Mr.Kunde is wonderful. The last major tenor to have any connection with the great singers of the past. Style and technique, he would have been recognized 60 years ago. Bravo!
Grazie Gregori per il bene che hai voluto a, noi facendoci sentire Un tenore che , oltre ad avere una bella voce, cantava come si deve, non tutti i tenori lo sanno, a quanto si sente in giro nei teatri
Gregory kunde, in an interview with a Spanish radio, said that he was able to emit the high f because as a young man he sang in a rock group and that he had mastered the technique to emit that sound, explaining well that by intoning the next note correctly you had to then use the head sound. What a nice interview, the reporter asked him questions in Spanish and he answered in Italian. Greg is a myth!
That makes sense. The "rock" sing/yell in the upper end is like a hybrid between falsetto and M2/tenor head voice. You have to close things off a bit and tighten up in places and relax in others to do it, but it's not typical tenor technique because it sounds thin and shrill, but a high f I think justifies some unusual efforts.
it's called "fusione dei registri", register fusion. Technically speaking it is a well connected non modal voice with good positioning of vocal tract, which makes it sound airy and so connected to the upper head register. Oddly enough, he didn't sound so connected in other registrations of credeasi misera (it can be very demanding, especially in the final part of the entire opera!)
not an easy note to hit opera or not. I wasn't able to hit that high F note til my mid 20's now i'm in my mid 30's and I can hit high G above it and sometimes even the Ab or A above it.
Perfectamente realizado: un falsettone (aunque algunos comentarios lo nieguen) que se funde perfectamente con la voz natural y que da como resultado un sobreagudo en voz mixta, de muy buena factura, timbrado y con armónicos. Mucho mejor, por ejemplo, que el falsete (demasiado evidente) dado por Pavarotti en una grabación que corre por ahí de esta misma romanza.
Sin duda un gran tenor heroico aquí todavia estaba en plenitud de facultades y es el mejor tenor qué a emitido este Fa así con voz abierta se nota como dominaba ese modo de emitir esta nota. Cayó en para mi desgracia porque perdió la modulacion de voz y emitía un canto llano. Gran tenor gregori kunde.
I had the joy of being on stage with Greg in Rossini's Otello. And I heard many versions of this finale from Puritani. Krauss, Mateuzzi, Blake, Brownlee,... and this is the only one where the F sounds nice and not as something strangly interpolated. It is natural and sounds not akward. Bravo Greg ! His voice got fuller and darker since and he now does more dramatic roles. But also in Otello his coloratura were smooth and al the rossinian ornamentation just easy and also glorious Hig D's EB and E's. He still got it .
Precisely. The early Pavarotti did ringing D's, but his F in this aria was a total head sound. I don't know how Kunde produced the notes, for he does seem to change the production somewhat from the full-throated regular tone, but the F remains similar to a regular sound and has tremendous ring.
@@lsmart Well I was also so unlucky to have to sing this. And I'm a spinto. Able to do this repertoire but in a fuller sound offcourse. No problem untill D. But yeah theres is this F. Full Falcetto? Well no that isnt coherent with my breast register, and way to thin. So the solution is some kind of mix. It only happened one day. And it was a rehearsal but I got the F in full voice !! And after you try to recreate what you done. Its kinda go half into headvoice, put ressonance really forward, but keep breathing , jaw and troath low. So the tone is with enough squillo and also well supported. Iguess that is what Greg does to. Oh well this high F..... I guess its way more pleasant to hear two good D flats in full voice then to try this F that mostly sounds like the killing of a rooster.
@@marcvdbosch1802 I'm a lyric tenor but when singing rock, I do what you do with fusing registers, what's called the falsettone. It sounds like power metal, but that's the only way notes above d are happening
Un gran tenor. De los pocos que cantan en la actualidad con la voz bien proyectada y gusto. Aunque para mi el mejor Arturo de todos los tiempos sea Kraus, Kunde lo canta de maravilla como casi lo q hace.
Alejandro Romero kraus jamas transporte las Óperas que cantaba incluida esta Ópera que canto por mas de 20 años y se le consideraba un experto. Ahora, esta aria es inhumana, un "FA" sobreagudo es raro el tenor que lo haga, Kunde en otras presentaciones ya no hace el "FA" sobreagudo, simplemente bajan 1 tono a la parte del "FA" sobreagudo y queda un MIb.
