Caruso singing the bass aria. "Vecchia Zimarra". La Bohême. Puccini.
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- เผยแพร่เมื่อ 16 ต.ค. 2012
- Side 1. "Why Caruso recorded the coat song" by Frances Alda and Wally Butterworth.
Side 2. "Vecchia Zimarra" (The coat song) La Bohême Act 4--Giacosa & Illicia---Puccini.
Enrico Caruso. HMV DL 100. February 1916.
This is undoubtedly an interesting and historical recording. Caruso was, of course, a tenor but the aria "Vecchia Zimarra" from the opera La Bohême is for a bass who sings a song of farewell to his old coat. Here is one version (in précis) of how Caruso happened to sing this aria, as told by Frances Alda on the reverse side of the record.
During a performance of La Bohême in Philadelphia, Segurola, the bass, who was about to sing the "Coat song" (Vecchia Zimarra) turned to Caruso and whispered "I've lost my voice". Caruso replied, "You just stand still and move your lips and I'll sing it for you". And so, with his back turned to the audience, Caruso sang the aria for Segurola. The latter then acknowledged the cheers from the audience who did not realise that it was Caruso who had in fact sung.
Many thanks to Roger Mackey for the loan of this rare record and description.
EMG Xb Oversize Gramophone. EMG two-spring soundbox. Burmese thorn needle. - เพลง
The pleasure is very much mine. In my humble opinion, the existance of TH-cam represents one of the greatest achievements of humankind in terms of the enormous benefits derived from the liberation of knowledge, experience and talent in addition to the worldwide spread of friendship. We are lucky indeed to be living in such times.
magico CARUSO !
Lowest note in this aria is C, one octave below middle C, which is alright for any dramatic tenor to sing, most of them can sing as low as G2. When Peter says he can sing as low as Eflat he means Eb2, and lowest note in this piece is C3, so Caruso does not go lower than Eb2 as he mentioned.
In fact, some dramatic tenor include B2. One of Alvaro's phrases from La Forza del Destino features Bb2.
I remember reading this story somewhere on the Internet while I was researching great singers of the past some years ago. I had no idea-none of the bloggers or specialists I read seemed to have any idea, either-that a recording exists to prove it true. There are sooooo many reasons Caruso is among my favorite tenors. 😄
It is indeed and great and true story. Can you imaging being there and being duped ?! What talent !
I didn't hear any Tenor in this video
Wonderful, historic, legendary recording and narration (and oh, the sound of the EMG). Thank you, Graham!
What a great story! Caruso, as possibly the best dramatic tenor ever must have had a vocal reach of over 2 1/5 octaves. I;m a natural baritone, but can sing both normal bass and tenor parts and even that is considered exceptional. I can't go as deep as a true bass or as high as a real tenor, but I can go as low as an E flat and as high as an F sharp when my voice has been warmed up.
Caruso in this record goes even lower, still retaining his full volume. Incredible!
He was a lirico-spinto tenor.
@@KajiVocals no he was an absolute tenor. Size of a dramatic, but beauty and softness of a lyric
@@lucabernard489 Um. It’s a fair bit above the passaggio. It can be very high depending on the baritone.
@@lucabernard489 Absolute tenor is not a vocal fäch.
@@KajiVocals i know, but Caruso was so good that he doesn‘t fit into the concept of Fach.
Thank you for sharing wonderful history👍👏👏
My very great pleasure. Thank you for your comment.
Thank you Peter for your very interesting comments.
It's a very interesting document.
Thank you.
My great pleasure.
Thank you very much)))
My gret pleasure. Many thanks for your appreciation.
Il più grande di tutti.
Absolutely love this 🥰
It is so interesting isn't it ? Very many thanks.
3:27
Not good at all. Bad technique in several ways. Do not like his prosodi. First, bad rythm. Second, very little dynamics. Third, diction is bad, I don´t like his Italian pronunciation. He also takes pauses where he shouldn`t. Low feeling in his voice, his timbre is not telling me that he means what he sings. He is thinking about something else, but at least with not that fervour that is demanded for the aria! His squillo does not come to its right in the aria either. He should sing mostly on the high notes. There Caruso has good squillo. The variation on the lower notes, there the good basso has most constant and highest squillo through all.
/JK. Swedish opera lyrical basso.
"i don't like his italian pronunciation" lol...i stopped there..such a moron
what do you even know about singing? Ugh, the internet is full of pseudo-experts.
'His timbre is not telling me what he means when he sings" ? Since when is the timbre- which is a native characteristic of the voice - supposed to "tell what you sing"? And you "don't like his italian" ? He WAS italian , smartass.
I'm sure Caruso would have been aware of the limitations of this performance (which you so superciliously describe), which is why he declined to allow it to be published, but only kept as a memento. The most important fact to take away from this memento is that Caruso was able to convince the audience of the Metropolitan Opera that it was a basso singing the aria.
you put "JK" at the end because this was a joke, right?
3:15
Sehr interessant und wertvoll!
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Der Eintrag wird ergänzt, weil's viele unterschiedliche EQ gibt. Er bezieht sich hier auf eine kostenlose *'Bass Booster App' (apk) - ohne* Zuschalten des BASS BOOST. Die meisten gehen ja mit Bluetooth in ihrem Gerät/Handy richtig um: Audio-Output Stereo, 'Advanced settings' überprüfen, *'Compatibility* Mode' der *App* 🎧 und evtl 'Sound Field FLAT' Ihrer Anlage (den BBoost nicht - oder vorsichtig verwenden).
Auf *Artikulation* und Instrumente achten, dann wird der Effekt deutlich: viele denken, das sei nicht wichtig; ist es aber.
"Ohr des Dionysios" - nur Aufnahmehorn - ohne Mikro. Sehr *beeindruckend!* Der "Samt" in Enricos Stimme ist nun da; die Qualität nähert sich dem Original.
Modulation mit 'Bass Booster App':
Der Klangcharakter der Stimmen wird dadurch nicht geändert. Weil jedoch die mMn. *kaum hörbaren* Obertonanteile >>2kHz crescendo-verstärkt werden, gewinnt die Wiedergabe relevant Brillanz (selbst die Akustik wirkt echt) und *Text* ist gut *verständlich.* Eine 'Zeitreise..'
*EQ-Regelung* ist *KEINE* Änderung einer mgl. zugrunde liegenden Restauration. Sie wirkt hier wie eine 'Kirchenorgel stimmen' oder eine 'OhrBrille' und kann (bei alten Aufnahmen fast stets) zu brillanterem Kontrast der Wiedergabe führen. Das Schöne ist, dass es ohne großen Aufwand erreicht wird. Wer die Musikanlage vom Handy aus (Bluetooth Audio) steuert, sollte damit keine Probleme haben. Intensität der BBooster-(EQ) App bitte *vollständig* nutzen; Gesamtlautstärke ggf auf der externen Anlage einstellen!
Es ist NICHT leicht, mittels eines EQ eine merkliche Besserung der Klangqualität antiker Aufnahmen zu finden! Hierzu gibt's *kein* Preset. Die angegebene Präzisionseinstellung© hat hunderte Stunden meist kleiner Schritte der Verfeinerung erfordert (durch Abgleich vieler historischer Aufnahmen u. a. von ECaruso, LTetrazzini, Orgel, Violine, Klavier usw. - mit WFurtwängler, ATatum, KRichter, ACortot, SFiorentino etc), um alle Praxistests zu bestehen. Insofern ist nur exakte, *genaueste* ! Befolgung wirklich zielführend in "die 1. Reihe".
Die kleine Mühe der EQ-
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