Non avrei mai creduto di poter ascoltare Masini in questa splendida frase. Emoziona ascoltare come quella nota bellissima emerge dal caos della pessima registrazione, che sarà comunque sempre benedetta. Il suo è un Do di una bellezza incredibile, di uno squillo prodigioso, stupendo; il suo è stato uno dei timbri di tenore più belli della storia, sono davvero felice. Onore a Galliano Masini. Grazie
La grabación es muy defectuosa, lamentablemente, pero escuchando con atención - y más de una vez - se puede apreciar lo que dice el sr. Luporini: un bellísimo Do, limpio y squillante emerge. ¿Tendrá el sr. Afro Poli darnos más detalles?¿Es posible que se trate de una toma de la representación del 9 de agosto de 1938, con Pacetti y Olivero?
Corelli is wonderful as always. Also, I wish you had included Mario del Monaco, there was a recording of him with Tebaldi and some excerpts of his performances with Callas in 1949.
@@lucashamilton151 Still fake. The entire excerpt is the combination of MDM's 1955 Turandot and Callas 1957's Turandot, both studio. In reality, only about 2 min. of the Buenos Aires performance survives, and it doesn't contain any Cs.
Compact Disc; - Eklipse EKR 44; DiVA 1112. Recordings of Turandot by Giacomo Puccini are surveyed in the following publications:- High Fidelity December 1958 Vol.8 No.12 p.114; Opera on Record p.618; CELLETTI p.655; Opera on CD (1) p.111 (2) p.122 (3) p.137 MET p.454; MET(VID) p.252; PENGUIN p.320; L'Avant Scéne Opéra No.33 p.97, No.220 p.98; Opera on Video p.187; GIUDICI p.652 (2) p.1073; Répertoire No.97 décembre 1996 p.16; International Opera Collector Spring 1997 No.3 p.40; Opera Quarterly Vo.13 No.4 Summer 1997 p.77; American Record Guide September/October 2000 Vol.63 No.5 pp.73-83; Diapason No.559 juin 2008 p.78; Gramophone July 2008 p.52 This recording is reviewed in the following publications:- Orpheus - Juli 1995 S.58 Opéra International - avril 1996 No.201 p.70 The Callas Legacy by John Ardoin - (4) p.1 Ópera Actual (Barcelona) - No.40 julio-agosto 2000 p.100, p.102 [TF]: No.54 octubre 2002 p.78 [LB]
I heard all or almost all of the great tenors in my half century of opera hearing opera, mostly at San Francisco Opera. But the only two times I caught Turandot the Calaf was a virtual unknown. But both were great. The first was Ludovic Spiess. He had a lot of publicity leading up to his arrival. He had made a specialty of the part. He had a big and blazing top voice. He dominated the stage with that voice. Later in parts that called for subtlety, his rather crude vocalism was revealed, but at first exposure I was dazzled. I went the next day to Tower records and bought his recital LP. The second Turandot had Nicola Martinucci. I think the reason he never got to the top was he was pretty short. Shorter than Carreras or Del Monaco. But he sang an almost perfect Calaf that night. I could have heard Turandot three times, I had tickets, but I skipped it. That was the one with Pavarotti and Caballe. I should have given them away. Everyone wanted them but I didn't think either one was appropriate for their respective parts in Turandot. Still don't.
Very interesting experiences! Unfortunately, with the PC world, we often don’t hear the truth. I’m short- I’ve done well in my life as a fine artist, but, I totally agree: there is an ideal: reality is, fans don’t want a short hero. It’s not even personal. Maria Callas, losing all that weight, knew that. That Caballe’ soared into fame, is a testament to such incredible vocal perfection, she overcame the weight gain. But, truth is truth and it is refreshing that your statement had no malice to our snowflake generation of hurt feelings and victimization. Giving away Pavarotti and Caballe’ - wow. A man of strong convictions!
@@道-p2e MDM's a titan too. but he's famous for his high B rather than high C. he has the testosterone, much deeper voice than Corelli but I don't think MDM could handle Nilsson in Turandot. I don't know in other operas, at least in Turandot I can say that only Corelli could match Nilsson when she's unleashing her titanic laser beam voice.
@@道-p2e for instance, I listened to him as Calaf in full opera Turandot, he didn't go to the high C of No, No, Principessa. Though his clash with Turandot in the riddle of In questa reggia (gl'enigmi sono tre...) was astonishing.
Thank you for Hans Kaart! He had so much to offer but died much to young during an earoperation in 1963. What a pity! Like a lot of Dutch opera singers ( Marijke van der Lugt, Gerry de Groot ) it is almost impossible to get their recordings.
he is indeed the greatest. a god-like voice developed through studying Caruso's way of singing, learning from Del Monaco's maestro- Arturo Melochi-on how to use chest voice, received several guidance from Lauro-Volpi and the perpetual receiving of constructive criticisms every after his performance.
Thank you AfroPoli for a magnificent compilation. That must be one of Martinelli's last solo high Cs. Thank you also for sharing the gold that is the Masini extract!
For Calaf and Andrea Chenier Franco Corelli is unsurpassed in the history of opera. And before anybody says history ? Chenier 1896 and Turandot 1926 (first performance) Caruso was a fine Chenier . BUT with stage presence . How ever good Caruso and Gigli were as opera tenors. The tall handsome Corelli outshone them ,by a mile.
