Mario Del Monaco destroys BAD singers (Florez, Calleja, Kaufmann, Beczala)
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- Опубликовано: 7 фев 2025
- Nessun dorma from Puccini's Turandot
Juan Diego Florez a.k.a. Juan Nasal Florez a.k.a. Juan Boring Florez
Joseph Calleja a.k.a. Joseph Goatlleja
Jonas Kaufmann a.k.a. Jonas Woofmann
Piotr Beczala a.k.a. Piotr Crackzala
Mario Del Monaco
![BLACK BAG - Official Trailer [HD] - Only in Theaters March 14](http://i.ytimg.com/vi/Du0Xp8WX_7I/mqdefault.jpg)
Del Monaco 🔝🔝🔝 cosa ne pensi del fatto che la corona sul si acuto non c'è? Molti cantano come se ci fosse una CORONA ma Puccini scrive POCO RITENUTO!!
Non mi piace molto la fermata estremamente lunga sul Si acuto perché è una nota da un sedicesimo e il Re è un'ottava puntata. Quindi il Re deve essere più lungo del Si acuto.
@@BaroneVitellioScarpia1 lo penso anche io anche perché è armonicamente più brutto e inesatto
Non c'e partita MDM e' di un altra categoria.
@@tubagabrii Tutto inizia con Pavarotti, Domingo e Carreras.
@@BaroneVitellioScarpia1 già. Ma secondo me anche prima come ad esempio Corelli e Lauri-Volpi. Certo però che i 3 tenori hanno peggiorato la situazione
I am a concert vocalist and accordionist and studied with a protégé and friend of MDM many years ago, Maestra Maria Greco of San Francisco, California, and Mario Del Monaco is one of my Operatic heroes, along with Giacomo Lauri-Volpi and Tito Schipa. My number one hero is Enrico Caruso. I was to have a private meeting with Maestro Del Monaco at his home for voice related purposes that was cancelled due to his illness, and I never got to meet him. He passed on soon after. We need to be kind and remember that all these poor guys are out on that stage doing their best to give the audience what it wants. This video is a brutal, invalid and unfair comparison that does, however, make some good points. Kaufmann and Beczala are lost souls, vocally speaking. Most of beauty in their voices is lost, and all that remains are tortured expressions, ugly tones, unrecognizable pitch, and huge wobbles. They would do well to forget what they have been doing and go far back in their memories to re-find light, healthy, easy and natural singing “in their own voices” that God gave them instead of trying to be dramatic tenors and sound like someone they are not. Callejas is a singer who focuses on the best singers of the Golden Age of Opera as examples and is “singing his voice” herein with his lyric sound but is far out of his repertory. He is doing the best job he can with what he has and perhaps the audience wants to hear one of their favorite singers (him) perform one of their favorite arias, whether vocally appropriate or not. Though his vibrato is faster than average, he does not have the “caprigno” sound that Corelli fought with at one time. One of the all-time greatest tenors, Lauri-Volpi also had a faster vibrato in his earlier years as did many of the Golden Age singers of the late 19th and early 20th century, including Caruso. While it may be true that, audio mix and live versus studio notwithstanding, Callejas may not move as much air (smaller voice, less volume) than Del Monaco, this is no sin; it is the voice God gave him, which he endeavors to use in the best way. We cannot all shine in every repertory like Caruso. Flores, unfortunately, is on the same road that Kaufmann is on, is losing his vocal focus (centered placement and proper vowels for maximum resonance and efficiency) resulting in a thin sound, is starting to wobble and is masquerading as a dramatic tenor. He would do well to follow my advice above and restore what is probably a delightful, smaller lyric voice at its roots. We all have our vocal heroes, but we cannot all “roar” like Del Monaco, who was singing HIS voice, nor can we all have the grace, legato phrasing, pianissime and come from nowhere satisfying upper register of Tito Schipa, nor can all of us have the rare timbral versatility, great, rich bottom and top of Enrico Caruso. My last teacher, Janet Parlova told me that we must make it easy, practice, sing our best and, when we get on stage, accept what comes out of our mouths. We need to sing with the voice that God gave each of us and not try to sound like someone else, though we can learn from others who had long careers and maintained their voices in top and original condition throughout the years such as Lauri-Volpi, Caruso, Del Monaco, Gigli, Schipa and others…all singers who “sang their voices” and did not try to sound like someone else. FABIO G. GIOTTA
Bravo🙏
Bravo
Del Monaco was unique, his instrument , technique and style made him very exciting with that dark sound he produced by keeping the larynx very low . The technique did have its limits, he struggled to sing with different dynamics, you can hear on this recording that the B sharp is a struggle for him. Correlli used a similar technique but adjusted it slightly to get more dynamics , which he proved through his career. But hey, thank God for Del Monaco, he was a blessing.
Before Pavarotti turned "nessun dorma" into a hit at the 1990 football World Cup, this score was not so essential for tenors, and they didn't hold the high B too long.
@d b @d b Thanks that was illuminating information.
It is a B natural at the end of nessun dorma. The way he sung it without holding is actually the way it’s written originally in the score. All old recordings are like that. It’s only now in modern times when it became expected to hold the note for a long time.
I’ve heard many other recordings of del monaco with high B natural and he had no issue with them.
As for dynamics, in opera singing, piano is more of a color, you don’t actually sing quietly because they voice always needs to be projecting to the live audience.
It really sucks for those sitting at the very back if they can’t hear a good portion of the performance.
Deal monaco does have dynamics it is just in the traditional way.
