In his Metropolitan Opera radio broadcast debut in Faust, he attacked the high C forte and then softened to a pianissimo. Sir Rudolf Bing said in his memoirs, "The most spectacular single moment in my observation year had come when I heard his diminuendo on the high C in "Salut! demeure" in Faust: I shall never as long as I live forget the beauty of that sound".
Questa romanza fa capire al mondo intero che Di Stefano è stato il più grande tenore di tutti i tempi. E tutto quello che è in lui è ciò che manca a gli altri colleghi.
A good singer is a gift to humanity. Mr. Di Stefano is a fine singer and that is good enough for us. Here, he sings nicely; actually, very beautifully. Then, we have asininely picky people who don't know how to accept and enjoy the blessing of his singing. Let them have the life of miserable joy only in finding human faults and defects in fine singing.
Il sublime Pippo di Stefano!!! Grazie di averci donato queste irripetibili emozioni, che resteranno eternamente scolpite nei cuori,di chi ama il bel canto.
Sono d'accordo con chi sostiene, che con questa romanzata, l'immenso PIPPO d. STEFANO ha fatto la storia della lirica, e del sublime canto. PIPPO UNICO.
Giuseppe's version is the best. How he could hold that high C with such breath control. Amazing. Love it. P.S. His French diction is the best (no matter what others had said about the Italians).
@@SuperJasonable It's not falsetto, but a masterful coordination of the thyroarytenoid (chest) and crichothyroid (falsetto) muscles. It's almost impossible to control the dynamics of pure falsetto. In falsetto the TA muscle is relax and the vocal folds are parted at one end, with only the edges vibrating from the air pressure. By means of the thyroarytenoid muscle, the pitch is raised by stretching and thinning the vocal folds and lowered by shortening and relaxing the vocal folds. Pure falsetto will sound very hooty, owl-like, and airy, and can, due to the lacking overtones of the falsetto only be sung on the Italian vowels O and I. Since the vocal folds are apart in falsetto, the lowest note in falsetto requires very little air preassure (to not blow the relaxed vocal folds apart, or engage the TA muscle), and the ascending notes require increasingly higher air pressure to keep the edges of the increasingly longer, thinner, and more and more stretched vocal folds vibrating. The varying air pressure required results in the lowest falsetto note being very soft in dynamic and very airy, and the highest note being very loud and hooty. Subsequently, the only way to change the dynamics in falsetto is to sing a lower not for softer dynamic and a higher note for a louder dynamic. The only way for a tenor to sing a C5 in pianissimo is to use both muscles in coordination, where the main activity lies on the crichothyroid muscle, slightly assisted by the thyroarytenoid muscle. This gives the note a notable falsetto-like quality, and the vowel clarity of the chest voice. In conclusion, the fact that Di Stefano sings a C5 in pianissimo on a vowel that is neither O or I, is in itself proof that he is not singing in falsetto. Furthermore, it is impossible to engage or disengage one of the vocal muscles on a sustain note without creating a sudden and audible shift in timbre.
@@celibidache1000 What an Astonishing analysis of how Giuseppe di Stefano was capable of sustaining C5 in a 10-second diminuendo. I am a Voice student at Harper College, near Chicago, studying under a 15-year Veteran Basso from Lyric Opera of Chicago. Because-of my shortfall in Technique-singing, he wisely "spoonfeeds" to me morsels of the vast knowledge that you have presented, here. Whilst I feel obligated to Thank You, I still barely comprehend all of the physiological science that you outlined. In Practice, I am energized to work-toward the Miraculous. After all: What is a Life, without Hope ?? Cheers 🥂 & Blessings upon You.
Truly glorious, especually the astnishing High C at the end, with an almost impossible ethereal diminuendo. If not the best, then close, I have ever heard. I have a marvelous live recording of Di Dtefano and Callas, in Lucia, Teatro al Fenice, 1955. Di Stefano always can rise to the occasion when singing live. Bjorling was awesome also, his Salut recorded about 1938 glorious, but he often was a bit rough live as he suffered severe stage fright much of the time. Thanks for the posting!
Those modern tenors, so ashamed of themselves at hearing this glorious masterpiece. Probably a warning of them not to abuse this glorious aria ever again. That hate triggers ugly button down...
