Saw him last night. The videos do not do him justice at ALL. I’m the theatre he sounds fantastic and was a great actor to boot. Michael Chioldi was covering for Quinn Kelsey, but did a fantastic job. The entire cast was good, and the set was INCREDIBLE. It magnified what would have been a good performance to a great one!
Not that effortless as Luciano sang that aria :) Still he’s a good and a smart singer. Liked the series of interviews with him on another channel ruclips.net/video/1QwKk9jR9qY/видео.html . Interesting way of imagining how he produces the sound. Regarding the voice, he’s getting older, the voice matures itself as well. I haven’t heard he’s singing dramatic roles on a regular basis. Verismo arias in the studio is a different story. Once Kunde explained the same period in his voice evolution. It just appeared that he became uncomfortable with the parts he was singing successfully for years. Thus he had to adapt the technique to a heavier voice and shifter to dramatic repertoire. Maybe Piotr is at the same stage of his career. Or maybe I’m wrong :) trust people who hear him live on various occasions throughout the years.
I "discovered" PB in 2015 at a recital at Zankel Hall, where I sat in the middle of the first row in the Parterre. My opinion then was that although he was a singer who was sensitive to dramatic impulse, he sang the art songs with a force that was more appropriate in works that had a full orchestra. Then, in the following year or so, at the Met, he sang sharp, to the point that I stopped going backstage to get an autograph and gush my praises. But he is smart, and he fixed that. Didn't he have Covid last year? I don't remember what production is was, but I think Anna Netrebko was with him, and she had Covid, too. Plus, this Rigoletto is a new production, and everyone gets tired during preparations. So let's give the guy a break: He's good looking, moves well, he's great at languages and looks like he understands the words and emotions of the characters he plays.
Yes, PB had Covid. I remember watching a panel discussion somewhere here on RUclips where he and Sondra Radvanovsky (love her) both mentioned that they had it. I think it was Louisa Miller at Liceu Barcelona. Listened to opening night on the radio. It took him a while to warm up. Overall it was not his best night. So he’s human. I listened again last night (4 Jan) and he sounded much better. “Questa O' Quella” out the box was money! Was he as good as in the Vegas production probably not. Yes his voice has changed probably from the heavier rep that he’s singing now. And yeah, that’s a bummer. I am relying on his intelligence as a singer regarding his voice. So far he has managed both voice and career quite well. For me he remains my favorite, a very fine tenor in my book and I’ll follow him any where. I will be at the Met on the 29th sitting up front. Really looking forward to it! I share your sentiments regarding giving him a break.
TedinNY When a critic from the New York Classical Review describes Mr. Beczala's technique in this Rigoletto performance as "masterful" (review of Sat Jan. 01, 2022), I think you really don't have to worry about some opinions here.
I sing often on RUclips. But I don't charge anyone for my feeble attempts! Maestro Beczala charges a lot of money to hear him, and I bought several of his CDs and DVDs. I want very much to cheer him. But I think he is past the point of singing this role beautifully. I don't enjoy saying that, and I don't care what a critic says. I can hear it with my own ears.
@@barbarachmielewska I think we agree. I bought the Lohengrin DVD and I love it, yes, including Netrebko! A few years ago, I saw Beczala on a gala; he sang from Aida, and I yelled at the TV, “Beczala, don’t do it!!!” So many artists are not satisfied with the roles that favor their voice, so they go to dramatic roles and then can’t go back to the lighter roles. They should take notes from Alfredo Kraus or Mathew Polenzani. And so many sopranos did it too, all great artists, but they damaged their voices: Anna N, Beverly Sills, Scotto, Gwyneth Jones, et al. Anyway, I’m sorry you felt it necessary to listen to all my singing!! I’m a decent amateur, but even my adult children think it’s all too much 🤣
@@barbarachmielewska Read both your comments. Glad you guys worked it out! Like you Barbara I love PB but understand Dave Glows concern too. I have read his comments before about PB singing heavier rep. His voice has changed, however I think PB is a very intelligent singer. I trust his choices. Fully agree, his Bayreuth Lohengrin was Sublime. I go where PB goes. Will see him at the Met on the 29th, I really can’t wait. Especially after all the cancellations thanks to Covid (I had tickets to Werther, Aida, Rusalka). Please lord, no Omnicron. Thank You! 😀👍
I find PB’s big vibrato quite a distraction to the music. For a second I thought he was going for a trill on his 2nd to last note but the matching wobble on his final Gb proved me wrong.
"Breathing lessons"??? First of all, advising breathing lessons to someone who has been singing so successfully on all the main opera stages for over 15 years is, to say mildly, very strange, and secondly, doing so at this time when so many singers are getting covid which often affects their lungs (and we know that P.B. had covid at least once) is just VERY nasty!!!
Can hardly stand to listen . . . sound is swallowed, too much space in the throat, too dark; sounds like Gedda, but much much darker, unnaturally. No actual comparison to Maestro Gedda; just the timbre.