Arturo di Giuseppe Melocchi (9 de diciembre de 1879-25 de octubre de 1960) fue un barítono italiano y profesor de canto de ambos tenores.
Corelli uso la técnica laringe alta para no imitar a Del Monaco. En los años 70’s usó la técnica de laringe baja para cantar algunos partes de Otello.
@@ricardoe.alvarado8021 Corelli non canto' mai Otello in teatro, tranne qualche pezzo dell'opera in concerto. E' vero quello che scrivi
На фоне Марио Дель Монако остальные певцы из этого видео кажутся жалкими , словно не оперные певцы , а певцы современной эстрады. Кажется , что Марио Дель Монако поет мощнее всех трёх вместе взятых.
просто один умел в вокал и понимал что звук от полостей черепа отражается окрашиваясь обертонами.А вторые потрохами поют,а потроха звук не отражают а поглощают,не надо в себя петь.
Calleja, Florez, kaufman Begzala????? Ahahaha ahhhhhh ahhhhhh ahhhhhh ahhhhhh ahhhhhh ahhhhhh ahhhhhhhhhhhhhhhh uhhhhhhhhhh MORETTI DELL' AIDA uuuuuuhhhhhhhhh
@@lespaul6165 Монако великий певец, но ты просто в голову ешь и от твоих полостей черепа может что то и отражается, потому что мозг у тебя отсутствует.
Когда я в первые слушал Дел Монако, Паваротти и Франко Корели, понял что я не умею петь. Стыдно петь после них...
Great editing. That said I didn't hate all of the "bad" singers, however the point stands. in 100 years they'll still be talking about Del Monaco and none of these guys
You forgot to add Yusif Eivazov in a list of worst singers, and this aria also his epic fail 😂 and Mario is unique, he was sent by God for us and now he is with him, singing by his unrepeatable voice
Mario is only one not using a mic. Proper technique is everything
This is what you get when you're a lyric tenor trying to sing an aria for spinto or dramatic tenors.
True but dang it. There used to be a time when lyric tenors are able to tackle heavy stuff
Giuseppe Di Stefano is still great tho in this aria..
The must accurate comment about the situation. 🤔
I don't agree. They don't sound awful because they are lighter tenors, but because they have wrong techniques. All the great liryc tenors with good technique could sing heavy repertoire. I talk about Lauri Volpi, Bergonzi, Gigli, Bonisolli, Fleta and lots others
@@oliverdelica2289 no there wasn't there used to be a time when conductors had more tenors to choose form its actually the rarest voice ....of them all ...to every ten sopranos there is ONE tenor ...and of course the dramatic /spinto tenor is even more rare ..today people don't want to sing opera ..at all ...lyric spinto tenors a little more common but like there might be five in the world right now at the standard ..people don't want to sing opera ...so schools have to take what they can ..that is just the truth ...you audition for a role in a film ..300 people turn up audition for an opera ...maybe 20 turn up for the soprano role and 5 for the tenor role... that is the truth. And its gonna get worse unfortunately.
Спасибо хоть Юсифа Эйвазова сюда не включили. Это был бы последний гвоздь в гроб современного оперного звука...
🤣😅
I love MDM. But you can't compare him with Flores in Tirandot. Here Flores is singing a role totally out of his repertoire, just to make something different. Put both of then to sing Ecco ridente in cielo from Rossini's Barbiere and tell me who sings it better.
You cannot compare pears with watermelons.
Florez’s Ecco ridente in cielo is a joke. Listen to Jadlowker, Wittrisch, Schipa, Di Stefano, Hadley, Tagliavini, Araiza, Valletti and Misciano.
Anyhow, this is a ridiculous comparison. If you want, then compare these guys with Juan, but not with Del Monaco. His timbre and actually everything displayed, just shows that this makes not any sense.
@@BaroneVitellioScarpia1 I prefer to Mr Flores a lot for that role.
@@BaroneVitellioScarpia1 Di Stefano... Thrilling,? Yes. Good Singer? I don´t think so... (I like Di Stefano so much.)
Well, Fabian. I see you're right - it seems that il signor Barone doesn't like Juan Diego Florez - well, that's his taste. I like your " You cannot compare pears with watermelons".
They are NOT Bad singers, they just do not sing their "Fach", maybe because the record companies force them to. Pavarotti was never a Verdi singer either.
And Florez's "Ah, mes amis" is on the same top level like Pavarotti's.
If you are an Unbiased genuine Opera lover, don't bother to read any further. Its nearly all about MDM being a god, and most other Tenors being rubbish, but if you're a Phillistine carry on and join the rest.
Great advice. 🌹
For those who think that it's an incorrect comparison because Del Monaco is a dramatic tenor, listen to Nessun dorma by Gino Sinimberghi, Luciano Pavarotti, and Fritz Wunderlich. They are great leggero tenors who are much better than every bad singer here
Pavarotti? No way. He has no business singing Calaf.
@@BaroneVitellioScarpia1 don't be harsh Barone , he sounded great as always)) It's Pavarotti, he can do anything
I agree except sad to say for Pavarotti. He was ok of course but not on a par even with Wunderlich, Hoppe and others who mostly sang operetta (as far as I know).
I wouldn't rubbish Pavarotti but Imo there were others far superior and absolutely MDM was one of them. Along with of course Corelli.
No son malos cantantes. Simplemente, están cantando lo que no es apropiado a su voz.
