Corelli never learned Caruso, much to his regret. He was cautious and basically did not accept Melocchi, though he learned it a few times. Corelli prevoices, to express prayers for God, need heartfelt feelings, he does not have, he is just a breath above the vocal cords, while Caruso is a breath from the deep abdomen, more infectious, moving people. I don't want to criticize Corelli because he's adapting to the song he's singing and doing well, here, no! Express inner feelings, can not only mouth, nose mask, it appears false, false feelings, not real feelings. So the space between the singer's lower abdomen and the front of the vocal cords is very important. How much of your breath can you hide in there? The larger the space, the more breath, the more room there is to express timbre (overtone). Caruso will always be something to learn. Pav says so. But no one has learned, and from now on, I will sing it to you in the style of Caruso. Thank you for your comments.
Great Caruso sings " Pieta Signore" of Alessandro Stradella like a prayer with a lot of depth of sound, lengthening the notes, softening the high notes as an intimate conversation with the Lord. Correli's song deserves only one comment: there is no need to shout so much: Our Father is not deaf!
The Great Cantors at the Time of Caruso and since admired his Cantorial style in their Religious music, also the sheer beauty of tone, mezza voce, and his incredible skill in performing a Religious piece with an Empathy of Depth of Feeling that is required in this, he sang many Religious Requiems throughout his career right up to the end of his life, it would be interesting to read some of the Critics views of these, I have seen one from London by Herman Klein of a performance of Rossini's Stabat Mater at the Albert Hall , where he noted that the High C Sharp in the Cujus Animam was ringing in the very large Great Hall from top to bottom with a power not even the Greatest Baritone's even Ruffo could match , for the ringing quality of his tone was heard even at the Back of the Great Hall , behind the Orchestra and Chorus not even Clara Butt could do that, he said. The Great Jewish Cantor Gershon Sirota, often watched Caruso and was amazed how florid his voice was in opera or song, if ever a Tenor allbeing a Tenor who was not a Opera Singer could talk about Caruso and Vice Versa it was these Two Wonderful Human Beings, both had tragic ends to their lives, with Caruso we would never get to hear the Opera's he had learned including Tristan and Otello, with Sirota we have a wonderful list of Recordings from the Turn of the Century, some live in Synagogues right up to 1938 , he and his Family were Murdered by the Nazi's in Warsaw in 1943. I would ask you Sir or Madam to play some of ANOTHER real Tenor Gershon Sirota. You will hear a voice like Caruso from God.
I really appreciate your recommendation of Gershon Yitzchok Sirota. His natural and genuine singing style surpasses even Caruso. Both share many similarities in their vocal techniques. As a cantor and a devout Jew, every note Sirota sings is imbued with true emotion. His use of sobs and cries in his singing surpasses even the technical skills of Beniamino Gigli! Gershon Yitzchok Sirota was only one year younger than Caruso, born in 1874. It's hard to say he learned from Caruso, but his singing embodies the Italian Bel Canto style. While there is no evidence showing he studied Bel Canto, his singing style coincidentally aligns with it, and he even surpasses many who did train in this method. He is one of the most renowned cantors of the early 20th century, often referred to as the "Caruso of the Synagogue." His vocal technique and emotional expression made him famous in the world of religious music, particularly during the High Holy Days. His rendition of "Ovinu Malkeinu," a traditional Jewish prayer especially significant during Yom Kippur and Rosh Hashanah, stands out. This prayer, meaning "Our Father, Our King," expresses supplication and reverence to God. Sirota's singing is characterized by his powerful vocal range, pure tone, and profound emotional impact. His music is not just a religious ritual but a soulful experience, conveying deep spirituality and devotion, resonating strongly with listeners. When performing "Ovinu Malkeinu," he seamlessly combines technical prowess with emotional depth, infusing every note with the prayer's meaning and spirit. Sirota's recordings are still considered benchmarks in Jewish religious music, continuing to influence and inspire musicians today. His music was highly acclaimed in his time and his legacy endures. His works set a high standard for many cantors, and his recordings remain valuable resources for learning and appreciating Jewish religious music. Thank you for reminding me of him; I almost forgot about him, despite my general disinterest in religion. Yesterday, I even played some religious music, including Joseph Schmidt's "Sch'ma Israel Adonai hu ho elohim," practicing those high notes. I appreciate your high-level recommendations, unlike those of current tenors. Comparing Gershon Yitzchok Sirota to the tenor you mentioned yesterday, their vocal placement is completely different. Sirota sings with an Italian Bel Canto style, while the other singer, whose name I don't even want to remember, projects more than 80% of his sound above the vocal cords, more suited to pop music. As for Sirota's songs, I won't list them here; everyone can search and listen for themselves. Rather than comparing him directly with Caruso, as they excel in different domains, I believe they are both equally outstanding in their respective fields. Thank you again.