La romanza " Salut demeure chaste et pure" è ormai divenuto un classico dell'interpretazione di Giuseppe Di Stefano per la perfezione con cui viene eseguita e per gli acuti presi di petto e con forza e vengono assottigliati lungamente sino a divenire impercettibili, ma raccomando vivamente l'ascolto di tutta l'opera ( ascolto che spinse addirittura Toscanini a telefonare al tenore per complimentarsi).
Vera - Toscanini called Di Stefano's hotel room just before his 1947 debut at the Met. His comment, "Tell the Sicilian boy that I like the way he sings, he sings without affectation. "
OhMyWord; This is the most awesome rendering of this aria EVER. Rudolph Bing the GM of the Met was in attendance to hear this absolute masterpiece and on hearing Di Stefano's High C remarked. "The most beautiful sound i have ever heard" No one past or Present could handle a High C with such control,elegance and beauty as did DiStefano . Bravo Distefano.What a heavenly choir there must be Corelli,Caruso,DelMonaco,Bjorling and now DiStefano. Civileso TY for posting this,a true GEM.
Di Stefano did not know, that a morendo like this on the high C (from f to ppp) in the cavatina was impossible. So he just did it. I totaly agree with Sir Rudolf Bing: This is the most beautiful sound ever produced by a mortal creature. I have been told that Jussi Björling got nervous ticks, listening to this tone. He would never be able to reproduce it. Nevertheless Björling sang Faust at Mets Opening Night 1953 - not di Stefano.
...love your comment, "...did not know, that a morendo like this on the high C ...was impossible. So he just did it." I laughed and laughed, then realized, so true!
Andre, as long as other singers will make people cry as Di Stefano did, everything would be ok, but I really do not recall anybody with this ability in the last 100 years since we have got recordings. There are people who like his style and there are people who doesn't, but really there wasn't any singer like him, who gave us so much, in such a short career. I do not to compare singers because it doesn't make sense for me, everybody has different perception of sound of course; however, without this fantastic diminuendo this aria would be like any other regular lifeless interpretation, and that diminuendo makes this particular interpretation unique, and puts Di Stefano on the top, because almost every normally trained tenor can sing this aria, BUT so far only Di Stefano could thrill millions of people with his sound. And of course I like Sabbtini's version too(in general I like Sabbatini), but in my humble opinion it is only fraction and not very successful imitation of Di Stefano. Just one more thing, I trained for a tenor, however, never used my training, but I remember what my professor always said and I agree to that. She always said that singing is the extension of speech, and when we listen to most of contemporary singers we have impression that they try very hard to sing, and just listen to Di Stefano, he does't want to sing, he is speaking but we hear the singing, the sound just pour out of his mouth.
Dopo l'interpretazione di Di Stefano col suo incredibile diminuendo, gli altri tenori nel Faust hanno sempre avuto la sua ombra alle spalle....ma non c'é confronto, Qui Di Stefano ha fatto la storia della lirica.
In his early days di Stefano was matchless but he sang on well past his best and did not practice as he should .But this measure if his early greatness never likely to be equalled -this performance is the stuff that enduring legends are made from .
straordinaria interpretazione di Pippo ,credo unica nel suo genere,il diminuendo sul Do finale e' da fantatenore Peccato che sia durato poco a questi livelli
@David Perkins. I think this performance is from the Standard Hour radio program in October of 1950. This was Giuseppe Di Stefano's standard hour debut.
I have to agree with Andre de Kock on the lack of cover in DiStefano's voice. I am surprised that it is so much less evident here than in his recording of Cielo e Mar, also done in 1950. Perhaps it was a difference in the recording, the other being a bit more forward. Actually, I'm quite surprised that anyone else agrees with me, as folks seem to like his exciting renditions and perhaps even the openness of the high notes and disregard or don't even hear the warning signs of his later deterioration. But there's a very real difference between his technique (or lack thereof) and someone like Gedda's, who sang on and on into old age in rather good voice. You can also hear a number of upward "grace notes" as he scoops up to some high notes. But he doesn't do it on all of them, which shows that at this point it was just a bad habit. However, I have to admit this recording is wonderful and that the high C has to be heard to be believed. I don't know why more tenors don't at least try to sing these diminuendos, which can be so beautiful, and which every well registered voice should have. As far as its not being written, I think it's a permissible interpretive liberty. I think Gounod might have liked it.
