thank you for helping me. yes, the recording is from 1911. I just use to clean old recordings moostly or myselfe. I could better enjoy it... 1st I clean up the cracks, 2nd I put a compression to the voice (not to be so thin) 3rd I give a litle stereo effect (to give a shine to the voice). But every recording needs a special method and steps. I'm very pleased that you enjoy it. R.
I regret to say that Luisa Tetrazzini was born too early. She would have left us more refined recordings of this aria had she been born later by fifty or sixty years at least. Nevertheless, I find her voice really amazing; the sound quality of this recording is so remarkable. Thanks a lot for posting this clip. Luisa Tetrazzini had a very beautiful and pure voice.
Happy Birthday Luisa born on June 29, 1871, one of the greatest coloratura sopranos I ever heard. She would have been one hundred forty-four (144) today.
Such clarity and power - and real strength when required. The 78 when played on a wind-up gramophone has great immediacy, but the cleaned-up sound here is impressive, thanks.
@@ksionc100 Voice is bigger than any coloratura’s today. It got clarity, chestvoice, correct vibrato action and chiaroscuro to perfection. Now you know.
@@draganvidic2039 yes, we've all watched TiO channel. Their instructions focus on how to make the core of the voice and its adjacencies bigger. How does it translate to the extremities of the voice with high fiorituras, staccatos etc. is less obvious and the 'restored recordings' don't seem to give real representation.
Thanks so much for posting this. So many recordings from that long ago can only hint at what the singer must have sounded like, but listening to Tetrazzini skip merrily through one of opera's most fearsome obstacle courses, I remembered reading a history of Oscar Hammerstein's Manhattan Opera Company. Comparing her to that era's reigning prima donna assoluta, Vincent Sheean wrote that if he had been alive then, "I would have admired Melba, but spent my money on Tetrazzini."
This is only rivaled by Callas and Sutherland as my favorite "Ah non giunge". So much joy, grace and perfect style in her singing, besides the magnificent voice and virtuosity.
@@irinakhruleva955 good joke, back then the voices were very loud, huge, with much more core, chest voice, darkness. Nowdays they struggle to be heard beefed with aplification. So, think twice before writing nonsense!
Dear Nick, here again with our great and admired friend Luisa... I think that Tetrazzini recorded "Ah, non giunge" only twice - in 1904 with piano accompaniment and then in 1911 with orchestra. In fact, thanks to Rosa P. here we have an excellent remastering of an excellent copy of the 1911 version. Let's be inspired and have a wonderful day beyond any "uman pensiero" and "sempre uniti in una speme formiamoci un ciel d' amor!" (at least give a try...)
Dear Nick, I am NOT Rosaponselleart... I 'm only another thankful listener of Rosaponselleart channel... but seeing your comment and remembering a discussion we had some time ago about Tetrazzini, I just wrote to you my idea (may be wrong) about this beautiful recording! Now we have to wait Rosaponselleart's answer to know the truth...
I never liked her. The higher notes are pure head tone and her staccti and trills etc. are clean, but as with so many 'coloraturas' from her heyday to the late 20th century, the lower tones are quite ugly and the transition to head voice is not smooth. There should be no audible 'registers.' She sounds like she has two entirely separate voices.
Tetrazzini was criticized for her lower register (and middle register) by vocal critics of her own day. Her voice is certainly not perfect. However, there is a joie-de-vivre in her singing, a technical virtuosity, and a pureness and beauty in her upper register that largely compensate for any defects.
La regina dello staccato e di ogni tipo di agilità e fiorettature...
Amazing, great balm to the ears and soul after listening to a "star" of today bleating, wobbling, and whining her way through this!
She is spectacular in her singing. I cannot imagine how she did that fancy passage work. It is unbelievable.
Interpretazione meravigliosa. Gli abbellimenti fenomenali e perfettamente consoni con il brano. Quando la Tetrazzini canta così è favolosa.
I simply cannot imagine better staccato than this. It's a clear perfection to me which can't be found anywhere else...
Un vrai rossignol ❤❤❤❤❤ Merveilleuse !!!!!
thank you for helping me. yes, the recording is from 1911. I just use to clean old recordings moostly or myselfe. I could better enjoy it... 1st I clean up the cracks, 2nd I put a compression to the voice (not to be so thin) 3rd I give a litle stereo effect (to give a shine to the voice). But every recording needs a special method and steps.
I'm very pleased that you enjoy it.
R.
MORE >>> MORE>>>>
well that's bel canto!!
Brava! ~ Such perfect intonation! Delightfully joyous and playful ... I can only image her effect upon the stage - True belcanto singing
I regret to say that Luisa Tetrazzini was born too early. She would have left us more refined recordings of this aria had she been born later by fifty or sixty years at least.
Nevertheless, I find her voice really amazing; the sound quality of this recording is so remarkable. Thanks a lot for posting this clip. Luisa Tetrazzini had a very beautiful and pure voice.
Happy Birthday Luisa born on June 29, 1871, one of the greatest coloratura sopranos I ever heard. She would have been one hundred forty-four (144) today.
A sweet young bird!
Such clarity and power - and real strength when required. The 78 when played on a wind-up gramophone has great immediacy, but the cleaned-up sound here is impressive, thanks.
Thank you.
The sound is impressive but how close is to her true sound? First we had a poor recording, then someone engineers it with tonnes of artificial reverb.
@@ksionc100
Voice is bigger than any coloratura’s today.
It got clarity, chestvoice, correct vibrato action and chiaroscuro to perfection.
Now you know.
@@draganvidic2039 yes, we've all watched TiO channel. Their instructions focus on how to make the core of the voice and its adjacencies bigger. How does it translate to the extremities of the voice with high fiorituras, staccatos etc. is less obvious and the 'restored recordings' don't seem to give real representation.
