Excelente el de Corelli pero no es el único ni el mejor, no es concurso y todo es cuestión de gusto, pero eso no motivo para menospreciar el talento y la voz de otros grandísimos tenores
Corelli, Bjorling were the best in these IMO. Domingo and Bergonzi surprised me with how good their B's sounded! Mori very good (I don't know this tenor). Zambon (another tenor I don't know) had great squillo but drove the pitch very sharp. Bravo to all these tenors of course!
I agree that Domingo's was surprisingly good but I felt Bergonzi's was weak. Carreras sounded better than I expected as well. Must have been early before he got sick. Filipeschi had great squillo on his B but as always, Corelli was the most dramatically impressive while retaining a great B with squillo. Del Monaco's version was also very dramatic but he loses some squillo by the time he reaches a B natural, no doubt due to his much more dramatic mid-range and upper passagio. Di Stefano's B was unimpressive. Zambon's version was really quite good, to me in the top 10.
Per me queste sfide non hanno senso, finché tra questi tenori è compreso anche Franco Corelli. Con il Tenore dei Tenori non c'è storia. È troppo grande per tutti gli altri. In ginocchio davanti al Principe!!! 👏👏👏
Più che altro la sua è stata un'esibizione acrobatica che poco ha a che fare con la Tosca di Puccini. È solo un effetto (di dubbio gusto) strappa applausi
Corelli💪. Ma andate ad ascoltarvi cosa non è Di Stefano nella Tosca del 1953. Un Cavaradossi imbattibile ❤️ Mettere un frammento degli anni '60, quando ormai era fuorigioco da anni, lo trovo scorretto. Tutti gli altri, a casa.
Check out Corelli at this moment in his live Parma performance 1967. This has never been equaled in my experience. Tasteless perhaps but before a Parma audience it was perhaps justifiable. On Corelli‘s part the entire performance was over the top but he seemed to realize he was having a great night & that he was in the right locale to be indulgent. To top off the performance he even favored the audience with an encore at the end of the performance in place of repeating the third act aria earlier. I personally love this Parma performance for the simple reason that for better or worse one is not likely to experience anything like this nowadays. Was Corelli correct in playing to the crowd this way? I guess that all depends on how you view his particular artistic credo.
Peter Graham It’s an interesting point. I don’t like Corelli much for his excessive gallery singing, ignoring scores and sacrificing any kind of accuracy. On the other hand, Puccini isn’t Wagner, and crowd pleasing is an inherent part of Italian opera. I guess, in the end it’s a matter of balance and personal taste. Corelli had a gorgeous instrument without a doubt, and it would have been a waste to not show it off.
I have recently bought the Parma recording. Amazing! Magnificent and stunning. Corelli gives his all in that recording. Oh to have been in the audience that night. Well worth seeking out the CD.
@@Xerxes89 hi. I put a reply, but it’s gone! I can’t find it in my aper records, but I did Google the concert and looked on amazon this week and found it. Good luck! Try all the search engines, I did! Best recording, without doubt!
I agree that Domingo's version was much better than I expected. He often lacks squillo on top notes but seemed to have it here. He also took more liberties with the score early in the passage which were not as written.
@@jphubert This is is one of he easiest to sing for a heroic lyric tenor and for a true Spinto and dramatic this role is a walk in the park. It is well constructed for the heroic tenor voice.
Sounds like Labo forgot the words. Almost too easy for Bjoerling. Very good collection. Some rarities hear. Most everyone was very good even if not all of them "nailed" it.
Something about Mauro's note that was sharp as a nail ( not in pitch) and rang like a bell that caught my attention. He didn't attack the note but was already there from the breath and support prior approaching it wiyh a lyric twist.
