Juan Diego Flórez sings Alfredo’s Act II cabaletta in the final dress rehearsal. Conductor: Yannick Nézet-Séguin. Production: Michael Mayer. 2018-19 season.
His instrument is the finest for Rossini, Donizetti and some of Bellini operas in fact he masters the operas which belongs to his voice but like all light voices he also wants to jump to the heavyweight operas. But it is a big mistake. Like all other light tenors he unfortunately looses the hormonics and brilliantly shining top notes. They’re heard heavy and not well placed. This operatic era is somehow like that. Light voices are singing Wagner heroes and ruin the opera. The biggest danger is for the public. They can’t value the voices. What is a helden tenor? What is a Spinto tenor? They are away to judge because the opera directons put voices forward that are nothing to do with the repertoire. Shame. And to those who tries to be heard dramatic: Don’t be ridiculous!
Tomba 2 A “heavyweight” role depends on the voice type and yes when one considers this case it really is a heavyweight role. Before writing an answer or coming to a conclusion one should really observe well. About my opera knowledge you are the last one to judge depending on your reply.
Agreed. Florez doesn't have the dramatic tenor singing skills. He even sounds pathetic with his light tenor voice for dramatic roles such as Edguardo in Lucia di Lammermoor in his performance at Liceu Barcelona.
His Voice was always small but his notes were free!! Now the last 2 years he is pushing too much!!! At 45 he is really in trouble to sing even the High C which sounds edgy and rushed!!
@Fritz Wunderlich Apologies it was not you who mentioned "trouble" - i appeared in the top comment by OperaMyWorld. Just in case it isnt clear - I can read 🤪
Acacia Bloom The trouble is obvious!! He is just push his small voice in singing this demanding aria! His final high C is really difficult for him and it sounds strained!
His C still sounds better than 90% of bel canto tenors out there, and honestly seems to have gained a bit of power with age. Verdi is not for Florez, but I must admit this particular rendition was pleasantly better than expected.
@@OperaMyWorld you are 100% correct. His once effortless notes are now and have been for a few years strained and pushed, which has ruined the quality of his voice. IMO, I never found his voice to beautiful like Wunderlich or Lanza, and the attraction that I had to his singing was his incredible high notes and legato, which is becoming more absent in recent performances.
A total no no for the repertoire. He either will have to risk a bit and open his sound or stay on his repertoire of light lyric tenor. He is incredible in it, why take this path? I don't get it.
Although Florez still has the boyish voice, he's not suited to sing Alfredo, who is a dramatic tenor with naive, innocent and highly emotional character. Never mind, there's another tenor role which is more suited to his light-hearted voice and suave character in this opera: Gastone. But he is put into the lead role like Damrau due to their diva status instead of suitability of roles.
Damrau is no Violetta she is not feminine at all and so hysterical. And no italian vowels or phrasing what so ever , Its bad management now days, as bad technique togehter . Rossini is great preparation for any other repertoire alas but if you have a great belcanto technique without this nose phonation witch makes the voice narrow and smaller . Cheers
El. Alfredo no es tenor dramatico!!cualquier tenor lirico!!puede cantar el Alfredo. El. Othello si es tenor dramatico!!y ningun lirico debe cantar El. Othello!! La gente cada dia sabe Menos de opera,de canto y de voces!!
His role in this opera is GASTONE. He has NOTHING to do as Alfredo. This is not only not good (the voice is too light, the fiato is not enough, the colour has nothing special...) but also NOT at the level a theatre like the Met is supposed to have.
What about. Cesar. Valletti who recorded this role in this opera,with. Rossana. Carteri,successfully!!and sang. Traviata in Italy? He was a light tenor too!!
My conclusion is that his Rossini singing technique is also mediocre. He compromised darkening his voice for range through nasality. Thus, his undeveloped voice becomes more apparent
@@donaldbowers5205 I'm with You Flórez is not the ideal Alfredo but that role is not too heavy, is not Otello or something like that. In fact Domingo's voice wasn't the right one, too heavy for the role.
