I always welcome different opinions. Opera is so diverse and subjective and everyone will have a different experience with listening to my voice. With that being said, everyone does think they are an expert. I very clearly stated that I was looking for a new voice teacher and had been having problems for the past year and a half. I know I had a wobble, I know my voice was “stuck”, and I know that I “sounded like kermit”. 😂 I was 20 years old for crying out loud! I am proud to report that I have made a lot of progress since then. I hope that is good news for true lovers of opera and puts a smile on the faces of those who support me and truly want to see me succeed. 💙
Dude this is a difficult song and it doesnt matter for a masterclass. You have an amazing voice! I knew that muscle will eventually do well. It is a good step. Wish you all the best~
Thank you Aaron for your performance here. I stumbled across your WTF videos today, which are tremendously fun. I found this particular performance very impressive and inspiring. Yes, perhaps there was some manipulation, and you were probably working harder than you needed to. But your talent is here so so evident, and you were 20! The fact that you could get through this difficult aria at all, not to mention at such a high level and with so much vocal personality - just two years following your voice change - is amazing... especially given that your voice is not light. Anyone in their right mind would be jealous hearing this. Unfortunately, there are some people here on RUclips who make it their mission to enlighten everyone else about vocal technique. I actually agree with some of what they have to say. But they have clearly just read what a select few vocal experts have to say (I doubt many of them sing themselves), and have so much time on their hands that they fanatically go from video to video commenting on how people are ‘underdeveloped,’ ‘small-voiced,’ ‘ingolata,’ lack chest voice’ (in the case of female singers), etc.. The fact that they can say that about your performance here goes to show that they are not listening charitably, are just looking for opportunities to be negative, and have no conception of what vocal development looks like. Anyone with even a bit of a clue would know that this is an astounding performance for a 20 year old. In any case, thanks for this performance, and I look forward to hearing more!
...in my 48 years career and having sung well over 300 performances of Don Giovanni,Leporello and Commendatore, i have never heard this aria better sung; including some of the best interpreters of Ottavio in the entire world.,style,breath control ,beautiful voice, and FINALLY !!!, APPOGIATURAS and tasteful ORNAMENTATION ....he could do this role ON ANY STAGE ON THE PLANET RIGHT NOW....there’s NOTHING else to add...whatever you do, don’t waste your youth ...you will never regret it....polish will come with experience,intelligence and NATURAL maturity...you are wonderful!
I needed to hear what she had to say to him today. I'm at the opposite end of that spectrum. I sang baritone, often with some pretty decent high notes, for years. Now, at 57, I've lost, like this young man, about 6 notes off the top. It's so frustrating. Her advice to him about patiently doing the diligent work, and not trying to be something more (yet) is something I need to remember. Thanks Carnegie. Thanks Ms. DiDonato!!!
Some really fine singing! I can’t believe you are singing this aria at 20. Amazing breath that you can sing that long melisma. I like Joyce’s comment that the voice belongs to the audience, but that the sensation is ours as we sing. One criticism: your American T’s give away that you are, well, American. I also enjoyed the ornaments. This was a special aria for me in that it got me noticed at the Met. Keep studying and growing as a singer and an artist!
Excellent. And what an interesting voice. If you lost some of the throaty chest, and embraced the pharyngeal voice lower down in the passagio you could train the squillo which you will find with a good laryngeal tilt up there, down into the voice.
Er hat eine außerordentliche Stimme für 20 Jahre und eine gute Musikalität. Die Kritiker sollen es erst einmal besser machen. Sich so einem Publikum zu stellen ist immer eine Leistung. Technisch kann man vieles besser machen, aber dazu braucht man einen Lehrer, der einen richtig durch den Dschungel der Techniken führt, die da überall herumwabern. Ich wünsche ihm viel Erfolg, er ist jung und kann noch alles erreichen. Didonato redet wieder viel herum, kann aber gar keine brauchbaren Tipps geben. Sich vom Klang verabschieden sagt Didonato, Schwarzkopf sagt: sich zuhören ist alles. Wer meint nun was?
Great voice..... maybe a bit heavy for Mozart but GREAT VOICE. The phrasing and coloratura passages are great. Rich tone... but then I heard s couple of cracks?........
Beautiful instrument. But this aria sounds labored in his voice because he’s swallowing the sound and he’s way too open. Those melismas will float like helium once he gets an awareness or a much higher and more forward resonance.
Her advice is relativ. Of course you can not let everything go. You have to let go the wrong tensions, but hold the correct ones. this is the difficulty. Brigitte Fassbaender explains it better.
The di'donato Master says almost everything well, but she has to have a knowledge of the great tenors of the old school. Those who know will understand me. Same with René Fleming.