Florez, Kauffman, Calleja, Beczala:
_Intonazione, musicalità, squillo, note, voce e tecnica hanno abbandonato_
Del Monaco li schiaccia tutti come formiche! 🎶💕🥰
Immagina se Florez o Beczala cantasse accanto a del Monaco ...
@@BaroneVitellioScarpia1 Suonerebbero piccoli piccoli, come moscerini 😂🪰
@@esterbruno8604 Eppure molte persone come OperaMyWorld pensano ancora che Tebaldi sia un cattivo cantante e ci sono ancora molti buoni cantanti oggi ...
@@BaroneVitellioScarpia1 Ancora molti cantanti buoni oggi? Ma che...? 🤨
Quanti e quali cantanti moderni piacciono a ONMW?
@@esterbruno8604 Non lo so, ma a OperaMyWorld piacciono alcuni cantanti moderni come Scooperova, Kolonits e Domingo il baritono.
“TODAY THEY ACCUSE A LOT OF MODERN SINGING...It's true there are some bad singers today...but there some VERY GOOD! As it was in the Past! There were many Great Singers (Callas, Ponselle, Milanov...) and some very very Bad (Tebaldi...)”
ruclips.net/video/6DMULZCjazw/видео.html
Blame our times not only the singers. The world was much more simple, slow and quieter back then. Now everyone is rushing and rushed, shouting all the time, the world is much louder...
This video perfectly illustrates why the modern state of singing and this industry is, just not something I want to be a part of.
There's no comparison !
And it's not even MDM's best Nessun Dorma recording.
I really want to hear Miguel Fleta's Nessun dorma.
Mario Del Monaco, Miguel Fleta, and Cesar Vezzani all shake your soul with sound.
It's his best imo
@@魚-c3dThis one is my favourite :
ruclips.net/video/wbdeJa243nQ/видео.html
@@abcdefgh-db1to wow this is great. The applause at the end gave me goosebumps. He sure hits a much better high B in this one, but I feel like his voice and high As are a tiny bit (really tiny tho 😉) less straightforward and stable. It may also be the unfortunate poor recording quality. But it was great! Thanks for sharing.
Salve, volevo soltanto condividere con voi questa riflessione: l'atmosfera che crea “Del Monaco” mentre canta è unica ed inarrivabile.
Corelli, Del Monaco, e il primo Di Stefano, sono senz’altro i miei modelli di “perfezione”, e io studio come tenore con uno degli allievi di Marcello Del Monaco, ma bisogna smettere di comparare il presente col passato, offendendo anche artisti che mettono la loro anima per arrivare a fare ciò che fanno, a prescindere da questo video e dalle esecuzioni più o meno giuste.
Siete mai entrati in un conservatorio oggi? Io ho girato mezzo mondo negli ultimi 10 anni per i miei studi e conosciuto diverse realtà in conservatori internazionali, non si può più cantare come negli anni 50, non vi fanno neanche avvicinare alla porta d’entrata... è un peccato? Senz’altro... ma prima i cantanti d’opera erano degli “dei intoccabili” e facevano quello che volevano, tranne che con 2/3 direttori d’orchestra.
Oggi decidono tutto i direttori d’orchestra, i direttori artistici, etc, e i cantanti non hanno più il potere di prima, lo stile e il gusto è cambiato purtroppo...
Molti cantanti potrebbero, potenzialmente, cantare affondando a vele spiegate, ma davanti a un’audizione gli direbbero: canti troppo forte, o canti sguaiatamente.
Non insegnano più a cantare così, perché vogliono uno stile diverso, e gli insegnanti di oggi non sono neanche più in grado di insegnare la tecnica di canto dell'epoca da noi tanto amata perché non viene tramandata. Invece di puntare il dito contro i cantanti, bisognerebbe prima puntarlo contro altri...paradossalmente possiamo cantare “Di quella pira” senza fare l’acuto finale perché non c’è scritto, ma farlo in scarpe da tennis o con una pistola in mano...(poi comparare Florez che canta Turandot al microfono e Del Monaco, è come se chiedessimo a Del Monaco di cantare “Cessa di più resistere” per compararlo con Florez, se siete esperti, siate anche obiettivi, le critiche sono utili se costruttive).
Cordialmente,
Dario Zavatta
Ottime osservazioni,in questo post leggo solo commenti di parte .
Te has olvidado de Franco Bonisolli.
Ottima osservazione pero' questo porta la lirica al declino. Io credo che il bel canto va conservato con la tecnica originale , non e' un altro stile, e' un canto teatrale senza microfono con sola orchestra , se ai direttori non piace l opera facessero altri generi . Devono rispettare la partitura e la tecnica! La gente che viene ad ascoltare se ne rende conto se uno si sente , se ha un buon suono, se ha voce! Il popolo e' ignorante ma sa ascoltare , un conto e' ok bravo! Un conto e' wow che voce , che potenza, che interpretazione! Mi ha commosso, mi ha emozionato!. Il bel canto e' un patrimonio prezioso e va conservato con le sue regole originali, e' uno stile che a non tutti puo' piacere, cm qualsiasi altro genere , con la differenza che l Opera e' conservata e va rispettata e non deve modificarsi in base ai gusti odierni , non e' come la musica pop che e' in continua evoluzione .Il canto classico e L Opera e' tramandata e conservata nei suoi tempi e tali devono rimanere.
Lei dice: sono cambiati i gusti!!! Io dico:sono cambiate le proposte!!! Grazie
In ogni caso Florez eColleja sono inascoltabili!!!!!
La vocalità è una cosa, lo stile è un'altra. La vocalità viene analizzata in maniera scientifica e non secondo opinioni. I valori della vocalità sono emissione, squillo, accento, fluidità, timbro, brillantezza e così via.
