All Barbieri does is sing in chest voice. 😂 But it’s not the “potato lodged in the throat” sound of modern singers; it’s open and free. I wonder if it’s just a matter of not translating the terms properly?
It is absolutely a loss in translation if words. I got what she was trying to say but it’s not what most teachers mean when they say to use chest voice.
I have just been joyfully listening to Baritone Mattia Batistinni singing with such grace Caro Mio Ben by Giodani and with both grace and intense drama from the Pagliacci: "Prologue" . He was a singer greatly respected by his contemporary singers of the time.
@@bradycall1889 i meant the low notes almost sound like a contralto but not true tenor to me. But as for her operatic voice, it may be more mezzo, I haven’t heard it tbh 😮
I love the way fedora played with her chest voice and middle voice in a song so amazing and beautiful I love when an artist uses the two it makes the sound so rich 🤑
I think the sound should be placed gently on the diaphragm, like a springboard, with the throat kept open, and the sound naturally reaching a high position, moving forward, and everything will be natural.
And likewise another singer, Polish Soprano Marcella Sembrich studied with Lamperti Jn and a little with Lamperti Sn worked to improve her understanding and ability to utter/ speak 'on the breath' Comin through the rye or the lass with the delicate air and in comparison ~ Qui La Voce & Vien Diletto ~ ( I Puritani ) yes, good vocal material BUT the Old singers understood and thus were taught how the breath and hold a compressed breath... and speak on that compressed breath. These Historic singers have so much to teach us... even the ones considered not so good in their day......
Every singer has his own opinion about certain techniques. Opinions on the use of the chest voice vary widely, with some supporting the approach and others rejecting it. It is often useful for dramatic expression, but sometimes - as with Netrebko - it is more a sign that the voice lacks substance in the depths. The arrogance of the Italian divas here should not be a yardstick for any evaluation, they would probably like to go for each other's throats in their boundless vanity.
All the modern singers have more or less wrong chestvoice in this video, just so nobody thinks they sing correctly just because the display something ”chesty”.
Oh dear God where has the old Italian Tradition gone.... this certainly isn't ANYTHING like it. You better not get too close or you may get swallowed up... !
Credo che voce di " petto" sia travisata in senso stretto del termine, in realta' sn le note basse ma assolutamente sostenute sul fiato e non sulle corde altrimenti si va in gola! Hanno ragione! se si sentono bene come pronunciano i suoni sono sostenuti! La voce di petto e' un modo come dire i tuoi bassi ,voce di testa per le note acute! Ma tt e' sostenuto sul fiato sopra le tue corde vocali e da li' parte tt la tua voce , la tua pienezza, che oggi viene alterata dalla becera scuola moderna che utilizza la fantomatica maschera che nasalizza i suoni e porta a costringere la laringe. IL Risultato voci piccole sia in acuto e sia nei bassi che risulteranno ingolati! La risonanza praticamente e' povera e non si sentira' nulla!!!.Queste grandi cantanti sanno che e' tutto sul fiato , bassi e alti sono sostenuti su di esso. Non parlano neanche della fantomatica maschera invenzione stupida tramandata che col belcanto non c entrano nulla! Occhio quando si parla di voce di petto e di testa , bisogna interpretarli!
No, basically it’s all about breath and leaning, but vocal palacement must be at chest, sing in chest, the voice will find mask place, don’t send the voice into mask place
The bel canto singers from a long time ago did not sing with their chest voice. For example, Deanna Durbin, who was the first American opera singer who sometimes sang popular music, did not use her chest voice. You even see that with Beverly Sills. She only used her chest voice to exclaim something on stage; but, she always sang with her head voice and never with her chest voice. I think we should make a petition for vocal teachers to only teach this way of singing.
Its not really about using it or not, you still need to develop it in order for your voice to develop as a whole. Beverly Sills is a bad example to use as she is not an old school singer lol and not the best example to use for anything coloratura related. There will be a moment in the score where you absolutely need to use chest voice, and what we hear a lot from the REALLY old school singers is very well developed head voice that sounds like chest voice, but even then in order for that to happen you need strong chest voice. Those old school singers did use chest voice, but it all depends on the singer. You cannot avoid chest voice. Coloratura, or any singing but especially bel canto(or whatever that means today) depends on it
This is a RIDICULOUS statement, "Edu." She [Durbin] was no more than 28 when she RETIRED from film/stage! Her first movie was when she was 15- and the Studio didn't give her 'low' keys, to keep the 'virginal' sound in her performances- it was a MARKETING decision. But in two instances in her films, (His Brother's Sister) when she sang the Russian Song, you can hear the sexuality of chest in the voice, even though she does not 'really' go there. But the 'mix' is clear- I use it as an example for my students, to alleviate their fears of this "masculine" sound in their heads, when they first start 'blending' registers. Same thing occurs with "Night and Day" (the phrase, "I think of you") in Murder on a Train- the song is positively steamy, and while it isn't obvious, there IS mix in the tone. Moreover, Durbin studied with Andrès de Seguerola, a BASSO who sang with Caruso, and had been trained in the Bel Canto tradition- if a bass does not sing with Chest voice, HE'S NOT A BASS! Lastly, I sang on stage with Sills multiple times, and have almost her entire commercial oeuvre in my collection; you should hear her do chest in the "3 Queens" recordings (e.g., 'figlia impura di Bolena!') - moreover, BOTH women were high coloratura sopranos- the LEAST obvious of chest voice-utilising singers. And lastly, this period (Durbin to Sills) was during the era of the 'film' voice-McDonald, Durbin, Korjus, Powell, Blyth, Andrews, etc. This was a studied attempt to make the gutsy nature of Opera/Bel Canto singing 'passable/palatable' to the uneducated masses, who don't understand passaggio, squillo, cricothyroid/arytenoid action, laryngeal tilt, etc. At least the Opera Clacques at the Met, UNDERSTOOD vocal production! One does not always need to 'hear' chest, to ascertain that the voice is balanced.
