Jerry Hadley sang throaty? I don't think so!
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- เผยแพร่เมื่อ 20 ม.ค. 2021
- No.
Jerry Hadley is one of the greatest lyric tenors I've heard, his voice is phenomenal. Not nasal, not constricted, not woofy, not throaty, and his chest voice is well-developed. Bravo Maestro Hadley!!!
Music:
-Tombe degli avi miei (Donizetti’s Lucia di Lammermoor) by Jerry Hadley
-Ingemisco (Verdi's Requiem) by Jonas Kaufmann and Jerry Hadley
-Che gelida manina (Puccini's La Boheme) by Jonas Kaufmann and Jerry Hadley
-Dalla sua pace (Mozart's Don Giovanni) by Jerry Hadley
-Rachel quand du seigneur (Halevy's La Juive) by Leopold Simoneau
-Au fond du temple saint (Bizet's Pearl fishers) by Jerry Hadley/Alan Titus
-Se all'impero amici dei (Mozart's La Clemenza di Tito) by Philip Langridge and Jerry Hadley
-Ah cosi nei ridente (Donizetti's Anna Bolena) by Jerry Hadley
Hadley's contribution to opera music not only consists in leaving behind good performances but also a legacy of pure and bel-canto singing. Thanks so much for sharing and for reminding about authentic operaratic voices.
Hadley is a consummate artist! His voice and musicality are stunning.
I got to hear Hadley 3 times, and the voice was just one of the most beautiful I’ve ever heard. Not a massive voice, but could be absolutely thrilling. Singing technique is like the Buddhist “right medicine.” The right medicine depends on the problem being fixed. Hadley told me he started with a thin sounding technique that was squeaky and not beautiful until he found a teacher who taught him a full-throated technique. Meanwhile, when Hines and Merril studied, they were taught a “speech level” technique where the throat felt like it was closed (not an overly lowered Larry. Hines talked to me about this personally when I studied with him, and he wrote about it in GSOGS) If those guys sang with Hadley’s technique they would have sounded woofy and the voice wouldn’t have carried.
I agree, every singer has a different physiology from everyone else and must be made to discover their own open-throated technique.
Kauffman tongue is in his throat that’s why he is so throaty. He is talanted though but he is a victim of modern “pedagogy”!
No one on today's stage have Jerry's good stuff, what a solid talent for Operatic world❤ RIP...
I heard Hadley three times and he was wonderful, but I think this person is being a little hard on other tenors. I heard Langridge several times and I thought he was a fine tenor.
Hadley is a great singer
I find the comments conflicting and restricting..ha ha A tenor always sings with "chest "voice above the natural break in the voice which happens anywhere from a middle D to an F. Before 1831 tenors always allowed their voices to shift into their "falsetto" around the D or F. It was considered gauche to push the chest voice up any higher than is physiologically natural. The first tenor to push the "chest" voice all the way up to a high C was Gilbert-Louis Duprez. He was laughed off the stage. Now that is the sound we all expect. Modern female pop singers sing in the same range and always push their "chest" voice up. Is is the same technique. It is somewhat of an unnatural sound, but it that tension that makes it so exciting.
I put the words "chest" voice and "falsetto" because there are many different interpretations of these words. The "chest" voice must have the ring and resonance of the "falsetto" so there is constantly a blend going on. Jerry Hadley was a master technician, not to mention spectacular artist.
I sang on stage with him in Eugen Onegin, I was in the chorus, he was singing Lensky. Every night he would bring the audience into prayerful silence. Magical. We hung on his every note. Literally, in that huge velvet covered opera house, you could of heard a pin drop. Singing onstage with such a great artist is something I will never forget.
Hadley was one of my favorites. So clean and clear. Mastery of the mezzo voce. And one of the best B flats in all of opera. But, I mean, this shouldn’t be presented as competition here. Hadley and Kaufmann are totally different tenors that bring a vibrancy and perspective to their interpretations. I’m just saying that I advocate for their individual excellence vs. comparing them to one another. Sheesh. Only on TH-cam.
Every tenor shown here is good and consistent enough to perform around the world. Sometimes you say "no chest voice here" but there actually is.
Very fine singing, indeed.
Marvellous voice! What about the baritones? Should they sing in full chest voice too, all the way up?
Yes, they should, from top to bottom it should be chest, unless they sing lines where a softer dynamic is written, then they can use Head Voice or Falsetto
The modern singers are basically singing to themselves inside of their own skulls and not singing with the voice “out” or “on the teeth” like Pavarotti would say. Voce ingolata means the voice is restricted and you’re giving a concert to yourself in your head instead of letting the sound out. It’s sad that the modern singers don’t listen to old singers are try to emulate them.
Short history of opera: There was i time and Ruffo , Caruso, Tetrazzini, Destinn sang together, than Batourin, Corelli, Obraztzova, MDM came, than came Siepi, Giaotti, Hines Hadley. And than they all died.
I love the quality of Hadley's voice but his coloratura was weak in the examples presented. I couldn't make out individual notes
Hadley's Che Gelida Manina is a semitone down, Kauffman's is in the original key, hence hitting the high C while Hadley stays on the B (we can only guess but it is likely that he was not confident in his high C).
I much prefer Hadley's voice but having to lower the key in an aria is not exactly a point in his favor.
Saw and heard Hadley with v. Stade in showboat-very good tenor. Same quality as Gedda or Wunderlich
Agreed. It appears that He goes back and forward as part of his technique.
I refer to Kaufman, although he impresses.
Kaufmann sounds like he's singing with an egg inside his mouth.
Two Tenis balls inside his throat
What's Simoneau singing?