Thanks so much for posting this. So many recordings from that long ago can only hint at what the singer must have sounded like, but listening to Tetrazzini skip merrily through one of opera's most fearsome obstacle courses, I remembered reading a history of Oscar Hammerstein's Manhattan Opera Company. Comparing her to that era's reigning prima donna assoluta, Vincent Sheean wrote that if he had been alive then, "I would have admired Melba, but spent my money on Tetrazzini."
This is only rivaled by Callas and Sutherland as my favorite "Ah non giunge". So much joy, grace and perfect style in her singing, besides the magnificent voice and virtuosity.
NONE OF THE CURRENT SINGERS TODAY CAN MATCH TETRAZZINI
the style of singing is different, you cannot really compare. The singing back in the day was much lighter than now.
@@irinakhruleva955 good joke, back then the voices were very loud, huge, with much more core, chest voice, darkness. Nowdays they struggle to be heard beefed with aplification. So, think twice before writing nonsense!
@@mortlock36 Thanks
Complete nonsense - fine singing is fine singing, period. No-one gets within light-years of this today.@@irinakhruleva955
How true. But how to you match perfection?
Fabulous sound! Thank you!
Chest voice correctly combined, BRAVA !!
Omg thats even better than the one in 1904. 😍
Excellent work! Thanks so much for sharing!
¡Inigualable!
Dear Nick, here again with our great and admired friend Luisa... I think that Tetrazzini recorded "Ah, non giunge" only twice - in 1904 with piano accompaniment and then in 1911 with orchestra. In fact, thanks to Rosa P. here we have an excellent remastering of an excellent copy of the 1911 version. Let's be inspired and have a wonderful day beyond any "uman pensiero" and "sempre uniti in una speme formiamoci un ciel d' amor!" (at least give a try...)
In der "Vor-Mikrofon-Ära" sind
*Höhen* und *Tiefen* besonders
problematisch wiederzugeben
Wie die Restauration immer besser
wurde, ist *auch* ihre Wiedergabe zu
pflegen: Die Übertragungs-Kette ist
so stark wie das schwächste Glied!
EQUALIZER Variante
'Caruso EQ Referenz'
(update Einstellung!)
*©2024* HL, Germany.
-01,0 dB (60Hz)
-12,9 dB (230Hz)
-15,0 dB (910Hz)
-15,0 dB (4kHz)
+15,0 dB (14kHz)
Die kleine Mühe der EQ-
Einstellung lohnt sich....
Eine "EMPFEHLUNG"
hört den Unterschied
( yt ITbNY1PV_yg )
Probieren Sie bitte mit Handy-
Steuerung die o a. EQ-Angabe
Es *ergibt einen besseren Ton.*
*EQ-Regelung* ist *KEINE* Änderung einer mgl. zugrunde liegenden Restauration. Sie wirkt wie z.B. eine 'Kirchenorgel stimmen' oder eine 'OhrBrille' und kann (bei alten Aufnahmen fast stets) zu brillanterem Kontrast der Wiedergabe führen. Das Schöne ist, dass es ohne großen Aufwand erreicht wird. Wer die Musikanlage vom Handy aus (Bluetooth Audio) steuert, sollte damit keine Probleme haben. Intensität der BBooster-(EQ) App bitte *voll* ausnutzen; Gesamtlautstärke ggf auf der externen Anlage einstellen!
Es ist NICHT leicht, mittels eines EQ eine merkliche Besserung der Klangqualität antiker Aufnahmen zu *finden!* Hierzu gibt's *kein* Preset. Die angegebene Präzisionseinstellung© hat hunderte Stunden meist kleiner Schritte der Verfeinerung erfordert (durch Abgleich vieler historischer Aufnahmen u. a. von ECaruso, LTetrazzini, Orgel, Violine, Klavier usw. - mit WFurtwängler, ATatum, KRichter, ACortot, SFiorentino etc), um alle Praxistests zu bestehen. Insofern ist nur *exakte, genaueste* ! Befolgung wirklich zielführend in "die 1. Reihe".
Dear Nick, I am NOT Rosaponselleart... I 'm only another thankful listener of Rosaponselleart channel... but seeing your comment and remembering a discussion we had some time ago about Tetrazzini, I just wrote to you my idea (may be wrong) about this beautiful recording! Now we have to wait Rosaponselleart's answer to know the truth...
♥️💐
Великая на все времена.У современных певиц нет такого тембра.Из наших только у одной Куляш Байсеитовой очень похожее пение.
Un uccellino
The Gruberova of the 19th century !!!
Olivier TROST Don't insult Tetrazzini!
Are you Crazy??
Parafrasando Schopenhauer:"qui non c'è trippa per gatti".
Vivant encore en démocratie, j’affirme avec aplomb ce à quoi je crois. Non mais !
I don't know about that. I enjoyed Gruberova for decades, but I can't stand listening to Tetrazzini for more than a few minutes.
I never liked her. The higher notes are pure head tone and her staccti and trills etc. are clean, but as with so many 'coloraturas' from her heyday to the late 20th century, the lower tones are quite ugly and the transition to head voice is not smooth. There should be no audible 'registers.' She sounds like she has two entirely separate voices.
I’d love the opportunity to compare it with Suzanne’s recording.
It's your ugly spirit, you can't understand Tetrazzini's singing, that's your problem!
La Tetrazzini is shining, who cares of what you're saying!
@@marinellabakken5863 I care. And I agree.
Tetrazzini was criticized for her lower register (and middle register) by vocal critics of her own day. Her voice is certainly not perfect. However, there is a joie-de-vivre in her singing, a technical virtuosity, and a pureness and beauty in her upper register that largely compensate for any defects.
@@meltzerboy A case similar to Joan Sutherland?