Barbieri against use of chest voice is one of the most hilarious moment in history of opera
Hearing her explanation on it does "make sense", I guess its one of those lost in translation things lol
The world of opera is very demanding...Big productions in huge halls, heavy orchestras etc. Never easy for singers to deal with😱
Modern singers really need to develop the chest tones and bring the voice forward with the proper vowels.
The proper use of 'chest voice/resonance/whatever you call it' is a necessity for ANY singer!
@Berk yes in opera 🤣
The lack of squillo in the female singer's examples is quite obvious.
Barbieri opens her mouth and the sound quality hits you in the face!
It’s obvious there’s a difference of meaning of chest voice across the languages…
...and times, and places, and people, and their motivations...
All Barbieri does is sing in chest voice. 😂 But it’s not the “potato lodged in the throat” sound of modern singers; it’s open and free. I wonder if it’s just a matter of not translating the terms properly?
It is absolutely a loss in translation if words. I got what she was trying to say but it’s not what most teachers mean when they say to use chest voice.
The interviewer voice I-
He should use more chest voice.
It would have been more interesting to hear Barbieri on how (not) to sing high notes.
Angela Gheorghiu messed it up very bad in this one!🤣😂
I have just been joyfully listening to Baritone Mattia Batistinni singing with such grace Caro Mio Ben by Giodani and with both grace and intense drama from the Pagliacci: "Prologue" . He was a singer greatly respected by his contemporary singers of the time.
I have too---listened to the Marston complete recordings!
Her low notes sound like a tenor’s lol. She has very good chest development.
Does "Good Chest Development" = Big Breasts?
@@mickey1849no 😂
Contralto
@@joshuamclean4588 Not quite: A dramatic mezzo-soprano. When she sings she doesn't sound like a contralto to me.
@@bradycall1889 i meant the low notes almost sound like a contralto but not true tenor to me. But as for her operatic voice, it may be more mezzo, I haven’t heard it tbh 😮
Barbieri’s chest voice is beautiful! Clearly this is a semantic issue.
I love the way fedora played with her chest voice and middle voice in a song so amazing and beautiful I love when an artist uses the two it makes the sound so rich 🤑
I think the sound should be placed gently on the diaphragm, like a springboard, with the throat kept open, and the sound naturally reaching a high position, moving forward, and everything will be natural.
Modern singers don't place their diaphragm at all. The throat is already at the bottom of the sound, and they can only compress it when playing bass.
oh my gosh,opera is over!
this video is so shady i love it omg
And likewise another singer, Polish Soprano Marcella Sembrich studied with Lamperti Jn and a little with Lamperti Sn worked to improve her understanding and ability to utter/ speak 'on the breath' Comin through the rye or the lass with the delicate air and in comparison ~ Qui La Voce & Vien Diletto ~ ( I Puritani ) yes, good vocal material BUT the Old singers understood and thus were taught how the breath and hold a compressed breath... and speak on that compressed breath. These Historic singers have so much to teach us... even the ones considered not so good in their day......
Sembrich was a magnificent singer - it's a bit of a shame she wasn't recorded 10 years earlier, but what we have is still precious.
Every singer has his own opinion about certain techniques. Opinions on the use of the chest voice vary widely, with some supporting the approach and others rejecting it. It is often useful for dramatic expression, but sometimes - as with Netrebko - it is more a sign that the voice lacks substance in the depths. The arrogance of the Italian divas here should not be a yardstick for any evaluation, they would probably like to go for each other's throats in their boundless vanity.
All the modern singers have more or less wrong chestvoice in this video, just so nobody thinks they sing correctly just because the display something ”chesty”.
Exactly
Oh dear God where has the old Italian Tradition gone.... this certainly isn't ANYTHING like it. You better not get too close or you may get swallowed up... !
Singing chest-voice is hard especially when I'm trying to sing above *D5*
What on earth then are you going to call late Tebald’s ‘dentro l’avel’ in ‘Suicidio’.
