sorry to be off topic but does any of you know of a method to log back into an Instagram account..? I was dumb forgot my login password. I would love any tricks you can give me.
Absolute legend!!!! Never before and never after was heard something like this!!!! Madness!!!! Dream of the dreams!!!! The public rightfully got completely crazy at the end!!!!!
Evelina Carrera was a Brunhilde ,& Giuseppe Borgati an Othello. The composer has written his glorious pages for opulent voices.Madalena is certainly not for a small lyric. Zinka & Mario did a colossal work for some of the most successfull nights of the legendary old Met. Together ,they still remain unmatced. This Chenier is my favorite one.I listen to this a lot ,along with Bruna -Rasa's ,Caniglia's ,& Mario - A.de Cavalieri from S.Carlo.
Although they certainly had Voices Voices Voices, their voices were IMHO dramatically expressive. It was not just canary singing. Lots of passion happening here
P.s There's a lot of recordings taken from records ,given to the customers without having been controlled by proffessional musicians, for problems of pitch. F. e the Macbeth Varnay -Petroff. So singers that never transposed seem to sing in another pitch .
Thank you, but generally speaking, a soprano is a woman unless it’s a boy soprano. However she was not “significantly older” than Del Monaco; only 9 years. Almost about the same age situation with Sutherland and Pavarotti.
I don't know if her voice became smaller as she aged, it does happens sometimes. Corelli often overpowered Milanov's voice. ruclips.net/video/BI6gHxizoac/видео.htmlsi=kq6CcolZXBOSU7p9 Del Monaco had a huge middle voice, but his high notes was not the biggest, in a duet like this their voices would work well together, but Del Monaco does overpower her at the end. It makes me think that Milanov was more of a spinto than a dramatic soprano. She wasn't a dramatic soprano like Nilsson for example. Of course it doesn't matter what her voice type was. She was a great big voiced soprano.
The TECHNIQUE was TOTALLY DIFFERENT. MILANOV was A CLASSIC EXAMPLE, A GENUINE DRAMATIC SOPRANO. AND JUST LISTEN TO HER PIANISSIMO which REALLY REVEALS the THOROUGHNESS OF the VOCAL ART THEN. IT IS SO MUCH RUBBISH NOW WITH SETS AND COSTUMES BEING THE CENTERPIECE OF OPERA because the SINGERS (?) DO NOT HAVE VOCAL TECHNIQUE.
Milanov voice was too feminine, and soft in to many areas to be a real dramatic. If you listen her middle voice did not possess any metal whatsoever. A dramatic soprano by REQUIREMENT of anatomy has a metallic middle voice(Callas, Nilsson, Flagstad). I mean, to me Milanov is a lyric soprano with a great pair of vocal cords. To me a real spintos are Tebaldi and Maria Caniglia( much bigger voice than Milanov)
@@beachfanatic2010 “Much bigger voice than Milanov” 😂 There are still people who had heard these singers in person and are active on YT - you should contact them directly and ask what’s their opinion on Milanov’s voice type and size. Many will tell you that she was in the same league with Nilsson, Flagstad, Traubel in terms of vocal size. You cannot make judgements based of mostly poor and inadequate recordings. Even when captured perfectly, recordings can be quite misleading.
Singing in a higher octave will do that- as long as the soprano sings properly. Due to the higher frequency at the higher notes, even if technique is equal, the soprano’s voice will carry more.
Giordano didnt agree with you,his chenier was del monaco,both were great,if i could mix both del monaco and corelli i think i would find the ultimate chenier,ps gigli and pertile also great cheniers
Voce ingolata came into vogue. That’s what happened. It’s incredibly sad and impossible to listen to. I’ve walked out of the Met so many times due to the horribly bad singing.