I must say I agree. Mr. Flórez is a "leggiero," and that is not a crime, lol. As for whether one is a "Rossini" or a "Verdi" tenor, well, I respect that these are legitimate terms, but they sound too limiting, IMO. Mr. Flórez would be splendid in the 18th century repertoire as well as in art song.
Pick up the head like all the great singers from the golden age!!!! For a change!!!His voice is not too light its too much in the nose so we will never find out actually how his real voice sounds like, its the ugly phonation now days... But over all a very musical and good looking singer with charisma.
Are you kidding? The royal tenor roles of Mozart like Tito, Idomeneo, Lucio Silla, Mitridate etc are dramatic heavyweights. I bet Florez couldn't handle their coloratura and dynamics. Don Basilio is more suited to him.
@@dongiovanni8899 Michael Nim Well, if Tito is a heavyweight role, we better tell Richard Croft to stop singing it, or Matthew Polenzani, or Michael Spyres.
Not as bad as I thought. He needs to go on vocal rest asap and completely stop singing heavier repertoire for him. He is not too far gone yet like Vittorio Grigolo.
Correct, Grigolo has destroyed his voice, which was once very beautiful. He had a great ability to sing softly, and now he screams all of the top notes. He was not a good caretaker of his voice.
@@rodrigoaltamirano2083Domingo hace ya muchos y cuando digo muchos años que está acabado. Cuando cantaba de tenor ya en los 90, gritaba no cantaba, bajaba arias y partituras completas. De Barítono mejor ni hablamos.
Florez ha sido el mejor tenor ligero de los últimos tiempos, pero zapatero a su zapato. No tiene timbre para esta opera. Para mi las referencias en este rol son Kraus y Bergonzi.
A mio avviso Verdi non è adatto alla sua voce. Il tenore di Traviata non è un tenore " belcantista ". È un ruolo, quello di Alfredo, molto insidioso perché è innamorato, poi si accorge che è " mantenuto " e vuole riscattarsi da questo " peso" che ha messo sulle spalle di Violetta, poi si rende conto che Violetta l'ha "ingannato" e vuole tornare alla vita allegra e spensierata (non sa del colloquio di suo padre Giorgio con Violetta e non sa i CONTENUTI di quel dialogo) di prima, poi è l'innamorato che furibondo accorre alla festa in casa di Violetta e, offeso dall' abbandono, giudicando Violetta sotto falsa luce la tratta da "sgualdrina" buttandole furente in faccia il denaro vinto al gioco fino a ritornare pentito da Violetta ma solo per raccogliere l' ultimo addio della sua donna amata e Alfredo ha un "crollo" morale e psicologico ma....con l'impronta " verdiana ": troppo, secondo me, per la formazione di Florez; del resto anche tante GRANDI VOCI del passato cantavano ciò che era consono alla loro vocalità. La signora Tebaldi affermava che tanti ruoli non li ha accettato perché non erano adatti alla sua voce. Florez è, comunque, un GRANDE tenore!!!!
Yup. The majority of people here are dead envious of Don Juan Diego Florez. They will NEVER have his voice and his looks. That's why they are barking at a great man.
Bravo! Sei riuscito a mettere quei stivali sempre cantando bene durante un cabaletta molto difficile. Personalmente non avrei mai riuscito...., ma perché le registe non sono più consapevole delle esigenze dei cantanti, sopratutto in questi momenti particolarmente delicate?
Creo que el que Juan Diego haya incorporado a su repertorio 2 Obras de Verdi, Rigoletto y Traviata, aunque para algunos no debería, lo hace MARAVILLOSAMENTE!!!
He has moved from a leggiero specialist to a light-lyric. Technically, Alfredo is in the wheelhouse of light-lyric tenors, and I don't think there is anything wrong with him trying it. Alfredo Kraus did it, so why not? I prefer a full lyric voice for this role, but that is just my taste. I would rather hear him as Arturo in Puritani or Chapelou in Le Post.
