Professional from top to toe and from the beginning of his long and brilliant career to the end, Cappuccilli's place in the history of twentieth century opera is assured. Impeccable legato, breath control, inflection, beauty of tone and capable, as in this example, of generating the kind of animal excitement through his singing which can bring the audience out of their seats. What more could one ask of an artist?
+ Cavaradossi10 Commento molto qualificato!!! Ha avuto anche l'"intenzione interpretativa Verdiana,cosa che solo i "fuoriclasse" possiedono,senza avere una voce grandiosa come altri suoi colleghi!!! Ma come ha commentato Lei, una tecnica perfetta gli ha permesso di mandare in "visibilio" gli spettatori in questa cabaletta, esplodendo con un Sib finale pieno di armonici e sicurissimo!!! Grande interprete e grande cantante...Grazie
Very impressive!!. He reaches the high note at the end and does not lose the dark colour and virility of his voice , that is magic!! , a little miracle!! Bravo Maestro!!!
Let's all get real... this is the absolute BEST!! TRUE Baritonal top of the EXTENDED range, unsurpassed. I heard only Merrill and Warren extend to this with such sound, but only in the dressing room. Warren actually had a solid high C. Milnes has all my respect, but I firmly believe he was a dramatic Tenor all his career, singing Baritone. Domingo NOW in his sunset years, is venturing into Baritone as his sound has naturally darkened. Steve Texon.
To my ears SM has a classic baritone sound. His singing has both an elegance and an excitement that is rare. I never heard SM live, (except for a few phrases he sang in a Masterclass which I attended) but so many of the recordings are wonderful. He didn't last as long at the top as Pierro C, but he had a good run before he ran into a serious vocal crisis. I encourage people to read his autobiography which gives a detailed account of this crisis and the laser surgery that followed, which, my understanding is, affected the flexibility of his voice. So I wonder how many people commenting on SM have heard him live a few times?
Vedo che non riesce a smettere di convincermi! Non ha da convincermi! Titta Ruffo è la mia più grande passione quindi sfonda una porta aperta. Il problema è che ne io ne lei abbiamo potuto ascoltare , sfortunatamente, queste voci e mi rifiuto di fare paragoni. Ogni artista di valore è un gioiello unico e come tale voglio considerarlo. Cappuccilli resta per la mia generazione un esempio per fraseggio, colore e personalità e per quello avrà sempre la mia devozione. Senza polemiche, sinceramente.
Baritenore Cappuccilli? Tacete e inchinatevi umilmente di fronte ad una voce straordinaria di autentico baritono verdiano per colore e fraseggio. Ai puristi dico che il virtuosismo vocale e' la cosa a cui Verdi ha sempre lasciato piena libertà!
It's actually a B natural. He sings on 'la maledizione', Ab-B-A-Ab-Db. I've got a live recording where he sings the B natural also, it's amazing, he holds it even longer than in the studio one.
Actually the best baritone top notes since Warren have been provided by Cornell MacNeil. As I remember Cappuccilli had a great top G (?) as Miller when I heard him in Paris but not as great as MacNeil's A Natural in Nabucco. A baritone friend of mine called that the greatest note ever sung in San Francisco. Of course MacNeil was in decline even then and soon became hard to endure, while Cappuccilli always sang well for a long, long time.
@Krawi6 Thanks for that. Yes he was no doubt the premiere baritone of his generation. I'm not surprised he stole the show from Domingo, I've heard the same thing from others. ;)
That's an amazing Bb. But even more shocking and thrilling is his Bb at the end of his Di Provenza scene. As for Milnes, when his passagio became so unwieldy, I wondered if it was caused by his ventures into B-flats, and even a B-natural at the end of Rigoletto.
I can't imagine what a Bb would sound like at the end of Rigoletto. Normally, the baritones who can, interpolate an A-natural. You say you have a recording...can you upload it?
Just incidentally, what do you think of Cappuccilli? I don't remember ever hearing you mention him. :) I think he is slightly underrated now. He was a solid, consistent singer with a reliable and impressive top. My only problem is his voice isn't very expressive (and to my ears not particularly beautiful) but I like him better than most (if not all) baritones singing today.
Yes, another gentleman already corrected me *puts on dunce hat* =P I think I have the same recording, a live one where Milnes interpolates an impressive B, yes.
