How unfortunate it was that the Cold War deprived those of us in the West from hearing and seeing Kozlovsky, Lemeshev, and the other phenomenal singers from Soviet countries.
Yes, in the 18th century, Russian vocal music was indeed influenced by Italy. This influence primarily came through the dissemination of Italian opera and the performances of Italian vocalists. During the reign of Peter the Great, Russia began to engage with Western culture, particularly Italian culture. As the Russian Empire developed, Italian opera became fashionable among the nobility, and the Russian royal court and aristocracy often invited Italian opera troupes to perform. Consequently, Italian vocal techniques and styles gradually integrated into Russian vocal performance, exerting a profound influence on the development of Russian vocal music. I also feel influenced by Italian vocal music, Russian vocal music level was very high in the late 18th century, China and Korea are influenced by Russian vocal music. Entering the 1950s, Italian vocal music declined, but Russia survived intact. After the Cold War, communication was reduced, the original artists left, and the level of new Russian singers dropped a lot, and now there is not even one.
It is impossible, for me, to compare this aria in French and in Russian. So I did not hear much from the russian version. Di Stefano has a strange technic, this is true, and we all know how it finished. Anyway, I imagine that he was young in this recording and I’m discovering in him a perfect french language . He has a tiny accent which doesn’t disturb me because, as in italian, his perfect articulation makes this accent very sexy for my french ears. I’m very amazed because usually singers of this generation are impossible in this difficult language. His r and his nasals are a lesson of elegance. For this reason, I’m not much interested to hear a leggiero singing this aria in russian: the beauty and the difficulty of this music is far not only the high C.
Your comment is very interesting and I really need to know what the French say about it. I was trying to find this song in Italian. It takes too long. That's it. You speak so highly of Stefano. Unexpected. Again, no impression of Lemeshev, which is interesting.
@@lisaszxu1961 I heard Lemeshev later. I feel that they recorded that with a very near microphone. I heard no projection . But true that musically, it is very well made, elegant, a bit boring. Di Stefano, if we forget the second half of his carrier, like MDM, and if we accept his too opened technic, is never boring. I do understand why you put him there but for me it is to hard to forget the beauty of Di Stefano interpretation
@@armenak20962 I also admire Stefano's voice early on, no one can beat it. But they're Italian folk songs. Singing the opera was another story. He challenged Aida, had his vocal chords destroyed, and then screamed. th-cam.com/video/qFMei07Cabk/w-d-xo.html This is an opera, not a concert microphone, and his voice is in front, very clever, and his chest all the way to the front of the abdomen surface, are full of breath, and he does the best of mankind, because, with this space, and filled with breath, his timbres are very rich. The breath is very smooth, he has a smooth breath here trill, I think the whole human No1. There's no one like it.
Ivan Kozlovsky is amazing!! His voice is not as forward as Lemeshev's, that is, there is not as much breath on his chest as Lemeshev. The echo zone is behind the human midline. The whole sense of the rear is very good! The Lemeshev's rear overall feel is also good.
Di Stefano inarrivabile ma Lemeshev non gli finisce tanto lontano....
How unfortunate it was that the Cold War deprived those of us in the West from hearing and seeing Kozlovsky, Lemeshev, and the other phenomenal singers from Soviet countries.
Yes, in the 18th century, Russian vocal music was indeed influenced by Italy. This influence primarily came through the dissemination of Italian opera and the performances of Italian vocalists. During the reign of Peter the Great, Russia began to engage with Western culture, particularly Italian culture. As the Russian Empire developed, Italian opera became fashionable among the nobility, and the Russian royal court and aristocracy often invited Italian opera troupes to perform. Consequently, Italian vocal techniques and styles gradually integrated into Russian vocal performance, exerting a profound influence on the development of Russian vocal music.
I also feel influenced by Italian vocal music, Russian vocal music level was very high in the late 18th century, China and Korea are influenced by Russian vocal music.
Entering the 1950s, Italian vocal music declined, but Russia survived intact. After the Cold War, communication was reduced, the original artists left, and the level of new Russian singers dropped a lot, and now there is not even one.
Anjaparidze
It is impossible, for me, to compare this aria in French and in Russian. So I did not hear much from the russian version. Di Stefano has a strange technic, this is true, and we all know how it finished. Anyway, I imagine that he was young in this recording and I’m discovering in him a perfect french language . He has a tiny accent which doesn’t disturb me because, as in italian, his perfect articulation makes this accent very sexy for my french ears. I’m very amazed because usually singers of this generation are impossible in this difficult language. His r and his nasals are a lesson of elegance. For this reason, I’m not much interested to hear a leggiero singing this aria in russian: the beauty and the difficulty of this music is far not only the high C.
Your comment is very interesting and I really need to know what the French say about it. I was trying to find this song in Italian. It takes too long. That's it. You speak so highly of Stefano. Unexpected. Again, no impression of Lemeshev, which is interesting.
@@lisaszxu1961 I heard Lemeshev later. I feel that they recorded that with a very near microphone. I heard no projection . But true that musically, it is very well made, elegant, a bit boring. Di Stefano, if we forget the second half of his carrier, like MDM, and if we accept his too opened technic, is never boring.
I do understand why you put him there but for me it is to hard to forget the beauty of Di Stefano interpretation
@@armenak20962
I also admire Stefano's voice early on, no one can beat it. But they're Italian folk songs. Singing the opera was another story. He challenged Aida, had his vocal chords destroyed, and then screamed.
th-cam.com/video/qFMei07Cabk/w-d-xo.html
This is an opera, not a concert microphone, and his voice is in front, very clever, and his chest all the way to the front of the abdomen surface, are full of breath, and he does the best of mankind, because, with this space, and filled with breath, his timbres are very rich. The breath is very smooth, he has a smooth breath here trill, I think the whole human No1. There's no one like it.
Ivan Kozlovsky is amazing!!
His voice is not as forward as Lemeshev's, that is, there is not as much breath on his chest as Lemeshev. The echo zone is behind the human midline. The whole sense of the rear is very good! The Lemeshev's rear overall feel is also good.
Distefano rendition is wonderful and inimitable in every way!