Some of The Best Spinto Voicesª
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- เผยแพร่เมื่อ 16 ต.ค. 2024
- spinto, Italian word that means "pushed." For this occasion, we have three of the best voices and the singers' spintos examples:
Franco Corelli, spinto - dramatic, but more spinto for their forced and resonant song. Here he sings Amor ti vieta, of Fedora, in the years 50`s, when without a doubt their song was very spinto.
Giuseppe di Stefano, Lyrical spinto, used the technique of the spintos that forced the voice, although it got remarkable effects in its song. Particularly, their Rigoletto seems to be very next to the voice spinta
José Carreras, by nature one of the tenors but spintos, although their forced song contains lyrical notes. It is said that there will never be totally a tenor spinto, this is more a technique that a voice.
Amazing how Carreras had such a great career when so many people dismiss him as a singer. That’s the bitchy world of opera. Fortunately the man has always been above the small minded critics who in reality would have died to have had a voice half as good. Any singer who can gain acclaim in the great opera houses is worthy of respect. Carreras is certainly one of those.
He had a beautiful voice but I always thought his high notes were a little strained
@@marksmith3947 sexxfrtttujkl,
The World 🌍 Health
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I think the main reason is that after his illness he lost a great deal of the brilliance in his voice and unfortunately that is how fickle the opera world is but that happens in other venues other then opera as well.
I saw him sing with my Mom. His voice is Magic❤
But he’s not a spinto. He’s a fantastic lyric tenor.
For the sake of sharing. About 35 years ago I studied voice with a tenor that developed his technique at the Accademia di Santa Cecilia, Roma. He had a diagram of the tenor voice classifications from the Italian old school.1-Drammatico,2- Lirico Drammatico,3- Spinto, 4- Lirico Spinto, 5- Lirico Brillante,6- Lirico,7- Lirico leggiero,8- leggiero-tenorino. The tenor voice is like a rainbow of sounds. Treat it with care, do not destroy its unique qualities.
it's "leggero"
❤
I love spinto tenor songs. I am working on my vocal studies as a young low tenor who could either be a full lyric tenor, spinto tenor, or full dramatic tenor (heldentenor). Probably spinto tenor. Lots of lyric tenors are mid range tenors but full lyric tenors are the lowest of all lyric tenors while leggero tenors are high tenors.
Corelli was the only spinto here, di Stefano was a light lyric who tried to sound spinto, Carreras too, although his voice was heavier than di Stefano's by nature.
Quite right. And that's how di Stefano and Carreras ruined their voices.
If you consider Corelli a spinto, absolutely. To me, he's more a dramatic one. Di Stefano was a lirico who rushed spinto roles.
Carreras' voice was NOT heavier than Di Stefano's and was smaller han GDS in the house.
@@mantralibre1367 으음 근데 왜 성악은 젊었을때 가볍게부르고 나이가 들어서 드라마틱하게 해야한다고 다들 그러는걸까 상식적으로 생각해보면 오히려 젊을때 피지컬이 더 뛰어나고 나이가 들수록 피지컬이 떨어져서 반대로 더 가볍게 하려고해야 겨우 젊을때처럼 노래할 수 있을거같은뎅 🤔 테크닉적으로 완벽한 상태를 만들어야해서 그런건가? 스테파노나 카레라스처럼 탑가수라고 불리는 사람들은 만으로 20대 중반이면 이미 다 테크닉적으로 거의 완벽할텐데 그럼 오히려 빠르게 spinto적인 소리를 찾고 내는게 맞지않나?
@@Un-pk3ug man😂🥴. In english maybe... 👀
@shiicoff1 Spinto in Italian means( PUSH). I heard DOMINGO ABOUT 15 YEARS AGO IN( I PAGLIACI) and I had to PUSH myself to hear him. He was almost inaudible. The more lyric passages were fine, but the role was just to BIG for him. I heard DeSTEFANO in concert. I sat in the last row in Carnegie Hall in early 1960s and i had no problem hearing him. His voice was full&beautiful, very similar do his recordings except for some more beautiful overtones that you hear( LIVE)as appose to on records.Enjoy
That’s because Domingo is a short lyric tenor
@@xxsaruman82xx87 The categorization of voices sometimes vary from listener to listener. I think PD had a medium spinto voice with a nice quality, but often strained in the passaggio and his high notes, also strained, always seemed to be an adventure throughout his career. Listening to his Zarzuelas, his voice seems more attractive because of the lower tessitura. Circa 1990 Domingo failed in campaigning to lower the universal pitch. Other than PD singing over 130 tenor roles, I truly don't understand what the fuss is all about.
Man, i listened live to basically every mainstream tenor in the last 25 years. Domingo literally FILLED the house. What are you talking about? Inaudible are/were Florez, Villazon, Grigolo, barely Licitra... Domingo? No way.
