I just can't believe that today's opera singers gets rewarded and lauded for teaching people the modern technique. They not only end up ruining singers' voices in the long run; but, they also teach them introverted acting which makes it harder for singers to express themselves and the opera characters through the music.
It was Lauri Volpi, he had complained about modern tenors, because some of them just don't sing in original key, and he said they should have a competition......
If we want to talk about vocal efficiency, how about all the super duper machoistic tenors who ended up taking arias down a half step or more later on cause they could t efficiently reach a high C any longer, like del monaco, Corelli, distefa o, Caruso, etc.
Down from Kentucky....I think opera is a very taxing singing carreer and vocal cords and voices change with time. I am fine with transpositions and would rather hear a beautiful sung aria than a labored one. Historically singers always used transposition.
How about the fact most opera houses nowadays tune at 440 and more typically now 444! more than a quarter step higher than they did when Verdi wrote his operas at 432hz. The Cs composers wrote ain’t the same ones we sing. Transpositions are fine regardless. If you are perfect vocally for 90% of the role, who cares if you sing an aria half a step down.
the last sequence shows why the younger generation is not able to sing, these old Italian men were NO teachers. Only took money from rich Asian people, which just have some skills. These mainly Korean and Japanese did an act of charity to feed the old opera legends. Perhaps thry should better go to Romania. The chance to find an accurate teacher who has still understanding of the old is higher there. Seldom that an old stage animal is a good pedagogue. The former teacher in Italy also were no perfoming opera.
The instruction in this video is filled with just enough half-truths to be dangerous and should be disregarded instruction-wise. Apart from that, none of the modern examples were at all bad. Meanwhile, the LoMonaco clip was ghastly, Melchior belonged to a completely different fach, and Di Stefano, while an exciting singer, used this technique to dramatically shorten his career as his high notes became tired and shouty way too soon.
Maybe you’re partially blind or at least halfway slow, but clearly the great Lauri-Volpi is a way older man there (turning 86 that yr) & his voice is incredibly preserved w/great depth, core, cord closure, & full voice all the way to the high C. If you’d rather hear excessively light, bright, overly reserved mediocrity that’s constantly presented in opera these days then that’s your problem.
The two schools are not very different, you are exaggerating this difference and what is more important is; The world has changed, aesthetic artistic perception has also changed.. technical expression will also change..
3:12 opened scream by throat ripper bari volpi. 3:35 another bari screamer. 😂 lomonaco - typical bari screamer. 4:23 its a scream, its an obvious scream by sandwiched bari monaco. 4:50 a sick throat ripper. Why you calling a screams like its a covering chest!? Chest is a support, its not for screams!
@@siddspain opera goes for screaming for a long time ago, verismo have killed a real suitable timbres - "small" voices are nothing - wrong! They put on delusional dramatic roles wrong timbres, which bigger, but they cant hit even a middle composers notes - they just can scream, forcing. Its a fact. Ligher sound isnt an evil, they must teach ligher voices for better, but they not, they but more bigger voices and called this "dramatic or spinto", screams and histerias are worser than smaller sounds
@@Monnarchmonnarchy That's delusional. 'Small' voice is not a law of nature. It means the person does not know how to use it. These phenomenal juicy notes you hear here are not 'screams'. That's just your coping mechanism.
@@tamirlyn another smarter. You are similar with pianists, conductors - they are definitly know nothing in opera. You worshiping on screamers and yell disasters like callas or caruso. I disrespect most of you, trolls
Not everybody is capable of singing a full chest voice high C. I'm fine with that if it sounds easy and beautiful. If it is effortful and shows strain I'd much rather listen to the the other. My voice teacher told me to always sing in the most lyrical way.. besides THAT is MY glory!
I just can't believe that today's opera singers gets rewarded and lauded for teaching people the modern technique. They not only end up ruining singers' voices in the long run; but, they also teach them introverted acting which makes it harder for singers to express themselves and the opera characters through the music.
The same with old "technique" - s bunch of screamers
Where did Lauri-Volpi get his peculiar variation of the text? (It is very funny when he says he can sing the C sitting down.)
La dolce speranza is in some ricordi editions. And he knew Puccini, so he was fine with that text
Grande Volpi! Che temperamento....immenso Del Monaco
Could someone help me with understanding the bonus clip? Who is the singer, what is he saying, and why is he so angry?
