Jose Simerilla Romero is a tenor to watch out for. He is so talented. Heard him the first time with Joyce DiDonato and now again he makes such beautiful music. 8:08 min even when doesn't sing, the music is still there.
Piotr not knowing Spanish, nailed it perfectly by finding the way to sing this beautiful song. I heard this sang by Plácido Domingo and I have to tell that this interpretation by this young tenor was superior and fuller of emotion than with Plácido. Bravo Piotr and bravo José! 👏👏👏
When he said "maybe for you it's loud" I knew I could trust him. It's about the squillo and not darkening your sound too much because you want a big sound
no seriously he can sing...ah jeez, that quieter voice was so pretty, tres gentile, tres magnifique and clear and healthy too mashallah. Id hate to hear him growl through songs again. People need to stop shouting while singing after hearing this gem!
PIOTR È MOLTO INTELLIGENTE E ASSAI RISPETTOSO NEI CONFRONTI DELLO STUDENTE CHE NON FA ALTRO CHE GONFIARE I SUONI ED IN MANIERA FALSA INGROSSA LA VOCE. PIOTR GLIELO DICE... MA IL RAGAZZO SEMBRA NON ACCETTARE LA SUA VERA VOCE.. NATURALE, BELLA,MORBIDA,DOLCE, LEGGERA..
Some singers always love to belt! The bigger the better……that’s what they think🙄 Musicality, artistry and connecting with an audience should also be a consideration for any singer.
I think masterclasses work best when you have male singers working with male students, and female singers working with female students. Nobody knows your instrument better than the same sex.
@@stephaniehoffman1343 female singers don’t sing in the same vocal mechanism as male singers. She predominantly mixes and sing in head voice. He in chest voice. How can a female singer masterfully teach a male how to sing and navigate through his chest voice? And vice versa? Male teachers for male singers, female teachers for female singers...
@@LamentationLaments That's not how a lot of people see the voice. Sopranos and tenors essentially sing mostly in mixed voice. The point of classical instruction is to learn how to balance the two attributes throughout the entire range.
@@stephaniehoffman1343 a soprano does not have to constantly navigate through her passaggio like a tenor does. This is what makes the tenor voice the most difficult voice type to teach and sing in. A soprano spends close to 99% of her singing mixed or in head voice. A tenor does not. You can not train a tenor the same way you would train a soprano.
Beczala made this tenor come off of his voice several times in this video and it made him sing flat and the production became labored. Also, in the second song he performed of "Tu ca non chiagne", same thing applies.
Das ewige Verständnisproblem, der Lehrer erklärt irgendwas und der Sänger soll erraten, was gemeint ist. Die Anbeter wissen natürlich alles, sie erahnen was der große Maestro will. Dieses Theater. Anstatt sich normal auszutauschen.
I loved the way he was singing before the intervention. His voice is dark and beautiful. Afterwards he was singing in a kind of falsetto which is hell on the voice and I don't think would be audible at all in the theatre...
not at all, that voice carried so beautifully and it sounded healthy. Id go by the audience and maestro's reactions. The audience knows when they hear a great sound.
Why this fixation with always singing soft, piano? Musicality goes far beyond only soft singing. A fragile head voice will never fill an opera house, but "if they don't hear you, it's their problem", right?
The idea of soft singing is to find ur natural voice and not to scream.after practise he Will find the right dynamics to sound more loud but with the same feeling as soft singing
Right?! Thank you! Musicality is just singing softly. The opera world today is obsessed with head voice, it's nuts. Singing soft, too often is just dull
When he had sang softly he made me crying for hard emotion...wonderful!! Great master !
This lesson shines!
Bravo!!!! Entendió bien las indicaciones y lució su hermosa voz!!! Saludos desde PERÚ!
I love the ring in his voice AND that he manages to keep that ring even when singing piano. Bravo.
What a beautiful voice! Can hear him singing again and again !
Absolutely magic !!!
Piotr Beczala brought it to the point and José immediately put it into practice. Excellent! Bravo for both.
3:30 that smile when you see your student finally gets it 💕
Bravo piotr!
Thanks for sharing all your knowledge.
Jose Simerilla Romero is a tenor to watch out for. He is so talented.
Heard him the first time with Joyce DiDonato and now again he makes such beautiful music. 8:08 min even when doesn't sing, the music is still there.
Christiaan d'Hooghe yes !! He’s already one of my favorites ! He will be very famous someday 💕
Great lesson ,maestro and singer!
This kid has a great voice!