Excelente esta galería de Si natural que hay , me quedo los mejores : 1- Bergonzi ,Bjöerling , Corelli y Raimondi . 2-Tucker , Domingo, , Del Monaco. 3- Giacomini , Barioni y Labò
Of these I have personally heard live: Bergonzi, Carreras, Corelli, Domingo, Garaventa, Giocomini, and Mauro. I have heard perhaps another half dozen others as Cavaradossi that you have not included in this video. I have also heard Ludovic Speiss, Giacomo Aragall, Luciano Pavarotti, Jess Thomas and Sergei Larin as Cavaradossi. I live in the San Francisco Bay Area so many other famous tenors simply didn't come West while I have been here. The recording of Bergonzi shows some of his vocal shortcomings for this role. His voice does not gather together as it rises. If you don't know what this means listen to Bjorling's version. Garraventa has too small a voice for Tosca. I heard Domingo many time but while he sang Tosca in San Francisco frequently I always missed him. Mauro as I remember was quite good. But Giacomini was a disappointment. He was filling in for Pavarotti who was scheduled for another opera but had canceled. They quickly mounted Tosca (all major opera house must have a Tosca product somewhere on hand). Giacomini that night sounded a little thick. The best Cavaradossi live in the theater I ever heard was Aragall. But the most memorable was Corelli. In this scene on stage Corelli was on his knees then he crawled across the stage to get to the Scarpia while holding the High B Natural. His stage deportment is best described as 'antics'.
Thank you for this list. It is great fun hearing them all one after the other. All are excellent artists but i have one nagging question. After more than 60 years of listening to opera and especially tenor, why is i that I have only heard of Amadeo Zambon within the last 6 months or so via these sing offs? The man has a clarion voice, seems to be good looking, has great personality, I would think any general manager in half a right mind would grab him up in a second. Am i missing something? Did he pi-- someone off big time or little time? Someone help me. I think this man has been done a terrible injustice.
Absolutely agree. Powerful voice that holds up well against the greatest of opera and yet, you don't even find information about him on the internet......
I did a blind listen, and came up with this as the best: 1. Bjorling (of course) 2. Tucker 3. Del Monaco 4. Domingo To me, Bjorling just slays all in these comparisons, even when I don't know it's him. He's musical, compelling, intense, and that's before he even gets to the high notes. I suspected the long sustain was Corelli, but other than the long sustain, I didn't like it as much as others.
dal vivo Todor Mazaroff. aveva in fondo della sua gola un cannone ... era tenore lirico spinto . le sue registrazioni sono di una qualità artistica orrenda . dal vivo la sua voce era spaventosa .
excellent, too bad for Barioni, Bergonzi is his normal self. God to have tenors like Colosimo, Consiglio, Garaventa, Kambanis, Miranda Ferraro, Mori, Tei and Zambon
Tamas Marok Domingo ?! ancora una registrazione falsa ! Domingo aveva i migliori tecnici del suono e il stereo - l'amico più fedele alla vocalità nasale Dominghiana ... viva il pop moderno ... ahahahahahahahahahahahah !
Я чуть не умерла с Бергонцци и Филиппески в этих отрывках..бледно, конечно..но что было бы со мной в живой опере..Карло Бергонцци самый красивый,мягкий знаю..но меня он пронял до самой сердечной мышцы.Филиппески не даром его ученик сказал,маэстро Марио,ваш голос величайший,зря вы больше не поете
Really interesting to watch. I don't quite get why Labo, whom I value a lot as a tenor, switched "costasse" and "vita". I don't find a high note on an "i" easier to sing than one on an "a" vowel.
@@franzleiermann4955 One thing i forgot to mention, he was a bad Team Member on stage with the rest of the cast and always falling out with Conductors. Riccardo Muti refused to have him in the cast of Trovatore for obvious reasons. Muti was a stickler for abiding strickly to the notes Verdi wrote in the score and wouldnt tolerate hanging on to interpolated high notes.
+AfroPoli The Giacomini recording is very interesting for me, because he sounds the darkest of all the tenors. But my question is this, what did he sound like to your ears? Surely, he does not sound the way he does on recordings? I mean, there is probably more squillo than is picked up by recording devices?
