Throaty singing VS Dark singing tenors

แชร์
ฝัง
  • เผยแพร่เมื่อ 12 ม.ค. 2025

ความคิดเห็น • 76

  • @liloruf2838
    @liloruf2838 2 ปีที่แล้ว +19

    Thank you! You make this really clear, those "modern" techniques are nothing but a pain in the ass. Singers are suffering, and I believe, audience isn't moved like it could be either.

    • @Mariano-ge6de
      @Mariano-ge6de 3 หลายเดือนก่อน

      No me gusta Kaufmann ni Cura nada, pero Gedda en sus últimos años daba pena.

    • @comment6864
      @comment6864 16 วันที่ผ่านมา

      @@Mariano-ge6de Gedda was amazing 99% of his career

    • @Mariano-ge6de
      @Mariano-ge6de 16 วันที่ผ่านมา

      Gedda fué un magnífico tenor pero ya en los 80 su voz no era una sombra de lo que fué y en los 90 no digamos.

  • @ferminsalaberri
    @ferminsalaberri 4 ปีที่แล้ว +36

    its funny how you all talk about these videos as if they were something to be ashamed of. Still find them amazing and learned a lot from them. They expanded my perspective, they made my taste wider and more varied and also brought to my hands some good lectures but above all they helped me to understand better the way of singing so Ive been able to help others. There is that.

    • @Thisisopera
      @Thisisopera  4 ปีที่แล้ว +5

      Glad you like them!

    • @ferminsalaberri
      @ferminsalaberri 4 ปีที่แล้ว +5

      @@Thisisopera I do! thanks for still keeping them online! I cant watch them enough times!

    • @afahsieh172
      @afahsieh172 2 ปีที่แล้ว +4

      @@Thisisopera This phenomenon partially contributed by the improvment of recording technology.
      If any two kinds style singers live in same stage, I think it would be no doubt of what you are preaching.

  • @cliffgaither
    @cliffgaither 5 หลายเดือนก่อน +2

    After this through documentation, the greatest example of "perfect" singing is the singing of MDM ! I've never before heard him sound beautiful as here ...

  • @comment6864
    @comment6864 2 หลายเดือนก่อน +6

    You picked a very bad example of Gedda. Other times he sang with amazing technique and control, and even here.. throaty???? I don't think so. Gedda was one of the greatest tenors of all times. Nice try.

    • @JRSoubasse
      @JRSoubasse 9 วันที่ผ่านมา

      You’re exactly right. Gedda had extraordinary technique, and had a very prolonged, excellent career!

  • @mrm.5787
    @mrm.5787 2 ปีที่แล้ว +1

    If you can hold the note it’s all about taste.

  • @Altonahh10
    @Altonahh10 3 ปีที่แล้ว +10

    It´s really not fair to compare the tenor of all tenors to Kaufmann ;-)

  • @uij8439
    @uij8439 3 ปีที่แล้ว +2

    Does anybody remember which video showed a singer (might/might not have been Klaus Florian Vogt singing Lohengrin with no core/lean to sound) & then This is Opera followed the clip with Mickey Mouse? Haha, I’ve been looking for that video

  • @michaelhouston8336
    @michaelhouston8336 2 ปีที่แล้ว +2

    I'm interest about the aria they singing for? Especially Franco Corelli and Mario del Monaco...... Thank you

    • @matveykurland7012
      @matveykurland7012 2 ปีที่แล้ว +4

      MDM is singing "Amor ti vieta" from Fedora. Corelli is singing "E lucevan le stelle" from Tosca.

  • @comment6864
    @comment6864 2 หลายเดือนก่อน +2

    What age was the singer you're comparing Gedda to in this clip???? Why didn't you use this recording instead - th-cam.com/video/LPrD66fthvk/w-d-xo.html And there are many many many many other amazing recordings of Gedda.

  • @xavierbarcelo916
    @xavierbarcelo916 2 ปีที่แล้ว +2

    La verdad que yo como tenor de la "antigua escuela" quedo apavorado de el canto "in gola...darkness" de hoy.
    Creo que es lamentable y poco alagueño.
    Una lástima para el futuro de la "Ópera" en concreto.
    Humildemente Xavier Müller, tenor.

  • @JavierBorja-bs1dd
    @JavierBorja-bs1dd 5 หลายเดือนก่อน +1

    Yo he visto a Kaufmann y a Cura en el teatro y el volumen que parecen tener aqui, ni por el forro. El engolamiento de Kaufmann si es real. En el Cbenier del Liceo Sondra Radvanovsky lo tapo en todos los agudos. Cura tampoco tiene un gran volumen. Por ultimo, la grabacion de Del Monaco es malisima. No se si a proposito.