@@operabilia oui pour Del Monaco aussi .Pour ce qui concerne Milanov ,je suis plus nuancé .C'est une chanteuse admirable de par son timbre ,et sa technique des aigus filés .C'est sûrement une des plus belles voix du 20 e siècle .Je pense qu'elle a toujours privilégié le beau son à l'interprétation .Lorsqu'on l'écoute on est séduit par la qualité de sa voix somptueuse .Et puis ensuite on éprouve une petite gêne relative à son style assez désuet .Alors maintenant pour ce qui concerne les chanteurs d'aujourd'hui et d'Anna Netrebko ,je vous trouve assez dur .Mais après tout ,ils sont le reflet de notre époque actuelle .A époque vulgaire et laide : chanteurs vulgaires !
@@amantedellopera1681 Don't pay attention to that person! She hates everything and everybody ... a poor pathetic person who expresses her bitterness especially towards Diva as it is Milanov! She is completely irrelevant and just wants someone's attention...Probably a form of some mental illness :)
Giants of their times both ! When opera was voice, voice, voice! What vocal joys they gave their audences!
There are no voices like them anymore!! They were Titans!!!!!!!!!!
sorry to be off topic but does any of you know of a method to log back into an Instagram account..?
I was dumb forgot my login password. I would love any tricks you can give me.
@Alonso Rayan instablaster =)
Fearless, passionate and yet so very beautiful. These 2 were born each for the other. I love it.
Absolute legend!!!! Never before and never after was heard something like this!!!! Madness!!!! Dream of the dreams!!!! The public rightfully got completely crazy at the end!!!!!
You are absolutelly right. Best regards
Evelina Carrera was a Brunhilde ,& Giuseppe Borgati an Othello.
The composer has written his glorious pages for opulent voices.Madalena is certainly not for a small lyric.
Zinka & Mario did a colossal work for some of the most successfull nights of the legendary old Met. Together ,they still remain unmatced.
This Chenier is my favorite one.I listen to this a lot ,along with Bruna -Rasa's ,Caniglia's ,& Mario - A.de Cavalieri from S.Carlo.
What grandeur and sweep
Although they certainly had Voices Voices Voices, their voices were IMHO dramatically expressive. It was not just canary singing. Lots of passion happening here
...so much spectacular singing...nothing more to say!
tout simplement SUBLIME . Deux immenses artistes à l'apogée de leur art . A ma connaissance le niveau artistique jamais égalé
Je préfère ce duo , dans la version Monaco - Callas en 1955 à la Scala .
Che meraviglia!!!
Bravissimi
Bravi a.tutti!!!!!!
The.opulence of. Milanov dramatic soprano sound!!!!!!!!!!
And some idiots claim she was a lyric…
@@draganvidic2039 yeah right
P.s There's a lot of recordings taken from records ,given to the customers without having been controlled by proffessional musicians, for problems of pitch.
F. e the Macbeth Varnay -Petroff. So singers that never transposed seem to sing in another pitch .
Milanov, although a woman and significantly older than del Monaco not once was overpowerd by him and he was known to be the loudest tenor around.
Thank you, but generally speaking, a soprano is a woman unless it’s a boy soprano. However she was not “significantly older” than Del Monaco; only 9 years. Almost about the same age situation with Sutherland and Pavarotti.
They were 9 years apart. Milanov was born 1906 and MDM was born 1915.
I don't know if her voice became smaller as she aged, it does happens sometimes. Corelli often overpowered Milanov's voice. ruclips.net/video/BI6gHxizoac/видео.htmlsi=kq6CcolZXBOSU7p9
Del Monaco had a huge middle voice, but his high notes was not the biggest, in a duet like this their voices would work well together, but Del Monaco does overpower her at the end. It makes me think that Milanov was more of a spinto than a dramatic soprano. She wasn't a dramatic soprano like Nilsson for example. Of course it doesn't matter what her voice type was. She was a great big voiced soprano.
💚💚💚💚💚💚💚💚💚💚
Real voices…
The TECHNIQUE was TOTALLY DIFFERENT. MILANOV was A CLASSIC EXAMPLE, A GENUINE DRAMATIC SOPRANO. AND
JUST LISTEN TO HER PIANISSIMO which REALLY REVEALS the THOROUGHNESS OF the VOCAL ART THEN. IT IS
SO MUCH RUBBISH NOW WITH SETS AND COSTUMES BEING THE CENTERPIECE OF OPERA because the SINGERS (?)
