This is the voice of my cousin recently discovered by our family genealogist/historian my cousin Jack! I grew up in NYC and knew he was a tenor with an opera connection. Little did I know. I've been a musician 64 of my 72 years with many musicians in our family, but had no clue Barry was a family member. Such a beautiful, rich tone in that voice! Absolutely awestruck!
Fantastico... Eccezzionale!!!!!!!! Ma da dove arriva questa splendida voce?? Perché solo ora veniamo a conoscenza di questo magnifico TENORE con tutti gli attributi?. Mai avuto alcun cenno su questo artista che in quegli anni era oscurato dal circolo mediatico dei tre pompati a dismisura, questo li sovrastava tutti e tre massi assieme. Solo PAVAROTTI poteva reggere il confranto. Qesta voce è bella piena con armonici con sfumature brunite da lirico spinto, bel fraseggio, bella pronuncia, omogeneo su tutta la gamma, ottimo lo squillo sul si naturale ben lanciato e tenuto con facilità. Bella sorpresa per un piacevole ascolto. Beautiful
C’est magnifique ! Beau timbre, belle projection, belle articulation, belle technique, conduite du souffle, ligne de chant ... quel bel artiste ce fut ! 👏👏👏
Richard Tucker, when asked about underrated tenors, promptly mentioned Bernabe Marti (tenor-spouse of Montserrat Caballe), and secondly Barry Morell for the reasons we hear in this recording.
Fine studio recording. I saw Barry sing Pinkerton complete with Dorothy Kirsten in Calif, he was excellent, so well sung here, it was not a big voice, but totally adequate in his roles. .
@@shicoff1398: You know first-hand because you heard Barry M. in the house. I quoted from a typical review (in this case, on tour in “Gioconda”) in which his voice was commended but that his singing generated no enthusiasm. I looked at another review by Dallas critic John Ardoin, whom I knew through the late Bill Park, and he wrote favorably of Morell’s Lensky in the English-language production of “Eugene Onegin.” Ardoin wrote that “the best singing came from Morell in Act 2, Scene 2 (Lensky’s famous aria).” He and Giorgio Tozzi were singled out for praise by Ardoin, who only mentioned the others in the cast: Leontyne Price, William Walker, Joann Grillo, Lili Chookasian, and Thomas Schippers, who conducted “sometimes with sweep, sometimes with seeming indifference.”
@@jimdrake-writer Well I'd say it was adequate as a Lyric tenor in volume but seeing him only once and in a lyric role is one thing, as a spinto it was rather small, the recordings in studio seem to give that larger impression, it wasn't Corelli, Tucker, Giacomini, in size, but he did cover for a lot of singers back then. I liked his singing but he had a lot of tough super fine other singers back then in the 1950's/1960's to compete with. .
Barry Morrel was a good tenor with a very good technique, who was unfortunate enough to be active during the time to great Italian tenors. Under-appreciated, but not forgotten.
@SuperMagren: Morell’s opulent voice and fine technique aside, and not comparing the timbres of the singers you mention, Morell was not the equal of Domingo as a musician and linguist, nor did he have the looks and acting ability of Carreras in his prime.
@@jimdrake-writerif I take your comparisons as they stand, they are limited in scope and have nothing to do with vocalism. He is better than Domingo and Carreras.
@@rdargenio: We may agree if we review our respective comments. You wrote that Morell was “greater” and “better” than Domingo and Carreras, which is a broad assessment that goes beyond voice. I replied that aside from Morell’s voice and fine technique, he was not Domingo’s equal as a musician and a linguist (Morell sang the major Italian roles, one French role, and no German ones), nor did he have the looks and acting ability of the young Carreras. Reviews by major critics were uneven, almost always commending his voice to the detriment of the other elements of a primo tenore. “Morell is a standard stand-in tenor, capable now, of nothing more than adequate ardor,” wrote the Boston critic Kevin Kelly about Morell’s Enzo, one of the roles he shared with Tucker and Corelli. “You are aware of his work, hardly ever of his art. ‘Cielo e mar,’ the atmospheric aria for all tenors, was well done. So was the duet with Barnaba. What was lacking was genuine vocal excitement.” Tucker thought more of Morell than most critics did-and I quoted Tucker because I’m his biographer and know what he thought of other tenors.