Dai tenori che avevo sentito dal vivo il migliore Calaf era Nikola Nikolov con una vocalità brunita pucciniana vera e registro acuto di una bellezza rara !!! Questa è la mia modesta opinione. Daniele , sei troppo forte e di più hai una bellissima voce ! Saluti cordiali. ❤️👍 Qua parliamo della vocalità Pucciniana vera adatta a questo capolavoro.
This version of Domingo is almost one of the best for him.I was even so surprised when hearing this version. Forgive me but his crack C in the 1998 version in Newyork left me too much impression.
@道 yeah but let's be clear: Pavarotti is not the best fit because his voice is too light even though he has great technique, while Domingo is not the best fit because, even though he has a deeper voice, he doesn't have perfect technique.
Corelli 2:51 is, as ever, the great Corelli. Fillippeschi: just another day at the Acuti Office. Barioni has a good day and when he does is among the best. Tucker is like Updike’s writing; he doesn’t get the credit he should because he makes it look too easy. Zambon is criminally under appreciated, as is Labo. I was relieved that Ceccele didn’t burst open. Martinucci made me believe he was Calaf.
Seriously...a wealth of Tenorissimo here, but if Corelli is the best (undoubtedly) then close second unequivocally has to be the great Michele Molese! Omg, what a find indeed. Bravo.
Al momento della registrazione, Vladimir Galouzine meritava la corona! la sua voce è così libera e bella e allo stesso tempo riempie lo spazio come un uragano! Al secondo posto mi è piaciuto particolarmente Hans Kaart, (Londra 1960) ma mi hanno colpito molto anche Cecchele, Barioni e Corelli! Bravo tutti!
Son bonitas grabaciones y gracias por hacerme recordar tengo tantas grabaciones que no da tiempo para escuchar Puccini cada ópera que escribió las hizo difícil para los tenores y aquí oímos lo forzante y el esfuerzo Turandot hermosa ópera viva Puccini
I listened to all 30 tenors (9 of them I have seen in the theatre) and heard only one Calaf: Franco Corelli. My second best in Cecchele. These two sing. The others produce high notes in isolation as impressive as they might be (Filippeschi, Bonisolli, Barioni, Molese, Limarilli, Labo, Moldoveanu, Galouzine). The worst for me are Bergonzi (whom I love very much but he should have never attempted this role!), Tieppo, Martinucci and Domingo (also unsuitable for Calaf).
Domingo has no squillo despite being very musical. I don't care for him at all. If he is in an opera, I would not attend. I'm sorry to have to say it. Bergonzi really didn't have an effective high C.
Cecchele is criminally under appreciated, way stronger than so called 3 tenors. The world is still crying for the "loudest" calaf=Pavarotti... how funny.
It makes a great difference which high C of Calaf you listen! This note is obligated at the end of In questa reggia, with the soprano. The second one, at the end of the act is in ossia. Many tenor don't sing it. If you listen No, no Principesse, you must consider that the tenor has already sung another C previously! Corelli, Nikolov and Galouzine are great on this note.
I've heard Galouzine's Calaf in Marseille (with the great Giovanna Casolla). His voice was incredible. Round, powerful and homogeneous across the entire range. And great presence; he WAS Calaf.
Corelli is the popular one, but I always prefer clean diction and grand delivery of small man Flaviano Labo, also the gorgeous voice of Daniele Barioni.
Yes, Corelli is nearly ethereal !! I noticed Daniele Barioni, as well, Also, Rolf Björling, Michele Moleso, Amedeo Zambian, Giorgio Tieppo, all were sterling. There were many here that I truly am grateful for the post, to hear that I had never before heard.
@@shodanart Corelli is indeed real handsome voice and look for Calaf, and this channel posted long programs of other two tenors that really stunned me, so gorgeous. ruclips.net/video/-nwhj8dlFxk/видео.html ruclips.net/video/JHmwj-MQW1Q/видео.html
Did you all come... to an agreement... regarding who has the biggest... voice??? Shall we now listen to the music and get thrilled by each jewel, more or less flawed, that is the voice of each of those artists? Thanks guys :))
He also still sounds utterly perfect. My favorite tenor of all time and and his sounded it’s best weeks before his death. His Pagliacci gives me chills every time.
Las grabaciones y las edades de los tenores son desiguales: como una mitad de ellas tienen un volumen bien bajo y dan la sensación de ser pequeñas las voces, como la de Corelli (1958) y otras, principalmente de la 20 en adelante tiene un volumen bien alto que dan la sensación de que todas son voces grandes. También hay desigualdad de edades, por ejemplo, Richard Tucker tenía 61 años, mientras los tenores más recientes eran más jóvenes. El tenor taiwanés no es dramático, ya que su voz es lirica como otros Calaf, mientras otros son spintos y pocos dramáticos, algunos de ellos parecidos al timbre de Mario del Monaco, que quizás fueron émulos de Mario. También, en cuanto a la calidad del sonido es muy desigual con distorsiones que algunos tenores no se escuchan en el agudo, como Bergonzi y Domingo. En la mayoría de los casos, estos 30 tenores muestran un vibrato oscilante liante (wobble en inglés), es decir, pobre, a diferencia de los vibratos de Corelli o Barioni. Otros, como Corelli y Zambon, tienen voces potentes y brillantes, y otros, como Giacomini, tienen voces engoladas. Pavarotti, tenor lírico-ligero, no encaja en el papel de Calaf, porque fue la publicidad la que lo hizo, para muchos, el mejor Calaf, muy lejos de Corelli. Martinelli sólo toca el agudo sin sostenerlo y Martinucci fue muy elogiado en la década de 1980 como Calaf, tenor dramático con gran extensión vocal, tenía un timbre parecido al de Pavarotti. Galuzine se oye dramático con un timbre que recuerda a del Monaco. Gianfranco Cecchele es uno de los mejores Calaf. El público es engañado por la publicidad tendenciosa para vender discos. En fin, no se puede hacer una comparación objetiva para afirmar quién es el mejor Calaf, pero sí podemos decir que, por ejemplo, Filippeschi y Corelli han sido de los mejores Calaf. Saludos,
Hans Kaart is phenomenal, why haven't I ever heard of him?! Martinelli and Kaart are my favorites in this particular collection. And Corelli: athletic and manly high C. Limarilli in good voice here. The quality of voices gets noticeably worse towards the end. This is due to a decline in vocal pedagogy. Not the fault of the singers. Who is the last tenor? The one in the video? Really good.
