At first I loved Alagna. More recently I have found his singing less attractive. Kaufmann continues to delight. He may exceed even Domingo for sheer flexibility. I know some will find that he does not emphsise his mask tone like Pavarotti. His voice will go down in history.
Alagna had a lovely voice when he was younger but now it's time for him to retire. Unfortunately, he keeps getting offered heavier roles and almost sang Lohengrin at Bayreuth. (I still shudder at the thought.)
00:46 JENNIFER WILSON: Die Walküre 03:19 MARTIN MUEHLE: La Fanciulla del West, La Gioconda 07:45 MARCO CHINGARI: La Traviata 10:03 ENRICO NENCI: Tosca 12:58 DANIEL BEHLE: Le pêcheurs de perle 16:31 ERNESTO PETTI: Il Trovatore 18:43 JAVIER CAMARENA: La fille du régiment
Jennifer Wilson deserves an award. I don't know how she sings while lurching from left to right on that ridiculous stage elevator. The Tosca extracts with Enrico Nenci are mind-boggling. The Tosca extracts are a revelation. A great tenor languishes in the choir. The stage director will too, no doubt: clearly nobody's told him today the only road to glory is completely reworking the staging and usurping the plot so that it in no way resembles the original opera.
I cried a little listening to Daniel Behle's "Je Crois Entendre..." Completely unforced, totally beautiful timbre and great emotional delivery. His voice seems on the smaller side, but he lets it be that way and it is gorgeous.
Ian Clerget he will sing Lohengrin this year...I would also love to hear him more in this light lyric repertoire that he does here, it’s just his voice. let’s see what will happen after or during the Lohengrin.
good compilation, but there are not only good singers who don't get the push they deserve, there exist good singers who don't get a contract or don't even get an audition because of some incompetent casting directors or managers who prefer a different kind of ugly darkened mainstream sound.
Especially future dramatic voices. Even though more programs are offering spots to us while we develop, many still prefer a darker tone or less squillo as they cast
Malheureusement, il a des défauts de prononciation ("encoré", "étoilés", problème de clarté sur les "v" ("voix", "voiles"....) , respire au milieu d'un mot ( le premier "ravissement"). Mais bon... Le français est difficile à chanter pour les étrangers, et l'air est très difficile. Il s'en sort bien
@@marianegrams4746 Maybe, but it's nothing comparing to his divine voice and wonderful rendition of the piece, so it's even a shame to mention such petty quibbles. You can't expect perfect pronunciation in opera as most of singers are used to sing not in their mother tongue. You even can't imagine what foreigners do with Russian in opera lol
I was on the pit playing the Trovatore you posted here, it was 2018 at Teatro Petruzzelli. The conductor is Maestro Renato Palumbo, really nice memories
Ernesto Petti was probably the best baritone I've heard in this modern era and I am so happy to be able to have heard him in your excerpts. Definitely makes one feel good knowing that within a few years he'll be singing on the grandest and biggest stages and Domingo will just be a conductor only.
Enrico Cenci is especially interesting, since he appears to be heroically singing Cavaradossi and holding long notes without strain. Bravo! We should see more of him.
AfroPoli, thank you so much for uploading the video. It's very important to hear something good about today's opera singers. As for me, I like very much first Wagnerian soprano. Camarena as Tonio shows us outstanding singing. And this sweet-sounded voice of Daniel Behle - honestly didn't think I could have opportunity to listen something like that today. May be, allegedly, this is 'chemical singing ', but what a lovely light sound. Додам пару слів українською) я дуже радий з того, що існують ще такі люди як AfroPoli, і нас стаж все більше. Співайте люди і радуйте нас!) Дякую ще раз, шановний, AfroPoli!)
Such a relief to think we still have good singers nowadays. They are all very good, and some of them better than many considered "great" these days. Bravi tutti.
I have to give a hand to these five gentlemen, namely Martin Muehle, Marco Chingari, Enrico Nenci, Daniel Behle, and Ernesto Petti, for being superb singers in this present era. Their technique is rock-solid and strong, and there is no sign of vocal fault. This is the type of virile singing necessary for opera.
Many thanks, AfroPoli, for all of these videos. This one in particular is very interesting. I did not know many of these singers. I was especially impressed by Daniel Behle (I already knew Wilson and Camarena). Would it be too much asking if you could add the dates and places of the performances? I think it would be very useful, as well. Again, thanks so much and please keep on posting!
Tomba 2 haha. Niente. Pensavo che tu fossi uno dei cantanti menzionati in questo video. Ma vedo adesso che era il tuo commento all inizio :) Un caro saluto, amico. :)
Bravo, Afropoli !! You did it - you gave proof that there are some excellent voices left in the world and it is sad to see that two of them will almost certainly never have a chance to become really famous because they lack the "MTV- factor" (pretty doll/ dressman- like slim figure and appearance) i.e. Jennifer Wilson and Javier Camarena, and a third one has to make his living as a mere chorist, incredible! Amongst the tenors Martin Muehle and Daniel Behle were my favorites.
If someone us looking for more baritones for this list, I suggest Juan Jesús Rodríguez, who sang last year Rigoletto in L.A., and usually sings at Metropolitan. And no forgetting another soprano, Saioa Hernández. Caballé spoke about her as the soprano for the XXI century.
Should we include any excerpt where the singer is singing into a microphone the practice was begun by The three tenors as far as I can remember but that was only because they were sing in vast sports stadia
Dear AfroPoli, thank you so much for the video, and for introducing me to some wonderful singers still around today. It is becoming more and more rare to witness singers like these, due to reasons like Young Artist programs and bad vocal instruction. These days there is an emphasis on "too much, too soon." Teachers and coaches are reluctant to allow students to sing anything too "heavy" for them. Many dramatic voices are stuck singing Mozart and Handel. Because of this, their voices never fully reach their potential. I've witnessed this phenomenon many times, and I believe it is one of the reasons why we don't see that type of voice as frequently as we did in the mid 20th century. Of course, there are still wonderful singers, both young and old, around today. On top of the ones you've included on your list, I think Elena Pankratova, Lisette Oropesa, Anthony Clark Evans, and Lianna Haroutounian are excellent. I bet there are other fantastic singers out there too, but due to the opera world's obsession with creating "star singers" based on looks and charisma and not voice, we don't get to see them at many major opera houses.
