Nicolai Gedda, George London, Helen donath, Irmgard Seefried, & Hilde Gueden were Novikova’s pupils. My teacher studied with her for 5 years in NY and hung around her studio and had great stories.
Gedda was a great artist. Beautiful voice, wide-ranging in compass and overall technique. And so superb with languages. I recall that Gedda was the only non-native English speaker in the debut cast of Barber's "Vanessa," yet some critics said his English diction was the best. Hear Gedda's "Messiah" recording from the mid-1960s. Beautiful English, no accent.
It is said that he had a talent in language. His English proved that. And he had interest in many things. He even read literature in original language. And he was from a poor family. What a self-made man!
Helen Donath was also a student of Paola Novikova, and sang well into her 70s. Donath's voice remained virtually unchanged throughout her career, due to the technique she learned from Novikova.
@@philipkuttner7945 The only other singer who preserved her voice practically unchanged over the course of her career is Julia Varady. And she didn't do it by being cautious; Verdi's Abigaille was a major role in her repertoire. These singers were marvels.
Genius his intellect is over 150 for sure I work with genius intellects Language for him is amazing such brain connections are only in the highest individual few
I think in this case he made the right decision. Although I am a great admirer of Karajan he was apt to push singers to hard a therefore ruin their voices
I would like to hear why Gedda made extreme facial postures when he sang. It was distracting in live performance but must have been part of a technique that allowed him to sing everything, in every language, over many years.
I adore the way he uses his facial muscles and expressions. Even the slightest movement made a difference in his delivery, and he had such a beautiful face. I love his smile, almost shy, but happy with his performance.
@PippaAT I think he was shy. I met him once and he seemed so. I once heard him say he suffered from depression in perfect english:" I'm not really a cold fish, but I cant always give an answer when someone asks " what's the matter". Gedda and I share that Scandinavian trait.We also share a birthday. He was a genius no doubt.
That’s because he doesn’t know. Certainly, if we are talking about the likes of Battistini, that school of Bel Canto singing is long gone. The art is lost to us.
portanto ele conta que a tecnica dele é italiana, da tradição bel cantista, mas o senhor acha mesmo que pode argumentar com uma evidência destas. Incrivel
Gedda explained very well his technical roots. I agree with him that it is the "old" Italian school, not the old Italian school of the 1960, like del Monaco etc. what today is seen as "old Italian school". When you listen to Battestini or de Lucia you hear much less robust voices. Or losten to the bass Italo Tajo, this was belcanto.
He had a nasal and unnatural sound that I find to be ugly. He lasted a long time, but I do not care for nearly all of his recordings. Too ugly, pinched, unnatural, and unpleasant sound. Not a fan.
Thanks alot all of you old school singers for passing on virtually no information about technique, REAL help for us today.
Nicolai Gedda, George London, Helen donath, Irmgard Seefried, & Hilde Gueden were Novikova’s pupils. My teacher studied with her for 5 years in NY and hung around her studio and had great stories.
Gedda was a great artist. Beautiful voice, wide-ranging in compass and overall technique.
And so superb with languages. I recall that Gedda was the only non-native English speaker in the debut cast of Barber's "Vanessa," yet some critics said his English diction was the best.
Hear Gedda's "Messiah" recording from the mid-1960s. Beautiful English, no accent.
He was a singer with a great technique.And very important: taste to sing.
LEGEND❤️😭🙏🏻
It is said that he had a talent in language. His English proved that. And he had interest in many things. He even read literature in original language. And he was from a poor family. What a self-made man!
Helen Donath was also a student of Paola Novikova, and sang well into her 70s. Donath's voice remained virtually unchanged throughout her career, due to the technique she learned from Novikova.
I saw her sing Pamina in 1967-perfection! Then heard her Marzelline (Fidelio) 30 or so years later, and she sounded the same. Amazing.
@@philipkuttner7945 The only other singer who preserved her voice practically unchanged over the course of her career is Julia Varady. And she didn't do it by being cautious; Verdi's Abigaille was a major role in her repertoire. These singers were marvels.
Novitkova recorded the BEST laughing in the tipsy song from LA Pericole. You can't listen with out laughing yourself!
Thank you 🤗
A Gem-Thank you!!!!
Safic aisha admiration by this tenor
What a great advice. I am a lyric Tenor and love him.
Gedda's Gloden Voice was silenced last month, may the Great Nicolai Gedda R.I.P.
Genius his intellect is over 150 for sure I
work with genius intellects
Language for him is amazing such brain connections are only in the highest individual few
I think in this case he made the right decision. Although I am a great admirer of Karajan he was apt to push singers to hard a therefore ruin their voices
🌹🙏🌹
A genius
El Maestro Gedda habla el inglés mejor que yo, que caray. Yo lo estudio como uno de los grandes!
Old Italian School !!!
Can you please let me know, who is speaking here. He sounds like gedda. Please don't forget. Thank you.
Yes , it's Gedda himself
0:20, Paola Novikova
I would like to hear why Gedda made extreme facial postures when he sang. It was distracting in live performance but must have been part of a technique that allowed him to sing everything, in every language, over many years.
I adore the way he uses his facial muscles and expressions. Even the slightest movement made a difference in his delivery, and he had such a beautiful face. I love his smile, almost shy, but happy with his performance.
@PippaAT I think he was shy. I met him once and he seemed so. I once heard him say he suffered from depression in perfect english:" I'm not really a cold fish, but I cant always give an answer when someone asks " what's the matter". Gedda and I share that Scandinavian trait.We also share a birthday. He was a genius no doubt.
Somewhat interesting but he doesn't really say anything about what the technique consists of.
That’s because he doesn’t know. Certainly, if we are talking about the likes of Battistini, that school of Bel Canto singing is long gone. The art is lost to us.
7 minutes to learn that the voice must be produced with air 😂😂😂
A tecnica de Gedda é mista: francesa + espanhola. A tecnica italiana é mais robusta.
portanto ele conta que a tecnica dele é italiana, da tradição bel cantista, mas o senhor acha mesmo que pode argumentar com uma evidência destas. Incrivel
Gedda explained very well his technical roots. I agree with him that it is the "old" Italian school, not the old Italian school of the 1960, like del Monaco etc. what today is seen as "old Italian school".
When you listen to Battestini or de Lucia you hear much less robust voices. Or losten to the bass Italo Tajo, this was belcanto.
@@sebthi7890 ruffo caruso Pertile?
Martinelli to me seems to have forced his voice terribly
You may not like the s ound, but he couldn't have lasted if he'd really been forcing it.
He had a nasal and unnatural sound that I find to be ugly. He lasted a long time, but I do not care for nearly all of his recordings. Too ugly, pinched, unnatural, and unpleasant sound. Not a fan.
His voice and technique was better than Gedda 's
@@Tkimba2 I can't stop laughing at your remark. 😆😆😆😆😆😆
@@operadog2000 don't stop, then. Laughing is the healthiest thing ever.
A genius