@@AfroPoli thanks! I've listened to some recordings of Kaart in the meantime. Good singer. Unfortunately his voice can sound harsh and lacking body in the midrange.
@@AfroPoliMartinelli has such a beautiful voice. He did not record as well as Caruso. But I bet that he could hold his own dal vivo. Some voices can sound harsh when recorded directly, but they sound very different in the house.
Putting aside in live performances, among studio recordings, the great Italian singer Luciano Pavarotti and the great Australian dramatic coloratura, Joan Sutherland are unmatched IMO. The end of in Questa reggia where the tenor and soprano try to out do each other only to go higher together is most thrillingly recorded in the Mehta Sutherland Pavarotti recording. They approach it like a Bellini crescendo without abusing the heft of the voice and the result is unmatched.
Studio recordings are fake, they are edited together by sound engineers not by singers. Anyone can sound impressive in the studio. They are meaningless next to live performances. Why shouldn't the tenor and soprano compete against each other? They in a direct competition, that is exactly the point of the whole second act, and most of the opera. They are not singing a love duet, Turandot wants to see Calaf die, there is no reason for them to sing together in in sweet manner. This not La Boheme. Puccini obviously wrote this part to be combative.
Solamente Afro Poli puede armar un compliado cronológico tan variado y de gran calidad. Muchas gracias por compartirlo! Saludos desde Buenos Aires con una pregunta: El oppure de "ardente d´amor", está escrito por Puccini o la interpolación del agudo fue invento de Lauri-Volpi cuando estrenó la obra en el Teatro Colón y en el viejo Met? Extiste alguna crónica escrita del estreno de 1926 que consigne que Miguel Fleta también lo hizo? Se lo habrá permitdo Toscanini? Muchas gracias!
Thank you for your kind words! Good questions... hard to answer! As far as I know, the option is in the original. But I cannot tell you whether Fleta sang it or not. If we assume that it was written by Puccini, Toscanini could not have said anything against it and Fleta most certainly was capable of singing it. But really, I do not know.
It's a shame the quality of Masini's peformance is that bad, i assume theres the entire piece of it? And i wonder why Filippeschi didn't go for the C in the principessa altera.
Wow! A recording of Masini singing Turandot. Unbelievable. Can you post his "Nessun dorma"? Re. Corelli: this C is from the studio recording in 1958, not live. Beside the tenor had sung better Cs.
In the 1960s I saw “Turandot” with Nilsson and Barioni. Nothing since has come close. I think he was what Corelli could have / should have been... no abbreviated phrases or interruptive breaths to accommodate preparation for a high note. Also, in 1970 saw Flaviano Labo at Caracalla in Rome from behind the fence at the very back of the audience. Went back again. And again. Little man, huge voice.
AfroPoli Yes, the “Turandot” with Nilsson and Barioni was in Hartford. I kinda grew up backstage at the Bushnell. Frank Pandolfi, founder of Connecticut Opera, was an uncle. My dad, a professor at Trinity College, had the job of recruiting extras from the student body. I became a steady extra starting when I was about 7 (!) as a street kid in “Carmen” (Jean Madeira). I was the quintessential “theater brat”, running around backstage collecting autographs and befriending anyone and everyone. Over the years I continued as a first-string extra and got to know many of the major artists on a personal level. Pandolfi had a great business model. Given the proximity to NYC, he was able to bring in top-tier leads very economically. He’d structure the season around certain singers’ schedules. He’d have them driven up the day before the company’s one-and-only performance. There’d be ONE rehearsal where everything got slapped together. Incidentally, Barioni was a great example of “testa di tenore”. In the Hartford “Turandot” he was nowhere to be found for a major entrance. Needless to say, everything ground to a halt. He was located and and they backtracked. As mentioned, I saw Labo three times in succession at Caracalla. Also in Hartford with Mirella Freni in “La Boheme”. Thought he was terrific. By the way, I greatly admire your exceptionally intelligent, informative and entertaining posts. I wish you did more!
@SHICOFF1 that's cool! I think he and Hadley were two of the best American tenors of the past several years. Btw did you happen to know Francisco Casanova? I met him last year. Fantastic singer.
