Dear Daniele, An absolutely fantastic video, most pertinent for me is your summation as to the recording trap which considerably gifted voices fall into. To expand on this: competitions, music colleges, and even YAPs, agents and directors will regularly judge a voice more on a close mic recording, or they will ask for one at least, before hearing a singer live. My concern is that it is probably not reasonable to expect an accurate representation of a singer via a close mic recording, much less one which is audio - edited and multiple takes. The result of this is that we have an industry where the arbiters of who gets the chance to perform on the stages select singers on faulty premises. This can only be a bad thing. It creates a self sustaining reaction, whereby singers with vocal defects which can be overridden on an edited recording perform, and therefore inspire the next crop of talent to copy them, which then causes this next crop of talent to most probably emulate the same (or worse) mistakes, and so on. As far as I can tell, this has been going on for perhaps a couple of generations. Your analogy of ego-lifting in the gym is accurate and what happens most of the time to these ego lifters is that they become injured and then can't do it any more. I don't think it's that unreasonable to expect a singers high notes to be louder than the rest of the voice, yet why is this not the case in many singers of today? I suppose the biggest thing that a close mic record can hide happens to be probably the biggest challenge of an opera singer; the ability to sustain enough volume to be heard over an orchestra, WITHOUT A MICROPHONE, in a large room. Regards, Ed
What an immense service you do to us, afro poli! It's so hard we could go listen to some of this singers to where them sing, in my case being from Peru. It's so good to have an educated ear to judge properly this voices and give us a very informed opinion on them. Thanks!
I think that nowadays there is a misconception in Opera: the lyric-light or Di grazia's tenor gets all the recognitizion because their timbre is the most pleasant to hear in recordings. For this reason they get famous and then Opera houses offer them to sing the wrong roles, obv they accept because of money. Also because of this vicious circle, basically there are no more true Drammatic tenors because they sound worse in recordings and Opera houses put hidden mics in theatres to amplify the "best light timbres".
There are quite a few dramatic tenors, but they have been singing baritone since 20 or 30 years ago. Easy tops, longer careers, clever choice if you ask me. Only downside is the art itself, the audiences and the real baritones.
@@Davanzo_DieGol Agreed! Someone like Del Monaco did not sound like a baritone at all. He had that very strong bronze middle register with a brilliant sound. Corelli did not sound like a baritone, people will say he was spinto, perhaps, but he still had a dramatic voice he certainly did not have lyrical voice. There are many other examples such as Merli and Tamagno. A lot of people didn't like his voice, but you can add Kurt Buam as well. You will find more of the baritone sounding tenors, or perhaps baritones with high notes in Wagner. They do not sound very good in the heavier Italian repertoire.
I heard Bernheim sing Romeo at the Met in March. It’s a nice voice, however, it’s not that big. He could only be heard well when he was singing downstage. His upper register is very forced and he sang his high notes with a wide-open mouth and a lot of physical strain. I don’t think he’ll last very long if he keeps doing this. Overall, it was not terrible, but there is a very noticeable gap in the quality of his recordings versus live performances. I don’t know if he’s a full-blown leggiero tenor, but he definitely does not possess the lyrico-spinto voice that is required for one to adequately sing roles like Romeo or Rodolfo.
The sad truth is that many in our profession do not possess a true voice and what we hear today is just the amalgamation of microphone magic and sheer agency that promotes people off of other vices that one with common sense can see is their primary reason for said-successes. As a "young" singer still, videos like these are not only pertinent but they are paramount in finding the truth; the reality of the situation that perhaps, maybe, we will have a strong sense of urgency to remedy the sad state of affairs in the operatic world. I have little faith, however that we will come to a "fix" to the issues but I still believe we must never stop trying. It's either that or we prove Maria Callas, Renata Tebaldi, and Jerry Hadley all right -- that opera has we know it, is dead. I shudder to think that and instead hope to one day bring about a rebirth of it in my own singing. Thank you for the video Afropoli!
We have much bigger problems in culture these days in general to just fix one, but one stems from the other. Take a step back and an objective 'look' around. Vocalization in general has gone down the tubes these days, even in the way people speak. Pop so called music has made many things acceptable to the ear and musical sense that were never before. A certain vulgarization and primitivization of art in general is BOUND to have a downstream effect on all its forms. You surely don't think it could be otherwise?? It's an anti-culture of sorts that we live in. I would like to be optimistic that we will yet see better days, perhaps in some parts of the world more than in others, but realistically.. it's an awful lot to ask under the circumstances.
@@jefolson6989 Yes, i've had the same experience! Oddly enough i have to conclude he makes a pretty good Lohengrin, as to me Lohengrin is a character with a very youthful and pure image, and his sound somehow fits that bill surprisingly well.
The part about the complicit audience is absolutely true and the reason for the general decline in singing. They dont know or care what they hear. Same with orchestral concerts. Most mediocre concert receive a standing ovation.
That's because we live in an age when 'belting' is considered 'a type of singing', not simply wrong singing. These days most opera goers (not all!), some that might even call themselves enthusiasts, go to the opera without any particular expectation of what it is they are supposed to hear, having never been raised with it, but simply to comfort themselves that they are still 'cultured'. Moreover we live in an age of prodigies, where any prospective pianist or violinist has likely already been outdone by a 10-year prodigy. Quite honestly i often think Rachmaninoff himself would have never made it had he appeared a century later than he did. Just think.. most of the prodigies wold have come and gone, but the world would have never known Rachmaninoff. While opera for obvious reasons cannot be as overwhelmed by this phenomenon, it is not unscathed. Obviously you cannot have a prodigy baritone at 10 years old (thank goodness!!), but when you get into 12 or 13 year old 'sopranos', for example, it is not outside the realm of 'good' fakery. Add to that the clownery around the "X-country's got talent" phenomenon, and you have given the whole fake-star practice a formidable outlet. I could go on, but you get the picture. It would be a miracle if the elusive technique of opera singing did not suffer a crisis in this pandemonium of contemporary pseudo-art and anti-culture. I think the answer might be to seek out and truly nurture those rare cases where a true talent is developing on a true path and to encourage and support those pockets of truth, ensure that the finances of education are never a barrier to their success. Maybe instead of using up all energy to kick the bad ones, let's promote the truly good ones and be truly honest about who they are. Surely they must be somewhere. Sometimes it takes only one, a small seed to grow a big tree of understanding. Maybe we need like just one good example to emerge in each voice type.
Gracias por este video, los que hemos tenido la suerte de cantar en teatro y tratar con cantantes, vemos como hay gente mao o menos dotada, y no entiendo esta moda de cantantes con poca voz solo por que haya amplificación. Actué con un tenor llamado Long Long, que voz, en directo bien colocada y timbre bonito. Era un cañón. Pero claro, no es Calleja, Florez, etc.
Hello, I’m always so entertained and satisfied with your videos and commentary. I was wondering if you could speak on what you’re specifically listening for when identifying great singing. I surely know bad singing when I hear it. But there’s a lot of singers who you consider great, whom I maybe don’t consider to be that much better than people you’d consider not so great. I’m very interested in your thoughts, thank you.
Gracias, lo vengo diciendo desde hace años, siendo uno de los afectados por gente que maneja este tipo de artistas, todavía más...!!!! No soy el único ahora que estas cosas la piensa...!!!!