It's impossible to sing a Bb on the "maledizione" at the end of Rigoletto. It's simply not in the chord. Most baritones interpolate Ab and A-natural. Milnes inserted a C-flat between the Ab and A-natural. I was there and the critic even noted it in his review.
Milnes a dramatic baritone, somebody said? Milnes color IN THE THEATER was a lyric baritone at best. But he sang with dramatic intention and manipulated his vocal apparatus in such a way that in recordings sounded darker ( just not to say breathy and swallowed). In the few years that he was in top vocal shape, he was an extraordinary singer and artist. And his recordings of that period, are still fantastic. Cappuccilli sounded more beritoneal than Milnes, but still another voice that could have sung as tenor if they had decided to do so. May be they would not have succeeded, but they both had voices not clearly baritoneals. Of course comparing them to today's baritones, they are "Bassos profondos " (ha,ha). They both, IN COLOR, can not compete with Bastianini, Warren or MacNeal among others. And I repeat: in color and in the theater. I was lucky to hear them both alive and they amazed me. Wonderful singer both of them. .
Regarding Milnes .a former voice teacher, who had sung in a major house or 2...told me (this was in early 90s)....that Milnes forced his voice early on...and now(again early 90s)..could only sing by forcing. I never liked his voice on record..but heard it was very large voices..always seemed forced and manipulated to me
I heard him several times in the late 60’s in Chicago, and could never get excited about him. There was a certain muted dullness about the tone that did not thrill me in the house. (I do, however, have a vivid memory of him rising from a prostrate position at the end of ‘Cortigiani’ and bowing to the house. Those were the days.)
I agree with the comment concerning Mr. Milnes. Cappuccilli was always at the top of my list, but none was better than Leonard Warren who was said to have had a high C. But there have also been many fine baritones who never received just acclaim such as Jules Bledsoe during the 1920's and 30's, Robert McFerrin during the 1950's at the Metropolitan Opera, and Lawrence Winters in Germany all of whom happened to be born black males in an arena hostile to their advancement and recognition!
The Bb might not be perfect, granted. But Cappuccilli was a much greater baritone than Milnes, who was all useless mannerisms. Perhaps Cappuccilli did sing his best high note that night, but throughout his career he was unsurpassed.
He isn't a favorite of mine; I also do not find his voice particularly attractive but he was (apparently) a fine technician since he lasted so long. That he was still sounding as well as he did in the early 1990s is truly amazing...baritones almost never last past their 50s (and what if he didn't have that car accident, who knows how much longer he would have sung). And of course his top extension was also unheard of (that he actually had a usable Bb which he sang in performance regularly).
How can one possibly say that Milnes was actually a dramatic tenor!!!What a crap!!just listen to his 4 Serious Songs by Brahms. He was a dramatic baritone in range and color!!
ruolo drammatico,interpretato dalla una voce leggera. a che serve di cantare un si bemole nel finale quando questo si bemole non esiste nello spartito di Maestro Verdi... e il resto? pubblico ignorante.
Professional from top to toe and from the beginning of his long and brilliant career to the end, Cappuccilli's place in the history of twentieth century opera is assured. Impeccable legato, breath control, inflection, beauty of tone and capable, as in this example, of generating the kind of animal excitement through his singing which can bring the audience out of their seats. What more could one ask of an artist?
+ Cavaradossi10 Commento molto qualificato!!! Ha avuto anche l'"intenzione interpretativa Verdiana,cosa che solo i "fuoriclasse" possiedono,senza avere una voce grandiosa come altri suoi colleghi!!! Ma come ha commentato Lei, una tecnica perfetta gli ha permesso di mandare in "visibilio" gli spettatori in questa cabaletta, esplodendo con un Sib finale pieno di armonici e sicurissimo!!! Grande interprete e grande cantante...Grazie
Beautifuly done!! That Si bemol in his voice sounds better
than many tenors could do.
The true verdi baritone.
Truly one of a kind.
Great Piero.....what a B flat! My God!
Very impressive!!. He reaches the high note at the end and does not lose the dark colour and virility of his voice , that is magic!! , a little miracle!! Bravo Maestro!!!
Cappuccilli was one of the greatest baritones ever for me.
Marvelous!! That Si bemol is like witnessing a miracle!