Imitating Gershon Yitzchok Sirota, anyone can become an Italian bel canto better than any tenor today. His position of sound, the treatment of notes, the use of breath, are very worth learning. I think I'm gonna collect his songs and sing like him. Thank you for reminding me!
@@lisaszxu1961 My Grandfather saw and heard Sirota in the Albert Hall in London a Few Times, he said his voice was very large and very resonant, he said the compareability with Caruso is plain to see, they were both simply unique in their Fach, Caruso had many Jewish friends and Martinelli said that He and Caruso visited the Synagogue in New York to listen to these Masters of the art of Singing, Sirota was amongst those Cantors, Sirota and Caruso did meet each other, so each would have learned a different art of the Voice, Caruso was always watching and listening to ALL types of voice, from Vaudeville to Opera, so the Synagogue would be a more Spiritual venture, which put Caruso and Martinelli in to the Sense of the way that Jews moved when they sang or talked with gestures, this both Tenors used in the Role of Eleazar in La Juive to immense Critical acclaim. I always have a Tear for Sirota, I find his voice incredibly moving and hear my Grandfather talk about him was a pleasure, there have been many many Great Jewish Opera singers and Cantors , but there was only one Gershon Sirota, I do believe that in which Heaven, they are, both he and Caruso they sit beside God.
@@Garwfechan-ry5lk I am very happy to see your narration, Sirota loud, is able to open the vocal cords very well, expand the space in the body, deep breath, very sufficient breath, do these three things, basically can produce this sound. Martinelli was good, too, but not as good as Sirota and Caruso, his voice was more forward, his belly was not so deep, he did not press down hard, the breath. In other words, Sirota and Caruso have more belly space. Martinelli and Caruso may also have learned a lot from Sirota's singing. Sirota's vowels, treble, tremolo fulcrum, strength, breath distribution, application, vocal position, are almost exactly the same, they have not studied together, but the final destination, the two are the same, singing a natural, beautiful, moving song. At this point. Thanks for your comments.
Both if them are good examples of technical Mastery of the voice. Staying in the mask for the entirety of the song. Caruso is much more flexible here with the voice than Corelli. For people who will say ohh but this is not an Operatic Aria, answer is this: this is a very beginning learning how to sing song for young singers. However to be performed to perfection and sung correctly you need another 20 years of study and performance experience in opera and then if you're lucky you may learn to sing it correctly. If a Tenor can Sing this Correctly as a test to ability, they may graduate to next sing Verdi's Requiem (Ingermisco). This is how difficult this song is to master and sing well. Usually it's a starter low-level choice learning option for young singers of opera technical training. Never Judge A Book By it's Cover.....-:)! Try Again....-:)! One Day.....! Best to All....
@@lisaszxu1961 Caruso Was no doubt the better musician then Corelli, also, interesting that Tucker in the mid 1960's, he made a complete Bel Canto record Columbia #MS 6667, #Mono ML 6067( "The Art Of bel Canto" ) John Wustman Piano and Harpsichord, with many of these songs, like those of Scarlatti, Gluck, Caldara, Durante, Rossini, and Giordani and not some of his later often heavy accents , that he was taken to task for at times, I doubt even with his great Voice Corelli could be called a great Bel Canto Singer.
