I wish we could bring these legendary tenors back for one more night, they’d sell out immediately!! There’s nothing like the legendary sounds of Corelli, Del Monaco, Di Stefano & Pavarotti... These are masters at the tenor voice, these men could sing it all!
The problem would be that none of the big opera house would hire these kinds of voices today. They would think they were to raw - shouting too much. Not refined and artistic enough. Today you have to be good looking and have the correct manager to get you into the right circles...
Managing the tenor voice and the repertoire is a huge feat in itself. I give credit to all of these men. Pavarotti had that unfailing vocal technique. Del Monaco had the biggest balls anywhere and he took no prisoners. However, the one who always, always brings me to tears, and send chills up my spine, while my jaw is on the floor in awe is Mr. Franco Corelli.
Couldn't agree with you more. While I like Pavarotti a great deal... the feelings that Del Monaco stirs are amazing... and then.... there is Corelli.... The emotions he makes one feel are unparalleled.
When we listen to our favorites, we perhaps ignore or we are not aware of their short comings. Corelli is one of my favorites as well, but he did run ahead of tempos in live performances to get to his great high notes, used excessive portamento where not written, occasionally scooped to his high notes, rolled his Rs, lisped in French and sometimes in Italian. His Italian was obviously good, but his diction was not impeccable. He also flubbed on some recitatives. But these shortcomings were not what defined the great tenor, as he had the ability to use mezza voce and diminuendo in a warm quality of voice which allowed him to be intimate with his listeners. He also had great facility in his high notes and upper high notes with endless breath, which was rare for a spinto tenor. He was typified by the Met as the Prince of tenors and Mr. Sold Out. Some of his so called mannerisms may have been a result of his terrible stage fright, which he battled throughout his career. I remember a Saturday matinee performance of Don Carlo from the Met circa 1972, where the announcer stated that Mr. Corelli is indisposed but will go ahead with the performance. Shortly into the 2nd act, my father turned to me and said jesting, '' It's a good thing he's indisposed'', Meaning, that he was great that day. I saw Corelli, Di Stefano and Del Monaco live circa 1962. They were all great, but in different ways. In my opinion, the great tenors always gave us their best and were even better at times. They seem to captivate us regardless of their shortcomings. Enjoy
@@sugarbist Music is art, and art is about emotion. Emotion should always come first when it comes to music. A singer is there to convey the message and emotion of the music first and foremost. Emotion is not perfect, and that is what really produces great music. Perfect music terrible, we have “perfect” music in contemporary genres at the moment, where everything is electronically enhanced to be perfect, and contemporary music has never been worse. Everyone also have their own definition or idea of what perfect sounds like. No one is perfect, all singer have their obstacles. Although every good singer can deliver a practically perfect performance from time to time. Music should be listened to with your emotions first and foremost. After that you might consider technical aspects, if it is actually relevant. Sometimes it can be relevant such as in the case of Grigolo, for example.
Desde mi inorancia.. y experiencia como Tenor aficionado y amante la musica y las bellas artes. Pavarotti es un superdotado, pero por su fisico se asemeja a un BAritono superdotano que domina los agudos. Pero Franco Corelli es un verdadero TENOR de pura sangre que desde esta condicion de Tenor virtuoso, potente, apasionado y sensible, con grandes dotes de actuación,.. Encarna las bellas artes y nos lleva por un viaje de evocaciones poderosas y sutiles.. como tormentas .. tempestades.. y calidos dias de sol donde florece una Rosa.
I agree that something horrendous has happened to the modern operatic world. I guess the so-called producers, conductors and singing‘teachers’ have a lot to answer for. Also the talent pool is so much smaller today than 50 years ago. Opera is in total decline. I’m glad I heard some of the greats to know the true glory of the art form.
Like Carlo Bergonzi! He came back to the Met in the late 70s and was still amazing. The two last great tenors from the Italian school were Giuseppe Giacomini and Nicola Martinucci, the latter I saw as late as 2004 in Macerata at Sferisterio. He sang a fabulous Pagliacci!
I’m not sure where I stand with Del Monaco. In one hand he sounds incredible even when singing lyric roles, and his gigantic voice lends itself to very dramatic phrasing. But at some point he just stopped trying. So many recordings of his have no dynamic level besides fortísimo and it wears on me after a bit.
@@bodiloto So not MDM? I saw him in house do it in 1959 in Milan, at that time he sounded better then any of his recordings which where on the London label with Tebaldi, he sounds there almost like someone is strangling him, early in his career he sang piano wonderfully and also Lyric roles so well, like both Ballo and Pinkerton and in Butterfly, and then a car accident and by the 1960's the voice wasn't quite the same. I only understand English if you answer me.
I had the misfortune of sitting in a half empty Metropolitan Opera Theatre for Grigolos recital/debut/introduction to the world of opera. He was a joke. At the time, all I could think is that he must either be bending over and giving it up to the right person or that he had sold his soul to the devil.
Los antiguos tenores tenían mucho más estudio, eran maestros del bel canto y buscan el aplauso como tiene que ser. Digamos que se sobre exigían para la ovación de pie. Ojalá hubiera más gente así hoy en día.
The three additional old-school tenors I would love for Luciano Pavarotti, Franco Corelli, Giuseppe di Stefano, and Mario del Monaco to be joining forces with are Giacomo Lauri-Volpi, Galliano Masini, and Beniamino Gigli.
There's no comparison to the Divine dedicated voices of these legendary tenors to the meak, pittyfull squicky ones of nowadays counterparts...How I wish I would rather live during their glorious era.
Pavarotti aveva una tecnica ed una emissione molto più raffinata. Certo Corelli aveva questi grandi suoni cavati, questi splendidi diminuendo ed un carisma d'altri tempi. Ad averne oggi....
Corelli mi fa venire i brividi e le lacrime. Il miglior tenore della storia per timbro stile numero di vibrato. E per comportamento un uomo che avrebbe oggi un successo nel mondo , posso ascoltare per ore e per ore provare la stessa emozione
OperaMyWorld, I used to feel torn between pursuing a career as an opera singer and a pianist but when I read “Training Tenor Voices” by Michael Trimble, it said most professors and coaches in voice don’t know their stuff and screw you over unwittingly. I had heard others say the same online like “This is Opera” and dismissed them as arrogant bigots but almost EVERY new opera star I see has the microphone up to his face and I am beginning to understand and accept the bitter truth. That’s why I’ve chosen piano instead.
And I wish you the very best of luck. I absolutely love opera, I'm 45 now and got into it when I was 15. That said, I have not been to an opera house for over 20 years, I just cannot suffer the bad singing and poor ugly staging anymore. I managed to build quite a collection of recordings and they give me a lot of pleasure, satisfaction and just pure joy. I've got tonnes of recordings of Franco, Pippo, Mario and Luciano. As for Alagna, Kaufmann and - in particular - Grigolino, it's a BIG FAT ZERO. Not one recording in my possession, thankyouverymuch. It is sad, opera is to be experienced live in theatre, not listened to from discs. But like you, it took me time to accept the bitter truth 😔😔
And I wish you the very best of luck. I absolutely love opera, I'm 45 now and got into it when I was 15. That said, I have not been to an opera house for over 20 years, I just cannot suffer the bad singing and poor ugly staging anymore. I managed to build quite a collection of recordings and they give me a lot of pleasure, satisfaction and just pure joy. I've got tonnes of recordings of Franco, Pippo, Mario and Luciano. As for Alagna, Kaufmann and - in particular - Grigolino, it's a BIG FAT ZERO. Not one recording in my possession, thankyouverymuch. It is sad, opera is to be experienced live in theatre, not listened to from discs. But like you, it took me time to accept the bitter truth 😔😔
And I wish you the very best of luck. I absolutely love opera, I'm 45 now and got into it when I was 15. That said, I have not been to an opera house for over 20 years, I just cannot suffer the bad singing and poor ugly staging anymore. I managed to build quite a collection of recordings and they give me a lot of pleasure, satisfaction and just pure joy. I've got tonnes of recordings of Franco, Pippo, Mario and Luciano. As for Alagna, Kaufmann and - in particular - Grigolino, it's a BIG FAT ZERO. Not one recording in my possession, thankyouverymuch. It is sad, opera is to be experienced live in theatre, not listened to from discs. But like you, it took me time to accept the bitter truth 😔😔
And I wish you the very best of luck. I absolutely love opera, I'm 45 now and got into it when I was 15. That said, I have not been to an opera house for over 20 years, I just cannot suffer the bad singing and poor ugly staging anymore. I managed to build quite a collection of recordings and they give me a lot of pleasure, satisfaction and just pure joy. I've got tonnes of recordings of Franco, Pippo, Mario and Luciano. As for Alagna, Kaufmann and - in particular - Grigolino, it's a BIG FAT ZERO. Not one recording in my possession, thankyouverymuch. It is sad, opera is to be experienced live in theatre, not listened to from discs. But like you, it took me time to accept the bitter truth 😔😔
@@mateusztarnawski2177 The film industry is pretty much the same way today. After seventy years of great artistry, the powers that be, shot it in the foot with manufactured stories and social-political propaganda.
and to think that NO recording captured the "real" voice of Corelli. Occasionally a "live" performance gets about 70%. How lucky I was to have heard it.
