Un gigante che canta l'opera più bella di VERDI, dove ogni nota è messa al posto giusto per descivere il dramma di un padre che vuole proteggere la figlia dal predatore di turno. Qui TITTA RUFFO è immenso, da considerare le registrazioni dell'epoca che non rendono giustizia alla grandiosità di questo artista!!!!!
We are studiyng singing with my wife. And she didn't know, that it can be exciting to listen to opera singer. I told her that real singing is better than rock concert.
It's true. Great opera singers convey overwhelming emotions, doesn't matter if we don't understand what they say. I remember the first time I listen Evgeny Belov and Sergei Lemeshev singing Onegin, I couldn't understand what they said but it was amazing... Enjoy your singing, it's indeed a magical experience.
Callas famously sang the best version of this aria I have heard in one of her masterclasses. Her interpretation of someone who is trying to contain rage and oscillates between deference, humiliation and violent desire of ripping them appart is extremely accurate.
Buenos días Sr. Bodiloto. Discúlpeme por favor, podría Ud decirme (en pocas palabras) si hay algún barítono contemporáneo que le guste a Ud? En mi provincia es muy difícil encontrar música de ópera. Muchas gracias!
@@BaroneVitellioScarpia1 , si, e' proprio così. A furia di studiare il 700 e Mozart la voce si e' alzata e non esistono piu' baritoni e contralti...e anche i bassi latitano.
Wow! ... I am sorry (b)atistini lovers... he is good but not even CLOSE to the beauty and power and character of Ruffo ... this recording is yet another miracle.
How stupid of me i meant to say that R. sang too much on the principle of his voice rather than the interest! My late friend Solon Alberti who played for him on tour said he was horribly nervous before each performance ---la voce male no cantare he would say. Then Alberti had an idea he said to him Maestro just go out and sing ONE song--if you dont like it we will cancel the show..Well after that one song Alberti said you couldn t get him OFF the stage!! He loved to sing and loved the sound of his voice and often pushed it to the limit just to see what he could get out of it. Too often unfortunately for his career but in a way fortunate for all of us who can hear a phenomenon like him in 2015. I have been listening and going to the opera since 1959 ive never heared a voice that come anywhere close to his. That snarl always in the tone is incomparable!!
All the comments in English below are totally erroneous! Are you sure you heard this posting>>?? Ruffo was just reaching his peak when this was recorded--his best years were between 1910 and 1916--too much singing on the interest of the voice rather than the principal. By the mid twenties he was pretty well shredded--the last big thing he did was sing for the opening of Radio City Music Hall. For those of you who have commented on his lack of flexibility i refer you to the recordings he made from Rigoletto with Marisa Galvany--i havent heard anything like this at the Met and ive been going since the late 60s.
Je n'en suis qu'au récitatif mais c'est déjà excellent,un personnage parfaitement compris.....Glups!..C'est quoi cette coupure?...Bon!..... figliaaaaaaaaa.....a meeeeeeee..huhu...L'excès en toute chose n'est jamais bon,et là ,'celà fait perdre toute crédibilité.Ah,ces chanteurs italiens!...C'est Verdi qui aurait été content!!!Sinon,une voix dont le moule semble cassé depuis bien lontemps et dont on cherche encore les morceaux!
yes a big hurricane of a voice very impressive but for me the greatest baritone is of course Mattia Battistini, the "Glory of Italy", who outlasted Ruffo and was older then Ruffo.
Battistini was great but he was representative of the old guard much like de Lucia was to caruso. Great singers not willing (or able?) To demonstrate the feelings of the age, that is to say, verismo.
You should get a operatic dictionary and look up the definition of tenore and baritone. When people don't have anything intelligent to say they should just be quiet.
@@bodiloto технически он может и превосходит Gobbi и диапазон шире, но исполняет, выпевая каждую фразу, как на экзамене, а голос Гобби льется легко без вдохов и придыханий, да и артистизма больше.