Non credo sia vero che oggi vogliano qualcosa di diverso. Magari negli anni 2000, ma visto il tracollo di adesso e le figuracce nei teatri credo che vocalità degne di tale nome sarebbero ben apprezzate. Oggi purtroppo che piaccia o non esistano tenori degni di tale nome.
Actually there is a correct way to compare Del Monaco voice to others. Not distorted sound of TV Show. We have live Otello recordings with Del Monaco and Gobbi, Del Monaco and Los Angeles and many others as well.
Dear sir - the problem you have here is that 99 per cent of people can’t tell the difference. One is taking on a running breath, the rest are singing, pushing on top of their vocal cords and their voices simply won’t last. Thanks for sharing - hopefully it will educate but I which teachers teach they type of production !
One of the saddest things about it is, a young singer might see this, and obviously be so inspired by the great old school of singing.
And in that moment he has doomed himself to failure in this industry, because that approach is punished, not rewarded.
So fuck the industry. If you abandon the beauty and the truth to earn money and fame, you're not a singer.
I saw comments to that effect on the channel This is Opera, when it was being run by several singers/coaches and comments were on. From what I have heard, you are correct. Such tremendous voices aren't appreciated today and real singers with such ability are done down.
Monaco had a great voice but zero technique ....this guys have not great voices but okish techniques ... sorry to break it to you but voice matters and to normal people the voice always sounds better than a crappy voice with great technique ... voices can be made but you can't make great voices they are kinda born ..
@@silverkitty2503 BS. Zero technique my as$. Thou knowest nothing.
MDM’s Nessun Dorma features an analogue recorded sound in a nice, naturally reverberating acoustic space. These modern opera excerpts are recorded in a sterile mic-to-singer, mics-to-orchestra set up which sadly omits any acoustic ambience (this effect can be added later at the discretion of producers/editors). Consequently, Mario sounds a hell of a lot louder than these new superstars. He still ‘DESTROYS!’ But his clips are 10db louder in this presentation than those of his poor competitors. Try turning his moments down -10db and you’ll get a better evaluation of how they truly compare. Let’s face it, none of the modern guys learned how to produce the titanic squillo of Lauri-Volpi, Corelli or Dal Monico, so we, the audience have to work a hell of a lot harder in order to appreciate the modern art of opera.
@denny b the comparison is far from the best, but you can still pick up the difference in singing quality which is the most important. even if you remove the 10 decibels, one would still obviously come out on top ;3
I think is a matter of diferent voices and repertoires they're should be singing. Besides Nessun Dorma has become so popular that they have to sing it in live concerts. Other thing is to sing the whole opera...
Beczala is out of pitch, Kaufmann dark voice is faker than 15 USD note and Callejas scratch his own throat with a sandpaper voice. It is not about decibels it is about clarity of voice.
Del Monaco was a one-off. His huge golden voice was incomparable. It really isn't fair to compare these others to him.
I think we put far too much emphasis on the particular beauty in of Del Monaco's voice, and not enough on the training he had to do to get this technique. Simply by listening, the listener can tell that Del Monaco is singing with a different technical approach.
@@DavidSmith-dl8jc So true. There are so many ways a singer has to work with a God given talent to make the most of it. I believe that singing opera is on a par with ballet dancing in that neither one comes without tremendous discipline; a natural gift is developped into a supernatual skill and then an art.
Non sono paragonati a lui...fa vedere la differenza che c'è tra un canto perfetto e un canto imperfetto...
The vocal journey is tough - it's not fair to compare and contrast singers like this. I listened to Florez twice at his recitals and he always filled the auditorium in Carnegie Hall. His voice is lighter, brighter, and is a joy to listen to. Kaufmann, too. There are hardly any tenors who can sing those low-mid range as rich, and higher notes as roaring as he does. There shouldn't be one perfect example to follow, that's the mistake the classical world tends to make. At the end of the day, these people are the top performers of their era.
Nobody beats del Monaco in anything, at best they can stand beside him in equal greatness.
Franco Corelli
Bollux. Get a Life and stop acting like a Buffoon.
@@mariomarjan FC , agree , he bested MDM in everything but Otello
Oh so mdm was the best at leggiero roles and being able to sing dynamics huh?
Let the tenor wars begin! 🔥
Hell yeah! Who would you bet your money on? I'd bet mine to the underrated leggeros out there. 💵💵
@@oliverdelica2289 I’d bet mine to Rosvaenge a.k.a. Mr. Perfect
@@BaroneVitellioScarpia1 mmm good choice
@@BaroneVitellioScarpia1 well except for the language. Pardon me but I prefer Turandot in Italian 😓
I wonder if Calleja ever heard of the chestvoice thing? 🐏
Calleja sings everything in mixed voice, that's why he sounds so weak.
@denny b
And Birgit Nilsson didn’t sing Zerlina
@denny b
He’s the CAPRINO king
@@BaroneVitellioScarpia1 You don't half speak TOMMY ROT.
@BaroneVitellioScarpia1 Calleja possesses a perfectly balanced registration & resonance position, where he can sing perfectly from bottom to top with complete ease & facility, & uniform vibrato, & is therefore able to sing any note at any dynamic.
His technique is pure bel canto.
Which is why he can sing better live than most other tenors in recordings even from multiple takes spliced together.
The voice is like rubber. If you stretch it to far in any one area for a specific affect, you lose something elsewhere.
