Thanks a million for the pitch correction. Remember the times when almost every tenor alive could sing Celeste Aida with EASE? Even some who didn’t have a “Radames” voice could still successfully sing the aria. Today?? Ewww. In Bing’s last Met seasons he had Bergonzi, Vickers, Corelli, Tucker, Domingo, Thomas and McCracken! Sheesh. Today we have _______.
One of the most inspired proponents of his art. He made up for a lack of vocal beauty with overwhelming artistry and impeccable musical taste. The slow tempo is deeply satisfying, giving us time to take in every nuance of the song. No fear of running out of breath here!!! He never sings a series of notes- he sings a song.
@@Tkimba2 You seem to disagree with Joshua, otherwise you wouldn't have commented as you did. By disagreeing you too judge a singer, and you judge him based on his recordings. Don't tell me you were born before the first war and have heard him live.
@@Tkimba2 , io non lo trovo molto gradevole e musicale...il suono mi pare ballerino come quella della Olivero e il timbro un po' qualunque. Non poteva essere l'erede al Met di Caruso. Gli americani esagerano sempre. Ciao.
@@Saavedra99 no I'm not disagreeing. Did I say his voice is beautiful? Just saying you can judge musicality, intonation, (partly) technique, expression, style, but certainly not vocal beauty from a 90 years old recording
@@Tkimba2 This is how I understood you comment. Joshua wrote about lack of vocal beauty and the tone of your comment read like you were taking him to task for his opinion. I agree you can JUDGE "musicality, intonation, (partly) technique, expression, style" from a recording, I disagree you can't form an OPINION about vocal beauty, but vocal beauty is to a certain extent a matter of personal taste.
In older age he became very declamatory and choppy. This to me is magnificent. The continuous legato line, the technique to get through the phrase ‘Celeste Aida’ without flatting (as even Corelli sometimes did), the squillo of his top notes - and I like very much his noble bearing, so unlike the vulgar displays directors force on singers today. This is great Italian singing.
This should be required viewing for anyone studying singing in today's superficial world. Watch him work. His breath technique is visible for all to see.This is the foundation of singing and it seems it's becoming a lost art.
A pity that Martinelli had not been singing OTELLO at this time rather than some 8 years later. He had his reasons, I’m sure, but what a difference it would have made. Here,in 1929, Martinelli was an experienced singer with a fresh & less pressurized tone production & mature enough, being in his mid 40s, to have performed the Moor with total distinction, IMO, & been the definitive OTELLO at this time.
petergraham8681...quite possibly, he could have sung Otello in '29. However Martinelli shrewdly wanted to ensure the longevity of his vocal power....and therefore waited until he was 52, in 1937 , to sing his first OTELLO at the Met( my paternal grandparents had the good fortune of hearing him in this role , live, in 1940....and received autographs from him AND Elisabeth Rethberg ) He sang his final Otello in Philadelphia in 1948....at age 63❤
Die Karriere von Giovanni Martinelli war auch wegen der beispiellosen Robustheit seiner Stimme legendär. Dauer und Umfang seiner Weltkarriere sind einsame Spitze. Die vorliegende Tonaufzeichnung stellt eine kraftvolle Interpretation heraus - der lyrische Schmelz kommt etwas zu kurz, was der psychologischen Deutung der Arie schadet. Heute kann man von den Vorzügen eines Sängers mit diesen Qualitäten allerdings nur träumen, der im Allgemeinen auch wegen seines lyrisch-dramatischen Vermögens gelobt wird.
Un altro Radames che adoro, e che è il mio Radames preferito tra quelli in disco, è Pertile. Chi mi conosce bene sa che ho una vera e propria venerazione per lo stile e la recitazione di Pertile, ma trovo che Martinelli avesse più voce del collega e amico or ora menzionato.
@@GiovanniGGori Nella storia della lirica Pertile non era noto per la bellezza della sua voce . In verità Pertile cantava con una vocalità fonogenica grazie alla quale e il suo modo di interpretare raffinato a volte toccando la perfezione artistica ha realizzato delle registrazioni di una bellezza rara. La verità è che molti Tenori avevano delle voci molto più belle della voce di Pertile, questo fatto non toglie niente della grandezza di questo Artista .