There is a lot of nonsense written about singing by singers and voice teachers. Falsetto is not an obsolete term. It means you vocalize with just the outer edges of the vocal cords. If you use the whole cord, as you do in most singing, it is called 'modal'. If you crank up your fluoroscope you can see this. I'm a low bass. I sing Osmin and Sarastro and similar parts. When I was singing I used to interpolate low Cs in the operas I sang. Yet I have a tenor's High C. It is of course in falsetto. All trained male singers should be capable of singing a High C one way or the other. Before Duprez all tenors sang their Cs (and higher) in some kind of falsetto, Then Duprez sang it from 'the chest'. That means he sang it in his modal voice. I can't do that, nor can any bass or baritone and many tenors. Most famous 'big' tenors never sing a real High C on stage. If you have good High B Flat you can have a career you don't need a C.(ask Domingo). Kunde is an excellent tenor because he is so musical. If he didn't happen to have all those extreme high notes he still would be worth listening to. But he is one of a handful of operatic tenors who can really sing these parts. Listen to Pavarotti sing this on the full length LP. He switches from modal voice to falsetto like a light switch. It is all wrong. It destroys the line. It isn't musical. Kunde is much better and Kunde looks better on stage too.
Couldn't disagree more with your take on Pavarotti's falsetto. It's beautiful and full and positioned the same way Soprano head voice is. It's great, and I think it works.
Another voice that after 45 years of tracking operatic voices, I heard for the first time 2 years ago, AND when asking very "serious" operatic buffs, including two professional voice coaches, I was not alone. Neither of the teachers nor any of the serious buffs had ever heard of him. How can that be possible?
He's been a star for ages mostly in Europe I think. And he brought the house down at the MET in 2019 when he was rushed in to replace an ailing tenor to sing Samson. It hit the papers so your buffs weren't paying attention.
@@Muttonchop_USA Thank you...I'll try to track this one down. One would hope that having a career in Europe wasn't a step toward anonymity, but 20 years ago I heard the most sumptuous mezzo I've ever heard, live in a Sunday concert in the park in Prague, and have never heard her name mentioned anywhere since...and I lived in Europe for 3 years after that concert....Poof! Gone.....
@@Winnepausakee ANONYMITY? -- Recent highlights include the title role Otello at the Royal Opera House, Covent Garden, Calaf Turandot at the Gran Teatre del Liceu, Jean de Leyden Le prophète at the Deutsche Oper Berlin, the title role Don Carlos for Opéra Royal de Wallonie-Liège, Samson Samson et Dalila at the Metropolitan Opera, title role Otello for Opéra national de Paris and Opéra de Monte-Carlo, title role Andrea Chénier and Radames Aida at the Wiener Staatsoper, Calaf Turandot at the Teatro Real, Madrid, Renato des Grieux Manon Lescaut in concert for Dallas Opera, Don Alvaro La forza del destino at the Semperoper Dresden, title role Peter Grimes at the Palau de les Arts Reina Sofia, Valencia, Radames Aida at the Teatro Real, Madrid, and a return to the podium to conduct Il barbiere di Siviglia at the Teatro La Fenice. Invitations to be rescheduled to future seasons include Manrico Il Trovatore for LA Opera. On the concert platform, recent highlights include Verdi Requiem and Calaf Turandot with the Israel Philharmonic Orchestra under the baton of Zubin Mehta, Das Lied von der Erde at the BBC Proms, Verdi Requiem in Bilbao, the title role Verdi Otello at the Cincinnati May Festival, title role Peter Grimes with Sir Antonio Pappano at the Accademia Nazionale di Santa Cecilia and Faust La damnation de Faust in concert at the Concertgebouw Amsterdam with Charles Dutoit. Acclaimed throughout his earlier career for his performances in French and Italian bel canto roles, Kunde has now established himself as a leading exponent of many of the Verdi roles and other such dramatic repertoire. Since his critically acclaimed debut as Verdi Otello at La Fenice in 2012, he has performed this signature role in Valencia, Genoa, Salerno, Florence, Turin, Tokyo, Osaka, Nagoya, Seoul, and São Paulo. Since moving into this repertoire, Kunde earned the unique distinction of being the only tenor in recorded history to perform both Rossini Otello and Verdi Otello in the same season (2014/15 and 2015/16).