Mi esprimerò in italiano perché lingua "ufficiale" del melodramma, non me ne vogliano gli amici Francesi o GTedeschi. Premetto che non si dovrebbe mai giudicare un ascolto che non sia dal vivo: le registrazioni troppo spesso non restituiscono tutti gli aspetti connotanti fondamentali di una voce. Ciònonostante vorrei comunque dire la mia su questo video (o insieme di video, purtroppo tutti di scadente qualità) che a me è sembrato acqua fresca di fonte, finalmente, nel panorama estremamente deprimente che TH-cam purtroppo offre agli estimatori del genere. Finalmente vere voci, autentiche, tanto fresche quanto piacevoli se non di più ! Tutti gli esecutori mi sono sembrati degni di autentiche lodi e di convinte attenzioni ! Sono stata molto favorevolmente impressionata da ogni voce qui ascoltata, diventa sempre più difficile imbattersi in voci autenticamente belle come quelle qui ascoltate. Forse un piccolo distinguo riservato ai due baritoni italiani, un pelino meno all'altezza degli altri interpreti, ma, ancora una volta, si deve tener conto che si parla di un ascolto "mediato". Se invece mi venisse chiesto di scegliere solo una voce tra quelle qui ascoltate, cosa peraltro assai difficile dato il livello elevatissimo di tutti e le splendide voci, beh senza dubbio sceglierei l'interpretazione del tenore, il signor Daniel Behle che, oltre ad un timbro assai rimarchevole e seduttivo, ha mostrato di essere in possesso di un fraseggio e di una linea di canto decisamente notevoli, ma per di più ha espresso una non comune, intelligente quanto intensa capacità espressiva, cosa che pone questo delizioso interprete un gradino sopra tutti gli altri a mio avviso . In lui mi è sembrato di ascoltare la sovrumana soavità di un Giuseppe Di Stefano insieme alle divina tecnica e mezzi vocali di un Alfredo Kraus ! Mi auguro di poterlo ascoltare prestissimo dal vivo e in un grande palcoscenico, cosa che merita ampiamente ! Bello finalmente poter testimoniare che non esistono solo i Pavarotti, i Bocelli o i Kaufman, ma che esistono in giro tante altre bellissime voci che però non sono frutto dello star system... !
Hello. I'd like to hear an opinion on the soprano Gabrielle Mouhlen, I heard her recently in Turandot and she seemed not bad (if I had to give a vote it would be 6.5) along with Rudy Park which I see you name in the description of the video. I agree with what you say, he has great vocal material but he prefers being visceral than technically accurate.
C'était un véritable plaisir d'écouter ces artistes, quelle grande beauté ....Clair et obscure en même temps, quelle belle esthétique , j'adore j’espère pouvoir chanter ainsi un jour !
Great post. I don't know why many people don't like Camarena. A really great voice. I have heard him several times and have never been disappointed. It is sad about Rudy Park. It was very promising but big roles really took its toll on his voice. Really like Behle and Muehle. Why has Nenci been relegated to chorus? Great voice in this clip. I don't know how Wilson did what she did, with all that stage crap, without upchucking. Thank you.
Because they are not given the chances the singers of the past were given and because to become famous as an opera singer this days you have to focus more on concerts where you are going to sing the really famous arias and songs like time to say goodbye who aren't even operatic, and people care only for the past cause the love to romanticize it
CRAZY COW I saw Camarena at the Richard Tucker gala in 2016. I have never seen a more fearless singer in my life. He attacked high Cs and high Ds like an animal.
@@xxsaruman82xx87 I think You do not like so much the light tenors, , because they have a litle nasal voice (I also refer to Your almost negative comment about Mukeria). I have some problems as well in appreciating them . Hard to find today a Merrit , a Matteuzzi or a jung Kunde in Puritani.
@@carlocolombo5799 No. I do like light tenors, just developed ones. Light tenors do not have to have nasal voices. Merritt is a great example, as are Schipa, Tagliavini, Valletti, Monti, Infantino, Araiza, etc. Matteuzzi and Kunde are very overrated, IMO.
I saw mister Muehle in Bolshoi! He was really great! His voice didn't work perfect during rehearsals and Bolshoi soloist were not very inviting but on the performance he was the only singer on stage
The sadness here is that these singers will not receive the lucky breaks they deserve. And if they do -- I fear their glorious voices will be buried by modernistic, ugly, and totally unappealing opera productions. I regret that the opera has come upon this need to UP everything to the point where the grandeur of opera. Also, the poor diction that is often turning up --- I need not remind anyone of the Anna Netrebkos and Renee Flemings that give the impression that they know NOT of what they sing and sound as if they're singing with their mouths full of OATMEAL!
Heard Petti Live in Trovatore in Stuttgart last night. He is the real deal and it gave me some hope for the future of opera (on the other hand, it was a ridiculous Regie production where he had to sing Il Balen as if he were reading a book a child)
I would also advise an underrated young tenor I discovered yesterday singing Lensky. His name is Bror Magnus Tødenes and I was completly stunned by his performance, I didn't hink I could hear a singer like that in opera nowadays. I will follow his career closely, that's for sure.
Many thanks,Afro,a lesson for all aspiring singers! I arrived in Australia thirty years ago and I heard of an Afro Poli who was a famous Baritone,are you that Afro Poli?
A sensible explaination for the case of Enrico Nenci: Well... a very good and versatile voice indeed, but as we all know, a wobble low (and middle) register doesn't help a solo career that much.
