This voice sound really really beautiful, in a way I think i've never felt with contemporary tenors. It sounds deep but at the same time it has flexivility. It reminds me a way of singing more similar to that of mezzosopranos, and with agility.
That reminds me, thank you for the recordings: I especially liked the song from "Blood+", though I was unfamiliar with it before :). I would have to single out both "coloratura" sections and the final accent to the F, very nicely done :)! And, yes, you are right that this way the high notes are given more life.
I'm even more surprised by the fact that singers were very mobile: Nozzari, Galli and Pisaroni managed to redesign their respective voices to lower variants of themselves and continue their careers successfully :D. About the range of the tenors (+ your comment on David): and I thought the F5 was high :)! A soprano high B flat! Though I'd imagine that David wouldn't sing such high notes in performance (or did he :)?). Perhaps voices were lighter then and thus had wider vocal ranges :)?
Could I hear it too please? My take on the higher extensions of previous generations of tenors, is definitely stylistic - it's not as if their tenors grew up dreaming to sing nessun dorma :) - their style was grace and beauty to bravura and fireworks. Is it tenable that their voices were like Matuezzi's with more head/falsetto up top? It would be interesting to undertsnad the progression from this bel canto tenor sound concept to that of the verismo tenor.
I have heard this aria with the unforgettable Alfredo Krauss. Useless to say that there is no comparison but what satisfactory is to hear such beautiful aria
The role of Agorante was sang by Sergei Romanovsky. Flores has not a baritenore voice (tenor with strong low notes and chest voice) necessary for this role. He (Florez) is good like Riccardi but he can't sing Agorante
@@dieterflorian865 you are very confused about the different types of Rossini tenors. Florez did not sing this role, he sang the much lighter, more youthful and lyrical Ricciardo.
This voice sound really really beautiful, in a way I think i've never felt with contemporary tenors. It sounds deep but at the same time it has flexivility. It reminds me a way of singing more similar to that of mezzosopranos, and with agility.
From 6:00 to 6:22 The most amazing tenor coloratura I've ever heard! From tenor Hi-C to basso Ab2 !!!!!
Wonderful singing by Ford as always!!!
That reminds me, thank you for the recordings: I especially liked the song from "Blood+", though I was unfamiliar with it before :). I would have to single out both "coloratura" sections and the final accent to the F, very nicely done :)! And, yes, you are right that this way the high notes are given more life.
I'm even more surprised by the fact that singers were very mobile: Nozzari, Galli and Pisaroni managed to redesign their respective voices to lower variants of themselves and continue their careers successfully :D.
About the range of the tenors (+ your comment on David): and I thought the F5 was high :)! A soprano high B flat! Though I'd imagine that David wouldn't sing such high notes in performance (or did he :)?). Perhaps voices were lighter then and thus had wider vocal ranges :)?
Could I hear it too please? My take on the higher extensions of previous generations of tenors, is definitely stylistic - it's not as if their tenors grew up dreaming to sing nessun dorma :) - their style was grace and beauty to bravura and fireworks. Is it tenable that their voices were like Matuezzi's with more head/falsetto up top? It would be interesting to undertsnad the progression from this bel canto tenor sound concept to that of the verismo tenor.
8:06
is there a complete recording of this opera still available? or an english translation of the poem upon which it was based?
I have heard this aria with the unforgettable Alfredo Krauss. Useless to say that there is no comparison but what satisfactory is to hear such beautiful aria
you must be dreaming. kraus had a totally different voice, very light and high. he’d not have sung this role at all.
In this year 2018 is Juan Diego Flórez the Star of this Opera His bright and brillant Voice is amazing and unique
The role of Agorante was sang by Sergei Romanovsky. Flores has not a baritenore voice (tenor with strong low notes and chest voice) necessary for this role. He (Florez) is good like Riccardi but he can't sing Agorante
Or we can say that for this role and aria you need an assoluto voice range. Bruce Ford is this kind of singer, Florez just not.
spevoljub This Is Nonsens !!!!
@@dieterflorian865 What exactly is nonsense?
@@dieterflorian865 you are very confused about the different types of Rossini tenors. Florez did not sing this role, he sang the much lighter, more youthful and lyrical Ricciardo.
Really impressive Ford in this extremely difficult aria. It is a pity that "Ricciardo and Zoraide" isn't frequently performed.