Let's all get real... this is the absolute BEST!! TRUE Baritonal top of the EXTENDED range, unsurpassed. I heard only Merrill and Warren extend to this with such sound, but only in the dressing room. Warren actually had a solid high C.
Milnes has all my respect, but I firmly believe he was a dramatic Tenor all his career, singing Baritone. Domingo NOW in his sunset years, is venturing into Baritone as his sound has naturally darkened.
Steve Texon.
To my ears SM has a classic baritone sound. His singing has both an elegance and an excitement that is rare. I never heard SM live, (except for a few phrases he sang in a Masterclass which I attended) but so many of the recordings are wonderful. He didn't last as long at the top as Pierro C, but he had a good run before he ran into a serious vocal crisis. I encourage people to read his autobiography which gives a detailed account of this crisis and the laser surgery that followed, which, my understanding is, affected the flexibility of his voice. So I wonder how many people commenting on SM have heard him live a few times?
What note did you hear Merrill do?
Non ci sono, e non possono esserci, parole. SUPERBO !
One minute and thirty-six seconds of pure bliss! Thank you for this post.
Amazing!
Magnífico cantante !! Bravi !!!
Bravo maestro !!!
Vedo che non riesce a smettere di convincermi! Non ha da convincermi! Titta Ruffo è la mia più grande passione quindi sfonda una porta aperta. Il problema è che ne io ne lei abbiamo potuto ascoltare , sfortunatamente, queste voci e mi rifiuto di fare paragoni. Ogni artista di valore è un gioiello unico e come tale voglio considerarlo. Cappuccilli resta per la mia generazione un esempio per fraseggio, colore e personalità e per quello avrà sempre la mia devozione. Senza polemiche, sinceramente.
Baritenore Cappuccilli? Tacete e inchinatevi umilmente di fronte ad una voce straordinaria di autentico baritono verdiano per colore e fraseggio. Ai puristi dico che il virtuosismo vocale e' la cosa a cui Verdi ha sempre lasciato piena libertà!
It's actually a B natural. He sings on 'la maledizione', Ab-B-A-Ab-Db. I've got a live recording where he sings the B natural also, it's amazing, he holds it even longer than in the studio one.
Wow and live!
Yoooo, he nailed it 😎
Superb
Saw him as Macbeth in Philly , 78 . Can’t remember the soprano . Bonaldo Giaiotti , the late Antonio Savrastano . Tremendous performance !!!
Piangerò!
incredibile questo si bemolle dal vivo
Couldn't agree more.
great! :D
Bravo
Bravissimo
Actually the best baritone top notes since Warren have been provided by Cornell MacNeil. As I remember Cappuccilli had a great top G (?) as Miller when I heard him in Paris but not as great as MacNeil's A Natural in Nabucco. A baritone friend of mine called that the greatest note ever sung in San Francisco. Of course MacNeil was in decline even then and soon became hard to endure, while Cappuccilli always sang well for a long, long time.
Does this make sense? That's amazing.
IL PIÙ GRANDE
è già tanto amico !
ciao !
Tenore corto
it's scala 1975 - with Orlandi-Malaspina, Luchetti, and Ghiaurov, under Patane'. You heard him live? :))
Please be a good guy!!! send it to me too!! I would love to listen to it.
yep ;))
I admire Milnes body of work. If you listen to his young live recordings its clear why he became famous. However I much prefer Cappuccilli.
@Krawi6 Thanks for that. Yes he was no doubt the premiere baritone of his generation. I'm not surprised he stole the show from Domingo, I've heard the same thing from others. ;)
so, is this 1975 @ La Scala With Patane, Ghiaurov. Luchetti, Malaspina?
That's an amazing Bb. But even more shocking and thrilling is his Bb at the end of his Di Provenza scene.
As for Milnes, when his passagio became so unwieldy, I wondered if it was caused by his ventures into B-flats, and even a B-natural at the end of Rigoletto.
I can't imagine what a Bb would sound like at the end of Rigoletto. Normally, the baritones who can, interpolate an A-natural. You say you have a recording...can you upload it?
Just incidentally, what do you think of Cappuccilli? I don't remember ever hearing you mention him. :)
I think he is slightly underrated now. He was a solid, consistent singer with a reliable and impressive top. My only problem is his voice isn't very expressive (and to my ears not particularly beautiful) but I like him better than most (if not all) baritones singing today.
I agree completely. As for this aria Sherill Milnes has a recording of which is (to my ears at least) better.