@@AfroPoliFor several decadess Gwyneth Jones was referred to in our house as Gwinnie Wobbles. She sang much too much over the years. Less woulda been more...…. Leonie Rysanek experienced a couple of vocal crises and had a wobble you could "drive a truck through," thanks to her then-husband's "expert" vocal instruction. (She was booed during Lady Macbeth debut performances at Met.) She survived both (husbands and crises) and ended her career decades later at the top of the heap. And no wobble!...…...We heard a broadcast of her Sieglinde about 40 years after her first Bayreuth performances in the role. Youngest, freshest voice on the stage.
In the old days, there was an entirely different "model" for what was considered truly great opera singing. It wasn't based on how sexy a singer was...how thin....how young...it was about gorgeous, full, ringing sound. Martin Muehle has that quality. As do the others here. He is a good looking man, and has that ringing, full throated sound that is so missing today.
Excelente compendio de grandes actuaciones de grandes cantantes, no tan famosos como otros. Yo me fijo mucho en la técnica, estudié quince años con mi maestra chilena Blanca Hauser y siempre preferiré la técnica baja, o sea la respiración baja y la voz apoyada desde los abdominales mayores. Esa es la que me enseñaron y esa es la que enseño, aunque no me entiendan. Para mí es muy clara, basta ver a un bebé recién nacido llorar, y allí está todo. El que canta fin técnica y respira como le da la gana es Nenci, así también la calidad de su sonido. Ahora la mejor técnica, queda eclipsada ante la presencia de un gran y extraordinario temperamento. De ahí la gran Netrebko que quiere imponer a la fuerza a su pobre marido Eyezov, creo que así más o menos se escribe. Para un mayor reconocimiento mundial, en cualquier campo de la música y yo canto, hace falta el gran ladron de artistas, el representante musical, así lo definió el hijo de mi msestra, Patricio Doorman Hauser. Pero es necesarisimo para un artista, alguien que hable de lo prosaico del dinero y que consiga las presentaciones y con eso la fama mundial. No hay otro camino, el representante en los tiempos actuales, tiene que lograr que a su representado se lo oiga hasta cuando tomamos sopa. La Callas tuvo de representante a su marido y cuando este consiguió un contrato con el Met de Nueva York, exigió que le pagaran en efectivo. El inteligente y malvado de Rufolf Bing, les pagaba en billetes de 5 dólares. Gran venganza. Por último diré lo que decía siempre mi maestra: “ ni son todos los que están, ni están todos los que son” gran verdad vigente hoy más que nunca.....!!!!!!
Martin Muehle sings the great Adriana Lecouvreur performance with Angela Gheorghiu at Teatro Massimo Palermo (available on YT). Think whatever you think about her bit her she is great AND she has talent to discover great singer!
What is the significance of Perle Biance (White pearls)? Do you mean these are vocal gems? Why the same heading on so many different postings? Just curious. Excuse the ignorance
Amen to that, and a personal friend of mine. He should be singing leading at the Metropolitan Opera, San Francisco and other American companies that frequently have him cover in my opinion less talented singers who seem to be promoted more. He should be first choice, not cover!!!! Very pleased he's having great success in Europe.
Non capisco una cosa sola , per quale ragione artistica tutti questi bravi ragazzi stanno appoggiando le loro voci sulla posizione delle consonanti ?!… Per la chiarezza della pronuncia?!… No comment Il vecchio
Some of the choice of runner-ups beats me.. one of them i can't even bear to listen to, it exhausts me😂. That being said, Anna Pirozzi is way underrated
@@michaelgarcia6400 I did not comment on the size of his voice, but rather the production of his top notes. He employs a mixed voice technique whereas JDF uses full chest. Side note, JDF has pushed his voice to the point that his top notes are strained. Brownlee also uses mixed voice.
@@operadog2000 now JDF starts use his chest voice.Even though not very well.It reminds me of Oxana Skorik in ballet（ I mean her musicality was not very good at the beginning,then she gradually improved.Even though still not so good now.）
@@operadog2000 The lack of chest voices is simply because JDF didn't get into the habit of using them. His previous reps focused on showing high notes , masking his limited vocal range and poor low notes. Yes, he has his merits, but that doesn't mean he doesn't have problems.Or he's really overrated. He is not as capable as we thought. I think Hermann Jadlowker has a much better trills than he does.
@@AfroPoli Thank you sir, once I was a singer like Ernesto Petti, what a voice! They do not hear it anymore, because the wrong peolple make the decisions!
And I don't understand how one can be so one-sided. There are good singers who use a more nasal approach and there are bad ones. There are good singers who use a more chest based approach - and there are tons of really bad ones with wobbles, ugly voices and no charisma at all. It's easy to find simple solutions, but they don't solve anything. Ciao.
@@AfroPoli Ciao! I get that different people have different taste. At the same time many of us agree on the fact that today there are no singers at the level of Corelli, Gigli, Di Stefano, Pavarotti etc... Same for the female counterpart. We should ask ourselves why. I'm this one-sided because I've realized that this "new techniques" (nasal, mask singing etc...) are inefficient for theater singing and are not creating those kind of great voices.
@@lallybev Salve! I do not agree about that. Chesty singing or rather the idea of chesty, dark sound is a 1950s/1960s phenomenon. And the results have not at all always been good. Even the so often quoted Tebaldi is quite a poor singer if you concentrate on her constant flatness. Nice chest and poor top. This goes for many of them if you listen without bias. What you describe as "nasal" and "mask singing" has been there before and after. There are great singers who employed that technique very successfully. Alfredo Kraus is only one. The entire Russian school is nasal, and big part of the French. You can hardly deny that people like Lemeshev, Chaliapine, Thill, Endrèze, Vezzani, Luccioni or Chauvet weren't great. That would not be one-sided, that would be blind. But that's en vogue for some on the Internet at the moment... Ciao :)
@@AfroPoli Maybe we don't disagree at all, given that you wrote "or rather the idea of chesty, dark sound," but to be clear, I absolutely believe that the decline in efficient chesty phonation is responsible for the miserable state of current opera. Female singers from the very early 1900s used much, MUCH more of their chest registers than singers nowadays, and the break and difference was more noticeable (Torresella, Patti, Calvé, Cristoforeanu, Parsi-Pettinella, Boninsegna). Male singers were very noticeably brighter and clearer, which is absolutely a product of chest voice participation (compare belting, which is almost pure chest voice and thus extremely bright). Light Irish tenors like John McCormack and Josef Locke used far, far more chest voice than the so-called "Irish tenors" of the past 50 years. Singers today sound SO WOOFY because of that swallowed, dark, heady sound that most people continue to believe is actually chest voice. The combination of dark (heady, roomy) with lots of chest is quite rare in the generation born before 1860; then, it gets more common around Caruso's era (Caruso being a famous example), and then it explodes around the 50s-70s, where Bulgarians and Italians singing Verdi produced some of the loudest singing every imagined (at the expense of the wonderful agility, control, and variation of the oldest recorded singers). Then, after that, we kept the same darkness and inflexibility while removing the ringing, clear chest voice and just have wobbles and woofs now.
