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Sherrill Milnes sings Ezio's aria and cabaletta from Verdi's Attila (1968, with high B flat)
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- เผยแพร่เมื่อ 10 ม.ค. 2022
- Dagl'immortali vertici - E gettata la mia sorte
Anton Guadagno, New Philharmonia Orchestra
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He is in my top 10. The ones I've had the pleasure listening to
Thrilling performance!
For me Maestro Milnes is the King of the Baritones!!!
Sherril Milnes un gigante della Lirica!!!Grazie Barone ❤👍
The best Ezio ever.
Absolutely amazing, I love him, with all his little tricks and mannirisms. One of the greatest. And most importantly, listening to him is very exciting, always! :):thanks for posting!
1:08: High G
7:12 High B Flat
A phenomenal rendition of Ezio's beautiful aria, to whom historians has given the epithet "the last Roman"
Was t Rienzi the last pro-council ? 😉
Hi! Thank you for this record, I would like to listen to more baritones with such top and high notes.
Notice how Milnes is on the lighter end of the baritone voice and still sounds deeper and more masculine than ANY baritone (*ahem* tenor...) singing today. imo, most singers today are singing 1-2 voice types deeper than they should be. lyric tenors think they can sing spinto/dramatic tenor, spinto/dramatic tenors are told to stop "over-singing" and pushed down into baritone, the real baritones are told they are bass-baritones or basses because they think "baritone = medium voice" (when they are actually fairly deep voices).
Milnes wasn’t a light baritone either. He was one of the few baritones that could be heard over the chorus in Scarpia’s Te Deum.
@@BaroneVitellioScarpia1 but his timbre is not as dark as as Popov or Guelfi for example
I heard Milnes live either in the 80s or 90s and he was a full dramatic baritone then.... his voice was the most huge baritone I've ever heard.
@@svilendenchev9984 .... don't forget you can have a small dark voice also.... just because it's dark doesn't mean it's big... size has to do with thickness of tone and carrying power .
@@jimbuxton2187 thank you for sharing your experience! I'd like to know more about it. Was his middle voice big as well or just the top? He never pushed or darkened so most of time he had this "tenor"like quality to his (recorded) performances.
❤❤❤❤❤
Grandissimo
Superb...
Numero uno.
Bravo
And if you're scoring at home kids, that's a High B that he takes at the end!
Bb
Thanks you for posting. Milner was a member of the great line of American baritones starting with Tibbett and ending with Hampton.
Which baritone do you prefer when it comes to high notes? Cappuccili or Milnes?
Milnes of course.
@@BaroneVitellioScarpia1 Ohh 😯
Both of them 😂
4:20 Foresto sounds darker than Ezio.
+
By the way, can you say something about Joseph Shore? He hit high B flat, high B and C, but when comparing him to this high B flat from Milnes, the sound is very different.
Milnes' high B flat here sounds like a tenor's high C, but the same note from Shore sound like he adds more falsetto in his voice. And also something about Shore's chest voice. He said that his technique is appoggio and he took high notes with "head voice" as he said as well.
I don't like Shore, he sounds very throaty. Milnes, Warren and MacNeil are much better when it comes to baritone high notes. Ruffo could definitely hit a high B flat as well, but he didn't record it.
@@BaroneVitellioScarpia1 Thank you for your answer! I also noticed throaty sound in Shore's voice but he said that he could sustain tenor tessitura and sing tenor. I don't know is it true or not and is that because of his voice or technique but if it's about technique it's cool. Also I like Ramon Vinay because he also could sing tenor being a baritone. But when he sang baritone he sounded more natural and free. For example, in his "Vesti la giubba" I also hear some sounds like squezzed or nasal. Sorry if I'm wrong.
@@BaroneVitellioScarpia1 And why Shore's high B flat sounds more falsettish? He hit it with less chest in sound than Milnes and others, am I right? Or it's something else?
Whos's the Foresto?
Foresto was the tenor John Mitchinson.