@@lisaszxu1961 Exactly, just not for him, Lanza sang it also live in concert (Pieta Signore) in much the same way as Corelli, of Course Bjoerling did it much better then they did, in concert, as he was more correct that way.
@@lisaszxu1961 Tucker sang "Pieta Signore" sounding transposed down compared to some others, but he was in his 50's by the time he made those old "Bel Canto" songs "Hi Fi Stereo Review" gave Tucker a very good review for the songs at that time in the 1960's.
Very painful video where my beloved Corelli is not so good. He is not the only responsible. The conductor seems to know nothing about the style of this aria antica. In comparison with Caruso, Corelli is missing interiority. He is singing as if God was in front of him, perhaps completely deaf. Caruso is praying to an interior god which is very impressive even with the poor recording technology of that time. And his conductor makes the tempo moving so that it is not boring at all. I’m sorry for all my brothers Corelli fans...
Your comments are at God's level. I was practicing or I heard him occasionally, so I got him together. In fact, I share your pain, Corelli is great, I do not want to reveal his shortcomings. My main thought was, what would people say about this video? I'm detecting what humans like to hear. You can tell the rhythm of the conductor, the speed, the accompaniment of the singer, there is a problem, I have to admire your hearing. My attention... wasn't there, but I studied symphonies as much as I did. I pay more attention to the singer's singing, the use of breath, the handling of high notes and so on.
@@shicoff1398 My original plan was. Every day Caruso and Gigli sing the same one, and I learn at the same time, and my imitation can't be limited to a certain style, and the two, the vocal parts are different. But they all have characteristics. It's a song that's almost never been sung by anyone other than Pieta Signore Caruso, except Corelli, so it's used. For me, one is good, the other is not good, so it is obvious to feel, not good, why not good? There's something wrong with the singing.
Que manera Caruso dominio total altos y bajos. Di esta grabación fuera de 2024, sencillamente un diamante.
No one can top him. He's the God of tenors.
In here beloved Corelli found another teacher😢😅
Corelli never learned Caruso, much to his regret. He was cautious and basically did not accept Melocchi, though he learned it a few times. Corelli prevoices, to express prayers for God, need heartfelt feelings, he does not have, he is just a breath above the vocal cords, while Caruso is a breath from the deep abdomen, more infectious, moving people. I don't want to criticize Corelli because he's adapting to the song he's singing and doing well, here, no!
Express inner feelings, can not only mouth, nose mask, it appears false, false feelings, not real feelings.
So the space between the singer's lower abdomen and the front of the vocal cords is very important. How much of your breath can you hide in there? The larger the space, the more breath, the more room there is to express timbre (overtone). Caruso will always be something to learn. Pav says so.
But no one has learned, and from now on, I will sing it to you in the style of Caruso.
Thank you for your comments.
Caruso is amazing !
Y---es！！
Great Caruso sings " Pieta Signore" of Alessandro Stradella like a prayer with a lot of depth of sound, lengthening the notes, softening the high notes as an intimate conversation with the Lord. Correli's song deserves only one comment: there is no need to shout so much: Our Father is not deaf!
The Great Cantors at the Time of Caruso and since admired his Cantorial style in their Religious music, also the sheer beauty of tone, mezza voce, and his incredible skill in performing a Religious piece with an Empathy of Depth of Feeling that is required in this, he sang many Religious Requiems throughout his career right up to the end of his life, it would be interesting to read some of the Critics views of these, I have seen one from London by Herman Klein of a performance of Rossini's Stabat Mater at the Albert Hall , where he noted that the High C Sharp in the Cujus Animam was ringing in the very large Great Hall from top to bottom with a power not even the Greatest Baritone's even Ruffo could match , for the ringing quality of his tone was heard even at the Back of the Great Hall , behind the Orchestra and Chorus not even Clara Butt could do that, he said.
The Great Jewish Cantor Gershon Sirota, often watched Caruso and was amazed how florid his voice was in opera or song, if ever a Tenor allbeing a Tenor who was not a Opera Singer could talk about Caruso and Vice Versa it was these Two Wonderful Human Beings, both had tragic ends to their lives, with Caruso we would never get to hear the Opera's he had learned including Tristan and Otello, with Sirota we have a wonderful list of Recordings from the Turn of the Century, some live in Synagogues right up to 1938 , he and his Family were Murdered by the Nazi's in Warsaw in 1943.
