Overwhelming. Two great basses. And each was so young. One could quite plausibly argue that neither had yet reached his prime when this was recorded. Each sounds very fresh.
For the last time: Siepi was a bass. Hines was a bass. Both had phenomenal ranges. This is an example of 2 great basses singing the greatest “bass duet“ in all of opera. Basses sing Don Giovanni. Some basses even sing Wotan. George London was a bass-baritone. Siepi and Hines were not. Siepi sang Boris, Hines sang Boris. Hines sang Wotan, Siepi sang Gurnemanz. THEY WERE BASSES. That’s B A S S E S. Sheesh!
Someone here doubts Siepi was a genuine bass?! For Heavens' sake, he was the truest one, with impeccable technique, performing with equal excellence Sarastro and Don Giovanni.
Yes, Cesare Siepi was a magnificent singer with a uniquely beautiful sound who sang so often to universal acclaim through the decades so many of the most challenging Basso roles in all of opera. Fine. But did he have his official " I am a true basso badge' as is to be found in every box of Wheaties?! Answer me that!~I don't think so...
Cesare Siepi had one of the darkest, lowest and loudest voices of the history of music. The quintessential bass. In addition to a singer with excellent technique, sweetness and elegance in singing. Who can doubt that he was a bass?
A now deceased voice teacher I had...who saw many performers....said listening to Siepi and London was like hearing the voice/sound come out of a huge hole in the stage floor.
@@liedersanger1 Anyone can see and hear how accurate micollins is by viewing this video of Hines performing this very scene just before he turned 80: th-cam.com/video/NYctzuAXXPw/w-d-xo.html&ab_channel=lukebrainard2006
i think(feel) that Siepi is the definition of having a beautyfull(also a big one!) voice, beeing good looking singing and acting greately!!! thanks God he is excisting in videos and recordings so we can learn something of his art!
Siepi was a true bass, and Hines was a true bass. They have different fachs. Notice that Siepi has just as much power below the staff as Hines (toggle back and forth between Hines's E2 and Siepi's F2 if you need to hear). A bass that has high notes does not mean they are a bass-baritone, because a true bass has a level of fullness and resonance in their low range that a bass-baritone does not. I feel strongly on this subject because I am also considered to be a lyric bass, and there is a vocal distinction between and my bass-baritone colleagues. Neither one is better than the other, but we are decidedly different voice types. Siepi and Ramey are absolutely textbook examples of the lyric bass, with power below the staff, but comfortable/soaring high notes up to F4 and even a bit beyond. Hope this information helps clear that distinction up!
How can one compare Siepi and ramey.. It unnihilates all your vocal sentences! Can't You hear that ramey doesn't have a voice? His timbre is not at all professional-just Subway talking voice
@@jimmychoo1857 do you really think arguing with Peter is going to help considering he is a professional opera singer with enough knowledge from his teacher and his own experience
IL CONTE DI LERMA Il Grande Inquisitor! L'INQUISITORE Son io dinanti al Re?... FILIPPO Sì; vi feci chiamar, mio padre! In dubbio io son. Carlo mi colma il cor d'una tristezza amara. L'infante è a me ribelle, armossi contro il padre. L'INQUISITORE Qual mezzo per punir scegli tu? FILIPPO Mezzo estremo. L'INQUISITORE Noto mi sia! FILIPPO Che fugga... o che la scure... L'INQUISITORE Ebben! FILIPPO Se il figlio a morte invio, m'assolve la tua mano? L'INQUISITORE La pace dell'impero i dì val d'un ribelle. FILIPPO Posso il figlio immolar al mondo, io cristiano? L'INQUISITORE Per riscattarci Iddio il suo sacrificò. FILIPPO Ma tu puoi dar vigor a legge sì severa? L'INQUISITORE Ovunque avrà vigor, se sul Calvario l'ebbe. FILIPPO La natura, l'amor tacer potranno in me? L'INQUISITORE Tutto tacer dovrà per esaltar la fè. FILIPPO Sta ben. L'INQUISITORE Non vuol il Re su d'altro interrogarmi? FILIPPO No. L'INQU15ITORE Allora son io che a voi parlerò, Sire. Nell'ispano suol mai l'eresia dominò, Ma v'ha chi vuoi minar la magione divina, L'amico egli è del Re, fedele suo compagno, Il