@@mantralibre1367 I'm glad to hear that your experience hearing Domingo Live, was better than mine. When I heard him in I Pagliaci, he was good in the few lyric portions of the opera, but he squeezed in the passaggio and higher, while cutting phrases short and squeezing the A natural in the Vesti La Giubba and eliminating the 2nd B-flat in the No Pagliaccio Non Son. I heard him in a fine Trovatore circa 1978 when he was around 31 years old, but after the mid 1980s, his high notes always seemed to be an adventure. Still, he was a good actor and musician and we were fortunate to have him.
@@sugarbist ah definately. And maybe both the widht of the house and the Opera you heard did not help - Pagliacci is way too demanding a role for Domingo. I heard him late, in Rome's opera house, in Fedora and in a modern opera, Sly. In both of them he was magnificent, though bordering his 60's yet. I was just speechless at your statement since Domingo was both with Bergonzi, probably the top of my opera experience. Great nights with Martinucci and Luchetti too. But those two... (Bergonzi was already really old😂) were just otherwordly. Thanks for answering, and take care!!!
P. D. I'm 41, i grew up with GDS. He's just... My adolescence. The fact that you could hear him live, man. So much benevolent envy🤦♂️😂😞.
You probably heard the most beautiful voice to have ever graced the earth. I heard the old Aragall. Something great too, reminded me of Giuseppe in more than a passage. It was a pleasure to talk to you, sir.
Thanks for allowing me to share with you what I most love , singing. If you are a young voice student be patient and persistent. Singing is not like learning few chords in the guitar and start singing balads. Your voice is unique and must grow based in what you have in terms of technique and natural ability. Select songs you feel confortable singing, and progress as you learn to control your instrument.
@greattenors I agree that Corelli was not a dramaic tenor.But as a spinto tenor in the category of Merli Pertile Martinelli,he could of sung Otello,as he was studying for the role & was encouraged by many, including Del Monaco to take on the role.Corelli also states that it was a mistake NOT to do the opera.To make excuses for F.C. I will say that he did study Tosca for 4 years before he did the opera.He also might have ran out of time. I'm surprized he did not do a studio recording of the opera
The Barone below is absolutely correct. Carreras was a full lyric tenor who was ‘encouraged’ by ‘vocal experts’ like Von Karajan to take on spinto roles. In time perhaps, Leukemia aside, Carreras might have developed into lyric spinto but a FULL spinto like Corelli, don’t even think about it.
I had great hopes for him since in the mid 1970’s he had one of the finest FULL lyric tenor voices I had ever heard. As beautiful & perhaps more so than Pavarotti. There was a warmth of expression in Carreras’ singing which I found missing in Pavarotti. Much of early Di Stefano had this quality as well & I remember a recording salesman around 1974 referring to Carreras as being the answer to, as he put it, ‘ALL OF US DI STEFANO WIDOWS.’ In 1978 I heard Carreras in recital in Seattle & even then I could hear danger signs not only in his taking on heavier repertoire but in how he approached it. However a prime example of Carreras at his very best can be heard in a LIVE recording as Nemorino from Covent Garden in 1976. If this performance is still available & you love the Carreras voice GRAB IT. It is the greatest example I know of that illustrates where Carreras should have remained repertoire-wise for a longer period of time. Of course his illness around 1987 did him no favors but by then his voice had already for several years been losing a great deal of its wonderful timbre due to the unwise choices of certain roles. Eleazar in LA JUIVE from 1981, which I also have, is but one of several examples.
I appreciate that it's fun and can be instructive to analyze, categorize, and rank. There's much to learn and to debate. But I keep in mind that each of these artists does something 99.9% of us cannot do. Which one touches your soul, moves you to tears, inspires you to do better, becomes a matter of the heart, a matter of falling in love.
@tena2 About 15years ago i was excited about going to the MET to hear Domingo IN I PAGLIACI & he was really inaudible.He sounds much better on records & has a nice quality. Idont know if you have seen him live but I dont consider him a DRAMATIC tenor at all. I saw Corelli in TROVATORE IN EARLY 1960S and he was thrilling and his voice was much larger and more dramatic than Domingos. I do agree with Del Monaco & Giacomini being DRAMATIC.
Beautiful selections...fine eternal moments.
Spinto significa empurrado. Isto é uma característica exclusiva de um tipo de tenor lirico, cuja voz é mais robusta e resistente que um tenor lirico natural. A titulo de caracterização, Giuseppe di Stefano é tenor lirico, Enrico Caruso é tenor lirico-spinto. Mas as vozes mudam com o decorrer da carreira ou idade e essas carcteristicas tambem.