I would ask you Sir or Madam to play some of ANOTHER real Tenor Gershon Sirota. You will hear a voice like Caruso from God.
I really appreciate your recommendation of Gershon Yitzchok Sirota. His natural and genuine singing style surpasses even Caruso. Both share many similarities in their vocal techniques. As a cantor and a devout Jew, every note Sirota sings is imbued with true emotion. His use of sobs and cries in his singing surpasses even the technical skills of Beniamino Gigli! Gershon Yitzchok Sirota was only one year younger than Caruso, born in 1874. It's hard to say he learned from Caruso, but his singing embodies the Italian Bel Canto style. While there is no evidence showing he studied Bel Canto, his singing style coincidentally aligns with it, and he even surpasses many who did train in this method.
He is one of the most renowned cantors of the early 20th century, often referred to as the "Caruso of the Synagogue." His vocal technique and emotional expression made him famous in the world of religious music, particularly during the High Holy Days. His rendition of "Ovinu Malkeinu," a traditional Jewish prayer especially significant during Yom Kippur and Rosh Hashanah, stands out. This prayer, meaning "Our Father, Our King," expresses supplication and reverence to God. Sirota's singing is characterized by his powerful vocal range, pure tone, and profound emotional impact. His music is not just a religious ritual but a soulful experience, conveying deep spirituality and devotion, resonating strongly with listeners.
When performing "Ovinu Malkeinu," he seamlessly combines technical prowess with emotional depth, infusing every note with the prayer's meaning and spirit. Sirota's recordings are still considered benchmarks in Jewish religious music, continuing to influence and inspire musicians today. His music was highly acclaimed in his time and his legacy endures. His works set a high standard for many cantors, and his recordings remain valuable resources for learning and appreciating Jewish religious music.
Thank you for reminding me of him; I almost forgot about him, despite my general disinterest in religion. Yesterday, I even played some religious music, including Joseph Schmidt's "Sch'ma Israel Adonai hu ho elohim," practicing those high notes.
I appreciate your high-level recommendations, unlike those of current tenors. Comparing Gershon Yitzchok Sirota to the tenor you mentioned yesterday, their vocal placement is completely different. Sirota sings with an Italian Bel Canto style, while the other singer, whose name I don't even want to remember, projects more than 80% of his sound above the vocal cords, more suited to pop music.
As for Sirota's songs, I won't list them here; everyone can search and listen for themselves. Rather than comparing him directly with Caruso, as they excel in different domains, I believe they are both equally outstanding in their respective fields.
Thank you again.
Imitating Gershon Yitzchok Sirota, anyone can become an Italian bel canto better than any tenor today. His position of sound, the treatment of notes, the use of breath, are very worth learning. I think I'm gonna collect his songs and sing like him.
Thank you for reminding me!
@@lisaszxu1961 My Grandfather saw and heard Sirota in the Albert Hall in London a Few Times, he said his voice was very large and very resonant, he said the compareability with Caruso is plain to see, they were both simply unique in their Fach, Caruso had many Jewish friends and Martinelli said that He and Caruso visited the Synagogue in New York to listen to these Masters of the art of Singing, Sirota was amongst those Cantors, Sirota and Caruso did meet each other, so each would have learned a different art of the Voice, Caruso was always watching and listening to ALL types of voice, from Vaudeville to Opera, so the Synagogue would be a more Spiritual venture, which put Caruso and Martinelli in to the Sense of the way that Jews moved when they sang or talked with gestures, this both Tenors used in the Role of Eleazar in La Juive to immense Critical acclaim.
I always have a Tear for Sirota, I find his voice incredibly moving and hear my Grandfather talk about him was a pleasure, there have been many many Great Jewish Opera singers and Cantors , but there was only one Gershon Sirota, I do believe that in which Heaven, they are, both he and Caruso they sit beside God.