@@Muttonchop_USA These are all 2nd and 3rd rate opera houses. Given the utter scarcity of good-sized tenor voices with an appealing tone and strong high notes, someone like Kunde should have been singing roles regularly at the Met, La Scala, Chica Lyric, etc. Instead they turn Kaufman into a superstar, and chase after singers like Beczala, Alvarez, and Alagna - all of whom are of lesser quality than Kunde, and certainly in the difficult roles that he has sung, such as Othello, Puritani, Fille de Regiment, etc. The same has been true in the past 30 years to an even greater degree regarding Salvatore Fisichella, who had stupendous high notes, a sweet and rich tone, and fine singing ability - but couldn't get an invite at the Met.
Sounds extremely extremely small, and I usually never make comments on the size of one's voice. Beautiful high f but the rest is probably inaudible if you are watching this in person
Pero por supuesto que algunos tenores tienen el Fa sobre agudo y sin hacer falsete, no necesariamente tenores conocidos, algunos como :Angelo Loforesse, Kunde, Matteuzzi, Lawrence, francesco Demuro….
Such a great tenor was barely invited to the MET and only for replacing other singers. That means the MET doesn't support the best singers in the world and you don't have to sing at the MET to prove you're a great singer. See Piero Capucilli. He performed at the MET only once and was one of the best baritones of the 20th century second half :)
I also agree he's far from a Pavarotti or Domingo, but he is still better than many tenors singing at the Met today - even in standard roles, let alone in the high-range roles. That is the crime.
I had the great joy of hearing Mr. Kunde in the role many years ago. But I was surprised and sorry he did not attempt the F. It seemed somehow out of character. As if Arturo, himself, had given up.
No es falsete, e verdadera voz de cabeza, y lo hacen varios tenores como: Kunde, Rocha, Demura, Brownlee, Camarena, Mateuzzi.....ellos tiene esa capacidad. El hecho que otros como Kraus, JDF, Fisichella... no lo hacen, no significa que sean grandes tenores.
No, no es falsetto. Claro que no. Ahora bien, bonito lo que es bonito, no es. Hace poco fui a ver Otello de Rossini en Gante. El Sr. Kunde, con sus 60 y pico tacos, estuvo en plena forma. Ah, y no nos fijemos solo en notas y octavas. Cantar es mucho más que eso. Kraus casi nunca estuvo dispuesto a darle salida a esa fa brutal, pero no por eso tenemos derecho a reprocherle nada. Para mí, cualquier tenor por encima de la do aguda suena como un gato, de esos que copulan en el patio por la noche y hacen esos ruidos espantosos que a veces confundimos con el llanto de un bebé. La fa esa, o se canta en falsetto o no se canta. En esta nota tan aguda siempre hay "gato encerrado"...
Oleg VR If you are a tenor yourself you would know why. I am 19 and I am a tenor I know how hard it is to hit a high C on mix, what more of a high F. The passagio of tenors is from F# which is why we must shift to head tone but because of unrealistic operatic standards, we are forced to hit a high C on chest voice. We can't push that high. It's impossible. lol.
Heard Brownlee hit the high F in Puritani in Chicago last night and even in falsetto, it is the most amazing thing to hear and I have been to my share of operas.
Actually, no. Falsetto is NOT the same as “light mechanism.” Falsetto is called that because the folds don’t fully adduct, so the phonation is “false” (because it is not a full voice phonation)
@@mariaantoniettabenincasa2741 Sembra che i soprani e le donne in genere non abbiano il falsetto e per questo, evidentemente, anche lei cara signora ha difficoltà a rendersi conto di questa emissione. Al contrario, per un uomo è difficoltoso superare nel canto, non nel grido, il La naturale fino al Do naturale acuto e oltre. A me è accaduto appunto di trovarmi in questa difficoltà ma, in particolare, la difficoltà VERA è stata trovare un autentico insegnante di canto, ragione per cui ho imparato a cantare troppo tardi. Il motivo cardine di tutto ciò è la generale presunzione di saper cantare e di capire di canto confondendolo in genere con il grido e lo strillo. E' così che l'ambiente è invaso dai peggiori ciarlatani come anche da altri in buona fede che "insegnano" a cantare. Bhè, è molto semplice: il suono armonico DEVE possedere risonanza per essere tale. Prenda un diapason e lo faccia vibrare: a vuoto sarà appena udibile ma se lo appoggia anche solo su un tavolo, ne uscirà un suono decuplicato. Questa è la medesima differenza tra una voce che grida, un falsetto rinforzato e una voce che CANTA. E non dimentichi che ogni suono armonico deve possedere TIMBRO - ALTEZZA e INTENSITA', qualità che sono state ben identificate.