Rudy Park, at his very best, can only be considered a "fine" tenor. His voice is not that big, and he tended to overdark and force his voice (hence the scooping and weird vowels). His decline was inevitable
I don't think our host AfroPoli will include the stupendous Rudy Park recording of this scene because Park self immolated. He sang so loud that he destroyed his vocal mechanism. He only sang for about five years i think on big stages. By then the voice was in tatters.
This the best that any tenor could hope for in this competition is a draw with Corelli who's rendition I think is perfect in every respect Also the Top C which ends the the phrase no no Principessa is the money note I'm wondering why the other tenors are not singing it
Can you explain, sir? I do admire Pavarotti. That said, I have often thought Pavarotti is near matchless with Corelli and Björling in the ringing beauty of their high register and tender pianissimo. However, the mid-range, there is something less beautiful about his actual mid-range -ahs- I feel lacks “beauty-of-voice” itself- I do hear that vocal beauty in Corelli, Björling, Bergonzi, di Stefano, etc. Your thoughts?
No. 25 is a Chinese dramatic tenor from Taiwan, his name is Wen-Xiu Wu. (吳文修)
Thank you!
Love the Chinese writing!
It is a rare joy to hear a Chinese tenor.
Wen-xiu-wu and Pavarotti was the only sing the high C with a tone lower than the others. So sad! 🥺
Corelli just sends shivers up my spine. I teared up a bit there...
Corelli, Corelli, Corelli no other can rival him in the part. Of Calaf.
Wow! Corelli! Absolutely incredible! Thanks for sharing this collection of great singers!
Corelli demonstrates true greatness here.
I think Corelli high C is not live... It's from a TV film.... ruclips.net/video/zCiJGYCFy90/видео.html
What a pleasure to listen to all theese great tenors! It is just such a pity that most of them are forgotten today.
Non avrei mai creduto di poter ascoltare Masini in questa splendida frase. Emoziona ascoltare come quella nota bellissima emerge dal caos della pessima registrazione, che sarà comunque sempre benedetta. Il suo è un Do di una bellezza incredibile, di uno squillo prodigioso, stupendo; il suo è stato uno dei timbri di tenore più belli della storia, sono davvero felice. Onore a Galliano Masini. Grazie
La grabación es muy defectuosa, lamentablemente, pero escuchando con atención - y más de una vez - se puede apreciar lo que dice el sr. Luporini: un bellísimo Do, limpio y squillante emerge. ¿Tendrá el sr. Afro Poli darnos más detalles?¿Es posible que se trate de una toma de la representación del 9 de agosto de 1938, con Pacetti y Olivero?
Corelli is wonderful as always. Also, I wish you had included Mario del Monaco, there was a recording of him with Tebaldi and some excerpts of his performances with Callas in 1949.
MDM's live Turandot is a fake. His studio rec. doesn't count here.
Would you mind explaining what you mean by “fake”?
There are excerpts from that performance, not the entire opera.
@@lucashamilton151 Still fake. The entire excerpt is the combination of MDM's 1955 Turandot and Callas 1957's Turandot, both studio. In reality, only about 2 min. of the Buenos Aires performance survives, and it doesn't contain any Cs.
Compact Disc; - Eklipse EKR 44; DiVA 1112.
Recordings of Turandot by Giacomo Puccini are surveyed in the following publications:-
High Fidelity December 1958 Vol.8 No.12 p.114; Opera on Record p.618; CELLETTI p.655; Opera on CD (1) p.111 (2) p.122 (3) p.137 MET p.454; MET(VID) p.252; PENGUIN p.320; L'Avant Scéne Opéra No.33 p.97, No.220 p.98; Opera on Video p.187; GIUDICI p.652 (2) p.1073; Répertoire No.97 décembre 1996 p.16; International Opera Collector Spring 1997 No.3 p.40; Opera Quarterly Vo.13 No.4 Summer 1997 p.77; American Record Guide September/October 2000 Vol.63 No.5 pp.73-83; Diapason No.559 juin 2008 p.78; Gramophone July 2008 p.52
This recording is reviewed in the following publications:-
Orpheus - Juli 1995 S.58
Opéra International - avril 1996 No.201 p.70
The Callas Legacy by John Ardoin - (4) p.1
Ópera Actual (Barcelona) - No.40 julio-agosto 2000 p.100, p.102 [TF]: No.54 octubre 2002 p.78 [LB]
Grazie....Can always count on you to play Amedeo Zambon a terribly neglected tenor, a real artist,a special favorite of mine.
Aún con las deficiencias de las grabaciones, ninguno de los tenores muestran el gran squillo de la voz de Corelli. Saludos,
Corelli, magnificent as always.
v
I think Corelli high C is not live... It's from a TV film.... ruclips.net/video/zCiJGYCFy90/видео.html
@@asagasag123allora?
@@asagasag123 The example used here is from Turandot live at the Met 1961.
I heard all or almost all of the great tenors in my half century of opera hearing opera, mostly at San Francisco Opera. But the only two times I caught Turandot the Calaf was a virtual unknown. But both were great.
The first was Ludovic Spiess. He had a lot of publicity leading up to his arrival. He had made a specialty of the part. He had a big and blazing top voice. He dominated the stage with that voice. Later in parts that called for subtlety, his rather crude vocalism was revealed, but at first exposure I was dazzled. I went the next day to Tower records and bought his recital LP.
The second Turandot had Nicola Martinucci. I think the reason he never got to the top was he was pretty short. Shorter than Carreras or Del Monaco. But he sang an almost perfect Calaf that night.