@@stephenlord9 I wish I had the opportunity to see a singer the quality of Corelli live. The difference between listening to an orchestra live and a recording is night and day, I imagine it's a similar case with Opera vocalists
@@miguelpereira9859 I tell you... it was bigger, darker, softer -- everything than any recording can show. I was lucky to be coach for so many fine singers from Scotto, actually living and traveling with Shicoff and and and. When these people are on there was nothing like it. Commitment, dedication, standards.
@@stephenlord9 Dear Stephen, On the contrary, Corelli's voice recorded very well, especially on Angel Records. He was slightly more lyric in the theater than on records.
The most shocking thing of this video is how people will applaud the most godawful singing based on name recognition. Beware all tenors: if you hear DiStefano you will never have the courage to sing again. They were truly giants.
A livello vocale Del Monaco è fuori concorso!!! Stupendi Corelli e Di Stefano Anche Pavarotti è bravo... Alagna non apparteneva ai tenori tipo Kaufmann Cura Grigolo ecc...ma sbagliando repertorio piano piano lo diventa...Gigolo è inascoltabile ... Kaufmann vuole essere un fenomeno ma riesce solo a farci male alle orecchie...
@@delibeslakme6451 Exacto. Hay que saber de la técnica vocal para poder hacer este tipo de afirmaciones. La voz de Pavarotti era de lírico puro y un timbre bellísimo, que en vivo se escuchaba tan espectacular como en grabación.
Oh God.... there simply is no comparison whatsoever. I mean, what do I know, I was born too late. I was still wearing nappies when Del Monaco passed away. Some say he wasn't very subtle - perhaps he wasn't indeed. But many a time I got real goosebumps listening to his powerful characterizations. I saw Pavarotti once live in concert, in open air, it was at Hyde Park in London in 2001 - what a voice, unforgettable. The great Franco Corelli - I only spoke with him on the phone a few times, between 1998 and 2002. But boy, haven't we all stacks of records of his, one of the most exciting and electrifying singers ever. Di Stefano I had the immense pleasure of meeting and interviewing in June 2003 - again, a true talent, a real gem, the records could not be straighter on that, even if his voice did deteriorate later in his career. Today nobody gives me no thrills at all. Alagna perhaps, in the right repertoire, although again never as exciting as the old masters. Kaufman - no, not really, he pushes his voice back and darkens it, also he often overdoes his piano that then lacks any vibrato, not to say squillo... Grigolo is simply pathetic in everything he does, I'm sorry. And who even allows him to use microphone...? Again - PATHETIC CRAP. I'm not an expert or obsessed with technique but clearly his isn't working, which is because it's nowhere near a good, solid or even correct singing technique. A true tenorino but then the La Scalas and NY Mets etc should not be asking me / us to pay for tickets to hear and see their pathetic tenorinos on stage. And again it's not really better on the ladies front either. I won't mention names but for God's sake, I'm currently listening to a 1950 mono recording of LA FANCIULLA DEL WEST with Carla Gavazzi - and she wasn't even the biggest of the names of the era....!!!! Yet it is an absolute pleasure listening to her, in any role she recorded (even if there were only few). Callas, Tebaldi, Milanov, Cerquetti, Stella, Price, Nilsson, Caballe - they could all be compared to some big names from a decade or two (or even four..!) earlier. Today's ladies that grace (?) our stages can't. I've not been to a theatre for a decade and half now, and don't really regret it. I've amassed quite a collection of older recordings and they satisfy me fully. Sad perhaps but I wouldn't spend a penny to hear a Kaufman or a Netrebko. Grigolino....?? - NOT A CHANCE.
I'm an admirer and student of tenor voice for over 40 years. I find the comparisons that seemingly are increasingly popular tend to focus on the Italian "romantic" repertoire almost to the exclusion of Baroque (rendered by modern tenors there being a dearth since Napolean of castrati) as well as Wagnerians ( I'm no fan of Wagner, but love Melchior). I have spent many hours rapt listening to the accomplishments of Corelli, and Pav, and others of that presumed ilk, but wonder at how such versatile singers like Wunderlich and Lemeshev and Bruce Ford aren't considered.....
There is no doubting the great tenors of the past, however it is a bit of a recurring syndrome to constantly every decade berate the current singers and remain in awe for those of the past. The same happened when Caruso began, people lamented Jean de Rescke and the others of his time, probably the same happened at the time of Duprez. People did the same during Del Monaco and Corelli, mentioning their “vulgar” singing, then that repeated during the days of Pavarotti Domingo and Carreras. Our current times are no different, and a coincidence that repeats itself is no longer a coincidence. You may ask, whether I prefer the singers of the past compared to those listed above them. Yes I do, however I never had the pleasure of listening to them live, hearing about every performance of theirs, and every off night they had. I’ve had the pleasure of attending the performances of all 3 current tenors, I enjoyed their performances, and I must say I must very much impressed by Grigolo, after all I had read, I expected to not be able to hear him over the orchestra etc. which definitely wasn’t the case. He actually did a great job with Edgardo, and his Duke was also enjoyable. My favorite tenor today of course is Gregory Kunde, and he could definitely be appreciated by ears of all eras I would say. My point obviously is, enjoy the past, but also allow yourself to enjoy today.
...in the land of the blind, the one-sighted is king....Handsome look, good marketing. He even tries Tristan with not the appropriate voice like he did with Otello. As critics stated, „he has all but the voice“. RDS
@@madamedellaporte4214 ....Audiences and their demand and the voices have changed dramatically within the last 50 years. The result we see and hear today. Non mi piace. The JB, MDM, FC or GDS are to be heard for centuries to come. Fortunately we have them on record. Some of us have heard them live. Those events nourish a lifetime. Listening to Mr. Kaufmann trying Strauss 4 last songs is too much! Just to mention a current atrocity. During those tempi passati you had marvelous alternatives in lyric or dramatic voices. From Alto to Soprano, from Tenore to Basso. Comparing those icons to todays protagonists is impossible. Different worlds performing the same characters on stage. Lots of directors not interested in music, even ignoring it. Their concepts describe often only their own mental crisis. Of course there are excellent concepts. As far as voices are concerned, there are even more rare.
I wouldn’t put Pavarotti in the Golden Age Tenors Category, however great he was, the 4th tenor of the Golden Age was Carlo Bergonzi, Pavarotti was in the era of Placido Domingo and Jose Carreras
@@contraltissima By making such comments regarding a Master Tenor, I would hate for you to be a Judge in a Singing competition. Your operatic knowledge is Negligible. Keep away from TH-cam in future.
@@waynewilliams4706 Bergonzi wasn't nasal at all and neither was Tucker ever, some say the same thing about him as Bergonzi , this guy surchoix is confusing resonance with nasality, he is very wrong, anyhow I heard these guys in house, in fact in 1961, I saw Chicago lyric opera opening with Sutherland in her debut with powerful spinto voiced Tucker and two nights later with the more lyric spinto Bergonzi, she had just made her USA Debut as Lucia in NY at the Met. (also with American Tucker )I also saw tenor Bjoerling in 1958 at age 18 as the Duke in Chicago. Anyhow he can say what he wants as anything goes on you tube, even a lot of Crap and not worth answering, Bergonzi didn't have in his time high notes like Corelli had, but he was technically a fine tenor IMO.
You are correct,bergonzi the classical stylist,a truly great verdian tenor and also in my opinion the greatest recorded pinkerton,with both tebaldi and scotto
I've heard both tenors in house, and after over 63 years of opera going I ignore the BS on you tube. The only way to 100% know a voice is in the house, not recordings, there are also lots of live recordings on you tube that give you a pretty good idea of the voice, still in house if possible is best, but since they are dead we have these great old records, singers like Gigli, Di Stefano, Tucker , Bergonzi, Bjoerling, Corelli, Del Monaco and Gigli are all gone now and nobody surpasses them today, "whoever you like best is best" as you say IMO is correct , no right or wrong, I might prefer Corelli in a role, Tucker or Del Monaco in another, Bergonzi or Bjoerling in another and later Shicoff or Pavarotti in another, they where great and lasted because they where great, ignore the trolls.
