Não é só o fato do Gigli cantar tudo. Ele ia do barroco ao verismo, do ligeiro ao dramático com uma maravilhosa voz lírica, uma técnica exuberante e uma sabedoria, uma grande sabedoria na maneira como usava a sua voz. O mais importante foi ele fazer isso sem destruir a própria voz como tantos outros líricos o fizeram e cantar até idade avançada em altíssimo nível. Insuperável!
Cuore e voce!!!!!!!!!!!!GIGLI non si smentisce mai,grandioso,pazzesco quello che riusciva a trasmettere per pathos, intensità interpretativa, bellezza dei suoni armonici che ad ogni singola frase hanno sfumature che rendono vivo il personaggio. Non era da meno di altri grandi in questo ruolo:PERTILE... MERLI... DEL MONACO... PICCALUGA.... BARIONI... GIACOMINI... CORELLI.. ecc. ecc..
Not only was Gigli's voice a beautiful gift from heaven, he was also a master of vocal technique which allowed him to do anything with it. His complete vocal control and unrestrained emotive artistry (which some small-minded mediocrities of "critics" called "tasteless", "show-off" and so on) made amazing recordings like this one possible.
+Allzumenschliches44 There are too many critics, alas. Gigli was among the top 5 tenors since we have been able to record voices. He was gifted with a pretty voice, had great technique, and was a great interpreter apart from a singer. And above all, he studied and practised every day.
@ Le_Vendéen_DR Yes, I totally agree with you. He was more famous for his belcanto, but the amazing versatility of his voice, combined with an excellent technique, allowed him to sing almost everything.
@@aetion Quasi tutto? Io direi che, da eccelso tenore lirico, spaziava con estrema facilità dall'Otello alla Boeme, dall'Andrea Chénier al Trovatore e Rigoletto. Il più grande tenore mai nato.
Gigli seems to be the only tenor who sings "a cry of triumph" as detailed in the original libretto. As he discussed this role with Puccini, I suspect this is the correct interpretation.
Gigli è l'unico tenore-lirico che può interpretare al meglio Manon Lescaut!!! Riesce a fare dei centri da tenore-drammatico,grazie alla sua "perfetta" tecnica di canto!!! Grazie
Carissimo, Pertile,Merli,Masini,Del Monaco e compagnia - questi Tenori non scherzavano e non erano meno bravi di Gigli in questo repertorio... cordialità
gigli è insuperabile quello aggiunto in questa romanza è talmente bello che sembra completare il pezzo ...nessun tenore poteva permetterselo perchè sono privi di cuore e di fantasia.....
@kgarmaker123 Gigli does a great job with his lyric voice interpreting this dramatic aria.He opens the passaggio to give the aria more dramatic depth. His voice is not big enough to sing covered, so he opens and achieves what's needed with his lyric voice for correct dramatic impact.Both B-naturals are superb.
Muito bem observado, certa vez li que num concurso de canto um dos jurados escreveu quea voz de Gigli era pequena, no inicio. O dr Beniamino Gigli Jr menciona que seu avô o tenor Beniamino Gigli mencionou que no início de sua carreira ele era um tenor um pouco ligeiro. Com o desenvolvimento técnico Gigli chegou ao repertório dramático, a critica e as gravações mostram que ele perdeu um pouco do frescor vocal ao longo dos anos adotando o repertório mais pesado. Ganhou muitos atributos mas perdeu alguns. Sua epoca do Metropolitan foi sumamente incrivel, o Gigli de 1927 cantando Lucia de Lammermoor é sem duvida inatingível, não há crítico que se atreva a atirar uma pedra em Beniamino Gigli dessa epoca. Nesse período a voz do ilustre tenor era gotas de orvalho do criador, na minha opinião não há obra mais linda que o dueto de Gigli e Marion Talley "Verrano a te sul..."