Mr.Kunde is wonderful. The last major tenor to have any connection with the great singers of the past. Style and technique, he would have been recognized 60 years ago. Bravo!
Grazie Gregori per il bene che hai voluto a, noi facendoci sentire
Un tenore che , oltre ad avere una bella voce, cantava come si deve, non tutti i tenori lo sanno, a quanto si sente in giro nei teatri
Non è un falsetto né un falsettone. E una nota presa a voce piena. Grandioso!
Gregory kunde, in an interview with a Spanish radio, said that he was able to emit the high f because as a young man he sang in a rock group and that he had mastered the technique to emit that sound, explaining well that by intoning the next note correctly you had to then use the head sound. What a nice interview, the reporter asked him questions in Spanish and he answered in Italian. Greg is a myth!
That makes sense. The "rock" sing/yell in the upper end is like a hybrid between falsetto and M2/tenor head voice. You have to close things off a bit and tighten up in places and relax in others to do it, but it's not typical tenor technique because it sounds thin and shrill, but a high f I think justifies some unusual efforts.
it's called "fusione dei registri", register fusion. Technically speaking it is a well connected non modal voice with good positioning of vocal tract, which makes it sound airy and so connected to the upper head register. Oddly enough, he didn't sound so connected in other registrations of credeasi misera (it can be very demanding, especially in the final part of the entire opera!)
@@brendant19 My voice teacher in college, a tenor himself, called the metal/rock thing "pushed falsetto".
not an easy note to hit opera or not. I wasn't able to hit that high F note til my mid 20's now i'm in my mid 30's and I can hit high G above it and sometimes even the Ab or A above it.
Bastante lindo en grabación... La vez que lo escuché en vivo a penas se oía.
Tal vez, porque su voz se escucha muy adentro
Perfectamente realizado: un falsettone (aunque algunos comentarios lo nieguen) que se funde perfectamente con la voz natural y que da como resultado un sobreagudo en voz mixta, de muy buena factura, timbrado y con armónicos. Mucho mejor, por ejemplo, que el falsete (demasiado evidente) dado por Pavarotti en una grabación que corre por ahí de esta misma romanza.
No many words, but ........................BRAVO; BRAVO !!!
Sin duda un gran tenor heroico aquí todavia estaba en plenitud de facultades y es el mejor tenor qué a emitido este Fa así con voz abierta se nota como dominaba ese modo de emitir esta nota. Cayó en para mi desgracia porque perdió la modulacion de voz y emitía un canto llano. Gran tenor gregori kunde.
MAGNIFICO
Notable! Lo emite con la voz entera conectada al pecho, no es falsete. Una proeza para muy pocos
Thats the best F5 I have heard - without being falsetto.
I was at that performance! Magnificent!
Lucky!
¡Espléndido! ¡Un enorme ARtista! ...y sin poses de divo. ¡Bravissimo, Greg!
Very pretty rendition! Beautiful voice in all registers. Thank you Meastro!
GRANDIOSO!!!!!
ГЕНИАЛЬНЫЙ ПЕВЕЦ !!!!!
I had the joy of being on stage with Greg in Rossini's Otello. And I heard many versions of this finale from Puritani. Krauss, Mateuzzi, Blake, Brownlee,... and this is the only one where the F sounds nice and not as something strangly interpolated. It is natural and sounds not akward. Bravo Greg ! His voice got fuller and darker since and he now does more dramatic roles. But also in Otello his coloratura were smooth and al the rossinian ornamentation just easy and also glorious Hig D's EB and E's. He still got it .
Precisely. The early Pavarotti did ringing D's, but his F in this aria was a total head sound. I don't know how Kunde produced the notes, for he does seem to change the production somewhat from the full-throated regular tone, but the F remains similar to a regular sound and has tremendous ring.
@@lsmart Well I was also so unlucky to have to sing this. And I'm a spinto. Able to do this repertoire but in a fuller sound offcourse. No problem untill D. But yeah theres is this F. Full Falcetto? Well no that isnt coherent with my breast register, and way to thin. So the solution is some kind of mix. It only happened one day. And it was a rehearsal but I got the F in full voice !! And after you try to recreate what you done. Its kinda go half into headvoice, put ressonance really forward, but keep breathing , jaw and troath low. So the tone is with enough squillo and also well supported. Iguess that is what Greg does to. Oh well this high F..... I guess its way more pleasant to hear two good D flats in full voice then to try this F that mostly sounds like the killing of a rooster.