@@AfroPoli There seems to be a big variety in Giacomini reviews. One long time accompanist I know said he was the loudest he'd ever heard in the theatre. Most likely, Giacomini was probably inconsistent. And that's fine with me -- this is a tough sport!
Il SI naturale più bello è quello di Colosino...poi sono altri belli ma di registrazione peggiore...quello che ho notato è la parola precedente "Fa il confessore il boia"quasi tutti stonano la nota...solo Del Monaco è bene a fuoco...
often the problem with these compilations-what performance or recording is selected Who knows? but the end result is lacking. At first I thought it was later MDM where Bs were problematic-surprised this is from 1954 also comes right after Corelli's effortless blast
Fun is spoiled by a list including too many obvious losers, and then again some of the best singsers, like Del Monaco and Tucker, fine but he later was truly stunning with the size of his B natural.-were represented with cuts which caught them at a time far from their best.
Björling, Giacomini and Garaventa best, also best emotion and musicality, and Corelli of course technically perfekt, but him and del Monaco extrem narcisstic length in the acuti which is neither musical nor right emotion! Carreras....oh....poor one....never understood why he started singing spinto.
What emotion are you referring to? Cavaradossi is singing his about his disgust of Scarpia and his corruption. So do you think Björling and Garaventa shows the most disgust and dislike in their emotions?
@@ZENOBlAmusic not quite: Cavaradossi promises that he will save Angelotti's life, even if it costs him his own. That is the expression of a revolutionary. What I mean is that it makes a difference whether I sing a phrase because I "feel" it, because I feel identical with the role and want to express it, because that is how I experience it in my gut, or because I know that is exactly what people want to hear so they can cheer me.
Sono buoni quasi tutti i SI naturali eccetto alcuni spinti con la gola...ma tutti stonano "Fa il confessore il Boia" eccetto uno ascoltate con attenzione...saluti
+EJ R Lei ha ragione..l'unico a eseguire in tono la parola "boia"è Del Monaco ....... poi il Sin mi piace quello di Corelli...altri hanno fatto bene,ma le registrazioni sono pessime.
Se va sul mio canale ho caricato il pezzo singolo e anche e lucevan le stelle. Sono del 54 dal vivo. Si sente un pianissimo di Mario impressionante come quelli di Corelli.
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Corelli’s high notes simply vibrate the most out of them all. Even without me using headphones his voices sounds the loudest.
the audience always went crazy when Corelli did his high notes.
HERO
Es el mejor de la lista
Corelli, come sempre, è impressionante. Notevoli Bjorling e Bergonzi.
Franco Corelli .He has that golden tone not found in others.
Excelente el de Corelli pero no es el único ni el mejor, no es concurso y todo es cuestión de gusto, pero eso no motivo para menospreciar el talento y la voz de otros grandísimos tenores
Truly a wonderful video. Corelli is my favourite. Then Del Monaco.
Unfortunately MDM was flat on the following notes. But the high B was outstanding.
Corelli and Jussi nailed it perfectly.Puccini would be dumbfounded.
Corelli, Bjorling were the best in these IMO. Domingo and Bergonzi surprised me with how good their B's sounded! Mori very good (I don't know this tenor). Zambon (another tenor I don't know) had great squillo but drove the pitch very sharp. Bravo to all these tenors of course!
I agree that Domingo's was surprisingly good but I felt Bergonzi's was weak. Carreras sounded better than I expected as well. Must have been early before he got sick. Filipeschi had great squillo on his B but as always, Corelli was the most dramatically impressive while retaining a great B with squillo. Del Monaco's version was also very dramatic but he loses some squillo by the time he reaches a B natural, no doubt due to his much more dramatic mid-range and upper passagio. Di Stefano's B was unimpressive. Zambon's version was really quite good, to me in the top 10.
Agree
I would pick Corelli judging by these excerpts- he's certainly got the best legs.