@@sidneikovacs5499 Dear Kovacs, I understood some of what you wrote me and will attempt to respond. Of course Gigli's voice was basically of a lyric nature, and every voice does lose freshness over time. Even though Gigli's voice started out being slightly small, he did debut in Gioconda, which is a heavier role. However, the European theaters are smaller and lyric tenors like Gigli and Bjorling were successful in the smaller theaters in the heavier roles. But as Gigli's voice lost freshness and gained size, he was able to do well in some heavier operas like Forza and Chenier in the larger opera houses. This however was not true of the great lyric Bjorling. It is always interesting when a tenor sings something outside of his repertoire, but he is always more comfortable and successful in his own repertory. Enjoy
He could sing open without hurting his voice perhaps a little to much here but his timbre is so pleasant for the ear that all faults are easily overlooked. My favourites to sing this aria is Pertile,Tucker and Del monaco in that order
They have played a live performance of Tucker recently singing this Aria., and truly wonderful it is ....Almost every intonation, every sob etc. is the same.as on this recording......... Hardly have I ever heard a greater SALUTE by a magnificent singer to a former coleague (spelling ? )
Yes, I partly agree with you. Things have changed in opera...good singing is not as important as it once was. Acting abilities is deemed more crucial and one must look like Brad Pitt. Gigli wouldn't stand a chance in today's opera market...how sad is that!?! OPERA SHOULD ALWAYS BE HEARD FIRST AND THEN SEEN IMHO
Also Peter Lindroos sings this aria like a god! He was a great lyrical spinto tenor from Finland, and I think you all will love him. Try searching Peter Lindroos here on youtube.
Come diceva Franco Corelli, Gigli con la voce faceva quel che voleva. Si può anche perdonare qualche intemperanza, comunque in linea col personaggio, quando si canta così. Infatti Lauri Volpi non lo aveva molto in simpatia.....
I wish people sang like this more often, too, but...opera was designed to seen and heard at the same time. Otherwise, Puccini would have written oratorios!
Best version in my opinion, artistically perfect 👌 MDM is also wonderful. Bass singer is dreadful. In the old days this was common I think to make the star sound too good to-be true lol 😂
@operabeauty lol. so true. Domingo is always been sub-par in my opinion. Can never hold a high note for more than a millasecond. I always compared it to beer googles. You meet a girl at the bar and she looks great, you bring her home and she takes of her cloths and her spanx lol and she is not nearly as sexy as you thought lol. That is Domingo's voice. You are always waiting for that moment when its going to get really good, and it never does.
@kgarmaker123 it's fine that we don't agree.However, I do think his approach for this aria is correct based on the fact that Gigli is a lyric tenor,attempting to interpret this dramatic aria.I do not think that his voice (too lyric)is suited for this aria, but that's why he takes the approach that he does.Opening the passaggio attempting to sound more dramatic.Of course the tenors more adapt for this aria are Volpi Tucker Del Monaco Campagnano and Barioni.No it's not vintage Gigli
Jemand soll ihm bitte n Tempo und ne Beruhigungspille geben und ihn nach hause schicken. Hysterischer und geschmackloser geht's wohl kaum. Wenn er gut war, war er sehr gut. Wenn er schlecht war, war er grotesk.
Che il personaggio creato da Puccini "sia snaturato"- come scrive Andrea Gelli- per le arbitrarie inserzioni di Gigli, non mi pare. Al contrario Gigli ha inserito un momento di vera scena "verista". concluso con l'acuto finale, ovviamente non scritto! Se fossero tutte e solo queste le "travisazioni" che da decenni trovano spazio anche in ambiente registico.....
I tend to put Bjorljng right up there with Gigli, Del Monaco, Pertile, Corelli and Di Stefano, with Caruso and Pavarotti following, but I believe Gigli was more complete and his falsetto was unmatched.
Not enough genuine tragedy ,and too much vulgarity . We are spared the high shriek of the other recording . The voice however is in excellent day form .It was never as good in the previous after-war recordings and it will never be as good again
@alex ingresss The shriek 🤣. It's your fault I can't get rid now of the imagine of BG's hiking his skirts and jumping on the top of one of the many wooden boxes lying around on stage to escape the mouse 🤣 I agree about the unfortunate combination for which he will be remembered ,if he will be remembered at all , beautiful voice in his vocal prime (which was long ago before this recording), and the appallingly vulgar taste, which he always had
Questo è un esmpio di come si inventa.Prolungamenti di note,pianti e singhiozzi che non ci sono.Per non parlare del grazie capitano finale. Gigli fu sicuramente un grande cantante,ma in questa romanza ha mostrato come si snatura un personaggio creato da Puccini.Parlo di questa esecuzione.
@sugarbist I do not agree. I love Gigli, but I think his approach here is wrong for the aria, and wrong for his voice. and it was what was criticized of his singing..( too primitive).