I completely agree with your assessment. The only issue is how can professional singer not self assess their performances? Apparently, singers do not protect their instrument like more akin to Gigli, Tucker or even Bergonzi these days. Are the voice teachers to blame?
It is quite clear as with many modern tenors. He does not cover when he should. He goes nasal to try to get through the "passage". It is not working anymore. That is why his notes above the stave cuts out. Like a Car, the voice needs to change gears. He definitely sings through the nose. He has this terrible habit of clearing his nose during his performances as well. His teacher was nasalish in quality as well. But he kept his voice focused and small, so he suffered less. You can do a review of Bryan Hymel. He has lost his voice as well. I was tempted to do a video on it and others like him that disappear from the Operatic scene. I felt bad pointing out issues of someone when they are down. So, I did not do it.
Thanks, very interesting. And you should make that video, I think. It can teach others what not to do and where not to go. I am not surprised about Hymel btw.
Paul Asciak! Fantastic singer. I was unaware Calleja was his student. Lately I know he'd been studying with Livigni. Wish him good luck this summer as Parsifal. It's scary what recordings you're sitting on, Afro. As ever, thanks for the opportunity to hear things live. (Consider using dpa 4060s croakie mounted. You'll be surprised how truthful they capture too.)
Yeah - he had a vocal crisis in the middle of his career...I believe then he started with Jack. Is this an old recording? I would imagine so. Too bad if it is recent...
Dear Daniele, Thank you for your work. Your reviews always sooth my soul. They possess high artistic quality as well as enormous information value. Last but not least, I really like both your speaking and singing voice. I consider you a connoisseur of vocal art. Hence, let me have a question. Is there anyone in Europe you know about that would help build the voice according to "old school" standards (chest voice, registration etc)? I have recently recovered from effects of bad vocal teaching. I started doing self-discovery work, going very slowly without pressure. But I feel I'd need to consult concepts such as registration in women. I am afraid though that the art is completely gone. Or is there someone who actually has the knowledge? I'd appreciate any word of advice. My kindest regards from Prague! Jana
Dear Jana, this is really hard to answer. As always, it depends on what suits your voice. I don't believe in one-fits-all-solutions. But if I may say one thing... stay away from Internet-gurus, they usually live off your hopes and fears. Also, you'd have to meet your teacher in person, video isn't very useful, at least not in my opinion. I do know someone who isn't too bad, but that man lives in Berlin and Rome. If you are interested, drop me an email (find it in the channel info). Best wishes! Daniele
A reality check on Alessandro Moccia in the future, maybe? He sounds like a mini MDM, but how does he sound in real life? Also, your previous Turandot video, you might be able to avoid copyright by removing the video footage and just use the audio.
First of all: thank you for always returning to my videos, it's a great pleasure. Now, Moccia. I'll go and report. I've watched this video of Un dì all'azzurro (th-cam.com/video/70xXWRkzbl4/w-d-xo.html). He indeed seems to successfully imitate MDM quite a bit, and I don't know it this is good or not. Too much imitation is a great risk, artistically speaking. While he is impressive in the low/middle and passaggio range, he falls back on the Bbs. They "flicker". To me that's a sign that the weight is too heavy. But let's see. I've learned my lesson, I won't judge anyone anymore on the base of TH-cam videos! Ciao! :)
@@AfroPoliMoccia seems to me a good current tenor, the only thing I really don't like about him is his imitation, but apart from that, he is an example of a lyrical tenor
@@AfroPoli It is also my impression of Moccia. His high range seems a bit forced (and at times flat) to me. And his attempts at imitating MDM’s mannerism sound a bit forced, too. MDM could exaggerate and declaim like he did because he was a dramatic tenor with impressive material and technique. Imitating his mannerism can be dangerous for lighter voices imho. Also, I think using video/audio for commentary purposes does not count as copyright infringement, so that Turandot video, you can definitely appeal.
I think the problem with young people imitating famous singers is that they imitate the mature voice. Moccia is trying to sound like MDM at 45, while he should be thinking about what he was like at 25. I believe in his early career MDM sang both Rodolfo and Pinkerton. I think the way Moccia is singing is very dangerous for someone his age. The (very evident) flatting, and as Mr. Poli said, the flickering B flats are signs he is blowing out the instrument. Tilting your head back, jutting your jaw forward, and singing with arms open is not technique; it’s theatrics.
Moccia is indeed an impressive impressionist and I admire the evident dedication and talent it must have taken to create such an effective imitation. The strange thing to me it that he seems to have taken mid-1960s del Monaco as his model, when the Maestro himself was having some difficulties and, indeed, tended to avoid Bb in concerts and frequently sing rather flat. Still, I do appreciate the sheer insanity of producing a near facsimile of one of the most distinctive tenors of all time, declamatory mannerisms and all.
Gigli singing Otello pieces is actually very good, and I would even argue that, had he chosen to, he might have been able to sing the whole role somewhat well. But he chose not to, very wisely might I add.
But it was not actually good. Otello is a battle commander who ends up murdering his own wife, he is not Rodolfo the nice guy poet. It is easy for lyric tenors to sing one aria from role in a pleasant manner. Lyric tenors have been allowed to perform dramatic repertoire without restraint, this only creates unrealistic ideals for real dramatic singers. Some people love Gigli's Andrea Chenier or Björling's Turandot for example. But these types of performances were obviously recorded in a studio, and these lyrical interpretations often completely misses the whole point of the role. With Gigli in Andrea Chenier you are only getting the young idealistic poet, there is no sense that the character is a strong revolutionary who is able to physically fight for himself. Björling sounds like a really nice guy, the boy next door who somehow ends up in a fantasy story. There is no sense that Calaf is actually a very egotistical character with somewhat of a selfish streak. He needs these characteristics to win over one of cruellest and strongest female characters. There would be no reason for Turandot to fall for the boy next door type of character, she needs to be challenged directly. Dramatic roles does not really call for great sensitivity and intellectual interpretations, these are usually roles that requires massive emotional or extreme outbursts that only dramatic singers can truly deliver. Dramatic repertoire has been completely destroyed by these practices and attitudes.
Have you heard Freddie de Tommaso live? If yes, what is your oppinion on him? I have only heard him twice, but he sounds clearly better live than on his albums. Of the tenors I have heard in the last two years since I am interested in opera singing he is one of my favourites.
A new name to me... thanks! I watched his E lucevan le stelle (th-cam.com/video/6AXgfZlF99c/w-d-xo.html), certainly a professionally recorded, enhanced sound. But the timbre is very nice. I put him on my bucket list!
The voice is quite small live, and the upper register constricts. No bloom. I was disappointed. Lise Davidsen dwarfed him and I don’t think she’s really the true dramatic she’s made out to be.
@@AfroPolione thing people need to know, and perhaps you might choose to point out: you are developing an opinion based on multiple encounters. It’s so easy to judge with one hearing, but who knows what that singer was going thru around that performance. While I enjoy hearing your opinion, I ask that viewers remember to give the singers the benefit of the doubt, room and time to grow, learn and mature. Judge all u want. Especially if steeped in the tradition. Thx Daniele for including multiple examples over time for context.