MDM, because of his extreme development of the lowered larynx technique, which powerfully anchors the fundamental technique to the permanently fully engaged chest register, found his voice frequently sore, & unable to sing sustained pianissimo.
But that was okay, because his technique & personality were solely concerned on full voice singing & declamatory vocalisation in heavy dramatic parts.
Similarly, Tagliavini's technique was extremely head register biased, which worked beautifully in half voice & sotto voce singing.
However, when he began habitually pushing his voice for power in his desire to sing more dramatic parts, - his voice began to unravel, because the essential strong chest register participation wasn't developed properly in his technique, leaving the nominally weaker head register to carry the tonal weight, - which it is not sufficiently supported by the chest voice to carry off.
In his case, greed for tonal volume was not facilitated by his fundamental technique.
With MDM, soft singing in the head register was not supported by his fundamental technique, with the chest register always fully engaged & unable to back off & adopt a passive role.
He obliterates them! They cannot even hold a candle compared to MDM!
Oh yeah, let them both sing Pour mon ame. Only stupid people will make this comparison which makes no sense.
@@adeeo Todays lot HAVE to have microphones to be heard at the back of the gods. MDM, Corelli and others didn't. Says it all really.
Thank you you for this.
Del Monaco was unmatchable, except by his friend Corelli who was perhaps that tiny little bit more powerful. Although of course they fell into different categories of voice - yet could perform many of the same roles as competently as each other.
However, del Monaco wins for me because he had that very rare ability to go from oh so soft to full power like a lion roaring in only a moment, then straight back to the most gentle voice like an angel. I only ever heard recordings where Gigli could do that before, and haven't heard it done since except by del Monaco.
Also, wasn't he absolutely gorgeous? A very manly looking gentleman with a good physique and deportment. I know that is secondary to voice but to look as well as sound so majestic is a definite plus.
Top class.
Sorry, I don't find others in the video to be anywhere near comparable. I am sure that if he or Corelli were on stage with them today neither of the two would need microphones to drown them out, and of course their tones were perfect and beyond criticism.
Corelli more powerful? if anything its the other way around.
Hot take. I think Corelli does the lyric to dramatic stuff in the song better than mdm
@@oliverdelica2289 Either way, each voice outclasses those of today by miles. So do the voices of quite a lot of others from the golden age but these two were superb.
Tiny bit?Corelli was collosal!!!cords of steel as Luciano said!!!
I have known some ppl who have seen Kauffman at the met. He stopped coming there years ago because he just can’t be heard in an opera house that big. You could ask why doesn’t he try to sing in a way where he has that ringing steel in his voice, with also singers formant to cut through the orchestra.
But why would he change anything when his career is so successful from doing what he’s doing. That’s clearly what the opera gatekeepers want. One girl I know didn’t even care so much that he couldn’t be heard in the audience, at most only making a very small sound. He is a famous good looking guy, and that’s enough for many women to buy a ticket.
He was never that good looking Imo. A poser, too. Whereas del Monaco was very manly and never ever came across as the least bit vain. Confident but never vain and posing.
Think of it, Del Monaco's contemporaries included Bjorling, Corelli, Di Stefano, Tucker, Wunderlich, Vickers, Gedda, Windgassen, Tagliavini, Bergonzi, among others. Talk about a golden age. Even some of the lesser tenors of the era were superior to today's stars.
Del Monaco shows us the perfect combination of technique and expression. Constricted voices of our time are a waste of talent.
Mario del Mónaco es un caso en un millón, nadie tiene la potencia de su voz ni antes ni ahora.... Aunque es cierto que la técnica actual hace que los cantantes fuera de corregir sus defectos los utilicen como si fuera su estilo además de sonar sus voces súper tirantes esto pasa sobre todo en los en los bajos y los tenores
¿Y Ramón Vinay?
Te olvidaste del mejor: Franco Corelli. Y de Bonisolli.
@@alejandraponce5629 He's a Baritone with a God given high register. He never sang above a full chested b flat
Del Monaco was like a male Ethel Merman in the worst possible way. Everything was loud, loud and louder. Yes, there are times when volume and force are required but sometimes it’s just too much. I heard the CARMEN Act One duet between Don Jose and Micaela on Decca w/Sutherland and wondered how the h**l it passed the producers. It’s terrible. Yes some of these tenors are over parted and shouldn’t be singing this aria but overall Del Monaco was far from perfect. But I do have several of his recordings that I enjoy in comparison to other singers.
Florez is enjoying so much the sounds he is making that he forgets to project his voice. He indeed needs the microphone to be heard. I find it amazing that a professional singer has no respect for the operatic repertoire and for his own (rather restricted) capabilities and limitations.
Please! Let's not talk about destroying people! Also, I think calling certain singers "bad" is unreasonable. Why not use more balanced and intelligent language when talking about artists, whether your like their work or not.
Singers: sing Nessun Dorma
Old-schoolers: Let me stop you right there! 🚔
There's only one singer in this video.
@@BaroneVitellioScarpia1 nahh we're not just talking about them. We're also including pop singers who butcher Nessun Dorma
@@BaroneVitellioScarpia1 but jokes aside, that BBC footage of Kauffman's Nessun Dorma was my first exposure to him. I immediately thought he sounded unique. Boy that didn't age well
@@oliverdelica2289 Kaufmann sounds unique, because he is the most throaty tenor ever.
@@BaroneVitellioScarpia1 😂😂😂🤣
Thanks for making this. This video is really genius actually in that it is presented in a way where anyone can understand the differences. Since even most opera enthusiasts are completely unfamiliar with basic differences in singing technique, and the end result of that.