He has trouble with the top B from all that hollering in the passagio.. No wonder.. I dont like this any better than Domingo.(ISH).,.. Tucker is much better.
Potenza e grazia magnifico beniamino gigli .
Não é só o fato do Gigli cantar tudo. Ele ia do barroco ao verismo, do ligeiro ao dramático com uma maravilhosa voz lírica, uma técnica exuberante e uma sabedoria, uma grande sabedoria na maneira como usava a sua voz. O mais importante foi ele fazer isso sem destruir a própria voz como tantos outros líricos o fizeram e cantar até idade avançada em altíssimo nível. Insuperável!
Never heard him strong like this and never expected that. Very impressive and touching performance!
Unico e perfetto.
Remarkable singing here. He is really good at maximizing his voice. Wow
Cuore e voce!!!!!!!!!!!!GIGLI non si smentisce mai,grandioso,pazzesco quello che riusciva a trasmettere per pathos, intensità interpretativa, bellezza dei suoni armonici che ad ogni singola frase hanno sfumature che rendono vivo il personaggio. Non era da meno di altri grandi in questo ruolo:PERTILE... MERLI... DEL MONACO... PICCALUGA.... BARIONI... GIACOMINI... CORELLI.. ecc. ecc..
Secondo me il più completo dei grandi
Not only was Gigli's voice a beautiful gift from heaven, he was also a master of vocal technique which allowed him to do anything with it. His complete vocal control and unrestrained emotive artistry (which some small-minded mediocrities of "critics" called "tasteless", "show-off" and so on) made amazing recordings like this one possible.
+Allzumenschliches44 There are too many critics, alas. Gigli was among the top 5 tenors since we have been able to record voices. He was gifted with a pretty voice, had great technique, and was a great interpreter apart from a singer. And above all, he studied and practised every day.
@ Le_Vendéen_DR
Yes, I totally agree with you. He was more famous for his belcanto, but the amazing versatility of his voice, combined with an excellent technique, allowed him to sing almost everything.
@@aetion Quasi tutto? Io direi che, da eccelso tenore lirico, spaziava con estrema facilità dall'Otello alla Boeme, dall'Andrea Chénier al Trovatore e Rigoletto. Il più grande tenore mai nato.
Just so that there's no confusion...I think Gigli is amazing. How I wish the singing in opera nowadays would return to this standard.
Divino .
❤️
Uma das melhores interpretações deste trecho da Manon Lescaut. Gigli, como sempre, brilhante!
EINFACH UNERREICHBAR
Totalmente insuperable aunque pasen mil años.
Gigli was blessed with the best of all voices, a HUGE lyrical voice with a perfect technique.
Bellissima interpretazione di quest'aria! Dio, che voce! Quanta emozione! Grazie per questo incredibile regalo.
Goosebumps all the way !!!! I love Gigli. He is the best.
A lyric tenor who had spinto when he needed it,and so much tenderness also
Gigli seems to be the only tenor who sings "a cry of triumph" as detailed in the original libretto. As he discussed this role with Puccini, I suspect this is the correct interpretation.
Del Monaco does this in a live 1951 performance from Mexico City. It is here on YT: th-cam.com/video/fI3mzEsIzlE/w-d-xo.html
Sandor Konya does it as well ,to follow his Hero Benjamino Gigli. I recommend listening to this .Its Gigli on “ Steroids”
gigli ha perfezionato la romanza no pazzo son l'ha resa veramente drammatica ,,,senza quel tocco finale avrebbe perso molto della sua drammaticità
He is the best!!! Nobody sang this aria like he did!
I Love Gigli.. his voice can be sooo dramatic.. for instance, his La Juive, outstanding..
Lo que veo es el video pues existe realmente es inprecionante
Vive nei nostri cuori per sempre una voce che penetra nell'intimo e non lo lascia piu'
Fantástico voz y corazon😂😂
The open F# is spectacular :O
Gigli è l'unico tenore-lirico che può interpretare al meglio Manon Lescaut!!! Riesce a fare dei centri da tenore-drammatico,grazie alla sua "perfetta" tecnica di canto!!! Grazie
Carissimo,
Pertile,Merli,Masini,Del Monaco e compagnia - questi Tenori non scherzavano e non erano meno bravi di Gigli in questo repertorio...
cordialità
@@bodiloto sono d'accordissimo con lei ma secondo me Gigli riesce a dare sempre quella marcia in più rispetto ai suoi colleghi.
gigli è insuperabile quello aggiunto in questa romanza è talmente bello che sembra completare il pezzo ...nessun tenore poteva permetterselo perchè sono privi di cuore e di fantasia.....
non esageri...altri tenori hanno saputo esprimere con grande bravura il sentimento che richiede Puccini in quest'aria assai "verista"...
romano neri
non e' vero .