démon tentator che lo spinge a rovina. Di Carlo il tradimento che giunse a t'irritar In paragon del suo, futile gioco appar. Ed io, l'Inquisitor; io che levai sovente Sopr'orde vil' di rei la mano mia possente, Pei grandi di quaggiù, scordando la mia fè, Lascio tranquilli andar un gran ribelle... e il Re. FILIPPO Per traversare i dì dolenti in cui viviamo Nella mia Corte invan cercato ho quel che bramo. Un uomo! Un cor leale!... Io lo trovai! L'INQUISITORE Perché Un uomo? Perché allor il nome hai tu di Re, Sire, se alcuno v'ha pari a te? FILIPPO Non più, frate! L'INQUISITORE Le idee dei novator' in te son penetrate! Infrangere tu vuoi con la tua debol mano Il santo giogo, esteso sovra l'orbe romano!.. Ritorna al tuo dover; la Chiesa all'uom che spera, A chi si pente, puote offrir la venia intera; A te chiedo il signor di Posa. FILIPPO No, giammai! L'INQUISITORE O Re, se non foss'io con te nel regio ostel Oggi stesso, lo giuro a Dio, doman saresti Presso l'Inquisitor al tribunal supremo. FILIPPO Frate! troppo soffersi quel linguaggio crudel. L'INQUISITORE Perché evocare allora l'ombra di Samuel? Dato ho finor due Regi al regno tuo possente!.. L'opra di tanti dì distrugger vuoi, demente!... Perché mi trovo io qua? Che vuole il. Re da me? Per uscire FILIPPO Mio padre, che tra noi la pace alberghi ancor. L'INQUISITORE: La pace! FILIPPO Obbliar tu déi quel ch'è passato. L'INQUISITORE: Forse! Esce FILIPPO solo Dunque il trono piegar dovrà sempre all'altar!
That fine tenor might have been the late Paul Franke, who, according to his wiki biography, sang nearly 2000 performances at the Metropolitan Opera from 1948 to 1987. A true operatic legend!
Siepi e Christoff e Ghiaurov - sono per me i migliori bassi per sempre e non posso decidere chi mi piace di piu. Grandissimi cantanti, artisti e uomini!
perché non hai sentito la voce di Siepi dal vivo... grandissimo attore,bellissimo artista lirico ma la sua voce purtroppo non era così grande come pare sui dischi . dal vivo 1 Ghiaurov 2 Christoff - anzi se cantava alla russa e nello stesso tempo era bulgaro ... 3 Siepi - anzi se era un perfezionista e stilisticamente parlando era perfetto...
Di bassi validi ce ne sono stati parecchi vorrei ricordare anche Pinza Tozzi Neri Neroni Nesterenko Giaiotti Hines Talvela Reizen Vedernikov Triegle Ghiuselev Petrov Mardones Navarrini Tajo Pasero Clabassi kipnis..
Jerome Hines, a frequent interpreter of the Grand Inquisitor, was a true bass and did not sound like a baritone with an extraordinary lower register. Jerry's low notes were as solid as a rock.
They both had a different approach to singing. Siepi insisted on finesse, beauty, and masculine power - for me that was an unbeatable combination. Hines had the most amazing e natural. Siepi had a great f and was a superb Figaro and Phillipo - quite a combo. His boito mephisto was the best.
Man, do I love this performance. Siepi just dominates Hines. :) Respect to both, but there's just never been anyone like Siepi. Love your catalogue, primobaritono.
Well it seems that I need to correct a number of people here. To begin with Siepi was a true bass, with an audible extension right down to the low C. The fact that he performed Don Giovanni regluraly does not make him a bass-baritone, and please bear in mind that every other Italian bass has performed this role with distinction starting with Ezio Pinza. As did both Hines and Ghiaurov. Siepi's vocal character has normally be termed as basso cantante, and the same goes for Pinza, Ghiaurov, Giaiotti, and Plishka. That term in itself is quite silly as it translates from Italian to English as a bass singer. A more appropriate term would be basso nobile. As regards Siepi not having performed Boris is simply not true. On March 9 1952 Siepi performed Boris for the first time at the Metropolitan in English though), and he would perform it a number of times that same season. If you don't believe me, I suggest you find a copy of Irwing Kolodin's The Metropolitan Opera and check page 530. Please try to get your facts correct in the future before making an assertion.
@@robertwbecker These idiots that don't simply get it that Siepi was a true bass. In my opinion the bass-baritone fach is right between a bass and a baritone, period.