I think he was not in his best form, this happens to all singers. I am sure that he can do better even if Alfredo is not the most suitable role for his voice. Here is another version: ruclips.net/video/LfZqrgvDdYo/видео.html
Alessandro Codeluppi Thank You Mister for this Amazing Video at moscow. In The MET Clip there Is a Bad Ton quality and Bad acoustic that's make Sense why The sound Is Not so brillant as he can do at other Stages 🎵🎵🎵
This role is way too big for his instrument. It will wreck his voice. This beige suit with its horrible pants are doing him no favors either. One of the reviewers mentioned how he cut a good figure in his costumes. Not in this one! It was even uglier in the house. Considering that most of the costumes were gorgeous, this is an odd miss.
If you don't know who was. Roberta. Peters,who died recently In the history of the. Met. Opera House,I really don't know what can I say to you. She was a great Coloratura soprano,a contempo Rania of. Callas!! She had recorded Several operas. She was a fine American soprano,with a successful career. She told me Traviata was her limit in a lyrical Repertoire. Gilda and. Violeta Are not the classical verdian Sopranos. Classical verdian Sopranos are. Aida!!forza,trovatore Balls,Don Carlo and so forth. Which required most the time an Spinto soprano or a dramatic soprano. Traviata is free for all!! But the voice of. Violeta is Considered an spinto or a dramatic coloratura or as Italian Call that type of voice,an sfogatto Soprano,the voice more or less of Maria. Callas,who was a dramatic Coloratura soprano. Try to learn More about the singers of the Past. It is my advice to you. Merry. Christmas!!!
You can see a few images - the colors are a bit extra-bright. Sets match the time, but colors and costumes are particularly bright as though to enhance the idea of a growing fever.
@Bravo Luca I actually really enjoyed the Decker production and I don't see what is so "traditional" about this one - it looks like a a Disney cartoon.
Rumbo a su muerte el declive de su carrera si va más allá y no es por técnica vocal es por qué el no tiene la capacidad vocal llamese la voz necesaria el volumen o caudal para dicho papel está muy forzado casi se ahoga mal por el
@@namironofreortega1374 no es lo mismo cantar una aria como aperitivo que cantar la ópera completa con dúos y aquí en esta Traviata en el acto uno es 1 en el 2 acto 2 con soprano y barítono en el 3 otro ahí queda muy dañado peor si le toca una lirico spinto es el doble de esfuerzo es mejor que no deje la ópera que se denomina Bell canto que la componen Mozart Rossini Donizetti entre otros ahí duraría mucho tiempo
@@rodolfoalonso7568 Claro tiene sus dificultades, sin embargo cantar algunas funciones no le provocará daños graves y ya dependerá de él, supongo qué quiere probar cómo le va el papel y si no se siente a gusto no lo hará más como ha hecho con otros (Nadir, por ejemplo). Lo que pasa con Flórez es qué está llegando a un punto donde la voz ya no le va a permitir seguir cantando Rossini pero tampoco le da para roles que requieren más peso vocal 😓 Le quedaría Mozart pero siendo sinceros, el salburgues no escribió música tan notable para tenor.
I am so glad to see that some people can still distinguish bad singing from good singing. You are absolutely right it is simply a question of bad technique. The voice is probably light in nature but with lack of training it is hard to know what the real potential is. The voice is small, underdeveloped has no proper chest voice and bad placement in the nose. The voice is not free and open; it is pushed and compressed. It may sound cute and polish but it is not good operatic singing. And the worst thing is that he gives masterclasses to train young singers…..
His instrument is the finest for Rossini, Donizetti and some of Bellini operas in fact he masters the operas which belongs to his voice but like all light voices he also wants to jump to the heavyweight operas. But it is a big mistake. Like all other light tenors he unfortunately looses the hormonics and brilliantly shining top notes. They’re heard heavy and not well placed.
This operatic era is somehow like that. Light voices are singing Wagner heroes and ruin the opera. The biggest danger is for the public. They can’t value the voices. What is a helden tenor? What is a Spinto tenor? They are away to judge because the opera directons put voices forward that are nothing to do with the repertoire. Shame. And to those who tries to be heard dramatic: Don’t be ridiculous!
If you think Alfredo is a heavyweight role you know very little about voices or opera in general
Tomba 2 A “heavyweight” role depends on the voice type and yes when one considers this case it really is a heavyweight role. Before writing an answer or coming to a conclusion one should really observe well. About my opera knowledge you are the last one to judge depending on your reply.