  • @draganvidic2039
    @draganvidic2039 3 ปีที่แล้ว +9

    This is not really a competition between the singers but a demonstration of good versus bad technique.
    Just sayin’...

  • @kiwi_tenor
    @kiwi_tenor ปีที่แล้ว

    I don’t think anyone holds up a late-career Gedda as a technical marvel - plus Verismo, just not his rep.

  • @annafantasia5282
    @annafantasia5282 2 ปีที่แล้ว +1

    I once got asked to help an opera tenor with singing funeral songs at funerals. He then took all my work and never used me although he had and used all my music repertoire. He turned out to be a pretentious jerk using anyone to make money. David obviously trained at Wingfield cause he wasn’t good enough for the real operas just for funerals and the dead 💀 His timing was always terrible....and he was just like ‘Gaston’ in Beauty and the Beast...full of himself!!🤢🤮

    • @vangogh66110
      @vangogh66110 ปีที่แล้ว

      I'm terribly sorry this happened to you. I bet his so-called talent wasn't worth a dime as compared to the real tenors.
      I wonder if you could describe how he truly sounded like when he sang 💀

  • @jeremyharbottle3530
    @jeremyharbottle3530 3 ปีที่แล้ว +2

    Please explain what you hope to accomplish by this video and the "comparisons" therein..?

    • @aaronmckone8973
      @aaronmckone8973 ปีที่แล้ว +8

      The point is that opera genuinely doesn’t involve the same levels of skill, athleticism, etc, that it once did. It’s harder to really understand the difference from recordings, but opera was built for the theater, not for recordings on TH-cam, and the modern voices that fill TH-cam might sound excellent in a recording, but they do not work nearly as well in a theater. Many are just straight up not loud enough in a theater. Those that are loud enough are rarely consistently loud enough. Another thing is that, even if it is loud enough to be heard, how much of the voice are you hearing? Are you really mostly just hearing some of the brightest overtones or are you hearing more of the entire voice? Not only did old school singers carry better in a theater, but MORE of their entire voices carried. Some singers, you can hear, but you really only hear those bright overtones. Sometimes it feels more like their voice is another texture in the orchestra. With old school singers, it was just that their squillo (the ring in the voice) was louder. They’re entire voice was more grounded, firmer, and as such the vowels were much much clearer and their voices stood out from the orchestra. Even when a singer like Kaufmann is singing loudly, I feel like I hear part of his voice. I don’t hear this firm, grounded entire voice. I hear a piece of it. When Franco Corelli or Mario Del Monaco sings, I feel like I hear their whole voice, every bit of it, not just this floating ethereal ring that blends into the orchestra. It stands out from the orchestra. And their goal was for that to always be the case, no matter what dynamic they were singing. The voice never became some ethereal thing that was disconnected from the body and would float around. It was always firmly connected to their body, firmly HUMAN. again, you might think Kaufmann carries in a theater perfectly fine to your taste, but I promise you, if you could hear someone like Corelli or any of these old school singers in a theater, it would change your mind. We can still sing that way today, and I think a lot of young singers are starting to get tired of the netrebko’s and the kaufmann’s and some are starting to explore older ways of singing (back when opera was about the sound in the theater rather than the sound on a recording)
      Several years ago, I used to also think this page and people like it were just stuffy, old fashioned haters.. and I’m sure some of that “it was better back in the day” bias is a part of it.. it always is. But there is real truth to it here.. singers really used to sing in a way that was just much much more effective for a theater. Much more exciting to listen to. And those singers spanned from dramatic voices to lyric and light voices. They still shared that grounded, fully embodied sound. It was overly shaped to “sound like opera.” It was just real full voice, and it was insane in the theater. It really was better in that way. Voices were shaped for the theater rather than for recordings, and even if modern voices are good enough in a theater to your ears, they were just built better for it back before recordings were a thing. And it really effects the quality of the performance for those who are there in the theater to see it

    • @oliverdelica2289
      @oliverdelica2289 5 หลายเดือนก่อน +1

      @@aaronmckone8973 spot on description over here. Although these videos aren't always infallible, they provide enough material for students to equip themselves with the knowledge on what to look for in a good technique and voice

    • @Opera1sLife
      @Opera1sLife 3 หลายเดือนก่อน

      @@aaronmckone8973enjoyed your comment immensely. I can barely listen to modern opera singers but I still want to go to the opera because I am in training at the moment and want to see it in person to get an idea of what I’m up against. I learn the old way of singing and I feel that I’ll be just fine out there in the opera world.