If you’re a bass or not is determined by color and range. A easy way to check is by seeing where your primo passagio is. If it begins between G and Bb, your vocal folds are built in the way a bass’ typically is. You physically can’t pull pure chest past those notes without them starting to sound flatter than normal. Still, there are some cases where people with small builds have long necks, and this causes them to have everything a bass has with a lighter color. It’s obviously detrimental to their career to have such a case, but these people typically become basses that sing buffo-type arias (mozart, rossini, etc., kinda like Ramey). Some basses have darker color but shorter necks (the color is determined by vocal fold width, which increases with mass, so bigger people tend to have darker voices), and this causes them to not have the lower notes (kind of like Plishka). The neck length typically determines the vocal fold length, which will determine raw range. None of that is important though. What’s important is what voice the role requires, and here Phillip II requires a more mobile voice than the Inquisitor’s voice (the inquisitor is much older and is the voice of god). These castings are perfect picks.
Jerry sang many performances of Don Giovanni and 5 years singing Wotan at Bayreuth. He used to drive his very small red Alfa Romeo from Italy over the mountains to Bayreuth!
Hummmmm, very interesting. I am a bass-baritone and I noticed long ago that if I hum a low note it makes my eyes vibrate (most noticable when looking at the TV or a computer screen)!
Not a shabby cast of male voices indeed - Bjoerling, Merrill, Siepi, Hines. However, in this performance Hines does not seem to have the truly booming, thundering voice he would have until the day he died, although he was already 29.
@primobaritono : also 1952 from the MET Tucker, Rigal, Barbieri, Silveri and the real surprise Hines as the king and the legendary HANS HOTTER as the inquisitor u can imagine this duetto between them
I have not found a better combination for this duet; Lord knows I tried. For anyone to out-bass Siepi in Verdi is hard, but Hines provides a PERFECT contrast. Yes, technically Siepi is a bass-baritone, but if you hear him in Verdi's Requiem--the Toscanini recording with the Robert Shaw Chorale--Siepi provides an incredible anchoring foundation for a slightly uneven cast that makes him a go-to bass for just about any piece of music anyone would suggest. (I rather regret that he did not do Boris Godunov; but, I must respect the artist and musician who knows his/her limitations.) Almost anything Siepi is a technical masterclass with workmanlike musicianship and musicality, and Hines; albeit "heavy", has plenty of core (resonance) and darkness in his sound to make him a solid Inquisitor.
Siepi had one the biggest, darkest, most rounded and most powerful Basso Lirico voices ever. Compared to any other Bass or Bass-Baritone he was darker, more rounded and more powerful, either in Basso Drammatico or Basso Cantabile roles. And even in "Bass-Baritone" roles. He was way closer to a Basso Profondo than to a Bass-Baritone. Calling him a bass-baritone is very silly. Mario del Monaco would be a Contralto, by this way of judging...
The dynamic between Siepi and Hines imo is a lot better. Filippo is trying to fight back against the gran inquisitor, which really is futile. Ghiaurov and Talvela both had towering, large voices, meanwhile Siepi has a beautiful, centered voice and Hines had a bigger and more “hollow” tone. Both voices were commanding. That’s why I think this is probably my favorite rendition of the scene.
I heard Hines very late in his life singing exerpts from 'Boris" in Minneapolis, at the University of Minnesota. His voice was still beautiful. I can't imagine what it was like in his prime. Unfortunately, I was never able to hear the great Italian live. Is this from a recording that is still availalbe?
I knew Cesare quite well - he considered himself a bass-baritone - and the difference with Hines is obvious - Jerry (also a close friend) was an authentic Basso Profondo - Cesare could not and would not do Boris - but what a Mefistofele's in Boito's show (SF Opera revival, 1952) - and a great Leporello, not a role Jerry would do - (that's my wife's photo)
Siepi certainly sang Boris! 17 times at the Met between 1953 and 1960. BTW, Boris was created by baritone Ivan Melnikov also the first Prince Igor and Tomsky in PIKOVAJA DAMA, It is NOT a basso profondo role.
Unfortunately no. Della Rigal was Elisabetta I believe and Fedora Barbieri was Eboli. There's another splendid Met Don Carlo from 1956 I believe with Hines as Phillip, Eleanor Steber, Richard Tucker and Ettore Bastianini.
Завидую сидящим тогда в зале... Басы шикарные оба , Хайнс смахивает на центрального баса, т. е. баса-профундо...но... Если спорить о ,,басистости,, , послушайте великого Максима Михайлова. Для англоязычной аудитории - это тот, кто исполнял роль протодиакона в фильме Эйзенштейна ,,Иван Грозный,, /1944/...
Из итальянцев - Джулио Нери. Из немцев и австрийцев - Вебер, Фрик, Вебер. Из скандинавов - Андресен и Талвела. Ещё в старые времена был испанец Хосе Мардонес.