Thanks for the comment. You are right about Otello, it is a real dramatic opera. But Trovatore, aida and Turandot are best sung by Spinto tenors like Del Monaco , Giacomini or Corelli who could sing dramatic roles. Anyway, the line between dramatic, spinto an heroic voices is very subtle and sometimes it is hard to classify. I think Carreras has a lyric voice
that is not very brilliant but he had the most beautiful mezza-voce that I ever heard. please go to 2nd part.....
Del Monaco and Giacomini? They were moat certainly dramatic tenors. And Coreli never sang Otello in full.
En mi umilde opinión los Tenores "Spintos "si empujamos más en la zona aguda puesto que a diferencia de los líricos o líricos ligeros nuestros agudos por lo general son más limitados y los emitimos con más dificultad puesto que al tener voces más grandes también son más pesadas y aquí empieza el paradigma de la:( Tecnica)y entra también la búsqueda de la piedra filosofal para muchos.
Para mi solo hay una forma de solucionar dichos problemas y es la de llevar la voz adelante (detrás de los dientes)una vez que consigues sentirla en ese punto empiezas a notar que la voz gana en brillo y proyeccion.
Si intenté hacer lo mismo y mi voz se escucha mucho más potente. Lo malo es que hay que practicar constantemente ya que no es tan fácil impostar así la voz.
@fabriou
Di Stefabo's singing SPINTO roles was part of the reason that his voice became harsh.
65attila I agree with you 100%!!!
I would not say that. The point is - he RUSHED into spinto roles. Take Kunde, a lirico, bordering the leggero. After 30+ years singing he's not singing spinto roles, and quite well, let me say.
Terminology often can't categorize the qualities of voice, but lirico-spinto is used in Italian description. As Il gruppo says, spinto refers to impulsion to provide drive (perhaps a less loaded word than "forced") in dramatic or climactic passages; some lighter voiced or "lyric" tenors were capable of doing this, others used other means to add dramatic emphasis. The linking of the two terms by Il gruppo probably means no more than an attempt to refine categories to provide distinctions.
I prefer Barioni. Sad he's never mentioned. MDM considered him the best of their era
Some of the problem here is that the term spinto has two meanings. Indeed it does mean pushed. Carreras often pushed, . By this meaning Corelli wasn't a spinto because he had the natural vocal size that he didn't have to push.
But spinto is also used as a scale point - half way between lyric and drammatic. Carreras was light for a major tenor. Pavarotti and Domingo were mediums. Corelli & Del Monaco were heavies.
The Italian terms can confuse the discussion.
Corelli is on the scene
se increible que tantos tenores Bell Cantistas de otras épocas no hayan dejado mas regostros de su hermosas voces posterioridad, menos mal que hay bastante de Franco Corelli y Di Stefano.
Thank you. Florez and Kraus were true leggero tenors, while Di Stefano had a bit more weight in his voice than them. Pavarotti was lyric turning a bit to spinto by the end of his career. Another lyric tenor who became more spinto later, to the extent of even singing Wagner, is Araiza, who should be much better known than he is.
Peace!
Araiza rushed into spinto roles. Otherwise he would have been simply wonderful. One of the most beautiful voices I ever heard. His Faust... Unforgettable.
I agree that Florez is pure leggero. He even has problems singing lyric Verdi roles. I also think that Kraus was leggero but a little weightier than Florez, so lirico leggero as you say. Di Stefano was more pure lyric (not leggero) than either Kraus or Flores.
All have their incredible voices and merits.
The three of them sound very good here,
specially Carreras, but it would have been better to hear them singing real spinto operas like trovatore, Aida , Otello
or Turandot.
Corelli canta Amor ti Vieta in modo esemplare!! grandissimo interprete!!!
Both Di Stefano and Carreras were lyric tenors with volume to me. Real spintos would be Pertile, Merli, Bonisolli, Filippeschi and Corelli.
+SHICOFF1 I didn´t count R.Tucker but to my ears he most sertainly is a spinto as well. A majority of listeners seems to like "lyric honey" more then the steel of a real spinto voice. Something that I think mostly is because microphones don´t tell the entire story of a voice and lyric voices tend to record better then more dramatic ones.
In My Opinion, The spinto voices have a broader range of nuance where they can sing lyrically and be some what dramatic when needed. For the most part, they are my favorite category of the tenor voice. The better appreciation of any singer is when he is heard live for better or worse. Fortunately we do have these recordings as a testament of great voices of the passed.
I think it's an individuals personal hearing siren. My brother preferred Gigli Di Stefano and Bjorling. Where I liked GDS, FC, MDM and now Tucker. I did see MDM, GDS & Corelli live and my appreciation grew greater. I never saw Tucker live, but I have grown to appreciate him 10 fold over a recent short period of time. I saw Domingo live but that experience blew up in my face as perhaps, I was expecting too much and he fell way short of my expectations. MDM sounded better live and more impressive. Corelli was less darker and not as dramatic as on records. Di Stefano was about the same as on records except for the beautiful overtones.
