This aria certainly belongs on the top ten list, but the irony is that few basses, even excellent ones, can easily navigate its nethermost regions, particularly the extended low D. I can attest from personal experience that a low D is a beastly difficult note for most basses to sing. Few operatic roles demand it. Incidentally, I recently interpolated a low D into a well-known cantorial piece ("Eilu Devorim") that I recorded on my own RUclips channel. Thank you for posting this aria.
That note at 2:36. I haven't seen other productions of this song, but it sounds to me like he really blew that note. But as a bass i know how hard it is to hit that note and hold it steady for that long. He did great
A Bass voice is strongest at its lowest / 2nd lowest note, for me that is the D, I can absolutely blast a D across the room but I cannot sing past an E#4. A true bass is strongest down the bottom, where as a bass-baritone (voice type) with a bass low range is probably a more accurate description.
Purcells they that go down to the sea in ships needs to be hear in the first two bars it goes from a d above middle c right down to low d two octaves lower
Talvela's low D went sharp :/ I recognize he has a big and powerful voice, but Kurt Moll, in my opinion, is way better for Mozart. And Ghiaurov for Verdi :)
On the full videos Moll is a better Osmin than Talvela. Moll is a better Sarastro too. But Talvela had a bigger voice for Verdi and Wagner and the main stream bass roles. I've heard both live and sung both roles. Sarasto is quite easy (assuming that you are indeed a bass). Osmin's pretty tough.
listen both Osmin and Sarastro by Székely Mihály, Talvela is a lovely and fantastic singer but has no low D Kurt Moll's low D is not so sonore as it should be and for me someway is dry he is anyway a great singer Gottlob Frick is better in both roles and many more Ludwig Weber also...Endre Koréh and Littasy György are for listening
Good Lord God. Well, I for one *am* impressed. I'm looking for opera songs that I can sing well as a bass, not some freakshow addams apple the size of an actual apple *challenge* shit. Hahaha. Sorry I got swear for fun. What are some good ones for a feller what's just discovered he can sing like an angel with huge testicles? I like the barbershop one. You can probably tell I'm a layman. 😅
![Felix "Unfair" | [Stray Kids : SKZ-PLAYER]](http://i.ytimg.com/vi/Oswujxm2Ag0/mqdefault.jpg)
This aria certainly belongs on the top ten list, but the irony is that few basses, even excellent ones, can easily navigate its nethermost regions, particularly the extended low D. I can attest from personal experience that a low D is a beastly difficult note for most basses to sing. Few operatic roles demand it. Incidentally, I recently interpolated a low D into a well-known cantorial piece ("Eilu Devorim") that I recorded on my own RUclips channel. Thank you for posting this aria.
¿Do you know any piece for easy bass?
I think I'm low lyrical
@@walterkilos Perhaps Wer ein Liebchen hat gefunden from Die Entführung aus dem Serail.
Very nice selections, thanks for posting. Great job!!!
That note at 2:36. I haven't seen other productions of this song, but it sounds to me like he really blew that note. But as a bass i know how hard it is to hit that note and hold it steady for that long. He did great
It's a D on the 2nd octave... I also can hit it; but I'm not sure I can sustain it loud for that long. 😯
A Bass voice is strongest at its lowest / 2nd lowest note, for me that is the D, I can absolutely blast a D across the room but I cannot sing past an E#4. A true bass is strongest down the bottom, where as a bass-baritone (voice type) with a bass low range is probably a more accurate description.
Sehr schöne Arien! Ich selbst singe hin und wieder Oh Isis und Osiris.
Sehr schön. Vielen Dank für's hochladen.
Bravo!
I actually prefer "In Diesen Hail'gen Hallen" to "O Isis und Osiris", but that's personal preference I guess. Both wonderful arias.
you are right, some people have told me the same. Both basses are very good, but Talvela is better is Sorastro and Moll is better as Osmin.
Thanks
Purcells they that go down to the sea in ships needs to be hear in the first two bars it goes from a d above middle c right down to low d two octaves lower
I wish you'd done the opposite-- Moll's Osmin and Talvela's Sarastro. But thanks anyway, this is great!
Moll had better low notes! Talvela didn't really have the low D. But his quality was fabulous!
Talvela's low D went sharp :/ I recognize he has a big and powerful voice, but Kurt Moll, in my opinion, is way better for Mozart. And Ghiaurov for Verdi :)
Talvela was a great bass, but his low D in this aria fails. Moll is perfect in this aria.
On the full videos Moll is a better Osmin than Talvela. Moll is a better Sarastro too. But Talvela had a bigger voice for Verdi and Wagner and the main stream bass roles. I've heard both live and sung both roles. Sarasto is quite easy (assuming that you are indeed a bass). Osmin's pretty tough.
"Osmin's pretty tough."
I see that understatement is another art-form you've mastered. Well-said.
kurt molll
listen both Osmin and Sarastro by Székely Mihály, Talvela is a lovely and fantastic singer but has no low D Kurt Moll's low D is not so sonore as it should be and for me someway is dry he is anyway a great singer Gottlob Frick is better in both roles and many more Ludwig Weber also...Endre Koréh and Littasy György are for listening
The best Sarastro was Giorgio Tadeo
But Osnin he is best, after rather Ezio Pinza,
Frick is the best I've heard in the Triumph Aria, but the one he made about 1960 showed his voice in poor shape. Henry Webb
Good Lord God. Well, I for one *am* impressed.
I'm looking for opera songs that I can sing well as a bass, not some freakshow addams apple the size of an actual apple *challenge* shit.
Hahaha. Sorry I got swear for fun.
What are some good ones for a feller what's just discovered he can sing like an angel with huge testicles? I like the barbershop one.
You can probably tell I'm a layman. 😅
Moll....
why are you discriminating baritones
and contraltos