It's a popular convention of 3rd-hand informed, armchair enthusiasts to refer to Gobbi as not having 'the best vocal material' - what a joke and what fools. But what's it to Gobbi? He was an awesome and magnificent opera singer. His performances are legend and he is the benchmark for all other singers, whatever the voice. This performance is superlative in it's interpretative style, intensity and musicality. His voice is utterly magnificent. Put simply - it doesn't get any better than this.
A great actor with a great voice and great musicianship. The classic Verdian baritone. Before working on the music of a new role, he memorised the entire libretto, so he understood the other characters, using exaggerated gestures He would then work with a maestro on the music. He is the greatest ever Scarpia and triumphed in every role he played. This great aria is very powerful and he just completely inhabits the character. Thomas Allen had the same remarkable gift. A great actor with a great voice and supreme musicianship. His performance of " Credo in Dio Crudel, is also immensely powerful. His eyes had a demonic look to them. The performance is on You Tube. He has retired from opera and is passing on his vast experience. Tito Gobb had lovely programme" Tito Gobbi's Tuscan Summer".
I think if he hadn't had the voice for opera, Gobbi would have been quite successful and happy with an onstage career as an actor. He took operatic performing as seriously as "straight" acting, right down to designing his own makeup and drawing out his stage motions on paper to better understand the relationships between action and music. In later life he enjoyed a second career as a director.
I watched Tito Gobbi singing several opera roles from the late 1950s to the 1970s at São Carlos Opera Theater in Lisbon. He was the most remarkable baritone I ever saw acting live.
I have always held Tito Gobbi in high regard, and this performance just shows what a fine performer he was. His beautiful voice, strong musicianship and outstanding acting ability alone are enough to warrant a place as one of the best performers of the twentieth century. Also, like with Scarpia, in which I feel he is unsurpassed, there is an intelligence and intensity here. While I prefer Sherrill Milnes' more sadistic interpretation where he is all dishevelled, Gobbi wins for tuning and style
I absolutely agree with ScoDeu. I couldn't have put it better. Anyway it is what you do with your vocal material that counts and he was really the male equivalent to Callas with what he did as he poured everything into his roles and was utterly convincing. Wonderful! They don't seem to make them like this these days...
As much s I enjoy Cappuccilli and Bastianini's performances as Iago; they sang the role; watch Gobbi's eyes and body language as well as listening to his interpretation of the words in this aria. Gobbi WAS Iago. A superb singing actor.
I saw him in the Chicago Opera House with Tucker in Don Carlo when I was nineteen years old and he commanded more rapt attention than anyone. When still in his vocal prime he was an untouchable onstage period, end of sentence!
I am accustomed to falling in love with Tito Gobbi's acting powers (what real woman wouldn't prefer his Scarpia over Cavaradossi?) but this performance as Iago is in another league - it actually inspired a twinge of fear. I've only come across one other singer who could embody a sense of evil, and that was Christopher Robson, in a portrayal of despair rather than active malevolence. Awesome achievements, both.
Barítonos había por puñados de mejores como Mascherini, Warren, Valdengo o Bastianini (al cual adoro), pero ninguno, NINGUNO como Gobbi, el aparte de esa hermosa voz (técnicamente no extraordinaria) poseía un garbo increíble, elegante, guapo y sobre todo un excelente actor en cualquier estilo, llámese comedias (las Rossinianas que él elevó a su gloria) o dramas (más en Verdi) el siempre se adueñó del escenario, se comía literalmente a todo el reparto por mejor que fuera, Tito lograba atrapar las miradas con su mítica fuerza musical, por ello fue el rey de los Barítonos.
Polochinchin Lin Bueno, no hay registros mas que fonográficos, si, era un magnífico actor (me consta sobro todo porque grabó extractos del “Hamlet” de Shakespeare en Italiano, sobre todo el “Ser O No Ser”), pero hablamos de épocas distintas, a Bastianini y Gobbi los podemos comparar actualmente porque existen registros en video de sus actuaciones, Gobbi además de actuar en la Ópera, también lo hacía en el Cine (fue un actor muy respetado en los Platós donde trabajó), vocalmente yo creo que era inferior a varios, pero escenicamente fue el mejor.
A friend of mine once said to me that if you could combine Tito Gobbi's brain and Robert Merrill's voice you would have had the world's greatest baritone. He may have had something there.
Tito Gobbi! uno dei megliori "malo" del repertorio! Grande Jago! Grande Scarpia! Grande Tonio! Altro Jago ben fatto era cio di Paul Schoeffler (1950 con Furtwangler come regente e Ramon Vinany come Otello) e Dietrich Fischer-Dieskau (James MacCraken era Otello).