Agreed. Florez doesn't have the dramatic tenor singing skills. He even sounds pathetic with his light tenor voice for dramatic roles such as Edguardo in Lucia di Lammermoor in his performance at Liceu Barcelona.
Correct.
I agree conceptually, however I will say Flores did much better than I expected with this one.
His Voice was always small but his notes were free!! Now the last 2 years he is pushing too much!!! At 45 he is really in trouble to sing even the High C which sounds edgy and rushed!!
@Fritz Wunderlich Apologies it was not you who mentioned "trouble" - i appeared in the top comment by OperaMyWorld. Just in case it isnt clear - I can read 🤪
what trouble? The role may be somewhat too dramatic/heavy for him but there is absolutely no trouble
Acacia Bloom The trouble is obvious!! He is just push his small voice in singing this demanding aria! His final high C is really difficult for him and it sounds strained!
His C still sounds better than 90% of bel canto tenors out there, and honestly seems to have gained a bit of power with age. Verdi is not for Florez, but I must admit this particular rendition was pleasantly better than expected.
@@OperaMyWorld you are 100% correct. His once effortless notes are now and have been for a few years strained and pushed, which has ruined the quality of his voice. IMO, I never found his voice to beautiful like Wunderlich or Lanza, and the attraction that I had to his singing was his incredible high notes and legato, which is becoming more absent in recent performances.
A total no no for the repertoire. He either will have to risk a bit and open his sound or stay on his repertoire of light lyric tenor. He is incredible in it, why take this path? I don't get it.
He is getting older!!that's why!!!!!!!
When the choir sings, he disappears. A good sign his voice is not suited to this role.
Yeah. It sounds as though viscount Gastone is singing. An Alfredo miscast.
When he walks the footsteps cover his singing
Totalmente de acuerdo
Still a Rossini Tenor!!!
Wonderful, bravo Juan Diego what a Voice best Alfredo ever 🎵🎵🎵
We can see that Kraus is singing with a tranquility than allow us listen each word clearly.
Excellent interpretation Sr. Kraus
Así es, y en vivo Kraus se escuchaba perfectamente. Florez en este tipo ópera en muchas ocasiones la orquesta lo tapa.
Bravo maestro true perfection ❤
Every time this part of the opera gets cut, Alfredo’s thinking “Gee…you just HAVE to step on my number.”
Although Florez still has the boyish voice, he's not suited to sing Alfredo, who is a dramatic tenor with naive, innocent and highly emotional character. Never mind, there's another tenor role which is more suited to his light-hearted voice and suave character in this opera: Gastone. But he is put into the lead role like Damrau due to their diva status instead of suitability of roles.
Damrau is no Violetta she is not feminine at all and so hysterical. And no italian vowels or phrasing what so ever , Its bad management now days, as bad technique togehter . Rossini is great preparation for any other repertoire alas but if you have a great belcanto technique without this nose phonation witch makes the voice narrow and smaller . Cheers
Alfredo is not a dramatic tenor!!
Alfredo is a lyric tenor!!!!
Gaston?for him?he is a leading
Tenor!!not a comprimario.
De que hablas?no se de que me hablas!! Juan. Diego. Florez es un buen
Cantante!! Un tenor lirico claro. No se
De que me hablas!!
El. Alfredo no es tenor dramatico!!cualquier tenor lirico!!puede cantar el
Alfredo. El. Othello si es tenor dramatico!!y ningun lirico debe cantar
El. Othello!! La gente cada dia sabe
Menos de opera,de canto y de voces!!
Bravo maestro, timbro di voce unico, interpretazione eccellente!
Beautiful aria !
Bravo!! Juan. Dieguito!!
His role in this opera is GASTONE. He has NOTHING to do as Alfredo. This is not only not good (the voice is too light, the fiato is not enough, the colour has nothing special...) but also NOT at the level a theatre like the Met is supposed to have.
Agreed. He's given the lead role due to his diva status. The company is more interested in attracting publicity instead of doing service to the arts.
