when you approach the G#. Here is his explanation cut and pasted in: "He started the note on falsetto and elevated the head voice resonance, hence when he descended to G# after the high C it was naturally in full voice with no break or apparent change in voice (Jingren Wang 4 months ago). I highly recommend you listen to both Thill's and Caruso's version of this, as they both approach and execute this the same way. There may be another singer or two who does this, I am not finished analyzing, so cannot say at this point. But I can say it is also quite rare, as it appears extremely difficult for most singers to pull off properly. /// As for Di Stefano, he is what in Latin would be called "sui generis," something so unique it is in a class by itself. He hits the C with an open chest for a split second, then into head voice/falsetto and down to the G#. Only Gabrielle Sabattini does something similar--which is no small compensation, considering he is singing out of his big nose both before and after, so he gets an honorable mention. /// Absolutely, I believe the Caruso-Thill method is the best way to approach and execute this C. It conveys all the tragedy and pathos and fatality inherent in the fact that Faust has made a deal with the Devil, and so not only will never have his love, but will also corrupt and destroy it. To close, I would say that most singers barrel into the C and then barrel out of it, which in my opinion is the absolutely last way this C should be executed. Corelli's way, though perfectly done, also does not best serve the meaning of the aria and the spirit of the opera, in my opinion.
Corelli claimed that he was born with his mezza voce` and diminuendo and could not teach it. I also saw written that Del Monaco's production was based off a falsetto, but in his case, he used a lot of physical strength to sing and for this reason could not sing as often as a lyric tenor could. It seems very complicated
@@mickey1849 It seems to me that it is a A flat, not a G #
@@jacquelinebouviala245 Far be it from me to argue 😁
Franco Corelli is my favourite...
Benamjno Gigli!!
Thanks Gerenalissimo!!!
Loving your videos and especially your commentary. I subscribed and look forward to more. Do you have a website?
I do not. But thank you for the encouragement. I will do more videos. You make me feel better, :D.
@@RadamesAida2Operalovers Maybe one day someone will become an opera star and name YOU as one of their influences!
Luigi LaBlache taught that Basses do not use head voice, as their entire range is available in the chest. He also mentioned that tenors and baritones have access to head voice but at different points in the scale (different pitches), and that tenors alone possess the voix mixte and are encouraged to use it always.
Yes. Until Gilbert Duprez started the trend to sing full voice or chest voice to high C. I think the first time he sang it was in 1837.
@@RadamesAida2Operalovers Duprez probably was not the first to sing a full chest high C (Donzelli was the inspiration for Duprez) but he became famous doing so. Unfortunately, singing a high C in pure chest voice took it's toll on Duprez and he had to retire from singing at a too young age. Berlioz remarked that Duprez's voice started to deteriorate as early as 1838, his Cellini in the premier. His last performance was in 1851 at the age of 44. Don't think that pulling that much chest on the high notes has no lasting affect on the voice. It's very chancy at best and detrimental to most voices. There are only a very few who could do that and they did not do it for very long. Usually, something else in the voice suffered at the expense of such forceful singing. Del Monaco could do it, though his soft singing did suffer later on.
Thanks so much
saved the best for last Franco Correlli.
Perfect decrescendo, yes
Gigli and Corelli are always perfect bookends.
2:13 WOAH those eyebrowhs!!
I have a question: I often hear people saying that before the passaggio tenors (but I think it applies for all voices) sing in "chest voice" and then on the passaggio they shift to "head voice".
So what is "chest voice"? Is it a dominace of the thyroid arytenoid muscles over the Crico thyroid ones?
Or is it just the action of the thyroid arytenoid muscles?
And falsetto is just the action of the Crico thyroid muscles right?
Sorry for the late reply. TH-cam does not always notify me of replies.
I'm nothing afraid of being highly range of his majesty, fortunately it was recently certifies his own majesty's voice and J. LIABOEUF
Fascinating.