@@operarocks Thanks, much appreciated. But what I talk about is also quite anecdotal, it's a snap shot. I have not heard Calleja on multiple occasions. His performance just confirmed what I had suspected. And I'm not saying that my opinion is the "truth", it's my subjective impression. It's important to remember that. Thanks for commenting! :)
@@AfroPoli it was this past year at the Met. It was his Loris Ipanov. And I saw him in a recital later that month in a recital. It’s not a voice I’d associate with that kind of repertoire, however he cut in a very similar way to Kraus, oddly enough, and frankly was heard over everyone. The top was quite bizarre though. Everything above an A seemed like his top note, but then he could just sing higher and higher.
@@Chris-wm4th Weird. The voice isn't small, though. He can be heard. What ultimately ruined it for me was his completely out of focus top range from Ab and higher. How was it for you?
@@AfroPoli I heard him as the Duca at the Met last year and him and he had by far the best projection and acting on stage. Despite being 55 he was still springy and charming, and he even sang the high D in the duet. He sounded vastly different live than he does on recordings, which was one of the reasons I stopped judging singers based on recordings. He sounded great in Lohengrin as well, which I did not expect. Can't say the same for some of the other people in the cast (Evgeny Nikitin as Telmarund sounded terrible, I do not care how well he projects).
Vibrato should be there to make the sound more beautiful. Today it is common to use vibrato to make it uglier... At least Calleja's vibrato is uncontrolled, but you can still hear which note he is singing. I don't hear any wobbling. At the moment he is bad but still better than Alagna if you ask me. But that can change quickly when Calleja sings Parsifal...
Love your content. Although it is a bit long if I’m honest. Calleja’s teacher sounds like kermit the frog in that Otello clip. But I will try to listen to more of him. I thought Calleja’s Cavaradossi from Madrid last year was disappointing. But he has a beautiful tone and is perfect for the Duke and lyric rep. Thanks for your output!
I would just like to ask you this: what makes one ABLE to sing a role - is it whether they get through it or whether they sing like a “great”? I think Calleja is clearly able to get through rep. Sure, I can see that he’s not like a great, and there are better singers in the world. But singing is surely subjective, but what is not subjective is whether somebody gets through a role, and also to what level they are audible. I think operatic training is about those two things but the ‘beauty of their sound’ is subjective and anyone’s game. You appear to not account for the diversity of aesthetics and how people can like different noises. I like Calleja’s voice but then I’d prefer a spinto in Rodolfo any day of the week (as indeed, Puccini appeared to, namely with Widdop/Hislop). But my taste (or Puccini’s) doesn’t mean it’s right. We always need to account for taste in singing, in my view, otherwise we fall victim to ego-driven ill-equipped, inflexible philosophy. We cease to be able to critically think and debate on each other’s emotions if we are unable to deal with our own.
Estimado Afro, saludos desde El Salvador. Realmente asombrado con Callejas temprano.... Porque solo tenia idea de grabaciones, en donde mas que promocion... Pues lo desanimaba a seguir escuchando: vibrato caprino, agudos inconsistentes... Falla en redpiracion, linea de canto... Comprendo por que FUE ran bueno. Gracias por compartir. WOOWW ceras con la Kathia, bella voz en su momento... Triste como la han destruido con el Ave Maria de Schubert. La voz y su ejecutante... Tambien tiene un tiempo de vida, llevada de mejor o peor manera... ❤
Dear Afro Poli, thank you for your valuable work. I verry much enjoy your channel .Especially your latest series of Reality Check. May I ask you if you are aware of Adam Smith and what is your opinion about his singing. I think he is a verry promissing Tenor.
Ooooh I was waiting for that one. I didn't know it yet, but now that this video popped up, I know. *Edit:* Because I heard him on the car radio, where he sounded big and round. Ok. Reality was checked, thanks for that, even if disappointing ;) Is fast vibrato necessarily a bad thing? Other than it may be difficult, and easy to lose focus. I remember Corelli was itching to change his in the early days, but I never minded it, nor that of Lauri-Volpi.
in my humble opinion, it's not the worst. many great singers had a fast vibrato, but it didn't make the note sound off pitch and they had great breath support and large voices. Calleja isn't one of them, he doesn't have any redeeming qualities and his "vibrato"? is out of control, weak, not musical. But who could say Ruffo, Lauri Volpi, Benvenuto Franci or Conchita Supervia were bad singers? the wobble Lauri Volpi later developed is worst to my ears than a quick vibrato. Sometimes I like to better analyse by slowing down the recording, that way you can better analyse the vibrato. Also the musical abilities of a singer can make a vocal defect acceptable, I don't think perfection is achievable. But Calleja has no musical abilities... His interpretations are absolutely soulless and so is his presence on stage. Terrible.
Your critique of Calleja here is spot on, but please do not perpetuate the idea that the ½ tone transposition of "Che gelida manina" is taboo. Björling was doing it in his 30s, Pavarotti in his 40s, and many GREAT singers, throughout their careers. This taboo is the reason we're too often denied a Rodolfo with some virility. Rarely is heard a full lyric or lirico spinto in that role nowadays. I heard Calleja as Rodolfo at the Met, so, again, your observations are accurate. And also in Bellini's Norma, unfortunately not as Flavio, but as Pollione. Imagine! His acting as Pollione was inappropriate, too, but some blame could fall upon the director.
Thanks. No, I'm not saying that it is taboo. The only thing I expect when someone does it is a good top note. And he did clearly not deliver. Pollione... oh my.
People do not appreciate bigger voice in La Boheme. La Boheme is actually an opera that practically any type of tenor can perform quite well. In Paul Jackson's book about the Met, he described Corelli's La Boheme performances as Otello singing La Boheme. lol
I heard him live in Ballo, shortly before he died. His voice was not huge, but it was sizeable. I don't think he would've been singing spinto roles had he been of an earlier generation, but I thought it was respectable.
@@XPRT10R Se i rimorsi, il pianto omai, Non vi parlano per me, Qual nessun mi vide mai, Io mi prostro al vostro pié! Hahahahahahahahahahaha, tell us the stories don’t keep us in suspense!!
It is my belief that the tenor voice is generally an easier voice due to the smaller size of his larynx. Baritones like myself can not sing in that flat, throaty way as JC does. If a baritone belts like the tenor here, he would lose his voice and damage it very quickly. This tenor, like so many others, is basically belting. Because his singing is right in the throat, he has to stick his voice in his nose to create some kind of control of the belting technique he employs. There is almost no depth to his sound, no roundness, no color, no thrust or bravura and zero squillo. Pinched bright nasal singing is now what passes for "operatic". This is what we get now...and audiences have sadly become accustomed to it.
what a tragedy............too much too soon ...........,you do have to know what to sing when.............and when the voice needs to rest........love your posts
I feel pretty bad for Joseph Calleja. I remembered liking him when I was a 12-year-old sixth grader and believed that he had the makings of a fine light lyric tenor. I never thought about his vocal flaws until they were more evident when he sang Don José which was a role way out of his depth. To find out that he tries to balance between Cavaradossi, Pollione, Loris, Rodolfo, Alfredo, Pinkerton, and Don José with that bleating Caprino of his is depressing and sad. Mr. Calleja should have just stuck with Almaviva from Barbiere di Siviglia, Lindoro from L'Italiana in Algieri, Ramiro from Cenerentola, Ory from Le Comte Ory, Elvino from La Sonnambula, Nemorino from L'Elisir d'Amore, and Ernesto from Don Pasquale and just call it a day. Why risk his naturally light tenor voice with bigger roles? It was, is, and will always be insufficiently voiced to have a go at them. He may have charisma, but it seems like the money remains the motivator, not conscientiousness of vocal limits, let alone cognizant artistry of what he should have accomplished as a light tenor.