I have a recording where he sings a Bb at the end of Rigoletto. I'm not sure what you mean. It sounds a little out of place but it works.
1:08: High B Flat
Yes, another gentleman already corrected me *puts on dunce hat* =P
I think I have the same recording, a live one where Milnes interpolates an impressive B, yes.
Oh My God!!!!! Not fair....
It's impossible to sing a Bb on the "maledizione" at the end of Rigoletto. It's simply not in the chord. Most baritones interpolate Ab and A-natural. Milnes inserted a C-flat between the Ab and A-natural. I was there and the critic even noted it in his review.
Sure, let me find and double check it first ;-)
Milnes a dramatic baritone, somebody said? Milnes color IN THE THEATER was a lyric baritone at best. But he sang with dramatic intention and manipulated his vocal apparatus in such a way that in recordings sounded darker ( just not to say breathy and swallowed). In the few years that he was in top vocal shape, he was an extraordinary singer and artist. And his recordings of that period, are still fantastic.
Cappuccilli sounded more beritoneal than Milnes, but still another voice that could have sung as tenor if they had decided to do so. May be they would not have succeeded, but they both had voices not clearly baritoneals. Of course comparing them to today's baritones, they are "Bassos profondos " (ha,ha).
They both, IN COLOR, can not compete with Bastianini, Warren or MacNeal among others. And I repeat: in color and in the theater. I was lucky to hear them both alive and they amazed me. Wonderful singer both of them.
.
Of course, Plácido Domingo was a base that did make an extremely successful jump to tenor.
Regarding Milnes .a former voice teacher, who had sung in a major house or 2...told me (this was in early 90s)....that Milnes forced his voice early on...and now(again early 90s)..could only sing by forcing. I never liked his voice on record..but heard it was very large voices..always seemed forced and manipulated to me
Sherrill sang like Leonard without Leonard's equipment. This is a quote from a great Singer who sang with both Milnes and Warren.
Similar to the high notes of GIACOMINI
I heard him several times in the late 60’s in Chicago, and could never get excited about him. There was a certain muted dullness about the tone that did not thrill me in the house. (I do, however, have a vivid memory of him rising from a prostrate position at the end of ‘Cortigiani’ and bowing to the house. Those were the days.)
@ShawDAMAN he sstole the show to placido domingo
well... :))
I agree with the comment concerning Mr. Milnes. Cappuccilli was always at the top
of my list, but none was better than Leonard Warren who was said to have had a high C. But there have also been many fine baritones who never received just acclaim such as Jules Bledsoe during the 1920's and 30's, Robert McFerrin during the 1950's at the Metropolitan Opera, and Lawrence Winters in Germany all of whom happened to be born black males in an arena hostile to their advancement and recognition!
@mediterraneo1000
well obviously. Attila is not an opera you go to for the tenor =)
The Bb might not be perfect, granted. But Cappuccilli was a much greater baritone than Milnes, who was all useless mannerisms. Perhaps Cappuccilli did sing his best high note that night, but throughout his career he was unsurpassed.
There’s a better Bb recording of Cappuccilli out there! He definitely surpasses Milnes in my opinion. Easily.
ETERNO PIERO!!!
1975 Attila con Ghiaurov....! 2 giganti alla Scala!
CHE VOCI!
He isn't a favorite of mine; I also do not find his voice particularly attractive but he was (apparently) a fine technician since he lasted so long. That he was still sounding as well as he did in the early 1990s is truly amazing...baritones almost never last past their 50s (and what if he didn't have that car accident, who knows how much longer he would have sung). And of course his top extension was also unheard of (that he actually had a usable Bb which he sang in performance regularly).
Sure, PM me an email address.
i you like I'll email it to you if you have an email adress you wouldn't mind messaging to me. :)
para el caso, Di quiela pira no tiene ningun do agudo.
How can one possibly say that Milnes was actually a dramatic tenor!!!What a crap!!just listen to his 4 Serious Songs by Brahms. He was a dramatic baritone in range and color!!
yeah, except for the fact that Milnes sang the note in tune and this barely makes it up to the Bb until the last millisecond
ruolo drammatico,interpretato dalla una voce leggera.
a che serve di cantare un si bemole nel finale quando questo si bemole non esiste nello spartito di Maestro Verdi...
e il resto?
pubblico ignorante.