Thought I was the only one who noticed Kaufmann is a hoax. Who would have thought that singing in falsetto would be enough to be a world class tenor nowadays? Mamma mia!
Che dire?La voce di Pippo Di Stefano si accendeva e si accende di un fascino irresistibile fatto di naturale bellezza e di dolcezza... Era incredibile!
Grandissimo Pippo con tutti i suoi colori meravigliosi, la sua voce pastosa,immenso Del Monaco statuario, suadente e incantevole Corelli,Grigolo imbarazzante con i suoi mugugni e le sue smorfie, Kaufmann un mistero , ingolato, intubato,Alagna peccato....
Bei Grigolo muss man weinen, das ist ein Tenorino... Pavarottis Stimme sitzt einfach, Corellis Diminuendo ist phantastisch.. Di Stefano hat eh das schönste Timbre und Del Monaco Stahl im Hals... so was gibt's heute nicht mehr, stattdessen Leute wie Klaus Florian Voigt, die klingen wie im Knabenchor...
Che l'Unesco dichiari certe voci maschili patrimonio dell'umanità perché ormai il genere maschile sta cambiando connotati ...Ieri ho seguito in tv il concorso "Le voci in canto del lago"in memoria di Aldo Finzi :le donne tutte brave e le vincitrici bravissime ,tutte orientali e con studio e disciplina italiani,...Un fantomatico tenore nemmeno si poteva dichiarare aspirante cantante lirico..da piangere Come nel caso di questi tre moderni belluini
Without squillo, the voice is simply boring I've been training, I have a lot of squillo in my voice and this is what keeps me going. If I make a change in my technique and remove my squillo I'm not so interested in practising and singing anymore
Man, if the video on your channel is you singing then I don't know why you're here criticising Grigolo, you're years away from singing like him, let alone the rest
Bueno e tenido el de oírlos Corelli supera a todos y su laringe le permite manejar bien los los pianisimos una técnica que digamos para un gran Bell cantista Corelli es una máquina de sonidos del Mónaco y D stefano también canta bien buenas técnicas vocales excelentes intérpretes bueno los otros tres parecen alumnos de canto y Pavarotti tiene mucho gusto para la voz es bonita un timbre especial para mi particular mente no me llena bien Gracias y disculpen mis comentarios
personalmente trovo abbastanza stupidi questi confronti e inutili...il convento oggi passa questo e sono le case discografiche a spingere ed esaltare certi cantanti, anche se Kauffmann a parer mio, è più intelligente degli altri
@@occhioverde71 mi riferivo a chi ha postato il video, il suo commento era legittimo e veritiero...Oggi la lirica è proprio diversa, i cantanti odierni vivono più di tecnica che di anima e pochi arrivano a cantare oltre i 50 anni, preferendo dedicarsi a loro volta ad insegnare o fare altro. Le voci tenorili in particolare sono sottili, tendenzialmente rossiniane o mozartiane ma vengono lanciate come eroiche o liriche ed i pochi tenori drammatici veri non hanno punti di riferimento in quanto i grandi sono quasi tutti morti e nessuno è disposto ad insegnare la "tecnica di affondo" quasi fosse eresia...
Amazing The Pavarotti example! Better know as the God of the vocal technique! I like the photos too! Amazing Vídeo, and You are right i Will Pay millions just to see Pavarotti in live at the met!
I’m putting this out there but, the hardest thing about this specific time we are living through is that we don’t see good singers as there used to be these great singers that died out and all there is left if the students that were taught by them, but again, we don’t see them either. Today, everyone is looking at the Avant-garde music coming from the minimalist music see partly praise, yet controversial, then we look at the golden age singers, and then we combine the two together and we have contemporary music, which has a lot of musical theatre elements to the style. Also, we now go through this time where complexity and aural skills are like “crucial to the making of a singer” than technique. Technique plays a role on your strength in your performance, if you don’t have it, you won’t be successful but also if you’re not good in aural skills and be able to analyze things fast enough, which some of the golden age singers didn’t have access to that like Pavarotti, and I’m talking about today, back then the singers could get away with it, you won’t be successful. What’s important right now and I currently go to the Manhattan School of Music myself, I see a lot of hope for the sopranos and baritones in the school, but I am sad on how many tenors there are in the school which I’ve only met 3 and I am a tenor myself, most of them have a theatrical style, and some are very hopeful for the future of the opera world, that one day, that world will rise up again, and me having a very good technique for my age (19) tells me I have a lot of potential on becoming a very well rounded Tenor with the exception of me singing in theatre within the technique I sing in. In order to have technique, you just have to relax your whole face and just open your mouth without having any tension because that’s what disturbs the voice and you end up straining it, that’s why you should just make sure your jaw and mouth when you do it. I also wanted to point out that I’ve seen many tenors and even basses have good facial structure and I’ve been looking into that general topic. I’ve observed that most if not all, breath through their nose, not their mouth, which brings me to an interesting question whether mewing is a natural thing for singers or not. If it is, then mewing would drastically improve vocal technique since it places everything where it needs to be, as well as repositioning the Pallet. Another technique thing is that you need to work on you lower and middle register in order to build you higher register because your chest resonator relies on the strength of your voice and once your chest resonates well in those registers, move on to the higher register and you should feel your head and chest vibrating, it’s like the amplifier to your speakers as the magnets in the speaker produce electrical signals that translate into sound and you see how each speaker is better or worse than each other because they’re BUILT differently. It’s an interesting insight to technique and for many it’s a controversial topic in which every technique fits into anything as long as they’re needed most. The other problem about the opera world is that opera is being seen more as a commercial thing where you can find anyone anywhere, and you’re arranged into specific categories that fit into these operas, and then you’re designated into one through your management, which is business, it’s more rare to be invited to do a production and is almost way too often that you audition for the roles.
Per favore Annamaria non si metta anche lei a favoleggiare sulla voce di Mario Lanza, un cantante poco meno che mediocre, voce gradevole ma che non aveva niente a che vedere con i veri tenori. Qui si parla di 4 assi della lirica e lei mi parla di un 2 di coppe.
La merda col cioccolato, l'acciaio con la plastica, il sole con la lampadina, il vero champagne col Tavernello in cartone, Diletta Leotta con Alessandra Mussolini, il made in italy con il made in China. Che altro dire.
What I miss are the names I green/red during the fragments. I the current form it's totally confusing if you don't know the voices and guidelines by heart.
I think your thumbnail clearly showed the fundamental difference between modern and belcanto techniques. The reason why modern opera singers are short-lived is that the direction of voice is wrong.
Wow, quite a lesson in style, strength and power. Some of my personal faves were not here: Mario Lanza #1; Placido Domingo #2; and most recently, I adore Franco Corelli, who was here. Corelli also gets the most votes here-And I agree 100%. The man was flawless and majestic. He puts others to shame. All these guys though are very accomplished Singers, except the one who was criticized by everyone!
we all have our favourites on what will always be a subjective subject....Pavarotti does it for me...his late 60's and 70's setting another level in vocal brilliance and technique
@@sugarbist like saying Muhammad Ali couldn't compete with hulk hogan or some sumo wrestler....i like Corelli very much and Mario del Monaco was very popular perhaps more so than Corelli but, both are one dimensional compared to Pavarotti
@@pavarotti744 Corelli was NOT one dimensional at all. He had a complete vocal arsenal that propelled his career from 1951 to 1976. He was known as Mr. Soldout at the Met from 1961 to 1976. He quite often used mezza voce`diminuendo with an ability to caress the music with his warm quality of voice, that enabled him to be intimate with his listeners. Corelli also had a great facility in his upper high note register as Pav did. Pav sang 20 different roles at the Met to Corelli's 19 different roles at the Met. But away from the Met, Corelli did sing Norma, Poliuto, Ugonotti, Fedora, where Pavarotti never deviated from his repertoire when singing away from the Met. In reality, Corelli sang more different roles than Pav. did but it was close. Del Monaco only sang 16 different roles at the Met, but early in his career, Traviata, Ballo, Boheme, Werther, and Turandot were also in his repertoire, but fair to say that by at least 1959 his repertoire became limited to a handful of roles. Suitability comes to mind as well, where Pav was great and more suited for Rigoletto& Boheme than Corelli or MDM, but Pav managed Aida, Chenier, Ernani & Turandot, However he did not excel in those operas at the same level as MDM and FC. Pavarotti could never sing the 3rd act of Aida like MDM or Corelli. He did not have the impetus phrasing in Ernani, or the bulk in his voice for Calaf. But he was a great lyric tenor.
