Piero Cappuccilli - Il Trovatore - Verdi tuning
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- Опубликовано: 29 сен 2024
- Piero Cappuccilli (baritone) demonstrates the difference between the scientific musical pitch of A=432 (the so-called "Verdi tuning") and the higher, unnatural pitch of A=440. In this example, he sings a part of "Il balen del suo sorriso" from "Il Trovatore" by Giuseppe Verdi.
In this aria, the baritone is forced by high tuning to incorrectly pass the register before the E-natural, as a result of the effort on his vocal cords. Cappuccilli gives this example twice, first singing with the piano tuned to A=432, and not passing register, as Verdi wanted, and then with the piano tuned to A=440, indicating to the audience with his hand when the early passage occurred on E-flat. "Watch out for those E-flats," he said before singing it.
Recorded at the Schiller Institute conference on Tuning and Registration; Milan, Italy; April 9, 1988.
www.schillerins...
Excellent singing, an example to which today's baritones should aspire.
There are two problems with Piero Cappuccilli. First of all he never sings in San Francisco ( I had to go to Paris to hear him live ) Secondly he has three double consonants in his name. How can we be expected to spell that right?
Other than those two - he is just about the perfect Verdi baritone.
In the conservatory where I studied between 2012 an 2016 the pianos are in 460! (Adria. Veneto. Italy). I miss Maestro Verdi.😯
@@CristaSanti omg, really??? That's just crazy....
People who haven't sung opera for a living in big thetres can not identify the noticeble difference between 432 and 440. Certain parts of the mail voice (passagio) notices immediately the added tenssion in the vocal cords.
Keeping in mind that you don't sing only one note but many, and there is a muscular fatigue, especilly in the areas I mentioned before.
If after singing his whole life Cappuccilli notices, who is anybody to say the opposite?
Excellent singing an example for today's baritones to aspire to.
A: 432 0:39 MIb al 2o registro, generoso, bello, sfogato, senza sforzo,a gola aperta come voleva Verdi
A: 440 2:32 Mib costretta alla ....3 marcia (se no guai alle corde.....) bella rotonda ma da Mi nat. e non come voleva e scriveva per un Mib Verdi.
E questione di estetica e di salute vocale.
Bravo Cappuccilli . Viva il 432 !! Rispetto alla voce umana!
I have to say that this makes sense especially for a young spinto tenor like myself... it's no WONDER that as I move into this rep that the challenges become more and more frequent. The composers who wrote this music had a very fundamental knowledge of singing and of the colors created at certain pasaggio points. They have forgotten more than we will ever know about this.
It is passing clear that this must change for singing to return to it's fundamental expressiveness.
Thank you for posting!
What a revelation! I am not surprised that Tebaldi was on the panel, because there are interviews on youtube where she laments the decay of vocal performance practice - which she connects to the modern chase for "brilliance" which has infected tuning of orchestras in the modern age and damaged voices. This must represent one of the great tragedies of music post-WWII. When I last had my quite old and dilapidated Bechstein tuned, the piano technician asked me if I wanted A-440 or higher!
It's a big difference for the voice definitely. So much easier and the voice is more full at 432 definitely. I wish the classical world of music comes back to 432 or at least 435, it would much better for the singers and overall for the entire performance.
Amazing difference. I always knew it in my body that something was terribly wrong with this higher tuning. I hear it clearly.
@pepeelsordo Nor did Schwarzkopf, or Victoria de los Angeles, or Tebaldi, or Kathleen Ferrier, or Kirsten Flagstad!!!
Musical performance culture has become really twisted with a search for brilliance that ends up in the higher you can scream, the better you are. Now how interesting are the two arias of the Queen of the Night in Zauberflöte in the long run? And lots of singers who have little else to offer can bop those high F's briefly - and who cares? Maybe a bunch of Freemasons.
Who are you to speak for millions of people who haven't sung opera?...and in a LARGE theater? What does that have to do with it? What about non-opera singers who sing classical? What about people who don't sing but can hear the difference? Like me.... That was such an ignorant statement you made.
@lamusicahera And thank you for your ears and your taste - since you are probably younger than I (56 and counting)! Every time that I write a positive comment about the real Verdi voices or the real Verismo voices on RUclips, I get negative replies. And the Spinto voices are just as important, and they hardly exist anymore. As for these singers who only sound OK if a microphone is put down their throats, I say give real singers a chance to perform. THANK YOU FOR YOUR COMMENT!