AfroPoli please let me know your thoughts on the tenor Robert Swensen. He teaches at the Eastman School of Music, potentially dangerous for conservatory study.
I don't really have an opinion, I've never heard him live and I don't know how and what he teaches. What does he do? I only remember him from a video singing the Faust aria and someone writing that he sounded like Calleja. So, funny you mention him!
He studied with Nicolai Gedda for 3 years and was mentored by Pavarotti up until Pavarotti’s death, they were great friends since Robert was a young man. Fortunately he took many of Gedda’s best qualities but unfortunately some of Pavarotti’s worst. Have a listen to Swensen’s “Magische Tone”, some parts of it are magical. Finding a teacher in the conservatory setting has been very difficult for myself, I’ve searched high and low, America and Europe, certainly not the best that I could possibly find but he is the best I have found. I’ll be beginning my studies with him at Eastman in the fall.
@@jackleslie1194 If you are looking for a good teacher in conservatoire I can highly recommend Dr. Stephen Robertsson or Julian Tovey at the Royal Conservatoire of Scotland. Two teachers with a superb ear.
Von allen bekannten Tenören heutzutage, ist Callejas Karriere für mich die unerklärlichste. Vogt hat lange blonde Haare, Kaufmann gibt den Italo Charmeur, Florez den Latino Gitarristen… aber Calleja hat GAR NICHTS! Seine Schwächlichkeit ist dermaßen unattraktiv, die stimmlichen Defizite sind so offensichtlich. Und das schon seit vielen Jahren! Der hätte genau so gut mit Mitte 30 aus’m Stadttheater Ensemble fliegen und nie wieder ein Engagement bekommen können. Dieser Mann muss echt von Fortuna geküsst sein, dass er so eine Karriere gemacht hat.
Caprino can be corrected. He doesn’t care or nobody has told him. Heard him live in Stockholm in the beginning of his career. Fawlty voice no thanks kind of…
I had the unfortunate experience of hearing Calleja live. It is a light lyric Tenor with a classic caprino vibrato. I do not understand for the life of me how he has such a big career. And of course, there's his unfortunate choice of repertoire. He has no business singing spinto/dramatic Tenor roles and arias.
Overall, he's alright. He's not my favorite, and there are much better tenors out there in the world of opera. But at least I'm okay with him and I don't think he's a horrible singer (at least not in most aspects).
I heard him in the Première of Tosca at the Opéra Bastille and it ruined the performance. Saioa Hernández made a great Tosca. Sadly, her Cavaradossi was too weak.
Couple of things. A lot of his singing in your clips is very good. However, he was not in good voice high up here. I recently saw him live with no chance of amplification and he was fantastic. His top was free bright and focussed. His projection was good. He even did an encore walking all around the auditorium and his voice carried beautifully. It was a stunning feat. His chest voice as strong and more evident than I expected - he’s a bigger man. After listening to opera -esp tenors for 50 years I think we have to realise some voices don’t appeal to some people. You obviously don’t like Calleja’s. That’s fine. I love Corelli. My wife can’t bear him. I’m staggered people adored Martinelli. I think his pitch is odd and that he has zero legato. I find Kraus’s voice penetrating to the point of being unmusical and unpleasant. Esp after the mid 70s. Also, all the greats you refer to as being objective about their voices were constantly criticised throughout their careers. Corelli - a God to me- had a career from 30 to 57. 27 years. By then his voice wasn’t consistently great anymore. Calleja has already been going for nearly 25 years already. No one view of a voice is THE truth. It’s all views. We differ re Calleja.
Pity all those voice and opera experts, the major opera house of the world, and the publishing companies do not have your exquisite nous. Oh, and the general public too, but what would they know - after all opera is not for the great unwashed but for frustrated failed singers. Oh, and who are you, anyway?
So you basically need the approval of the general public, the major opera houses and publishing companies? You can easily just listen, and make up your own mind. You don't need other people to tell you how to think or how to view art. These in house recordings really does not sound good. It is somewhat unfortunately that bad opera singing tends to sound, extremely bad. There is line where you can hear objectively bad singing. You should play these clips to someone who is not a fan of opera, and ask them if they think it sounds good.
@@ZENOBlAmusic Yes, you do too. When you get up your butt and decide against the general consensus that this is a quality tenor, it means that you are either a uniquely gifted and misunderstood critic, or completely out of touch.
He seems to be very unmusical, he nevertakes the tempo of the orchestra and is ritmically desastrous! I' m happy I didn' have to sing with him, he does not feel the pulse of the music.
![[Reality Check] Grigolo vs. Tetelman](http://i.ytimg.com/vi/TZS7IbIbmgE/mqdefault.jpg)
![[Reality Check] Grigolo vs. Tetelman](/img/tr.png)
Dear Daniele,
An absolutely fantastic video, most pertinent for me is your summation as to the recording trap which considerably gifted voices fall into. To expand on this: competitions, music colleges, and even YAPs, agents and directors will regularly judge a voice more on a close mic recording, or they will ask for one at least, before hearing a singer live. My concern is that it is probably not reasonable to expect an accurate representation of a singer via a close mic recording, much less one which is audio - edited and multiple takes. The result of this is that we have an industry where the arbiters of who gets the chance to perform on the stages select singers on faulty premises.
This can only be a bad thing. It creates a self sustaining reaction, whereby singers with vocal defects which can be overridden on an edited recording perform, and therefore inspire the next crop of talent to copy them, which then causes this next crop of talent to most probably emulate the same (or worse) mistakes, and so on. As far as I can tell, this has been going on for perhaps a couple of generations. Your analogy of ego-lifting in the gym is accurate and what happens most of the time to these ego lifters is that they become injured and then can't do it any more.
I don't think it's that unreasonable to expect a singers high notes to be louder than the rest of the voice, yet why is this not the case in many singers of today? I suppose the biggest thing that a close mic record can hide happens to be probably the biggest challenge of an opera singer; the ability to sustain enough volume to be heard over an orchestra, WITHOUT A MICROPHONE, in a large room.
Regards,
Ed
Very well said, Ed. Thank you so much!!!
@@AfroPoli You're welcome! Much love.
I wish this was a daily series, your channel is incredibly helpful for a young operagoer like myself. Keep up the great work!!! 😍
What an immense service you do to us, afro poli! It's so hard we could go listen to some of this singers to where them sing, in my case being from Peru. It's so good to have an educated ear to judge properly this voices and give us a very informed opinion on them. Thanks!
Thank you for listening and best regards to Peru!!!
I think that nowadays there is a misconception in Opera: the lyric-light or Di grazia's tenor gets all the recognitizion because their timbre is the most pleasant to hear in recordings.
