March 2016... I am a fan of Pavarotti will always be a fan! I hav tried listening to other tenors but to my untrained ear Pavarotti has heart and soul to his voice!! I don't care about high C or high F or falsetto just his beautiful voice that can make me cry!!
magnifico, voce sontuosa, splendida interpretazione, grande fraseggio, espressività raffinata. il falsetto... vabbè, non diminuisce la stupenda performance
Pavarotti, il grande Pavarotti! Anche lui si è esibito più volte con i personaggi maschili delle opere belliniane e con le varie ariette, che amava prediligere.
This is such a sublime performance. Listen to his clear diction and shading, and his careful differentiation between the two verses. Even Sutherland, who, at this stage, sounds irremediably droopy, is affecting.
This is the most elegant rendition of this difficult piece. And the voice is so true and the line clean and ringing. And the F is head voice, that is no falsetto.
This is a stunning performance - what a sweet sound. Of course the "F" is going to be discussed but the beauty of tone and line of Pav here are special.
Stunning! I love it. The end of this aria is a killer! High F, High D#, Two High C#'s, and a high C in two lines of notes. His first high C# is stunning! Many others could not do even this, as high C is consider the tennor highest note! Or they made the first C# and totaly fumbled the rest as they run out of steam. He does the F and D# in falsetto which is how the composer actually intended it! It goes smoothly and pleasantly, follows the text and notes perfectly! I just do not understand why some purist are deadly set against it! The few tennors I heard who can do modal high F usually extend themselves soo badly that the F and the aria becomes chopped and unpleasant! I did survey on the Tube and this is the best to my liking. Definitelly the closest to the composer intentions! I believe in singing the way it was composed. The tweaks are not acceptable to me! So I am purist in this way. Those tweaks are nonsensical excusses, which taken in extreme are like, if Star Spangled Banner is too hard for me, I will replace it with God Save the Queen! Try it for superbowl! Who cares if you do it very well?! :-)
As far as I know, Bellini wrote the role for his friend Rubini, who could hit a 'ringing' high F, so that's definitely in his modal voice, and not in falsetto. Also, Lawrence Brownlee does a tremendous job of this aria, imho, but I don't expect to hear Pavarotti's tone or size from him, given he's a bright tenore di grazia, and actually has a nice, very lyric modal F.
Sounds like a light head voice, not a pure falsetto tone Pavarotti is singing; when he hit the high F. I think the quality of the tone is quite beautiful. It is my hope that individuals who love opera, in the future, will focus on the dedication and commitment singers like Pavarotti have put forward, in the art of operatic singing.
That's definitely just pure falsetto. It's well supported. You might call it a "reinforced falsetto" though even that usually has more of a blend in it. Usually with "light head voice", which is usually called a voixe mixte, or sometimes just "head voice" (the latter also being used to refer to the M2 register, which isn't the same thing since it's not really mixed) you actually can't sing way up into the stratosphere and add any blend, at least not for more than brief moment. It's very hard to control the blend in the passaggio and then harder again in the very top of the voice. There are a few tenors that could sing longer phrases in a really good mix. Simoneau, Gedda, Di Stefano, but most use it more briefly in a diminuendo or crecendo between the M2 and a reinforced falsetto. I strongly doubt anyone can add any sort of blend on an F, and this just sounds like falsetto to me. Falsetto doesn't have to be breathy and terrible. It's the same positioning female vocalists use in their upper register. You can definitely get a nice, ringy, rounded sound.
i realise it's an old comment, but compare his full voice Db at 4:34 to his falsetto Db at 4:53 and you can clearly hear the difference between m1/m2 phonation
Pavarotti do not destroy the common line of aria!!! He is talant!!! For me (not a musicant) it is the better variant from modern singers...not before 1920....
Increible, transmite mucho su canto Francamente no comprendo como desprecian su forma de cantar, quizas es que algunos de los que comentan son capaces de hacerlo mejor que Luciano. Pues estoy seguro que el señor hace lo mejor puede, quien no quisiera ser un nuevo Rubinni para deslumbrar al publico con un Fa sobreagudo como lo hacia él con Bellini y para quien fue hecha este aria.