I would also add that this Faust aria is an example of what I described below as 'magical', 'exciting', 'thrilling'. I would say that Pavarotti, Domingo, Bjorling, Gedda, Kraus, and then a bit further back, Gigli, Schipa, Pertile, to name but a few have had more important careers......
Not in any way to be a snot, but rather in response to your invitation to perfect the text, and most of all in honor of this incredible Artist: di Stefano is singing "dans ce reduit" here, which is correct French, even though the printed text built into the video has "en." (But please do not change "en cette pauvrete'" -- French has two words for "in.") If you wish, you could also put the 'de' before 'ton haleine' and restore the n in 'ton,' as your video already has it. With many thanks, T
шикарный тенор! восхищался им всё своё детство...он так легко филирует верхнюю до из-за того, что поёт без груди , а на до задирает кадык еще выше....поэтому у него так шикарно получается сведение на нет верхней кульминационной ноты до....мой педагог ругался бы...а мне нравится.....хотя, мне этот приём не подходит.....
The early Di Stefano voice was truly on of a kind. Too bad he went on to ruin it singing the heavy tenor repertoire. One of the most beautiful voices ever!
In university, my professor and i've met several others hate on him cuz he fucked up his voice by the time he was in his late 30s. supposedly ..... but to me idk he just sang, nothing was to difficult. His diminuendos are ridiculos on high Cs and other notes passed passagio are worth studying.
While GDiS, is, at times, a magical performer, for me he doesn't satisfy me enough for him to be considered a great singer. I think he had a rare talent, But he lacked the longevity to be considered a great singer. Also for me, there are techinical problems in his upper middle and high notes. I don't know enough about the sort of study he did, or if and when he might have considered re studying......? But as I say, some of his singing remains exciting and thrilling.
you can say greatest tenor maybe not too easy to be him or others, how can any one say GDS is not a great singer? To be long career or not, it is many factors, mostly beyond one's control...maybe sad but not to be blamed... And his young "magical" years be quite long and more than enough to be the great lyric tenor, even Pavarotti was looking up to!!!!
I am not and have never been a fan of Mr di Stefano's as I do not like uncovered voices. There are many other far more beautiful voices that are perfectly and well covered right from the mid-range upwards and that is my personal preference and also how I was trained, although I am a baritone. I have to admit that the diminuendo on the high C was good, but interestingly, the music does NOT call for a diminuendo there. If you want to hear the ULTIMATE, MASTERFUL diminuendo, then listen to Giuseppe Sabbatini singing this aria and hear the difference between him and Mr di Stefano.
everybody has his own opinion Mr Andre, but Sababatini is not even close to Di Stefano in it! He just try to imitate him, but he is far far away from the performance of Giuseppe. Of course, Il gustibus no disputanto es!
A good singer is a gift to humanity. Mr. Di Stefano is a fine singer and that is good enough for us. Here, he sings nicely; actually, very beautifully. Then, we have asininely picky people who don't know how to accept and enjoy the blessing of his singing. Let them have the life of miserable joy only in finding human faults and defects in fine singing.
This is not just perfect singing, it is a miracle. Tears come to my eyes.
In his Metropolitan Opera radio broadcast debut in Faust, he attacked the high C forte and then softened to a pianissimo. Sir Rudolf Bing said in his memoirs, "The most spectacular single moment in my observation year had come when I heard his diminuendo on the high C in "Salut! demeure" in Faust: I shall never as long as I live forget the beauty of that sound".
Was he in the house?
@@Tkimba2 he wrote the book, his opera house, he was there of course...
But this is not the Met recording; it's in WGN station in Chicago.
I just cried. This is the MOST exquisite rendition I have ever heard.
Questa romanza fa capire al mondo intero che Di Stefano è stato il più grande tenore di tutti i tempi. E tutto quello che è in lui è ciò che manca a gli altri colleghi.
A good singer is a gift to humanity. Mr. Di Stefano is a fine singer and that is good enough for us. Here, he sings nicely; actually, very beautifully. Then, we have asininely picky people who don't know how to accept and enjoy the blessing of his singing. Let them have the life of miserable joy only in finding human faults and defects in fine singing.