@@marcvdbosch1802 I'm a lyric tenor but when singing rock, I do what you do with fusing registers, what's called the falsettone. It sounds like power metal, but that's the only way notes above d are happening
Very nice on an impossible note.
Ha sido un tenor completísimo y con buena técnica.
È un meraviglioso falsetto. - E non sarebbe possibile in altro modo...
Un gran tenor. De los pocos que cantan en la actualidad con la voz bien proyectada y gusto. Aunque para mi el mejor Arturo de todos los tiempos sea Kraus, Kunde lo canta de maravilla como casi lo q hace.
Kraus no cantaba las notas auténticas que hay que cantar en esta aria, cantaba las que le daba la gana. Kunde sí que las canta.
Alejandro Romero kraus jamas transporte las Óperas que cantaba incluida esta Ópera que canto por mas de 20 años y se le consideraba un experto. Ahora, esta aria es inhumana, un "FA" sobreagudo es raro el tenor que lo haga, Kunde en otras presentaciones ya no hace el "FA" sobreagudo, simplemente bajan 1 tono a la parte del "FA" sobreagudo y queda un MIb.
Questo bel Fa è una nota di testa rinforzata che ha delle componenti di petto prese dalle note precedenti :)
MERAVIGLIOSO!!! COMPLIMENTI VIVISSIMI 😃😃
There is a lot of nonsense written about singing by singers and voice teachers. Falsetto is not an obsolete term. It means you vocalize with just the outer edges of the vocal cords. If you use the whole cord, as you do in most singing, it is called 'modal'. If you crank up your fluoroscope you can see this.
I'm a low bass. I sing Osmin and Sarastro and similar parts. When I was singing I used to interpolate low Cs in the operas I sang. Yet I have a tenor's High C. It is of course in falsetto. All trained male singers should be capable of singing a High C one way or the other. Before Duprez all tenors sang their Cs (and higher) in some kind of falsetto, Then Duprez sang it from 'the chest'. That means he sang it in his modal voice. I can't do that, nor can any bass or baritone and many tenors. Most famous 'big' tenors never sing a real High C on stage. If you have good High B Flat you can have a career you don't need a C.(ask Domingo).
Kunde is an excellent tenor because he is so musical. If he didn't happen to have all those extreme high notes he still would be worth listening to. But he is one of a handful of operatic tenors who can really sing these parts. Listen to Pavarotti sing this on the full length LP. He switches from modal voice to falsetto like a light switch. It is all wrong. It destroys the line. It isn't musical. Kunde is much better and Kunde looks better on stage too.
Exce)ent comment, and very instructive. Thank you.
But he doesn't sing 'those extreme high notes' in modal voice but with an interpolated tecnique.... Falsettone...
@@jackbigbug
When in doubt - make something up. Neologisms don't help.
@@Agorante th-cam.com/video/ywirgWci82o/w-d-xo.html
Couldn't disagree more with your take on Pavarotti's falsetto. It's beautiful and full and positioned the same way Soprano head voice is. It's great, and I think it works.
magnifiques chanteurs
Bravo !
You can clearly hear what good influence Alfredo Kraus had on him. The voice not nella gola but well placed forward and high in the head. Bravo!
Fenomibinabel👍
A great Tenor in the class of Pavarotti,it is a disgrace he isn't more celebrated
che meravigliaaaaaa (altro che bocelli buuuuu)
mi favorito en los ultimos veinte años
Totalmente de acuerdo.
INTERESSANT
Another voice that after 45 years of tracking operatic voices, I heard for the first time 2 years ago, AND when asking very "serious" operatic buffs, including two professional voice coaches, I was not alone. Neither of the teachers nor any of the serious buffs had ever heard of him. How can that be possible?
He's been a star for ages mostly in Europe I think. And he brought the house down at the MET in 2019 when he was rushed in to replace an ailing tenor to sing Samson. It hit the papers so your buffs weren't paying attention.
@@Muttonchop_USA Thank you...I'll try to track this one down. One would hope that having a career in Europe wasn't a step toward anonymity, but 20 years ago I heard the most sumptuous mezzo I've ever heard, live in a Sunday concert in the park in Prague, and have never heard her name mentioned anywhere since...and I lived in Europe for 3 years after that concert....Poof! Gone.....