  • @TenorRinke
    @TenorRinke ปีที่แล้ว +2

    Live singing lyric tenor Gedda is the best! fully suported engaged chest and headvoice, using his instrument fully . Mdm in this case sings it closed lazy and unsuported his a-flat is not impressive.

    • @Thisisopera
      @Thisisopera  11 หลายเดือนก่อน +1

      Gedda used a Knödel a lot. It was ok, but if you want to sing bigger then it will hold you back. Listen carefully.

    • @TenorRinke
      @TenorRinke 11 หลายเดือนก่อน

      Oke, I agree but his high tessitura is not constricted it is a bigger sound than Mdm.
      But what do you say about my critic to Mdm ,I am curious.

  • @paulennini3655
    @paulennini3655 2 หลายเดือนก่อน +4

    Gedda is pushing like crazy.

    • @comment6864
      @comment6864 2 หลายเดือนก่อน +5

      Gedda is one of the greatest tenors of all times. He is singing very differently here than practically in 99% of recordings you can see of him. To pick this one is pathetically disingenuous. LOL

    • @paulennini3655
      @paulennini3655 2 หลายเดือนก่อน +4

      @@comment6864 I like Gedda. I just think he was pushing like mad in this clip.

    • @draganvidic2039
      @draganvidic2039 2 หลายเดือนก่อน

      @@comment6864
      Learn to listen to the voice instead of your own opinions.

    • @comment6864
      @comment6864 16 วันที่ผ่านมา +2

      @@draganvidic2039 exactly what i said! I've listened to his voice COUNTLESS times. This is probably the worst recording of him i've ever heard. Nevertheless his technique is one of the best ever. And no, this is not just my opinion.

  • @microsofts5267
    @microsofts5267 3 ปีที่แล้ว +1

    If i want to sing in a right dark position, i have to use my body first, right? I'm really curious about singing in the dark.

    • @williammountfield8508
      @williammountfield8508 3 ปีที่แล้ว

      You lower your larynx

    • @toscadonna
      @toscadonna 2 ปีที่แล้ว +5

      The lowering and relaxation of the larynx comes from breathing prop. Don’t depress your larynx on purpose to push the sound to be dark. When you breathe, open the space behind your tongue. You should be able to put your hand on the back of your neck and feel the pharyngeal space open. Each phrase, start with that space, then train your low notes until this becomes easy. The space shou be open, and if you put your hand on your chest, you should feel the soft bones of the larynx ringing. You’re looking to keep that ringing throughout every note in your range. It’s easier to find when speaking or singing low. Then you just keep working to bring more opening but keeping the ringing as you go up and the voice mixes.

  • @miguelpereira9859
    @miguelpereira9859 4 ปีที่แล้ว +1

    What do you mean when you say Vitellio Scarpia is "linked" with this is opera

    • @Thisisopera
      @Thisisopera  3 ปีที่แล้ว +7

      He’s an ex-member of the larger group who was working his way up the ranks. He was in their discord channel and Facebook groups, and he’s still part of the same circles.
      It’s all the same bullshit, from yet another guy who knows all the solutions but has never solved a puzzle.

  • @comment6864
    @comment6864 2 หลายเดือนก่อน +2

    Gedda did NOT sing throaty, that is ridiculous!! You just don't have ears i guess

  • @lunolunerooficial
    @lunolunerooficial 2 ปีที่แล้ว +5

    is there any good singer these days? Im just wondering..

    • @aaronmckone8973
      @aaronmckone8973 ปีที่แล้ว +5

      Honestly, not really.. not to the level they used to be. Mostly because in the past, the vast majority of listening to opera was done in THE THEATER. Recordings were made, yes, but they were never more important than the actual performance in the theater. Everything was about what was best in the theater, everything was done to optimize the sound in the theater. Recordings kind of thwart all of that, and it has affected every single singer out there, myself fully included. Why sing louder and fuller when you can just move the mic closer to you? Or when you can just rebalance the volume of the singer and the orchestra in post. It affects everyone, even the most well meaning singers. But when the theater was basically all there was and recordings weren’t so prevalent and so all-important, what worked best in the theater was what prevailed. And the truth of the matter is that opera is an art form of the theater.. sure places are experimenting with putting operas in unconventional venues, but still, it is ultimately and vastly an art that was built for the theater.. so when we started singing for the microphones rather than the theater, we really lost was made it AMAZING (or EVEN MORE AMAZING) in a theater. And now I think we’re so far removed from that that we don’t even really realize how much better it could be.
      There are singers who are closer to that way of singing that is most effective for the theater, but really none of them are on that level of singing that spawned voices like those of the greats of the 20th century that we have on recording but who still sang for the theater rather than for the microphone