@@grouchomarx5609 Да, пожалуй, но о Мардонесе трудно судить - давно это было и записи маловразумительные. А русские басы - В. Р. Петров, Платон Запорожец, Паторжинский, Ведерников, Б. Морозов - их немного, - в опере, пожалуй, самый редкий голос - центральный/настоящий/ бас !
@@grouchomarx5609 Ну что Вы, рядом с Михайловым? Итальянские газеты в своë время писали о Михайлове : мы не только не знали, что такие басы где-то поют, но что такие басы в природе существуют! Тембр его - это даже не центральный, т. е. профундо, а бас-октава. Так же, впрочем, как и у протодиакона Розова.
@@Alexander_Zemsky А я что, говорил, что мне не нравится Михайлов/Михайлов плохо поёт/я пою лучше (или хотя бы на уровне Михайлова)? Или что Михайлов хуже кого-либо из перечисленных мной? Ну что Вы, рядом с дон Кихотом?
What's going on here? I see no posts suggesting that the singers are not true basses. And yet I see lots of people shouting that they are indeed basses. Anyway, what does it matter? As long as they sing well, you can call them coloraturas for all I care.
…useless to compare the incomparable(s): Siepi and Björling were among voices of the century. They might well continue through the lifespan of the known world. As no one seriously draws any comparison to a Fritz Wunderlich or George London, Maria Callas or Birgit Nilsson. Just to name a few…
MDM427 Furlanetto cantava con la vocalità del ''ubriacone'' ... Ramey aveva una voce di colore meno scuro e meno pastosa della vocalità del tenore wagneriano Ramon Vinay ...
It's a broadcast from November 11, 1950, which is on the Met's channel on Sirius Satellite Radio. Hines is indeed the Grand Inquisitor. The rest of the cast includes, Jussi Bjoerling, Delia Rigal, Fedora Barbieri and Robert Merrill. I've listened to it many times and the whole performance is phenomenal.
Jerome Hines quotes John 3:16 on his autograph. Unfortunately, remins me of my mother-in-law (whom I am desperately trying to forget) It was her constant quote, flung it at me. She hated me because I did not belong to her intolerant, insane sect. So much for "so loved god the world" etc.
Overwhelming. Two great basses. And each was so young. One could quite plausibly argue that neither had yet reached his prime when this was recorded. Each sounds very fresh.
it is amazing that Siepi hat such a developed bass voice at so younger age....
For the last time: Siepi was a bass. Hines was a bass. Both had phenomenal ranges. This is an example of 2 great basses singing the greatest “bass duet“ in all of opera.
Basses sing Don Giovanni. Some basses even sing Wotan.
George London was a bass-baritone. Siepi and Hines were not.
Siepi sang Boris, Hines sang Boris. Hines sang Wotan, Siepi sang Gurnemanz. THEY WERE BASSES. That’s B A S S E S.
Sheesh!
- - Relax, Dude...!
Chill, babydoll.......
@@stevendaniel8126 ok. 🤣
Chill, man !
@@yuujoupop 🤐
...a thrilling performance. This is opera...
Someone here doubts Siepi was a genuine bass?! For Heavens' sake, he was the truest one, with impeccable technique, performing with equal excellence Sarastro and Don Giovanni.
It seems that for some people the only bass is basso profundo.
Yes, Cesare Siepi was a magnificent singer with a uniquely beautiful sound who sang so often to universal acclaim through the decades so many of the most challenging Basso roles in all of opera. Fine. But did he have his official " I am a true basso badge' as is to be found in every box of Wheaties?! Answer me that!~I don't think so...
Cesare Siepi had one of the darkest, lowest and loudest voices of the history of music. The quintessential bass. In addition to a singer with excellent technique, sweetness and elegance in singing. Who can doubt that he was a bass?
...good point...@@krikionis8330
Some statements are too entirely ignorant to merit a reply...
SIEPI , THE BEST IN THE WORLD !!!
Il più grande basso al mondo.
Irripetibile!!
Roberto Veronesi
veramente una fortuna per certi cantanti che hanno inventato lo stereo e il microfono ...
A now deceased voice teacher I had...who saw many performers....said listening to Siepi and London was like hearing the voice/sound come out of a huge hole in the stage floor.
Anyone who does not agree that Siepi and Hines were BOTH true basses is simply kidding themselves.
I took some lessons from Mr. Hines when he was in his seventies. He still had a voice like a house. He continued to study and learn to the end.
Say more!