Pavarotti was great. But if you mean the high F, virtually all tenors can sing in falsetto quite well. I am glad he did it, and had the balls to put beauty over other concerns and try and screech out a high F in head voice, but I don't think it's particularly difficult to sing that note in a supported falsetto. The rest of the piece is much harder to do as well as he did and the high D is arguably one of his best high notes and a total killer in and of itself. I can sing high F's in falsetto all day and make them sound nice. I could not even come close to that amazing high D or sing the rest of this piece with anywhere near the quality Pavarotti does.
There are those who can produce a very well developed and beautiful sounding high F. Maybe not in this song, but is non the less sung greatly. Gregory Kunde, from Illinois, and Eduardo Ayes, from Argentinian who sings this song, in my opinion, beautifully.
I think the only one's I've heard sing it well in the M2 register are Kunde and Matteuzi. I see a lot of people suggesting Gedda sang it in M2, but he hits it falsetto and then blends back into M2 on the way down. You can hear the transition. Kunde and Matteuzi don't, it's M2 from the start and there is no transition from the F to D or on down. I don't however think there is any shame in singing this however you can to get it to sound good. Pavarotti just does the whole phrase in an unreinforced falsetto, Gedda hits the F in reinforced falsetto and blends it. Whatever works so long as it's not a screech. Even just omitting it and doing the D twice is also fine.
here's an abridged version, there's a lot of background singing but these are Arturo & Elvira's words: ARTURO Credeasi, misera! Da me tradita, Traea sua vita In tal martir! Or sfido i fulmini, Disprezzo il fato, Se teco allato Potrò morir!
Pavarotti WAS a master indeed and I was a great fan of his always and so in no way am I putting him down, but simply stating facts. If you want to hear a full head voice high F and NOT a falsetto one, then there are actually many other tenors that have that in their arsenal, but Mr Pavarotti is not one of them. And that is NOT a bad thing, lowering him as a performer and elevating those who CAN sing the high F in full head voice, but simply stating facts as they are/were.
definitely an excellent rendition and the first Db was excellent especially for Pavarotti! But the F in falsetto should have another Db cause he's not especially well-equipped to do that. With two D-flats (which sound great by the way) this could have EXTRA EXTRAORDINARY. But its just extraordinary. :)
Bravo Pavarotti for actually trying it! Although he had to sing the high F falsetto, at least Pavarotti attempted the piece in this recording the way Bellini composed it. BUT listen to the Sills/Gedda Puritani and you will hear Nicolai Gedda singing a perfect high F in the tenor register NOT falsetto!
100% Gedda is singing in a reinforced falsetto on the F. He slides back into M2 on the D on the way back down and kudos to his blending of that phrase, but the F is without question falsetto. He's just adding extra air and support to give it more of a blend and likely to set himself up for the transition to M2 register on the D which needs more support than a pure falsetto. Also I wouldn't personally call it a "perfect" high F. It's passable compared to the other 99% of singers that try it, but it doesn't sound great, because it's a man singing an F5.
Une des meilleures interprétation de Pavarotti ( si ce n'est la meilleure !) Pourquoi l'intégrale n' est elle jamais sortie en série économique ???(contrairement à Lucia par exemple )
IL Y A UNE INTERPRETAT ION COMPLETE DE CETTE OPERA AVEC PAVAROTTI,JOAN SUTHERLAND ET LE DIRIGENT RICHARD BONINGER.C'EST DE LA LONDON.DANS CETTE GRAVATION LE MAETRO A INTRODUITE DIVERSE ARIA QUE LES THEATRES NE REDPRODUISENT PAS.
@ MrAndredekock and @ karifrid: Let's be clear: The Metropolitan Opera has allowed tenors to transpose at least a semi-tone the Puccini's aria from La Boheme: Che gelida manina going back to when Caruso sang there. There is proof of this in the broadcasts with Jussi Bjoerling. Bjoerling also used a clever method for avoiding the high C at the end of the Faust aria. Check the broadcast. Check the broadcasts for "Di quella pira".
For the F5, I'd give it up for Brownlee. Next up, Kudrya - I see a lot of potential in this guy. I would have loved to hear Pavarotti in his really early years when his voice mighta been more on the leggiero side.
