The Byrd Ensemble soprano is the best of all the examples here. Easy approach, not forced, tight, over-opened or covered. She's able to bloom the note and not just hit it. And she's in tune for the length of the C. However, I agree with some others in the comments, the best by far is Voces8.
I just listen to music, but of those on the video I have to go with Tenebrae. The soprano with the Byrd Ensemble lost volume on the high note causing the piece to lose impact.
I ADORE Tenebrae and Josephine is a great singer - but she is not my favorite Miserere top C. She seems to have to shift registers noticeably to get to it and it sounds a little thin
I am a Soprano who does the top C. For those wondering how intense it is for us - we need to watch what we eat and do a week before the performance to our throat and bodies healthy. What is more is what is we can't eat things that cause stomachache or phlegm. During the performance, because of the light, we sweat a lot because of the intensity. My armpits normally sweat a lot during the singing so I need to wear arm guards. It is a job that needs plenty of discipline and it isn't as heavenly as what most think.
Consider building up your aerobic ability through running. Your heart rate will lower and you will hardly sweat if you are used to running long distances. You have an impressive talent!
I have sung miserere. I don't have any trouble reaching a high c ( I naturally top out at D/e flat on a good day although I am considered a 'lower' soprano). My biggest task is to concentrate and make sure I do not strangle my larynx. It is a question of correct technique and not pushing.
For a time I sang in an octet where our 1st Soprano was frequently nailing that note while I handled the two octaves down to the C below the bass staff. That group was a lot of fun.
The boy from Kings College Cambridge who pretended to inhale the helium to hit it sings it the best I have ever heard. He blows these women out of the water truly
@@missasinenomine It was an April Fools prank by Kings College. The video is on RUclips, called something like Kings college announces major change. I believe the singer was Patrick Dunachie who is now first countertenor of the King's Singers.
For me, the version by Tenebrae's Josephine Stephenson is the best. So clean and clear. But I find it difficult to rate because the recordings have such different qualities and there are so many great singers. also Coro Pride Fabrizio Barchi was incredibly light and finely sung and even higher.
7:17. The transition between G and C touches my soul. Still, Nigel Short's perfect production and Josephine Stephenson's beautiful voice remain my personal favorites.
These are all amazing singers, some better (cleaner) than others and it is also a matter of taste, but I'm choosing Josephine Stephenson with Tenebrae (0:25). I have to add that I was also pleasantly surprised by the soprano of the Byrd Ensemble (1:48).
1) Tenebrae-Josephine Stephenson 2) Sixteen-2010 Elin Manahan-Thomas 3) Sixteen 2021 Victoria Metyard 4) Sixteen evolution Victoria Metyard & Alexandra Kidgell. (at Liverpool Metropolitan Cathedral) Historically the version that probably 1st brought this piece to public attention was King's College solo treble Roy Goodman (in English). All fine voices! 😂
For some reason the Clare College of Cambridge version reaches my soul. Those notes are heavenly.. . I am including it (as far as writing is possible) in my new novel "The Tudor Rose" sung by one of the characters of my work...
Julio, you mean you're including Allegri's Miserere in your novel "The Tudor Rose"? This may or may not matter to you, but you should be aware that the piece wasn't composed until the 1630s, after the Tudor dynasty had ended. And it wasn't sung anywhere but the Sistine Chapel -- the Vatican jealously guarded the piece, and anyone who released a copy of the music or took it anywhere else was subject to excommunication -- until the 18th century. There was plenty of church music during the Tudor period that had spectacular high notes for the boy trebles, but none of it would have been by Allegri, who would only have just been finishing seminary in Rome when Elizabeth I died.
@@mwnyc3976 I appreciate your comments, which demonstrate your musical and historical knowledge. My novel that is fiction takes place in 1981, and the title is due to the fact that the main family in it is Burton, and they show three Tudor Roses on their noble shield, as you may know. There are other allegories with the color of roses - red and white - but I won't go any further...
@@julioginerdivenosa2446 Ah! The red rose of Lancaster and the white rose of York! Said to combine in the purple rose of Tudor -- which makes sense if you think of pink as light purple, I suppose ... Sounds interesting! ☺
Answering the question is like picking a “favourite” from among your children. There is so much sublime singing here and I find it hard not to lean towards the choirs I know and love. The Byrd Ensemble recording gives me the most goosebumps but I think I prefer the version by Voces8 (which is missing from this selection).
I'm a little disappointed that there was no attempt to list all the Sopranos singing these beautiful performances - only the groups and conductors. But what a treat to see them all together in one place, so I appreciate the video! I must say, they're all wonderful, but the New College, Oxford performance has a certain haunt to it that grabbed me just a little more. Not shown - Voces 8 Andrea Haines also does this line incredibly.