Me parece que resuelve muy bien, seguramente con el paso de los años le saldrá mucho mejor. Bravo!!!
What about. Cesar. Valletti who recorded this role in this opera,with. Rossana. Carteri,successfully!!and sang. Traviata in
Italy? He was a light tenor too!!
My conclusion is that his Rossini singing technique is also mediocre. He compromised darkening his voice for range through nasality. Thus, his undeveloped voice becomes more apparent
Why producing this tacky version when the Zeffirelli production was so stylish and sophisticated ? The mysteries of the Met !
Voice is too light for this rep.Hes singing at full steam. You can hear hes tired.Rossini tenor....yes. Verdi tenor....no way.
But Alfredo is not the "Verdi Tenor".
@@namironofreortega1374 But he is soooo light a voice.This was a Tucker,Domingo,Carreras,Kraus role.Its just not the right sound. Thats my opinion.
@@donaldbowers5205 I'm with You Flórez is not the ideal Alfredo but that role is not too heavy, is not Otello or something like that. In fact Domingo's voice wasn't the right one, too heavy for the role.
This is how to do it ruclips.net/video/-L5t-dZ4Bn8/видео.html
I must say I agree. Mr. Flórez is a "leggiero," and that is not a crime, lol. As for whether one is a "Rossini" or a "Verdi" tenor, well, I respect that these are legitimate terms, but they sound too limiting, IMO. Mr. Flórez would be splendid in the 18th century repertoire as well as in art song.
Pick up the head like all the great singers from the golden age!!!! For a change!!!His voice is not too light its too much in the nose so we will never find out actually how his real voice sounds like, its the ugly phonation now days... But over all a very musical and good looking singer with charisma.
What I want to know is: Why doesn't he sing Mozart? He would be a FANTASTIC Tito! Why does he chooses to be a mediocre Alfredo instead?
laura servidei PAROLE SANTE !!
laura servidei isnt Tito a heavyweight role? Or am I wrong?
Are you kidding? The royal tenor roles of Mozart like Tito, Idomeneo, Lucio Silla, Mitridate etc are dramatic heavyweights. I bet Florez couldn't handle their coloratura and dynamics. Don Basilio is more suited to him.
@@dongiovanni8899 Michael Nim Well, if Tito is a heavyweight role, we better tell Richard Croft to stop singing it, or Matthew Polenzani, or Michael Spyres.
@@lauraservidei5728I was asking a legitimate question with no intention of fighting, no need for a snarky remark.
Creo que no es su mejor versión, pero el do final estuvo bien.
Not as bad as I thought. He needs to go on vocal rest asap and completely stop singing heavier repertoire for him. He is not too far gone yet like Vittorio Grigolo.
Correct, Grigolo has destroyed his voice, which was once very beautiful. He had a great ability to sing softly, and now he screams all of the top notes. He was not a good caretaker of his voice.
too too too too light...... NOT FOR VERDI!!!!
Ivan .Ivanov OOOOOKKKKKK!!!!!!!!!!!!!!!!
You àre so right!!!!
Al menos canta, no como otros, como por ejm Villazón, cree que gritar es cantar
Not for opera at all
Too too too undeveloped... NOT FOR OPERA
It's amazing how much ten years can change a man.
I suppose you think so because of his looks. I do not understand that. Placido Domingo looked better much longer while he still sang opera.
@@rodrigoaltamirano2083 His voice also sounds tired and aged. Though we of course now know this was because he was sick.
Yes, he became even more attractive. You are right, Commander.
@@Filiomena lol
@@rodrigoaltamirano2083Domingo hace ya muchos y cuando digo muchos años que está acabado. Cuando cantaba de tenor ya en los 90, gritaba no cantaba, bajaba arias y partituras completas. De Barítono mejor ni hablamos.
Why is he less loud than a shoe hitting the ground?
Mics on the ground lol
Why Verdi?? Why Alfredo?? Unbearable.
I think Juan Diego is one of the bests today, I love him BUT he's so much better with other authors, not with Verdi :/
Not so hot with Verdi!