Merli,Pertile,Masini,Del Monaco e compagnia ...
MAESTRO!!!
Superlativo, travolgente!
Bravissimo !!!
Grazie capitano!
fantástica energia e eletricidade na voz
Офигеть!!!!! Потрясающе!!!!
Esistono i tenori. Poi c'è Beniamino Gigli. Sono 3 minuti e 8 secondi di canto sovrumano.
+askar settantotto Strepitoso. Inigualabile.
ho ascoltato Del Monaco e Pertile due fuoriclasse per quest'aria...anche Gigli è grande pur avendo una voce meno drammatica dei suoi colleghi...
@kgarmaker123 Gigli does a great job with his lyric voice interpreting this dramatic aria.He opens the passaggio to give the aria more dramatic depth. His voice is not big enough to sing covered, so he opens and achieves what's needed with his lyric voice for correct dramatic impact.Both B-naturals are superb.
Muito bem observado, certa vez li que num concurso de canto um dos jurados escreveu quea voz de Gigli era pequena, no inicio. O dr Beniamino Gigli Jr menciona que seu avô o tenor Beniamino Gigli mencionou que no início de sua carreira ele era um tenor um pouco ligeiro. Com o desenvolvimento técnico Gigli chegou ao repertório dramático, a critica e as gravações mostram que ele perdeu um pouco do frescor vocal ao longo dos anos adotando o repertório mais pesado. Ganhou muitos atributos mas perdeu alguns. Sua epoca do Metropolitan foi sumamente incrivel, o Gigli de 1927 cantando Lucia de Lammermoor é sem duvida inatingível, não há crítico que se atreva a atirar uma pedra em Beniamino Gigli dessa epoca. Nesse período a voz do ilustre tenor era gotas de orvalho do criador, na minha opinião não há obra mais linda que o dueto de Gigli e Marion Talley "Verrano a te sul..."
@@sidneikovacs5499 Dear Kovacs, I understood some of what you wrote me and will attempt to respond. Of course Gigli's voice was basically of a lyric nature, and every voice does lose freshness over time. Even though Gigli's voice started out being slightly small, he did debut in Gioconda, which is a heavier role. However, the European theaters are smaller and lyric tenors like Gigli and Bjorling were successful in the smaller theaters in the heavier roles. But as Gigli's voice lost freshness and gained size, he was able to do well in some heavier operas like Forza and Chenier in the larger opera houses. This however was not true of the great lyric Bjorling. It is always interesting when a tenor sings something outside of his repertoire, but he is always more comfortable and successful in his own repertory. Enjoy
@@sugarbistverdade. Concordo com você. Bjorling também tinha uma voz maravilhosa.
Superarlo no implsibleu. 😊😊
He could sing open without hurting his voice perhaps a little to much here but his timbre is so pleasant for the ear that all faults are easily overlooked. My favourites to sing this aria is Pertile,Tucker and Del monaco in that order
Wow, all these comments about his voice, wish I could sing like that! Don't you???
Dio mio 🙏🙏🙏
The most complete.
They have played a live performance of Tucker recently singing this Aria., and truly wonderful it is ....Almost every intonation, every sob etc. is the same.as on this recording......... Hardly have I ever heard a greater SALUTE by a magnificent singer to a former coleague (spelling ? )
Strange! It appears as link in my post too! Why is that so please? I have not copied and pasted it. It's the link self. What is it please?
Yes, I partly agree with you. Things have changed in opera...good singing is not as important as it once was. Acting abilities is deemed more crucial and one must look like Brad Pitt. Gigli wouldn't stand a chance in today's opera market...how sad is that!?! OPERA SHOULD ALWAYS BE HEARD FIRST AND THEN SEEN IMHO
DIE BESTE AUFNAHME DIESER SZENE ÜBERHAUPT
Grandissimo!
Also Peter Lindroos sings this aria like a god! He was a great lyrical spinto tenor from Finland, and I think you all will love him. Try searching Peter Lindroos here on youtube.