Its a pity that no cleaning up work has been done on the Roy Goodman 1960’s tape of Kings College choir. Its such a poor recording but how many in UK came to this piece. Its originally in English not latin
@@naradaian Roy Goodman certainly sang in English but Allegri wrote it in Latin. He wrote it for the Sistine Chapel choir originally to be sung only on Good Friday of Holy Week.
Tallis Scholars, 1994 … this is from their Live in Rome recording. They were on fire that night. Sometimes everything is perfect, the energy, the acoustic, the singing, and depth of feeling.
The Ars Nova was about a half step lower so it was a B instead of a C. As a matter of fact a few others were lower as well. Tenebrae, Byrd singers, and the King’s College excerpt seem to convey the vocal tone that most ensembles are shooting for regarding the high C. At @5:25 the girl was sustaining a high D. Enjoyed all of them.
The singer in the Pueri et Puellae Cantores sings the top C phrase softly and sublimely. She even looks like a renaissance angel. They're all wonderful
I return again and again to Tenebrae and the joy never diminishes. So grateful for the composer, conductor and singer. Life affirming really. Not to diminish the rest.
Seems strange to me now that we can so easily now get to pick and choose between 'best' versions. I sang this once as a chorister and later owned it for many years on cassette before the internet and streaming brought so many options. Once upon a time, to hear this performed at all was a rare, rare privilege!.
Definitely Tenebrae. The sheer peace one feels on listening to this is beyond compare. The troubles of the world fade away, as long as this beautiful rendition lasts. So play it again when you need to. And weep if you want...for the loveliness of the sound this choir brings.
Reading the comments I am struck how few seem to appreciate the purity of tone of the boy sopranos and their unforced natural descending scale without effort. This is a simple prayer and the simplicity and unforced purity of a good boy soprano gives the piece an ethereal quality that feels so natural. The others don’t feel right, let alone those that try vibrato!
Fully agree. The ladies either go operatic and lose the group blend, or sound squealy or constricted in their tone. As for the crowd favourites: Tenebrae comes close, but is 'stretching' a bit for the C - the effort is controlled, but palpable. Byrd Ensemble... 'pinched' a bit as she visibly 'jumped' at the note. Ms. Haines (Voces 8) is remarkably unforced, yet in a couple of instances has to slide up into the note when her intonation falls a bit short. These are quibbles - they are sll fine singers. Back to the lads - no one matches the performance of Roy Goodman, chorister - Kings College, 1963. Fluty, ethereal, entirely natural.
Yeah, that operatic vibrato sounded….not quite right. Beautiful, but not in a prayer. I love the King’s College Chapel version. But they’re all super talented and sound beautiful. Of course it’s going to be harder for an adult to get that same tone as a child. But it’s art and it’s all beautiful.
At 2:18 what I find absolutely amazing is that the second soprano's C (an octave below the first soprano) is so rich in overtones that you can clearly hear another high C right before the first soprano's and then it carries on for the whole phrase.
The effortlessness of Tenebrae's Josephine Stephenson is second to none. All these girls have good voices but a great singer always comes across when there is no strain, no effort and faultless. It is a wonderful piece of music of this genre to which I can listen to for ages and never tire of its beauty.
Have you heard Andrea Haines from Voces8 though? I don't like pitting one against the other, but Andrea's is quite literally flawless. Josephine is quite great here, but there still the slightest hint of effort and lack of controlled bloom due to her suddenly dropping her jaw and spreading horizontally, rather than narrowing vertically and barely moving her jaw. I have the same problem, so I can easily spot it when I see it, but honestly anyone who can do it even as well as Jo is to be commended. This piece is beastly for all involved, but especially for the first soprano.
Once I produced a B flat during an audition (I am a baritone). I wasn't sure where I was so I asked and the conductor confirmed it was that high. He said "you clearly have it, but you may not want to use it." I think the same applies to some of the otherwise excellent sopranos here. If you have to look like you are trying to swallow a toad, if you are bending your knees before hitting the note, if the vowel changes from o to a, then you have it, but you should not use it. Some of the sopranos in these clips look like they don't even know they are going up to a C. Singing is not weightlifting, it should be mostly effortless. Thanks for putting together this collage, very instructive. I was surprised by how different the pitch was.
Every single one of those voices arr an Almighty gift, , Aksel and the Sixteen are epic but just behind Nigel shorts 5 minute 30 seconds of ancient audible bliss.
I clearly loved both Copenhagen and William Byrd singers. But for me, the ones that knocked it out of the park were the Tallis Scholars! They recently sang the Vittorio Requiem in my church in Texas, and I am still absolutely mesmerized by what I heard that night! I have never heard Spanish polyphony so flawless as I did from them.