Muehle to me has a great voice, but his singing is a bit wooden, he hasn't got great control of his phrasing and tempo and his acting is wooden. I do feel he is getting better and better.
Marco Chingari assomiglia moltissimo come voce e come immagine ad un vecchio caro amico il baritono Giancarlo Pasquetto di Verona. Fu proprio Giancarlo che mi portò dal suo maestro di canto per la mia prima lezione nel 1980 circa il tenore Augusto Vicentini.
Wow. Didn't think we still had tenors like MARTIN MUEHLE. Getting too much Roberto Alagna and Jonas Kaufman crammed down our throats.
One should never have a singer crammed down their throats. Feel free to listen and enjoy other singers.
At first I loved Alagna. More recently I have found his singing less attractive. Kaufmann continues to delight. He may exceed even Domingo for sheer flexibility. I know some will find that he does not emphsise his mask tone like Pavarotti. His voice will go down in history.
Alagna had a lovely voice when he was younger but now it's time for him to retire. Unfortunately, he keeps getting offered heavier roles and almost sang Lohengrin at Bayreuth. (I still shudder at the thought.)
I believe it was this poster who put up a recordings of G. DiStefano in dress rehearsal for Otello. What a travesty that was.
@@kimmillard9445 It was this poster indeed. I heard some of it and it's definitely not Di Stefano's role.
00:46 JENNIFER WILSON: Die Walküre
03:19 MARTIN MUEHLE: La Fanciulla del West, La Gioconda
07:45 MARCO CHINGARI: La Traviata
10:03 ENRICO NENCI: Tosca
12:58 DANIEL BEHLE: Le pêcheurs de perle
16:31 ERNESTO PETTI: Il Trovatore
18:43 JAVIER CAMARENA: La fille du régiment
Grazie fratello
@@giuseppedelfino5380 prego bro ahahahahahahah
Jennifer Wilson deserves an award. I don't know how she sings while lurching from left to right on that ridiculous stage elevator. The Tosca extracts with Enrico Nenci are mind-boggling. The Tosca extracts are a revelation. A great tenor languishes in the choir. The stage director will too, no doubt: clearly nobody's told him today the only road to glory is completely reworking the staging and usurping the plot so that it in no way resembles the original opera.
I was wishing that the elevator had been disguised as a horse.
I cried a little listening to Daniel Behle's "Je Crois Entendre..." Completely unforced, totally beautiful timbre and great emotional delivery. His voice seems on the smaller side, but he lets it be that way and it is gorgeous.
Ian Clerget he will sing Lohengrin this year...I would also love to hear him more in this light lyric repertoire that he does here, it’s just his voice. let’s see what will happen after or during the Lohengrin.
Seulement on ne comprend pas un traitre mot de ce qu'il chante Dommage !
BASYL77 oui, il n‘a pas une prononciation exceptionnelle.
@@basyl7794 Yes, he is hard to understand.
I thought it was beautiful too. Something about his voice though seems like he's always in falsetto. I think he's often singing in a mixed register.
good compilation, but there are not only good singers who don't get the push they deserve, there exist good singers who don't get a contract or don't even get an audition because of some incompetent casting directors or managers who prefer a different kind of ugly darkened mainstream sound.
Especially future dramatic voices. Even though more programs are offering spots to us while we develop, many still prefer a darker tone or less squillo as they cast
The Valkyrie Battle Cry is one of the most demanding operatic passages of all time, and Ms. Wilson nailed it! Birgit Nilsson would be so proud.
My thoughts exactly. Kirsten Flagstad would have approved also.
C'est quoi le machin devant elles ? Un micro ?
Birgit Nilsson would have probably been envious :)
Daniel Behle is simply hypnotic. Absolutely exquisite.
DANIEL BEHLE is real discovery for me! Outstanding technic and beautiful voice!!! Thank you!
Malheureusement, il a des défauts de prononciation ("encoré", "étoilés", problème de clarté sur les "v" ("voix", "voiles"....) , respire au milieu d'un mot ( le premier "ravissement"). Mais bon... Le français est difficile à chanter pour les étrangers, et l'air est très difficile. Il s'en sort bien
@@marianegrams4746 Maybe, but it's nothing comparing to his divine voice and wonderful rendition of the piece, so it's even a shame to mention such petty quibbles. You can't expect perfect pronunciation in opera as most of singers are used to sing not in their mother tongue. You even can't imagine what foreigners do with Russian in opera lol
I was on the pit playing the Trovatore you posted here, it was 2018 at Teatro Petruzzelli. The conductor is Maestro Renato Palumbo, really nice memories
Fantastic performance. Wonderful baritone who has clearly been exceptionally well taught
Ernesto Petti was probably the best baritone I've heard in this modern era and I am so happy to be able to have heard him in your excerpts. Definitely makes one feel good knowing that within a few years he'll be singing on the grandest and biggest stages and Domingo will just be a conductor only.
With luck!
ENRICO NENCI is SO incredible. How could this guy not be a soloist ?
I don't know him. It's possible the chorus gig pays well enough and he values stability over a large career?