Wow
siempre me ha llamado la atención ese agudo final que da Gigli, ¿no está escrito, verdad?
Listen to Giacomo Lauri-Volpi sing this aria, he's great.
Come diceva Franco Corelli, Gigli con la voce faceva quel che voleva. Si può anche perdonare qualche intemperanza, comunque in linea col personaggio, quando si canta così. Infatti Lauri Volpi non lo aveva molto in simpatia.....
Riccardo Barreca
Lauri- Volpi non aveva molto in simpatia anche Miguel Fleta ...
DRAMATIK PUR UNERREICHBAR
I wish people sang like this more often, too, but...opera was designed to seen and heard at the same time. Otherwise, Puccini would have written oratorios!
Best version in my opinion, artistically perfect 👌 MDM is also wonderful. Bass singer is dreadful. In the old days this was common I think to make the star sound too good to-be true lol 😂
The timbre and openess of sound makes it better than Mr Domingo. Even if it´s on his dramatic limit and perhaps a little beyond it´s still Gigli.
@operabeauty
lol. so true. Domingo is always been sub-par in my opinion. Can never hold a high note for more than a millasecond. I always compared it to beer googles.
You meet a girl at the bar and she looks great, you bring her home and she takes of her cloths and her spanx lol and she is not nearly as sexy as you thought lol. That is Domingo's voice. You are always waiting for that moment when its going to get really good, and it never does.
Would be a B natural.
@kgarmaker123 it's fine that we don't agree.However, I do think his approach for this aria is correct based on the fact that Gigli is a lyric tenor,attempting to interpret this dramatic aria.I do not think that his voice (too lyric)is suited for this aria, but that's why he takes the approach that he does.Opening the passaggio attempting to sound more dramatic.Of course the tenors more adapt for this aria are Volpi Tucker Del Monaco Campagnano and Barioni.No it's not vintage Gigli
Totally disagree
@@shardana59 That's fine
Jemand soll ihm bitte n Tempo und ne Beruhigungspille geben und ihn nach hause schicken. Hysterischer und geschmackloser geht's wohl kaum. Wenn er gut war, war er sehr gut. Wenn er schlecht war, war er grotesk.
Che il personaggio creato da Puccini "sia snaturato"- come scrive Andrea Gelli- per le arbitrarie inserzioni di Gigli, non mi pare. Al contrario Gigli ha inserito un momento di vera scena "verista". concluso con l'acuto finale, ovviamente non scritto! Se fossero tutte e solo queste le "travisazioni" che da decenni trovano spazio anche in ambiente registico.....
Beautiful but I still think Bjoerling is the best
I tend to put Bjorljng right up there with Gigli, Del Monaco, Pertile, Corelli and Di Stefano, with Caruso and Pavarotti following, but I believe Gigli was more complete and his falsetto was unmatched.
Not enough genuine tragedy ,and too much vulgarity . We are spared the high shriek of the other recording . The voice however is in excellent day form .It was never as good in the previous after-war recordings and it will never be as good again
@alex ingresss The shriek 🤣. It's your fault I can't get rid now of the imagine of BG's hiking his skirts and jumping on the top of one of the many wooden boxes lying around on stage to escape the mouse 🤣 I agree about the unfortunate combination for which he will be remembered ,if he will be remembered at all , beautiful voice in his vocal prime (which was long ago before this recording), and the appallingly vulgar taste, which he always had
Don;t get me wrong.. I usually love Gigli.. but you have to admit that his High B was spoiled by too much open singing in the passagio.
Questo è un esmpio di come si inventa.Prolungamenti di note,pianti e singhiozzi che non ci sono.Per non parlare del grazie capitano finale. Gigli fu sicuramente un grande cantante,ma in questa romanza ha mostrato come si snatura un personaggio creato da Puccini.Parlo di questa esecuzione.
Questa è un interpretazione divina, cantata dal tenore più conosciuto importante degli anni 20 30 40.
@sugarbist I do not agree. I love Gigli, but I think his approach here is wrong for the aria, and wrong for his voice. and it was what was criticized of his singing..( too primitive).
You know, I like Corelli,but i was not in love with him.. too much underpitch singing. strange vocal technique.
He has trouble with the top B from all that hollering in the passagio.. No wonder.. I dont like this any better than Domingo.(ISH).,.. Tucker is much better.
Trouble? Ma va’!
@@shardana59