It is pretty interesting to hear armchair critics talking about Gobbi. What matters is that Nucci, Capucilli, Dmitri,and almost every recent great baritone refers to Gobbi as the influence on their singing. Something to think about
Gobbi harkens back to a grand old vocal tradition; I believe his own voice teacher was Giulio Crimi, who created the role of Rinuccio in Gianni Schicchi. Domingo specifically mentions Gobbi as one of the singers he used to listen to, noting that generation's economy of breath as an important element of his own technique.
Dobbiamo ascoltare Granforte nella sua interpretazione del Credo e dare il parere. Vediamo se Gobbi, che canta bene, è il miglior Yago della storia ... niente di meno!
Buon giorno, ho ascoltato Tito gobbi, sebbene amassi questo baritono, primo per il timbro, pastoso e tremolante, poi amo il suo sguardo, rigoletto e' un esempio, tuttavia la sua interpretazione nel credo, non mi convince, Iago alla fine deve ridere intanto, personalmente in questo caso preferisco Renato capecchi, questo baritono oltre che attore nella scena, interpretava Iago in maniera completa, nell'otello con del monaco e la carteri ne era un, esempio
Grande callas, vorrei ricordare, che questo soprano aveva doti interessanti, primo aveva tre sfumature, soprano, mezzosoprano e contralto, difficile trovare un soprano che passa da Rosina dal barbiere di Siviglia, da turandot, e fin qui niente da dire, ma riuscire ad interpretare Carmen che normalmente la canta un mezzosoprano direi che sarebbe opportuno stare in silenzio, vorrei aggiungere un consiglio sì ascolti attentamente il suicidio dalla gioconda cantata da callas, si noterà che callas passa da note alte da soprano, ma riusciva a calare il timbro inserendo note medioscure da mezzosoprano e persino mescolare a timbro da contralto, un genio
Aggiungo che di callas amavo il suo sguardo, persino i suoi occhi, non bella, ma in grado di trasmettere, fascino, sogezzione, odio e sentimento, cosa chiedere di più
DE EXISTIR UN DIOS NO PUEDE SER NADA MAS QUE TODO AMOR y ni siquiera castigar a Mussolini o Hitler. no sería coherente mandar a los infiernos a su propia creación.
Trovo che Bastianini riusciva ad essere nobile, nel canto e nei gesti, anche quando interpretava personaggi spregevoli quale Jago. In Gobbi, invece, trovo una certa volgarità, anche quando proprio non se ne sentirebbe il bisogno.
volgarità in Gobbi? mai ,e da alcun altro grande cantante , i ruoli sono stati messi a nudo e quindi a contatto così vivo e palpitante da travolgere, con le platee che impazzivano a sentire le sue incredibili interpretazioni.
Bastianini, baritono che risuonava come un eco, in mezzo ha tanti altri baritoni, il suo cognome, era destinato a non passare inosservato , potrei accennarne tanti, ma Bastianini era difficile nasconderlo sotto la sabbia, grande interprete però nel rigoletto, gobbi e neri sono una firma indelebile il primo perché amavo il suo timbro pastoso e tremolante come Gino bechi, poi il suo modo di usare lo sguardo, il secondo, perché neri e' neri, alto, questo basso profondo in grado di tenere la nota lunga e finire con la musica, basta pensare alla sua interpretazione in sparafucile.
It's a popular convention of 3rd-hand informed, armchair enthusiasts to refer to Gobbi as not having 'the best vocal material' - what a joke and what fools. But what's it to Gobbi? He was an awesome and magnificent opera singer. His performances are legend and he is the benchmark for all other singers, whatever the voice. This performance is superlative in it's interpretative style, intensity and musicality. His voice is utterly magnificent. Put simply - it doesn't get any better than this.
A great actor with a great voice and great musicianship. The classic Verdian baritone. Before working on the music of a new role, he memorised the entire libretto, so he understood the other characters, using exaggerated gestures He would then work with a maestro on the music. He is the greatest ever Scarpia and triumphed in every role he played. This great aria is very powerful and he just completely inhabits the character. Thomas Allen had the same remarkable gift. A great actor with a great voice and supreme musicianship. His performance of " Credo in Dio Crudel, is also immensely powerful. His eyes had a demonic look to them. The performance is on You Tube. He has retired from opera and is passing on his vast experience. Tito Gobb had lovely programme" Tito Gobbi's Tuscan Summer".
I think if he hadn't had the voice for opera, Gobbi would have been quite successful and happy with an onstage career as an actor. He took operatic performing as seriously as "straight" acting, right down to designing his own makeup and drawing out his stage motions on paper to better understand the relationships between action and music. In later life he enjoyed a second career as a director.