The most beatiful top-C I ever heard.
Carsten Snedsted perfecta voz y sublime aria.
Il sublime Pippo di Stefano!!! Grazie di averci donato queste irripetibili emozioni, che resteranno eternamente scolpite nei cuori,di chi ama il bel canto.
Sono d'accordo con chi sostiene, che con questa romanzata, l'immenso PIPPO d. STEFANO ha fatto la storia della lirica, e del sublime canto. PIPPO UNICO.
Giuseppe's version is the best. How he could hold that high C with such breath control. Amazing. Love it. P.S. His French diction is the best (no matter what others had said about the Italians).
Transitioned to falsetto, that was why he could hold that high C for long.
@@SuperJasonable It's not falsetto, but a masterful coordination of the thyroarytenoid (chest) and crichothyroid (falsetto) muscles.
It's almost impossible to control the dynamics of pure falsetto. In falsetto the TA muscle is relax and the vocal folds are parted at one end, with only the edges vibrating from the air pressure. By means of the thyroarytenoid muscle, the pitch is raised by stretching and thinning the vocal folds and lowered by shortening and relaxing the vocal folds. Pure falsetto will sound very hooty, owl-like, and airy, and can, due to the lacking overtones of the falsetto only be sung on the Italian vowels O and I.
Since the vocal folds are apart in falsetto, the lowest note in falsetto requires very little air preassure (to not blow the relaxed vocal folds apart, or engage the TA muscle), and the ascending notes require increasingly higher air pressure to keep the edges of the increasingly longer, thinner, and more and more stretched vocal folds vibrating. The varying air pressure required results in the lowest falsetto note being very soft in dynamic and very airy, and the highest note being very loud and hooty. Subsequently, the only way to change the dynamics in falsetto is to sing a lower not for softer dynamic and a higher note for a louder dynamic.
The only way for a tenor to sing a C5 in pianissimo is to use both muscles in coordination, where the main activity lies on the crichothyroid muscle, slightly assisted by the thyroarytenoid muscle. This gives the note a notable falsetto-like quality, and the vowel clarity of the chest voice.
In conclusion, the fact that Di Stefano sings a C5 in pianissimo on a vowel that is neither O or I, is in itself proof that he is not singing in falsetto. Furthermore, it is impossible to engage or disengage one of the vocal muscles on a sustain note without creating a sudden and audible shift in timbre.
@@celibidache1000 What an Astonishing analysis of how Giuseppe di Stefano was capable of sustaining C5 in a 10-second diminuendo.
I am a Voice student at Harper College, near Chicago, studying under a 15-year Veteran Basso from Lyric Opera of Chicago.
Because-of my shortfall in Technique-singing, he wisely "spoonfeeds" to me morsels of the vast knowledge that you have presented, here.
Whilst I feel obligated to Thank You, I still barely comprehend all of the physiological science that you outlined. In Practice, I am energized to work-toward the Miraculous. After all: What is a Life, without Hope ??
Cheers 🥂 & Blessings upon You.
Heart stoppingly gorgeous. And his French is surprisingly very well done
thank you for confirming french. I just know the diction is superb, but I am not french speaking. Glorious timbre and technique of course.
Truly glorious, especually the astnishing High C at the end, with an almost impossible ethereal diminuendo. If not the best, then close, I have ever heard. I have a marvelous live recording of Di Dtefano and Callas, in Lucia, Teatro al Fenice, 1955. Di Stefano always can rise to the occasion when singing live. Bjorling was awesome also, his Salut recorded about 1938 glorious, but he often was a bit rough live as he suffered severe stage fright much of the time. Thanks for the posting!
Il divin Di Stefano!
Who the hell put a thumbs down???......must be deaf!!....beautiful!
No doubt some joker/clown
Those modern tenors, so ashamed of themselves at hearing this glorious masterpiece. Probably a warning of them not to abuse this glorious aria ever again. That hate triggers ugly button down...
@Barone Vitellio Scarpia also those who thinks Robert A is the number 1 tenor to pick at Met.
Un sordo o un deficente!!😢
Parfaite diction, on comprend chaque mot ... et quelle voix :)
Great Performance, his voice, and the magic control, Wow!!!