@@jimdrake-writer You make a Good point and dead on accurate comments, some of these folks miss one very very important point here, they are obviously going by this (which I have ) RCA Studio recording here , which I also have and besides that and far more important for voice size is, that seeing him in house is one thing, on a studio record another. I saw him sing and that was long ago, over 50 years ago and his voice (as did some other lyric tenors did record very well and larger then it really was,) with Morell the sound seemed more spinto in studio recordings, anyhow he sang very well but was second tier at that time, today he'd be up there, with "maybe" the best. I heard the 1967 Gioconda live on you tube, a Met. Brdcst. he did sub for Corelli, and you can hear the difference even in it compared to this, though he sounds very good here and in the Brdcst. but was more the size of Jussi's voice when I saw him , JB was of course the greater voice and singer, i saw both, but both basically of Lyric stuff, by comparison to Spinto Corelli or Tucker, I saw them both more then just once. real Spinto's . I do not go just by studio recordings (as this is) when it comes to size and squillo in the house.
Barry Morell was superb and would be a super star todat
This is the voice of my cousin recently discovered by our family genealogist/historian my cousin Jack! I grew up in NYC and knew he was a tenor with an opera connection. Little did I know. I've been a musician 64 of my 72 years with many musicians in our family, but had no clue Barry was a family member. Such a beautiful, rich tone in that voice! Absolutely awestruck!
Fantastico... Eccezzionale!!!!!!!! Ma da dove arriva questa splendida voce?? Perché solo ora veniamo a conoscenza di questo magnifico TENORE con tutti gli attributi?. Mai avuto alcun cenno su questo artista che in quegli anni era oscurato dal circolo mediatico dei tre pompati a dismisura, questo li sovrastava tutti e tre massi assieme. Solo PAVAROTTI poteva reggere il confranto. Qesta voce è bella piena con armonici con sfumature brunite da lirico spinto, bel fraseggio, bella pronuncia, omogeneo su tutta la gamma, ottimo lo squillo sul si naturale ben lanciato e tenuto con facilità. Bella sorpresa per un piacevole ascolto. Beautiful
He was one of two students of Giuseppe Danise who became famous
C’est magnifique ! Beau timbre, belle projection, belle articulation, belle technique, conduite du souffle, ligne de chant ... quel bel artiste ce fut ! 👏👏👏
It was a revelation for me to hear this wonderful tenor. Thank you, Warren!
FANTASTIC, what a magnificent voice ... he is up there with the best of them, thank you
FANTASTISCH
Je découvre avec émerveillement ce fabuleux ténor.
Pourquoi n'est-il pas plus célèbre ❓
Marre des 3 ténors marketing
Thanks for sharing !
🎭👏👏
Great voice!
Τhank you! Interesting biography and really the singer that could stay unfamiliarized to me.
Richard Tucker, when asked about underrated tenors, promptly mentioned Bernabe Marti (tenor-spouse of Montserrat Caballe), and secondly Barry Morell for the reasons we hear in this recording.
Fine studio recording. I saw Barry sing Pinkerton complete with Dorothy Kirsten in Calif, he was excellent, so well sung here, it was not a big voice, but totally adequate in his roles. .
@@shicoff1398: You know first-hand because you heard Barry M. in the house. I quoted from a typical review (in this case, on tour in “Gioconda”) in which his voice was commended but that his singing generated no enthusiasm. I looked at another review by Dallas critic John Ardoin, whom I knew through the late Bill Park, and he wrote favorably of Morell’s Lensky in the English-language production of “Eugene Onegin.” Ardoin wrote that “the best singing came from Morell in Act 2, Scene 2 (Lensky’s famous aria).” He and Giorgio Tozzi were singled out for praise by Ardoin, who only mentioned the others in the cast: Leontyne Price, William Walker, Joann Grillo, Lili Chookasian, and Thomas Schippers, who conducted “sometimes with sweep, sometimes with seeming indifference.”