Yay, Javier made the list! He's so expressive, and I love watching him. Thank you also for these other singers to check out!
MARTIN MUEHLE! I love this voice, reminds me of good powerful, lyric full voices of the past! So big and rich sound
Great Tenor !!!!!!!!!!!!!!!!!!
Enrico Cenci is especially interesting, since he appears to be heroically singing Cavaradossi and holding long notes without strain. Bravo! We should see more of him.
Thanks! Hopefull & Wonderfull. There seem to be some teachers worldwide who teach singing for so gifted people as here demonstated.
DANIEL BEHLE is my favorite in this list. MARTIN MUEHLE and MARCO CHINGARI are also excellent.
AfroPoli, thank you so much for uploading the video. It's very important to hear something good about today's opera singers.
As for me, I like very much first Wagnerian soprano. Camarena as Tonio shows us outstanding singing. And this sweet-sounded voice of Daniel Behle - honestly didn't think I could have opportunity to listen something like that today. May be, allegedly, this is 'chemical singing ', but what a lovely light sound.
Додам пару слів українською) я дуже радий з того, що існують ще такі люди як AfroPoli, і нас стаж все більше. Співайте люди і радуйте нас!) Дякую ще раз, шановний, AfroPoli!)
agree.
Please don't forget about Saioa Hernández
Her singing recently was far less than ideal.
I had never heard of Martin Muehle before but he reminds me so much of Corelli and Del Monaco.
Sounds more like Richard Tucker to me. Great voice nevertheless.
*_Jose Canseco ::_*
_There may be many "Del Monacos" but there is only one ... !_
@@cliffgaither only one Corelli.
But Nenci sounds good.
Such a relief to think we still have good singers nowadays. They are all very good, and some of them better than many considered "great" these days. Bravi tutti.
I have to give a hand to these five gentlemen, namely Martin Muehle, Marco Chingari, Enrico Nenci, Daniel Behle, and Ernesto Petti, for being superb singers in this present era. Their technique is rock-solid and strong, and there is no sign of vocal fault. This is the type of virile singing necessary for opera.
Extremely beautiful, thank you!
Many thanks, AfroPoli, for all of these videos. This one in particular is very interesting. I did not know many of these singers. I was especially impressed by Daniel Behle (I already knew Wilson and Camarena). Would it be too much asking if you could add the dates and places of the performances? I think it would be very useful, as well. Again, thanks so much and please keep on posting!
The Camarena clip is from the Met in HD production, March 2, 2019.
Grazie per questo video. Sono sempre ansiosa di scoprire i cantati sottostimati.
A parte che Ernesto Petti e' piuttosto giovane, penso che fara' una grande carriera.
@@eugeniogentili1048 Anche Lorenzo Papasodero per me farà strada.
Omg I'm famous! Lol
Bravo tu! Qual numero sei? :)
@@mikeziemann che?
Tomba 2 haha. Niente. Pensavo che tu fossi uno dei cantanti menzionati in questo video. Ma vedo adesso che era il tuo commento all inizio :) Un caro saluto, amico. :)
Bravo, Afropoli !! You did it - you gave proof that there are some excellent voices left in the world and it is sad to see that two of them will almost certainly never have a chance to become really famous because they lack the "MTV- factor" (pretty doll/ dressman- like slim figure and appearance) i.e. Jennifer Wilson and Javier Camarena, and a third one has to make his living as a mere chorist, incredible! Amongst the tenors Martin Muehle and Daniel Behle were my favorites.
hahah, Camarena has a huge career and Jennifer Wilson too. Here she sings already in Barcelona!
Thank you AfroPoli for including our concert in the Alte Oper Frankfurt with the great Martin Muehle in your video.
This is fantastic - thanks so much for doing this. See they do exist! But why are they being hidden by opera companies - blows my mind
Yosep kang,Wookyong kim
Oh PLEASE, no fairytales! They are not being hidden by opera companies!
If someone us looking for more baritones for this list, I suggest Juan Jesús Rodríguez, who sang last year Rigoletto in L.A., and usually sings at Metropolitan. And no forgetting another soprano, Saioa Hernández. Caballé spoke about her as the soprano for the XXI century.
Should we include any excerpt where the singer is singing into a microphone
the practice was begun by The three tenors as far as I can remember but that was only because they were sing in vast sports stadia
Dear AfroPoli, thank you so much for the video, and for introducing me to some wonderful singers still around today. It is becoming more and more rare to witness singers like these, due to reasons like Young Artist programs and bad vocal instruction. These days there is an emphasis on "too much, too soon." Teachers and coaches are reluctant to allow students to sing anything too "heavy" for them. Many dramatic voices are stuck singing Mozart and Handel. Because of this, their voices never fully reach their potential. I've witnessed this phenomenon many times, and I believe it is one of the reasons why we don't see that type of voice as frequently as we did in the mid 20th century.
Of course, there are still wonderful singers, both young and old, around today. On top of the ones you've included on your list, I think Elena Pankratova, Lisette Oropesa, Anthony Clark Evans, and Lianna Haroutounian are excellent. I bet there are other fantastic singers out there too, but due to the opera world's obsession with creating "star singers" based on looks and charisma and not voice, we don't get to see them at many major opera houses.
I agree. Lisette is amazing . Her trills are to die for.
Mi esprimerò in italiano perché lingua "ufficiale" del melodramma, non me ne vogliano gli amici Francesi o GTedeschi.
Premetto che non si dovrebbe mai giudicare un ascolto che non sia dal vivo: le registrazioni troppo spesso non restituiscono tutti gli aspetti connotanti fondamentali di una voce.
Ciònonostante vorrei comunque dire la mia su questo video (o insieme di video, purtroppo tutti di scadente qualità) che a me è sembrato acqua fresca di fonte, finalmente, nel panorama estremamente deprimente che TH-cam purtroppo offre agli estimatori del genere.
Finalmente vere voci, autentiche, tanto fresche quanto piacevoli se non di più !
Tutti gli esecutori mi sono sembrati degni di autentiche lodi e di convinte attenzioni !
