Un documento che mostra come i tipi di voce sono importanti. GLV, anche se più forte di molti tenori, non aveva la qualità drammatica per Otello. Ma tu non ascolterai.
@@armwrestlingfanatic7923 It's rather you who didn't listen and also have no musical education .Verdi had wanted NOTHING of the baritenor nonsense who pushes his larynx into his shoes . What Verdi had wanted was a clear voice who could sing head when necessary ,and with a confortable top (one of Tamagno's signature roles was Arnoldo in Guillaume Tell , who has to sing LOTS of high C's and a few high D's) .The only thing Verdi DIDN'T like about Tamagno was that he could sing only forte ,and Verdi went to great lengths to have Tamagno coached so he could do a semblance of mezzavoce .What Verdi liked about Victor Maurel ,the first Iago ,was that he sang with lots of nuance and practically did NOT have a forte anymore . If you believe roaring is the way to do both roles ,you disagree with the composer. If you believe roaring equals being dramatic you don't understand 1800's opera at all .
As someone already said many comments below, this is from the time tenors were tenors and baritones were baritones. I might add, from the time *real* tenors trained in *bel canto* were SINGING Otello, not *veristic machos* were SHOUTING the role. Also, from a time there were still honest singers around who recorded in studio the same stuff they were singing live. Plenty of puffed up singers who used to present a made up image to their fans by recording arias and duets of roles they didn't dare sing live. Bjorling as Otello, really...
not bad but Basiola is another baritone who shouts Cassio's name rather than just accenting it. If you want to hear it correctly sung, try one of the Met broadcasts with Martinelli and Tibbett. Also, Lauri-Volpi is a great tenor but he doesn't have the darkness (no pun intended) required for an Otello voice. If it's too light, the effect and tragedy are gone.
Listen to Tamagno's voice. Clear ,pure voice, easy top. The dark voice nonsense began when Wagner baritones with two notes in falsetto on top began singing Otello. What they did not murder Mdm finished with his incessant forte. The truth is Verdi wanted a clarion voice with an easy top (Otello has to sing a high C but you won't hear it from those baritones) who respected his many piano markings. Tibbett indeed respected Verdi's markings ,Martinelli didn't. Lauri Volpi and Thill did.
The best cry of "sangue" ive ever heard on records--however the rest is somewhat lacking--they both sound as if they are trying too hard. Caruso and Ruffo show us all how it should be done!! They made two other duets about the same time whose matrixes were destroyed--what a shame!! The ending however is magnificent and equal to any other...and as a collector for over 60 yrs i believe ive heard almost all of them.
Verdi always wanted contrast between voices. The recording you mention is not a good example. Listen to Tamagno's voice, the first Otello personally coached by Verdi. Totally different voice ,clarion ,easy top,a true tenor not a baritenor.
I find it very annoying when any singer is posted and some idiot comes along and states that his favorite tenor sings an aria or a song better. Unrelated to this, why Caruso?! Caruso, who doesn't sound like a tenor and probably never was a real one, shows us how it should be done? Caruso, who never dared to sing the role live? Caruso, who had only two dynamic levels, loud and louder? Caruso, a verismo singer who sang everything like so many Canio's? etc...