Ruffo had an astounding voice and was a great singer. But in my book, there have only been two baritones in history whose singing is almost always faultless: Gobbi and Tibbett (though Gobbi had more vocal weaknesses of course). Ruffo's tempo is often too slow for me (as it is in some parts here), and he did not have nearly the freedom of voice that Tibbett had. He often sounds stiff when changing tempos and emotions. Still, he's obviously better though than almost anyone else.
@@falkfink Bastianini had a glorious voice, and was a perfectly fine singer. I put him in the same class as Merrill -- singers who sing everything musically and without faults, but without individuality, and with no matching of emotions to the particular aria or scene. For Gobbi and Tibbett, every word of the "Credo" expresses the sinister evil of someone who is thrilled by his ability to twist the knife into his colleague while making him think he really cares for him. I don't get that feeling when Merrill or Bastianini sings it. For them it is simply wonderful music sung by a glorious singer.
@@lsmart. Gobbi was a great actor. You did not need to tell him how the certain role should look and sound on stage. His voice however, was smaller than Bastianini, Merrill, Warren or Nicolae Herlea.
@@johnfalstaff2270 But his great acting was so effective because it reflected the great "acting" in his singing as well, as was the case for Tibbett. In other words, each aria for them is not just a musical line of notes, but also the telling of a story. Thus, each group of notes in an aria must also express the evolving emotions of the story by modulations in volume, tempo, and emotions. When you hear Bastiannini or Merrill singing Iago's Credo, you hear a wonderful musical piece. When Tibbett or Gobbi sings it you hear an evil and sinister man gleefully and malevolently planning his dastardly act and fantasizing about watching his poison do its job on Othello. The only difference is that the effect of the storytelling and the joy of listening to it is less for Gobbi due to the lesser beauty and power of his sound, whereas Tibbett's voice literally radiates with drama.
Un gigante che canta l'opera più bella di VERDI, dove ogni nota è messa al posto giusto per descivere il dramma di un padre che vuole proteggere la figlia dal predatore di turno. Qui TITTA RUFFO è immenso, da considerare le registrazioni dell'epoca che non rendono giustizia alla grandiosità di questo artista!!!!!
He is the KING of all baritones and always will be.
I agree.
Ruffo era un baritono eccezionale. Lo ricordo perchè fin da bambino seguivo le opere e principalmente perchè sono un ultranovantenne.
In coppia con Caruso si sono invertito iil ruolo, e il pubblico non se ne accorse. Anche io ho superato i 90!
@@raffaelericci7691 Complimenti ad entrambi...e amanti del bel canto :-)
@@raffaelericci7691 complimenti a tutti e due: si vede che la lirica fa bene! Auguri,!
Comunque Caruso e Titta Ruffo hanno cantato pochissime volte assieme. Una credo a Buenos Aires.
Stunning voice and stunning technique. A Golden Age indeed. Even Verdi would have swooned! 🙌🙏🙌🙏
un gigante!
Люди, слушайте!!! Это ведёт к ВЕЧНОЙ Жизни
Sin lugar a dudas uno de los más grande barítono de toda la historia ,ese fué TITTA RUFFO
Grandioso ! ! ! ESPECTACULAR ! ! ! UNICO * * * * * ......
Человек-это воистину создание Божие. Но все об этом забыли. Божественно..
Bravo!!!!!!!! Grande Maestro!!!!
Восхитительно! Бесподобно! ❤❤❤
Dark gold... how grand!!!
BRAVO TITTA!!!!
We are studiyng singing with my wife. And she didn't know, that it can be exciting to listen to opera singer. I told her that real singing is better than rock concert.
It's true. Great opera singers convey overwhelming emotions, doesn't matter if we don't understand what they say. I remember the first time I listen Evgeny Belov and Sergei Lemeshev singing Onegin, I couldn't understand what they said but it was amazing... Enjoy your singing, it's indeed a magical experience.
I was a mere child of 9 years when I heard Caballé live. I had not idea what the arias meant but I was moved to tears.
Meraviglioso!!!!
ASSOLUTAMENTE INSUPERABILE,PERFETTO!!!
Futuribaritoni se siete capace superatelo ho i miei dubbi grandissimo 🎉🎉
Just listened to Quin Kelsey with MET NY recently and notice a great drop in operatic standards from then and now.