La romanza " Salut demeure chaste et pure" è ormai divenuto un classico dell'interpretazione di Giuseppe Di Stefano per la perfezione con cui viene eseguita e per gli acuti presi di petto e con forza e vengono assottigliati lungamente sino a divenire impercettibili, ma raccomando vivamente l'ascolto di tutta l'opera ( ascolto che spinse addirittura Toscanini a telefonare al tenore per complimentarsi).
Vera - Toscanini called Di Stefano's hotel room just before his 1947 debut at the Met. His comment, "Tell the Sicilian boy that I like the way he sings, he sings without affectation. "
Best French of any Italian tenor.
OhMyWord; This is the most awesome rendering of this aria EVER. Rudolph Bing the GM of the Met was in attendance to hear this absolute masterpiece and on hearing Di Stefano's High C remarked. "The most beautiful sound i have ever heard" No one past or Present could handle a High C with such control,elegance and beauty as did DiStefano . Bravo Distefano.What a heavenly choir there must be Corelli,Caruso,DelMonaco,Bjorling and now DiStefano. Civileso TY for posting this,a true GEM.
Di Stefano sei stato un grande, a pari del compositore.
Jussi Björling always admired that diminuendo on the high C. I agree with Jussi, Pippo was a SUPERB tenor!
Sublime!
This is beyond human capasity. It is gift from God. The best tenor ever, with soul and perfect technic
I heard him do this in Minneapolis with de los Angeles, and Siepi in 1951. Incredible performance.
Magnifico! Splendido il timbro... il fraseggio la facilità degli acuti... e il temperamento...
Questa è storia del melodramma!
Di Stefano did not know, that a morendo like this on the high C (from f to ppp) in the cavatina was impossible. So he just did it.
I totaly agree with Sir Rudolf Bing: This is the most beautiful sound ever produced by a mortal creature. I have been told that Jussi Björling got nervous ticks, listening to this tone. He would never be able to reproduce it. Nevertheless Björling sang Faust at Mets Opening Night 1953 - not di Stefano.
...love your comment, "...did not know, that a morendo like this on the high C ...was impossible. So he just did it." I laughed and laughed, then realized, so true!
La interpretación más SUBLIME e ÍNTIMA de la historia.
Divin. De forte à pianissimo sur le contre ut, avec le même timbre magnifique. Merveilleux !
Di Stefano insuperável. Nem antes nem depois dele, ninguem cantou essa ária como ele. Pelo menos por enquanto. Quem sabe nos próximos 10.000 anos?
E meraviglioso ! That diminuendo on the high C is just wonderful. This is DiStefano in his prime. Bravissimo! Riposa in pace Maestro. Tante grazie.
Andre, as long as other singers will make people cry as Di Stefano did, everything would be ok, but I really do not recall anybody with this ability in the last 100 years since we have got recordings. There are people who like his style and there are people who doesn't, but really there wasn't any singer like him, who gave us so much, in such a short career. I do not to compare singers because it doesn't make sense for me, everybody has different perception of sound of course; however, without this fantastic diminuendo this aria would be like any other regular lifeless interpretation, and that diminuendo makes this particular interpretation unique, and puts Di Stefano on the top, because almost every normally trained tenor can sing this aria, BUT so far only Di Stefano could thrill millions of people with his sound. And of course I like Sabbtini's version too(in general I like Sabbatini), but in my humble opinion it is only fraction and not very successful imitation of Di Stefano.
Just one more thing, I trained for a tenor, however, never used my training, but I remember what my professor always said and I agree to that. She always said that singing is the extension of speech, and when we listen to most of contemporary singers we have impression that they try very hard to sing, and just listen to Di Stefano, he does't want to sing, he is speaking but we hear the singing, the sound just pour out of his mouth.
Stephan zucker
Give Franco Corelli a listen and you might want to move Mr. Di Stefano one down on your list.
DWS
Stunning, A+ !!!
La mejor Interpretación de toda la historia, sin duda alguna.
Wow, what a gift from Above! 💥💥💥❤Bravo,
Dopo l'interpretazione di Di Stefano col suo incredibile diminuendo, gli altri tenori nel Faust hanno sempre avuto la sua ombra alle spalle....ma non c'é confronto, Qui Di Stefano ha fatto la storia della lirica.