    • @aaronmckone8973
      @aaronmckone8973 ปีที่แล้ว +3

      @everyday tenor I definitely agree with all these things, 100%. It’s a really tough time to be trying to do anything without amplification. It’s a really tough time to try and advocate for yourself and your own vocal health. The industry is kind of built around all the wrongs things, things that aren’t going to promote vocal health and development. It’s true everywhere, and especially so in America. It’s definitely all wrapped up together into one bigger picture. I shouldn’t overlook or understate that reality.
      I do still believe we also do just sing differently than the singers of that time sang. Not just Del Monaco or Corelli. The basis for teaching is different. And a lot of that difference in teaching probably arises from the changing industry. But nonetheless, I don’t think we singers are taught to sing the same way singers were once taught to sing. Like, the teaching is good, but it’s not teaching all the same things. And while we have plenty of good, well taught singers, nearly all of us, even those who aren’t all obsessed with old school singing, still listen to the greats of ages past and wish we could hear more singers like them today. Yet, even the best teachers really don’t insist upon the same foundations that were insisted upon from those great singers we love. The way we are trained and learn to sing today simply will not produce voices like what was heard 60-70-100 years ago. Obviously, I haven’t worked with every teacher out there, but I’ve worked with a pretty broad sample and seen these things to be true. It’s not all the teachers’ faults, no. Like I said, I suspect they are just teaching for the industry that exists today, but I question if we need to…. I’m at least toying with some concepts now in my own voice that harken back to concepts I’ve heard of from singers and teachers of the past. Because I sure wouldn’t mind sounding like Corelli. And I don’t think the way singers are taught today will really allow for voices like that to develop, at least not without a little tweaking. I’m also in strong communication with my teachers of past and present about this process and all my thoughts, so no I’m not just advocating for fully separating yourself from your teacher lol. But I think this industry is really pretty off base from its origins and from what works best in the theater, and I’m interested in at least exploring that in my own voice.

    • @matthewjohnson1891
      @matthewjohnson1891 ปีที่แล้ว

      Check out poets of the fall sweet perfume of absense alexander theatre sessions

    • @robinrubendunst869
      @robinrubendunst869 ปีที่แล้ว

      Dark singing isn’t bad singing. It’s obviously not as brilliant and doesn’t use as much squillo, but tastes and techniques change.
      Cura and Kaufman are great (or were), as was Bergonzi and Kraus, Gedda and Gigli, Di Stefano, Pavarotti, and my personal forever favorite, Bjoerling. Jerry Hadley was terrific at one time, and Litricia, Alagna and so many others.
      They all have helped to keep interest in this very specialized, niche art form alive.
      I’m not overly fond of the “tenortone” or the “baritenor,” but it is what it is. Thank God we have recordings so young singers and (if they do the work) can listen and hear what is and what was, and what can be.

    • @ER1CwC
      @ER1CwC 5 หลายเดือนก่อน +1

      ​@@robinrubendunst869 The issue is that there are different ways of achieving darkness. The correct way will produce brightness as well (chiaro + scuro), whereas the incorrect way will sound woofy.

  • @Arishenka_A
    @Arishenka_A 18 วันที่ผ่านมา

    Corelli и здесь лучше всех ) 👍

  • @comment6864
    @comment6864 2 หลายเดือนก่อน

    Gedda: th-cam.com/video/LPrD66fthvk/w-d-xo.html

  • @comment6864
    @comment6864 2 หลายเดือนก่อน +1

    That last vincera.. You CAN'T be serious!!! The guy just spreads his mouth and screams.. LOL. What are you teaching the younger generations here??

    • @draganvidic2039
      @draganvidic2039 2 หลายเดือนก่อน

      The difference between throaty singing and singing not throaty.
      Listen again.