I could have heard Turandot three times, I had tickets, but I skipped it. That was the one with Pavarotti and Caballe. I should have given them away. Everyone wanted them but I didn't think either one was appropriate for their respective parts in Turandot. Still don't.
Very interesting experiences! Unfortunately, with the PC world, we often don’t hear the truth. I’m short- I’ve done well in my life as a fine artist, but, I totally agree: there is an ideal: reality is, fans don’t want a short hero. It’s not even personal. Maria Callas, losing all that weight, knew that. That Caballe’ soared into fame, is a testament to such incredible vocal perfection, she overcame the weight gain. But, truth is truth and it is refreshing that your statement had no malice to our snowflake generation of hurt feelings and victimization.
Giving away Pavarotti and Caballe’ - wow. A man of strong convictions!
FRANCO CORELLI 😍😍😍
The brilliance of Corelli’s voice has yet to be matched in my opinion. RIP Maestro.
Corelli, Corelli, CORELLI Per sempre!
Corelli excelente pero no es el único
Nikolov non è da meno
Ma ce ne sono tanti non solo Corelli...
What a fine show of tenors. Thank you.
Corelli's sound is incredibly virile.
Lady Rotha io abito nella sua città
only him could match Birgit Nilsson's laser beam voice. they would make the Clash Of Titans in the opera.
@@potusumanbibingka Mario Del Monaco is the better choice to fit that laser beam voice and with steel clean diction.
@@道-p2e MDM's a titan too. but he's famous for his high B rather than high C. he has the testosterone, much deeper voice than Corelli but I don't think MDM could handle Nilsson in Turandot. I don't know in other operas, at least in Turandot I can say that only Corelli could match Nilsson when she's unleashing her titanic laser beam voice.
@@道-p2e for instance, I listened to him as Calaf in full opera Turandot, he didn't go to the high C of No, No, Principessa. Though his clash with Turandot in the riddle of In questa reggia (gl'enigmi sono tre...) was astonishing.
No tengo palabras para hablar del grandísimo Corelli. Para mí uno de los mejores.
Per amor del cielo si ascolti e si riascolti Masini, insuperabile!
Hü-ha, 306 Anmerkungen sind wirklich eine Seltenheit. Gratuliere zum Erfolg!
Corelli the greatest of all time.
And many thanks for “live only”.
Thank you for Hans Kaart! He had so much to offer but died much to young during an earoperation in 1963. What a pity! Like a lot of Dutch opera singers ( Marijke van der Lugt, Gerry de Groot ) it is almost impossible to get their recordings.
I guess there’s a reason why Corelli is considered one of the true greats.
he is indeed the greatest. a god-like voice developed through studying Caruso's way of singing, learning from Del Monaco's maestro- Arturo Melochi-on how to use chest voice, received several guidance from Lauro-Volpi and the perpetual receiving of constructive criticisms every after his performance.
@@potusumanbibingka
Plus:
His extraordinary _potential_ !!
Definitely! Franco Corelli in his prime can bring you to tears- can make a grown man cry- as we used to day in my generation.
Wonderful to hear this great compilation of artistry through so many years! Thank you for posting!
Grazie mille Afro Poli per queste stupende incisioni dei più grandi tenori lirici di ogni tempo. 👍👍👍
Caro Afro Poli, nella tua bellissima rassegna mancano alcuni grandi : Del Monaco /Lauri Volpi /Caruso /Kraus
WOW ! WHAT A GREAT COMPILATION OF GREAT TENORS ! MANY THANKS @ AfroPoli ♥ ♥ ♥ ♥♥
Fantastic video!
Thank you AfroPoli for a magnificent compilation. That must be one of Martinelli's last solo high Cs. Thank you also for sharing the gold that is the Masini extract!
For Calaf and Andrea Chenier Franco Corelli is unsurpassed in the history of opera.
And before anybody says history ? Chenier 1896 and Turandot 1926 (first performance)
Caruso was a fine Chenier . BUT with stage presence . How ever good Caruso and Gigli were
as opera tenors. The tall handsome Corelli outshone them ,by a mile.
Dai tenori che avevo sentito dal vivo il migliore Calaf era Nikola Nikolov con una vocalità brunita pucciniana vera e registro acuto di una bellezza rara !!!
Questa è la mia modesta opinione.
Daniele , sei troppo forte e di più hai una bellissima voce !
Saluti cordiali.
❤️👍
Qua parliamo della vocalità Pucciniana vera adatta a questo capolavoro.
All good let’s be honest thanks for posting
Corelli stands out of course but some of the other tenors are brilliant
Magníficos todos ….mis preferidos Corelli , Bonisolli, y Ermanno Mauro
In questa regggia truly is the most amazing moment in opera, so thrilling and exciting
Corelli, Barioni, Cecchele👍👍👍
Domingo's voice was overruled by Nilson's. I think only Corelli could match Nilson's power.
In Turandot maybe but she sang with many other big tenor voices in other operas...
Domingo and Pavarotti both not that fit for this opera at all in my view.
This version of Domingo is almost one of the best for him.I was even so surprised when hearing this version. Forgive me but his crack C in the 1998 version in Newyork left me too much impression.
@@shepherdtsu7779 mingo without C.