I wonder if you’ve heard of Voces 8. Andrea is truly unbelievable in this song and many others. There is a reason she is called the queen of high notes. Impeccable tone from all members that support the high C, plus in one breath. Not saying she can hit the highest of anyone, but her sound quality while up there is so pure. If I had to choose from this set only, I’d choose Askel Rikkvin & Nordstrom’s Church Choir around 2:16.
In my opinion, the version by Tenebrae under the direction of Nigel Short is the best. The soprano has an absolutely clear, pure voice at the top C. The Tenebrae choir is for me one of the best, if not the best choir in the world. Best regards from Switzerland.
As someone who knows nothing about music other than how beautiful that is, I kept trying to guess which person would be the high C and never guessed right. Also the variety of the mouth position and body movement was different each time.
There are too many variables to judge fairly - room acoustics, recording engineer, mic placement, etc. I think it's wonderful to hear so many versions. It wasn't until I heard Tenebrae's Josephine Stephenson that I believed a woman could sing this as clearly and cleanly as a boy. (Maybe better!)
The bird ensemble is so light and blended and balanced. So beautiful and truly surprised me. Even the part where she changes notes was executed so smoothly and relaxed. Tickled my brain frrr
Well, the Byrd Ensemble, Clare College and Cappella Novohispana brought tears to my eyes so I'm gonna say those ones. And I'll throw in Coro "Iride" for being absolute madlads and singing it in D.
Byrd Ensemble. Super intoniert, klanglich sehr gut abgestimmt und vor allem die Art wie alle gemeisam die cescendo und decrescendo zelibrieren, einfach großartig!!!
Im a countertenor and the high C is my favorite part of the entire Miserere. 😂 Nwarly wvery night before bed i sing the top soprano line. It's soothing to my spirit each time I sing it.
Todas son magistrales ,pero La intérprete de Nigel , me impacta porque hace que no solo sea una voz hermosa , sino que lo lleva al nivel de súplica ,lamento , y eso es lo que le falta a otras, ese ingrediente , porque de eso se trata una súplica darse cuenta de su miseria y elevarla a lo alto . No es solo armonía es un sentimiento.
I don't know why because all these examples are beautiful but I'm always drawn back to The Sixteen. It is as though the angels have come down to earth to sing. It's absolutely magnificent.
3:09 The lady on the right in the sixteen - harry christophers 2010 the way the high note has a tremelo it sounds absolutely madrigal. I am flush with goosebumps, agog. the other equally beautiful but share the stock standard and are all in all mundane in delivery. i find this one to be the most exceptional of all.
The 1980 recording that not only made the Tallis Scholars a household name, but effectively led the way to today's great wave of exceptional mixed-voice choirs. Alison Stamp is faultless in the exceptionally testing soprano solo - top Cs and all - while, with the choir and solo quartet placed some distance apart, the perfect acoustic of Merton College Chapel is captured to perfection by Gimell. Chosen by BBC Music Magazine as one of the 50 Greatest Recordings of all time and widely regarded as the finest recording of Allegri's Miserere, this landmark recording made on 22nd March 1980 in Merton College Chapel, Oxford, set new standards for the performance and recording of unaccompanied sacred music. CD Gimell 639
They're all beautiful. I didn't previously understand that there could be such variation yet they are very different renditions of the same piece. They're all fantastic.
Most of the versions are really brilliant, I choosed three of them : The Choir of Clare College, Josephine Stephenson with Nigel Short and The Byrd Ensemble, in that order .. those versions are astounding
Appreciate the effort for making this compilation. --- The Marian Consort have an interesting video on their RUclips channel, titled "how Allegri's Miserere should really sound", where the evolution of the work (the section including this famous "top C", in particular) is explained in comparison --from Allegri's original version to 20th century. After all, the "top C" is supposed to be the result of a simple _mistake._
I heard many years ago that choirmasters would only decide which choirboy would take that role immediately before a performance, to reduce pre-performance nerves.
My favorite ones are definitly the ones from nigel short, 02:45 and 03:10, something about the vibrato the lady brings in just sounds to beautiful, also she sings it right out and with more power, shes not hiding and thats what makes it for me. Tennebrae as a whole and the singers at called 3 minute mark are on one and the same step for me.
This was just fantastic. I suffer from very poor memory and retention so by the time I switch to a new recording, even if I queue them all up in sequence, I’ve forgotten what I heard. Now I can listen back to back to a long list. It’s fascinating the interpretation of this short section in so many aspects. Thank you for compiling.