  • @cachdeques
    @cachdeques 2 ปีที่แล้ว +1

    it is hard to believe Gedda was a great singer in the 50s and 60s, this amor ti vieta hurts

    • @waldstefan
      @waldstefan 2 ปีที่แล้ว +5

      Considering that in this video he probably had 30 years of career and his prime behind him, it is not so bad!

    • @grr8048
      @grr8048 9 หลายเดือนก่อน

      Look how old he was at that time as well as the aria is almost to the max he could go in his fach.

  • @julylune9699
    @julylune9699 2 ปีที่แล้ว

    So silly comparisons. Different ages and different records. But what you usually call "dark singing" were mostly shouting under the tone. Enjoy)

    • @geminikid1617
      @geminikid1617 3 หลายเดือนก่อน

      No they aren’t. Different ages & records have nothing to do with it. It’s merely a lame excuse. Technically correct, brilliant singing is technically correct, brilliant singing no matter what. There’s a clear difference in what Corelli did (pure technical prowess, maximum efficiency & clarity) & Kaufmann (many technical flaws such as voce ingolata, knodel, extreme jaw tension). Sure he’s an emotive singer & nice interpreter I guess, but he’s a terrible tenor from a technical standpoint. There’s no way around that.

    • @pookz3067
      @pookz3067 3 หลายเดือนก่อน

      @@geminikid1617I agree to an extent but I think we’re cherry picking singing styles, and don’t see this as a trend that the narrative of this channel is trying to push (the old channel previously was to funnel ppl to sell “old school” lessons). The original this is opera has been caught editing the sound of videos to make voices sound louder, and comparing the size of the voice by how much the room sounds filled in a recording is flawed because it will depend a lot on where the mic is. It’s ok to prefer some types of singing vs others, and want to replicate the style you like. What I don’t like is this false narrative they paint, editing audios as well as giving objectively incorrect physiological descriptions of what singers are doing.

    • @julylune9699
      @julylune9699 2 หลายเดือนก่อน

      @@geminikid1617 I don't care about your opinion actually as you are just some guy from internet i never heard singing alive) I know how I sing and what i love. I listen to the tenors that surround me and I think of what I hear. But not some stupid stereotypes about dark singing from the Internet. For me, Corelli screams under the note, whether it is a recording or not, it does not really matter to me.

  • @raynardi2326
    @raynardi2326 2 ปีที่แล้ว +4

    Bisogna imparare dai grandi e basta

  • @comment6864
    @comment6864 2 หลายเดือนก่อน +1

    Actually Correlli sounds aweful, not much better than Kaufman in this particular comparison. Except in a few spots where Kaufman goes into his usual back of the throat weirdness. Gedda NEVER did that. And he was much more sensitive and musical than Correlli. If you heard a lot of him (which obviously you haven't) he had high notes like Correlli could only dream of. And what was that ending?? Was he even keeping to the score? At least Kaufman tries to stick to the score usually, not change it for effect. Correlli's kind of going for cheap thrills here. No musician respects that.