You are totally right !!!
I remember my parents telling me the same thing about L.Volpi Martinelli and Masini. It's true about MDM for sure . I saw him in concert circa 1962 and the voice was absent of the steely quality that is sometimes heard on recordings. He almost seemed to have a built in amplifier in his throat. Unfortunately, I never saw Tucker, but there are some very impressive recordings of him , here on You Tube. I also saw Domingo live in the early 1990s in I Pagliacci, and I was very disappointed. The role just seemed too big for him. Di Stefano was about the same as on records, but a full rich medium sized voice with beautiful overtones. It's much more difficult for a non Italian to be successful in opera than it is for a native Italian. It's not enough to just sing the words, but the idiomatic expressions must be learned and understood as well. Imo, Tucker did understand this and so did Bjorling to a certain degree. It's of course more innate for a Corelli or MDM or almost any Italian tenor I can think of.
For heavens sake, why don`t you just sit down, open your ears and listen to this beautiful renditions. Who cares what kind of tenors they are. Just listen to the music and stop arguing like kindergartners.
Muy buena seleccion!
Another spinto to consider is the great Giuseppe Giacomini.
aitortxuriurdin98 Giacomini is bari-tenor, true dramatic tenor
Domingo not a bari-tenor, that’s a fach for Rossini singing. (Chris Merritt would be the best example) but def a dramatic
What??? He’s no spinto
@65attila it's not just a vocal matter.Del Monaco was a real heldentenor,both vocally and temperamentally.
To say Corelli had the stuff to beeing an heldentenor is tecnically wrong.
to say Di Stefano wasn' t a lirico spinto is outrageously wrong. He was the perfect exhample of lirico spinto.
From 1946 to 52 he was purely lirico di grazia.Then- through perfect diction, phrasing and accents and through a dramatic temperament- he made it to get the most fascinating lirico spinto tenor of the 50s.
Nina Morgana (later Nina Morgana Zirato), whom Caruso sent to Italy in 1908 to study with the legendary soprano Teresa Arkel, pointed out in interviews that the distinctions among "lyric," "spinto," and "dramatic," as with "mezzo" and "coloratura," were 20th century labels, and were neither taught nor used by Arkel, Lilli Lehmann, and other 19th century singers whose range and technique enabled them to sing 100+ roles. Morgana cited Emma Calve, Mattia Batttistini, and Giuseppe Anselmi, all of whom she heard in-person, as true 19th century singers. Among her Met contemporaries, she said that Lauri-Volpi was the last link to the 19th century bel canto tenor tradition--and she was adamant that among sopranos, Callas embodied that same 19th century tradition.
As Richard Tucker's biographer, I can confirm from first-hand sources that the only "relative" who was in a position to help RT was Jan Peerce, his brother-in-law, who not only refused to do anything for him but even went so far as to tell Sol Hurok, when Tucker's career was gaining momentum, "If you take him [as a client], I will leave." Peerce had gotten Tucker an audition with Jewish choral director Zavel Zilberts, to help Tucker refine his cantorial singing--but Peerce was adamantly opposed to Tucker pursuing an opera career. Only Sara Tucker and Anna Perelmuth, her and Peerce's mother, gave Tucker the "moral support" that he needed at the beginning of his careeer.
SHICOFF1 Wilfrid Pelletier convinced Tucker to enter the Met "Auditions of the Air" and assured him he would win, but he lost to the baritone Clifford Harvuot. Tucker's only in-house audition was with Edward Johnson, Frank St. Leger, and Pelletier, who came to the Brooklyn Jewish Center to hear Tucker sing a Friday night and Saturday morning service, and promptly arranged an audition for him. Pelletier told me that after Johnson (who, although a gentile, had been a part-time cantor to earn extra money in his native Canada) had heard the two services at the Jewish Center, the in-house audition was essentially a formality.
Thanks for bringing some accurate facts to the forefront.
TheInquisitive4Ever=A dictionary, he knows it all
@Milordvega Agreed on all exept Wunderlich who had hepth but still were lyrical I would like to add Bonisolli, Pertile, Merli and Prevedi
Ninguno como Corelli!!!! Único!
MDM lo supera.
@fabriou
Heldentenot is a VOCAL category indicating weight and size of voice, You misunderstood my first post, Carreras and DiStefano were lyric tenors who forced their voices, That does not make them spinto
tenors just tenors who used their voices beyong their natural means.
This is like good wine. Just drink it and enjoy.