I have been listing to Pavarotti many years now but never have heard this falsetto voice, it doesn’t surprise me but wonder why it never was heard before. Is it because opera singers are frowned upon if they use a falsetto voice?
I don't think a falsetto would do the trick either, but i understand your concern about modern performers. But i believe the best alternative to the the 'high F issue' is the mezza voce sound... Gedda, for example, uses it really well. His F does not sound like a pig squeal neither is it artificial-like, as a falsetto would be.
Gedda is just singing in a reinforced falsetto. Basically just giving extra air to a falsetto position. The blend between his F and the rest of the singing is better, in part because he doesn't sing the whole phrase in falsetto and is able to blend back into m2 when he moves back down to the D in the phrase. But I don't think the note is actually very pleasant. It just doesn't stand out as much. Pavarotti's sound is much more pleasant, but it does definitely stand out, especially because he sings the entire phrase in falsetto. I think Gedda's is one of the nicer versions where the F is sung, but I think Pavarotti just said fuck it and decided that it's more important that it sound great than be blended. I think that's a reasonable choice. Certainly a better choice than to sound like shit but still sing the F is some screechy version of M2. It's not definite that he could have sung it as okay as Gedda. Most don't. Most sound way, way worse.
ELVIRA Qual mai funerea Voce funesta Mi scuote e desta Dal mio martir! Se fui sì barbara Nel trarlo a morte M'avrà consorte Nel suo morir! (chorus,etc)
ESTA ARIA LA HACE REDONDA LA GRAN JOAN SUTHERLAND...................RESPETANDO LA CADENCIA DE TENOR..........SABE ESTAR EN SU ESTATUS.............DE SOPRANO SUBLIME............ES POR ESO QUE ES LA MAS GRANDE CANTANTE DE TODOS LOS TIEMPOS.............SIN RENUNCIAR A SU PODERIO ES CAPAZ DE DEJAR LOS HUECOS VOCALES A A SUS SIMILARES...........................
Yes but is it a beautiful note ? Pavarotti did it with style and class. The 6th side of the lp set is a lesson in singing from both Pavarotti and Sutherland
@doctorcaligarissss I tried posting it here for you but it kept on saying: Error, try again. If you just type in the search window, "Nicolai Gedda Credeasi Misera" it will bring up the correct aria for you.
Agreed completely. I think there are 2 options for this phrase. Sing it in falsetto and do it beautifully, or repeat the D and ignore it altogether. Screeching out an F in the M2 register just to say you did it totally ruins the performance. And if Brownlee, who is a particularly high tenor can't do it, almost nobody can. And he can't, he screeches it out. I think I've seen 2 people do an okay job of it where it didn't sound terrible and neither were all that great in general. Also I don't know why there is such a stigma against falsetto in this piece (or there seems to be, maybe I'm wrong). Tenors routinely sing pianissimo phrases in and above the passaggio in falsetto (a small few are able to sing in a controlled voix mixte instead) and add a bit of a blend or diminuendo from chest to keep a consistent sound. But a lot of listeners and fans will just deny this is the case for some reason like there is shame in it despite it being well blended and appropriate for the phrase. If you sing though you can generally tell. Some of the really big voices like Corelli are harder to spot and I think that's just because he had such a big round sound, his falsetto is also bigger and rounder compared to most.
ARTURO Arrestatevi, scostate, Crudeli, crudeli! Ella è tremante, Ella è spirante, Anime perfide, Sorde a pietà. Un solo istante, Ah, l'ira frenate Poi vi straziate Di crudeltà.
Lol. Thanks SuperDedara. I wonder what your qualifications are? Mine is a BMus in voice and a diploma in operatic performance and 32 years as a baritone. So yes, I probably am primitive and stupid as you claim.
That's a matter of opinion. It's different for sure. We're not used to hearing male voices sing in falsetto without any effort to blend the quality with the rest of the voice (which you can't do that high up), but I think this is great singing either way. That was a clean, pleasant, supported falsetto and it is much better than a shitty, screechy F in "head" voice.