@@alexingresss2420 Yes it is annyoing . Heaven knows utube is home to more troublemakers of doubtful sanity than bears thinking off . It's so prevalent it might be a new form a pathology . Utube is known for attracting trolls , let's hope the pathology remains confined to the online forums and doesn't spring over into real life ,that would be too bad . I rather think it will remain online for the simple reason it is based on anonymity .In real life ,where they have an identity,even trolls may be ashamed of sprouting drivel .Under the cover of anonymity everything goes EC and his many Canio's... When your only tool is a hammer ,everything looks like a nail .Before 1908 he had other tools too in his tool shed ,though they had never amounted to much ,but after 1910 or thereabouts it was increasingly the one and only ,loud and louder hammer . Why EC? 'cuz Thomas is an EC fan , stands to reason .In the eye of the true believer the favorite can never do anything wrong .Be grateful EC never came up with the idea of recording Ecco ridente or Il mio tesoro (at least I hope he didn't...) ,we'd had him declared the greatest Almaviva and Don Ottavio of all time in no more time (pun intended) than it takes to punch such drivel into the tiny keyboard of some dude's cell phone , without even listening to the recording first , never mind listening to OTHER recordings too . With the dude's virtual pals hurrying to like his drivel ,and the dude himself basking in the warm fuzzy feeling of accomplishment because someone liked him .It takes so little to feel accomplished nowadays , a few "likes" by non-entities do the trick ... which is the reason so few people are truly accomplished LV and Bechi are by no means trying too hard ,they sing it how it should be sung . For an example of a tenor who is trying too hard,listen to Bjorling .Good point about EC never chancing Otello on stage ; neither did Bjorling ,both were studio "manufactured" Otello's .Count Gigli to a third .All three were imo verismo tenors ,though JB wasn't quite as diehard and his technique was superior to EC's in many respects ,until he began to strive for volume in the mid 1940's ,after which it began to go downhill for him ,exactly like EC's ,with the difference EC's went downhill fast while JB's went very slowly .I recall Merrill(?) telling the story of a fretting JB on his way to the recording studio,saying he was aiming to imitate EC's recording ,for reasons best known to himself .That may account for the non-stop forcing and the feeling he gives me that he is one step away from busting his vocal cords .If he sang the role live in that manner he'd be hoarse before the end of the first act... but of course he never sang Otello live
@@Nangis123 The best and greatest of all time is THE RUclips CLASSIC 🤣️ Is there a tenor who wasn't crowned? 🤣️🤣️ RUclips should introduce a tax on these words, then we may get rid of the idiots at long last, torn as they are between two contrary impulses, the natural stinginess of the RUclips user who is used to everything for free, and their fascination with THE MAGIC WORDS for which they will have to pay from now on. I have listened to Bjorling and I agree he's forcing. Does Merrill's story have a moral?
Si sente che Del Monaco ha preso a modello Lauri-Volpi come cantante. Ci sono delle notevoli somiglianze. Il che è un complimento per Lauri-Volpi, anche se Del Monaco rimane il migliore nel ruolo. Il tempo, però, non è lento: è proprio STRASCICATO!!! La direzione di Marinuzzi nuoce gravemente ai cantanti che faticano a mantenere l'intonazone... Una buona esecuzione "storica", anche se i "mostri" venuti dopo la oscurano inevitabilmente. :-)))))))))))
Lauri-Volpi riporta l'Otello in una dimenzione VERDIANO. L'Otello macho, verista, nevrotico e psicopatico, propinato come 'autentico' o 'definitivo' di Mario del Monaco e un falso clamoroso che ha lasciato profonde ferite sulla interpretazione di Otello... eppure bastarebbe guardare lo spartito per trovare l'anima nobile del moro.
Lauri-volpi is out of his league here, he was a great tenor but when you sing repertoire that is wrong for you, you come off looking like an amateur! This is an example of what not to do!
@@armwrestlingfanatic7923 I have to second Dadacomero and ask if you are serious... Tamagno was the first Otello ,coached by Verdi. Listen to Tamagno's recordings and what you'll hear is a clear voice and an easy top ,nothing of the dark voice nonsense. From your "loud" reference it is clear to me you got the wrong idea about the role , loudness is exactly what Verdi did NOT want
Un bel documento dell'epoca d'oro quando i tenori erano tenori e i baritoni veri baritoni.
Un documento che mostra come i tipi di voce sono importanti. GLV, anche se più forte di molti tenori, non aveva la qualità drammatica per Otello. Ma tu non ascolterai.