Modern tenors are awful in these clips you have played,in many cases they need microphones,and thejr voices fail on the big notes,whats sad is the audiences clspping like crazy for some truly awful singing,i will stick with del monaco,corelli,bjoerling,gedda,kraus,vinnay,cortis,labo,pertile,merli,caruso,gigli,martinelli,lori volpi,and thsts just a few off hand everyone of them legends
I totally agree with you. Today's singers not that they don't have good voices, but they are so annoying, they don't awake any emotion in a person. They are dead.
New Singers are illiterate They have no technique They just copy (Bad copy) They do not have a trained voice For example Tenors : Cura, grigolo's, kauffmann, Villazon, Alagna, Vargas, Bocelli
@@loralayons1120 Трудно однозначно ответить где ситуация катастрофичнее. Но тенденция, кажется, устрашающая. Деградация очевидна уже хотя бы из того, кто становится лицом современного оперного вокала. Люди с сомнительными голосами, поющие без опоры, не умеющие петь высокие ноты. Как такое могло случиться? Мне грустно. Ваш Сэр Чарльз Эсквайер)
Сравнивать эти голоса, конечно, грешно; однако самое ужасное здесь то, что люди в массе своей не понимают разницу между ними - они попросту ее НЕ СЛЫШАТ! Читая комментарии в соц.сетях, не знаешь порой, смеяться или плакать. Все познается в сравнении: если забыть, как пели Дель Монако или Корелли, то и нынешние тусклые stars на оперном небосклоне покажутся квазарами. Остается лишь верить, что когда-нибудь ситуация в этой части вселенной изменится-таки к лучшему и вспыхнет новая сверхновая. Надежды на то, правда, мало, и тем не менее... Ждем-с.
Between Corelli and Pavarotti there were no greater voices. Sadly, if any of these masters of the past were to audition today, they would be turned away. Opera isn’t about great singing anymore. It’s about image.....having the right look. Being able to sing is optional.
Corelli? Hardly. Corelli was tall, very handsome, slim and elegant on the stage. He would definitely be raved about on any opera stage nowadays. He definitely had the right look, too. I think some people overestimate the importance of great looks for the fall in singing quality nowadays, especially about tenor singing. There are countless fat and honestly ugly tenors out there singing in the main opera stages, even when they are not even by a hundred miles as talented as Pavarotti.
Dear James, I have to disagree, Corelli was a great spinto tenor with movie star looks and a most impressive voice. Singing is always about voice first. Pavarotti was a fine gifted lyric tenor and his affable personality was cleverly marketed, and would also be accepted today. Today's better tenors are mostly passed 50 years of age and don't have great voice's. Therefore their influence along with the younger tenors today have limited influence with impresario's. When was the last time a tenor appeared in Chenier, Aida, Forza, Fanciulla, Turandot, La Gioconda, Carmen or even Ballo at the Met with a successful outing?
Strange I always thought that Di Stefano was soundly criticised for 'ruining' his voice by singing roles too heavy for his lyric voice. Pavarotti for all the brilliance of his notes sang almost exclusively in Italian and from a very small a repertoire and was not thought of as a very good actor on stage at all not to mention he was very unreliable at times. Dare I say for me I get no emotion from him which is odd as I have a preference for lyric voices. I acknowledge how good Corelli is but I prefer Di Stefano and the very underrated Jose Carreras from the older tenors. I do think we are in danger of looking back with rose tinted spectacles.
Many times Pavarotti seemed like he was going through an exercise when singing and aria or song, relying on his beautiful voice, rather than applying himself emotionally. But when did apply himself, as he does in Ideale and La Rodine Al Nido, the outcome is very special. Enjoy
![[Reality Check] Grigolo vs. Tetelman](http://i.ytimg.com/vi/TZS7IbIbmgE/mqdefault.jpg)
Will there ever be a tenor as wonderful as Corelli again. Just an unbelievably powerful and beautiful voice
Corelli is best!!
There will not be another Corelli. I envy those who heard him live!
We live in an age where" okay "is declared genius and beauty is despised "privilege. "
I wish we could bring these legendary tenors back for one more night, they’d sell out immediately!! There’s nothing like the legendary sounds of Corelli, Del Monaco, Di Stefano & Pavarotti... These are masters at the tenor voice, these men could sing it all!
The problem would be that none of the big opera house would hire these kinds of voices today. They would think they were to raw - shouting too much. Not refined and artistic enough. Today you have to be good looking and have the correct manager to get you into the right circles...
Correct about the managers. Most companies don't even audition anymore, just hire whoever the managers tell them too.
Unfortunately it’s been that way for at least the last 30 years.
@@celibidache1000 Well, they have a very distorted way of thinking about art then.
@@alessandrott7568 Unfortunately, opera has not been about art for a very long time.
Managing the tenor voice and the repertoire is a huge feat in itself. I give credit to all of these men. Pavarotti had that unfailing vocal technique. Del Monaco had the biggest balls anywhere and he took no prisoners.
However, the one who always, always brings me to tears, and send chills up my spine, while my jaw is on the floor in awe is Mr. Franco Corelli.
Enough said 😎
Couldn't agree with you more. While I like Pavarotti a great deal... the feelings that Del Monaco stirs are amazing... and then.... there is Corelli.... The emotions he makes one feel are unparalleled.
When we listen to our favorites, we perhaps ignore or we are not aware of their short comings. Corelli is one of my favorites as well, but he did run ahead of tempos in live performances to get to his great high notes, used excessive portamento where not written, occasionally scooped to his high notes, rolled his Rs, lisped in French and sometimes in Italian. His Italian was obviously good, but his diction was not impeccable. He also flubbed on some recitatives. But these shortcomings were not what defined the great tenor, as he had the ability to use mezza voce and diminuendo in a warm quality of voice which allowed him to be intimate with his listeners. He also had great facility in his high notes and upper high notes with endless breath, which was rare for a spinto tenor. He was typified by the Met as the Prince of tenors and Mr. Sold Out. Some of his so called mannerisms may have been a result of his terrible stage fright, which he battled throughout his career. I remember a Saturday matinee performance of Don Carlo from the Met circa 1972, where the announcer stated that Mr. Corelli is indisposed but will go ahead with the performance. Shortly into the 2nd act, my father turned to me and said jesting, '' It's a good thing he's indisposed'', Meaning, that he was great that day. I saw Corelli, Di Stefano and Del Monaco live circa 1962. They were all great, but in different ways. In my opinion, the great tenors always gave us their best and were even better at times. They seem to captivate us regardless of their shortcomings. Enjoy
@@sugarbist Music is art, and art is about emotion. Emotion should always come first when it comes to music. A singer is there to convey the message and emotion of the music first and foremost. Emotion is not perfect, and that is what really produces great music. Perfect music terrible, we have “perfect” music in contemporary genres at the moment, where everything is electronically enhanced to be perfect, and contemporary music has never been worse. Everyone also have their own definition or idea of what perfect sounds like. No one is perfect, all singer have their obstacles. Although every good singer can deliver a practically perfect performance from time to time.
Music should be listened to with your emotions first and foremost. After that you might consider technical aspects, if it is actually relevant. Sometimes it can be relevant such as in the case of Grigolo, for example.
@@ZENOBlAmusic Dear Zenobia, an excellent comment. Ty
Wow! Thanks for posting! Franco Corelli is a true marvel!!!! Absolutely incredible!!!!!
Di Stefano god, Corelli god, Del Monaco god, Pavarotti arcangel, the rest simply mortals.
Caruso double god
Pertile double god
Nicely put.
Pavarotti in fondo a Del Monaco, Corelli e Di Stefano.
Corelli, Del Mónaco, Di Stefano, Pavarotti…genios!!!!El resto …la nada. Saludos cordiales.
Franco Corelli aux firmament des étoiles ✨ 💕 💕 💕 💕 💕 💕 💕 💕 💕 💕 💕 💕 💕 💕 💕 💕 💕
Alagna is actually a great tenor if he just sticks to lyrical repertoire.
Desde mi inorancia.. y experiencia como Tenor aficionado y amante la musica y las bellas artes. Pavarotti es un superdotado, pero por su fisico se asemeja a un BAritono superdotano que domina los agudos. Pero Franco Corelli es un verdadero TENOR de pura sangre que desde esta condicion de Tenor virtuoso, potente, apasionado y sensible, con grandes dotes de actuación,.. Encarna las bellas artes y nos lleva por un viaje de evocaciones poderosas y sutiles.. como tormentas .. tempestades.. y calidos dias de sol donde florece una Rosa.