    • @ZENOBlAmusic
      @ZENOBlAmusic หลายเดือนก่อน

      No one was comparing Gedda with Corelli. It was a comparison of Gedda and Del Monaco, comparing them even on the same aria does not make a lot of sense. Gedda was a great tenor in his day, but he obviously should have retired at some point, like Corelli did.
      You do not know a lot about opera tenors if you compare Gedda’s high notes to Corelli’s high notes. Corelli was a dramatic tenor, he had a much bigger and heavier voice than Gedda.
      That matters because it is far more difficult to lift bigger and heavier objects, no one even expects dramatic tenors to sing high C notes for example, but Corelli could manage them. Corelli’s high notes were likely around 5 times bigger than Gedda’s high notes. That is the difference, Corelli’s high notes could make your clothing vibrate at the far end of an opera house, they were a physical experience, that is also why people cheer so easy for those notes. You can also add Lauri Volpi, as having huge high notes. Corelli and Lauri Volpi had some of the biggest tenor high notes of all time, they were heroic tenors, that could sing some of the most difficult repertoire such as Les Huguenots.
      Gedda was a great light lyric tenor closer to a leggero tenor, the highest notes that he sang was done in falsetto. (Which is fine as they were actually written to be sung that way). He was also a master of language, his language skill was miles ahead of Corelli. There is a reason why different types of tenors sing different repertoire, it is not like Corelli and Gedda sang similar repertoire. One similar role that they sang was Romeo. Which is actually an interesting story. The Met designed a new set for Romeo et Juliette specifically for Gedda. But Gedda really disliked something about the set, so he completely refused to perform on this set. And so The Met had to beg and pay Corelli a lot of extra money to sing Romeo, because it was not part of his repertoire. He could mange this lyrical role only because he was an exceptional and rare singer. Corelli had incredible sensitivity and nuance for having a huge dramatic voice.
      It would be stupid of me to say that Gedda did not have any dramatic ability, power and passion in his voice, these are not big features of a smaller and lighter voice.
      Kaufman’s voice is around 6 times smaller than Corelli’s voice, that the first thing to understand. Kaufman has the vocal size of a Mozart tenor. And he can sing Mozart quite well. But he artificially darkens his voice and sing roles such as Mario Cavaradossi. Kaufman’s recording here is form a professional recorded production with modern equipment, he has a microphone on him, his voice has gone through modern editing. Corelli was recorded in 1967, this was a recording from the audience so it is a bootleg it is not a professional recording, it is very old technology, something like old 4 inch tape, (this is even before cassette tapes), the sound has distortion and the recording is from very far away. Despite this the squillo in Corelli’s voice prevails. If you would have recorded Kaufman in those same conditions he would have been inaudible. And Kaufman would never be able to sing repertoire such as Les Huguenots, he was never particularly good with the highest notes.
      If you are actually interested in voices, you should invest some time in understanding different voice types. Gedda was a great light voiced tenor. It is easier for small voices to sing higher, pianissimo and with more flexibility. Dramatic voices sing over bigger orchestras, their voices have more different colours, and they tend to sing roles where characters are princes and more noble, or they have to sing very emotionally unstable characters where the voice should be driven in a very powerful way almost to a breaking point. Heavy repertoire also at times have a lot of lower notes, that can be a struggle for higher tenors. This is why lyric tenors who tries to sing dramatic repertoire often ends up destroying their voices. Gedda was an intelligent singer who stayed far away from the heavy repertoire.
      Listen to Gedda singing A Te, O Cara and listen to Corelli singing A Te, O Cara they both have good studio versions of this aria, this is meant for a leggero tenor, it is a miracle that Corelli with his dramatic voice can mange the legato, line and flexibility required to sing this aria. You will not hear any other dramatic tenors singing this.
      Dramatic tenors often have to sing long lines in forte which is difficult for light tenors. Something that is perfect for dramatic tenors is Or Son Sei Mesi, I would not expect a tenor like Gedda to sing this very well. Listen to this aria and see how different it is from Gedda’s repertoire.
      Of course I am not sure you are actually interested in understanding different tenors, it seems more like you interested in attacking tenors without substance.

    • @comment6864
      @comment6864 7 วันที่ผ่านมา

      @@ZENOBlAmusic I don't think Kaufman is in the same category as Gedda and Corelli, and i didn't come to that conclusion right away. However i prefer to not say too many negative things about live singers who still have careers ongoing (as far as I know), but dead singers another story. All the rest of these are dead and couldn't care less at this point what we say. To be honest i'm not a huge Corelli fan from what i've heard of him, which is not that much (I grew up hearing tons of Wagner). I for example prefer Di Stefano, out of the better known Italian tenors. I also think there were some amazing singers among the Russian tenors of the 20th century, but beyond that, i'm not too passionate about this topic. I just happen to know Gedda's singing very well and the specific choice of recording used in this video is extremely perplexing to me, and i'll leave it at that.

  • @Kylevstenor
    @Kylevstenor 2 ปีที่แล้ว +4

    Kaufmann Vs Corelli?! Kaufmann is fantastic so is Corelli. Corelli was better at Italian, Kaufmann is better at everything else. 😂 this video is click bait.

    • @Thisisopera
      @Thisisopera  2 ปีที่แล้ว +4

      "the food was inedible, and the potions were too small"

    • @aaronmckone8973
      @aaronmckone8973 ปีที่แล้ว +6

      Yeah, singers in Corelli’s age weren’t really expected to master singing in non native languages, so even undergraduate level singers are better at French diction nowadays than corelli was. But every language should be sung with clarity and full connection to the body, not just Italian. So from that perspective, Corelli sang all those other languages better than Kaufmann sings any of them 🤷🏻‍♂️

    • @shon7507
      @shon7507 5 หลายเดือนก่อน +3

      Are you deaf? Corelli is way better than Kaufmann

    • @Arishenka_A
      @Arishenka_A 18 วันที่ผ่านมา +1

      ) Corelli = 100 Kaufmann.
      и это даже не преувеличение