🍗🍗
Per me queste sfide non hanno senso, finché tra questi tenori è compreso anche Franco Corelli. Con il Tenore dei Tenori non c'è storia. È troppo grande per tutti gli altri. In ginocchio davanti al Principe!!! 👏👏👏
Più che altro la sua è stata un'esibizione acrobatica che poco ha a che fare con la Tosca di Puccini. È solo un effetto (di dubbio gusto) strappa applausi
a lot of great tenors.ty.
Bjorling y Corelli siempre son números 1. "Inigualables"
Muy bien Colosimo...
Corelli💪. Ma andate ad ascoltarvi cosa non è Di Stefano nella Tosca del 1953. Un Cavaradossi imbattibile ❤️ Mettere un frammento degli anni '60, quando ormai era fuorigioco da anni, lo trovo scorretto. Tutti gli altri, a casa.
Corelli is absolutely perfect in this excerpt the big surprise is how good Domingo is I wonder did he have extra microphones microphones
of course micro with Domingo, always!
he started the "new age" of opera ;-)
Corelli e Filippeschi i migliori
franco corelli, .....poi..... tanti altri bravi, alcuni andrebbero non ascoltati: peccato per il non grande audio!
Thatks for this work! Respect!
Thank you for this sample in alphabetical order.
Check out Corelli at this moment in his live Parma performance 1967. This has never been equaled in my experience. Tasteless perhaps but before a Parma audience it was perhaps justifiable. On Corelli‘s part the entire performance was over the top but he seemed to realize he was having a great night & that he was in the right locale to be indulgent. To top off the performance he even favored the audience with an encore at the end of the performance in place of repeating the third act aria earlier. I personally love this Parma performance for the simple reason that for better or worse one is not likely to experience anything like this nowadays. Was Corelli correct in playing to the crowd this way? I guess that all depends on how you view his particular artistic credo.
Peter Graham It’s an interesting point. I don’t like Corelli much for his excessive gallery singing, ignoring scores and sacrificing any kind of accuracy. On the other hand, Puccini isn’t Wagner, and crowd pleasing is an inherent part of Italian opera. I guess, in the end it’s a matter of balance and personal taste. Corelli had a gorgeous instrument without a doubt, and it would have been a waste to not show it off.
I have recently bought the Parma recording. Amazing! Magnificent and stunning. Corelli gives his all in that recording. Oh to have been in the audience that night. Well worth seeking out the CD.
@@maggiedeveney Hi, where did you get the CD?
@@Xerxes89 i found it on line when living in England. Il'l look at my récords to see if i can be exact.
@@Xerxes89 hi. I put a reply, but it’s gone! I can’t find it in my aper records, but I did Google the concert and looked on amazon this week and found it. Good luck! Try all the search engines, I did! Best recording, without doubt!
Corelli spiana tutti!😱
The best for me in loose order: Corelli, Filippeschi, Zambon, Bjoerling and Domingo (who sings way better than usual here)
Corelli sang the best high note
agree
Agree
Best are Björling with a thrilling high note and Corelli.
Correli!
Corelli y Placido Domingo me gustan muchissimo!
Corelli Bergonzi Björling. 🌹
Pavarotti said it was the most difficult phrase for him.
other than the entire role of Don Carlo...
0:26 Bergonzi, Björling, Carreras
3:06 Corelli, del Monaco, di Stefano, Domingo
6:37 Giacomini
11:00 Tucker
Domingo! With the qualities of what corelli or del monaco had, which PD normally could not sing like.
I agree that Domingo's version was much better than I expected. He often lacks squillo on top notes but seemed to have it here. He also took more liberties with the score early in the passage which were not as written.
@@jphubert This is is one of he easiest to sing for a heroic lyric tenor and for a true Spinto and dramatic this role is a walk in the park. It is well constructed for the heroic tenor voice.
5:15 Very good night for Domingo.
Ohh yeah it is
corelli ... solo al mondo
Corelli, the very very best of them all, by far. Domingo and MdM not bad. Bjorling and Distefano very disappointing.