Bravo!! 素晴らしいグノー「ファウストこの清らかな住まい」です。モノーラル録音と思うのですが、美しい声と超絶技巧と豊かな表現は歴史上の最高傑作だと思います。Thank you very much to giving the score too .
It's a very nice work! Thanks!
Come ha cantato questa romanza il supremo Pippo di Stefano, nessun'altro potrà mai eguagliarlo...
One of the best versions
R.Pariente: Magnifique Di Stefano.Quelle belle interprétation et belle interprétation pour un Italien
Sincèrement il n'y a pas grand-chose à redire à sa diction. Et il n'y a pas beaucoup de Français qui aient fait mieux...
Unbelievably beautiful!
Adorable. Thanks.
Nunca he oído minuendos como los que hacía Di Stefano. De una belleza estremecedora.
besides everything else, the french is impeccable
Good point. Best French of any Italian tenor I have ever heard. Corelli and Pav. were dreadful. Italians find it very hard to make the shwa 'e' sound.
As for the translation, the line in english should be « Oh Marguerite, here I am AT your feet. ».
IL PIU GRANDE TENORE MAI APPARSO IN TUTTA LA STORIA DELLA LIRICA!!
Heard him in the house that year and couldn't believe the decrescendo on the high C.
René Pariente: Magnifique interprétation de "Salut demeure chaste et pure de Gounot
In his early days di Stefano was matchless but he sang on well past his best and did not practice as he should .But this measure if his early greatness never likely to be equalled -this performance is the stuff that enduring legends are made from .
straordinaria interpretazione di Pippo ,credo unica nel suo genere,il diminuendo sul Do finale e' da fantatenore
Peccato che sia durato poco a questi livelli
@jerrya1979 tout est superbe ,la diction, la voix,le Français bien sûr,mais aussi l'interprétation
@David Perkins. I think this performance is from the Standard Hour radio program in October of 1950. This was Giuseppe Di Stefano's standard hour debut.
Un acuto smorzato come questo non l'ho mai sentito.
Lui stesso disse: Non chiedetemi come ho fatto!!❤
Thanks :-)
아름답다..
Not nearly as spectacular as that on the high C, but ever so lovely and rare is DiStefano's extended decrescendo on the penultimate Eflat 5:48
Absolutely, the way he shades it down and descends to that final Ab - sheer magic. And his superb legato. So much to admire.
Compared to Di Stefano, the "king of high C" Pavarotti's high C is nothing but screaming, and yet Pavarotti's fans are sold.
true singing
How does one sing such decresc on high c?!
studying
Marko Fortunato if it’s mixed it’s pretty easy to back off the note. In other words, don’t scream it
Only GDS could do this!
Gifted voice from Heaven!
Only Pippo!!
Just a thang, a thang he does.
I have to agree with Andre de Kock on the lack of cover in DiStefano's voice. I am surprised that it is so much less evident here than in his recording of Cielo e Mar, also done in 1950. Perhaps it was a difference in the recording, the other being a bit more forward. Actually, I'm quite surprised that anyone else agrees with me, as folks seem to like his exciting renditions and perhaps even the openness of the high notes and disregard or don't even hear the warning signs of his later deterioration. But there's a very real difference between his technique (or lack thereof) and someone like Gedda's, who sang on and on into old age in rather good voice. You can also hear a number of upward "grace notes" as he scoops up to some high notes. But he doesn't do it on all of them, which shows that at this point it was just a bad habit.
However, I have to admit this recording is wonderful and that the high C has to be heard to be believed. I don't know why more tenors don't at least try to sing these diminuendos, which can be so beautiful, and which every well registered voice should have. As far as its not being written, I think it's a permissible interpretive liberty. I think Gounod might have liked it.
I would also add that this Faust aria is an example of what I described below as 'magical', 'exciting', 'thrilling'. I would say that Pavarotti, Domingo, Bjorling, Gedda, Kraus, and then a bit further back, Gigli, Schipa, Pertile, to name but a few have had more important careers......
There were a few better voices, but no better artist. This is magnificent, but that’s no surprise from him.
Salvajemente beĺla esta aria del FAUSTO . Y Mas con la voz fuera de serie de Giussepe di Steffano.