@@Garwfechan-ry5lk
I am very happy to see your narration, Sirota loud, is able to open the vocal cords very well, expand the space in the body, deep breath, very sufficient breath, do these three things, basically can produce this sound.
Martinelli was good, too, but not as good as Sirota and Caruso, his voice was more forward, his belly was not so deep, he did not press down hard, the breath. In other words, Sirota and Caruso have more belly space. Martinelli and Caruso may also have learned a lot from Sirota's singing.
Sirota's vowels, treble, tremolo fulcrum, strength, breath distribution, application, vocal position, are almost exactly the same, they have not studied together, but the final destination, the two are the same, singing a natural, beautiful, moving song. At this point.
Thanks for your comments.
Both if them are good examples of technical Mastery of the voice. Staying in the mask for the entirety of the song. Caruso is much more flexible here with the voice than Corelli. For people who will say ohh but this is not an Operatic Aria, answer is this: this is a very beginning learning how to sing song for young singers. However to be performed to perfection and sung correctly you need another 20 years of study and performance experience in opera and then if you're lucky you may learn to sing it correctly. If a Tenor can Sing this Correctly as a test to ability, they may graduate to next sing Verdi's Requiem (Ingermisco). This is how difficult this song is to master and sing well. Usually it's a starter low-level choice learning option for young singers of opera technical training. Never Judge A Book By it's Cover.....-:)! Try Again....-:)! One Day.....!
Best to All....
This comment of yours is also amazing. The French baritone over there, including you, the American baritone, are experts, very good!
@@lisaszxu1961 Caruso Was no doubt the better musician then Corelli, also, interesting that Tucker in the mid 1960's, he made a complete Bel Canto record Columbia #MS 6667, #Mono ML 6067( "The Art Of bel Canto" ) John Wustman Piano and Harpsichord, with many of these songs, like those of Scarlatti, Gluck, Caldara, Durante, Rossini, and Giordani and not some of his later often heavy accents , that he was taken to task for at times, I doubt even with his great Voice Corelli could be called a great Bel Canto Singer.
@@shicoff1398 You're right. Corelli isn't an Italian bel canto. He's just a breath of yelling.
@@lisaszxu1961 Exactly, just not for him, Lanza sang it also live in concert (Pieta Signore) in much the same way as Corelli, of Course Bjoerling did it much better then they did, in concert, as he was more correct that way.
@@lisaszxu1961 Tucker sang "Pieta Signore" sounding transposed down compared to some others, but he was in his 50's by the time he made those old "Bel Canto" songs "Hi Fi Stereo Review" gave Tucker a very good review for the songs at that time in the 1960's.
Very painful video where my beloved Corelli is not so good. He is not the only responsible. The conductor seems to know nothing about the style of this aria antica. In comparison with Caruso, Corelli is missing interiority. He is singing as if God was in front of him, perhaps completely deaf. Caruso is praying to an interior god which is very impressive even with the poor recording technology of that time. And his conductor makes the tempo moving so that it is not boring at all. I’m sorry for all my brothers Corelli fans...
Your comments are at God's level.
I was practicing or I heard him occasionally, so I got him together. In fact, I share your pain, Corelli is great, I do not want to reveal his shortcomings. My main thought was, what would people say about this video?
I'm detecting what humans like to hear.
You can tell the rhythm of the conductor, the speed, the accompaniment of the singer, there is a problem, I have to admire your hearing.
My attention... wasn't there, but I studied symphonies as much as I did.
I pay more attention to the singer's singing, the use of breath, the handling of high notes and so on.
@@lisaszxu1961😊
Well each singer has his strengths and what he is best at, this wasn't best for Corelli , he had other music to call his own. with no rivals.
@@shicoff1398
My original plan was. Every day Caruso and Gigli sing the same one, and I learn at the same time, and my imitation can't be limited to a certain style, and the two, the vocal parts are different. But they all have characteristics. It's a song that's almost never been sung by anyone other than Pieta Signore Caruso, except Corelli, so it's used.
For me, one is good, the other is not good, so it is obvious to feel, not good, why not good? There's something wrong with the singing.
@@lisaszxu1961Yes!, Correct.