I agree that something horrendous has happened to the modern operatic world. I guess the so-called producers, conductors and singing‘teachers’ have a lot to answer for. Also the talent pool is so much smaller today than 50 years ago. Opera is in total decline. I’m glad I heard some of the greats to know the true glory of the art form.
Like Carlo Bergonzi! He came back to the Met in the late 70s and was still amazing. The two last great tenors from the Italian school were Giuseppe Giacomini and Nicola Martinucci, the latter I saw as late as 2004 in Macerata at Sferisterio. He sang a fabulous Pagliacci!
Corelli,grande, magnifico,eccellente.Grazie
The best Otello ever was MDM nobody can sing Esultate like him ever. Corelli was the king of Cavarodosi in Tosca and the best Calaf ever for Turandot.
I’m not sure where I stand with Del Monaco. In one hand he sounds incredible even when singing lyric roles, and his gigantic voice lends itself to very dramatic phrasing. But at some point he just stopped trying. So many recordings of his have no dynamic level besides fortísimo and it wears on me after a bit.
Try listening to Charles Craig, more than a equal to MDM. A better more musical otello than Del Monaco, less of a shouter.
@@bodiloto So not MDM? I saw him in house do it in 1959 in Milan, at that time he sounded better then any of his recordings which where on the London label with Tebaldi, he sounds there almost like someone is strangling him, early in his career he sang piano wonderfully and also Lyric roles so well, like both Ballo and Pinkerton and in Butterfly, and then a car accident and by the 1960's the voice wasn't quite the same. I only understand English if you answer me.
@@bodiloto I don't understand much Italian at all, but does the word Vecchio mean old? English please.
@@shicoff1398 Yes old
.....Voices of other Times and From
other Galaxy...!!!!!!!!!!!!!!!!!!!!!
I had the misfortune of sitting in a half empty Metropolitan Opera Theatre for Grigolos recital/debut/introduction to the world of opera. He was a joke. At the time, all I could think is that he must either be bending over and giving it up to the right person or that he had sold his soul to the devil.
He had sold his soul to the devil. The audience should booo him.
Title can be more accurate ''4 Golden Age Tenors VS almost nothing'' , The World is still blessed - hearing is remaining here.
Los antiguos tenores tenían mucho más estudio, eran maestros del bel canto y buscan el aplauso como tiene que ser. Digamos que se sobre exigían para la ovación de pie. Ojalá hubiera más gente así hoy en día.
The three additional old-school tenors I would love for Luciano Pavarotti, Franco Corelli, Giuseppe di Stefano, and Mario del Monaco to be joining forces with are Giacomo Lauri-Volpi, Galliano Masini, and Beniamino Gigli.
my top 2 mario del monaco and franco corelli ..!!!
Agree.Bella Bellissimo
There's no comparison to the Divine dedicated voices of these legendary tenors to the meak, pittyfull squicky ones of nowadays counterparts...How I wish I would rather live during their glorious era.
Corelli, Corelli, Corelli il migliore in assoluto. Io lo amo
Corelli
Pavarotti aveva una tecnica ed una emissione molto più raffinata. Certo Corelli aveva questi grandi suoni cavati, questi splendidi diminuendo ed un carisma d'altri tempi. Ad averne oggi....
@@eugeniogentili1048 And to see their deformed faces while they struggle with the aria1
@@bodiloto Totally agree.
Corelli mi fa venire i brividi e le lacrime. Il miglior tenore della storia per timbro stile numero di vibrato. E per comportamento un uomo che avrebbe oggi un successo nel mondo , posso ascoltare per ore e per ore provare la stessa emozione
Certo il finale in pianissimo di Corelli è irraggiungibile!!!
Corelli's diminuendo..... OMG GREAT!!!
Maravilloso Corelli!!!
4 Golden age tenors vs some guys with microphones and no self awareness.
Exactly.... I thought it was 4 Golden age tenors vs some guys singing with microphones in an opera karaoke bar.
OperaMyWorld, I used to feel torn between pursuing a career as an opera singer and a pianist but when I read “Training Tenor Voices” by Michael Trimble, it said most professors and coaches in voice don’t know their stuff and screw you over unwittingly. I had heard others say the same online like “This is Opera” and dismissed them as arrogant bigots but almost EVERY new opera star I see has the microphone up to his face and I am beginning to understand and accept the bitter truth. That’s why I’ve chosen piano instead.
And I wish you the very best of luck. I absolutely love opera, I'm 45 now and got into it when I was 15. That said, I have not been to an opera house for over 20 years, I just cannot suffer the bad singing and poor ugly staging anymore. I managed to build quite a collection of recordings and they give me a lot of pleasure, satisfaction and just pure joy. I've got tonnes of recordings of Franco, Pippo, Mario and Luciano. As for Alagna, Kaufmann and - in particular - Grigolino, it's a BIG FAT ZERO. Not one recording in my possession, thankyouverymuch. It is sad, opera is to be experienced live in theatre, not listened to from discs. But like you, it took me time to accept the bitter truth 😔😔
And I wish you the very best of luck. I absolutely love opera, I'm 45 now and got into it when I was 15. That said, I have not been to an opera house for over 20 years, I just cannot suffer the bad singing and poor ugly staging anymore. I managed to build quite a collection of recordings and they give me a lot of pleasure, satisfaction and just pure joy. I've got tonnes of recordings of Franco, Pippo, Mario and Luciano. As for Alagna, Kaufmann and - in particular - Grigolino, it's a BIG FAT ZERO. Not one recording in my possession, thankyouverymuch. It is sad, opera is to be experienced live in theatre, not listened to from discs. But like you, it took me time to accept the bitter truth 😔😔
And I wish you the very best of luck. I absolutely love opera, I'm 45 now and got into it when I was 15. That said, I have not been to an opera house for over 20 years, I just cannot suffer the bad singing and poor ugly staging anymore. I managed to build quite a collection of recordings and they give me a lot of pleasure, satisfaction and just pure joy. I've got tonnes of recordings of Franco, Pippo, Mario and Luciano. As for Alagna, Kaufmann and - in particular - Grigolino, it's a BIG FAT ZERO. Not one recording in my possession, thankyouverymuch. It is sad, opera is to be experienced live in theatre, not listened to from discs. But like you, it took me time to accept the bitter truth 😔😔
And I wish you the very best of luck. I absolutely love opera, I'm 45 now and got into it when I was 15. That said, I have not been to an opera house for over 20 years, I just cannot suffer the bad singing and poor ugly staging anymore. I managed to build quite a collection of recordings and they give me a lot of pleasure, satisfaction and just pure joy. I've got tonnes of recordings of Franco, Pippo, Mario and Luciano. As for Alagna, Kaufmann and - in particular - Grigolino, it's a BIG FAT ZERO. Not one recording in my possession, thankyouverymuch. It is sad, opera is to be experienced live in theatre, not listened to from discs. But like you, it took me time to accept the bitter truth 😔😔
@@mateusztarnawski2177 The film industry is pretty much the same way today. After seventy years of great artistry, the powers that be, shot it in the foot with manufactured stories and social-political propaganda.
Those were the days. The same for sopranos
Golden age tenors should be Monaco, Corelli and Di Stefano... A Dramatic, Spinto and lyric...
Franco Corelli has been the most portentous voice on record, since before Caruso. A vocal phenomenon
and to think that NO recording captured the "real" voice of Corelli. Occasionally a "live" performance gets about 70%. How lucky I was to have heard it.
@@stephenlord9 I wish I had the opportunity to see a singer the quality of Corelli live. The difference between listening to an orchestra live and a recording is night and day, I imagine it's a similar case with Opera vocalists
@@miguelpereira9859 I tell you... it was bigger, darker, softer -- everything than any recording can show. I was lucky to be coach for so many fine singers from Scotto, actually living and traveling with Shicoff and and and. When these people are on there was nothing like it. Commitment, dedication, standards.
Mhhh... Caruso, Tauber, Björling...
@@stephenlord9 Dear Stephen, On the contrary, Corelli's voice recorded very well, especially on Angel Records. He was slightly more lyric in the theater than on records.
The most shocking thing of this video is how people will applaud the most godawful singing based on name recognition. Beware all tenors: if you hear DiStefano you will never have the courage to sing again. They were truly giants.
Audiences are stupid now. Thank you, social media.
Di stefano is the one who inspired me to learn to sing opera
A livello vocale Del Monaco è fuori concorso!!! Stupendi Corelli e Di Stefano
Anche Pavarotti è bravo...
Alagna non apparteneva ai tenori tipo Kaufmann Cura Grigolo ecc...ma sbagliando repertorio piano piano lo diventa...Gigolo è inascoltabile ... Kaufmann vuole essere un fenomeno ma riesce solo a farci male alle orecchie...