@@bodiloto Pertile always gives me the impression of endless power held in check -he seems never to be pushing his voice .And he was the teacher of the great Virginia Zeani who is now still teaching in her 90's passing on a chain. of art from generation to generation.
Nonostante gli oltre 30 anni di carriera in America, molte recite al Met, non ha mai raggiunto la popolarita' che hanno avuto negli States Caruso e Gigli.
I put my version of "Celeste Aida,my best,karifrid" on youtube... I get some bad (and impolite) comments, some saying I am too bright for the role... Some people say Martinelli was too bright for for some of his roles, but HE HAD A LONG CARRIERE... Today, tenors must be "dark" to sing Radames ? I still have a fine High C, 60 years old, for Manrico or Radames... Am I too bright ? Videos of me singing Di quella pira and Che gelida manina up to High C... Perhaps my best video is Icelandic song, Hamraborgin karifrid, High C version... (I am the only tenor singing it HIGHER than written, only up to high B natural...) I know nine tenor roles by hearth.....
trrill And Hammerstein's is still standing at approx. 33d St. nr. Eighth Avenue -- now it has another name and function but it's still there. It hosted some of the greatest singers of the early 20th century so it's well worth having a look.
It's notorious amongst vintage film buffs as to how cheap "opera aficionados" are in regard to bemoaning the quality of Vitaphone shorts and yet not donating towards their preservation. Probably the same trogs who worship James Levine. Effite whiners.
Thanks a million for the pitch correction. Remember the times when almost every tenor alive could sing Celeste Aida with EASE? Even some who didn’t have a “Radames” voice could still successfully sing the aria. Today?? Ewww.
In Bing’s last Met seasons he had Bergonzi, Vickers, Corelli, Tucker, Domingo, Thomas and McCracken! Sheesh. Today we have _______.
lol kaufmann
Amazing breath control
Remarkable breath control. I love the slower tempo. A true artist.
One of the most inspired proponents of his art. He made up for a lack of vocal beauty with overwhelming artistry and impeccable musical taste. The slow tempo is deeply satisfying, giving us time to take in every nuance of the song. No fear of running out of breath here!!! He never sings a series of notes- he sings a song.
What are you talking about? Lack of vocal beauty? Have you hard him live? That's the only way you can judge vocal beauty
@@Tkimba2 You seem to disagree with Joshua, otherwise you wouldn't have commented as you did. By disagreeing you too judge a singer, and you judge him based on his recordings. Don't tell me you were born before the first war and have heard him live.
@@Tkimba2 , io non lo trovo molto gradevole e musicale...il suono mi pare ballerino come quella della Olivero e il timbro un po' qualunque. Non poteva essere l'erede al Met di Caruso. Gli americani esagerano sempre. Ciao.
@@Saavedra99 no I'm not disagreeing. Did I say his voice is beautiful?
Just saying you can judge musicality, intonation, (partly) technique, expression, style, but certainly not vocal beauty from a 90 years old recording
@@Tkimba2 This is how I understood you comment. Joshua wrote about lack of vocal beauty and the tone of your comment read like you were taking him to task for his opinion.
I agree you can JUDGE "musicality, intonation, (partly) technique, expression, style" from a recording, I disagree you can't form an OPINION about vocal beauty, but vocal beauty is to a certain extent a matter of personal taste.
Bravissimo! Un grande!
thanks for taking tie time to correct the sound. what a big voicethat must have taken some heavy lifting to sing these arias!
In older age he became very declamatory and choppy. This to me is magnificent. The continuous legato line, the technique to get through the phrase ‘Celeste Aida’ without flatting (as even Corelli sometimes did), the squillo of his top notes - and I like very much his noble bearing, so unlike the vulgar displays directors force on singers today. This is great Italian singing.
Agree, yes!
he had better technique than corellli. more warm, healthy and easy flowing sound
This should be required viewing for anyone studying singing in today's superficial world. Watch him work. His breath technique is visible for all to see.This is the foundation of singing and it seems it's becoming a lost art.
❤Брависсимо ...❤
So great
in speaking of these films, he mentioned the semaphore style of gestures, but it was
probably just the way he did it on stage
Just wonderful 👏
EINE DER BESTEN AUFNAHMEN DIESER ARIE
loved it!