The stunning vocal blend of Voces 8 and the exquisite voice of Andrea Haines is the best, imo, despite the fact that Voces 8 is not included in this wonderful compilation of this marvelous masterpiece. I loved all the selections and bravo to all the singers included in it. But what Andrea Haines is able to do is subdue and blend her thrilling tones into the tapestry of the group sound so that her high climactic ethereal note and descent is an unforced part of the whole group sound and not punched as a separate high note. Just my opinion.
I feel VERY strongly that the sopranos should have received credit - by name. The director is not the one singing the note.
my thoughts exactly! and sometimes they don't even show the face properly...
Exactly!
Everyone of these artists has spent time and tears to perfect this C. To say that one is better than the other is really difficult.
but you are muslim
5:18 Coro Iride….just casually hitting the D instead of the C …pitched the whole piece even higher. Insane 😅
I came here to see if anyone had commented about that...and so far you're the only one!
It's truee, high D 😮woow!❤
and they don't even show her(?) face properly, let alone the name, like of all the other soloists...
I was just going to say that... Impressive...!
Transposed up why??? To help the basses?
Josephine Stephenson with Tenebrae: her breath control and intonation are unmatched.
In this video, agreed. Then the one of Voces8 came along, and Andrea Haines kinda puts every polyphonic soprano everywhere to shame.
Yes but on the complete video, she miss the second part and you can see it on her face.
The Byrd Ensemble soprano is the best of all the examples here. Easy approach, not forced, tight, over-opened or covered. She's able to bloom the note and not just hit it. And she's in tune for the length of the C. However, I agree with some others in the comments, the best by far is Voces8.
unfortunately the video of voces 8 was released after mine. But I think that, to date, Byrd ensemble is yet the best one.
Honestly, my first thought was, nobody can top Josephine with the vibrato free C. Now, Im sitting here with goosebumps after the Byrd soprano...
It'S hard to decide... but yeah... Byrd Ensemble did it very well...
I just listen to music, but of those on the video I have to go with Tenebrae. The soprano with the Byrd Ensemble lost volume on the high note causing the piece to lose impact.
@@onpilgrimagethroughthescri343 She approached the high C awkwardly rather than floating up to it.
My vote is for Tenebrae and Josephine Stephenson. Her voice gave me goosebumps. The song is absolutely beautiful.
The signum recording of Tenebrae is even better
Oh my Goodness, YES..!! Such a magical voice, and beautiful as well.!! YES..!
The C is great, but she kind of lost all the energy there, going flat on the way down. Not saying it's bad though. It's beautiful.
totally agree. @@gunnarliljas8459
I ADORE Tenebrae and Josephine is a great singer - but she is not my favorite Miserere top C. She seems to have to shift registers noticeably to get to it and it sounds a little thin
I am a Soprano who does the top C. For those wondering how intense it is for us - we need to watch what we eat and do a week before the performance to our throat and bodies healthy. What is more is what is we can't eat things that cause stomachache or phlegm. During the performance, because of the light, we sweat a lot because of the intensity. My armpits normally sweat a lot during the singing so I need to wear arm guards. It is a job that needs plenty of discipline and it isn't as heavenly as what most think.
Consider building up your aerobic ability through running. Your heart rate will lower and you will hardly sweat if you are used to running long distances. You have an impressive talent!
I have sung miserere. I don't have any trouble reaching a high c ( I naturally top out at D/e flat on a good day although I am considered a 'lower' soprano). My biggest task is to concentrate and make sure I do not strangle my larynx. It is a question of correct technique and not pushing.
@@mggrech is it a c7? I'm trying to figure out which octave this is in
For a time I sang in an octet where our 1st Soprano was frequently nailing that note while I handled the two octaves down to the C below the bass staff. That group was a lot of fun.
It doesn't matter if the job isn't heavenly, if your performance convinces us it is, then it was a heavenly performance. Sweating or not :)
They are all unbelievable. How can anyone say just one is the best. All are fabulous
I could not choose. My favourite piece of music and all great.
Totally agree 👍 👏 👌
Agree🎉
I agree
+1
The boy from Kings College Cambridge who pretended to inhale the helium to hit it sings it the best I have ever heard. He blows these women out of the water truly
Roy Goodman? 1965?
@@missasinenomine It was an April Fools prank by Kings College. The video is on RUclips, called something like Kings college announces major change. I believe the singer was Patrick Dunachie who is now first countertenor of the King's Singers.
Lol!
@@dorothearussell304 yesss ... exactly , he is it !!
Yes. The right sound. And not castrato!
For me, the version by Tenebrae's Josephine Stephenson is the best. So clean and clear. But I find it difficult to rate because the recordings have such different qualities and there are so many great singers. also Coro Pride Fabrizio Barchi was incredibly light and finely sung and even higher.