Love this masterclass
Piotr not knowing Spanish, nailed it perfectly by finding the way to sing this beautiful song. I heard this sang by Plácido Domingo and I have to tell that this interpretation by this young tenor was superior and fuller of emotion than with Plácido. Bravo Piotr and bravo José! 👏👏👏
he also can follow teachers wishes very quickly. his voice responds fast to changes on request.
beautiful singer!!!
BRAVO JOSE!!!!
When he said "maybe for you it's loud" I knew I could trust him. It's about the squillo and not darkening your sound too much because you want a big sound
I sang that too😊😊😊 beautiful ❤️
beautiful!
no seriously he can sing...ah jeez, that quieter voice was so pretty, tres gentile, tres magnifique and clear and healthy too mashallah. Id hate to hear him growl through songs again. People need to stop shouting while singing after hearing this gem!
Bravi!!!!!!🙏👏💐♥️
We are glad you enjoyed this master class excerpt.
@@carnegiehall , thank you very much, from Russia with love!!!!!♥️
This lesson great .. supper..
We're glad you enjoyed it, and thanks for watching.
PIOTR È MOLTO INTELLIGENTE E ASSAI RISPETTOSO NEI CONFRONTI DELLO STUDENTE CHE NON FA ALTRO CHE GONFIARE I SUONI ED IN MANIERA FALSA INGROSSA LA VOCE. PIOTR GLIELO DICE... MA IL RAGAZZO SEMBRA NON ACCETTARE LA SUA VERA VOCE.. NATURALE, BELLA,MORBIDA,DOLCE, LEGGERA..
Non è facile, bisogna comprendere anche l'allievo, che chissà da quanto tempo cantará così, il tempo e la pazienza, porta buoni frutti
Some singers always love to belt! The bigger the better……that’s what they think🙄 Musicality, artistry and connecting with an audience should also be a consideration for any singer.
when the student sings better than the teacher
TrenzadO, trenzadO, trenzadO, come on Jose
He turned him from audible stable voice to and inaudible mosquito voice! In theater he would be almost inaudible!
I think masterclasses work best when you have male singers working with male students, and female singers working with female students. Nobody knows your instrument better than the same sex.
I think that's not true at all. Light voices with light voices and heavier voices with heavier voices makes more sense.
@@stephaniehoffman1343 female singers don’t sing in the same vocal mechanism as male singers. She predominantly mixes and sing in head voice. He in chest voice. How can a female singer masterfully teach a male how to sing and navigate through his chest voice? And vice versa? Male teachers for male singers, female teachers for female singers...
@@LamentationLaments That's not how a lot of people see the voice. Sopranos and tenors essentially sing mostly in mixed voice. The point of classical instruction is to learn how to balance the two attributes throughout the entire range.
@@stephaniehoffman1343 a soprano does not have to constantly navigate through her passaggio like a tenor does. This is what makes the tenor voice the most difficult voice type to teach and sing in. A soprano spends close to 99% of her singing mixed or in head voice. A tenor does not. You can not train a tenor the same way you would train a soprano.
Better if tenor with tenor, soprano with soprano bass with bass
The middle of the voice is not in line.
Beczala made this tenor come off of his voice several times in this video and it made him sing flat and the production became labored. Also, in the second song he performed of "Tu ca non chiagne", same thing applies.
Das ewige Verständnisproblem, der Lehrer erklärt irgendwas und der Sänger soll erraten, was gemeint ist. Die Anbeter wissen natürlich alles, sie erahnen was der große Maestro will. Dieses Theater. Anstatt sich normal auszutauschen.
This how tall singing becomes crooning
I loved the way he was singing before the intervention. His voice is dark and beautiful. Afterwards he was singing in a kind of falsetto which is hell on the voice and I don't think would be audible at all in the theatre...
not at all, that voice carried so beautifully and it sounded healthy. Id go by the audience and maestro's reactions. The audience knows when they hear a great sound.
Que buenos consejos, y el cantante ese se lo toma en chiste
Why this fixation with always singing soft, piano? Musicality goes far beyond only soft singing. A fragile head voice will never fill an opera house, but "if they don't hear you, it's their problem", right?
Have you listened Lauri Volpi? The goal is that, but not to don't sing soft. Soft but not fragile.
@@eliascastillorivera7130 Volpi used soft singing for dynamics and phrasing
The idea of soft singing is to find ur natural voice and not to scream.after practise he Will find the right dynamics to sound more loud but with the same feeling as soft singing
...It's not like this piece goes in Otello, does it?
Right?! Thank you! Musicality is just singing softly. The opera world today is obsessed with head voice, it's nuts. Singing soft, too often is just dull
Wrong words in the second verse