He sings it as if by Rossini 🤣🤣🤣 Memo to JDF: it ain't by him
Florez ha sido el mejor tenor ligero de los últimos tiempos, pero zapatero a su zapato. No tiene timbre para esta opera. Para mi las referencias en este rol son Kraus y Bergonzi.
Exactamente!!!
Parece un estudiante de canto
A mio avviso Verdi non è adatto alla sua voce. Il tenore di Traviata non è un tenore " belcantista ". È un ruolo, quello di Alfredo, molto insidioso perché è innamorato, poi si accorge che è " mantenuto " e vuole riscattarsi da questo " peso" che ha messo sulle spalle di Violetta, poi si rende conto che Violetta l'ha "ingannato" e vuole tornare alla vita allegra e spensierata (non sa del colloquio di suo padre Giorgio con Violetta e non sa i CONTENUTI di quel dialogo) di prima, poi è l'innamorato che furibondo accorre alla festa in casa di Violetta e, offeso dall' abbandono, giudicando Violetta sotto falsa luce la tratta da "sgualdrina" buttandole furente in faccia il denaro vinto al gioco fino a ritornare pentito da Violetta ma solo per raccogliere l' ultimo addio della sua donna amata e Alfredo ha un "crollo" morale e psicologico ma....con l'impronta " verdiana ": troppo, secondo me, per la formazione di Florez; del resto anche tante GRANDI VOCI del passato cantavano ciò che era consono alla loro vocalità. La signora Tebaldi affermava che tanti ruoli non li ha accettato perché non erano adatti alla sua voce. Florez è, comunque, un GRANDE tenore!!!!
Grande
No es para su voz.....
Some people here are lost!!!
Yup. The majority of people here are dead envious of Don Juan Diego Florez. They will NEVER have his voice and his looks. That's why they are barking at a great man.
Bravo! Sei riuscito a mettere quei stivali sempre cantando bene durante un cabaletta molto difficile. Personalmente non avrei mai riuscito...., ma perché le registe non sono più consapevole delle esigenze dei cantanti, sopratutto in questi momenti particolarmente delicate?
Singing in the bedroom? Not a good idea.
A true singer can sing in any place and position
@@monsterlapin8412 Sure Juan is a true singer....but not as Alfredo Germond!
@@dirkadriaan6019 dude, we're talking about sing in the bedroom, not the voice
Bravo
I agree he's missing the oomph
Florez...la voce de topolino
👏👏
Porello ...
In this case Flores isnt arrive a the ultimate note of "Do" the end. But excellent interpretation. With the time he will improve it.
He made the high C (Do) at 1:23
Creo que el que Juan Diego haya incorporado a su repertorio 2 Obras de Verdi, Rigoletto y Traviata, aunque para algunos no debería, lo hace MARAVILLOSAMENTE!!!
Pushing the voice eventually causes long term problems
Disney-Kitsch -Bühnenbild
He has moved from a leggiero specialist to a light-lyric. Technically, Alfredo is in the wheelhouse of light-lyric tenors, and I don't think there is anything wrong with him trying it. Alfredo Kraus did it, so why not? I prefer a full lyric voice for this role, but that is just my taste. I would rather hear him as Arturo in Puritani or Chapelou in Le Post.
I think he was not in his best form, this happens to all singers. I am sure that he can do better even if Alfredo is not the most suitable role for his voice. Here is another version: ruclips.net/video/LfZqrgvDdYo/видео.html
Alessandro Codeluppi Thank You Mister for this Amazing Video at moscow. In The MET Clip there Is a Bad Ton quality and Bad acoustic that's make Sense why The sound Is Not so brillant as he can do at other Stages 🎵🎵🎵
This role is way too big for his instrument. It will wreck his voice. This beige suit with its horrible pants are doing him no favors either. One of the reviewers mentioned how he cut a good figure in his costumes. Not in this one! It was even uglier in the house. Considering that most of the costumes were gorgeous, this is an odd miss.