Pertile's Eb at 3:34 sounds like chest predominance, then by the G and G# that follow he is in head voice to my ear. The F in between sounds like where he converts at the passagio. At 4:09 it sounds like he adds some more chest predominance to the sound.
7:42 Every time. Wow
Corelli.
Aureliano Pertile
Very nice clips and enjoyed the commentary... any thoughts regarding Caesari's Voice of the mind? Have you, perchance, read it?
I've got a few thoights on EHCaesari. IMO EHC had a profound knowledge which stemmed from a deep love of the human voice but also from the fact that he had, at the end of 3 years study with a teacher 'a smashed voice'. He writes about this in Vocal Truth. It's also worth reading his chapter on the Pharyngeal Voice from The Voice of the Mind. I've read an enormous amount about singing technique over 4 decades and for me EHC is the most consistantly impressive scholar. His teachers were Riccardo Daviesi and Antonio Cotogni. In the 1980s I did some work for the EHC Association and spoke to a number of EHC students. Happy days!
Very interesting stuff, thank you!
does it mean that a note upper the passagio will necessarily contain this coordination or it is possible to sing it only in chest voice ?
Thank you!
Always coordinated. But, we should have the core continuing right through to maintain chest participation. Even when you go to head, it is coordinated. Just different percentages of muscle function.
The whole range of the voice will be coordinated. The degree these muscles work are dependent on pitch and volume.
The cover is a muscular change that engages some extrinsic muscles of the larynx that allow the singer to maintain a low larynx and ascend the scale maintaining the same sort of homogeneous sound.
GeneralRadames Do you think this "muscular change" is simply the cricos "kicking in" to elongate the cords in order to maintain (and obtain!) higher pitches?
Wow if you associate Head Voice with volume its more helpful, Thanks
Very interesting clip by Del Monaco. Can you tell us the date and location of this performance?
not to mention how uncannily similar to Corelli he sounds in it....
Was di Stefano in falsetto or head voice on the G natural at the end? It was so light and hollow that it sounded like falsetto not soft focused head voice. I thought his lowest note sung sounded like he slipped into chest voice and then right back into head voice.
I was referring to the first clip of di Stefano not the second.
Read carefully my reply to you above. This may answer your question. :)
I wish each singer had been clearly identified. As is, it is for uber opera fans.
I love great opera singing and recognize most of these artists, but not all. Is the bass singing "Ella giammai" Ghiaurov?
No, is a Russian Bass... Yevgeny Nesterenko almost 10 years younger than Ghiaurov...
What is then the middle voice which Manuel García talks about?
Teachers of the past generally describe registers in terms of feelings of sensations. As they did not have the anatomical science to know what was happening functionally.
Even though Garcia speaks something about a register as being a set of homogenous sounds of some sort. Past teachers generally thought of it as changes in sensations to denote register changes.
As a singer ascends the scale they may feel sensations on the lower notes in the throat and chest areas. In the middle of the range, they feel it in the mouth oral pharynx area, and on the higher notes they feel it in the head. Hence the terms Chest, Middle, Head voice.
Sensations are superficial and are not a good indicator for what is happening functionally.
I just made a video on Falsetto. You can watch it and my video on chest voice to get a better idea. I should have them all together on a playlist called "Registers".
That first di Stefano clip is the youngest I’ve seen him. I actually didn’t recognize him.
what song is gigli singing in the first video clip? Was it sung live?
Is there a link to full video of Di Stefano singing song/aria no 2? Thanks in advance
I think head voice is when the voice feels totally detached from the throat, unrelated to it. I'm not saying it is that way, of course not, but it FEELS that way. Consequently the accompanying effect is the complete lack of any strain in the voice, which makes it maximally controllable, both for volume and dynamics and actually also pitch. I would think this has nothing to do with the register of the voice - a bass can sing this way too, and a soprano MUST or it's a disaster
Her in this video we learnt about head register or head voice but can you explain head resonance?