@@liedersanger1 Anyone can see and hear how accurate micollins is by viewing this video of Hines performing this very scene just before he turned 80: th-cam.com/video/NYctzuAXXPw/w-d-xo.html&ab_channel=lukebrainard2006
All the true greats keep studying and working on their voices. Lilli Lehmann is an excellent example...
@@jimbuxton2187 Perhaps. But not all were able to preserve that much of their awesome voice at such a late age.
i think(feel) that Siepi is the definition of having a beautyfull(also a big one!) voice, beeing good looking singing and acting greately!!!
thanks God he is excisting in videos and recordings so we can learn something of his art!
THEY ARE TOO GOOD. INCREDIBLE VOICES
Siepi was a true bass, and Hines was a true bass. They have different fachs. Notice that Siepi has just as much power below the staff as Hines (toggle back and forth between Hines's E2 and Siepi's F2 if you need to hear). A bass that has high notes does not mean they are a bass-baritone, because a true bass has a level of fullness and resonance in their low range that a bass-baritone does not. I feel strongly on this subject because I am also considered to be a lyric bass, and there is a vocal distinction between and my bass-baritone colleagues. Neither one is better than the other, but we are decidedly different voice types. Siepi and Ramey are absolutely textbook examples of the lyric bass, with power below the staff, but comfortable/soaring high notes up to F4 and even a bit beyond. Hope this information helps clear that distinction up!
How can one compare Siepi and ramey.. It unnihilates all your vocal sentences! Can't You hear that ramey doesn't have a voice? His timbre is not at all professional-just Subway talking voice
Is it possible to destinguish bass-baritones from high bass just by speaking voice or untrained singing voice?
@@jimmychoo1857 do you really think arguing with Peter is going to help considering he is a professional opera singer with enough knowledge from his teacher and his own experience
@@krikionis8330 very rarely but generally the best way to tell is to hear them sing with correct technique
aren’t you a bass baritone now though lol
Amazing basses!!! Even more so when you consider how young they were. Bravissimo!
IL CONTE DI LERMA
Il Grande Inquisitor!
L'INQUISITORE
Son io dinanti al Re?...
FILIPPO
Sì; vi feci chiamar, mio padre! In dubbio io son.
Carlo mi colma il cor d'una tristezza amara.
L'infante è a me ribelle, armossi contro il padre.
L'INQUISITORE
Qual mezzo per punir scegli tu?
FILIPPO
Mezzo estremo.
L'INQUISITORE
Noto mi sia!
FILIPPO
Che fugga... o che la scure...
L'INQUISITORE
Ebben!
FILIPPO
Se il figlio a morte invio, m'assolve la tua mano?
L'INQUISITORE
La pace dell'impero i dì val d'un ribelle.
FILIPPO
Posso il figlio immolar al mondo, io cristiano?
L'INQUISITORE
Per riscattarci Iddio il suo sacrificò.
FILIPPO
Ma tu puoi dar vigor a legge sì severa?
L'INQUISITORE
Ovunque avrà vigor, se sul Calvario l'ebbe.
FILIPPO
La natura, l'amor tacer potranno in me?
L'INQUISITORE
Tutto tacer dovrà per esaltar la fè.
FILIPPO
Sta ben.
L'INQUISITORE
Non vuol il Re su d'altro interrogarmi?
FILIPPO
No.
L'INQU15ITORE
Allora son io che a voi parlerò, Sire.
Nell'ispano suol mai l'eresia dominò,
Ma v'ha chi vuoi minar la magione divina,
L'amico egli è del Re, fedele suo compagno,
Il démon tentator che lo spinge a rovina.
Di Carlo il tradimento che giunse a t'irritar
In paragon del suo, futile gioco appar.
Ed io, l'Inquisitor; io che levai sovente
Sopr'orde vil' di rei la mano mia possente,
Pei grandi di quaggiù, scordando la mia fè,
Lascio tranquilli andar un gran ribelle... e il Re.
FILIPPO
Per traversare i dì dolenti in cui viviamo
Nella mia Corte invan cercato ho quel che bramo.
Un uomo! Un cor leale!... Io lo trovai!
L'INQUISITORE
Perché
Un uomo? Perché allor il nome hai tu di Re,
Sire, se alcuno v'ha pari a te?
FILIPPO
Non più, frate!
L'INQUISITORE
Le idee dei novator' in te son penetrate!
Infrangere tu vuoi con la tua debol mano
Il santo giogo, esteso sovra l'orbe romano!..
Ritorna al tuo dover; la Chiesa all'uom che spera,
A chi si pente, puote offrir la venia intera;
A te chiedo il signor di Posa.