My Request for the subcategory and a subtype of Piotr Beczala among the others : TENORE CONTRALTINO TENORE DI GRAZIA HAUTE CONTRE TENOR LIGERO TENOR ALTINO TENOR BUFFO TÉNOR LÉGER
THEN I WANT TO LISTEN OF PIOTR BECZALA ARE SING WITH THE VOICE LIKE A RUSSELL HITCHCOCK, QUENTIN MORIOT, QUENTIN BRUNO, CHARLIE PUTH, MITCH GRASSI, TOMMY PAGE, TENDERLING, PRETTY BOY, ZAYN MALIK, WONDERKID, BRAD KANE, COVER BOY, BABY GLOW, BABY FACE, CHILDREN, BABY BOY, CHILDISH, BABY KID, CHILD, SON, GUY, BOY, AND A KID.
Sounds completely different in the house. I heard him last night and he sounded great. A little quiet next to the soprano but was easily heard over the orchestra. I think it’s something wrong with their recording equipment.
@@boundary2580 Operawire, reviewing the performance of Jan. 4, stated that "Beczala tended to cover some of the soprano's lyrical sound", so probably he tried to "correct" this imbalance.
Saw him last night. The videos do not do him justice at ALL. I’m the theatre he sounds fantastic and was a great actor to boot. Michael Chioldi was covering for Quinn Kelsey, but did a fantastic job. The entire cast was good, and the set was INCREDIBLE. It magnified what would have been a good performance to a great one!
Nice! 👍
I was there and heard Piotr Beczala sing this at the Met. He was magnificent.
Lucky you! 👍
Beczala ottimo tenore , sempre apprezzabile in qualsiasi personaggio. Bravo !!!!!!
Bravo!!!
I like him very much! He was better live than tape. Gorgeous voice and handsome image❤
Thank you PB for a wonderful performance at the Met today. Loved it - nothing beats a live performance! ❤️👍
Merveilleux !! J'adore !!❤👍❤👍❤
Браво ,браво, браво! Превосходно!!!
Bravo non so dire altro!!!
BRAVO !!!
Nice! 👍
👏👏😲 Esplêndido..
Not that effortless as Luciano sang that aria :) Still he’s a good and a smart singer. Liked the series of interviews with him on another channel
ruclips.net/video/1QwKk9jR9qY/видео.html . Interesting way of imagining how he produces the sound. Regarding the voice, he’s getting older, the voice matures itself as well. I haven’t heard he’s singing dramatic roles on a regular basis. Verismo arias in the studio is a different story. Once Kunde explained the same period in his voice evolution. It just appeared that he became uncomfortable with the parts he was singing successfully for years. Thus he had to adapt the technique to a heavier voice and shifter to dramatic repertoire. Maybe Piotr is at the same stage of his career. Or maybe I’m wrong :) trust people who hear him live on various occasions throughout the years.
I "discovered" PB in 2015 at a recital at Zankel Hall, where I sat in the middle of the first row in the Parterre. My opinion then was that although he was a singer who was sensitive to dramatic impulse, he sang the art songs with a force that was more appropriate in works that had a full orchestra. Then, in the following year or so, at the Met, he sang sharp, to the point that I stopped going backstage to get an autograph and gush my praises. But he is smart, and he fixed that. Didn't he have Covid last year? I don't remember what production is was, but I think Anna Netrebko was with him, and she had Covid, too. Plus, this Rigoletto is a new production, and everyone gets tired during preparations. So let's give the guy a break: He's good looking, moves well, he's great at languages and looks like he understands the words and emotions of the characters he plays.
Yes, PB had Covid. I remember watching a panel discussion somewhere here on RUclips where he and Sondra Radvanovsky (love her) both mentioned that they had it. I think it was Louisa Miller at Liceu Barcelona. Listened to opening night on the radio. It took him a while to warm up. Overall it was not his best night. So he’s human. I listened again last night (4 Jan) and he sounded much better. “Questa O' Quella” out the box was money! Was he as good as in the Vegas production probably not. Yes his voice has changed probably from the heavier rep that he’s singing now. And yeah, that’s a bummer. I am relying on his intelligence as a singer regarding his voice. So far he has managed both voice and career quite well. For me he remains my favorite, a very fine tenor in my book and I’ll follow him any where. I will be at the Met on the 29th sitting up front. Really looking forward to it! I share your sentiments regarding giving him a break.
❤️❤️❤️😍😍😍🎶🎶👏👏👏
To those criticizing Mr Beczala's technique, I would really love to hear you sing this. Please let me know when you've posted it on RUclips. Thanks!
TedinNY When a critic from the New York Classical Review describes Mr. Beczala's technique in this Rigoletto performance as "masterful" (review of Sat Jan. 01, 2022), I think you really don't have to worry about some opinions here.