Resonance (amplification of sound, not sensations) occurs mainly at the larynx and Pharyngeal areas. And leaves the mouth as a passage way. You need to watch my videos on the mask. Go to my Playlists to watch the videos.
Yes I have seen them and they are pretty good have you heard about Angelo loforese?
@@amadeomiotto4573 Yes, i Have heard of Angelo. Sad to hear he passed away recently. It was nice some of his teaching and singing were left behind for people to see.
I am glad you liked my videos. I will try to do more soon. :D
Whats the name of the arias that Franco Corelli was singing?
What on earth is the opening clip from???
A movie. Gigli made over 40 movies.
Hello, Please tell me the name of the song performed by Titta Ruffo
Brogi: Visione Veneziana 1912
its really interesting, please could you help me with a book of this technique?
There are many books that say many things. Do you want to know more about the function and anatomy? Or something else?
please I want to learn about the technique of ancient singing, about the techniques and the operation of the larynx
Some functional stuff you can learn from books. But overall you need to take lessons. Unfortunately nothing is clear cut. There are many books that say all sorts of things. That is why I created these videos to help. Find a good teacher.
Interrupting Di Stefano`s diminuendo with a commercial, says it all. What a pity...
Get TH-cam adblocker. Extension.
Please do a head voice in female singer.
What was the first song sang be di Stefano?
What? When I sing head (Yhea its connected and is distinct from my falsetto) it sounds like a head voice, the one women use. Weied
Baf Baas work on lowering your soft pallet in your connected head voice, it’ll start to bring that depth and weight you’re after
For another great example of a bass singing in head voice:
th-cam.com/video/JcgodcP4N_g/w-d-xo.html
Towards the end (4:10 and onward), the 25 year old Boris Shtokolov really shows off control of his big, fat voice in the high range.
Thanks for the link. Indeed a very big bass voice. He does control the voice in the high range, but achieves it by cutting off the chest resonance. Becomes disconnected. At one point goes to falsetto. To me, singers nowadays make the mistake of trying to sound like him -- someone big as a buffalo. He can get away with it, but not everyone is big like a buffalo. He should not be an example of how to build a voice. We should use someone like Caruso. Naturally not big or strong but using the proper technique to build a super-resonant voice that does not strain. That's true skill in my opinion.
❤️
All wonderful singers. And not all tenors either. There was one baritone (Ruffo) and a basso cantante who looked and sounded like Ghiaurov but may have been someone else.
what song is di Stefano singing in this video? It's beautiful
A very famous tenor aria. But you must find the name yourself
@@mickey1849 the fuck
@@BigDaddyDracula Wrong!😋
@@BigDaddyDracula the first one is "Serenata" but the second one i forgot.. you can search "Di Stefano C5 Diminuendo" on youtube
stupendi...
5:46 he somehow resembles Piolo Pascual. 🇵🇭
What piece is Giuseppe di Stefano singing?
Schubert's Standchen.
What do you make of this?
"CONCLUSION: Preliminary findings regarding CT and TA dominance and register control do not support the assumption that all chest and chestmix production has greater TA muscle activity than CT muscle activity or that all headmix and head production require greater CT muscle activity than TA muscle activity. The data indicate that pitch level may play a greater role in determining TA and CT dominance than register."
You also need to take into account intensity or volume as stated in the video. These muscle work together at different degrees depending on pitch and intensity.
GeneralRadames yes, this is what I was thinking. Thanks!
Who wrote the above and where was it presented? We need to see the actual data including the videos of the direct fiberoptic laryngoscopy and the stroboscopy done simultaneously with it of tenors and sopranos while actually singing first full chest voice, the falsetto and finally head voice (mix). That is the only way I know of to actually test the hypothesis. It may have already been done, if so, we need to find the videos.
The singer in the 1936 clip looks incredibly like Ennico Caruso, who died in 1921.
He came back for one last encore performance
@@mickey1849 if only!