Corelli is the best
Sounds like Labo forgot the words. Almost too easy for Bjoerling. Very good collection. Some rarities hear. Most everyone was very good even if not all of them "nailed" it.
Something about Mauro's note that was sharp as a nail ( not in pitch) and rang like a bell that caught my attention. He didn't attack the note but was already there from the breath and support prior approaching it wiyh a lyric twist.
Corelli!!
Corelli is amazing! the rest put them aside!
corelli
Excelente esta galería de Si natural que hay , me quedo los mejores :
1- Bergonzi ,Bjöerling , Corelli y Raimondi .
2-Tucker , Domingo, , Del Monaco.
3- Giacomini , Barioni y Labò
Of these I have personally heard live: Bergonzi, Carreras, Corelli, Domingo, Garaventa, Giocomini, and Mauro. I have heard perhaps another half dozen others as Cavaradossi that you have not included in this video. I have also heard Ludovic Speiss, Giacomo Aragall, Luciano Pavarotti, Jess Thomas and Sergei Larin as Cavaradossi. I live in the San Francisco Bay Area so many other famous tenors simply didn't come West while I have been here.
The recording of Bergonzi shows some of his vocal shortcomings for this role. His voice does not gather together as it rises. If you don't know what this means listen to Bjorling's version. Garraventa has too small a voice for Tosca. I heard Domingo many time but while he sang Tosca in San Francisco frequently I always missed him. Mauro as I remember was quite good. But Giacomini was a disappointment. He was filling in for Pavarotti who was scheduled for another opera but had canceled. They quickly mounted Tosca (all major opera house must have a Tosca product somewhere on hand). Giacomini that night sounded a little thick.
The best Cavaradossi live in the theater I ever heard was Aragall. But the most memorable was Corelli. In this scene on stage Corelli was on his knees then he crawled across the stage to get to the Scarpia while holding the High B Natural. His stage deportment is best described as 'antics'.
Patrick Boyle
d
i
Scarpia is not onstage for the B natural which is in the first act. You're thinking of the vittorias from act two.
And dramatically it makes sense for him to be on his knees, since he has just been tortured
Corelli! ❤❤💖❤️🔥🏆
MDM ❤❤
Björling ❤,
Domingo.. 🤔 )
Corelli è il massimo!
Corelli the best
I would like to hear Colosima in the house that evening. The sound quality is too bad unfortunately.
Corelli hands down
Para mi: Corelli, Del Monaco y Domingo.
Alcuni sono parecchio calanti... per il resto: CORELLI PER SEMPRE!
Your lineup is incomplete without Gianni Poggi and Giacomo Aragall : The two best Cavaradossis after Corelli
Taker, Corelli, Mori, Zambon..... voci bellissime
AfroPoli
E di Zambon non ci racconti nulla?
Si legge e (soprattutto) si sente molto poco di lui
Eppure non mi par che qui abbia sfigurato
Che ci dici?
Franco is best ! No doubt . Zambon pushed his voice too much forward . Too sharp .
Remarcable Consiglio... I wonder why he didn't have a bigger career . He was a fine fine tenor
Why no picture of Tei?
Thank you for this list. It is great fun hearing them all one after the other. All are excellent artists but i have one nagging question. After more than 60 years of listening to opera and especially tenor, why is i that I have only heard of Amadeo Zambon within the last 6 months or so via these sing offs? The man has a clarion voice, seems to be good looking, has great personality, I would think any general manager in half a right mind would grab him up in a second. Am i missing something? Did he pi-- someone off big time or little time? Someone help me. I think this man has been done a terrible injustice.
Absolutely agree. Powerful voice that holds up well against the greatest of opera and yet, you don't even find information about him on the internet......
Franco gli uccide tutti!
The best are Del Monaco and Corelli!
Wow @ Consiglio and Fillipeschi, and I hope they checked the building for structural and foundation damage after Domingo.