@道 yeah but let's be clear: Pavarotti is not the best fit because his voice is too light even though he has great technique, while Domingo is not the best fit because, even though he has a deeper voice, he doesn't have perfect technique.
Non c'è gara o competizione, c'è CORELLI👏👏👏
You know who would be the very best if there’s a recording of his live Turandot high C. Giacomo Lauri-Volpi. This role suits his voice perfectly.
@@OldSchoolOpera It does indeed. Too bad there’s no recording of him in this role.
Corelli 2:51 is, as ever, the great Corelli. Fillippeschi: just another day at the Acuti Office. Barioni has a good day and when he does is among the best. Tucker is like Updike’s writing; he doesn’t get the credit he should because he makes it look too easy. Zambon is criminally under appreciated, as is Labo. I was relieved that Ceccele didn’t burst open. Martinucci made me believe he was Calaf.
Tucker doesn't get credit because that wasn't a C.
How do you find all these amazing recordings? Such a treasure.! Your channel is amazing. I love it!
Seriously...a wealth of Tenorissimo here, but if Corelli is the best (undoubtedly) then close second unequivocally has to be the great Michele Molese! Omg, what a find indeed. Bravo.
Molese's voice sounds like one bg wobble.
@@ZENOBlAmusic Try washing the wax out of your ears!
Thank you.
Al momento della registrazione, Vladimir Galouzine meritava la corona! la sua voce è così libera e bella e allo stesso tempo riempie lo spazio come un uragano!
Al secondo posto mi è piaciuto particolarmente Hans Kaart, (Londra 1960) ma mi hanno colpito molto anche Cecchele, Barioni e Corelli! Bravo tutti!
Son bonitas grabaciones y gracias por hacerme recordar tengo tantas grabaciones que no da tiempo para escuchar Puccini cada ópera que escribió las hizo difícil para los tenores y aquí oímos lo forzante y el esfuerzo Turandot hermosa ópera viva Puccini
I listened to all 30 tenors (9 of them I have seen in the theatre) and heard only one Calaf: Franco Corelli. My second best in Cecchele. These two sing. The others produce high notes in isolation as impressive as they might be (Filippeschi, Bonisolli, Barioni, Molese, Limarilli, Labo, Moldoveanu, Galouzine). The worst for me are Bergonzi (whom I love very much but he should have never attempted this role!), Tieppo, Martinucci and Domingo (also unsuitable for Calaf).
Domingo has no squillo despite being very musical. I don't care for him at all. If he is in an opera, I would not attend. I'm sorry to have to say it. Bergonzi really didn't have an effective high C.
@@jphubert he did have squillo, once in a while
Cecchele is criminally under appreciated, way stronger than so called 3 tenors. The world is still crying for the "loudest" calaf=Pavarotti... how funny.
Großartig!!!! Wer sind diese Tenöre? Einer besser als der andere!!!
How cool! Thanks for this upload
Some good surprises here!!! I must say, from these examples, Nilsson was a merciful partner...
Corelliiiiiiiii
Corelli e Barioni per squillo e lucentezza
thank you
Huge thanks
Corelli is Calaf. Some other great tenors here but it’s a no-brainer who is the greatest.
The tenor without a name singing in German is Eugene Tobin
Corelli siempre el más chingón 👍🇲🇽
It makes a great difference which high C of Calaf you listen! This note is obligated at the end of In questa reggia, with the soprano. The second one, at the end of the act is in ossia. Many tenor don't sing it. If you listen No, no Principesse, you must consider that the tenor has already sung another C previously! Corelli, Nikolov and Galouzine are great on this note.
I've heard Galouzine's Calaf in Marseille (with the great Giovanna Casolla). His voice was incredible. Round, powerful and homogeneous across the entire range. And great presence; he WAS Calaf.
¿Qué habrá pensado Nilson de Domingo luego de que tuvo por compañero al enorme Franco Corelli en Turandot?
Lo mismo me pregunto yo Jajaja
Saludos.
Corelli is the popular one, but I always prefer clean diction and grand delivery of small man Flaviano Labo, also the gorgeous voice of Daniele Barioni.
Yes, Corelli is nearly ethereal !! I noticed Daniele Barioni, as well,
Also, Rolf Björling, Michele Moleso, Amedeo Zambian, Giorgio Tieppo, all were sterling. There were many here that I truly am grateful for the post, to hear that I had never before heard.
@@shodanart Corelli is indeed real handsome voice and look for Calaf, and this channel posted long programs of other two tenors that really stunned me, so gorgeous.
ruclips.net/video/-nwhj8dlFxk/видео.html
ruclips.net/video/JHmwj-MQW1Q/видео.html
Ther eis nothing wrong with Corelli's diction in this section.
Si nota dal video che dopo questi Tenori non ci sono altri che oggi possano portare avanti la dinastia
Did you all come... to an agreement... regarding who has the biggest... voice??? Shall we now listen to the music and get thrilled by each jewel, more or less flawed, that is the voice of each of those artists? Thanks guys :))
Bon travail frere
Corelli and Cecchele.
Tucker is worth an acknowledgment since he is 61 years old in this recording.
He also still sounds utterly perfect. My favorite tenor of all time and and his sounded it’s best weeks before his death. His Pagliacci gives me chills every time.
Corelli did Corelli himself.Great. . . . . ..