@@Winnepausakee ANONYMITY? -- Recent highlights include the title role Otello at the Royal Opera House, Covent Garden, Calaf Turandot at the Gran Teatre del Liceu, Jean de Leyden Le prophète at the Deutsche Oper Berlin, the title role Don Carlos for Opéra Royal de Wallonie-Liège, Samson Samson et Dalila at the Metropolitan Opera, title role Otello for Opéra national de Paris and Opéra de Monte-Carlo, title role Andrea Chénier and Radames Aida at the Wiener Staatsoper, Calaf Turandot at the Teatro Real, Madrid, Renato des Grieux Manon Lescaut in concert for Dallas Opera, Don Alvaro La forza del destino at the Semperoper Dresden, title role Peter Grimes at the Palau de les Arts Reina Sofia, Valencia, Radames Aida at the Teatro Real, Madrid, and a return to the podium to conduct Il barbiere di Siviglia at the Teatro La Fenice. Invitations to be rescheduled to future seasons include Manrico Il Trovatore for LA Opera.
On the concert platform, recent highlights include Verdi Requiem and Calaf Turandot with the Israel Philharmonic Orchestra under the baton of Zubin Mehta, Das Lied von der Erde at the BBC Proms, Verdi Requiem in Bilbao, the title role Verdi Otello at the Cincinnati May Festival, title role Peter Grimes with Sir Antonio Pappano at the Accademia Nazionale di Santa Cecilia and Faust La damnation de Faust in concert at the Concertgebouw Amsterdam with Charles Dutoit.
Acclaimed throughout his earlier career for his performances in French and Italian bel canto roles, Kunde has now established himself as a leading exponent of many of the Verdi roles and other such dramatic repertoire. Since his critically acclaimed debut as Verdi Otello at La Fenice in 2012, he has performed this signature role in Valencia, Genoa, Salerno, Florence, Turin, Tokyo, Osaka, Nagoya, Seoul, and São Paulo. Since moving into this repertoire, Kunde earned the unique distinction of being the only tenor in recorded history to perform both Rossini Otello and Verdi Otello in the same season (2014/15 and 2015/16).
@@Muttonchop_USA These are all 2nd and 3rd rate opera houses. Given the utter scarcity of good-sized tenor voices with an appealing tone and strong high notes, someone like Kunde should have been singing roles regularly at the Met, La Scala, Chica Lyric, etc. Instead they turn Kaufman into a superstar, and chase after singers like Beczala, Alvarez, and Alagna - all of whom are of lesser quality than Kunde, and certainly in the difficult roles that he has sung, such as Othello, Puritani, Fille de Regiment, etc. The same has been true in the past 30 years to an even greater degree regarding Salvatore Fisichella, who had stupendous high notes, a sweet and rich tone, and fine singing ability - but couldn't get an invite at the Met.
@@lsmartDid you just call Wiener Staatsoper a 2nd rate house? LMFAO
4:44
Wisdom usually lies somewher else ...
e 🤣
Sounds extremely extremely small, and I usually never make comments on the size of one's voice. Beautiful high f but the rest is probably inaudible if you are watching this in person
Pero por supuesto que algunos tenores tienen el Fa sobre agudo y sin hacer falsete, no necesariamente tenores conocidos, algunos como :Angelo Loforesse, Kunde, Matteuzzi, Lawrence, francesco Demuro….
Eso no es falsettto. Es una maravilla
Miguel Angel Palenzuela Martín xD
totalmente falsete,ignorante
Es un falsete reforzado ningún hombre canta esa nota naturalmente es fisiológicamente imposible
Mix voice my friends ;)
the sound changes a lot when it's falsetto, also the resonance.
@@EliominDZ el ignorante aquí eres tú! Eso no es falsete, es voz mixta o heady mix
That was a decent high F
Such a great tenor was barely invited to the MET and only for replacing other singers. That means the MET doesn't support the best singers in the world and you don't have to sing at the MET to prove you're a great singer. See Piero Capucilli. He performed at the MET only once and was one of the best baritones of the 20th century second half :)
I really love Gregory Kunde, and I think he is a great tenor, but reality is he is a far away from the greatest ones.
I also agree he's far from a Pavarotti or Domingo, but he is still better than many tenors singing at the Met today - even in standard roles, let alone in the high-range roles. That is the crime.