I did a blind listen, and came up with this as the best:
1. Bjorling (of course)
2. Tucker
3. Del Monaco
4. Domingo
To me, Bjorling just slays all in these comparisons, even when I don't know it's him. He's musical, compelling, intense, and that's before he even gets to the high notes. I suspected the long sustain was Corelli, but other than the long sustain, I didn't like it as much as others.
e bonisolli dove l'ha lasciato?
Carreras was the most natural and beautiful of all. Corelli had a wapon voice as no one ✌🏻
I'm surprised by how good Carreras sounds here.
dal vivo Todor Mazaroff.
aveva in fondo della sua gola un cannone ...
era tenore lirico spinto .
le sue registrazioni sono di una qualità artistica orrenda .
dal vivo la sua voce era spaventosa .
Colissimo sang a C not a B. Was the recording speed altered?
Mario Filippeschi sempre!
excellent, too bad for Barioni, Bergonzi is his normal self. God to have tenors like Colosimo, Consiglio, Garaventa, Kambanis, Miranda Ferraro, Mori, Tei and Zambon
a lot of beautiful singers.in my opinion,Carreras and Zambon above all
I surely wouldnt pick Corelli here... Bjorling (as always ) and Zambon my favorites
I think Corelli is first but after that, second is difficult for me. Several were great and tied for second.
De los famosos el peor Distefano , de los menos conocidos Consiglio y Zambon
Molti suonano stonati prima del Sin .....
I'm a great Corelli-fan, but Domingo sings this small arioso incredible impressive.
Tamas Marok
Domingo ?!
ancora una registrazione falsa !
Domingo aveva i migliori tecnici del suono e il stereo - l'amico più fedele alla vocalità nasale Dominghiana ...
viva il pop moderno ...
ahahahahahahahahahahahah !
A
8:54 Benny Hill?
Renato Francesconi! at 25:28 ruclips.net/video/Em8ZI0NCfHE/видео.html
Thanks!
Fleta, Gigli, Merli , Masini , Mazaroff,
Nikolov etc. etc. etc …
Я чуть не умерла с Бергонцци и Филиппески в этих отрывках..бледно, конечно..но что было бы со мной в живой опере..Карло Бергонцци самый красивый,мягкий знаю..но меня он пронял до самой сердечной мышцы.Филиппески не даром его ученик сказал,маэстро Марио,ваш голос величайший,зря вы больше не поете
Tutti bravi ( più o meno )😃...ma soprattutto manca quel grandissimo cavaradossi che è jaime Aragall .....
Domingo was really on that night.
Really interesting to watch. I don't quite get why Labo, whom I value a lot as a tenor, switched "costasse" and "vita". I don't find a high note on an "i" easier to sing than one on an "a" vowel.
The long EE on "vita" is much harder actually than the ah on "Costasse for many tenors, me included, at least above G-Ab.
Garaventa Consiglio Domingo
Corelli e l'ultimo, non mi ricordo ora chi fosse
Kambanis seemed to have sung a Bb not a B.
in ordine alfabetico: Barioni, Corelli, Raimondi, Zambon
No Bonisolli?
Thank God for that. He was a Conductors nightmare, always playing to the Gallery with interpolated high notes.
@@waynewilliams4706 so he was human. Any tenor had a specific behaviour. Bonisolli was not boring, great color and took a risk sometimes.
@@franzleiermann4955 One thing i forgot to mention, he was a bad Team Member on stage with the rest of the cast and always falling out with Conductors. Riccardo Muti refused to have him in the cast of Trovatore for obvious reasons. Muti was a stickler for abiding strickly to the notes Verdi wrote in the score and wouldnt tolerate hanging on to interpolated high notes.
@@waynewilliams4706 i know Muti, purist but great conductor. His Aida with Caballe / Domingo is my favorite. Still love Bonisolli.
Colosimo e Zambon sono i più impressionanti come colonna di suono
+AfroPoli The Giacomini recording is very interesting for me, because he sounds the darkest of all the tenors. But my question is this, what did he sound like to your ears? Surely, he does not sound the way he does on recordings? I mean, there is probably more squillo than is picked up by recording devices?