L take the C sounds too unstable at first for me to like it :(.
idk! to me it seems extremely forced and at times very out of tune.
7:17. The transition between G and C touches my soul. Still, Nigel Short's perfect production and Josephine Stephenson's beautiful voice remain my personal favorites.
its actually a transition from a F# to a B, but it is still beautiful nonetheless
You might want to listen again - it's B, not C.
Agree, on 7:17 the most beautiful one! Who is this boy?
Nigel Short's video has more than 16M views already... He helped many young people hearing this masterpiece
Correcion: has more than 17M views already.
Nigel Short is also externally famous for a walk with the king into enemies territory.
@@wolfgangwiesinger9502with the white pieces, against Timman, in their 1991 match.
These are all amazing singers, some better (cleaner) than others and it is also a matter of taste, but I'm choosing Josephine Stephenson with Tenebrae (0:25). I have to add that I was also pleasantly surprised by the soprano of the Byrd Ensemble (1:48).
My vote goes to Tenebrae. All voices and their perfect Latin pronunciation.
Tenebrae - Josephine Stephenson. She looks exactly like the note. Small but powerful. love it.
1) Tenebrae-Josephine Stephenson 2) Sixteen-2010 Elin Manahan-Thomas 3) Sixteen 2021 Victoria Metyard 4) Sixteen evolution Victoria Metyard & Alexandra Kidgell. (at Liverpool Metropolitan Cathedral) Historically the version that probably 1st brought this piece to public attention was King's College solo treble Roy Goodman (in English). All fine voices! 😂
Thank you for listing the names of these angelic singers.
I actually like it better when Josephine from Tenebrae hits the top C the second time, which you don't hear here 🔥
For some reason the Clare College of Cambridge version reaches my soul. Those notes are heavenly.. . I am including it (as far as writing is possible) in my new novel "The Tudor Rose" sung by one of the characters of my work...
As an aside, Josephine Stephenson in Tenebrae clip was also in Clare College Choir
Julio, you mean you're including Allegri's Miserere in your novel "The Tudor Rose"? This may or may not matter to you, but you should be aware that the piece wasn't composed until the 1630s, after the Tudor dynasty had ended.
And it wasn't sung anywhere but the Sistine Chapel -- the Vatican jealously guarded the piece, and anyone who released a copy of the music or took it anywhere else was subject to excommunication -- until the 18th century.
There was plenty of church music during the Tudor period that had spectacular high notes for the boy trebles, but none of it would have been by Allegri, who would only have just been finishing seminary in Rome when Elizabeth I died.
@@mwnyc3976 I appreciate your comments, which demonstrate your musical and historical knowledge. My novel that is fiction takes place in 1981, and the title is due to the fact that the main family in it is Burton, and they show three Tudor Roses on their noble shield, as you may know. There are other allegories with the color of roses - red and white - but I won't go any further...
@@julioginerdivenosa2446
Ah! The red rose of Lancaster and the white rose of York! Said to combine in the purple rose of Tudor -- which makes sense if you think of pink as light purple, I suppose ...
Sounds interesting! ☺
@@mwnyc3976 Not exactly. Think of drops of blood over a very white skin... and let fly your imagination...😊
Tenebrae with Josephine Stepherson is my favourite.
Honestly all of these versions give me those chills you get when you hear good tunes.
Answering the question is like picking a “favourite” from among your children. There is so much sublime singing here and I find it hard not to lean towards the choirs I know and love. The Byrd Ensemble recording gives me the most goosebumps but I think I prefer the version by Voces8 (which is missing from this selection).
I choose ,for this video, the live version.
@@listenreadandlearn There's a live version by Voces8 on RUclips.
ruclips.net/video/WCSm3PlR93k/видео.html
@@commontater24601 I saw it. But it has been published after my video collection 🥲🥲🥲
My vote would have been Voces8 had their version been included.
Boy soprano for the win
I'm a little disappointed that there was no attempt to list all the Sopranos singing these beautiful performances - only the groups and conductors. But what a treat to see them all together in one place, so I appreciate the video! I must say, they're all wonderful, but the New College, Oxford performance has a certain haunt to it that grabbed me just a little more. Not shown - Voces 8 Andrea Haines also does this line incredibly.
Its a pity that no cleaning up work has been done on the Roy Goodman 1960’s tape of Kings College choir. Its such a poor recording but how many in UK came to this piece. Its originally in English not latin
I would have liked to have heard the fabulous voice of Andrea Haines of Voces8 included with this grouping
And Andrea looks like reach this note efortless! But I also like the emotion at the face of soprano from the Tenebrae.