For this reason they get famous and then Opera houses offer them to sing the wrong roles, obv they accept because of money. Also because of this vicious circle, basically there are no more true Drammatic tenors because they sound worse in recordings and Opera houses put hidden mics in theatres to amplify the "best light timbres".
Yep...
There are quite a few dramatic tenors, but they have been singing baritone since 20 or 30 years ago. Easy tops, longer careers, clever choice if you ask me. Only downside is the art itself, the audiences and the real baritones.
@@siddspain A true dramatic tenor usually doesn't have a baritonal quality. Del Monaco's timbre was very bright especially after his car accident.
@@Davanzo_DieGol Agreed! Someone like Del Monaco did not sound like a baritone at all. He had that very strong bronze middle register with a brilliant sound. Corelli did not sound like a baritone, people will say he was spinto, perhaps, but he still had a dramatic voice he certainly did not have lyrical voice. There are many other examples such as Merli and Tamagno. A lot of people didn't like his voice, but you can add Kurt Buam as well. You will find more of the baritone sounding tenors, or perhaps baritones with high notes in Wagner. They do not sound very good in the heavier Italian repertoire.
@@Davanzo_DieGol oh totally, I agree, but they still sing baritone. I don't want to name names but they are quite obvious for the reasons you noted
Great Video! A reality check with Benjamin Bernheim would be great.
I heard Bernheim sing Romeo at the Met in March. It’s a nice voice, however, it’s not that big. He could only be heard well when he was singing downstage. His upper register is very forced and he sang his high notes with a wide-open mouth and a lot of physical strain. I don’t think he’ll last very long if he keeps doing this. Overall, it was not terrible, but there is a very noticeable gap in the quality of his recordings versus live performances. I don’t know if he’s a full-blown leggiero tenor, but he definitely does not possess the lyrico-spinto voice that is required for one to adequately sing roles like Romeo or Rodolfo.
The sad truth is that many in our profession do not possess a true voice and what we hear today is just the amalgamation of microphone magic and sheer agency that promotes people off of other vices that one with common sense can see is their primary reason for said-successes.
As a "young" singer still, videos like these are not only pertinent but they are paramount in finding the truth; the reality of the situation that perhaps, maybe, we will have a strong sense of urgency to remedy the sad state of affairs in the operatic world. I have little faith, however that we will come to a "fix" to the issues but I still believe we must never stop trying.
It's either that or we prove Maria Callas, Renata Tebaldi, and Jerry Hadley all right -- that opera has we know it, is dead. I shudder to think that and instead hope to one day bring about a rebirth of it in my own singing.
Thank you for the video Afropoli!
We have much bigger problems in culture these days in general to just fix one, but one stems from the other. Take a step back and an objective 'look' around. Vocalization in general has gone down the tubes these days, even in the way people speak. Pop so called music has made many things acceptable to the ear and musical sense that were never before. A certain vulgarization and primitivization of art in general is BOUND to have a downstream effect on all its forms. You surely don't think it could be otherwise?? It's an anti-culture of sorts that we live in. I would like to be optimistic that we will yet see better days, perhaps in some parts of the world more than in others, but realistically.. it's an awful lot to ask under the circumstances.
this is a formal request for a klaus florian vogt reality check. love your channel thanks for making this vid.
That would be interesting. I have to admit after hearing him live, my opinion of Vogt has changed somewhat.
@@jefolson6989 I've read that his voice slices through the orchestra like butter live. Was that your experience live?
My experience was that he sounds the same timbre-wise as on record, but his voice does project more than you might expect.
@@jefolson6989 Yes, i've had the same experience! Oddly enough i have to conclude he makes a pretty good Lohengrin, as to me Lohengrin is a character with a very youthful and pure image, and his sound somehow fits that bill surprisingly well.
@@comment6864 not very heroic though, and bad breathing technique
The part about the complicit audience is absolutely true and the reason for the general decline in singing. They dont know or care what they hear. Same with orchestral concerts. Most mediocre concert receive a standing ovation.
“Let’s pay hundreds of dollars to go see this shitty singer and clap”🤡
That's because we live in an age when 'belting' is considered 'a type of singing', not simply wrong singing. These days most opera goers (not all!), some that might even call themselves enthusiasts, go to the opera without any particular expectation of what it is they are supposed to hear, having never been raised with it, but simply to comfort themselves that they are still 'cultured'. Moreover we live in an age of prodigies, where any prospective pianist or violinist has likely already been outdone by a 10-year prodigy. Quite honestly i often think Rachmaninoff himself would have never made it had he appeared a century later than he did. Just think.. most of the prodigies wold have come and gone, but the world would have never known Rachmaninoff. While opera for obvious reasons cannot be as overwhelmed by this phenomenon, it is not unscathed. Obviously you cannot have a prodigy baritone at 10 years old (thank goodness!!), but when you get into 12 or 13 year old 'sopranos', for example, it is not outside the realm of 'good' fakery. Add to that the clownery around the "X-country's got talent" phenomenon, and you have given the whole fake-star practice a formidable outlet. I could go on, but you get the picture. It would be a miracle if the elusive technique of opera singing did not suffer a crisis in this pandemonium of contemporary pseudo-art and anti-culture. I think the answer might be to seek out and truly nurture those rare cases where a true talent is developing on a true path and to encourage and support those pockets of truth, ensure that the finances of education are never a barrier to their success. Maybe instead of using up all energy to kick the bad ones, let's promote the truly good ones and be truly honest about who they are. Surely they must be somewhere. Sometimes it takes only one, a small seed to grow a big tree of understanding. Maybe we need like just one good example to emerge in each voice type.
@@comment6864 I agree with you. I also think the main reason there are no great singers today is lack of love.
Gracias por este video, los que hemos tenido la suerte de cantar en teatro y tratar con cantantes, vemos como hay gente mao o menos dotada, y no entiendo esta moda de cantantes con poca voz solo por que haya amplificación. Actué con un tenor llamado Long Long, que voz, en directo bien colocada y timbre bonito. Era un cañón. Pero claro, no es Calleja, Florez, etc.
Hello,
I’m always so entertained and satisfied with your videos and commentary. I was wondering if you could speak on what you’re specifically listening for when identifying great singing. I surely know bad singing when I hear it. But there’s a lot of singers who you consider great, whom I maybe don’t consider to be that much better than people you’d consider not so great. I’m very interested in your thoughts, thank you.
Gracias, lo vengo diciendo desde hace años, siendo uno de los afectados por gente que maneja este tipo de artistas, todavía más...!!!! No soy el único ahora que estas cosas la piensa...!!!!
I completely agree with your assessment. The only issue is how can professional singer not self assess their performances? Apparently, singers do not protect their instrument like more akin to Gigli, Tucker or even Bergonzi these days. Are the voice teachers to blame?
One word: money! He gets paid a great deal of money per performance, and the heavier the repertory, the bigger the pay check.
It is quite clear as with many modern tenors. He does not cover when he should. He goes nasal to try to get through the "passage". It is not working anymore. That is why his notes above the stave cuts out. Like a Car, the voice needs to change gears.
He definitely sings through the nose. He has this terrible habit of clearing his nose during his performances as well. His teacher was nasalish in quality as well. But he kept his voice focused and small, so he suffered less.