You know the this is really fucked when kaufmann is the most powerful of the three
Not fair - La voce di Del Monaco viene riprodotta a un volume più alto.. Tutto dipende dell'incizione. Inoltre, Senza togliere a Mario i suoi meriti, bisogna considerare che lui è drammatico, mentre gli altri sono lirici e Flores, leggero. Non si puo fare comparazioni tra loro
You are UNFAIR.
Mario Del Monaco's footage was recorded in the studio.
The other three are live performances, in completely different conditions.
Flores is a leggero and Del Monaco is a dramatico who specialises in otelo.
To begin with, Del Monaco's carafes are not that good.
His voice is over-emphasised and clearly middle-aged.
It does not sound like the voice of a passionate young man who falls in love at first sight with a beautiful woman.
Beczala's actual age is probably middle-aged, but her voice is young and fits the role.
Joseph Calleja is a second-rate singer and should not be compared to others.
Итальянцы очень любят сравнения. Но в данном случае, это удар ниже пояса. Надо сравнивать с Паваротти, Марио Ланца, Корелли, Ди Стефано
Si e' brutto confrontare pero ' non se ne puo' fare a meno
Вообще некорректное сравнение!) Дель Монако - драматический тенор)) Ну, Кауфман - тоже претендует. Ну, остальные же лирические тенора)) Записи разные и по качеству и по условиям. Ну и на этой записи Монако вместо си - си-бемоль спел, что тоже для нас показательно. Даже с такими возможностями драм тенору не стоит строить из себя баритона. Тенор должен петь как тенор. Драмтенор как драмтенор, а лирический тенор - как лирический. Но бесспорно - Монако великолепен!
Адекватный отзыв. Зачем их вообще сравнивать. Каждый по своему хорош. Чай не Басковы))
А вот мне очень нравится, как Nessun dorma исполняет лирический тенор Сальваторе Физикелла. Превосходно исполняет. Лучше претендующего на что-то Кауфмана.
Per dirla alla fiorentina il confronto non può reggere " Mario un leone, gli altri gatti strinti a un uscio...."
I've see Turandot two times. The fist one, with Dario Volonté, a humble tenor with a beautifull an great voice. Maybe he's not Del Mónaco, but is far better than all those famous ones....
100% DEL MONACO!!!!
Del Monaco was a beast. By far my favorite tenor from that era.
florez è un tenore di grazia, del monaco è un drammatico, è come paragonare il sale allo zucchero
And why he, di grazia, dare to sing Calaf??
@@operaforever8545 nei recital lo hanno cantato molti, poi non è male
@@operaforever8545 Probably for a similar reason, that made Del Monaco trying to sing Duca, Lohengrin, Siegmund, Enée (and not just the arias, but the complete parts) - all with desatrous results and long forgotten flops with the audience..
Поэтому каждый певец должен подбирать себе ПОДХОДЯЩИЙ репертуар.
MDM really doesn't need this kind of advocacy...
Del Monaco, full trust in his voice and it's capabilities. Not need to do much, just sing and sing... plenamente. Of course that comes with the previous proper development of your voice and with the pursue of creating beauty with your art, with your voice.
Beczala is actually a good tenor when he sticks to the lyric repertoire and operetta. Florez and Calleja are so bad.
They all have their respective strengths and weaknesses and comparisons are odious as the saying goes ! Now in my 85th year I’ve seen and listened to many ; what is indisputable is that Del Monaco was the greatest ever dramatic tenor and complemented this with an incredibly powerful voice , stupendous !
5:09 MY GOD that was horrible!
I think the first singer is even worse, even more nasal and woofy.
Ohh yeah. That's definitely something 😂😝😝😂
Non ci sono dubbi. Confronto impietoso. Del Monaco era e resterà il più grande tenore di tutti i tempi. Praticamente un extraterrestre.
mario has been my fav tenor since my mother got an album by him when i was 9 or ten. no one can touch him, not even caruso.
A voz de Mario Del Mônaco em diversas Óperas se têmpera ao som da orquestra. Eis algumas: André Chenier, Il Trovatore, Lá Forza Del Destino, Othello, Pagliacci e outras. Da mesma forma a dupla Callas e Di Stefano são insuperáveis em diversas Óperas.
These aren’t bad singers, just Del Momaco is acceptionally good. It doesnt take much to beat a bad singer, but it does to be the best of professionals or distinguished amongst your peers and known as one of the greats/best of all time. Don’t insult him by saying he merely beats bad singers. Amongst great and professional singers, he is distinguished as one of the greatest of all time.
Ridicoli confronti.Con tenori lirici o lirici leggeri e un tenore che passa per lirico spinto solo perché ha voce cavernosa ed ingolata .Comunque, tenori che in teatro non hanno mai cantato Turandot.E mai la canteranno.
Il Maestro Mario Del Monaco is a true legend !!! Basta ❤️
Del Monaco è sublime. Voce unica
While I absolutely agree with the video, I do think it is a bit unfair to compare a clip with clipping and some other auditory distortion + bass boost (you didn’t put it there, someone else did) to compressed modern mic clips.
Actually it's unfair - in favor of the modern tenors, because they have microphones.
@@BaroneVitellioScarpia1 You’re misunderstanding my point. I’m not talking about what is happening on stage but rather in audio. Even the worst tenor will sound much better in the way MDM is recorded than compressed audio like the modern tenors showcased here. It’d be better to compare bootleg unmiked clips etc.