Las grabaciones y las edades de los tenores son desiguales: como una mitad de ellas tienen un volumen bien bajo y dan la sensación de ser pequeñas las voces, como la de Corelli (1958) y otras, principalmente de la 20 en adelante tiene un volumen bien alto que dan la sensación de que todas son voces grandes. También hay desigualdad de edades, por ejemplo, Richard Tucker tenía 61 años, mientras los tenores más recientes eran más jóvenes. El tenor taiwanés no es dramático, ya que su voz es lirica como otros Calaf, mientras otros son spintos y pocos dramáticos, algunos de ellos parecidos al timbre de Mario del Monaco, que quizás fueron émulos de Mario. También, en cuanto a la calidad del sonido es muy desigual con distorsiones que algunos tenores no se escuchan en el agudo, como Bergonzi y Domingo. En la mayoría de los casos, estos 30 tenores muestran un vibrato oscilante liante (wobble en inglés), es decir, pobre, a diferencia de los vibratos de Corelli o Barioni. Otros, como Corelli y Zambon, tienen voces potentes y brillantes, y otros, como Giacomini, tienen voces engoladas. Pavarotti, tenor lírico-ligero, no encaja en el papel de Calaf, porque fue la publicidad la que lo hizo, para muchos, el mejor Calaf, muy lejos de Corelli. Martinelli sólo toca el agudo sin sostenerlo y Martinucci fue muy elogiado en la década de 1980 como Calaf, tenor dramático con gran extensión vocal, tenía un timbre parecido al de Pavarotti. Galuzine se oye dramático con un timbre que recuerda a del Monaco. Gianfranco Cecchele es uno de los mejores Calaf. El público es engañado por la publicidad tendenciosa para vender discos. En fin, no se puede hacer una comparación objetiva para afirmar quién es el mejor Calaf, pero sí podemos decir que, por ejemplo, Filippeschi y Corelli han sido de los mejores Calaf. Saludos,
Hans Kaart is phenomenal, why haven't I ever heard of him?! Martinelli and Kaart are my favorites in this particular collection. And Corelli: athletic and manly high C.
Limarilli in good voice here.
The quality of voices gets noticeably worse towards the end. This is due to a decline in vocal pedagogy. Not the fault of the singers.
Who is the last tenor? The one in the video? Really good.
Thanks for the comment! The last one is Vladimir Galouzine.
@@AfroPoli thanks! I've listened to some recordings of Kaart in the meantime. Good singer. Unfortunately his voice can sound harsh and lacking body in the midrange.
@@AfroPoliMartinelli has such a beautiful voice. He did not record as well as Caruso. But I bet that he could hold his own dal vivo. Some voices can sound harsh when recorded directly, but they sound very different in the house.
Corelli, sobre todos. Barioni magnífico y también Galouzin
Todos impresionantes, los disfruté mucho
Putting aside in live performances, among studio recordings, the great Italian singer Luciano Pavarotti and the great Australian dramatic coloratura, Joan Sutherland are unmatched IMO. The end of in Questa reggia where the tenor and soprano try to out do each other only to go higher together is most thrillingly recorded in the Mehta Sutherland Pavarotti recording. They approach it like a Bellini crescendo without abusing the heft of the voice and the result is unmatched.
Studio recordings are fake, they are edited together by sound engineers not by singers. Anyone can sound impressive in the studio. They are meaningless next to live performances. Why shouldn't the tenor and soprano compete against each other? They in a direct competition, that is exactly the point of the whole second act, and most of the opera. They are not singing a love duet, Turandot wants to see Calaf die, there is no reason for them to sing together in in sweet manner. This not La Boheme. Puccini obviously wrote this part to be combative.
Maybe eight of them were quite noteworthy! Nice mix thanks!
Solamente Afro Poli puede armar un compliado cronológico tan variado y de gran calidad. Muchas gracias por compartirlo! Saludos desde Buenos Aires con una pregunta: El oppure de "ardente d´amor", está escrito por Puccini o la interpolación del agudo fue invento de Lauri-Volpi cuando estrenó la obra en el Teatro Colón y en el viejo Met? Extiste alguna crónica escrita del estreno de 1926 que consigne que Miguel Fleta también lo hizo? Se lo habrá permitdo Toscanini? Muchas gracias!
Thank you for your kind words! Good questions... hard to answer! As far as I know, the option is in the original. But I cannot tell you whether Fleta sang it or not. If we assume that it was written by Puccini, Toscanini could not have said anything against it and Fleta most certainly was capable of singing it. But really, I do not know.
Corelli, poi tutti gli altri
Они все великолепны! Почему сейчас так не поют?
It's a shame the quality of Masini's peformance is that bad, i assume theres the entire piece of it? And i wonder why Filippeschi didn't go for the C in the principessa altera.
Ermanno Mauro 😍
where are Grigolo and Eyvazov? 😁
lol
:)))))))))))))))))))))))))))))) poor you
Guys, he was very much being sarcastic =)))
@@baoanhnguyen9186 it seems like AfroPoli forgot Coughman and Alagna
@@potusumanbibingka be nice! : )
Wow! A recording of Masini singing Turandot. Unbelievable. Can you post his "Nessun dorma"?
Re. Corelli: this C is from the studio recording in 1958, not live. Beside the tenor had sung better Cs.
I don't have Masini's ND live... I doubt it exists. The Corelli one is actually live, it was broadcast as it was recorded. Thanks for listening.
I still can't believe that Masini's Turandot (even if only fragment) exists. Amazing. Where did you find this rarity?