El agudo final un poco apretado. Por lo demás perfecto.
I had the great joy of hearing Mr. Kunde in the role many years ago. But I was surprised and sorry he did not attempt the F. It seemed somehow out of character. As if Arturo, himself, had given up.
Un tenor de referència i una soprano també de referència.
Eso se consideraría un falsete como lo hace Nicolai gedda en esta aria ?
Dから上になると声がガラッと変わってしまうにゃ。
Kunde sounds tired here. It must have been a full on performance
When I hear other tenors put out the high f they lose their masculinity, this doesn't happen to Greg, he keeps his manhood.
No es falsete, e verdadera voz de cabeza, y lo hacen varios tenores como: Kunde, Rocha, Demura, Brownlee, Camarena, Mateuzzi.....ellos tiene esa capacidad. El hecho que otros como Kraus, JDF, Fisichella... no lo hacen, no significa que sean grandes tenores.
Per favore, traducete in italiano la lingua inglese! Non la conosco bene, e come me migliaia di persone! Grazie 🙏!
No, no es falsetto. Claro que no. Ahora bien, bonito lo que es bonito, no es. Hace poco fui a ver Otello de Rossini en Gante. El Sr. Kunde, con sus 60 y pico tacos, estuvo en plena forma. Ah, y no nos fijemos solo en notas y octavas. Cantar es mucho más que eso. Kraus casi nunca estuvo dispuesto a darle salida a esa fa brutal, pero no por eso tenemos derecho a reprocherle nada. Para mí, cualquier tenor por encima de la do aguda suena como un gato, de esos que copulan en el patio por la noche y hacen esos ruidos espantosos que a veces confundimos con el llanto de un bebé. La fa esa, o se canta en falsetto o no se canta. En esta nota tan aguda siempre hay "gato encerrado"...
But it is falsetto! Why?..
Oleg VR If you are a tenor yourself you would know why. I am 19 and I am a tenor I know how hard it is to hit a high C on mix, what more of a high F.
The passagio of tenors is from F# which is why we must shift to head tone but because of unrealistic operatic standards, we are forced to hit a high C on chest voice. We can't push that high. It's impossible. lol.
Heard Brownlee hit the high F in Puritani in Chicago last night and even in falsetto, it is the most amazing thing to hear and I have been to my share of operas.
@@TheChangken Its not impossible. It can be developed over time, with a lot of work.
Falsetto is an outdated term. Everything is either heavy or light mechanism or a mix of the two.
Actually, no. Falsetto is NOT the same as “light mechanism.” Falsetto is called that because the folds don’t fully adduct, so the phonation is “false” (because it is not a full voice phonation)
È chiaramente un falsetto rinforzato. Un suono privo di timbro. Perché ostinarsi a inventare miti di fumo??!!
Completamente d'accordo. Il falsetto è rinforzato a regola d'arte, questo è innegabile. Ma sempre di falsetto si tratta.
Avete le orecchie foderate di prosciutto, non ha fatto n
eSSun falsetto , e anche se fosse e' una bellissima nota presa bene da grande artista che e'
Pasta filatabravo
@@mariaantoniettabenincasa2741 Sembra che i soprani e le donne in genere non abbiano il falsetto e per questo, evidentemente, anche lei cara signora ha difficoltà a rendersi conto di questa emissione. Al contrario, per un uomo è difficoltoso superare nel canto, non nel grido, il La naturale fino al Do naturale acuto e oltre. A me è accaduto appunto di trovarmi in questa difficoltà ma, in particolare, la difficoltà VERA è stata trovare un autentico insegnante di canto, ragione per cui ho imparato a cantare troppo tardi. Il motivo cardine di tutto ciò è la generale presunzione di saper cantare e di capire di canto confondendolo in genere con il grido e lo strillo. E' così che l'ambiente è invaso dai peggiori ciarlatani come anche da altri in buona fede che "insegnano" a cantare. Bhè, è molto semplice: il suono armonico DEVE possedere risonanza per essere tale. Prenda un diapason e lo faccia vibrare: a vuoto sarà appena udibile ma se lo appoggia anche solo su un tavolo, ne uscirà un suono decuplicato. Questa è la medesima differenza tra una voce che grida, un falsetto rinforzato e una voce che CANTA. E non dimentichi che ogni suono armonico deve possedere TIMBRO - ALTEZZA e INTENSITA', qualità che sono state ben identificate.