I think there's a great instrument somewhere in there. But it's encased in so many tensions - neck, jaw, back of the tongue, etc. But it would actually be pretty easy to correct, given he finds a teacher who can help him separate and strengthen his registers and then coordinate them. Even his speaking voice has those tensions. And whoever taught him that horrible vowel modification should not be allowed to ever touch a voice again! And what on earth is DiDonato on about, making up and putting into his mind that being a tenor will get you into technical problems, etc? All male voice are the same, and should sound the same except for a couple of tones higher or lower and slightly darker or brighter timbre. Only makes her own lack of technique more evident. O hope he finds somebody to open up his voice!
"All male voice are the same, and should sound the same except for a couple of tones higher or lower and slightly darker or brighter timbre. Only makes her own lack of technique more evident" I agree with you on this statement. Mrs. DiDonato has modern singing technique, which is understandable for her to say that... The ingolata voice will ruin your career. Now he is young and can sing like this (forced) but he must solve his problem of tension on the gola, improve his thoracic capacity (nonexistent) and to get better his central voice better, he must stop the highs and ornaments with the voice. ..this creates more tension. He should sing simpler songs to improve his technique. Mozart does not have simple music.
@@danawinsor1380 It's impossible to tell. The darkness is created through tensions and a depressed larynx. So of he manages to open up his voice naturally, more or less any timbre can come out. And that's what's so exiting with belcanto - everybody has a unknown sound in their body waiting to be unleashed.
La Maestra di’donato dice casi todo bien, pero tiene que tener un conocimiento te los grandes tenores de la vieja escuela. Los que saben, me entenderán. Igual con René Fleming.
I always welcome different opinions. Opera is so diverse and subjective and everyone will have a different experience with listening to my voice. With that being said, everyone does think they are an expert. I very clearly stated that I was looking for a new voice teacher and had been having problems for the past year and a half. I know I had a wobble, I know my voice was “stuck”, and I know that I “sounded like kermit”. 😂 I was 20 years old for crying out loud! I am proud to report that I have made a lot of progress since then. I hope that is good news for true lovers of opera and puts a smile on the faces of those who support me and truly want to see me succeed. 💙
I am learning this aria at the moment and really enjoyed the performance, thank you!
Absolute legend and inspiration - hope our paths will cross in the future x
Dude this is a difficult song and it doesnt matter for a masterclass. You have an amazing voice! I knew that muscle will eventually do well. It is a good step. Wish you all the best~
Yes! Agreed.
May I ask with whom you’re working right now? Thank you!
Thank you Aaron for your performance here. I stumbled across your WTF videos today, which are tremendously fun. I found this particular performance very impressive and inspiring. Yes, perhaps there was some manipulation, and you were probably working harder than you needed to. But your talent is here so so evident, and you were 20! The fact that you could get through this difficult aria at all, not to mention at such a high level and with so much vocal personality - just two years following your voice change - is amazing... especially given that your voice is not light. Anyone in their right mind would be jealous hearing this.
Unfortunately, there are some people here on RUclips who make it their mission to enlighten everyone else about vocal technique. I actually agree with some of what they have to say. But they have clearly just read what a select few vocal experts have to say (I doubt many of them sing themselves), and have so much time on their hands that they fanatically go from video to video commenting on how people are ‘underdeveloped,’ ‘small-voiced,’ ‘ingolata,’ lack chest voice’ (in the case of female singers), etc.. The fact that they can say that about your performance here goes to show that they are not listening charitably, are just looking for opportunities to be negative, and have no conception of what vocal development looks like. Anyone with even a bit of a clue would know that this is an astounding performance for a 20 year old.
In any case, thanks for this performance, and I look forward to hearing more!
...in my 48 years career and having sung well over 300 performances of Don Giovanni,Leporello and Commendatore, i have never heard this aria better sung; including some of the best interpreters of Ottavio in the entire world.,style,breath control ,beautiful voice, and FINALLY !!!, APPOGIATURAS and tasteful ORNAMENTATION ....he could do this role ON ANY STAGE ON THE PLANET RIGHT NOW....there’s NOTHING else to add...whatever you do, don’t waste your youth ...you will never regret it....polish will come with experience,intelligence and NATURAL maturity...you are wonderful!
I needed to hear what she had to say to him today. I'm at the opposite end of that spectrum. I sang baritone, often with some pretty decent high notes, for years. Now, at 57, I've lost, like this young man, about 6 notes off the top. It's so frustrating. Her advice to him about patiently doing the diligent work, and not trying to be something more (yet) is something I need to remember. Thanks Carnegie. Thanks Ms. DiDonato!!!
Some really fine singing! I can’t believe you are singing this aria at 20. Amazing breath that you can sing that long melisma. I like Joyce’s comment that the voice belongs to the audience, but that the sensation is ours as we sing. One criticism: your American T’s give away that you are, well, American. I also enjoyed the ornaments. This was a special aria for me in that it got me noticed at the Met. Keep studying and growing as a singer and an artist!
I love all of this performance! Mr. Crouch, outstanding work!
Thank you for your comments. We're glad you enjoyed it.