I think we don't have any standards now... :(
grandioso
Merveilleux.Merci!
Très belle pièce d'anthologie ...
Merci Comte .
Callas famously sang the best version of this aria I have heard in one of her masterclasses. Her interpretation of someone who is trying to contain rage and oscillates between deference, humiliation and violent desire of ripping them appart is extremely accurate.
Interesting that the page is a male in this version (well, a grown male). But absolutely glorious singing by Ruffo, it's really captivating.
divino .
Buenos días Sr. Bodiloto.
Discúlpeme por favor, podría Ud decirme (en pocas palabras) si hay algún barítono contemporáneo que le guste a Ud? En mi provincia es muy difícil encontrar música de ópera.
Muchas gracias!
@@noemigonzalezm.2365
Nikolos Lagvilava e Amartuvshin .
Giovani baritoni promettenti.
Buon ascolto !
👍
@@bodiloto
Hola Se. Bodiloto.
Muchas gracias por su respuesta! Ya estuve escuchando a los barítonos y me encantaron!
Saludos afectuosos!
@@bodiloto
Muy buon ascolto !!!!
@Barone Vitellio Scarpia
Buenos días Sr. Vitellio.
Muchas gracias por su información!
Saludos afectuosos!
Un leone della lirica.
Quasi tutti i giorni passo davanti alla villa di Titta Ruffo...con la torretta...e' stata una grande voce. Oggi che baritoni ci tocca ascoltare?
@@fabriziogarzi9892 I baritoni di oggi sono in realtà tenori corti
@@BaroneVitellioScarpia1 , si, e' proprio così. A furia di studiare il 700 e Mozart la voce si e' alzata e non esistono piu' baritoni e contralti...e anche i bassi latitano.
❤🧡💛💚💙💜
Thanks for posting
Wow! ... I am sorry (b)atistini lovers... he is good but not even CLOSE to the beauty and power and character of Ruffo ... this recording is yet another miracle.
He was not a voice, but a miracle. If you want to find the The Golden Age baritone, lissen to Riccardo Stracciari !
I love Stracciari, but I prefer Ruffo.
@Barone Vitellio Scarpia Yes!
IMPOSSIBLE!!!!!!
❤️❤️❤️
Come on cornell mac neil did it night after night at the met....milnes ....merrill...!
How stupid of me i meant to say that R. sang too much on the principle of his voice rather than the interest! My late friend Solon Alberti who played for him on tour said he was horribly nervous before each performance ---la voce male no cantare he would say. Then Alberti had an idea he said to him Maestro just go out and sing ONE song--if you dont like it we will cancel the show..Well after that one song Alberti said you couldn t get him OFF the stage!! He loved to sing and loved the sound of his voice and often pushed it to the limit just to see what he could get out of it. Too often unfortunately for his career but in a way fortunate for all of us who can hear a phenomenon like him in 2015. I have been listening and going to the opera since 1959 ive never heared a voice that come anywhere close to his. That snarl always in the tone is incomparable!!
Люблю Риголетто.
Solo Bechi e Bastianini possono competere con la malinconia della sua voce.
❤❤❤❤❤❤❤❤
All the comments in English below are totally erroneous! Are you sure you heard this posting>>?? Ruffo was just reaching his peak when this was recorded--his best years were between 1910 and 1916--too much singing on the interest of the voice rather than the principal. By the mid twenties he was pretty well shredded--the last big thing he did was sing for the opening of Radio City Music Hall. For those of you who have commented on his lack of flexibility i refer you to the recordings he made from Rigoletto with Marisa Galvany--i havent heard anything like this at the Met and ive been going since the late 60s.
Iwould hate like hell to call it between Ruffo and Cappucilli.
Le voci di inizio 1900. Peccato per i mezzi di registrazione di allora.
2:21, Cortigiani
GIGANTISCH
He had highC it's true
Warren had a High D.
Macneil had high C sharp and Warren had high D.
Не голос, а оркестр из баритонов!
voce di leone
Comparing Ruffo with others is like comparing Verdi with today's shithead composes!
!!!!!
The Bergonzi of baritones.