I watched Tito Gobbi singing several opera roles from the late 1950s to the 1970s at São Carlos Opera Theater in Lisbon. He was the most remarkable baritone I ever saw acting live.
A great actor who was able to captivate audiences all around the world with his tremendous voice and musicianship.
I have always held Tito Gobbi in high regard, and this performance just shows what a fine performer he was. His beautiful voice, strong musicianship and outstanding acting ability alone are enough to warrant a place as one of the best performers of the twentieth century. Also, like with Scarpia, in which I feel he is unsurpassed, there is an intelligence and intensity here. While I prefer Sherrill Milnes' more sadistic interpretation where he is all dishevelled, Gobbi wins for tuning and style
Simply the best!!........no more needs to be said!...
Favoloso! 💛
Gran actor, capaz de mantener la tensión dramática a lo largo de toda su interpretación.
Yes, you're right, he is a unique singer, the most passionate and, in the same time, refined baritone in recording history.
I absolutely agree with ScoDeu. I couldn't have put it better. Anyway it is what you do with your vocal material that counts and he was really the male equivalent to Callas with what he did as he poured everything into his roles and was utterly convincing. Wonderful! They don't seem to make them like this these days...
Gob I is just the greatest ever baritone both in the flesh and on record! The greatest.
As much s I enjoy Cappuccilli and Bastianini's performances as Iago; they sang the role;
watch Gobbi's eyes and body language as well as listening to his interpretation of the words in this aria. Gobbi WAS Iago. A superb singing actor.
I saw him in the Chicago Opera House with Tucker in Don Carlo
when I was nineteen years old and he commanded more rapt attention than anyone.
When still in his vocal prime he was an untouchable onstage period, end of sentence!
Superbe ! Bravo
Absolutely stunning
Unico!!!
I am accustomed to falling in love with Tito Gobbi's acting powers (what real woman wouldn't prefer his Scarpia over Cavaradossi?) but this performance as Iago is in another league - it actually inspired a twinge of fear. I've only come across one other singer who could embody a sense of evil, and that was Christopher Robson, in a portrayal of despair rather than active malevolence. Awesome achievements, both.
Barítonos había por puñados de mejores como Mascherini, Warren, Valdengo o Bastianini (al cual adoro), pero ninguno, NINGUNO como Gobbi, el aparte de esa hermosa voz (técnicamente no extraordinaria) poseía un garbo increíble, elegante, guapo y sobre todo un excelente actor en cualquier estilo, llámese comedias (las Rossinianas que él elevó a su gloria) o dramas (más en Verdi) el siempre se adueñó del escenario, se comía literalmente a todo el reparto por mejor que fuera, Tito lograba atrapar las miradas con su mítica fuerza musical, por ello fue el rey de los Barítonos.
Amigo, pero si El Rey fue Batistini
Polochinchin Lin
Actoralmente Gobbi era superior, en el plano vocal, efectivamente, Bastianini fue “Il Re”.
@@victorberistain9536 bien pero que dices de Ruffo, tambien era gran actor m
Polochinchin Lin
Bueno, no hay registros mas que fonográficos, si, era un magnífico actor (me consta sobro todo porque grabó extractos del “Hamlet” de Shakespeare en Italiano, sobre todo el “Ser O No Ser”), pero hablamos de épocas distintas, a Bastianini y Gobbi los podemos comparar actualmente porque existen registros en video de sus actuaciones, Gobbi además de actuar en la Ópera, también lo hacía en el Cine (fue un actor muy respetado en los Platós donde trabajó), vocalmente yo creo que era inferior a varios, pero escenicamente fue el mejor.
Что поет Тито Гобби, люблю наперед, еще до того, как он раскрыл рот..
Greater baritones? Perhaps...Better actors? Well, maybe....
But a greater combination of the two than Tito Gobbi??
Niente, niente, NIENTE!!
Who says his voice was small? LOL At the best of times it was huge.
@Barone Vitellio Scarpia Exactly! Viva Gobbi!
A friend of mine once said to me that if you could combine Tito Gobbi's brain and Robert Merrill's voice you would have had the world's greatest baritone. He may have had something there.
Gobbi's voice wasn't too shabby, though, and it at times Merrill could be a very compelling singing-actor - listen to his Rigoletto under Solti.
Gobbi insuperable actuación
NUMERO 1
G R A N D E artista !
Forse ,il piu grande Iago.Grandissima interpretazione
Pity-would love to have got this on DVD-especially if it is part of a complete performance.Many thanks, anyway, Gabba02 for your message. FJMLAM.
There is a DVD!!! Buy it!!!