@@armwrestlingfanatic7923 It's rather you who didn't listen and also have no musical education .Verdi had wanted NOTHING of the baritenor nonsense who pushes his larynx into his shoes . What Verdi had wanted was a clear voice who could sing head when necessary ,and with a confortable top (one of Tamagno's signature roles was Arnoldo in Guillaume Tell , who has to sing LOTS of high C's and a few high D's) .The only thing Verdi DIDN'T like about Tamagno was that he could sing only forte ,and Verdi went to great lengths to have Tamagno coached so he could do a semblance of mezzavoce .What Verdi liked about Victor Maurel ,the first Iago ,was that he sang with lots of nuance and practically did NOT have a forte anymore . If you believe roaring is the way to do both roles ,you disagree with the composer. If you believe roaring equals being dramatic you don't understand 1800's opera at all .
@@Nangis123 bravo!!! Ben detto!!!
As someone already said many comments below, this is from the time tenors were tenors and baritones were baritones. I might add, from the time *real* tenors trained in *bel canto* were SINGING Otello, not *veristic machos* were SHOUTING the role. Also, from a time there were still honest singers around who recorded in studio the same stuff they were singing live. Plenty of puffed up singers who used to present a made up image to their fans by recording arias and duets of roles they didn't dare sing live. Bjorling as Otello, really...
Il migliore "sangue! sangue! sangueeee!" per sempre.
Otello's part as sung by a true tenor.
This was thrilling to hear. Thank you so much for the posting.
thank you very much for the musical sheet you give us to watch !!! excellent idea indeed !
how can be possible i just know about this jewel?!!!
❤❤
He was God amound us tenors!!!
not bad but Basiola is another baritone who shouts Cassio's name rather than just accenting it. If you want to hear it correctly sung, try one of the Met broadcasts with Martinelli and Tibbett. Also, Lauri-Volpi is a great tenor but he doesn't have the darkness (no pun intended) required for an Otello voice. If it's too light, the effect and tragedy are gone.
Listen to Tamagno's voice. Clear ,pure voice, easy top. The dark voice nonsense began when Wagner baritones with two notes in falsetto on top began singing Otello. What they did not murder Mdm finished with his incessant forte. The truth is Verdi wanted a clarion voice with an easy top (Otello has to sing a high C but you won't hear it from those baritones) who respected his many piano markings. Tibbett indeed respected Verdi's markings ,Martinelli didn't. Lauri Volpi and Thill did.
Tibbett was an excellent Jago but Martinelly is shouty in all four live broadcasts, and his voice wasn't dark, just dry and wiry.
The best cry of "sangue" ive ever heard on records--however the rest is somewhat lacking--they both sound as if they are trying too hard. Caruso and Ruffo show us all how it should be done!! They made two other duets about the same time whose matrixes were destroyed--what a shame!! The ending however is magnificent and equal to any other...and as a collector for over 60 yrs i believe ive heard almost all of them.
Verdi always wanted contrast between voices. The recording you mention is not a good example. Listen to Tamagno's voice, the first Otello personally coached by Verdi. Totally different voice ,clarion ,easy top,a true tenor not a baritenor.
I find it very annoying when any singer is posted and some idiot comes along and states that his favorite tenor sings an aria or a song better. Unrelated to this, why Caruso?! Caruso, who doesn't sound like a tenor and probably never was a real one, shows us how it should be done? Caruso, who never dared to sing the role live? Caruso, who had only two dynamic levels, loud and louder? Caruso, a verismo singer who sang everything like so many Canio's? etc...