No- one but no- one will ever better franco Corelli!!
Pavarotti. el timbre mas bello que haya existido. Corelli, único, irrepetible, maravilloso.
Estimado: Cuando la voz está en “mascara” corre, y se escucha en todo el teatro así sean 4,000 personas .
No se necesita gritar basta que la voz esté bien impostada corre y se siente.
@@delibeslakme6451 Exacto. Hay que saber de la técnica vocal para poder hacer este tipo de afirmaciones. La voz de Pavarotti era de lírico puro y un timbre bellísimo, que en vivo se escuchaba tan espectacular como en grabación.
La voz más bella junto a Gigli.
❤❤❤Sublime Pavarotti …Angelo casto e bel…qué belleza. Saludos cordiales
Oh God.... there simply is no comparison whatsoever. I mean, what do I know, I was born too late. I was still wearing nappies when Del Monaco passed away. Some say he wasn't very subtle - perhaps he wasn't indeed. But many a time I got real goosebumps listening to his powerful characterizations. I saw Pavarotti once live in concert, in open air, it was at Hyde Park in London in 2001 - what a voice, unforgettable. The great Franco Corelli - I only spoke with him on the phone a few times, between 1998 and 2002. But boy, haven't we all stacks of records of his, one of the most exciting and electrifying singers ever. Di Stefano I had the immense pleasure of meeting and interviewing in June 2003 - again, a true talent, a real gem, the records could not be straighter on that, even if his voice did deteriorate later in his career.
Today nobody gives me no thrills at all. Alagna perhaps, in the right repertoire, although again never as exciting as the old masters. Kaufman - no, not really, he pushes his voice back and darkens it, also he often overdoes his piano that then lacks any vibrato, not to say squillo... Grigolo is simply pathetic in everything he does, I'm sorry. And who even allows him to use microphone...? Again - PATHETIC CRAP. I'm not an expert or obsessed with technique but clearly his isn't working, which is because it's nowhere near a good, solid or even correct singing technique. A true tenorino but then the La Scalas and NY Mets etc should not be asking me / us to pay for tickets to hear and see their pathetic tenorinos on stage.
And again it's not really better on the ladies front either. I won't mention names but for God's sake, I'm currently listening to a 1950 mono recording of LA FANCIULLA DEL WEST with Carla Gavazzi - and she wasn't even the biggest of the names of the era....!!!! Yet it is an absolute pleasure listening to her, in any role she recorded (even if there were only few). Callas, Tebaldi, Milanov, Cerquetti, Stella, Price, Nilsson, Caballe - they could all be compared to some big names from a decade or two (or even four..!) earlier. Today's ladies that grace (?) our stages can't. I've not been to a theatre for a decade and half now, and don't really regret it. I've amassed quite a collection of older recordings and they satisfy me fully. Sad perhaps but I wouldn't spend a penny to hear a Kaufman or a Netrebko.
Grigolino....?? - NOT A CHANCE.
Absolutly agree!
...right you are!
RDS
Exactly. If this trend continues opera will be dead soon.
@@judithbereczky4114 it’s true. Covid has hurt opera tremendously too.
You said everything what I say when talking to myself.
lovely video, i suggest you add time stamps, change pictures of singers when they sing, etc., for people that are not well educated yet.
E i 'tenori' di oggi li chiamano anche divi... Corelli per sempre.
I'm an admirer and student of tenor voice for over 40 years. I find the comparisons that seemingly are increasingly popular tend to focus on the Italian "romantic" repertoire almost to the exclusion of Baroque (rendered by modern tenors there being a dearth since Napolean of castrati) as well as Wagnerians ( I'm no fan of Wagner, but love Melchior). I have spent many hours rapt listening to the accomplishments of Corelli, and Pav, and others of that presumed ilk, but wonder at how such versatile singers like Wunderlich and Lemeshev and Bruce Ford aren't considered.....
I adore Bruce Ford, but he is better suited to lighter bel canto roles that require more flexibility.
There is no doubting the great tenors of the past, however it is a bit of a recurring syndrome to constantly every decade berate the current singers and remain in awe for those of the past. The same happened when Caruso began, people lamented Jean de Rescke and the others of his time, probably the same happened at the time of Duprez. People did the same during Del Monaco and Corelli, mentioning their “vulgar” singing, then that repeated during the days of Pavarotti Domingo and Carreras. Our current times are no different, and a coincidence that repeats itself is no longer a coincidence.
You may ask, whether I prefer the singers of the past compared to those listed above them. Yes I do, however I never had the pleasure of listening to them live, hearing about every performance of theirs, and every off night they had. I’ve had the pleasure of attending the performances of all 3 current tenors, I enjoyed their performances, and I must say I must very much impressed by Grigolo, after all I had read, I expected to not be able to hear him over the orchestra etc. which definitely wasn’t the case. He actually did a great job with Edgardo, and his Duke was also enjoyable. My favorite tenor today of course is Gregory Kunde, and he could definitely be appreciated by ears of all eras I would say.
My point obviously is, enjoy the past, but also allow yourself to enjoy today.
Unfortunately there is not much to enjoy now a days.
You're making shit up to explain your lack of discernible taste. Grigolo is a total fraud.
Can you do one of these for modern and old school basses
I can't std Kauffmann.....how did he get where he got?
...in the land of the blind, the one-sighted is king....Handsome look, good marketing. He even tries Tristan with not the appropriate voice like he did with Otello. As critics stated, „he has all but the voice“. RDS
@@mk5244 yes indeed. So who is there to follow and listen to today?
@@madamedellaporte4214 ....Audiences and their demand and the voices have changed dramatically within the last 50 years. The result we see and hear today. Non mi piace. The JB, MDM, FC or GDS are to be heard for centuries to come. Fortunately we have them on record. Some of us have heard them live. Those events nourish a lifetime. Listening to Mr. Kaufmann trying Strauss 4 last songs is too much! Just to mention a current atrocity.
During those tempi passati you had marvelous alternatives in lyric or dramatic voices. From Alto to Soprano, from Tenore to Basso. Comparing those icons to todays protagonists is impossible. Different worlds performing the same characters on stage. Lots of directors not interested in music, even ignoring it. Their concepts describe often only their own mental crisis. Of course there are excellent concepts. As far as voices are concerned, there are even more rare.
Probably befriended important people with influence.
I wouldn’t put Pavarotti in the Golden Age Tenors Category, however great he was, the 4th tenor of the Golden Age was Carlo Bergonzi, Pavarotti was in the era of Placido Domingo and Jose Carreras
Bergonzi was awful, nasal and constricted.
@@contraltissima By making such comments regarding a Master Tenor, I would hate for you to be a Judge in a Singing competition. Your operatic knowledge is Negligible. Keep away from TH-cam in future.
@@waynewilliams4706 Bergonzi wasn't nasal at all and neither was Tucker ever, some say the same thing about him as Bergonzi , this guy surchoix is confusing resonance with nasality, he is very wrong, anyhow I heard these guys in house, in fact in 1961, I saw Chicago lyric opera opening with Sutherland in her debut with powerful spinto voiced Tucker and two nights later with the more lyric spinto Bergonzi, she had just made her USA Debut as Lucia in NY at the Met. (also with American Tucker )I also saw tenor Bjoerling in 1958 at age 18 as the Duke in Chicago. Anyhow he can say what he wants as anything goes on you tube, even a lot of Crap and not worth answering, Bergonzi didn't have in his time high notes like Corelli had, but he was technically a fine tenor IMO.
You are correct,bergonzi the classical stylist,a truly great verdian tenor and also in my opinion the greatest recorded pinkerton,with both tebaldi and scotto
I've heard both tenors in house, and after over 63 years of opera going I ignore the BS on you tube. The only way to 100% know a voice is in the house, not recordings, there are also lots of live recordings on you tube that give you a pretty good idea of the voice, still in house if possible is best, but since they are dead we have these great old records, singers like Gigli, Di Stefano, Tucker , Bergonzi, Bjoerling, Corelli, Del Monaco and Gigli are all gone now and nobody surpasses them today, "whoever you like best is best" as you say IMO is correct , no right or wrong, I might prefer Corelli in a role, Tucker or Del Monaco in another, Bergonzi or Bjoerling in another and later Shicoff or Pavarotti in another, they where great and lasted because they where great, ignore the trolls.
corelli´s diminuendo ist out of this world!
Thought I was the only one who noticed Kaufmann is a hoax. Who would have thought that singing in falsetto would be enough to be a world class tenor nowadays? Mamma mia!