I call it ‘singing with vocal chords of steel.’
Emo Phillips said it best “Ambiguity - the devil’s volleyball.”
Credo che voce di " petto" sia travisata in senso stretto del termine, in realta' sn le note basse ma assolutamente sostenute sul fiato e non sulle corde altrimenti si va in gola! Hanno ragione! se si sentono bene come pronunciano i suoni sono sostenuti! La voce di petto e' un modo come dire i tuoi bassi ,voce di testa per le note acute! Ma tt e' sostenuto sul fiato sopra le tue corde vocali e da li' parte tt la tua voce , la tua pienezza, che oggi viene alterata dalla becera scuola moderna che utilizza la fantomatica maschera che nasalizza i suoni e porta a costringere la laringe. IL Risultato voci piccole sia in acuto e sia nei bassi che risulteranno ingolati! La risonanza praticamente e' povera e non si sentira' nulla!!!.Queste grandi cantanti sanno che e' tutto sul fiato , bassi e alti sono sostenuti su di esso. Non parlano neanche della fantomatica maschera invenzione stupida tramandata che col belcanto non c entrano nulla! Occhio quando si parla di voce di petto e di testa , bisogna interpretarli!
The point is... is there a one and only way to sing🤔
No, basically it’s all about breath and leaning, but vocal palacement must be at chest, sing in chest, the voice will find mask place, don’t send the voice into mask place
Perfeito!
Thank You for new video!
CORRECT!!👊
Barbieri is talking about the use of chest voice in women not in men. The voices are completely different.
Sopraan/ & tenor
Grandísima la Barbieri.
How could ANYONE ever take Stephan Zucker seriously, with that fruity, phony, falsetto speaking voice?
fruity? lol
He's not supposed to be taken seriously.
@@bharp4390 Trolls sometimes create random terms on the spot.
@@joemcbob9688 'Fruity' is NOT a random term...
@@bharp4390 Maybe it isn't but in this context, this troll is trying to make it seem like it's bad.
The bel canto singers from a long time ago did not sing with their chest voice. For example, Deanna Durbin, who was the first American opera singer who sometimes sang popular music, did not use her chest voice. You even see that with Beverly Sills. She only used her chest voice to exclaim something on stage; but, she always sang with her head voice and never with her chest voice. I think we should make a petition for vocal teachers to only teach this way of singing.
Its not really about using it or not, you still need to develop it in order for your voice to develop as a whole. Beverly Sills is a bad example to use as she is not an old school singer lol and not the best example to use for anything coloratura related. There will be a moment in the score where you absolutely need to use chest voice, and what we hear a lot from the REALLY old school singers is very well developed head voice that sounds like chest voice, but even then in order for that to happen you need strong chest voice. Those old school singers did use chest voice, but it all depends on the singer. You cannot avoid chest voice. Coloratura, or any singing but especially bel canto(or whatever that means today) depends on it
This is a RIDICULOUS statement, "Edu." She [Durbin] was no more than 28 when she RETIRED from film/stage! Her first movie was when she was 15- and the Studio didn't give her 'low' keys, to keep the 'virginal' sound in her performances- it was a MARKETING decision. But in two instances in her films, (His Brother's Sister) when she sang the Russian Song, you can hear the sexuality of chest in the voice, even though she does not 'really' go there. But the 'mix' is clear- I use it as an example for my students, to alleviate their fears of this "masculine" sound in their heads, when they first start 'blending' registers. Same thing occurs with "Night and Day" (the phrase, "I think of you") in Murder on a Train- the song is positively steamy, and while it isn't obvious, there IS mix in the tone. Moreover, Durbin studied with Andrès de Seguerola, a BASSO who sang with Caruso, and had been trained in the Bel Canto tradition- if a bass does not sing with Chest voice, HE'S NOT A BASS!
Lastly, I sang on stage with Sills multiple times, and have almost her entire commercial oeuvre in my collection; you should hear her do chest in the "3 Queens" recordings (e.g., 'figlia impura di Bolena!') - moreover, BOTH women were high coloratura sopranos- the LEAST obvious of chest voice-utilising singers. And lastly, this period (Durbin to Sills) was during the era of the 'film' voice-McDonald, Durbin, Korjus, Powell, Blyth, Andrews, etc. This was a studied attempt to make the gutsy nature of Opera/Bel Canto singing 'passable/palatable' to the uneducated masses, who don't understand passaggio, squillo, cricothyroid/arytenoid action, laryngeal tilt, etc. At least the Opera Clacques at the Met, UNDERSTOOD vocal production! One does not always need to 'hear' chest, to ascertain that the voice is balanced.
@@moirbasso7051 😐
@@caseyfranco3959 Bravississimo!!!!!
The greatest female singers such as Terrazzini, Ponselle, Kirby Lunn or Destinn all extensively used real chest voice. It is the only way of singing.