Beniamino gigli lirico tenor
Giuseppe di stefano pure lirico tenor
Luciano pavarotti lirico tenor but more like leggero lirico tenor
Jose carreras lirico tenor but, more heavier than pure lirico tenor
Franco corelli spinto dramatic tenor
Spinto tenor was like Carlo bergonzi, Richard tucker, Enrico caruso, Placido domingo...
unfortunadly, the maestro had only 1 copy,
framed and displayed on the wall. He used to show us lessons of recognizing the diversity of the tenor voice, in terms of color, robust sound, strong / weak areas of the registers, squillo, voice agility, roles and songs selection.
i'm a bass in my school's men's choir and my vocal range is D2 to D#4, but i wish to expand my range so i could sing baritone songs. how can i get past my passagio, which is right at D#4?
Franco Corelli was more of a dramatic tenor.
Giuseppe di Stefano was really a pure lyric tenor, like Kraus or Florez today.
José Carreras was a lyric tenor, but did have the darker sound of Spanish-speaking tenors. Aragall, Vargas and Villazón are similar.
All great tenors. But the real spinto-sounding tenors in my opinion are tenors like Caruso, Lanza, Domingo (in his prime), Pavarotti later in his career, Wunderlich, Thill, Tucker, and others.
So many great tenors!
Why you can't put Pippo without Callas ?😂
@65attila I did understand that you wanted to write down Di Stefano in comparison to Corelli through SARCASM.That is what made me react. I respect everybody's taste but please don't go around telling Di Stefano was not a spinto tenor....In the 50s at LA SCALA he was given every spinto role...RADAMES (aida), CANIO (pagliacci),TURIDDU (Cavalleria), CALAF (turandot)...maybe he forced a little too much late in the 50s but the rendition of spinto roles was fantastic and people became crazy for Pippo
fabri diste The lyric Pavarotti sang Otello. It doesn’t make him a dramatic tenor.Gigli Pavarotti Björling Carreras And Di Stefano were all lyric tenors that have sung Spinto operas, but does not make them Spinto tenors
stunning!!
May I ask, how did you make this video?
Is it any of your experts WHO sing themselves, does not seem like that
Just a LOT of waffles from you all the Times!!!!
Wasn’t Carreras a leggero?
Tenor Ligeiro = Tenor Agudo,
Tenor Lirico = Tenor Central,
Tenor Dramático = Tenor Grave
Tenor lirico-ligeiro = Tenor Central com extenção para agudos
Tenor lirico-spinto = Tenor Central com mais resistencia vocal e voz mais robusta.
Muchas gracias siempre lo quise saber y nadie lo había informado !!
É importante entender uma coisa, não exitem 800 tipos de tenores. Existem no máximo 3 tipos: o Lirico-Ligeiro (mais agudo), Lirico-Spinto (mediano) e o Dramático (mais grave). Giuseppe di Stefano e Jose Carreras são Tenores Liricos-Spintos com certeza, porem Franco Corelli tem o timbre mais grave e pesado que os dois, portanto é Dramático. Outros Tenores Liricos-Spintos são Luciano Pavarotti, Placido Domingo, Gianni Raimondi, Jussy Bjorling e Carlo Bargonzi. Tenores Liricos-Ligeiros são Tito Schipa, Luige Alva e Juan Diego Florez. Tenores Dramáticos são Mario del Monaco, Franco Corelli e Jon Vickers.
i think di stefano is absolutely lirico and gigli too di stefano's 1944~early 1950~ lirico voice evercarreras is not spinto but his voice almost lirico spinto voice but his lirico
Carreras is a leggiero
di stefano era tenr lirico
Just my opinion:Carreras and di Stefano - lyric tenors and Corelli lyric dramatic tenor.
Corelli tenore lirico spinto e non drammatico.
If Carreras and DiStefano were spintos " Corelli" was a heldentenor.
Jose and Pippo were lyrics and the micrphones are playing with their soumds.
1 - Carreras is lyric tenor.
2- Pavarotti is a lyric tenor
3- Kraus is lirico-leggero
4- Florez is leggero.
5- Alagna is lyric tenor.
6- Bergozi is spinto.
Ah, si. Lo tengo bien claro!
Kraus e Bergonzi i migliori.
Si, lo sabia.
No dije lo de Di Stefano para corregirle, solo que yo mismo queria destacar que Di Stefano no es leggero nada comparado con Kraus o Florez. Eh fin, estaba de acuerdo con usted.
Todos son grandes tenores.
Único Spinto - Corelli, Carreras y di Stefano son líricos, pero diferentes. El mas lírico es di Stefano, Carreras tiene momentos dramáticos y su registro medio es potente y corto en agudos, una característica del dramático. Stefano es más rico en agudos y débil en el registro grave, Lógico. Corelli es potente en todo su registro.
Spinto = forzar gola y empuje o explosión sonora, exageración del pasaje de la voz. No se puede considerar spinto como una clasificación de voz, porque es una malformación técnica del canto que era estética de la época. Spinto no es = técnica. Y spinto, puede ser un vicio o costumbre en cualquier registro vocal.
Es cierto que con el paso de la edad una tenor lírico pueda acercarse más por madurez a un spinto.