@@naradaian Roy Goodman certainly sang in English but Allegri wrote it in Latin. He wrote it for the Sistine Chapel choir originally to be sung only on Good Friday of Holy Week.
From 5:20 is a top D! Creds to the soloist
The soloist is my sister!!
Definitely the Tenebrae version is the best. Also for the perfect pronunciation of Latin.
La version de Tenebrae ! Et la prononciation du latin est impeccable !
The Sixteen. It's fabulous live too. Heard them in Sheffield (one of the cathedrals). Absolutely divine. Sent shivers down my spine. 💖💖💖
My dream is for Andrea Haines and Josephine Stephenson to have a duet together.
The Byrd Ensemble gave me chills. The Sixteen brought tears to my eyes.
Tenebrae hands down. Josephine Stephenson's voice is ethereal and it moves me to tears each time I hear it. Breathtakingly beautiful.
La mejor de todas *Tenebrae conducted by Nigel Short*,
INSUPERABLE voz de *Josephine Stephenson*
Tallis Scholars, 1994 … this is from their Live in Rome recording. They were on fire that night. Sometimes everything is perfect, the energy, the acoustic, the singing, and depth of feeling.
Yes, with the high C sung by the inimitable Alison Stamp....
The Ars Nova was about a half step lower so it was a B instead of a C. As a matter of fact a few others were lower as well. Tenebrae, Byrd singers, and the King’s College excerpt seem to convey the vocal tone that most ensembles are shooting for regarding the high C. At @5:25 the girl was sustaining a high D. Enjoyed all of them.
I was looking for this comment lol
@@bethcurrie9089 Thank you. I’m glad someone else noticed.
The singer in the Pueri et Puellae Cantores sings the top C phrase softly and sublimely. She even looks like a renaissance angel. They're all wonderful
I return again and again to Tenebrae and the joy never diminishes. So grateful for the composer, conductor and singer. Life affirming really. Not to diminish the rest.
Seems strange to me now that we can so easily now get to pick and choose between 'best' versions.
I sang this once as a chorister and later owned it for many years on cassette before the internet and streaming brought so many options. Once upon a time, to hear this performed at all was a rare, rare privilege!.
Hello sir/madam, if you don’t mind me asking, what part did you sing in your times as a chorister?
I'm a contralto so no C for me. But that line has been sending shivers down my spine since I first heard the piece in 1985!
Definitely Tenebrae. The sheer peace one feels on listening to this is beyond compare. The troubles of the world fade away, as long as this beautiful rendition lasts. So play it again when you need to. And weep if you want...for the loveliness of the sound this choir brings.
Reading the comments I am struck how few seem to appreciate the purity of tone of the boy sopranos and their unforced natural descending scale without effort. This is a simple prayer and the simplicity and unforced purity of a good boy soprano gives the piece an ethereal quality that feels so natural. The others don’t feel right, let alone those that try vibrato!
I agree. I don't know anything about music or singing but I thought it seems obvious that this piece was written for a boy's voice.
Fully agree. The ladies either go operatic and lose the group blend, or sound squealy or constricted in their tone.
As for the crowd favourites: Tenebrae comes close, but is 'stretching' a bit for the C - the effort is controlled, but palpable. Byrd Ensemble... 'pinched' a bit as she visibly 'jumped' at the note.
Ms. Haines (Voces 8) is remarkably unforced, yet in a couple of instances has to slide up into the note when her intonation falls a bit short. These are quibbles - they are sll fine singers.
Back to the lads - no one matches the performance of Roy Goodman, chorister - Kings College, 1963. Fluty, ethereal, entirely natural.
Yeah, that operatic vibrato sounded….not quite right. Beautiful, but not in a prayer. I love the King’s College Chapel version. But they’re all super talented and sound beautiful. Of course it’s going to be harder for an adult to get that same tone as a child. But it’s art and it’s all beautiful.
I definitely think the soprano on 4:00 did so amazing. Amazing clear note and transition.
I agree, it's my favorite version. I would like to know her name.
I wasn't expecting so much choice, but i think Byrd for me as well
I think my favorite will always be Stephen Cleoberry. He was the first I ever heard sing that solo.
Although singing like this has its sacrifices...you don't know how much I envy you. But even more, I admire them.
Andrea Haines from Voces8 is the Goddess of the light high c's!
At 2:18 what I find absolutely amazing is that the second soprano's C (an octave below the first soprano) is so rich in overtones that you can clearly hear another high C right before the first soprano's and then it carries on for the whole phrase.
Byrd Ensemble! At least for this video. Who knows how many great renditions are out there...