Zubair Hossain I heard him once in Tosca. Nice, medium-large sized voice, but not exceptional. Kraus and Domingo were louder than him.
@@AfroPoli Giacomini's voice seems too dark and dramatic for this role to me but his rendition was very impressive nonetheless.
@@AfroPoli There seems to be a big variety in Giacomini reviews. One long time accompanist I know said he was the loudest he'd ever heard in the theatre. Most likely, Giacomini was probably inconsistent. And that's fine with me -- this is a tough sport!
Il SI naturale più bello è quello di Colosino...poi sono altri belli ma di registrazione peggiore...quello che ho notato è la parola precedente "Fa il confessore il boia"quasi tutti stonano la nota...solo Del Monaco è bene a fuoco...
giampierone010 de
Enzo Tei !!
Ma cosa dice Labò? Ha cambiato le parole
"Ne andasse della vita" come indicato nello spartito...
Bergonzi
Не знаю по технике но его голос всегда протыкает мое сердце и обнимает
MDM seems to be having intonation problems.
on top he often did
@@labienus9968In this case it’s the ‘vi salverò’ where he is almost a full tone under. I think he misjudged the interval.
often the problem with these compilations-what performance or recording is selected
Who knows? but the end result is lacking. At first I thought it was later MDM where Bs were problematic-surprised this is from 1954
also comes right after Corelli's effortless blast
Ascoltando non i nomi, ma fraseggio, timbrica, emissione, acuto, il migliore nel complesso è Garaventa.
Domingo!
GIANNI RAIMONDO TUTTA LA VITA
con ripetto parlando, il migliore mi è sembrato Carreras !
Fun is spoiled by a list including too many obvious losers, and then again some of the best singsers, like Del Monaco and Tucker, fine but he later was truly stunning with the size of his B natural.-were represented with cuts which caught them at a time far from their best.
AfroPoli I thought you didn't consider Domingo to be a legitimate tenor?
James Kim And why did you think so?
@@AfroPoli He thinks you are a part of "this is opera" crowd.
@@baishihua Oh God, no! :D
Domingo!OK
Manca Gianfranco Cecchele !!!!. uno del piu' grandi Cavaradoosi......comunque..Zambon Colosimo.. e non male Carreras...
gDino Vighesso
Björling, Giacomini and Garaventa best, also best emotion and musicality, and Corelli of course technically perfekt, but him and del Monaco extrem narcisstic length in the acuti which is neither musical nor right emotion! Carreras....oh....poor one....never understood why he started singing spinto.
What emotion are you referring to? Cavaradossi is singing his about his disgust of Scarpia and his corruption. So do you think Björling and Garaventa shows the most disgust and dislike in their emotions?
@@ZENOBlAmusic not quite: Cavaradossi promises that he will save Angelotti's life, even if it costs him his own. That is the expression of a revolutionary. What I mean is that it makes a difference whether I sing a phrase because I "feel" it, because I feel identical with the role and want to express it, because that is how I experience it in my gut, or because I know that is exactly what people want to hear so they can cheer me.
carreras pessimo, Corelli ilo migliore
Sono buoni quasi tutti i SI naturali eccetto alcuni spinti con la gola...ma tutti stonano "Fa il confessore il Boia" eccetto uno ascoltate con attenzione...saluti
+giampierone010 Del Monaco? presumo di si. Corelli è stato super ma sinceramente da Di Stefano mi aspettavo di più.
+EJ R Lei ha ragione..l'unico a eseguire in tono la parola "boia"è Del Monaco ....... poi il Sin mi piace quello di Corelli...altri hanno fatto bene,ma le registrazioni sono pessime.
Se va sul mio canale ho caricato il pezzo singolo e anche e lucevan le stelle. Sono del 54 dal vivo. Si sente un pianissimo di Mario impressionante come quelli di Corelli.
Del Monaco, però poi cala di quasi mezzo tono "ti salverò".
Bergonzi, Bergonzi, Bergonzi!
Carreras is Mario