PIERO CAPPUCCILLI che dire...basta il nome.Il meglio del meglio.
L unico in grado di far capIre l importanza del LA VERDIANO con una facilità disarmante.Gli è bastato togliersi la giacca.MITO che è già LEGGENDA
A quell epoca nn erano in voga come oggi i condizionatori.. Siamo nel 1988 circa
The "unnatural pitch" is about a quater tone higher. It does make it harder to sing, but we've been trained to sing at 440. Years ago I did a Messiah at "Baroque tuning" and felt like i was singing flat the entire night. I don't have perfect pitch, but it just didn't "feel" right. To be a Verdi baritone today you almost need to be a Heldentenor with less lownotes. Thanks for sharing this.
I understand that "baroque tuning" felt like singing flat for you.. I think modern Baroque tuning is 415Hz or a miniscule lower than a half note below modern A.
Baroque tuning probably fits better with a singer in the next lower vocal fach than you..
I have sung high in 440Hz tuning all my life but never felt it was "home",, recently discovered microtuning and trying 435Hz was like "wow, where have you been all my life":. Not to bright not to dark.. At home 432Hz is nice but in a rock band setting,, the small lift at 435Hz works better to cut through on your chest notes.. but requires a little transitioning at the passaggios,, but not a brutal as at 440Hz...
It's roughly a semitone. I sang the Laudamus Te in performances of Bach's B Minor Mass at flat pitch and when counter tenors wouldn't sing it! You just have to get on with it, and out of tune organs all over the world if you sing with them. They're rarely at 440.
Yes, it's her. She was a great supporter of the initiative to lower the pitch.
This conference at the Casa Verdi in 1988 started the Schiller Institute campaign to go back to Verdi tuning
DarlasBoy: I am sorry you felt insulted. I agree with you in that also concert singers or any singer who sings in a classical way will notice the difference. I should have included all singers who attempt to sing without amplification.
Anyway, why is it so easy to say things like 'ignorant" without having the person in front of you? There is no need. We are talking about an art with both love and practice. I can be wrong but I tell you ignorant about singing classical I am not.
Watch this new video on the Return of the Verdi Tuning! watch?v=9RUqa3gVC6I
Nel secondo caso, 2:35-2:40 Cappuccilli giustamente dice CHE PALLE !!!
Yes, I don't have easy high notes, eather!
@lamusicahera YES!
All this is extremely exaggerated and historically incorrect. Even in Verdi's times, the pitch varied from A=432 to A=450. An international committee (in which Arrigo Boito participated among others) then set a standard of A=435.
Anyway, the differences between A=435 and A=440 cannot be heard unless you have a specially trained ear. Cappuccilli's examples are, well... charlatanry. Venti scudi, Dr. Quack.
there is a difference between 435Hz and 440Hz.. Is called ~ 20 cents and for a singer I can tell you that it can be felt in the throat when you sing.. The resonance of 440Hz do not suit my voice... I have to do the early transition and most middle register notes has this weird tense unnatural high placement..
I have done multiple experiments at home with a tone generator,, When you hit 432Hz for A4, the D#4 stays in my middle register and E4 in pop/rock setting can be sung within with a "pulled chest" wihout feeling it hurts the throat.. Do that E4 note without changing to head register and you will loose your voice in 440Hz tuning...
In my own vocal experiments.. 435Hz (-20 cents) is the highest I feel comftable with before the register shift starts to get to noticable.. 438Hz is stll ok (singing with a lighter weight).. but above 440Hz and the register is shfted to high..
Well, at least you're not an international star and can cope like the rest of us have to do!
It can be heard because music in 440 sounds unpleasant for the listener after roughly 30 minutes. The short examples are therefore not so striking. Verdi uttered his will (432 Hertz) late in his life. 450 is also a nice sounding tuning just as 432. Also 441 can make sense. 4 plus 5 plus 0 is 9! That is also the case with 432, 441, 450 and also with 405, 414, 423. In general an A maybe can be seen as 405, 414, 423, 432, 441 or even 450 Hertz. But it should never be higher than 450. But for me the Verdi A (432) is the most convincing. In the lower octaves this 432 A also includes the number 9. (216, 108, 54, 27)