I sing often on RUclips. But I don't charge anyone for my feeble attempts! Maestro Beczala charges a lot of money to hear him, and I bought several of his CDs and DVDs. I want very much to cheer him. But I think he is past the point of singing this role beautifully. I don't enjoy saying that, and I don't care what a critic says. I can hear it with my own ears.
@@barbarachmielewska I think we agree. I bought the Lohengrin DVD and I love it, yes, including Netrebko! A few years ago, I saw Beczala on a gala; he sang from Aida, and I yelled at the TV, “Beczala, don’t do it!!!” So many artists are not satisfied with the roles that favor their voice, so they go to dramatic roles and then can’t go back to the lighter roles. They should take notes from Alfredo Kraus or Mathew Polenzani. And so many sopranos did it too, all great artists, but they damaged their voices: Anna N, Beverly Sills, Scotto, Gwyneth Jones, et al. Anyway, I’m sorry you felt it necessary to listen to all my singing!! I’m a decent amateur, but even my adult children think it’s all too much 🤣
@@wotan10950 I have his both Lohengrins but I love the one from Bayreuth (with Anja Harteros). I think he is fantastic in it.
@@barbarachmielewska Read both your comments. Glad you guys worked it out! Like you Barbara I love PB but understand Dave Glows concern too. I have read his comments before about PB singing heavier rep. His voice has changed, however I think PB is a very intelligent singer. I trust his choices. Fully agree, his Bayreuth Lohengrin was Sublime. I go where PB goes. Will see him at the Met on the 29th, I really can’t wait. Especially after all the cancellations thanks to Covid (I had tickets to Werther, Aida, Rusalka). Please lord, no Omnicron. Thank You! 😀👍
I find PB’s big vibrato quite a distraction to the music. For a second I thought he was going for a trill on his 2nd to last note but the matching wobble on his final Gb proved me wrong.
Superbe Piotr mais les costumes ne sont pas de l'époque de Hugo, ni de Verdi !!!
L'aria è difficilissima bravo ma non bravissimo...
Strained, uncomfortable singing!!!
This is pathetic. Take some more breathing lessons. Top notes badly supported. What has happened to opera?
"Breathing lessons"??? First of all, advising breathing lessons to someone who has been singing so successfully on all the main opera stages for over 15 years is, to say mildly, very strange, and secondly, doing so at this time when so many singers are getting covid which often affects their lungs (and we know that P.B. had covid at least once) is just VERY nasty!!!
Can hardly stand to listen . . . sound is swallowed, too much space in the throat, too dark; sounds like Gedda, but much much darker, unnaturally. No actual comparison to Maestro Gedda; just the timbre.
He can sing, but it’s not refined or exciting. At least he can hit the notes.
Ужасно, но ещё ужаснее то что все считаю что это красиво и так и должно звучать
His Duke at Zurich in 2006 is far superior. Heavier spinto and wagnerian roles have changed his voice. He sounds throaty singing this role now. Pity.
My Request for the subcategory and a subtype of Piotr Beczala among the others :
TENORE CONTRALTINO
TENORE DI GRAZIA
HAUTE CONTRE
TENOR LIGERO
TENOR ALTINO
TENOR BUFFO
TÉNOR LÉGER
Sound & Voice :
LIGHTWEIGHT
RESPECTIVE
GRACEFULL
FLEXIBILITY
STARLIGHT
GRACEFUL
GRACIOUS
AURORAL
GLOWING
FLEXIBLE
RESPECT
AURORA
AGLEAM
BRIGHT
ALIGHT
SUNNY
GRACE
GLARE
SHINY
SHINE
GLINT
LIGHT
GLOW
RAY
Timbre :
SPOTLESS
SPOTLEZZ
PELLUCID
RAREFIED
DISTINCT
SPOTLES
SPOTLEZ
OBVIOUS
EVIDENT
LIMPID
CLEAN
NATTY
CLEAR
LIQUID
FRESH
PLAIN
LUCID
HOLY
NEAT
VIVID
TIDY
NET
THEN I WANT TO LISTEN OF PIOTR BECZALA ARE SING WITH THE VOICE LIKE A RUSSELL HITCHCOCK, QUENTIN MORIOT, QUENTIN BRUNO, CHARLIE PUTH, MITCH GRASSI, TOMMY PAGE, TENDERLING, PRETTY BOY, ZAYN MALIK, WONDERKID, BRAD KANE, COVER BOY, BABY GLOW, BABY FACE, CHILDREN, BABY BOY, CHILDISH, BABY KID, CHILD, SON, GUY, BOY, AND A KID.
Ok not what I'm used to hearing. I thought a top opera house would deliver the goods. But not to be.
Sounds completely different in the house. I heard him last night and he sounded great. A little quiet next to the soprano but was easily heard over the orchestra. I think it’s something wrong with their recording equipment.
@@boundary2580 Operawire, reviewing the performance of Jan. 4, stated that "Beczala tended to cover some of the soprano's lyrical sound", so probably he tried to "correct" this imbalance.
@@barbarachmielewska Very detailed and well written review. 👍