Sono stata molto favorevolmente impressionata da ogni voce qui ascoltata, diventa sempre più difficile imbattersi in voci autenticamente belle come quelle qui ascoltate.
Forse un piccolo distinguo riservato ai due baritoni italiani, un pelino meno all'altezza degli altri interpreti, ma, ancora una volta, si deve tener conto che si parla di un ascolto "mediato".
Se invece mi venisse chiesto di scegliere solo una voce tra quelle qui ascoltate, cosa peraltro assai difficile dato il livello elevatissimo di tutti e le splendide voci, beh senza dubbio sceglierei l'interpretazione del tenore, il signor Daniel Behle che, oltre ad un timbro assai rimarchevole e seduttivo, ha mostrato di essere in possesso di un fraseggio e di una linea di canto decisamente notevoli, ma per di più ha espresso una non comune, intelligente quanto intensa capacità espressiva, cosa che pone questo delizioso interprete un gradino sopra tutti gli altri a mio avviso .
In lui mi è sembrato di ascoltare la sovrumana soavità di un Giuseppe Di Stefano insieme alle divina tecnica e mezzi vocali di un Alfredo Kraus !
Mi auguro di poterlo ascoltare prestissimo dal vivo e in un grande palcoscenico, cosa che merita ampiamente !
Bello finalmente poter testimoniare che non esistono solo i Pavarotti, i Bocelli o i Kaufman, ma che esistono in giro tante altre bellissime voci che però non sono frutto dello star system... !
Hello. I'd like to hear an opinion on the soprano Gabrielle Mouhlen, I heard her recently in Turandot and she seemed not bad (if I had to give a vote it would be 6.5) along with Rudy Park which I see you name in the description of the video. I agree with what you say, he has great vocal material but he prefers being visceral than technically accurate.
Wonderful!!!! I loved it. There is still hope in lyric world. I'm really shocked about Nenci's rendition.
C'était un véritable plaisir d'écouter ces artistes, quelle grande beauté ....Clair et obscure en même temps, quelle belle esthétique , j'adore j’espère pouvoir chanter ainsi un jour !
Fabulous and informative videos as always. Please give us more of this!
Great post. I don't know why many people don't like Camarena. A really great voice. I have heard him several times and have never been disappointed. It is sad about Rudy Park. It was very promising but big roles really took its toll on his voice. Really like Behle and Muehle. Why has Nenci been relegated to chorus? Great voice in this clip. I don't know how Wilson did what she did, with all that stage crap, without upchucking. Thank you.
Glad you liked the clips! Cheers!
Muehle is ten times better than kaufmann because kaufmann swallows all the sound with his tongue :)))))
AMEN!!!!
Why are they not famous??!!! 😭😭😭
Because they are not given the chances the singers of the past were given and because to become famous as an opera singer this days you have to focus more on concerts where you are going to sing the really famous arias and songs like time to say goodbye who aren't even operatic, and people care only for the past cause the love to romanticize it
AMAZING JENNIFER WILSON , CAMARENA IS FABULOSSSSSSSSS
CRAZY COW I saw Camarena at the Richard Tucker gala in 2016. I have never seen a more fearless singer in my life. He attacked high Cs and high Ds like an animal.
@Jay Taylor try with this
th-cam.com/video/4ZEUr-CDsaY/w-d-xo.html
Camarena is awful.
@@xxsaruman82xx87 I think You do not like so much the light tenors, , because they have a litle nasal voice (I also refer to Your almost negative comment about Mukeria). I have some problems as well in appreciating them . Hard to find today a Merrit , a Matteuzzi or a jung Kunde in Puritani.
@@carlocolombo5799 No. I do like light tenors, just developed ones. Light tenors do not have to have nasal voices. Merritt is a great example, as are Schipa, Tagliavini, Valletti, Monti, Infantino, Araiza, etc. Matteuzzi and Kunde are very overrated, IMO.
They all use their breath wonderfully. You have to breathe well to sing well, what a crazy concept.
@Nicholas Ennos
Matthew Brooks
didn't said "You need to breath a lot", but he said "You have to breathe well".
I saw mister Muehle in Bolshoi! He was really great! His voice didn't work perfect during rehearsals and Bolshoi soloist were not very inviting but on the performance he was the only singer on stage
The sadness here is that these singers will not receive the lucky breaks they deserve. And if they do -- I fear their glorious voices will be buried by modernistic, ugly, and totally unappealing opera productions. I regret that the opera has come upon this need to UP everything to the point where the grandeur of opera. Also, the poor diction that is often turning up --- I need not remind anyone of the Anna Netrebkos and Renee Flemings that give the impression that they know NOT of what they sing and sound as if they're singing with their mouths full of OATMEAL!
Bravo Luca They sound like an extra large steak is stuck on their throats
Thank you so much for introducing us to these singers! 😵😃
Heard Petti Live in Trovatore in Stuttgart last night. He is the real deal and it gave me some hope for the future of opera (on the other hand, it was a ridiculous Regie production where he had to sing Il Balen as if he were reading a book a child)
Thanks for the comment. I'm happy he sang well!
Afro Poli I was wondering what you thought about Renzo Zulian?
Jennifer Wilson is just to die for!
THANK YOU ...WE WANT MORE OF YOUR VIDEOS !!
I would also advise an underrated young tenor I discovered yesterday singing Lensky. His name is Bror Magnus Tødenes and I was completly stunned by his performance, I didn't hink I could hear a singer like that in opera nowadays. I will follow his career closely, that's for sure.
Loved your selection! Fabulous, memorable singing all around.
But Camarena unknown? You're showing him at the Met, for goodness sake...
Many thanks,Afro,a lesson for all aspiring singers!
I arrived in Australia thirty years ago and I heard of an Afro Poli who was a famous Baritone,are you that Afro Poli?
Oh no, he is a legend and passed away a long time ago... thanks for listening!
Grazie !
Javier Camarena is one of the most accomplished singers I have ever heard. He is just fantastic!