FILIPPO
No, giammai!
L'INQUISITORE
O Re, se non foss'io con te nel regio ostel
Oggi stesso, lo giuro a Dio, doman saresti
Presso l'Inquisitor al tribunal supremo.
FILIPPO
Frate! troppo soffersi quel linguaggio crudel.
L'INQUISITORE
Perché evocare allora l'ombra di Samuel?
Dato ho finor due Regi al regno tuo possente!..
L'opra di tanti dì distrugger vuoi, demente!...
Perché mi trovo io qua? Che vuole il. Re da me?
Per uscire
FILIPPO
Mio padre, che tra noi la pace alberghi ancor.
L'INQUISITORE:
La pace!
FILIPPO
Obbliar tu déi quel ch'è passato.
L'INQUISITORE:
Forse!
Esce
FILIPPO
solo
Dunque il trono piegar
dovrà sempre all'altar!
@@steefdewild Thank you!!
Two great basses, perfectly cast.
No joke though, the tenor who introduces the inquisitor has a pretty nice voice himself.
That fine tenor might have been the late Paul Franke, who, according to his wiki biography, sang nearly 2000 performances at the Metropolitan Opera from 1948 to 1987. A true operatic legend!
Both so young and already great...
RIP Siepi - a true great!
Siepi e Christoff e Ghiaurov - sono per me i migliori bassi per sempre e non posso decidere chi mi piace di piu. Grandissimi cantanti, artisti e uomini!
Apostol Milenkov same with me！
perché non hai sentito la voce di Siepi dal vivo...
grandissimo attore,bellissimo artista lirico ma la sua voce purtroppo non era così grande come pare sui dischi .
dal vivo
1 Ghiaurov
2 Christoff - anzi se cantava alla russa e nello stesso tempo era bulgaro ...
3 Siepi - anzi se era un perfezionista e stilisticamente parlando era perfetto...
Agreed. Whilst Christoff is a bit throaty, I still love him.
Di bassi validi ce ne sono stati parecchi vorrei ricordare anche Pinza Tozzi Neri Neroni Nesterenko Giaiotti Hines Talvela Reizen Vedernikov Triegle Ghiuselev Petrov Mardones Navarrini Tajo Pasero Clabassi kipnis..
@pierpaolo pasolini
Si, è vero .
And both of them only in their late twenties!!! Some singers are great, and some singers are gods.
What Legends are made of,, the Great Siepi and the towering Hines,,Thanks!
wiedereinmal klasse
Jerome Hines, a frequent interpreter of the Grand Inquisitor, was a true bass and did not sound like a baritone with an extraordinary lower register. Jerry's low notes were as solid as a rock.
incroyable! bravoooo
What was I doing at age 27 or 29? Not singing major roles at the MET, nope. Incredible !
They both had a different approach to singing. Siepi insisted on finesse, beauty, and masculine power - for me that was an unbeatable combination. Hines had the most amazing e natural. Siepi had a great f and was a superb Figaro and Phillipo - quite a combo. His boito mephisto was the best.
Man, do I love this performance. Siepi just dominates Hines. :) Respect to both, but there's just never been anyone like Siepi. Love your catalogue, primobaritono.
Thank you.
It is rather hard to come by ,but it is still available. Check Amazon , there are two private sellers offering it.
Well it seems that I need to correct a number of people here. To begin with Siepi was a true bass, with an audible extension right down to the low C. The fact that he performed Don Giovanni regluraly does not make him a bass-baritone, and please bear in mind that every other Italian bass has performed this role with distinction starting with Ezio Pinza. As did both Hines and Ghiaurov. Siepi's vocal character has normally be termed as basso cantante, and the same goes for Pinza, Ghiaurov, Giaiotti, and Plishka. That term in itself is quite silly as it translates from Italian to English as a bass singer. A more appropriate term would be basso nobile. As regards Siepi not having performed Boris is simply not true. On March 9 1952 Siepi performed Boris for the first time at the Metropolitan in English though), and he would perform it a number of times that same season. If you don't believe me, I suggest you find a copy of Irwing Kolodin's The Metropolitan Opera and check page 530. Please try to get your facts correct in the future before making an assertion.
Stefan,,, who are you talking to?
@@robertwbecker These idiots that don't simply get it that Siepi was a true bass. In my opinion the bass-baritone fach is right between a bass and a baritone, period.
@@stefanarngrimsson5727 What main criteria according to you that determine if someone is bass-baritone or high bass?