Putting ANYONE mortal against Corelli in Di Quella Pira just isn’t fair
Mario del Monaco il piu grande tenore drammatico, Mostro sacro della lírica
esatto.
Mario unico e dal vero in palcoscenico tutta la sua grandezza vocale e scenica
Old School rules!!!
PAVEL SALAS I totally agree!
@PAVEL SALAS Which "old school" do you mean?
3:50 Corelli ?
Eternamente la voce più BELLA.... Pippo di Stefano!!!
Non come Corelli ma è magnifico comunque
@@andreaottelli9734Different voices, but both magnificent, and true artists.
@@judithbereczky4114 Yes both magnificent and truly beautyfull
Che dire?La voce di Pippo Di Stefano si accendeva e si accende di un fascino irresistibile fatto di naturale bellezza e di dolcezza... Era incredibile!
Sarebbe meglio se quelle frecce lampeggiassero per indicare chi canta in quale momento. Messe così fisse non servono a nulla.
Corelli e Pavarotti. Assolutamente perfetti
Ｐiacere! penso che correri!!e imcredibile ‼️‼️
Grandissimo Pippo con tutti i suoi colori meravigliosi, la sua voce pastosa,immenso Del Monaco statuario, suadente e incantevole Corelli,Grigolo imbarazzante con i suoi mugugni e le sue smorfie, Kaufmann un mistero , ingolato, intubato,Alagna peccato....
🤝
Wonderful Pavarotti! Corelli is a incredible! The modern singers are so bad. The met mics everything today.
Il piano di Corelli in "E lucean le stelle",ha la stessa intensità del forte!!! Fenomeno
Corelli!!!!!!! Del Monaco!!!!!
e il pubblico che applaude Kaufmann...veri competenti di bocca buona!
Mario Del Monaco is universe per se, next to him is Corelli!
Bei Grigolo muss man weinen, das ist ein Tenorino... Pavarottis Stimme sitzt einfach, Corellis Diminuendo ist phantastisch.. Di Stefano hat eh das schönste Timbre und Del Monaco Stahl im Hals... so was gibt's heute nicht mehr, stattdessen Leute wie Klaus Florian Voigt, die klingen wie im Knabenchor...
Wirklich, kfv-WTF.... Genau! Dowland und Monteverdi Lieder sind zu Schwer und Dramatisch für kfv's kleine, kleine, kleine stimme.
Nicht nur sein diminuendo.... Corelli hat ebenfalls Stahl im Hals..........
Mario tutta la vita tvb
I know but it's not just technique:
some singers have talent, but some others have even more talent
It's so nice to see franco is not under appreciated haha
Che l'Unesco dichiari certe voci maschili patrimonio dell'umanità perché ormai il genere maschile sta cambiando connotati ...Ieri ho seguito in tv il concorso "Le voci in canto del lago"in memoria di Aldo Finzi :le donne tutte brave e le vincitrici bravissime ,tutte orientali e con studio e disciplina italiani,...Un fantomatico tenore nemmeno si poteva dichiarare aspirante cantante lirico..da piangere
Come nel caso di questi tre moderni belluini
Tutti bravi, ma il colore di Corelli e Distefano sono unici!
Without squillo, the voice is simply boring
I've been training, I have a lot of squillo in my voice and this is what keeps me going. If I make a change in my technique and remove my squillo I'm not so interested in practising and singing anymore
Man, if the video on your channel is you singing then I don't know why you're here criticising Grigolo, you're years away from singing like him, let alone the rest
Bueno e tenido el de oírlos Corelli supera a todos y su laringe le permite manejar bien los los pianisimos una técnica que digamos para un gran Bell cantista Corelli es una máquina de sonidos del Mónaco y D stefano también canta bien buenas técnicas vocales excelentes intérpretes bueno los otros tres parecen alumnos de canto y Pavarotti tiene mucho gusto para la voz es bonita un timbre especial para mi particular mente no me llena bien Gracias y disculpen mis comentarios
Ragazzi se pubblicate queste cose, c’è da mettersi le mani nei capelli nel constatare come sia finita l’opera italiana
personalmente trovo abbastanza stupidi questi confronti e inutili...il convento oggi passa questo e sono le case discografiche a spingere ed esaltare certi cantanti, anche se Kauffmann a parer mio, è più intelligente degli altri
ciupotto io non ho offeso nessuno. Né ritengo stupido il suo commento. Ognuno dice la sua, posto che non si sta parlando in maniera dogmatica
@@occhioverde71 mi riferivo a chi ha postato il video, il suo commento era legittimo e veritiero...Oggi la lirica è proprio diversa, i cantanti odierni vivono più di tecnica che di anima e pochi arrivano a cantare oltre i 50 anni, preferendo dedicarsi a loro volta ad insegnare o fare altro. Le voci tenorili in particolare sono sottili, tendenzialmente rossiniane o mozartiane ma vengono lanciate come eroiche o liriche ed i pochi tenori drammatici veri non hanno punti di riferimento in quanto i grandi sono quasi tutti morti e nessuno è disposto ad insegnare la "tecnica di affondo" quasi fosse eresia...
Maybe Dr.Who can take us back to the 50`s, a Golden Age of singing !!!
Franco was phenomenal
Adoro Pavarotti adoro Di Stefano e Del Monaco ma Corelli altro pianeta! Alagna altra qualità ! Non merita quel gruppo.
I think that young Alagna was great
He wasn't.
we will never hear the great tenors again compared to modern pop singers which is sad as opera is for all off us to enjoy
Amazing The Pavarotti example! Better know as the God of the vocal technique! I like the photos too!
Amazing Vídeo, and You are right i Will Pay millions just to see Pavarotti in live
at the met!
grigolo is awful! the worst
Popopera singer.....
Pavarotti sounds absolutely the best, very clear, full and bright, brilliant sound👍
I’m putting this out there but, the hardest thing about this specific time we are living through is that we don’t see good singers as there used to be these great singers that died out and all there is left if the students that were taught by them, but again, we don’t see them either. Today, everyone is looking at the Avant-garde music coming from the minimalist music see partly praise, yet controversial, then we look at the golden age singers, and then we combine the two together and we have contemporary music, which has a lot of musical theatre elements to the style. Also, we now go through this time where complexity and aural skills are like “crucial to the making of a singer” than technique. Technique plays a role on your strength in your performance, if you don’t have it, you won’t be successful but also if you’re not good in aural skills and be able to analyze things fast enough, which some of the golden age singers didn’t have access to that like Pavarotti, and I’m talking about today, back then the singers could get away with it, you won’t be successful. What’s important right now and I currently go to the Manhattan School of Music myself, I see a lot of hope for the sopranos and baritones in the school, but I am sad on how many tenors there are in the school which I’ve only met 3 and I am a tenor myself, most of them have a theatrical style, and some are very hopeful for the future of the opera world, that one day, that world will rise up again, and me having a very good technique for my age (19) tells me I have a lot of potential on becoming a very well rounded Tenor with the exception of me singing in theatre within the technique I sing in. In order to have technique, you just have to relax your whole face and just open your mouth without having any tension because that’s what disturbs the voice and you end up straining it, that’s why you should just make sure your jaw and mouth when you do it. I also wanted to point out that I’ve seen many tenors and even basses have good facial structure and I’ve been looking into that general topic. I’ve observed that most if not all, breath through their nose, not their mouth, which brings me to an interesting question whether mewing is a natural thing for singers or not. If it is, then mewing would drastically improve vocal technique since it places everything where it needs to be, as well as repositioning the Pallet. Another technique thing is that you need to work on you lower and middle register in order to build you higher register because your chest resonator relies on the strength of your voice and once your chest resonates well in those registers, move on to the higher register and you should feel your head and chest vibrating, it’s like the amplifier to your speakers as the magnets in the speaker produce electrical signals that translate into sound and you see how each speaker is better or worse than each other because they’re BUILT differently. It’s an interesting insight to technique and for many it’s a controversial topic in which every technique fits into anything as long as they’re needed most. The other problem about the opera world is that opera is being seen more as a commercial thing where you can find anyone anywhere, and you’re arranged into specific categories that fit into these operas, and then you’re designated into one through your management, which is business, it’s more rare to be invited to do a production and is almost way too often that you audition for the roles.
Per favore Annamaria non si metta anche lei a favoleggiare sulla voce di Mario Lanza, un cantante poco meno che mediocre, voce gradevole ma che non aveva niente a che vedere con i veri tenori.
Qui si parla di 4 assi della lirica e lei mi parla di un 2 di coppe.
