Listen to Herlea.... He's the FINEST GERMONT! Please research before you make statements like this! ... There are always better and more Divine voices that you or me or the world knows... Because, always will be a better Voice than we know... or better athlete or Doctor or whatever... Everything is relative... nothing is ABSOLUTE! JUST GOD!!!
@@Creationseed9 So true. What I mean best in my writing is more of inspirational and emotion. Not anything to exclude others. (maybe it should say dearest or finest at the moment...) But MacNail is so good at Germont, you can see many others singing this, did not get anything close to his take. Many other modern singers sound like harsh brother of Alfredo, so strong and screaming... MacNail is the best cast in that movie La Travita by famous Franco Z.
@@Creationseed9 Herlea has the artistry and ideal baritone tone.... GRAND artist. So under appreciated, because of his name did not have italian hint...
@@PBXVIILY I only wish to be inside the House!!! Wow what a live experience you got! Met made that movie, MacNeil was the best cast beside the best producer... 🅰
Aria tra le più difficili del panorama lirico-baritono... MacNeil esegue con grande maestria la prima parte... Nella seconda parte, non da sufficiente differenza dalla prima,limitando la prova... Tuttavia non toglie che sia un'ottima performance... Il tenore (non so chi sia, ) esegue la parte finale tutta con il naso! Orribile...
You’re crazy dude, MacNeil was, if anything, lower set than a typical baritone. His low notes, down to G2, are incredibly rich and colorful. What has you confused, in my opinion, is MacNeil’s tendency to keep high notes WAY more open than they naturally should be. It’s absolutely insane that he could sing the Gb4 in this aria that wide open; it’s functionally operatic belting. There’s no way macneil could comfortably sustain a tenor tessitura; the higher Verdi baritone roles were already too taxing for his beefy voice, IMO.
@@TrueConnoisseur A rich, low G2 is feasible by a tenor. Even passage notes are lower for certain tenor voices - voice is a continuum and certain ones sit well in the middle of the range. The colour, however, is not as thick as a Bastianini's or Rufo's. Hence the debate
@@joaquimcevallosmorales8944 Interestingly enough you try to compare him with Ruffo and Bastiannini in terms of vocal weight when Bastiannini was much lighter than MacNeil (despite being a former bass who retrained as a baritone), yet still heavier in some respects than that of Ruffo who's high notes were superb. This is quite an unfair comment. Cornell MacNeil was a true Baritone; I'd argue, his was more akin to the basso-cantate voice type (bass-baritone) as that of Carroli and even Guelfi.
I'd rather say MacNeil was a higher kind of bass with a drammatico disposition/a dramatic bass-baritone voice who trained as baritone. Respectfully, if you think most tenors can sing "A rich, low G2" then I should completely reasses and re-evaluate how rich and easy my own CounterLow G1 is, as a bass-baritone... No, it doesn't work like that, there is a huge difference between a note with proper squillo and proper chiaroscuro and proper resonance and a proper classical singing/canto lirico/canto tradizionale/belcanto approach and some low burpy notes one can hope to touch in a good day while at home at their piano (in that respect I have recorded notes down to touching an E1 and then even down to C0, the latter in vocal fry, and I'd never try to sell to an Opera House that I possess the PROPER ControDo/C2 you would properly expect from a REAL Tiefer Bass/Basso Profondo, there is a difference between vocal range and having the proper sound for Opera). MacNeil on low notes sounded as a proper Bass voice. Most Tenors start loosing the beef in their voice already on F3/Eb3, perhaps lower dramatic tenors a few semitones lower than that, while in different and lighter repertoires a Tenore di mezzo carattere/Baritenore/Taille rossiniano can sing G2 to D5 but that G2 will usually not sound like MacNeil's G2; while this doesn't mean some tenors cannot possess very low notes (tenors with a CounterLow C2 are not unheard of) they certainly do not sound down there like a proper Bass as MacNeil sounded.
MacNeil rules... he is my finest Germont... there are so many elder brothers sounds of others. This is true baritone voice!!!
Listen to Herlea.... He's the FINEST GERMONT! Please research before you make statements like this! ... There are always better and more Divine voices that you or me or the world knows... Because, always will be a better Voice than we know... or better athlete or Doctor or whatever... Everything is relative... nothing is ABSOLUTE! JUST GOD!!!