No bergonzi was flawless,smooth and class,elegant,ruffo was great,but others were as good,gran forte,straciari,
Eppure a quanto ho letto il suo ruolo preferito era l’Hamlet di Thomas
Je n'en suis qu'au récitatif mais c'est déjà excellent,un personnage parfaitement compris.....Glups!..C'est quoi cette coupure?...Bon!..... figliaaaaaaaaa.....a meeeeeeee..huhu...L'excès en toute chose n'est jamais bon,et là ,'celà fait perdre toute crédibilité.Ah,ces chanteurs italiens!...C'est Verdi qui aurait été content!!!Sinon,une voix dont le moule semble cassé depuis bien lontemps et dont on cherche encore les morceaux!
yes a big hurricane of a voice very impressive but for me the greatest baritone is of course Mattia Battistini, the "Glory of Italy", who outlasted Ruffo and was older then Ruffo.
True
Battistini was great but he was representative of the old guard much like de Lucia was to caruso. Great singers not willing (or able?) To demonstrate the feelings of the age, that is to say, verismo.
You cant compare a lyric battistini who i adore with ruffo they were 2 totally different sounds,like comparing del monaco to gigli .....
@@amantedellopera1681. Most comments here show that people do not know what they are talking about.
@@johnfalstaff2270 yes agreed,especially the ones who think domingo is a great baritone 🤣🤣🤣
You should get a operatic dictionary and look up the definition of tenore and baritone. When people don't have anything intelligent to say they should just be quiet.
Звук...
Запись 1907 года. Это вам не шутка!
1: TITO GOBBI, , RUFFO
Гобби мощнее исполняет эту партию, драматичнее, до слез
Galina Markova
Зто не правда .
1 Тита Руфо= 10 Гобби .
С уважением
старик
@@bodiloto технически он может и превосходит Gobbi и диапазон шире, но исполняет, выпевая каждую фразу, как на экзамене, а голос Гобби льется легко без вдохов и придыханий, да и артистизма больше.
В своём уме! Где Гобби !? Руффо природный феномен!
Природа ещё не родила подобного певца как Руффо!
@@ОлегКовтуненко-о9с природа не родит и такого как Гобби.
Ruffo had an astounding voice and was a great singer. But in my book, there have only been two baritones in history whose singing is almost always faultless: Gobbi and Tibbett (though Gobbi had more vocal weaknesses of course). Ruffo's tempo is often too slow for me (as it is in some parts here), and he did not have nearly the freedom of voice that Tibbett had. He often sounds stiff when changing tempos and emotions. Still, he's obviously better though than almost anyone else.
What about bastianini?
@@falkfink Bastianini had a glorious voice, and was a perfectly fine singer. I put him in the same class as Merrill -- singers who sing everything musically and without faults, but without individuality, and with no matching of emotions to the particular aria or scene. For Gobbi and Tibbett, every word of the "Credo" expresses the sinister evil of someone who is thrilled by his ability to twist the knife into his colleague while making him think he really cares for him. I don't get that feeling when Merrill or Bastianini sings it. For them it is simply wonderful music sung by a glorious singer.
@@lsmart as much as I love bastianini, I can't disagree with that. Great reasoning.
@@lsmart. Gobbi was a great actor. You did not need to tell him how the certain role should look and sound on stage. His voice however, was smaller than Bastianini, Merrill, Warren or Nicolae Herlea.
@@johnfalstaff2270 But his great acting was so effective because it reflected the great "acting" in his singing as well, as was the case for Tibbett. In other words, each aria for them is not just a musical line of notes, but also the telling of a story. Thus, each group of notes in an aria must also express the evolving emotions of the story by modulations in volume, tempo, and emotions. When you hear Bastiannini or Merrill singing Iago's Credo, you hear a wonderful musical piece. When Tibbett or Gobbi sings it you hear an evil and sinister man gleefully and malevolently planning his dastardly act and fantasizing about watching his poison do its job on Othello. The only difference is that the effect of the storytelling and the joy of listening to it is less for Gobbi due to the lesser beauty and power of his sound, whereas Tibbett's voice literally radiates with drama.
Almost as good as Leonard Warren!