Not in any way to be a snot, but rather in response to your invitation to perfect the text, and most of all in honor of this incredible Artist: di Stefano is singing "dans ce reduit" here, which is correct French, even though the printed text built into the video has "en." (But please do not change "en cette pauvrete'" -- French has two words for "in.") If you wish, you could also put the 'de' before 'ton haleine' and restore the n in 'ton,' as your video already has it. With many thanks, T
Is it from december 1951 in Metropolitan Opera?
"enveloppant son âme,"
Sorry I initially responded with Una furtiva lagrima, but I can't figure out how to remove it...
Did you buy the score or use something from the web?
Meglio un giorno da Giuseppe di Stefano(Pippo) che anni da tromboni spara"note" ascoltare do filato....
шикарный тенор! восхищался им всё своё детство...он так легко филирует верхнюю до из-за того, что поёт без груди , а на до задирает кадык еще выше....поэтому у него так шикарно получается сведение на нет верхней кульминационной ноты до....мой педагог ругался бы...а мне нравится.....хотя, мне этот приём не подходит.....
i brividi giù per la schiena
Do we know where this performance was given?
It was a radio show, the Standard Hour program. This was di Stefano's debut on that show.
(Oh, ahem, just one more: no questions after the first words....T)
I removed it for you, although it is not a big deal. Thanks :)
Amazing isn't it? Pavarotti is alright I guess but you know.. in a "fortissimo" sort of way:))
a, I see now..
The early Di Stefano voice was truly on of a kind. Too bad he went on to ruin it singing the heavy tenor repertoire. One of the most beautiful voices ever!
not sure what you mean by stopping the music... they didn't stop anywhere....do you mean him holding the high "c"
In university, my professor and i've met several others hate on him cuz he fucked up his voice by the time he was in his late 30s. supposedly ..... but to me idk he just sang, nothing was to difficult. His diminuendos are ridiculos on high Cs and other notes passed passagio are worth studying.
牛逼
While GDiS, is, at times, a magical performer, for me he doesn't satisfy me enough for him to be considered a great singer. I think he had a rare talent, But he lacked the longevity to be considered a great singer. Also for me, there are techinical problems in his upper middle and high notes. I don't know enough about the sort of study he did, or if and when he might have considered re studying......? But as I say, some of his singing remains exciting and thrilling.
you can say greatest tenor maybe not too easy to be him or others, how can any one say GDS is not a great singer?
To be long career or not, it is many factors, mostly beyond one's control...maybe sad but not to be blamed...
And his young "magical" years be quite long and more than enough to be the great lyric tenor, even Pavarotti was looking up to!!!!
Callas had her vocal decline around the same time as GDS, but we all know how big of a name and artist she was. Di Stefano was no different.
@@brunopena3710 And GDS has the great timbre, natural, open and most artistic, best to me.
Correggo, volevo dire romanza.
Sorry folks. The top C sounds hard and wooden and lacks overtones which ruins it for me. Kind of like a howling cat.
Sound quality is bad
compare to Pippo he is sure nessuno.
I am not and have never been a fan of Mr di Stefano's as I do not like uncovered voices. There are many other far more beautiful voices that are perfectly and well covered right from the mid-range upwards and that is my personal preference and also how I was trained, although I am a baritone. I have to admit that the diminuendo on the high C was good, but interestingly, the music does NOT call for a diminuendo there. If you want to hear the ULTIMATE, MASTERFUL diminuendo, then listen to Giuseppe Sabbatini singing this aria and hear the difference between him and Mr di Stefano.
everybody has his own opinion Mr Andre, but Sababatini is not even close to Di Stefano in it! He just try to imitate him, but he is far far away from the performance of Giuseppe. Of course, Il gustibus no disputanto es!
A good singer is a gift to humanity. Mr. Di Stefano is a fine singer and that is good enough for us. Here, he sings nicely; actually, very beautifully. Then, we have asininely picky people who don't know how to accept and enjoy the blessing of his singing. Let them have the life of miserable joy only in finding human faults and defects in fine singing.
+Andre de Kock Just heard your Sabbatini tenor, after your recommendation... well, he is just a generic tenor.
+Andre de Kock Você sabe o que é a alma no canto? Penso que não!
Por isso houve,Tito Gobbi,Callas,e......Di Stefano!
Cumprimentos
Basso voce
Sublime!!
Precioso!!!!