You can do a review of Bryan Hymel. He has lost his voice as well. I was tempted to do a video on it and others like him that disappear from the Operatic scene. I felt bad pointing out issues of someone when they are down. So, I did not do it.
Thanks, very interesting. And you should make that video, I think. It can teach others what not to do and where not to go. I am not surprised about Hymel btw.
He boarded the struggle bus when it started and rode it to the end of the line.
Paul Asciak! Fantastic singer. I was unaware Calleja was his student. Lately I know he'd been studying with Livigni. Wish him good luck this summer as Parsifal.
It's scary what recordings you're sitting on, Afro. As ever, thanks for the opportunity to hear things live. (Consider using dpa 4060s croakie mounted. You'll be surprised how truthful they capture too.)
LiVigni... OMG. I'll include Calleja in my prayers!
Yeah - he had a vocal crisis in the middle of his career...I believe then he started with Jack. Is this an old recording? I would imagine so. Too bad if it is recent...
@@violingirl2 2019 if I remember correctly.
@@AfroPoli woww...too bad. thanks for your vids.
Dear Daniele,
Thank you for your work. Your reviews always sooth my soul. They possess high artistic quality as well as enormous information value. Last but not least, I really like both your speaking and singing voice.
I consider you a connoisseur of vocal art. Hence, let me have a question.
Is there anyone in Europe you know about that would help build the voice according to "old school" standards (chest voice, registration etc)?
I have recently recovered from effects of bad vocal teaching. I started doing self-discovery work, going very slowly without pressure. But I feel I'd need to consult concepts such as registration in women.
I am afraid though that the art is completely gone.
Or is there someone who actually has the knowledge?
I'd appreciate any word of advice.
My kindest regards from Prague!
Jana
Dear Jana, this is really hard to answer. As always, it depends on what suits your voice. I don't believe in one-fits-all-solutions. But if I may say one thing... stay away from Internet-gurus, they usually live off your hopes and fears. Also, you'd have to meet your teacher in person, video isn't very useful, at least not in my opinion. I do know someone who isn't too bad, but that man lives in Berlin and Rome. If you are interested, drop me an email (find it in the channel info). Best wishes! Daniele
A reality check on Alessandro Moccia in the future, maybe? He sounds like a mini MDM, but how does he sound in real life?
Also, your previous Turandot video, you might be able to avoid copyright by removing the video footage and just use the audio.
First of all: thank you for always returning to my videos, it's a great pleasure. Now, Moccia. I'll go and report. I've watched this video of Un dì all'azzurro (th-cam.com/video/70xXWRkzbl4/w-d-xo.html). He indeed seems to successfully imitate MDM quite a bit, and I don't know it this is good or not. Too much imitation is a great risk, artistically speaking. While he is impressive in the low/middle and passaggio range, he falls back on the Bbs. They "flicker". To me that's a sign that the weight is too heavy. But let's see. I've learned my lesson, I won't judge anyone anymore on the base of TH-cam videos! Ciao! :)
@@AfroPoliMoccia seems to me a good current tenor, the only thing I really don't like about him is his imitation, but apart from that, he is an example of a lyrical tenor
@@AfroPoli It is also my impression of Moccia. His high range seems a bit forced (and at times flat) to me. And his attempts at imitating MDM’s mannerism sound a bit forced, too. MDM could exaggerate and declaim like he did because he was a dramatic tenor with impressive material and technique. Imitating his mannerism can be dangerous for lighter voices imho.
Also, I think using video/audio for commentary purposes does not count as copyright infringement, so that Turandot video, you can definitely appeal.
I think the problem with young people imitating famous singers is that they imitate the mature voice. Moccia is trying to sound like MDM at 45, while he should be thinking about what he was like at 25. I believe in his early career MDM sang both Rodolfo and Pinkerton. I think the way Moccia is singing is very dangerous for someone his age. The (very evident) flatting, and as Mr. Poli said, the flickering B flats are signs he is blowing out the instrument. Tilting your head back, jutting your jaw forward, and singing with arms open is not technique; it’s theatrics.
Moccia is indeed an impressive impressionist and I admire the evident dedication and talent it must have taken to create such an effective imitation. The strange thing to me it that he seems to have taken mid-1960s del Monaco as his model, when the Maestro himself was having some difficulties and, indeed, tended to avoid Bb in concerts and frequently sing rather flat. Still, I do appreciate the sheer insanity of producing a near facsimile of one of the most distinctive tenors of all time, declamatory mannerisms and all.
Gigli singing Otello pieces is actually very good, and I would even argue that, had he chosen to, he might have been able to sing the whole role somewhat well. But he chose not to, very wisely might I add.
But it was not actually good. Otello is a battle commander who ends up murdering his own wife, he is not Rodolfo the nice guy poet. It is easy for lyric tenors to sing one aria from role in a pleasant manner. Lyric tenors have been allowed to perform dramatic repertoire without restraint, this only creates unrealistic ideals for real dramatic singers. Some people love Gigli's Andrea Chenier or Björling's Turandot for example. But these types of performances were obviously recorded in a studio, and these lyrical interpretations often completely misses the whole point of the role. With Gigli in Andrea Chenier you are only getting the young idealistic poet, there is no sense that the character is a strong revolutionary who is able to physically fight for himself. Björling sounds like a really nice guy, the boy next door who somehow ends up in a fantasy story. There is no sense that Calaf is actually a very egotistical character with somewhat of a selfish streak. He needs these characteristics to win over one of cruellest and strongest female characters. There would be no reason for Turandot to fall for the boy next door type of character, she needs to be challenged directly.
Dramatic roles does not really call for great sensitivity and intellectual interpretations, these are usually roles that requires massive emotional or extreme outbursts that only dramatic singers can truly deliver. Dramatic repertoire has been completely destroyed by these practices and attitudes.
What i don't understand is that even on his studio recordings, he still has the bleating caprino vibrato. Who enjoys that?
Have you heard Freddie de Tommaso live? If yes, what is your oppinion on him?
I have only heard him twice, but he sounds clearly better live than on his albums.
Of the tenors I have heard in the last two years since I am interested in opera singing he is one of my favourites.
A new name to me... thanks! I watched his E lucevan le stelle (th-cam.com/video/6AXgfZlF99c/w-d-xo.html), certainly a professionally recorded, enhanced sound. But the timbre is very nice. I put him on my bucket list!
Throaty, forced top. A student of the modern school. Expect no great career.
The voice is quite small live, and the upper register constricts. No bloom. I was disappointed. Lise Davidsen dwarfed him and I don’t think she’s really the true dramatic she’s made out to be.
@@AfroPolione thing people need to know, and perhaps you might choose to point out: you are developing an opinion based on multiple encounters. It’s so easy to judge with one hearing, but who knows what that singer was going thru around that performance. While I enjoy hearing your opinion, I ask that viewers remember to give the singers the benefit of the doubt, room and time to grow, learn and mature. Judge all u want. Especially if steeped in the tradition.
Thx Daniele for including multiple examples over time for context.