Please ,listen to both Gedda and Pavarotti and be happy they are on many recordings. When I try to advertise and say " I am the best high C tenor in Iceland" many say to me. "High notes are not so important". I have listened to both of them to LEARN, I must say I think Pavarotti has more beauty in his voice,but Gedda has a lot to offer...For a tenor who wants to sing great high notes it is IMPORTANT to listen to them.I can NOT sing an F.My best hig note on youtube is in Rigoletto duett,D flat.
"Do di petto" was not in many tenors "arsenal" when Bellini wrote I Puritani. It IS WRITTEN for tenor singing "a falsetto".1831 Gilbert Louis Duprez sang "the first High C from the chest ".I puritani was on stage 1835,only four years later.I think it was written for normal tenors at that time singing in "falsetto" A and higher,perhaps starting lower.The tenors that CAN sing natural HIGH F are many with very small voices.But NOT all of them.IS IT WRONG to sing Che gelida manina semitone lower ?
@TheInquisitive4Ever Absolutely! All this dumb talk about falsetto high F! As I think you (or someone else mentioned), it was well after this was written that any tenor sang a C5 in 'full head' voice. The style has changed.
Quelle voix magnifique ! Le contre fa est émis en falsetto et n’est donc pas très intéressant (contrairement aux sublimes contre ré qui le précèdent).Je ne ne connais que Kunde qui ait vraiment émis ce contre fa en voix de poitrine.Un exploit !
@iwbljd490 IF I was a tenor and had the range I would sing Puritani. My point is simply that any opera singer of integrity says, "I can't sing that role". So all the tenors who do NOT have an effortless high F should steer clear and NOT transpose it or sing falsetto. How would you feel about some tenor singing every high C falsetto? Should he be singing roles he can't manage? Your attempt at humor doesn't fit the scenario. But please don't take this as an insult, it's just my opinion.
![Sean Rii, Karyon, Sharzkii - Taungule [My Love] (Official Music Video)](http://i.ytimg.com/vi/eJoMuypbSzQ/mqdefault.jpg)
March 2016... I am a fan of Pavarotti will always be a fan! I hav tried listening to other tenors but to my untrained ear Pavarotti has heart and soul to his voice!! I don't care about high C or high F or falsetto just his beautiful voice that can make me cry!!
Fabulous! What a gift he was given and he was a good steward of his talent.
Maestro Pavarotti: talento, studio e vera dedizione al canto. Sublime!
La voce più bella del creato!
Falsetto or not..it doesn't matter to me. This high Fa is simply wonderful. :)
Bravissimo maestro !
I just love this man. What a champ.
magnifico, voce sontuosa, splendida interpretazione, grande fraseggio, espressività raffinata. il falsetto... vabbè, non diminuisce la stupenda performance
C'est sublime. Quel merveilleux tenor!
Pavarotti, il grande Pavarotti! Anche lui si è esibito più volte con i personaggi maschili delle opere belliniane e con le varie ariette, che amava prediligere.
Penso que sea la mejor interpretación que yo he escuchado de crediasi misera,
This is such a sublime performance. Listen to his clear diction and shading, and his careful differentiation between the two verses. Even Sutherland, who, at this stage, sounds irremediably droopy, is affecting.
This is the most elegant rendition of this difficult piece. And the voice is so true and the line clean and ringing. And the F is head voice, that is no falsetto.
Oh my heart stand still at the cello @ 1:38 !!
I don't care of it's in falsetto, it sounded beautifully..
This is a stunning performance - what a sweet sound. Of course the "F" is
going to be discussed but the beauty of tone and line of Pav here are special.
Magnifique interprétation par Luciano, chanteur à la voix sublime
Simply brilliant !!!
That F! OMG! INCREDIBLE!
Beautiful!!!
Just GORGEOUS! OMG!! Such feeling, such tenderness. Thank you for sharing....
Holy moly f… just listened again, and in total shock to hear this beautiful sound from The Pav!
Splendido..
amazing!
Stunning! I love it. The end of this aria is a killer! High F, High D#, Two High C#'s, and a high C in two lines of notes.
His first high C# is stunning! Many others could not do even this, as high C is consider the tennor highest note! Or they made the first C# and totaly fumbled the rest as they run out of steam. He does the F and D# in falsetto which is how the composer actually intended it! It goes smoothly and pleasantly, follows the text and notes perfectly!