If you’re a bass or not is determined by color and range. A easy way to check is by seeing where your primo passagio is. If it begins between G and Bb, your vocal folds are built in the way a bass’ typically is. You physically can’t pull pure chest past those notes without them starting to sound flatter than normal. Still, there are some cases where people with small builds have long necks, and this causes them to have everything a bass has with a lighter color. It’s obviously detrimental to their career to have such a case, but these people typically become basses that sing buffo-type arias (mozart, rossini, etc., kinda like Ramey). Some basses have darker color but shorter necks (the color is determined by vocal fold width, which increases with mass, so bigger people tend to have darker voices), and this causes them to not have the lower notes (kind of like Plishka). The neck length typically determines the vocal fold length, which will determine raw range. None of that is important though. What’s important is what voice the role requires, and here Phillip II requires a more mobile voice than the Inquisitor’s voice (the inquisitor is much older and is the voice of god). These castings are perfect picks.
Jerry sang many performances of Don Giovanni and 5 years singing Wotan at Bayreuth. He used to drive his very small red Alfa Romeo from Italy over the mountains to Bayreuth!
Bravi !
Any further proof of Siepi's basso credentials can be found in the.final note of his "death of Seneca" . That should be sufficient .
Nice.
Hummmmm, very interesting. I am a bass-baritone and I noticed long ago that if I hum a low note it makes my eyes vibrate (most noticable when looking at the TV or a computer screen)!
Not a shabby cast of male voices indeed - Bjoerling, Merrill, Siepi, Hines. However, in this performance Hines does not seem to have the truly booming, thundering voice he would have until the day he died, although he was already 29.
Basses develop into their prime much later than other voices.
@@jimbuxton2187 Interesting. I'd never been aware of that.
@primobaritono : also 1952 from the MET Tucker, Rigal, Barbieri, Silveri and the real surprise Hines as the king and the legendary HANS HOTTER as the inquisitor u can imagine this duetto between them
Thunder times 2!
I have not found a better combination for this duet; Lord knows I tried. For anyone to out-bass Siepi in Verdi is hard, but Hines provides a PERFECT contrast.
Yes, technically Siepi is a bass-baritone, but if you hear him in Verdi's Requiem--the Toscanini recording with the Robert Shaw Chorale--Siepi provides an incredible anchoring foundation for a slightly uneven cast that makes him a go-to bass for just about any piece of music anyone would suggest. (I rather regret that he did not do Boris Godunov; but, I must respect the artist and musician who knows his/her limitations.)
Almost anything Siepi is a technical masterclass with workmanlike musicianship and musicality, and Hines; albeit "heavy", has plenty of core (resonance) and darkness in his sound to make him a solid Inquisitor.
Siepi had one the biggest, darkest, most rounded and most powerful Basso Lirico voices ever. Compared to any other Bass or Bass-Baritone he was darker, more rounded and more powerful, either in Basso Drammatico or Basso Cantabile roles. And even in "Bass-Baritone" roles.
He was way closer to a Basso Profondo than to a Bass-Baritone. Calling him a bass-baritone is very silly. Mario del Monaco would be a Contralto, by this way of judging...
I'd put the Ghiaurov-Talvela TH-cam performance even above this.
The dynamic between Siepi and Hines imo is a lot better. Filippo is trying to fight back against the gran inquisitor, which really is futile. Ghiaurov and Talvela both had towering, large voices, meanwhile Siepi has a beautiful, centered voice and Hines had a bigger and more “hollow” tone. Both voices were commanding. That’s why I think this is probably my favorite rendition of the scene.
Le meilleur baryton du siècle !!
I heard Hines very late in his life singing exerpts from 'Boris" in Minneapolis, at the University of Minnesota. His voice was still beautiful. I can't imagine what it was like in his prime. Unfortunately, I was never able to hear the great Italian live. Is this from a recording that is still availalbe?
ZWEI SUPERBÄSSE BEI DER ARBEIT
What is wrong with people ? Seriously , how can one rate this singing less than 4 stars ?!?!
four stars?? this takes 11 out of 10. This version as a whole was so damn legendary, people who don't like this are quite miserable.
I knew Cesare quite well - he considered himself a bass-baritone - and the difference with Hines is obvious - Jerry (also a close friend) was an authentic Basso Profondo - Cesare could not and would not do Boris - but what a Mefistofele's in Boito's show (SF Opera revival, 1952) - and a great Leporello, not a role Jerry would do - (that's my wife's photo)
Of course Cesare Siepi was a bass-baritone - he couldn't have done Don Giovanni in that breathtaking manner. He was the greatest Don Giovanni ever
Siepi certainly sang Boris! 17 times at the Met between 1953 and 1960. BTW, Boris was created by baritone Ivan Melnikov also the first Prince Igor and Tomsky in PIKOVAJA DAMA, It is NOT a basso profondo role.