I have listened several times to this and I wholeheartedly agree with the person who said that the best one they ever heard was VOCES8
Nigel Short all the way. Always gives me chills.
Josephine Stevenson with Tenebrae.
The effortlessness of Tenebrae's Josephine Stephenson is second to none. All these girls have good voices but a great singer always comes across when there is no strain, no effort and faultless. It is a wonderful piece of music of this genre to which I can listen to for ages and never tire of its beauty.
Have you heard Andrea Haines from Voces8 though? I don't like pitting one against the other, but Andrea's is quite literally flawless. Josephine is quite great here, but there still the slightest hint of effort and lack of controlled bloom due to her suddenly dropping her jaw and spreading horizontally, rather than narrowing vertically and barely moving her jaw. I have the same problem, so I can easily spot it when I see it, but honestly anyone who can do it even as well as Jo is to be commended. This piece is beastly for all involved, but especially for the first soprano.
Once I produced a B flat during an audition (I am a baritone). I wasn't sure where I was so I asked and the conductor confirmed it was that high. He said "you clearly have it, but you may not want to use it." I think the same applies to some of the otherwise excellent sopranos here. If you have to look like you are trying to swallow a toad, if you are bending your knees before hitting the note, if the vowel changes from o to a, then you have it, but you should not use it. Some of the sopranos in these clips look like they don't even know they are going up to a C. Singing is not weightlifting, it should be mostly effortless. Thanks for putting together this collage, very instructive. I was surprised by how different the pitch was.
Tenebrae - Nigel Short.. przecudowane ! excellent! heavenly!
Tenebrae, Byrd Ensemble, and King's College do it for me here. See also Voces8's Haines.
Josephine stephenson est incroyable : pureté totale du son, dynamique et tenue parfaite dans l'aigu. Prodigieux !
So many beautiful versions, all admirable.
Every single one of those voices arr an Almighty gift, , Aksel and the Sixteen are epic but just behind Nigel shorts 5 minute 30 seconds of ancient audible bliss.
I clearly loved both Copenhagen and William Byrd singers. But for me, the ones that knocked it out of the park were the Tallis Scholars! They recently sang the Vittorio Requiem in my church in Texas, and I am still absolutely mesmerized by what I heard that night! I have never heard Spanish polyphony so flawless as I did from them.
I still love Roy Goodman, with Kings College Cambridge. Sir David Willcocks
A truly outstanding recording which probably brought this superb music to public attention.
That is by far the best I have ever heard. Roy Goodman was a voice from God!
I wonder if you’ve heard of Voces 8. Andrea is truly unbelievable in this song and many others. There is a reason she is called the queen of high notes. Impeccable tone from all members that support the high C, plus in one breath. Not saying she can hit the highest of anyone, but her sound quality while up there is so pure. If I had to choose from this set only, I’d choose Askel Rikkvin & Nordstrom’s Church Choir around 2:16.
Idk Intonation is not perfect tho it’s very impressive at that age
Also think Andrea voces 8 is the purest.
To my mind this has remained the most ethereal soprano interpretation….simply angelic. Thank you to all the wonderfully gifted singers and Nigel Short
In my opinion, the version by Tenebrae under the direction of Nigel Short is the best. The soprano has an absolutely clear, pure voice at the top C. The Tenebrae choir is for me one of the best, if not the best choir in the world.
Best regards from Switzerland.
Favourite? All so good. Impossible to pick a favourite.
The sixteen were the first choir i heard sing this it called out to me and I've returned x Thankyou . Since then everyone ive heard are just as good x
pour moi toutes les versions sont merveilleuses car ils et elles chantent tous comme des anges
As someone who knows nothing about music other than how beautiful that is, I kept trying to guess which person would be the high C and never guessed right. Also the variety of the mouth position and body movement was different each time.
En el coro Iride está un tono por encima llega a un re 😱
She's my hermana!
There are too many variables to judge fairly - room acoustics, recording engineer, mic placement, etc. I think it's wonderful to hear so many versions. It wasn't until I heard Tenebrae's Josephine Stephenson that I believed a woman could sing this as clearly and cleanly as a boy. (Maybe better!)
Thanks for your comment
The bird ensemble is so light and blended and balanced. So beautiful and truly surprised me. Even the part where she changes notes was executed so smoothly and relaxed. Tickled my brain frrr
I have to ration how often I listen to this it makes me weep buckets.
Tenebrae - Josephine 🙌 the harmony the created... beautifully aligned
Well, the Byrd Ensemble, Clare College and Cappella Novohispana brought tears to my eyes so I'm gonna say those ones. And I'll throw in Coro "Iride" for being absolute madlads and singing it in D.