DO NOT HAVE VOCAL TECHNIQUE.
Bravo.
Millanov is Spinto Soprano like Tebaldi. Real dramatic soprano is Rosa Ponselle, Birgit nilsson.
@@roerrawr1017 and Callas IS sfogato soprano ( without any limit )
Milanov voice was too feminine, and soft in to many areas to be a real dramatic. If you listen her middle voice did not possess any metal whatsoever. A dramatic soprano by REQUIREMENT of anatomy has a metallic middle voice(Callas, Nilsson, Flagstad). I mean, to me Milanov is a lyric soprano with a great pair of vocal cords. To me a real spintos are Tebaldi and Maria Caniglia( much bigger voice than Milanov)
@@beachfanatic2010
“Much bigger voice than Milanov” 😂
There are still people who had heard these singers in person and are active on YT - you should contact them directly and ask what’s their opinion on Milanov’s voice type and size. Many will tell you that she was in the same league with Nilsson, Flagstad, Traubel in terms of vocal size. You cannot make judgements based of mostly poor and inadequate recordings. Even when captured perfectly, recordings can be quite misleading.
The squillo in Milanov's voice has greater carrying power than Del Monaco.
Singing in a higher octave will do that- as long as the soprano sings properly. Due to the higher frequency at the higher notes, even if technique is equal, the soprano’s voice will carry more.
Me gusta el canto de del Mónaco pero para mí gusto Corelli era Andrea Chenier.
Giordano didnt agree with you,his chenier was del monaco,both were great,if i could mix both del monaco and corelli i think i would find the ultimate chenier,ps gigli and pertile also great cheniers
Is this from 1954?
Yes Met broadcast
This will never happen again....What has happened to opera? So much mediocrity declared 'celebrated'. I can barely listen to a single Met broadcast.
Voce ingolata came into vogue. That’s what happened. It’s incredibly sad and impossible to listen to. I’ve walked out of the Met so many times due to the horribly bad singing.
@@toscadonna Many walked out then as well, of course you omit that.
transposed down
Gino Pietracupa half tune?
So?
@@alfredoloyola921 yes
I think del Monaco always demanded the transposition. He did not like to sing B naturals.
@@ransomcoates546 MANY tenors transposed this down. It’s just as thrilling down a half step.
Ces deux chanteurs fabuleux appartiennent à une école démodée ,plus soucieux de faire des gros sons ,que d'interpréter réellement .
D'accord pour Del Monaco, mais pas du tout pour Milanov! Vous préférez peut-être la vulgarité de Nebrebko et des pâles chanteurs actuels?!
@@operabilia oui pour Del Monaco aussi .Pour ce qui concerne Milanov ,je suis plus nuancé .C'est une chanteuse admirable de par son timbre ,et sa technique des aigus filés .C'est sûrement une des plus belles voix du 20 e siècle .Je pense qu'elle a toujours privilégié le beau son à l'interprétation .Lorsqu'on l'écoute on est séduit par la qualité de sa voix somptueuse .Et puis ensuite on éprouve une petite gêne relative à son style assez désuet .Alors maintenant pour ce qui concerne les chanteurs d'aujourd'hui et d'Anna Netrebko ,je vous trouve assez dur .Mais après tout ,ils sont le reflet de notre époque actuelle .A époque vulgaire et laide : chanteurs vulgaires !
Mdr. Ils chantent exactement comme ça doit être chanté. Ça a littéralement été composé pour être chanté comme ça. C'est ÇA l'opéra.
@@fan2jnrc un peu court comme argument .
Bad performance despite good sound. Overacted to the point of hilarity. Both could use lessons from Callas and Ponselle and Caruso.
Boo!
Another of many stupid remarks from you on comments sections.
@@galanis38she's full of not insightful comments,absolutely detests del Monaco,she probably thinks kaufman is great
@@amantedellopera1681 Don't pay attention to that person! She hates everything and everybody ... a poor pathetic person who expresses her bitterness especially towards Diva as it is Milanov! She is completely irrelevant and just wants someone's attention...Probably a form of some mental illness :)