A pity that Martinelli had not been singing OTELLO at this time rather than some 8 years later. He had his reasons, I’m sure, but what a difference it would have made. Here,in 1929, Martinelli was an experienced singer with a fresh & less pressurized tone production & mature enough, being in his mid 40s, to have performed the Moor with total distinction, IMO, & been the definitive OTELLO at this time.
petergraham8681...quite possibly, he could have sung Otello in '29.
However Martinelli shrewdly wanted to ensure the longevity of his vocal power....and therefore waited until he was 52, in 1937 , to sing his first OTELLO at the Met( my paternal grandparents had the good fortune of hearing him in this role , live, in 1940....and received autographs from him AND Elisabeth Rethberg )
He sang his final Otello in Philadelphia in 1948....at age 63❤
Thank you so much!!!!
The WB shield logo is neat with studio building on top.
Die Karriere von Giovanni Martinelli war auch wegen der beispiellosen Robustheit seiner Stimme legendär. Dauer und Umfang seiner Weltkarriere sind einsame Spitze. Die vorliegende Tonaufzeichnung stellt eine kraftvolle Interpretation heraus - der lyrische Schmelz kommt etwas zu kurz, was der psychologischen Deutung der Arie schadet. Heute kann man von den Vorzügen eines Sängers mit diesen Qualitäten allerdings nur träumen, der im Allgemeinen auch wegen seines lyrisch-dramatischen Vermögens gelobt wird.
magnifico .
Per me il miglior Radames in video.
Un altro Radames che adoro, e che è il mio Radames preferito tra quelli in disco, è Pertile.
Chi mi conosce bene sa che ho una vera e propria venerazione per lo stile e la recitazione di Pertile, ma trovo che Martinelli avesse più voce del collega e amico or ora menzionato.
@@GiovanniGGori
Nella storia della lirica Pertile non era noto per la bellezza della sua voce .
In verità Pertile cantava con una vocalità fonogenica grazie alla quale e il suo modo di interpretare raffinato a volte toccando la perfezione artistica ha realizzato delle registrazioni di una bellezza rara.
La verità è che molti Tenori avevano delle voci molto più belle della voce di Pertile, questo fatto non toglie niente della grandezza di questo Artista .
@@bodiloto Pertile always gives me the impression of endless power held in check -he seems never to be pushing his voice .And he was the teacher of the great Virginia Zeani who is now still teaching in her 90's passing on a chain. of art from generation to generation.
Wonderful tenor, Bravo!
Meraviglioso!!!!
Immensely exciting.
Uno dei più grandi tenori di sempre!!
Uno dei 459 migliori tenori di sempre…
great tenor
Meglio dell'edizione del 1926 ! È tutto dire.
Nonostante gli oltre 30 anni di carriera in America, molte recite al Met, non ha mai raggiunto la popolarita' che hanno avuto negli States Caruso e Gigli.
@@e.g.8454 Chissà perché… Terribile, datatissimo.
I put my version of "Celeste Aida,my best,karifrid" on youtube... I get some bad (and impolite) comments, some saying I am too bright for the role... Some people say Martinelli was too bright for for some of his roles, but HE HAD A LONG CARRIERE...
Today, tenors must be "dark" to sing Radames ?
I still have a fine High C, 60 years old, for Manrico or Radames... Am I too bright ? Videos of me singing Di quella pira and Che gelida manina up to High C... Perhaps my best video is Icelandic song, Hamraborgin karifrid, High C version... (I am the only tenor singing it HIGHER than written, only up to high B natural...) I know nine tenor roles by hearth.....
Bella voce davvero ma come attore, ohi,ohi!
A me la recitazione non dispiace.
Datatissimo, era già improponibile all’epoca.
Was für eine Stimme!!
I'm not sure where they filmed this. On the Met stage? Met orchestra?
ciroalb3 The stage of Hammerstein’s Manhattan Opera house.
trrill And Hammerstein's is still standing at approx. 33d St. nr. Eighth Avenue -- now it has another name and function but it's still there. It hosted some of the greatest singers of the early 20th century so it's well worth having a look.
Bidzina Savanelli
That is a Radames
It's notorious amongst vintage film buffs as to how cheap "opera aficionados" are in regard to bemoaning the quality of Vitaphone shorts and yet not donating towards their preservation. Probably the same trogs who worship James Levine. Effite whiners.