Tito Gobbi! uno dei megliori "malo" del repertorio! Grande Jago! Grande Scarpia! Grande Tonio! Altro Jago ben fatto era cio di Paul Schoeffler (1950 con Furtwangler come regente e Ramon Vinany come Otello) e Dietrich Fischer-Dieskau (James MacCraken era Otello).
Люблю.
fabulous performance-I wonder if the entire recording is available somewhere?
It is, on Dvd
@@xxsaruman82xx87 In fact, there used to be stereo audio-only versions floating around on CD....
@@williamreynolds4435 I’ve heard that as well. I shall have to do hunting! It is a legendary performance!
It is pretty interesting to hear armchair critics talking about Gobbi. What matters is that Nucci, Capucilli, Dmitri,and almost every recent great baritone refers to Gobbi as the influence on their singing. Something to think about
Nucci is not a baritone. Hvorostovsky is throaty and constricted. Cappuccilli is great, though.
Gobbi harkens back to a grand old vocal tradition; I believe his own voice teacher was Giulio Crimi, who created the role of Rinuccio in Gianni Schicchi. Domingo specifically mentions Gobbi as one of the singers he used to listen to, noting that generation's economy of breath as an important element of his own technique.
Dobbiamo ascoltare Granforte nella sua interpretazione del Credo e dare il parere. Vediamo se Gobbi, che canta bene, è il miglior Yago della storia ... niente di meno!
Люблю навіки віків.
Buon giorno, ho ascoltato Tito gobbi, sebbene amassi questo baritono, primo per il timbro, pastoso e tremolante, poi amo il suo sguardo, rigoletto e' un esempio, tuttavia la sua interpretazione nel credo, non mi convince, Iago alla fine deve ridere intanto, personalmente in questo caso preferisco Renato capecchi, questo baritono oltre che attore nella scena, interpretava Iago in maniera completa, nell'otello con del monaco e la carteri ne era un, esempio
il gemello di Callas!
Grande callas, vorrei ricordare, che questo soprano aveva doti interessanti, primo aveva tre sfumature, soprano, mezzosoprano e contralto, difficile trovare un soprano che passa da Rosina dal barbiere di Siviglia, da turandot, e fin qui niente da dire, ma riuscire ad interpretare Carmen che normalmente la canta un mezzosoprano direi che sarebbe opportuno stare in silenzio, vorrei aggiungere un consiglio sì ascolti attentamente il suicidio dalla gioconda cantata da callas, si noterà che callas passa da note alte da soprano, ma riusciva a calare il timbro inserendo note medioscure da mezzosoprano e persino mescolare a timbro da contralto, un genio
Aggiungo che di callas amavo il suo sguardo, persino i suoi occhi, non bella, ma in grado di trasmettere, fascino, sogezzione, odio e sentimento, cosa chiedere di più
Not commercially, at least outside of Japan.
Gobbi è il miglior Jago che io abbia mai sentito. Neanche Cappuccilli e Bastianini riuscirebbero a fare di meglio.
Tito Gobbi Bassano del Grappa today ruclips.net/video/hhF_gz3-N34/видео.html
DE EXISTIR UN DIOS NO PUEDE SER NADA MAS QUE TODO AMOR y ni siquiera castigar a Mussolini o Hitler. no sería coherente mandar a los infiernos a su propia creación.
古ッ！信条って今と書き方違うし笑
Trovo che Bastianini riusciva ad essere nobile, nel canto e nei gesti, anche quando interpretava personaggi spregevoli quale Jago. In Gobbi, invece, trovo una certa volgarità, anche quando proprio non se ne sentirebbe il bisogno.
volgarità in Gobbi? mai ,e da alcun altro grande cantante , i ruoli sono stati messi a nudo e quindi a contatto così vivo e palpitante da travolgere, con le platee che impazzivano a sentire le sue incredibili interpretazioni.
@@brunaazzurraизвините, но мне кажется, что вы к нему слишком придираетесь.
Too slow
Mediocre interpretazione. I migliore Iago è senza dubbio Bastianini.
Bastianini, baritono che risuonava come un eco, in mezzo ha tanti altri baritoni, il suo cognome, era destinato a non passare inosservato , potrei accennarne tanti, ma Bastianini era difficile nasconderlo sotto la sabbia, grande interprete però nel rigoletto, gobbi e neri sono una firma indelebile il primo perché amavo il suo timbro pastoso e tremolante come Gino bechi, poi il suo modo di usare lo sguardo, il secondo, perché neri e' neri, alto, questo basso profondo in grado di tenere la nota lunga e finire con la musica, basta pensare alla sua interpretazione in sparafucile.
Люблю.
Люблю.
Люблю.