Resumen:
Corelli - verdadero Spinto
Carreras - lírico dramático
di Stefano - Lirico
Es necesario documentarse antes para hablar con propiedad del tema. Spinto es una moda que desde Caruso hasta ahora se ha visto como una clasificación vocal, pero no lo es. El spinto se utiliza para el verismo y wagnerismo por su potente voz. Solo existen 3 tipos de tenores:
Dramático (grave y pesante)
Lírico (medio y menos potente que el dramático, es el mas versátil de los 3)
Ligero (agudo y con muy buena agilidad pero de voz poco potente)
Pueden haber mezclas si, pero no se pueden clasificar concretándolas por su color simplemente, seria un error.
Carreras A lyric dramatic? You're saying that Carreras has dramatic moments in his middle register? Short high notes that's is a characteristic of a dramatic tenor? Sorry, I don't agree. I don't believe there was anything dramatic Carreras voice. He had a beautiful lyric sound early on then his voice became harsh in the middle, but never dramatic. Secondly, you describe a dramatic tenor voice as being short. I don't agree, The early dramatic tenors like Tamagno, who sang Gugliemo Tell and Ugonotti was not a short voice or have short high notes. Either was Leon Escalai or Antnio Paoli. The only famous tenor that I can think of that was in the Lyric Dramatic category is Giacomo Lauri Volpi and possibly Mario Fillipeschi whom both had the ability to sing lyric and spinto, dramatic roles with much success. The heavier roles turned out to be a burden for Carraras and effected his once beautiful quality.
Carreras began as a lyric tenor as others, but his poor vocal technique caused him to
swallow the sound making his vocal timbre more dramatic (perhaps spinto
due to the thrust of the glottis). The dramatic tenor with good
technique can sing 2 octaves perfectly, but by the Power of his voice, the dramatic tenor can not sing well sharp and delicate passages like a light lyric tenor. Di Stefano was the only tenor of this video that can sing belcanto very worthily.
Al fin alguien que sabe realmente de técnica . Estoy en total concordancia con su opinión !
Dear Shicoff , Tucker sung it as so much nowdays tenors do . Th problems is that there are divos and tenors to sing when the divos can not , in this case Tucker is one of these tenors , he is not a bad voice but is neither a tenor with extraordinary sound , ring or qualities as Corelli , del Monaco , Labò or Cecchele . If you know sir , he was2 times in auditions and did not pass it . Were his contacts in New York and the contact of his wife's family who allows him to sing in the Met , etc .
We can talk about octaves all we want, but in reality, Carreras never had color or the dynamics of a spinto tenor. Corelli, Tucker, Martinelli, De Muro, Merli, Pertile,Masini Campagnano, Cechele are some examples of the spinto tenor voice. Most of these tenors have the ability to sing in a broader range with nuance than either the lyric or dramatic tenors. They have a heavier sound to their voices than Carreras did and were more suited in the verismo roles. Yes, early on JC had a beautiful lyric voice but the voice became more strained after taking on heavier roles. Most of these tenors that I mention above, sang most of their careers in thverismo roles where the color of these voices belonged. Pertile was very effective in the lyric roles as well as the spinto dramatic roles. Carreras perhaps evolved as a lyric spinto, but for me that's it.
@TheInquisitive4Ever: Neither a Lirico for me... he was Lirico Leggero like Pavarotti and Kraus... just that he used to wide his voice to sound lowder so, more power on the middle register but not good on the high notes... his sound on the top always changed a bit from the rest of his voice. Lirco is Gedda, was Gigli, DI Stefano
@TheInquisitive4Ever I agree, he sang very emotionally, but that doesn't make Carreras a Spinto!
Carreras is not a spinto tenor!!
All three marvelous. CORELLI unmatched.
Saludos!
"spinto" is not a TECHNIC. It's a type of voice that God gives to you, soprano lirico spinto or tenor lirico spinto. The only spinto is the video is Corelli. Others spinto tenor: Tucker, Caruso, Domingo... Tenors who thinks that spinto is a technic of voice, like Rollando Villazon, completely destruct their voices during ten years. Corelli use the same technic as Pavarotti, but his voice is different.....
Quite agree with you !
Carreras was a lyric. Who thought he was something else and WHY? 🤣
solo la voz con características únicas como la de MARIO LANZA, lírico spinto,centro baritonal,, con matices dramáticos, lo poseía todo el espíritu indomable y la fuerza arrolladora de CORELLI , la belleza,la gracia y lirismo de GIGLI Y DI STEFANO , solo LANZA NO SIENDO UN TENOR OPERISTICO PROPIAMAENTE, DEMOSTRO TENOR LA MAS IMPRESIONANTE DE LAS VOCES, DENTRO Y O FUERA DE LA OPERA.