If you don't know who was. Roberta. Peters,who died recently
In the history of the. Met. Opera
House,I really don't know what can
I say to you. She was a great
Coloratura soprano,a contempo
Rania of. Callas!! She had recorded
Several operas. She was a fine
American soprano,with a successful career. She told me
Traviata was her limit in a lyrical
Repertoire. Gilda and. Violeta
Are not the classical verdian
Sopranos. Classical verdian
Sopranos are. Aida!!forza,trovatore
Balls,Don Carlo and so forth. Which required most the time an
Spinto soprano or a dramatic soprano. Traviata is free for all!!
But the voice of. Violeta is
Considered an spinto or a dramatic coloratura or as Italian
Call that type of voice,an sfogatto
Soprano,the voice more or less of
Maria. Callas,who was a dramatic
Coloratura soprano. Try to learn
More about the singers of the
Past. It is my advice to you.
Merry. Christmas!!!
I hope this production isn't as ugly as it looks in these clips.....
You can see a few images - the colors are a bit extra-bright. Sets match the time, but colors and costumes are particularly bright as though to enhance the idea of a growing fever.
@Bravo Luca I actually really enjoyed the Decker production and I don't see what is so "traditional" about this one - it looks like a a Disney cartoon.
@@flicfan416 This is what the Blue Rinse Brigade sponsors want to see. They all hated the Decker production because it wasnt pretty 🙈🙈🙈🙈
Peruvian talent!!!
Yes. And the world's talent too, Zamarit.
Creo que debería seguir con Rossini, Verdi requiere una voz con más cuerpo, una voz más grande y potente.
no creo que pueda volver a Rossini despues de cantar este tipo de cosas
@@Bulacio_Elias Efectivamente amigo.
Finally decided to not blow American audiences to favor Europeans. After a few disrespectful incidences standing up American fans...
International stars seem to be favoured over better quality local graduates.
Bravo pero me gustaba más Kraus. Flórez ha engordado por cierto
Sorry Buy no...
Rumbo a su muerte el declive de su carrera si va más allá y no es por técnica vocal es por qué el no tiene la capacidad vocal llamese la voz necesaria el volumen o caudal para dicho papel está muy forzado casi se ahoga mal por el
Pero ya no cantará más Verdi. No sean alarmistas
@@namironofreortega1374 no es lo mismo cantar una aria como aperitivo que cantar la ópera completa con dúos y aquí en esta Traviata en el acto uno es 1 en el 2 acto 2 con soprano y barítono en el 3 otro ahí queda muy dañado peor si le toca una lirico spinto es el doble de esfuerzo es mejor que no deje la ópera que se denomina Bell canto que la componen Mozart Rossini Donizetti entre otros ahí duraría mucho tiempo
@@rodolfoalonso7568 Claro tiene sus dificultades, sin embargo cantar algunas funciones no le provocará daños graves y ya dependerá de él, supongo qué quiere probar cómo le va el papel y si no se siente a gusto no lo hará más como ha hecho con otros (Nadir, por ejemplo). Lo que pasa con Flórez es qué está llegando a un punto donde la voz ya no le va a permitir seguir cantando Rossini pero tampoco le da para roles que requieren más peso vocal 😓 Le quedaría Mozart pero siendo sinceros, el salburgues no escribió música tan notable para tenor.
Tengo la misma opinion, creo que su carrera va en declive, lastima que nunca llego a alcanzar a Pavarotti con el cual siempre se le comparo.
@@IvanHernandez-gx4rt Pero son tenores distintos, las comparaciones eran solo cuestión de marketing.
incolore e insapore come sempre. Qualsiasi cosa canti, sembra sempre la stessa.
This is horrible
0:23 sanzonier na dochodku
actually he doesnt sing well at all... thin, small, nasal voice., too much pressure. I dont know why so many people love this guy...
I mean you can not choose your voice
He did his best
Sure, but His technique is Not good. The voice is Not thin because of His Nature but because of His terribile technique
I am so glad to see that some people can still distinguish bad singing from good singing. You are absolutely right it is simply a question of bad technique. The voice is probably light in nature but with lack of training it is hard to know what the real potential is. The voice is small, underdeveloped has no proper chest voice and bad placement in the nose. The voice is not free and open; it is pushed and compressed. It may sound cute and polish but it is not good operatic singing. And the worst thing is that he gives masterclasses to train young singers…..