@@BaroneVitellioScarpia1 I would rather listen to a great performance with bad sound quality than a bad performance with good sound quality.
Agree. Mister Opera on his channel clipped his own voice and called result "super squillo".
@@KeshaUlyetov Mister Opera is a joke.
Del Mónaco é uno dio, l’altri 4 “tenore” sonno pagliacci. Mario Del Monaco es uno de Los grandes tenores del siglo XX, es de esas voces que se escucharan siempre, los otros 4 señores debieron quedarse siendo parte de un coro
Addio bel passato, per sempre addio.
@@BaroneVitellioScarpia1 Rimpiango il passato con le sue bellissime voci quaĺuñque fossel la scuola di canto ,,voci che ancora ascoltiamo con piacere quelle di oggi ,,,non so se rimarra' ,,nei ricordi!
Very good way to put it. In the choir but even then some of them only just.
Beczala is very good singer)
Piotr Beczala does a great version of In fernem Land from Lohengrin.
Mighty Marione VS little sweet teddy bears and Kofman troll.....
He eats them all for breakfast!
Monaco's b was awful.
God voice.del monaco is unique.
King of tenors
Florez, Kaufmann and Calleja and. Beczala are NOT "bad singers " ! They're just DIFFERENT from Del Monaco !
No, they developed from a very bad start, it's not different it's just bad.
MDM's Bflat was flat and he bailed on it quickly. Kaufmann's was better. Beczala shouldn't be singing this, and I'd be happy never to hear the other two ever again.
Your comparison is unfair. You can not compare dramatic voices with lyric ones. Le´s say, Kaufmann is trying to present himself as a dramatic spinto tenor. We all know, he is not. Comparison with de Monaco is eligible in this case. Florez,Caleja, Bezcala are of various ranks. Mainly Bezcala is excellent in his repertoire (key point - in his repertoire). Of course, I adore del Monaco. But everyone has limits - piano - in del Monaco case.
Jajaja.....kaufman es imposible de escuchar; suena peor que Tarzán y el aniñado Flores canta bien, la verdad , pero tiene voz de niño, no sé quien le dijo que podía cantar Puccini o Verdi; suena horrible. Volvé a Rossini, hermano.
Y... el tenor ligero tiene la voz así :V. No sé que te molesta tanto.
@@deathstar300 no me molesta, me gusta Florez en otros papeles que le quedan bien a su voz; acá suena realmente muy mal. El problema es que por guita y popularidad amplían su repertorio a compositores no adecuados para su voz. Es algo así como que un defensor central quiera jugar de 10. No se puede cantar todo. Kraus nunca pudo cantar Puccini, pero tenía la profesionalidad y honestidad de reconocerlo y no pasar papelones. El mismo Florez se arrepintió de haber hecho el duca de mantua de Rigoletto. Sonaba espantoso.
Saludos, pibe
None of those guys are bad. I consider Florez great, but he sings a very different repertoire than Del Monaco did. You might as well compare him to Ezio Pinza.
No ideas Sarko could sing....BTW CORELLI is the Patron!
Also I love Mario (young....power and naivety....) and I do not think Kaufman is a BAD singer....sorry.take care.
This is just your opinion . They are not bad singers , they have a different voice than Del Monaco . Corelli has a better voice than Del Monaco , it does'nt mean that Del Monaco is a bad singer when he is compared to Corelli .
No comparison 😂
Del Monaco is real, he is volcano!
4 are jokes
Del Monaco is great, but Calaf is only for Corelli, suits his voice much better than any other. tenor! If Maestro Puccini had a" time machine :he would have said Calaf is solely for Corelli!
Boooo!!! I’m sick of these kind of videos. Do we want everyone to be a dramatic? No. Do we want everyone to be a lyric? No. Do we want everyone to have the same timbre or heft? No.
The microphones tell you everything you need to know. Under developed, constricted voices put forward these dys.
At least Florez can hold a B correctly instead of your idol Del Monaco, who sings it almost half a tone deeper ;)
Дель Монте талантище бесценный мощный голос👏👏
Nose Academy Awards
Florez è semplicemente il miglior esempio di canto nasale.
@@BaroneVitellioScarpia1 Florez è un naso che """"""""""canta"""""""""" 😂👃
@@esterbruno8604 👃👃👃👃
@@BaroneVitellioScarpia1 👃👃👃 Proprio come la voce di colui da cui ha appreso (specialmente dopo gli anni 80)!
@@esterbruno8604 cioè?
Mario Del Mônaco está entre os melhores. Sua voz em várias Óperas é a que mais se adequada aos diversos papéis e a tonalidade da orquestra sobretudo. No caso de Il Trovatore, Lá Forza Del Destino, Andréa Chenier e sobretudo no Othello. Ele é imbatível
2:57 Ping sings Nessun dorma
У Монако эволюция голоса на У благодаря Мелокки а у этих горлодеров благообоазная химия....
Коля Басков ваше фсе))
Singers are gonna stretch their voices ; if they don't, critics will criticize the singer for having a limited rep. ; not growing and expanding their talent. The singers :: have found a way to increase their fees ; its their decision ; it's their voices ; but, Florez, insults our knowledge & intelligence ! His manager is greedy ! Beczala ? He likes the way his wobble reverberates in his head.
Don‘t sing what does not suit to your voice. MDM was a class of its own.