@@operarocks Thanks, much appreciated. But what I talk about is also quite anecdotal, it's a snap shot. I have not heard Calleja on multiple occasions. His performance just confirmed what I had suspected. And I'm not saying that my opinion is the "truth", it's my subjective impression. It's important to remember that. Thanks for commenting! :)
I’d be interested in what you have to say on Piotr Beczala. Personally, I’ve heard him once in sort of an odd role. It wasn’t bad, but definitely odd
Odd? How? 😀
@@AfroPoli it was this past year at the Met. It was his Loris Ipanov. And I saw him in a recital later that month in a recital. It’s not a voice I’d associate with that kind of repertoire, however he cut in a very similar way to Kraus, oddly enough, and frankly was heard over everyone. The top was quite bizarre though. Everything above an A seemed like his top note, but then he could just sing higher and higher.
@@Chris-wm4th Weird. The voice isn't small, though. He can be heard. What ultimately ruined it for me was his completely out of focus top range from Ab and higher. How was it for you?
@@AfroPoli I heard Beczala 10 years ago. It was not very impressive. His voice chokes up over the staff.
@@AfroPoli I heard him as the Duca at the Met last year and him and he had by far the best projection and acting on stage. Despite being 55 he was still springy and charming, and he even sang the high D in the duet. He sounded vastly different live than he does on recordings, which was one of the reasons I stopped judging singers based on recordings. He sounded great in Lohengrin as well, which I did not expect. Can't say the same for some of the other people in the cast (Evgeny Nikitin as Telmarund sounded terrible, I do not care how well he projects).
What is your opinion on Dmitri Hvorostovsky's singing?
Vibrato should be there to make the sound more beautiful. Today it is common to use vibrato to make it uglier... At least Calleja's vibrato is uncontrolled, but you can still hear which note he is singing. I don't hear any wobbling. At the moment he is bad but still better than Alagna if you ask me. But that can change quickly when Calleja sings Parsifal...
Love your content. Although it is a bit long if I’m honest. Calleja’s teacher sounds like kermit the frog in that Otello clip. But I will try to listen to more of him. I thought Calleja’s Cavaradossi from Madrid last year was disappointing. But he has a beautiful tone and is perfect for the Duke and lyric rep. Thanks for your output!
I would just like to ask you this: what makes one ABLE to sing a role - is it whether they get through it or whether they sing like a “great”? I think Calleja is clearly able to get through rep. Sure, I can see that he’s not like a great, and there are better singers in the world. But singing is surely subjective, but what is not subjective is whether somebody gets through a role, and also to what level they are audible. I think operatic training is about those two things but the ‘beauty of their sound’ is subjective and anyone’s game. You appear to not account for the diversity of aesthetics and how people can like different noises. I like Calleja’s voice but then I’d prefer a spinto in Rodolfo any day of the week (as indeed, Puccini appeared to, namely with Widdop/Hislop). But my taste (or Puccini’s) doesn’t mean it’s right. We always need to account for taste in singing, in my view, otherwise we fall victim to ego-driven ill-equipped, inflexible philosophy. We cease to be able to critically think and debate on each other’s emotions if we are unable to deal with our own.
I agree with you
Estimado Afro, saludos desde El Salvador. Realmente asombrado con Callejas temprano.... Porque solo tenia idea de grabaciones, en donde mas que promocion... Pues lo desanimaba a seguir escuchando: vibrato caprino, agudos inconsistentes... Falla en redpiracion, linea de canto... Comprendo por que FUE ran bueno. Gracias por compartir. WOOWW ceras con la Kathia, bella voz en su momento... Triste como la han destruido con el Ave Maria de Schubert. La voz y su ejecutante... Tambien tiene un tiempo de vida, llevada de mejor o peor manera... ❤
Grazie del commento. Un cordiale saluto!
Dear Afro Poli, thank you for your valuable work. I verry much enjoy your channel .Especially your latest series of Reality Check.
May I ask you if you are aware of Adam Smith and what is your opinion about his singing.
I think he is a verry promissing Tenor.
Ooooh I was waiting for that one. I didn't know it yet, but now that this video popped up, I know. *Edit:* Because I heard him on the car radio, where he sounded big and round. Ok. Reality was checked, thanks for that, even if disappointing ;)
Is fast vibrato necessarily a bad thing? Other than it may be difficult, and easy to lose focus. I remember Corelli was itching to change his in the early days, but I never minded it, nor that of Lauri-Volpi.
Very bad
@@ariasemusicaslegendadas7657 Without explanation, such a comment is worthless.
in my humble opinion, it's not the worst. many great singers had a fast vibrato, but it didn't make the note sound off pitch and they had great breath support and large voices. Calleja isn't one of them, he doesn't have any redeeming qualities and his "vibrato"? is out of control, weak, not musical. But who could say Ruffo, Lauri Volpi, Benvenuto Franci or Conchita Supervia were bad singers? the wobble Lauri Volpi later developed is worst to my ears than a quick vibrato. Sometimes I like to better analyse by slowing down the recording, that way you can better analyse the vibrato. Also the musical abilities of a singer can make a vocal defect acceptable, I don't think perfection is achievable. But Calleja has no musical abilities... His interpretations are absolutely soulless and so is his presence on stage. Terrible.
@@tinkerwithstuffI have to use google translator to write, so I only write two words
@@visionfugitiveExactly, like Tamagno, he was an excellent spinto tenor, but unfortunately he had a tremolo
Your critique of Calleja here is spot on, but please do not perpetuate the idea that the ½ tone transposition of "Che gelida manina" is taboo. Björling was doing it in his 30s, Pavarotti in his 40s, and many GREAT singers, throughout their careers. This taboo is the reason we're too often denied a Rodolfo with some virility. Rarely is heard a full lyric or lirico spinto in that role nowadays.
I heard Calleja as Rodolfo at the Met, so, again, your observations are accurate. And also in Bellini's Norma, unfortunately not as Flavio, but as Pollione. Imagine! His acting as Pollione was inappropriate, too, but some blame could fall upon the director.
Thanks. No, I'm not saying that it is taboo. The only thing I expect when someone does it is a good top note. And he did clearly not deliver. Pollione... oh my.
People do not appreciate bigger voice in La Boheme. La Boheme is actually an opera that practically any type of tenor can perform quite well. In Paul Jackson's book about the Met, he described Corelli's La Boheme performances as Otello singing La Boheme. lol
it's a shame the way Licitra passed, could you do a reality check on him?, even in recordings I got the sense that his voice was not that big.
I heard him live in Ballo, shortly before he died. His voice was not huge, but it was sizeable. I don't think he would've been singing spinto roles had he been of an earlier generation, but I thought it was respectable.
Kinda hard to do a reality check on a dead man. My impression from his recording is that the voice has no ring, and lots of strains.
Licitra had his problems, but he had a good sized voice, even in the cavernous Met (not the only place I saw him).
Bravo tenore
The stories I could tell...
Be my guest! :D
Please do, I beg like Turandot to Calaf to reveal his name, or I beg! “io vimmmmmploro!” Manon , hahahahaha
@@fr9khg57h ahahahaha.
"Il nome che cercate io solo só.
M’è suprema delizia
tenerlo segreto e possederlo
io solo!"
@@XPRT10R Se i rimorsi, il pianto omai, Non vi parlano per me, Qual nessun mi vide mai, Io mi prostro al vostro pié! Hahahahahahahahahahaha, tell us the stories don’t keep us in suspense!!
@@XPRT10R A proposito, sono appena tornato da una Turandot veramente orribile. Inascoltabile!!!