Да, никакого сравнения, опера деградировала, современные певцы не умеют петь
Oh my God, Corelli, Corelli, Corelli!!!!!!❤❤❤
La merda col cioccolato, l'acciaio con la plastica, il sole con la lampadina, il vero champagne col Tavernello in cartone, Diletta Leotta con Alessandra Mussolini, il made in italy con il made in China. Che altro dire.
Chiarissimo e d' accordo ma....Leotta/ Mussolini?
👍👍👍
What I miss are the names I green/red during the fragments. I the current form it's totally confusing if you don't know the voices and guidelines by heart.
Confronto impietoso e davvero impressionante...
AFTER CORELLI, YOU CAN'T LISTEN NOT MORE. ADHER TENORS.
Perhaps DEL MONACO two giants....
@@bodiloto erano..fautori del bel canto..oggi un quadro desolante...FLOREZ,ALAGNA,KAUFMANN,VILLAZON...sono una brutta copia....
2:39 Name of aria?
Di Quella Pira
While I can recognise the golden age tenors it would be helpful to have the modern ones names when they are singing
Del Monaca il numero uno in assoluto poi Corelli e Di Stefano...
I think your thumbnail clearly showed the fundamental difference between modern and belcanto techniques.
The reason why modern opera singers are short-lived is that the direction of voice is wrong.
But they also have not nice voices, so ordinary and boring.
Wow, quite a lesson in style, strength and power. Some of my personal faves were not here: Mario Lanza #1; Placido Domingo #2; and most recently, I adore Franco Corelli, who was here. Corelli also gets the most votes here-And I agree 100%. The man was flawless and majestic. He puts others to shame. All these guys though are very accomplished Singers, except the one who was criticized by everyone!
Dear Daniel, Corelli was not flawless. But his shortcomings did NOT define him as a great tenor.
Yes! Fake is the word for them!
Roberto alagna was way better in the 90s early 2000.
Il confronto con i 4 grandi non esiste... ❤️
Totalmente de acuerdo. Saludos cordiales
someone please tell me
what makes these differences in vocal production?
Technique.
Modern tenors 🤣🤣🤣🤣🤣🤣🤣🤣🤣🤣🤣🤣🤣pathetic the other 4 are legends 👏👏👏👏👏👏👌
we all have our favourites on what will always be a subjective subject....Pavarotti does it for me...his late 60's and 70's setting another level in vocal brilliance and technique
john m well that’s because the Greats from the past had a proper technique to deliver solid performances compared to today’s performances.
@@TrainFan-tk4yq yes, i think they spent more time developing their craft rather than being in too much of a hurry to have a career.
Pavarotti was a great lyric tenor with a beautiful quality of voice, but could not compete in the heavier roles with Corelli and MDM.
@@sugarbist like saying Muhammad Ali couldn't compete with hulk hogan or some sumo wrestler....i like Corelli very much and Mario del Monaco was very popular perhaps more so than Corelli but, both are one dimensional compared to Pavarotti
@@pavarotti744 Corelli was NOT one dimensional at all. He had a complete vocal arsenal that propelled his career from 1951 to 1976. He was known as Mr. Soldout at the Met from 1961 to 1976. He quite often used mezza voce`diminuendo with an ability to caress the music with his warm quality of voice, that enabled him to be intimate with his listeners. Corelli also had a great facility in his upper high note register as Pav did. Pav sang 20 different roles at the Met to Corelli's 19 different roles at the Met. But away from the Met, Corelli did sing Norma, Poliuto, Ugonotti, Fedora, where Pavarotti never deviated from his repertoire when singing away from the Met. In reality, Corelli sang more different roles than Pav. did but it was close. Del Monaco only sang 16 different roles at the Met, but early in his career, Traviata, Ballo, Boheme, Werther, and Turandot were also in his repertoire, but fair to say that by at least 1959 his repertoire became limited to a handful of roles. Suitability comes to mind as well, where Pav was great and more suited for Rigoletto& Boheme than Corelli or MDM, but Pav managed Aida, Chenier, Ernani & Turandot, However he did not excel in those operas at the same level as MDM and FC. Pavarotti could never sing the 3rd act of Aida like MDM or Corelli. He did not have the impetus phrasing in Ernani, or the bulk in his voice for Calaf. But he was a great lyric tenor.
I agree with the concept, but why to alter the recordings of modern tenors? It is not necessary
У Кауфмана нет сквилло. Сквилло он заменяет криком.
Modern tenors are awful in these clips you have played,in many cases they need microphones,and thejr voices fail on the big notes,whats sad is the audiences clspping like crazy for some truly awful singing,i will stick with del monaco,corelli,bjoerling,gedda,kraus,vinnay,cortis,labo,pertile,merli,caruso,gigli,martinelli,lori volpi,and thsts just a few off hand everyone of them legends
Great video that showcases the sorry state of modern opera singing. I am the biggest opera fan that doesn’t go to opera anymore...sigh☹️
I totally agree with you. Today's singers not that they don't have good voices, but they are so annoying, they don't awake any emotion in a person. They are dead.
👍I am another one!
Yo también,. Los modernos cantantes de hoy, cantan igual todo. Y, en vivo no se les escucha la voz. Saludos cordiales.
New Singers are illiterate
They have no technique
They just copy
(Bad copy)
They do not have a trained voice
For example Tenors : Cura, grigolo's, kauffmann, Villazon, Alagna, Vargas, Bocelli
Exactly!
The recording technique is better today, the voices certainly not
What is the song?
Стыдно даже сравнивать современных хосекуров и йонаскауфманов с великими Тенорами золотой эпохи! Случилось страшное...
А разве с сопрано, меццо, баритонами (особенно) и басами ситуация другая?
@@loralayons1120 Трудно однозначно ответить где ситуация катастрофичнее. Но тенденция, кажется, устрашающая. Деградация очевидна уже хотя бы из того, кто становится лицом современного оперного вокала. Люди с сомнительными голосами, поющие без опоры, не умеющие петь высокие ноты. Как такое могло случиться? Мне грустно. Ваш Сэр Чарльз Эсквайер)
Сравнивать эти голоса, конечно, грешно; однако самое ужасное здесь то, что люди в массе своей не понимают разницу между ними - они попросту ее НЕ СЛЫШАТ! Читая комментарии в соц.сетях, не знаешь порой, смеяться или плакать. Все познается в сравнении: если забыть, как пели Дель Монако или Корелли, то и нынешние тусклые stars на оперном небосклоне покажутся квазарами. Остается лишь верить, что когда-нибудь ситуация в этой части вселенной изменится-таки к лучшему и вспыхнет новая сверхновая. Надежды на то, правда, мало, и тем не менее... Ждем-с.
Pm
Ok
I’m
Between Corelli and Pavarotti there were no greater voices. Sadly, if any of these masters of the past were to audition today, they would be turned away. Opera isn’t about great singing anymore. It’s about image.....having the right look. Being able to sing is optional.
Corelli? Hardly. Corelli was tall, very handsome, slim and elegant on the stage. He would definitely be raved about on any opera stage nowadays. He definitely had the right look, too. I think some people overestimate the importance of great looks for the fall in singing quality nowadays, especially about tenor singing. There are countless fat and honestly ugly tenors out there singing in the main opera stages, even when they are not even by a hundred miles as talented as Pavarotti.
@@ygorcoelhos True do people really forget how good looking guys like Corelli and Del Monaco were?
Dear James, I have to disagree, Corelli was a great spinto tenor with movie star looks and a most impressive voice. Singing is always about voice first. Pavarotti was a fine gifted lyric tenor and his affable personality was cleverly marketed, and would also be accepted today. Today's better tenors are mostly passed 50 years of age and don't have great voice's. Therefore their influence along with the younger tenors today have limited influence with impresario's. When was the last time a tenor appeared in Chenier, Aida, Forza, Fanciulla, Turandot, La Gioconda, Carmen or even Ballo at the Met with a successful outing?
Strange I always thought that Di Stefano was soundly criticised for 'ruining' his voice by singing roles too heavy for his lyric voice. Pavarotti for all the brilliance of his notes sang almost exclusively in Italian and from a very small a repertoire and was not thought of as a very good actor on stage at all not to mention he was very unreliable at times. Dare I say for me I get no emotion from him which is odd as I have a preference for lyric voices. I acknowledge how good Corelli is but I prefer Di Stefano and the very underrated Jose Carreras from the older tenors. I do think we are in danger of looking back with rose tinted spectacles.
Pavarotti had a great voice but I find his musicianship perfunctory
Many times Pavarotti seemed like he was going through an exercise when singing and aria or song, relying on his beautiful voice, rather than applying himself emotionally. But when did apply himself, as he does in Ideale and La Rodine Al Nido, the outcome is very special. Enjoy
Corelli