So much better than Flores; I saw / heard them both in this production.
DANIEL BEHLE... Bravissimo!
Have you listened to Mirko Guadagnini, and Fabian Veloz?
Wonderful! There’s still hope for opera!
Ottime scelte, complimenti Afro Poli.
A sensible explaination for the case of Enrico Nenci: Well... a very good and versatile voice indeed, but as we all know, a wobble low (and middle) register doesn't help a solo career that much.
Most famous modern singers have wobbles though...
@@AfroPoliFor several decadess Gwyneth Jones was referred to in our house as Gwinnie Wobbles. She sang much too much over the years. Less woulda been more...…. Leonie Rysanek experienced a couple of vocal crises and had a wobble you could "drive a truck through," thanks to her then-husband's "expert" vocal instruction. (She was booed during Lady Macbeth debut performances at Met.) She survived both (husbands and crises) and ended her career decades later at the top of the heap. And no wobble!...…...We heard a broadcast of her Sieglinde about 40 years after her first Bayreuth performances in the role. Youngest, freshest voice on the stage.
In the old days, there was an entirely different "model" for what was considered truly great opera singing. It wasn't based on how sexy a singer was...how thin....how young...it was about gorgeous, full, ringing sound. Martin Muehle has that quality. As do the others here. He is a good looking man, and has that ringing, full throated sound that is so missing today.
Excelente compendio de grandes actuaciones de grandes cantantes, no tan famosos como otros. Yo me fijo mucho en la técnica, estudié quince años con mi maestra chilena Blanca Hauser y siempre preferiré la técnica baja, o sea la respiración baja y la voz apoyada desde los abdominales mayores. Esa es la que me enseñaron y esa es la que enseño, aunque no me entiendan. Para mí es muy clara, basta ver a un bebé recién nacido llorar, y allí está todo. El que canta fin técnica y respira como le da la gana es Nenci, así también la calidad de su sonido. Ahora la mejor técnica, queda eclipsada ante la presencia de un gran y extraordinario temperamento. De ahí la gran Netrebko que quiere imponer a la fuerza a su pobre marido Eyezov, creo que así más o menos se escribe. Para un mayor reconocimiento mundial, en cualquier campo de la música y yo canto, hace falta el gran ladron de artistas, el representante musical, así lo definió el hijo de mi msestra, Patricio Doorman Hauser. Pero es necesarisimo para un artista, alguien que hable de lo prosaico del dinero y que consiga las presentaciones y con eso la fama mundial. No hay otro camino, el representante en los tiempos actuales, tiene que lograr que a su representado se lo oiga hasta cuando tomamos sopa. La Callas tuvo de representante a su marido y cuando este consiguió un contrato con el Met de Nueva York, exigió que le pagaran en efectivo. El inteligente y malvado de Rufolf Bing, les pagaba en billetes de 5 dólares. Gran venganza. Por último diré lo que decía siempre mi maestra: “ ni son todos los que están, ni están todos los que son” gran verdad vigente hoy más que nunca.....!!!!!!
wonderful and so correct with a great vertical mouth, wow wow wow
Martin Muehle sings the great Adriana Lecouvreur performance with Angela Gheorghiu at Teatro Massimo Palermo (available on YT). Think whatever you think about her bit her she is great AND she has talent to discover great singer!
So many wonderful voices...forgotten...
That Nenci guy is a real one! He should be getting more main parts and surely more spotlight!
Please don't forget Amadi Lagha (magnificent Calaf in Torre del Lago Puccini 2017)
Hey afro poli do you know why mr opera does not like camarena Im just trying to understand
I loved Daniel Behle and Javier Camarena (we are going to have him at the Colón this year. I wish we had Daniel as well.
Ok. Afro Poli. Continua a fare il bravo con queste tue bellissime incisioni. 👍
Recently heard Piero Pretti, I think he is also worth checking out.
Very good contemporary singers. Indeed isn't hard to see Martin Muehle and Enrico Nenci singing like old school singers ...
Perhaps that is why they are so good at what they do.
I don't understand what is what you want to say.
That it is precisely because they sing like the old school singers that they are so good at singing.
Oh well, Im not sure if the soprano Jennifer Wilson was singing like old school singer but she was doing good.
@@ClergetMusic they dont
What is the significance of Perle Biance (White pearls)? Do you mean these are vocal gems? Why the same heading on so many different postings? Just curious. Excuse the ignorance
No problem... It's just a series on good singing. The opposite of the "black pearl" series. In Italian, perle nere is used for disasters! :)
Lisette Oropesa?
One of the most wonderful modern day lyric coloratura sopranos. Her Konstanze and Ophélie are stellar.
Ahmad Hedar Lisette is having great success around the world and at the Met
AfroPoli Keep up the good work. steakopera 👍
James Kim Long time no see... thanks! :)
Angelo Villari por Camarena. Saludos cordiales.
Camarena?
Nenci's vibrato kinda sounds weird to me
Great video! Add Roy Cornelius Smith to the list. A marvelous tenor!!
Amen to that, and a personal friend of mine. He should be singing leading at the Metropolitan Opera, San Francisco and other American companies that frequently have him cover in my opinion less talented singers who seem to be promoted more. He should be first choice, not cover!!!! Very pleased he's having great success in Europe.
I'm skeptical with Wilson since there's a microphone placed in front of her
Not a microphone...it was a light to keep her underlit.
I like Daniel Behle.
Every tenors in this Video are sooo woooowwww
How about Saioa Hernandez? Best dramatico-spinto soprano around nowadays. Especially good in Gioconda.
@opera forever Her chest voice is really strong.
@@operaforever8545 But it's much better than any modern school sopranos, who have NO chest voice.
@@operaforever8545 Evils? Hernandez is great!!!!
@@operaforever8545 No, Netrebko was always woofy. She is much worse than Hernandez. Lol.
@@operaforever8545 Still woofy.
I admired JAVIER CAMARENA's singing-nobody here seems to have noticed his easy and elegant singing-reminded me of Cesare Valetti.