@@alexingresss2420 Yes it is annyoing . Heaven knows utube is home to more troublemakers of doubtful sanity than bears thinking off . It's so prevalent it might be a new form a pathology . Utube is known for attracting trolls , let's hope the pathology remains confined to the online forums and doesn't spring over into real life ,that would be too bad . I rather think it will remain online for the simple reason it is based on anonymity .In real life ,where they have an identity,even trolls may be ashamed of sprouting drivel .Under the cover of anonymity everything goes
EC and his many Canio's... When your only tool is a hammer ,everything looks like a nail .Before 1908 he had other tools too in his tool shed ,though they had never amounted to much ,but after 1910 or thereabouts it was increasingly the one and only ,loud and louder hammer . Why EC? 'cuz Thomas is an EC fan , stands to reason .In the eye of the true believer the favorite can never do anything wrong .Be grateful EC never came up with the idea of recording Ecco ridente or Il mio tesoro (at least I hope he didn't...) ,we'd had him declared the greatest Almaviva and Don Ottavio of all time in no more time (pun intended) than it takes to punch such drivel into the tiny keyboard of some dude's cell phone , without even listening to the recording first , never mind listening to OTHER recordings too . With the dude's virtual pals hurrying to like his drivel ,and the dude himself basking in the warm fuzzy feeling of accomplishment because someone liked him .It takes so little to feel accomplished nowadays , a few "likes" by non-entities do the trick ... which is the reason so few people are truly accomplished
LV and Bechi are by no means trying too hard ,they sing it how it should be sung . For an example of a tenor who is trying too hard,listen to Bjorling .Good point about EC never chancing Otello on stage ; neither did Bjorling ,both were studio "manufactured" Otello's .Count Gigli to a third .All three were imo verismo tenors ,though JB wasn't quite as diehard and his technique was superior to EC's in many respects ,until he began to strive for volume in the mid 1940's ,after which it began to go downhill for him ,exactly like EC's ,with the difference EC's went downhill fast while JB's went very slowly .I recall Merrill(?) telling the story of a fretting JB on his way to the recording studio,saying he was aiming to imitate EC's recording ,for reasons best known to himself .That may account for the non-stop forcing and the feeling he gives me that he is one step away from busting his vocal cords .If he sang the role live in that manner he'd be hoarse before the end of the first act... but of course he never sang Otello live
@@Nangis123 The best and greatest of all time is THE RUclips CLASSIC 🤣️ Is there a tenor who wasn't crowned? 🤣️🤣️ RUclips should introduce a tax on these words, then we may get rid of the idiots at long last, torn as they are between two contrary impulses, the natural stinginess of the RUclips user who is used to everything for free, and their fascination with THE MAGIC WORDS for which they will have to pay from now on.
I have listened to Bjorling and I agree he's forcing. Does Merrill's story have a moral?
come è leeeeeeeeeeeento..................
Jussi BJORLING !!
Si sente che Del Monaco ha preso a modello Lauri-Volpi come cantante. Ci sono delle notevoli somiglianze. Il che è un complimento per Lauri-Volpi, anche se Del Monaco rimane il migliore nel ruolo. Il tempo, però, non è lento: è proprio STRASCICATO!!! La direzione di Marinuzzi nuoce gravemente ai cantanti che faticano a mantenere l'intonazone...
Una buona esecuzione "storica", anche se i "mostri" venuti dopo la oscurano inevitabilmente. :-)))))))))))
Lauri-Volpi riporta l'Otello in una dimenzione VERDIANO. L'Otello macho, verista, nevrotico e psicopatico, propinato come 'autentico' o 'definitivo' di Mario del Monaco e un falso clamoroso che ha lasciato profonde ferite sulla interpretazione di Otello... eppure bastarebbe guardare lo spartito per trovare l'anima nobile del moro.
I love Lauri-Volpi but he is no Otello. He sounds as if he is straining for volume.
Lauri-volpi is out of his league here, he was a great tenor but when you sing repertoire that is wrong for you, you come off looking like an amateur! This is an example of what not to do!
are you serious?...
I agree. Although he had a somewhat loud voice, the quality of his tone/timbre wasn't appropriate for Otello.
@@armwrestlingfanatic7923 I have to second Dadacomero and ask if you are serious... Tamagno was the first Otello ,coached by Verdi. Listen to Tamagno's recordings and what you'll hear is a clear voice and an easy top ,nothing of the dark voice nonsense. From your "loud" reference it is clear to me you got the wrong idea about the role , loudness is exactly what Verdi did NOT want