Del Monaco wins. Flawless Victory
If del Monaco surpasses these tenors in some qualities, the comparison is quiet not right because Juan Diego Flórez and Joseph Callejas, for example, are a differente type of voices that del Monaco´s huge voice. Kauffmann sings the high notes very tight and Beczala, a lyric tenor, is the best of them. It was a fake that Florez is Pavarotti´s successor, although Florez had good high notes but no comparable with the Pavarotti´s ones. Greetings,
5:07 What is that?!
Crackzala's spectacular cracking!
Sounds like he prepared wrong for the note. Very weird embouchure too.
His vibrato is also pitchy.
Beczala lo vedremo presto nell'Otello...
@@eugeniogentili1048 sì sì, quando mi vedrai in die Walkure....😎
..and Franco Corelli destroys Mario del Monaco in “Nessun dorma…”…))))
Just slightly. I like both though 😉
@@oliverdelica2289 🤓😉
Corelli never destroyed MDM in anything, and the reverse is also accurate. You may prefer FC over MDM, but it's not a destruction. MDM's voice was larger than Corelli's but both tenor's had the ability to fill any opera house with sound. Come back to planet Earth where you belong.
Corelli and Del Monaco did NOT destroy each other in anything
@@sugarbist …indeed they were colleagues and friends. So were MDM and GDS. FC spoke at MDM funeral. RDS
MDM here is not even live. It's studio and he is 20 cm away from the microphone. These Videos are disrespectful and misleading. So let's compare MDM and Kaufmanns Parsifal or Lohengrin. Or let's compare MDMs und Juan Diego Florez "Ah, mes ami" ... This is so ridiculous. The only question is why are you doing this? Any problems with your own voice? Or your life? Where does this hate come from? Clearly not from any understanding of real opera singing...
MDM's Lohengrin ruclips.net/video/i-R78F9BNHM/видео.html
Try to listen also to Melchior, Vinay, Beirer, King, Svanholm...
In this video the compared thing are good and bad _technique_ . This is not hate, this video criticizes the technique, but doesn't insult the _person_ . It's criticizing their use of chest voice, vibrato, larynx's position, falsetto coordination, their pitch and tune... This is technique. If every critic is an insult, then everyone insults, you too.
MDM can't sing Tonio, but Kraus could, and in his early career (even in his later career) sang Tonio _live_ and 1000000000 times better than Florez. Pavarotti sang it far better too. Here is Kraus' Tonio ruclips.net/video/XHtTtgIRBhc/видео.html
And ya know, you don't need to be a chef to judge the taste of food. Isn't this true? There is no need to be a singer that has sung for 50 years to have 👂👂👂
@denny b Well, if I'd met one of these singers, i would say in their face what I think about them, if they ask me. I would tell them without any insult, but i would tell them their defects in fact of technique.
MDM has a fantastic technique, that's one of the reasons i tell that these singers are terrible; even if they are not compared with him they have a lot of defects. You can say that they have a bad technique, or that they say idiot things, but without being too rude and going too much into the personal (unless you have proofs that they are arrogant or they did something bad).
@denny b Yes, it's pretty easy, pratically for everyone. But I would tell them that their technique is terrible, and then i would say them why i think their technique is like this. It's useful to recognize the critiques from the singing point of view, which are ok, from the personal insults, which are not ok. Some people can't distinguish them.
@denny b well the others are truly terrible. Sugarcouting it is not helping anybody.
@denny b you are saying not to tell them they are terrible. Well we are not telling them so there is no need to sugercoat anything. I still think they should be told to their face so they realize how much of a fraud they are and have the change to redeem themselves by actually trying to learn proper technique.
The age of great singers is obviously behind us, and will never return. We will never see the likes again of Del Monaco, Jussi Björling, Nicolai Gedda, Alfredo Kraus, Jerome Hines, Robert Merrill, Birgit Nilsson, Eleanor Steber, Rise Stevens, Anna Moffo and Beverly Sills (both in their younger years), Christa Ludwig, and others.
Yes, in my sad opinion MDM was the very best!
Kaufmann actually does a great job performing Nessun Dorma. But I agree that the other tenors in the vid are terrible, except for Del Monaco of course.
Hmm great is a stretch of a description 🤨
@@oliverdelica2289 Agree...his diction is awful. And in my opinion, that tongue is in the way of his sound. He has to force his sound around it. He has, in my opinion, no understanding of placement or of technique. Consequently, he's just a hack.
Totally agree, Kaufmann can be phenomenal.
Del Monaco n.1
Oh, yes!!! BRAVISSIMO FOREVER!
Florez è ottimo nel suo repertorio da tenore leggero/rossiniano. Però è chiaro che se si mette a cantare pezzi da tenore drammatico che sono l'opposto del suo repertorio ne esce malissimo dal confronto paragonato a un
tenore drammatico e in special modo a Del Monaco.
No son "bad singers", sino cantantes muy buenos que cantan un repertorio no apto para sus voces. Del Monaco no podría cantar bien La Fille du Rêgiment. Florez sí. Pero no puede con Turandot.
I am not a specialist, just an opera lover, so can somebody explain me why for example Jonas Kaufmann and Juan Diego Florez are bad? What makes them bad? Technique or what? And so if there are really bad then why critics declared them one of the bests in the world nowadays? Please can you explain me?
목을쥐어짜는듯한억지발성은옳지않다 공명을이끌어내는자연스런발성이바람직하다
Flores Like histeric woman, Kaufmann Like a cow, bezcal out of notes, what a disaster
Shame on you for making such stupid remarks on good professional singers. It's pretty obvious your operatic knowledge is negligible.
This is totally uninteresting. Luckily we can all just listen to the singers we prefer.