Lanza was a lyric tenor. Lyric tenors often gain a far richer sound from recording whereas dramatic voices becomes smaller in records, since it is difficult to capture all of the overtones. In no way whatsoever did Lanza have a baritone colour in his middle register, not even Mario Del Monaco had a baritone sound in his middle register, and he had the biggest tenor middle register. Lanza was no where close to the dramatic power in Correli’s voice, not even in studio recordings, which are not real representations of the voice. Lanza did not even sing parts that could display actual dramatic power.
If Carreras is Spinto..what the Beee Gees would be? CastratoNoBalls di Castrati?
🙄😂🤣😆
@fabriou
I did NOT say Corelli was a heldentenor it was sarcasric. I think you did not and do not understand
what I mean.
agreed
@Bjoerrelli Ah, yes. But I never heard of Merli. Will look him up.
what's the first aria?
ippolitos22 "Addio, fiorito asil" from Madama Butterfly.
@federic017 Le filature di Di Stefano erano superiori a quelle di Corelli(che sembravano sempre "lasciate a meta'" e faticose).C'e' da ammettere pero' che Corelli con la sua voce pesante e possente era gia' bravo a fare quelle smorzature;dire pero' che esse erano perfette non e' vero.Per sentire filature che sembravano "fermare il tempo" bisogna ascoltare Di Stefano, Fleta, Schipa, George Thill,e cioe' tenori lirici.;mentre Corelli e Bergonzi ESEGUIVANO" alcune smorzature piu' che FARLE davvero
Agreed. Florez's is a utilitarian instrument. No real signature to his sound.
카레라스는 스핀토 계열이 아니라 리릭테너 와 레제로테너로 분류돼야 한다고 봅니다
who said Di Stefano as spinto tenor? 😁
Sir Shicoff , I don't think at all that Pavarotti was lyric spinto , he was at the last time lyric , the color and ring of his voice never were of a lyric spinto as Carreras or Placido ( a lyric who gives color to the voice to get darker ) Tucker neither , Tucker also give a lot of color to the vice , the way to arrive to high notes is the ttypical as a lyric use for . when you can discover if a tenor have a big voice as dramatic , lyric spinto or spinto is when he does the pasaggio and in which notes he does it . You sir , you are so lucky to have listened such a singers !! Greetings from Spain
....his voice went down because of his unfortunate illness which he ,thanks God survived but affected his instrument, and of course mixing opera roles was not very healthy either.
Opinion?
Since when was Carreras a spinto tenor? He is a lyric tenor and not even a good one! To compare him with Corelli is ridiculous.
La VOCE PIÙ BELLA? PIPPO d.STEFANO UNICO e GRANDISSIMO...
@fabriou non ho parlato di dizione ..è chiaro che parlare di questi grandi artisti è sempre difficile avere ragione su l'uno o l'altro..a mio parere sono due lirici (Di Stefano Carreras), mentre Corelli è un lirico spinto, che sapeva fare le mezze voci come un lirico..ho parlato di superiorità da parte di Corelli solo perchè è più sicuro con la tecnica e non apre mai il suono mentre gli altri due sono famosi anche per i suoni aperti.Di Stefano migliore per temperamento e fraseggio...saluti
是Mario Lanza 後，較佳的抒情男高音
Carreras e Di Stefano sono tenori lirici,Corelli è un lirico spinto ed anche molto superiore agli altri due...saluti
VERISSIMO.
Di Stefano è stata la voce più bella del xx secolo anche secondo il parere di Pavarotti e Del Monaco.
Carreras and di Stefano were not spintos. They were lyric tenors not lyrical spintos. There is no such thing.
in alto i calici.
Alerta! Alerta! I theybies americani hanno invaso il mondo d'opera.
in my opinion, Salvatore Fisichella or Caruso would've fit that list much better than Carreras :/
@Bjoerrelli I forgot Mario Filippeschi!
What about Pavarotti? I think he was absolutely the best lyrico spinto tenor. What do you think about that?
his line was perfect
placido is spinto tenor , as well as franco corelli , carreras and de stefano are both lyric tenors , dramatic tenor is some thing like enrico caruso , richard tucker and jan pierce , that's what i think :D
You are absolutely correct
mohamed ahmed IMO, Domingo was a medium size Spinto. Caruso And Tucker were full spinto tenors and Peerce was a lyric spinto tenor.
Plácido es o era DRAMATICO !
Domingo and Milnes are the most overestimted singers ever.
Il tenore lirico spinto è una vocalità poco precedente a quella del tenore drammatico e per alcuni repertori addirittura sovrapponibile!
mettere come esempi il tenore della Madame Butterfly e quello del Rigoletto manifesta una enorme ignoranza sui Termini
@65attila you are wrong.There are many reasons why he started to have some problems from 1958 onwords,but not the reason you mentioned...this is what envyous critics like CELLETTI had been carrying on for many years.But let's pretend you 'd be right:we have to thank God that Pippo sang Pagliacci, Forza del destino, Turandot, Cavalleria, Ballo in maschera,Lucia di lammermoore... it's better 15 years of unbelievable singing like that than 30 years just lirico-leggero roles like Kraus or Valletti.