@@Creationseed9 So true. What I mean best in my writing is more of inspirational and emotion. Not anything to exclude others. (maybe it should say dearest or finest at the moment...)
But MacNail is so good at Germont, you can see many others singing this, did not get anything close to his take. Many other modern singers sound like harsh brother of Alfredo, so strong and screaming...
MacNail is the best cast in that movie La Travita by famous Franco Z.
@@Creationseed9 Herlea has the artistry and ideal baritone tone.... GRAND artist.
So under appreciated, because of his name did not have italian hint...
Mine too I saw him in person! Great great Baritone!
@@PBXVIILY I only wish to be inside the House!!! Wow what a live experience you got!
Met made that movie, MacNeil was the best cast beside the best producer...
🅰
MacNeil was a force of nature.
Thank you 😘
This is from the 1981 performance with Domingo.
Great singing even without the high notes!
Pro tip: watch movies at Flixzone. Me and my gf have been using them for watching all kinds of movies these days.
@Jorge Trenton definitely, have been using Flixzone for months myself =)
Aria tra le più difficili del panorama lirico-baritono... MacNeil esegue con grande maestria la prima parte... Nella seconda parte, non da sufficiente differenza dalla prima,limitando la prova... Tuttavia non toglie che sia un'ottima performance... Il tenore (non so chi sia, ) esegue la parte finale tutta con il naso! Orribile...
Placido Domingo is the tenor.
@@thomaslehmanbaritone grazie
I always thought he was an undevelopped dramatic tenor - this recording does not prove me wrong.
You’re crazy dude, MacNeil was, if anything, lower set than a typical baritone. His low notes, down to G2, are incredibly rich and colorful. What has you confused, in my opinion, is MacNeil’s tendency to keep high notes WAY more open than they naturally should be. It’s absolutely insane that he could sing the Gb4 in this aria that wide open; it’s functionally operatic belting. There’s no way macneil could comfortably sustain a tenor tessitura; the higher Verdi baritone roles were already too taxing for his beefy voice, IMO.
@@TrueConnoisseur A rich, low G2 is feasible by a tenor. Even passage notes are lower for certain tenor voices - voice is a continuum and certain ones sit well in the middle of the range.
The colour, however, is not as thick as a Bastianini's or Rufo's. Hence the debate
@@joaquimcevallosmorales8944 Interestingly enough you try to compare him with Ruffo and Bastiannini in terms of vocal weight when Bastiannini was much lighter than MacNeil (despite being a former bass who retrained as a baritone), yet still heavier in some respects than that of Ruffo who's high notes were superb.
This is quite an unfair comment. Cornell MacNeil was a true Baritone; I'd argue, his was more akin to the basso-cantate voice type (bass-baritone) as that of Carroli and even Guelfi.
I'd rather say MacNeil was a higher kind of bass with a drammatico disposition/a dramatic bass-baritone voice who trained as baritone.
Respectfully, if you think most tenors can sing "A rich, low G2" then I should completely reasses and re-evaluate how rich and easy my own CounterLow G1 is, as a bass-baritone...
No, it doesn't work like that, there is a huge difference between a note with proper squillo and proper chiaroscuro and proper resonance and a proper classical singing/canto lirico/canto tradizionale/belcanto approach and some low burpy notes one can hope to touch in a good day while at home at their piano (in that respect I have recorded notes down to touching an E1 and then even down to C0, the latter in vocal fry, and I'd never try to sell to an Opera House that I possess the PROPER ControDo/C2 you would properly expect from a REAL Tiefer Bass/Basso Profondo, there is a difference between vocal range and having the proper sound for Opera).
MacNeil on low notes sounded as a proper Bass voice.
Most Tenors start loosing the beef in their voice already on F3/Eb3, perhaps lower dramatic tenors a few semitones lower than that, while in different and lighter repertoires a Tenore di mezzo carattere/Baritenore/Taille rossiniano can sing G2 to D5 but that G2 will usually not sound like MacNeil's G2; while this doesn't mean some tenors cannot possess very low notes (tenors with a CounterLow C2 are not unheard of) they certainly do not sound down there like a proper Bass as MacNeil sounded.
@@edraith I know my views are controversial, but I have always felt his colour was somewhat brighter, and his top too easy for a standard baritone.