I just do not understand why some purist are deadly set against it! The few tennors I heard who can do modal high F usually extend themselves soo badly that the F and the aria becomes chopped and unpleasant! I did survey on the Tube and this is the best to my liking. Definitelly the closest to the composer intentions! I believe in singing the way it was composed. The tweaks are not acceptable to me! So I am purist in this way. Those tweaks are nonsensical excusses, which taken in extreme are like, if Star Spangled Banner is too hard for me, I will replace it with God Save the Queen! Try it for superbowl! Who cares if you do it very well?! :-)
As far as I know, Bellini wrote the role for his friend Rubini, who could hit a 'ringing' high F, so that's definitely in his modal voice, and not in falsetto. Also, Lawrence Brownlee does a tremendous job of this aria, imho, but I don't expect to hear Pavarotti's tone or size from him, given he's a bright tenore di grazia, and actually has a nice, very lyric modal F.
Also, try out William Mateuzzi....
Simply sublime. Thanks a million for posting.
miss you luciano!
Sounds like a light head voice, not a pure falsetto tone Pavarotti is singing; when he hit the high F. I think the quality of the tone is quite beautiful. It is my hope that individuals who love opera, in the future, will focus on the dedication and commitment singers like Pavarotti have put forward, in the art of operatic singing.
SharkBearAgator Phipps falsettone is a very likely possibility also!
That's definitely just pure falsetto. It's well supported. You might call it a "reinforced falsetto" though even that usually has more of a blend in it. Usually with "light head voice", which is usually called a voixe mixte, or sometimes just "head voice" (the latter also being used to refer to the M2 register, which isn't the same thing since it's not really mixed) you actually can't sing way up into the stratosphere and add any blend, at least not for more than brief moment. It's very hard to control the blend in the passaggio and then harder again in the very top of the voice. There are a few tenors that could sing longer phrases in a really good mix. Simoneau, Gedda, Di Stefano, but most use it more briefly in a diminuendo or crecendo between the M2 and a reinforced falsetto. I strongly doubt anyone can add any sort of blend on an F, and this just sounds like falsetto to me. Falsetto doesn't have to be breathy and terrible. It's the same positioning female vocalists use in their upper register. You can definitely get a nice, ringy, rounded sound.
i realise it's an old comment, but compare his full voice Db at 4:34 to his falsetto Db at 4:53 and you can clearly hear the difference between m1/m2 phonation
Incredibel!!!!!!
Pavarotti is a master. Ridiculous comparisons! Why do some people have a need to put someone down in order to bring another up? It doesn't work.
Wonderful.
Pavarotti do not destroy the common line of aria!!! He is talant!!! For me (not a musicant) it is the better variant from modern singers...not before 1920....
4:52 when I stub my toe
4:50
İbrahim Yıldız Thank you 👍😉😉
man höre william matteuzzi !! für mich das ASS der tenöre !!!
The f sung with dignity and beauty .
It actually sounds like singing, not a coyote howling. I like it
Yes it is.
Ese falsete que hace me encanta!!!!!
Pues es horrible.
En vivo no solia cantar a tono esta pieza.
4:50 is pavarotti?wooow its my first time that i heared this BRAVO BIG LUCIANO!
Pavarotti, o mais honrado tenor fazendo o mais desonroso falsete de todas as gravações desta aria...
Virgilio Miranda A razão é simples, ele não trabalhou falsetto, mas poucos podem se igualar a sua potência em voz de peito
With a high F held by Luciano !
Increible, transmite mucho su canto
Francamente no comprendo como desprecian su forma de cantar, quizas es que algunos de los que comentan son capaces de hacerlo mejor que Luciano. Pues estoy seguro que el señor hace lo mejor puede, quien no quisiera ser un nuevo Rubinni para deslumbrar al publico con un Fa sobreagudo como lo hacia él con Bellini y para quien fue hecha este aria.
USTED TIENE PLENA RAZÓN.
@MrAndredekock Pavarotti's falsetto is substantial and beautiful none-the-less.
Yes, it is Joan Sutherland. A Beautiful recording.