Boito's Mefistofele is by far lower role than Boris. Gounod's Méphistophélès has tessitura more or less similar to Boris.
Do you have the complete broadcast by any chance?
Unfortunately no. Della Rigal was Elisabetta I believe and Fedora Barbieri was Eboli.
There's another splendid Met Don Carlo from 1956 I believe with Hines as Phillip, Eleanor Steber, Richard Tucker and Ettore Bastianini.
Might I ask who was Eleanor? (on the photo signature?) :-)
Завидую сидящим тогда в зале...
Басы шикарные оба , Хайнс смахивает на центрального баса, т. е. баса-профундо...но...
Если спорить о ,,басистости,, , послушайте великого Максима Михайлова.
Для англоязычной аудитории - это тот, кто исполнял роль протодиакона в фильме Эйзенштейна ,,Иван Грозный,, /1944/...
Из итальянцев - Джулио Нери. Из немцев и австрийцев - Вебер, Фрик, Вебер. Из скандинавов - Андресен и Талвела. Ещё в старые времена был испанец Хосе Мардонес.
А вообще самый "басистый" оперный голос в истории звукозаписи - это, вероятно - Эмануэль Лист.
@@grouchomarx5609
Да, пожалуй, но о Мардонесе трудно судить - давно это было и записи маловразумительные. А русские басы - В. Р. Петров, Платон Запорожец, Паторжинский, Ведерников, Б. Морозов - их немного, - в опере, пожалуй, самый редкий голос - центральный/настоящий/ бас !
@@grouchomarx5609
Ну что Вы, рядом с Михайловым?
Итальянские газеты в своë время писали о Михайлове : мы не только не знали, что такие басы где-то поют, но что такие басы в природе существуют!
Тембр его - это даже не центральный, т. е. профундо, а бас-октава. Так же, впрочем, как и у протодиакона Розова.
@@Alexander_Zemsky А я что, говорил, что мне не нравится Михайлов/Михайлов плохо поёт/я пою лучше (или хотя бы на уровне Михайлова)? Или что Михайлов хуже кого-либо из перечисленных мной? Ну что Вы, рядом с дон Кихотом?
Am I being thick ... what is BP?
who’s conducting
Класні .
What's going on here? I see no posts suggesting that the singers are not true basses. And yet I see lots of people shouting that they are indeed basses.
Anyway, what does it matter? As long as they sing well, you can call them coloraturas for all I care.
…useless to compare the incomparable(s): Siepi and Björling were among voices of the century. They might well continue through the lifespan of the known world. As no one seriously draws any comparison to a Fritz Wunderlich or George London, Maria Callas or Birgit Nilsson. Just to name a few…
I like furlanetto and ramey too
MDM427
Furlanetto cantava con la vocalità del ''ubriacone'' ...
Ramey aveva una voce di colore meno scuro e meno pastosa della vocalità del tenore wagneriano Ramon Vinay ...
@@bodiloto 😂😂😂 lapidario, essenziale ma molto molto veritiero.
Hines sounds like an old man at 29. Is it his will, to portray the inquisitor, to sound older?
He just had a very mature voice. That's not his fault
I don't recognize very well Jerome Hines voice in this récord , i'm not sure was him .
It's a broadcast from November 11, 1950, which is on the Met's channel on Sirius Satellite Radio. Hines is indeed the Grand Inquisitor. The rest of the cast includes, Jussi Bjoerling, Delia Rigal, Fedora Barbieri and Robert Merrill. I've listened to it many times and the whole performance is phenomenal.
@@verdiguy thank U !!
@@arielbarrales5900 You're welcome!
that’s how hines sounds
What a dream cast except maybe Bjorling (too small) but this is great
1) Neri
2)hines
3)Chrisroff
4)Siepi
5)ghiaurov
958)Pape hohohohohohohohoo
5) Ghiaurov?!
ahahahahahahahahahahah !
1a Martti Talvela + Joseph Greindl !!!
You found a place for Pape in this list!
Jerome Hines quotes John 3:16 on his autograph. Unfortunately, remins me of my mother-in-law (whom I am desperately trying to forget) It was her constant quote, flung it at me. She hated me because I did not belong to her intolerant, insane sect. So much for "so loved god the world" etc.