It was Lauri Volpi, he had complained
about modern tenors, because some of them just don't sing in original key, and he said they should have a competition......
If we want to talk about vocal efficiency, how about all the super duper machoistic tenors who ended up taking arias down a half step or more later on cause they could t efficiently reach a high C any longer, like del monaco, Corelli, distefa o, Caruso, etc.
Down from Kentucky....I think opera is a very taxing singing carreer and vocal cords and voices change with time. I am fine with transpositions and would rather hear a beautiful sung aria than a labored one. Historically singers always used transposition.
How about the fact most opera houses nowadays tune at 440 and more typically now 444! more than a quarter step higher than they did when Verdi wrote his operas at 432hz.
The Cs composers wrote ain’t the same ones we sing. Transpositions are fine regardless. If you are perfect vocally for 90% of the role, who cares if you sing an aria half a step down.
this last dude. I am glad I wasn;t there. Kinda scary
Stefano is the Best !
the last sequence shows why the younger generation is not able to sing, these old Italian men were NO teachers.
Only took money from rich Asian people, which just have some skills. These mainly Korean and Japanese did an act of charity to feed the old opera legends.
Perhaps thry should better go to Romania. The chance to find an accurate teacher who has still understanding of the old is higher there.
Seldom that an old stage animal is a good pedagogue. The former teacher in Italy also were no perfoming opera.
That s right. I study classical canto and we still use old Italian traditional methods. :))) but the given sensations are cool
No franco corelli? The best? Dang?
baritone franco was with histerical falsetto
Ma che dici...😂😂😂😂😂@@Monnarchmonnarchy
@@raynardi2326 ??? Are you ok?
3:34
The instruction in this video is filled with just enough half-truths to be dangerous and should be disregarded instruction-wise. Apart from that, none of the modern examples were at all bad. Meanwhile, the LoMonaco clip was ghastly, Melchior belonged to a completely different fach, and Di Stefano, while an exciting singer, used this technique to dramatically shorten his career as his high notes became tired and shouty way too soon.
Brandon...I totally agree with you.
This account has got to be rage bait ain't no way you think those last three four are good sounds there's no legato...
The intonation of that last fella was horrid.
That's Lauri Volpi, he was very old here. He was one of the greatest when younger.
Era anziano, seduto....ma i suoi acuti sono passati alla storia
Maybe you’re partially blind or at least halfway slow, but clearly the great Lauri-Volpi is a way older man there (turning 86 that yr) & his voice is incredibly preserved w/great depth, core, cord closure, & full voice all the way to the high C. If you’d rather hear excessively light, bright, overly reserved mediocrity that’s constantly presented in opera these days then that’s your problem.
The two schools are not very different, you are exaggerating this difference and what is more important is; The world has changed, aesthetic artistic perception has also changed.. technical expression will also change..
3:12 opened scream by throat ripper bari volpi.
3:35 another bari screamer.
😂 lomonaco - typical bari screamer.
4:23 its a scream, its an obvious scream by sandwiched bari monaco.
4:50 a sick throat ripper.
Why you calling a screams like its a covering chest!? Chest is a support, its not for screams!
It shows what old singers searched before mics even if it's hit a miss, doesn't go for the lighter sound
@@siddspain opera goes for screaming for a long time ago, verismo have killed a real suitable timbres - "small" voices are nothing - wrong! They put on delusional dramatic roles wrong timbres, which bigger, but they cant hit even a middle composers notes - they just can scream, forcing. Its a fact. Ligher sound isnt an evil, they must teach ligher voices for better, but they not, they but more bigger voices and called this "dramatic or spinto", screams and histerias are worser than smaller sounds
@@Monnarchmonnarchy That's delusional. 'Small' voice is not a law of nature. It means the person does not know how to use it. These phenomenal juicy notes you hear here are not 'screams'. That's just your coping mechanism.
@@tamirlyn another smarter. You are similar with pianists, conductors - they are definitly know nothing in opera. You worshiping on screamers and yell disasters like callas or caruso. I disrespect most of you, trolls
Not everybody is capable of singing a full chest voice high C. I'm fine with that if it sounds easy and beautiful. If it is effortful and shows strain I'd much rather listen to the the other. My voice teacher told me to always sing in the most lyrical way.. besides THAT is MY glory!