Homer Simpson sings better Rodolfo
I would be interested in your views on Michael Spyres
Again, you are perfectly right with your ears.. Calleja to me has never sound full and complete. Singing comes sort of over the places.. sorry JC
What do you have to say about Jessica Prat?
It is my belief that the tenor voice is generally an easier voice due to the smaller size of his larynx. Baritones like myself can not sing in that flat, throaty way as JC does. If a baritone belts like the tenor here, he would lose his voice and damage it very quickly. This tenor, like so many others, is basically belting. Because his singing is right in the throat, he has to stick his voice in his nose to create some kind of control of the belting technique he employs. There is almost no depth to his sound, no roundness, no color, no thrust or bravura and zero squillo. Pinched bright nasal singing is now what passes for "operatic". This is what we get now...and audiences have sadly become accustomed to it.
what a tragedy............too much too soon ...........,you do have to know what to sing when.............and when the voice needs to rest........love your posts
I feel pretty bad for Joseph Calleja. I remembered liking him when I was a 12-year-old sixth grader and believed that he had the makings of a fine light lyric tenor. I never thought about his vocal flaws until they were more evident when he sang Don José which was a role way out of his depth. To find out that he tries to balance between Cavaradossi, Pollione, Loris, Rodolfo, Alfredo, Pinkerton, and Don José with that bleating Caprino of his is depressing and sad. Mr. Calleja should have just stuck with Almaviva from Barbiere di Siviglia, Lindoro from L'Italiana in Algieri, Ramiro from Cenerentola, Ory from Le Comte Ory, Elvino from La Sonnambula, Nemorino from L'Elisir d'Amore, and Ernesto from Don Pasquale and just call it a day. Why risk his naturally light tenor voice with bigger roles? It was, is, and will always be insufficiently voiced to have a go at them. He may have charisma, but it seems like the money remains the motivator, not conscientiousness of vocal limits, let alone cognizant artistry of what he should have accomplished as a light tenor.
I can’t with caprino 😑
@@draganvidic2039 Me neither.
AfroPoli please let me know your thoughts on the tenor Robert Swensen. He teaches at the Eastman School of Music, potentially dangerous for conservatory study.
I don't really have an opinion, I've never heard him live and I don't know how and what he teaches. What does he do? I only remember him from a video singing the Faust aria and someone writing that he sounded like Calleja. So, funny you mention him!
He studied with Nicolai Gedda for 3 years and was mentored by Pavarotti up until Pavarotti’s death, they were great friends since Robert was a young man. Fortunately he took many of Gedda’s best qualities but unfortunately some of Pavarotti’s worst. Have a listen to Swensen’s “Magische Tone”, some parts of it are magical. Finding a teacher in the conservatory setting has been very difficult for myself, I’ve searched high and low, America and Europe, certainly not the best that I could possibly find but he is the best I have found. I’ll be beginning my studies with him at Eastman in the fall.
@@jackleslie1194 If you are looking for a good teacher in conservatoire I can highly recommend Dr. Stephen Robertsson or Julian Tovey at the Royal Conservatoire of Scotland. Two teachers with a superb ear.
Von allen bekannten Tenören heutzutage, ist Callejas Karriere für mich die unerklärlichste. Vogt hat lange blonde Haare, Kaufmann gibt den Italo Charmeur, Florez den Latino Gitarristen… aber Calleja hat GAR NICHTS! Seine Schwächlichkeit ist dermaßen unattraktiv, die stimmlichen Defizite sind so offensichtlich. Und das schon seit vielen Jahren! Der hätte genau so gut mit Mitte 30 aus’m Stadttheater Ensemble fliegen und nie wieder ein Engagement bekommen können. Dieser Mann muss echt von Fortuna geküsst sein, dass er so eine Karriere gemacht hat.
Hahaha, wahre Worte!
Lange blonde Haare - now there is a true merit for a tenor !!!
Calleja will be singing Cavaradossi in my area of the world this fall? Should I bother?
I disagree. His Voice is beautiful, his singing is superb. He is One of the best Rodolfos.
Caprino can be corrected.
He doesn’t care or nobody has told him.
Heard him live in Stockholm in the beginning of his career.
Fawlty voice no thanks kind of…
How sparse and poor would these singers of today have sounded on the records recorded over 100 years ago using funnel technology?
I had the unfortunate experience of hearing Calleja live. It is a light lyric Tenor with a classic caprino vibrato. I do not understand for the life of me how he has such a big career. And of course, there's his unfortunate choice of repertoire. He has no business singing spinto/dramatic Tenor roles and arias.
He has a vibrato that reminds me of a goat.
where is this Boheme from....poorly conducted, for sure
Get that conductor a triple espresso....
Overall, he's alright. He's not my favorite, and there are much better tenors out there in the world of opera. But at least I'm okay with him and I don't think he's a horrible singer (at least not in most aspects).
I heard him in the Première of Tosca at the Opéra Bastille and it ruined the performance. Saioa Hernández made a great Tosca. Sadly, her Cavaradossi was too weak.
5:18
Couple of things. A lot of his singing in your clips is very good. However, he was not in good voice high up here. I recently saw him live with no chance of amplification and he was fantastic. His top was free bright and focussed. His projection was good. He even did an encore walking all around the auditorium and his voice carried beautifully. It was a stunning feat. His chest voice as strong and more evident than I expected - he’s a bigger man.
After listening to opera -esp tenors for 50 years I think we have to realise some voices don’t appeal to some people. You obviously don’t like Calleja’s. That’s fine. I love Corelli. My wife can’t bear him. I’m staggered people adored Martinelli. I think his pitch is odd and that he has zero legato. I find Kraus’s voice penetrating to the point of being unmusical and unpleasant. Esp after the mid 70s.
Also, all the greats you refer to as being objective about their voices were constantly criticised throughout their careers. Corelli - a God to me- had a career from 30 to 57. 27 years. By then his voice wasn’t consistently great anymore. Calleja has already been going for nearly 25 years already.
No one view of a voice is THE truth. It’s all views. We differ re Calleja.
Это какой то позор😢
Pity all those voice and opera experts, the major opera house of the world, and the publishing companies do not have your exquisite nous. Oh, and the general public too, but what would they know - after all opera is not for the great unwashed but for frustrated failed singers. Oh, and who are you, anyway?
So you basically need the approval of the general public, the major opera houses and publishing companies? You can easily just listen, and make up your own mind. You don't need other people to tell you how to think or how to view art. These in house recordings really does not sound good. It is somewhat unfortunately that bad opera singing tends to sound, extremely bad. There is line where you can hear objectively bad singing. You should play these clips to someone who is not a fan of opera, and ask them if they think it sounds good.
@@ZENOBlAmusic Yes, you do too. When you get up your butt and decide against the general consensus that this is a quality tenor, it means that you are either a uniquely gifted and misunderstood critic, or completely out of touch.
@@stenotis7287 So have you changed your mind? Do you now think Calleja has some problems?
@@ZENOBlAmusic You don't read English very well, do you? Ever heard of irony (directed at you)?
Horrible
He seems to be very unmusical, he nevertakes the tempo of the orchestra and is ritmically desastrous! I' m happy I didn' have to sing with him, he does not feel the pulse of the music.