An archive in Italy. There are a few more snippets in much better quality, but not much.
AfroPoli who do you estimate has the biggest voice here? :)
@@tita4359 Barioni for me the most impressive. Biggest imo would have to be judged in the theater all things given.
Muy disfrutables todos, no es concurso, cada quien tiene su valor y es cuestion de gustos.
Sin dudas Franco Corelli es Calaf.
Faltaría Jussi Bjorling, y sobran más de 15...
How can you tell what note Domingo sings? Nilsson absolutely overpowers him
KAAN! WOW
Corelli e Barioni sempre fuori gara.Tra gli"umani"Molese,Zambon,Pavarotti,Freeman e Galouzine
Afro....thanks very interesting ,Tenors I never heard of .....but where is Sandor Konya😉
I’d say Carl Hauss is the hidden gem in this compilation.
In the 1960s I saw “Turandot” with Nilsson and Barioni. Nothing since has come close. I think he was what Corelli could have / should have been... no abbreviated phrases or interruptive breaths to accommodate preparation for a high note. Also, in 1970 saw Flaviano Labo at Caracalla in Rome from behind the fence at the very back of the audience. Went back again. And again. Little man, huge voice.
Very true about Barioni... the phrasing. Was that in Hartford, CT? Interesting about Labò's voice...
AfroPoli Yes, the “Turandot” with Nilsson and Barioni was in Hartford. I kinda grew up backstage at the Bushnell. Frank Pandolfi, founder of Connecticut Opera, was an uncle. My dad, a professor at Trinity College, had the job of recruiting extras from the student body. I became a steady extra starting when I was about 7 (!) as a street kid in “Carmen” (Jean Madeira). I was the quintessential “theater brat”, running around backstage collecting autographs and befriending anyone and everyone. Over the years I continued as a first-string extra and got to know many of the major artists on a personal level. Pandolfi had a great business model. Given the proximity to NYC, he was able to bring in top-tier leads very economically. He’d structure the season around certain singers’ schedules. He’d have them driven up the day before the company’s one-and-only performance. There’d be ONE rehearsal where everything got slapped together.
Incidentally, Barioni was a great example of “testa di tenore”. In the Hartford “Turandot” he was nowhere to be found for a major entrance. Needless to say, everything ground to a halt. He was located and and they backtracked.
As mentioned, I saw Labo three times in succession at Caracalla. Also in Hartford with Mirella Freni in “La Boheme”. Thought he was terrific.
By the way, I greatly admire your exceptionally intelligent, informative and entertaining posts. I wish you did more!
@@AfroPoli I can't wait to read your book on Turandot!
AfroPoli Hi... I’ll be sending you an email with my contact info. Look forward to chatting. Steve 🕉
Did anyone here hear Barioni live? He sounds unreal here.
@SHICOFF1 thanks for the reply...is this the tenor Neil Shicoff??
@SHICOFF1 that's cool! I think he and Hadley were two of the best American tenors of the past several years. Btw did you happen to know Francisco Casanova? I met him last year. Fantastic singer.
Pleased to discover Jussi Bjorling's son Rolf.
Corelli sopra tutti e Galouzine
1. Franco
2. Franco
3….altri
Non so dove postare: scusi.
C'è un video comparativo della nota bassa "Silenzio" di Ulrica del Ballo in Maschera ? Grazie. 😮
All great tenors! Should add Rudy park too... I know he isn’t good anymore but his high C in his prime was definitely comparable
Rudy Park, at his very best, can only be considered a "fine" tenor. His voice is not that big, and he tended to overdark and force his voice (hence the scooping and weird vowels). His decline was inevitable
There were some scenes in which was sung in a Translation.
Corelli è Dio. Corelli is God. The Greatest tenor of All Time.
Mabye in the top 10, far to vulgar and with no flow, Bjorling was far better!
@@Kjuken69 No way.
But where's Jan Kiepura?
I don't think our host AfroPoli will include the stupendous Rudy Park recording of this scene because Park self immolated. He sang so loud that he destroyed his vocal mechanism. He only sang for about five years i think on big stages. By then the voice was in tatters.
Patrick Boyle he didnt destroy his voice because he is loud, he destroyed it because he was pushing and forcing
Hans Kaart.een grote verassing.hij was heel goed
Ik heb ook een lp van Hans Kaart hij zingt daar met zijn vrouw Carolina Kaart.
He was great👍
This the best that any tenor could hope for in this competition is a draw with Corelli who's rendition I think is perfect in every respect
Also the Top C which ends the the phrase no no Principessa is the money note
I'm wondering why the other tenors are not singing it
Ah, Pavarotti with his endless shadow vowels. Little blights on his often matchless tone.
Ok
Can you explain, sir?
I do admire Pavarotti. That said, I have often thought Pavarotti is near matchless with Corelli and Björling in the ringing beauty of their high register and tender pianissimo. However, the mid-range, there is something less beautiful about his actual mid-range -ahs- I feel lacks “beauty-of-voice” itself- I do hear that vocal beauty in Corelli, Björling, Bergonzi, di Stefano, etc. Your thoughts?
Franco Corelli is THE BEST CALAF! But why isn't Mario Del Monaco here? Great Calaf too.
Undoubtedly. But there is no recording of him doing any of the Cs live. The one from Buenos Aires is a fake, unfortunately.