Do you know francois Novion
Carlo Ciabrini Yes I do.
You Know is dead?
Carlo Ciabrini Oui. Dommage.
But here we are speaking about singers of our time, not about Novion or caruso!!!
Non capisco una cosa sola , per quale ragione artistica tutti questi bravi ragazzi stanno appoggiando le loro voci sulla posizione delle consonanti ?!…
Per la chiarezza della pronuncia?!…
No comment
Il vecchio
Daniel Behle absolutely stunning.
Signore Muehle , orgoglio braziliano.
Ernesto Petti is the best here.
Scooping and overdarkening. Good voice, very questionable technique and styling.
Que bálsamo! Gratíssima.
Some of the choice of runner-ups beats me.. one of them i can't even bear to listen to, it exhausts me😂. That being said, Anna Pirozzi is way underrated
Camarena’s voice is not small. I heard it ringing in the Liceu last year. Puritani. Much bigger than Florez
All JC's top notes, C and above, are mixed voice whereas JDF uses full chest voice.
operadog2000 Are you basing this on recordings? I have heard both live within the last three years
@@michaelgarcia6400 I did not comment on the size of his voice, but rather the production of his top notes. He employs a mixed voice technique whereas JDF uses full chest. Side note, JDF has pushed his voice to the point that his top notes are strained. Brownlee also uses mixed voice.
@@operadog2000 now JDF starts use his chest voice.Even though not very well.It reminds me of Oxana Skorik in ballet（ I mean her musicality was not very good at the beginning,then she gradually improved.Even though still not so good now.）
@@operadog2000 The lack of chest voices is simply because JDF didn't get into the habit of using them. His previous reps focused on showing high notes , masking his limited vocal range and poor low notes. Yes, he has his merits, but that doesn't mean he doesn't have problems.Or he's really overrated. He is not as capable as we thought. I think Hermann Jadlowker has a much better trills than he does.
Are these singers miked? 12:04 you can hear him inhale very loudly
It's oldfassion singing sir, with voices, that's the reason!
You are right as usual! The decision makers of today don't seem to like "voices" anymore. Quite the contrary.
@@AfroPoli Thank you sir, once I was a singer like Ernesto Petti, what a voice!
They do not hear it anymore, because the wrong peolple make the decisions!
Los dos últimos fragmentos tiene mal sonido. La voz de Camarena es muchísimo más bella de lo que ahí se oye.
Muehle DOES what Kaufmann TRYS to do!
I don’t understand why you put Javier Camarena, when he is another nasal tenor like basically every tenor nowadays. For the others I agree.
And I don't understand how one can be so one-sided. There are good singers who use a more nasal approach and there are bad ones. There are good singers who use a more chest based approach - and there are tons of really bad ones with wobbles, ugly voices and no charisma at all. It's easy to find simple solutions, but they don't solve anything. Ciao.
@@AfroPoli Ciao! I get that different people have different taste. At the same time many of us agree on the fact that today there are no singers at the level of Corelli, Gigli, Di Stefano, Pavarotti etc... Same for the female counterpart.
We should ask ourselves why.
I'm this one-sided because I've realized that this "new techniques" (nasal, mask singing etc...) are inefficient for theater singing and are not creating those kind of great voices.
@@lallybev Salve! I do not agree about that. Chesty singing or rather the idea of chesty, dark sound is a 1950s/1960s phenomenon. And the results have not at all always been good. Even the so often quoted Tebaldi is quite a poor singer if you concentrate on her constant flatness. Nice chest and poor top. This goes for many of them if you listen without bias.
What you describe as "nasal" and "mask singing" has been there before and after. There are great singers who employed that technique very successfully. Alfredo Kraus is only one. The entire Russian school is nasal, and big part of the French. You can hardly deny that people like Lemeshev, Chaliapine, Thill, Endrèze, Vezzani, Luccioni or Chauvet weren't great. That would not be one-sided, that would be blind. But that's en vogue for some on the Internet at the moment... Ciao :)
Laura, have you ever heard Javier live? I have some pieces recorded on my phone. He is definitely on of the finest tenors...
@@AfroPoli Maybe we don't disagree at all, given that you wrote "or rather the idea of chesty, dark sound," but to be clear, I absolutely believe that the decline in efficient chesty phonation is responsible for the miserable state of current opera. Female singers from the very early 1900s used much, MUCH more of their chest registers than singers nowadays, and the break and difference was more noticeable (Torresella, Patti, Calvé, Cristoforeanu, Parsi-Pettinella, Boninsegna). Male singers were very noticeably brighter and clearer, which is absolutely a product of chest voice participation (compare belting, which is almost pure chest voice and thus extremely bright). Light Irish tenors like John McCormack and Josef Locke used far, far more chest voice than the so-called "Irish tenors" of the past 50 years.
Singers today sound SO WOOFY because of that swallowed, dark, heady sound that most people continue to believe is actually chest voice.
The combination of dark (heady, roomy) with lots of chest is quite rare in the generation born before 1860; then, it gets more common around Caruso's era (Caruso being a famous example), and then it explodes around the 50s-70s, where Bulgarians and Italians singing Verdi produced some of the loudest singing every imagined (at the expense of the wonderful agility, control, and variation of the oldest recorded singers). Then, after that, we kept the same darkness and inflexibility while removing the ringing, clear chest voice and just have wobbles and woofs now.
Magnifici iii grazie
Ernesto Petti very good voice ,sexy hunk.A Verdi baritone of first class to be.Beware of all the domen, dear Ernesto.
Muehle to me has a great voice, but his singing is a bit wooden, he hasn't got great control of his phrasing and tempo and his acting is wooden. I do feel he is getting better and better.
Marco Chingari assomiglia moltissimo come voce e come immagine ad un vecchio caro amico il baritono Giancarlo Pasquetto di Verona. Fu proprio Giancarlo che mi portò dal suo maestro di canto per la mia prima lezione nel 1980 circa il tenore Augusto Vicentini.
That was an amazing hojotoho