Can someone explain to me why some guys' head voice sounds like a female and other guys' don't?
Depends on the muscular coordination. The more chest you use the less headier it sounds. The less chest you use the more headier the sound is. If a man sounds more like a woman he is using a minimal amount of chest (TA) function with a lot of falsetto (CT) function. Also, a lighter tenor like Gigli has smaller vocal cords than a heavier tenor. He is going to sound more effeminate.
@@RadamesAida2Operalovers I personally prefer more function of CT because I'm already a much lighter tenor anyways
Also, the larynx position plays a huge role in the sound of the head voice. Properly placing your voice with a low larynx allows more chest, whereas the neutral and high larynx position will lead to more CT function as well.
more projection, not chest*
Evgeny Nesterenko looks like Piolo Pascual
What is the name of the song at the end the last one corelli is singin
It’s the end of “Celeste Aida” from Aida.
so i take it in this set of terminology head voice is your mix. it is using the thyroarytenoid and circothyroid muscles together. a blending of the chest (thyroarytenoid) and the falsetto (circothyroid)
That seems like a good way to describe what is actually happening from an anatomical point of view. Does anyone have a video to site in which fiberoptic laryngoscopy with or without stroboscopy is performed with a tenor singing first in midrange chest voice, then very high falsetto, (e.g. high C and up) and finally full head voice on Bb-high C? That would be very interesting to analyze to see if what we are positing is actually occurring.
Mix is not a good term. The voice is not like a cake you cannot mix it. Mix refers to the sound not function. Coordination is a better term. Because the muscles are coordinating in a certain way to make that characteristic sound.
So the degree certain muscles are employed is related to intensity of sound. Chest function relates to loudness and volumes, falsetto to softness. Head voice leans more towards falsetto.
These images only show the top of the mechanism functioning, it is limited to a certain perspective. You see in these videos of vocal cords that there are adjustments for pitch and volume made by the mechanism.
So males have to sing bottom heavy all the way to the top? What happens when the thyroarytenoids inevitably hyper activate then?
Hi. Thanks for the question. There is no up or down in singing. As we ascend and descend the scale all sounds come from the same place.
I do not like the term Heavy mechanism as it denotes something labored and cumbersome.
Chest voice and head voice are a coordination of the intrinsic muscles of the larynx.
Singing is a muscular function These muscles make adjustments at each change of pitch for the vowel sound/volume created.
A free and efficient voice will function without the sense of this heaviness that people assume occurs.
A free strong chest voice is not "heavy". Constriction and inhibition make voices feel labored.
When the voice is produced well there is a homogenous sound that resembles a chest voice sound.
What percentages of what muscles being used is dependent on the singer and sound made. Nothing is forced.
The Larynx can function quite well and strongly without imposition. We do not need to go into a heady sound to sing higher notes. This is a fake concept.
The same concept that goes with the idea of the cords needing to thin as we ascend the scale. Vocal cord adjustments are involuntary actions and are the result of a desired vocal tone. we should not try to thin things.
Listen to my other video on "What is chest voice" to hear that all the great singers sang with a brilliant chesty tone to the top of their range.
It all started with Duprez with his High C in Chest. Look it up.
Gigli's snippet sounds like falsetto even though it probably isn't.
Il suo celebre Falsettone, a falsetto reinforced with chest résonance !
@@antonioschiavi6870
What you wrote is nonsense!
This is flat singing but not falsetto.
@@achmedmohamed4708 his famous "falsettone rinforzato" was a perfect mix. He was able to sing in different manners, his technique was awesome.
Gigli and Lauri Volpi were masters of the mezza voce` and Falsettone using the falsetto without breaks when reinforcing the voice which seems like an impossibility
Excuse me, what is the name of the song that Ruffo sings?
th-cam.com/video/yUF4Gxst4MU/w-d-xo.html
La Visione Veneziana - Brogi
@@michelez3710 love Bonellis version