Very poor representation of various tenors. Corelli was an Italian dramatic tenor, like Del Monaco, who could have sung Wagner and Strauss as well as Italian roles. Yes, by the time he was in his 50's the voice was slightly faded and might be called "spinto" but it was not so in its prime. Carreras was a full lyric, like Kraus, who could sing larger roles well but not the true spinto roles [e.g., Radames]. DiStefano was indeed a spinto tenor but he was also perhaps the least musical of all tenors of the 20th Century.
In hight notes we can see the difference between both: Corelli has very strong and a big metalic voice, like spintos are. MDM has a voice bigger than everything, a dark voice. And in the low notes MDM seems like a baritone sometimes. Here in YT has a version of Nessum Dorma with Del Monaco in this way.
Squillo voce in spinto is very very metalic and brilliant.
Corelli was a spinto.
I was trying to reply to a comment that Corelli was a dramatic 🙃
@@trudischleifer7245 Corelli was dramatic tenor in the older more prewar style.
Bergonzi, Spinto?como voces de Spinto mas que dramático ,Corelli y Lanza no tienen parangón, aunque prefiero a Lanza por supuesto.
Lanza, para mi, irrepetible!
Lanza per carità.
Three tenors I literally adore. Some of the greatest to have ever sung Opera. Even though, I'd say Corelli was more of a dramatic. Lanza and Bergonzi, definately spintos. Both of them.
@31122051 condivido a pieno
Carreras, uber alles !
Corelli es el mejor con diferencia. Los otros dos voces bellas pero carreras cortas por su mala técnica y repertorio inadecuado. Carreras antes de la enfermedad ya tenía graves problemas de emisión, sonando muy forzada con menos de 40 años.
Infatti purtroppo nn è stata la malattia la sua voce aveva perso smalto gia anni prima
@@rosacelani9866 Efectivamente Rosa. Pero parece que decir eso es una ofensa. Un saludo.
Carreras era un lirico, ma non spinto.
Pavarotti has full lyric, Carreras has spinto, Domingo has dramatic, Caruso has spinto, Kraus has leggerio, Corelli has spinto but Corelli like lyric baritone
Zeki Yakışıklı ve Asabi Domingo is NOT a Dramatic tenor. He was a medium spinto voice. Corelli was a spinto tenor with dramatic impact when needed
non hai capito niente.
Voci spinti! Che sciocchezze! che pubblico perverso che si bagno solo nei strilli e gridi. Dove siamo arrivati nell'arte del canto? Chi prova un po' meglo: Corelli, che si prova con voce sommessa nell'amore ti vieta"; Ma cosa produce Di Stefano? Che brutta tecnica: "amohore", "cohore", "sohon", "hagli angeli"? Ha lui inventato un nuovo vocabolario operistico? Solo la Callas con perfetta tecnica e musicalità.
Il resto si deve lasciare ai cantanti che sanno della bella scuola del canto Italiano.
jose carrera es un tenor lírico no spinto luciano pavarotti si es un tenor spinto
pavarotti es tenor ligero
brahian mendoza Carreras siempre ha sido Spinto !!!
brahian mendoza me paece que estas equivocado los dos son liricos el mas parecido a un spinto es Crreras tiene el centro mas robusto y mas graves Pavarotti es un lisico de punta y los dos son cantantes maravillosos
Pavarotti was a lyric tenor, as was Carreras, in fact, singing more dramatic parts over darkened Carreras' voice... Kraus was a leggero.... Pavarotti was a full lyric.. He had and easy C.. and sometimes C#.. but Kraus had an easy D, that he sang live... Pavarotti's D natural was only on that recording, but never live, as far as I know.
Zubair Hossain It is true. Pavarotti has full lyric, Carreras has spinto, Domingo has dramatic, Caruso has spinto, Kraus has leggerio
tengo entendido que los spinto son cantantes q empujan demaciado , y su voz se acaba muy rapido
isamir mendoza Depende de la técnica y de los años de estudio de la misma con un buen Artesano impostador que ya quedan pocos!
@65attila Corelli could never have been an Heldentenor because his temperament was never "heroic"...voice alon is not enough...
Carreras was no spinto at all. He sung spinto parts and ruined his voice with it, like di Stefano earlier. Carreras' voice was already damaged before he suffered from leukemia.
A true spinto would fall somewhere between Bjoerling and Corelli - somebody like Tucker.
And by the way: Jonas Kaufmann is no spinto. He has a fabulous technique and voice, but his is a young heldentenor instrument.