Do you think Hadley could do something like Tosca, if he's given the opportunity? 🤔
Without a doubt. Even Tito Schipa could sing Cavaradossi.
@@BaroneVitellioScarpia1 what do you think of Francisco Araiza's Tosca?
@@oliverdelica2289 I usually like him but I don’t like his Tosca.
@@BaroneVitellioScarpia1 yeah fair enough. I am a fan of him but I can acknowledge his flaws like his Wagner
@@BaroneVitellioScarpia1 but why was it the case? Did he go nasal?
Danke-seit Jahren finde ich, dass Kaufmann knödelt...und im Vergleich zu Jerry Hadley, der einen echten Tenor-Strahl hat, ist es offensichtlich!!!
Kaufmann wishes he were a tenor!
Kaufmann is a soprano!
@@BaroneVitellioScarpia1 Haha, good one. +1
The issue is compression. Too much is not enough. Enough is enough. If you don't know how to start then it will be heard by everyone. To much is not enough. I teach if anyone is interested.
Jerry Hadley singing is 100% corect - fantastic
Jonas Kaufmann should listen and wach him every day to see and learn/study how should sing real tenor...
Genious.
Listen to bjoerling🎉
100% AGREE!!!✌🎶😊
I can't believe in the first comparison you say one person is inaudible and the other is not when both are singing a closed vowel, obviously audible over an orchestra. I would not be surprised if you'd have a bag of bad things to say about Pavarotti. You should clarify what exactly you're being picky about instead of just throwing baseless questions like "what was that?" as a comment, the guy is singing.. That's what it is. You want to talk about style, diction and pronunciation? Then specify that openly instead of leaving it open ended with the idea we're somehow supposed to not like what one guy sings over another.
It also sounds like in every Jerry Hadley example, you're just cranking up the treble on the audio.
5:56 that is chest voice, but his technique is simply just not as open as Hadley is, so the projection and style and color doesn't sound the same.
For the Langridge comparison, he simply just doesn't sound like a natural tenor, Hadley is clearly a natural tenor whereas Langridge is probably some kind of baritone that learned to sing tenor part and his technique is not developed as much as he needs to be more full and open, it's also about placement. So it's either he's not a tenor, he lacks the technique to reach that level of openness, and his color is coming from how his placement of sound is being directed. It really just seems like all these examples are primarily comparing a natural tenor versus non-natural tenors.
Kaufman has no vitality or virility in his voice whatsoever
JERRY HADLEY was best AS a LYRIC tenor...that sometimes had to make his singing "spinto-like" BUT STILL beautiful and true MALE singing tenor...reminding of the OLD generation ...MEANWHILE kaufmann,,for a SUPPOSED heldentenor...lead dramatic SOUNDS throaty and LIMITED in resonance...JERRY was the GENUINE ARTICLE...during a "transition" INTO FAKE TENORS...which is what today is...
Those who say that (i would bet it's just a few mislead souls) are utterly clueless
Jerry Hadley had a horrible top though. Too open high notes and used to push it. Def not like the real tenors from the past. Yes, better than Kaufmann obviously, but even a 16 year tenor is better than Kaufmann lol. Jerry... hmm far away from being a real tenor.
The top is just like di Stefano
@@falkfinkexactly, too open
@@downfromkentuckeh absolutely. I was just pointing out that even "the real tenors from the past" had these flaws
@@falkfink di stefano wasn’t a real tenor. He sang with passion and was a good actor. But real tenor were: Gigli, Lauro-Volpi, Antonio Pauli, Caruso, Miguel Fleta, Angelo Loforese etc
Yes, he did sing throaty. Too light, too white, upper tones not properly resonated.
I was hiking with my dog on the trails...in a raining / windy day....when my little Chihuahua got lost...Small as it was....I heard his CHEST BARKINGS at the distance......Could the great tenor Kauffman be heard in an open setting in a windy / raining day...as my little chihuahua...
may be?...
may be not?
Kauffman is a lot bigger than my little chihuahua...but...could he overpower my little chihuahua...if both were the same size...
or...
Kauffman would not even be heard along my chihuahua if both were the same size...
Jonas Kaufmanns High C in "Che gelida manina" is phenomenal and he sings it with full chest ! Hadleys High C in the same Aria is weak ! I form my own opinion and don't listen to people who are biased and envious.
No it's not chest voice. Kaufmann has voce ingolata.
I’d usually disagree with comments like this but I agree that the C from Hadley included here has a lot of technical issues. Kaufmann’s was more balanced but also done in studio… You can’t really compare. Hadley has many more great high Cs. Kaufmann has just one acceptable one I can think of.
I’ve heard JK sing high Cs at the met three times, two of which were in Faust and so they were small because he sang them mv. The other was full, and I was shocked at how loud and actually beautiful it was. The most beautiful high B I’ve heard from any modern tenor was his, also in Faust “je taaaime,” which I felt he attacked fully and diminuendoed masterfully, but this was before he was singing huge Verdi and Wagner roles. Whether it was the roles that took a toll on his voice, or his choice to abandon more lyrical singing, or age, he has not been the same since. Any time I’ve seen him, he was difficult to hear at the bottom of the staff- maybe the orchestra was too loud, but I suspect it’s because his chest wasn’t properly engaged. He does embody the idea that a tenor voice should really bloom on the highest notes. He overshadows anyone he sang next to if it was above middle C. Never heard JH in the theater, but would have loved to. By all accounts it was pretty glorious, yet this example wasn’t the best for his C.
Not only that but it's not actually a High C that Hadley sang but a B4, soooo....
I'm not a big fan of JK but I don't think he's a terrible singer at all. I agree that the high C in question was good