7:16 for a tenor high B. Giacomini was the greatest dramatic tenor who almost had a heldentenor range (C3 - B4) but he was no Wagnerian than he is a Verdian and Puccinian tenor.
@@jefolson6989 Sometimes they sing Otello and Radames but not all the Italian roles. French roles being Samson as well. But mostly Siegfried, Tristan etc.
@@bradleymonroe6443 the singers, yes. I mean the average tessitura of a Wagner role is not as high as Italian roles. Otello is the exception, which is why heldentenors often sing it. (Melchior, Ralf, Vinay, Etc) but it rarely goes the other way. ( King and Konya did both Wagner and Italian)
What a sweet and humble man! And a great singer!
Grande uomo e grande tenore
Grazie! Bravo grande Maestro
Never let Othello sing Rodolfo
BRAVO MAESTRO!
❤he did super Bohemes🎉this was a bad beginning❤🎉
Quante Veritate.
7:16 for a tenor high B. Giacomini was the greatest dramatic tenor who almost had a heldentenor range (C3 - B4) but he was no Wagnerian than he is a Verdian and Puccinian tenor.
He could manage the Italian tessitura. Helden tenors dont need it.
@@jefolson6989 Sometimes they sing Otello and Radames but not all the Italian roles. French roles being Samson as well. But mostly Siegfried, Tristan etc.
@@bradleymonroe6443 the singers, yes. I mean the average tessitura of a Wagner role is not as high as Italian roles. Otello is the exception, which is why heldentenors often sing it. (Melchior, Ralf, Vinay, Etc) but it rarely goes the other way. ( King and Konya did both Wagner and Italian)
This spoken voice is high pitched as compared to his sung voice. He does not seem to have a great control of the dynamics in this aria.
doug foote To have a dramatic tenor with THAT sound at age 70 sing this essentially lyric aria is already something of a miracle....