@@jimdrake-writer Well I'd say it was adequate as a Lyric tenor in volume but seeing him only once and in a lyric role is one thing, as a spinto it was rather small, the recordings in studio seem to give that larger impression, it wasn't Corelli, Tucker, Giacomini, in size, but he did cover for a lot of singers back then. I liked his singing but he had a lot of tough super fine other singers back then in the 1950's/1960's to compete with. .
Interesting that his A and B sound surprisingly like Jussi's.
Absolutely. I found out about this tenor just a few days ago and also noticed his high notes sometimes sound like Jussi's.
Indeed. You're right 😊
Barry Morrel was a good tenor with a very good technique, who was unfortunate enough to be active during the time to great Italian tenors. Under-appreciated, but not forgotten.
❤️
Wow he is as great as three tenors!!
@SuperMagren: Morell’s opulent voice and fine technique aside, and not comparing the timbres of the singers you mention, Morell was not the equal of Domingo as a musician and linguist, nor did he have the looks and acting ability of Carreras in his prime.
@@jimdrake-writerif I take your comparisons as they stand, they are limited in scope and have nothing to do with vocalism. He is better than Domingo and Carreras.
@@rdargenio: We may agree if we review our respective comments. You wrote that Morell was “greater” and “better” than Domingo and Carreras, which is a broad assessment that goes beyond voice. I replied that aside from Morell’s voice and fine technique, he was not Domingo’s equal as a musician and a linguist (Morell sang the major Italian roles, one French role, and no German ones), nor did he have the looks and acting ability of the young Carreras. Reviews by major critics were uneven, almost always commending his voice to the detriment of the other elements of a primo tenore. “Morell is a standard stand-in tenor, capable now, of nothing more than adequate ardor,” wrote the Boston critic Kevin Kelly about Morell’s Enzo, one of the roles he shared with Tucker and Corelli. “You are aware of his work, hardly ever of his art. ‘Cielo e mar,’ the atmospheric aria for all tenors, was well done. So was the duet with Barnaba. What was lacking was genuine vocal excitement.” Tucker thought more of Morell than most critics did-and I quoted Tucker because I’m his biographer and know what he thought of other tenors.
@@jimdrake-writer You make a Good point and dead on accurate comments, some of these folks miss one very very important point here, they are obviously going by this (which I have ) RCA Studio recording here , which I also have and besides that and far more important for voice size is, that seeing him in house is one thing, on a studio record another. I saw him sing and that was long ago, over 50 years ago and his voice (as did some other lyric tenors did record very well and larger then it really was,) with Morell the sound seemed more spinto in studio recordings, anyhow he sang very well but was second tier at that time, today he'd be up there, with "maybe" the best. I heard the 1967 Gioconda live on you tube, a Met. Brdcst. he did sub for Corelli, and you can hear the difference even in it compared to this, though he sounds very good here and in the Brdcst. but was more the size of Jussi's voice when I saw him , JB was of course the greater voice and singer, i saw both, but both basically of Lyric stuff, by comparison to Spinto Corelli or Tucker, I saw them both more then just once. real Spinto's . I do not go just by studio recordings (as this is) when it comes to size and squillo in the house.
@@jimdrake-writer When I saw Morell as Pinkerton with Kirsten it was in the late 1960's or early 1970's. BTW she was really very fine .
😃🤠👍
Che scandalo aver dato considerazione a Domingo e Carreras quando questo artista meraviglioso li asfaltava di brutto tutti e due insieme.
Mettiamoci dentro anche quell'altro che faceva parte della cricca.
@@e.g.8454 si infatti....però tra i tre era il meno peggio...
@@francocapone9094 Il meno peggio, ma assai distante dai vari Del Monaco Corelli Gigli Pertile Merli e compagnia bella.
@@e.g.8454 si si concordo...