Shivers down my spine and tears in my eyes. It truly is amazing what sound can do to the body.
The acoustics of The Sixteen is spine-tingling!
Byrd Ensemble. Super intoniert, klanglich sehr gut abgestimmt und vor allem die Art wie alle gemeisam die cescendo und decrescendo zelibrieren, einfach großartig!!!
Amazing gifts straight from the Heavens .
Marian Consort, 5:55
Im a countertenor and the high C is my favorite part of the entire Miserere. 😂 Nwarly wvery night before bed i sing the top soprano line. It's soothing to my spirit each time I sing it.
I used to listen to Tenebrae's version but The Sixteen's is incredible and I find it a bit more natural
Todas son magistrales ,pero La intérprete de Nigel , me impacta porque hace que no solo sea una voz hermosa , sino que lo lleva al nivel de súplica ,lamento , y eso es lo que le falta a otras, ese ingrediente , porque de eso se trata una súplica darse cuenta de su miseria y elevarla a lo alto . No es solo armonía es un sentimiento.
I don't know why because all these examples are beautiful but I'm always drawn back to The Sixteen. It is as though the angels have come down to earth to sing. It's absolutely magnificent.
la mejor interpretacion en todas sus fases la mejor Tenebrae
the High C triggers my Tinitus very badly but I am happy to make this sacrifice for listening this wonderful work of art
3:09 The lady on the right in the sixteen - harry christophers 2010 the way the high note has a tremelo it sounds absolutely madrigal. I am flush with goosebumps, agog. the other equally beautiful but share the stock standard and are all in all mundane in delivery. i find this one to be the most exceptional of all.
I assume you mean the soprano on the gallery? That was Elin Manahan-Thomas.
They're all beautiful. The Tallis Scholars was the first version I ever heard and probably for that reason remains my favourite.
The 1980 recording that not only made the Tallis Scholars a household name, but effectively led the way to today's great wave of exceptional mixed-voice choirs. Alison Stamp is faultless in the exceptionally testing soprano solo - top Cs and all - while, with the choir and solo quartet placed some distance apart, the perfect acoustic of Merton College Chapel is captured to perfection by Gimell.
Chosen by BBC Music Magazine as one of the 50 Greatest Recordings of all time and widely regarded as the finest recording of Allegri's Miserere, this landmark recording made on 22nd March 1980 in Merton College Chapel, Oxford, set new standards for the performance and recording of unaccompanied sacred music.
CD Gimell 639
All of the voices are angelic
They're all beautiful. I didn't previously understand that there could be such variation yet they are very different renditions of the same piece. They're all fantastic.
Most of the versions are really brilliant, I choosed three of them : The Choir of Clare College, Josephine Stephenson with Nigel Short and The Byrd Ensemble, in that order .. those versions are astounding
Appreciate the effort for making this compilation. --- The Marian Consort have an interesting video on their RUclips channel, titled "how Allegri's Miserere should really sound", where the evolution of the work (the section including this famous "top C", in particular) is explained in comparison --from Allegri's original version to 20th century. After all, the "top C" is supposed to be the result of a simple _mistake._
Hats off to everyone who attempts this id love to be able to do it .
We needed them all...Blessings!
The helium one is unbeatable
I heard many years ago that choirmasters would only decide which choirboy would take that role immediately before a performance, to reduce pre-performance nerves.
My favorite ones are definitly the ones from nigel short, 02:45 and 03:10, something about the vibrato the lady brings in just sounds to beautiful, also she sings it right out and with more power, shes not hiding and thats what makes it for me. Tennebrae as a whole and the singers at called 3 minute mark are on one and the same step for me.
Great compilation thanks ! They deserve several listenings to choose :) !
Best one: The Sixteen 2010 and Tenebrae - (please also include the version of VOCES8)
Tenebrae
This was just fantastic. I suffer from very poor memory and retention so by the time I switch to a new recording, even if I queue them all up in sequence, I’ve forgotten what I heard. Now I can listen back to back to a long list. It’s fascinating the interpretation of this short section in so many aspects. Thank you for compiling.
They are incredibly beautiful. ❤
The stunning vocal blend of Voces 8 and the exquisite voice of Andrea Haines is the best, imo, despite the fact that Voces 8 is not included in this wonderful compilation of this marvelous masterpiece. I loved all the selections and bravo to all the singers included in it. But what Andrea Haines is able to do is subdue and blend her thrilling tones into the tapestry of the group sound so that her high climactic ethereal note and descent is an unforced part of the whole group sound and not punched as a separate high note. Just my opinion.
Actully they are all amazing... just WOW...
i LOVE this...ALWAYS get chills. to me is it so poignant, sad.