@@carnegiehall you're welcome! I look forward to hearing more from you and your amazing instrument!
Now, Im closer from the heaven with your voice, bravo Monsieur.
From Don Ottavio ;) What a performance, very emotional - thanks a lot for sharing
Very nice, Aaron. Congratulations on your elegant voice and tasteful musicality.
Thanks for listening! We're glad you enjoyed this master class.
I love his full robust voice
BRAVA! BRAVA! this was beautifully sang!
Great!
Nem győzöm csodálni Mozart nagyságát...gyönyörű ária! Bravo az énekesnek is!
He certainly picked a challenging piece!
Excellent. And what an interesting voice. If you lost some of the throaty chest, and embraced the pharyngeal voice lower down in the passagio you could train the squillo which you will find with a good laryngeal tilt up there, down into the voice.
Er hat eine außerordentliche Stimme für 20 Jahre und eine gute Musikalität. Die Kritiker sollen es erst einmal besser machen. Sich so einem Publikum zu stellen ist immer eine Leistung.
Technisch kann man vieles besser machen, aber dazu braucht man einen Lehrer, der einen richtig durch den Dschungel der Techniken führt, die da überall herumwabern.
Ich wünsche ihm viel Erfolg, er ist jung und kann noch alles erreichen.
Didonato redet wieder viel herum, kann aber gar keine brauchbaren Tipps geben. Sich vom Klang verabschieden sagt Didonato, Schwarzkopf sagt: sich zuhören ist alles. Wer meint nun was?
Wow!
I really enjoyed that. I can only imagine what it's like to be that. Best wishes for your career 👏
We're glad you enjoyed this video, thank you for watching!
Great voice..... maybe a bit heavy for Mozart but GREAT VOICE. The phrasing and coloratura passages are great. Rich tone... but then I heard s couple of cracks?........
Oh wrong aria. I was looking for rossini
Beautiful instrument. But this aria sounds labored in his voice because he’s swallowing the sound and he’s way too open. Those melismas will float like helium once he gets an awareness or a much higher and more forward resonance.
Her advice is relativ. Of course you can not let everything go. You have to let go the wrong tensions, but hold the correct ones. this is the difficulty. Brigitte Fassbaender explains it better.
The di'donato Master says almost everything well, but she has to have a knowledge of the great tenors of the old school. Those who know will understand me. Same with René Fleming.
She should have some knowledge of the great singers of the past, in general.
Beautiful voice! Any relation to André Crouch?
Maybe a bit too much vibrato for Mozart’s period but beautifully sung
I think there's a great instrument somewhere in there. But it's encased in so many tensions - neck, jaw, back of the tongue, etc. But it would actually be pretty easy to correct, given he finds a teacher who can help him separate and strengthen his registers and then coordinate them. Even his speaking voice has those tensions. And whoever taught him that horrible vowel modification should not be allowed to ever touch a voice again!
And what on earth is DiDonato on about, making up and putting into his mind that being a tenor will get you into technical problems, etc? All male voice are the same, and should sound the same except for a couple of tones higher or lower and slightly darker or brighter timbre. Only makes her own lack of technique more evident.
O hope he finds somebody to open up his voice!
"All male voice are the same, and should sound the same except for a couple of tones higher or lower and slightly darker or brighter timbre. Only makes her own lack of technique more evident"
I agree with you on this statement.
Mrs. DiDonato has modern singing technique, which is understandable for her to say that...
The ingolata voice will ruin your career. Now he is young and can sing like this (forced) but he must solve his problem of tension on the gola, improve his thoracic capacity (nonexistent) and to get better his central voice better, he must stop the highs and ornaments with the voice. ..this creates more tension. He should sing simpler songs to improve his technique. Mozart does not have simple music.
To me his timbre sounds baritone-like. Do you think he could have "heldentenor" potential?
@@OGrauMusic I always found it to be madness to have young singers start off with singing Mozart! As if everybody begins with a light voice.
@@danawinsor1380 It's impossible to tell. The darkness is created through tensions and a depressed larynx. So of he manages to open up his voice naturally, more or less any timbre can come out. And that's what's so exiting with belcanto - everybody has a unknown sound in their body waiting to be unleashed.
Oh no. Oh Fcuk no. The advice was good. Thank you. 28th Thumb up.
Used to smoke none for 20ys love the tone but not the pasiago
La Maestra di’donato dice casi todo bien, pero tiene que tener un conocimiento te los grandes tenores de la vieja escuela. Los que saben, me entenderán. Igual con René Fleming.
La señora dice mucho blablabla sin sentido, y da muchos pésimos consejos.
Sounds very naturals. And you very atractive man
Voce ingolata....
Ingolatissima!
I'm afraid that I have to agree with you
oltre che ingolata, penso sia sbagliata per il ruolo di Don Ottavio. C'è bisogno di una voce leggera non pesante come questa
I just can't stand all that her blablabla.
This Mozart tenor aria is not for you. Go with baritone roles.