4:51 when you step on lego
🤣🤣🤣🤣🤣🤣🤣
Bruh stole my comment
@@joshc6877 Incredible how you returned after a year just to say this lmao
@@Voorheesjason42 I can’t let people just steal my funny jokes
@@joshc6877 Understandable
WOW.....find me somebody today who can come close to this!!
Pavarotti was great. But if you mean the high F, virtually all tenors can sing in falsetto quite well. I am glad he did it, and had the balls to put beauty over other concerns and try and screech out a high F in head voice, but I don't think it's particularly difficult to sing that note in a supported falsetto. The rest of the piece is much harder to do as well as he did and the high D is arguably one of his best high notes and a total killer in and of itself. I can sing high F's in falsetto all day and make them sound nice. I could not even come close to that amazing high D or sing the rest of this piece with anywhere near the quality Pavarotti does.
Tha best NICOLAI GEDDA !! Forerver.
Sutherland: no go with her lachrymose voice. Pavarotti great!
There are those who can produce a very well developed and beautiful sounding high F. Maybe not in this song, but is non the less sung greatly.
Gregory Kunde, from Illinois, and Eduardo Ayes, from Argentinian who sings this song, in my opinion, beautifully.
I think the only one's I've heard sing it well in the M2 register are Kunde and Matteuzi. I see a lot of people suggesting Gedda sang it in M2, but he hits it falsetto and then blends back into M2 on the way down. You can hear the transition. Kunde and Matteuzi don't, it's M2 from the start and there is no transition from the F to D or on down.
I don't however think there is any shame in singing this however you can to get it to sound good. Pavarotti just does the whole phrase in an unreinforced falsetto, Gedda hits the F in reinforced falsetto and blends it. Whatever works so long as it's not a screech. Even just omitting it and doing the D twice is also fine.
C'est sublime!
and you too,joan...
Why does everybody write about the falsetto? The note at 4:33 is amazing! Wonderful! Devine! So beautiful!
here's an abridged version, there's a lot of background singing but these are Arturo & Elvira's words:
ARTURO
Credeasi, misera!
Da me tradita,
Traea sua vita
In tal martir!
Or sfido i fulmini,
Disprezzo il fato,
Se teco allato
Potrò morir!
the whole interpretation is far better than Gedda's now, high F, I don't care, is only a note, but Gedda made it properly.
ELVIRA
Il tuo perdono!
Per me a morte, o Arturo mio!
ARTURO
Ah un amplesso!
ELVIRA
Sì, mio bene.
ARTURO
Ah, un addio!
ELVIRA
Un addio!
Pavarotti WAS a master indeed and I was a great fan of his always and so in no way am I putting him down, but simply stating facts. If you want to hear a full head voice high F and NOT a falsetto one, then there are actually many other tenors that have that in their arsenal, but Mr Pavarotti is not one of them. And that is NOT a bad thing, lowering him as a performer and elevating those who CAN sing the high F in full head voice, but simply stating facts as they are/were.
definitely an excellent rendition and the first Db was excellent especially for Pavarotti! But the F in falsetto should have another Db cause he's not especially well-equipped to do that. With two D-flats (which sound great by the way) this could have EXTRA EXTRAORDINARY. But its just extraordinary. :)
@doctorcaligarissss Just type in Nicolai Gedda Credeasi and you will find it. That is a High F, PERFECTLY on pitch!
Bravo Pavarotti for actually trying it! Although he had to sing the high F falsetto, at least Pavarotti attempted the piece in this recording the way Bellini composed it. BUT listen to the Sills/Gedda Puritani and you will hear Nicolai Gedda singing a perfect high F in the tenor register NOT falsetto!
100% Gedda is singing in a reinforced falsetto on the F. He slides back into M2 on the D on the way back down and kudos to his blending of that phrase, but the F is without question falsetto. He's just adding extra air and support to give it more of a blend and likely to set himself up for the transition to M2 register on the D which needs more support than a pure falsetto.
Also I wouldn't personally call it a "perfect" high F. It's passable compared to the other 99% of singers that try it, but it doesn't sound great, because it's a man singing an F5.
Une des meilleures interprétation de Pavarotti ( si ce n'est la meilleure !) Pourquoi l'intégrale n' est elle jamais sortie en série économique ???(contrairement à Lucia par exemple )
IL Y A UNE INTERPRETAT ION COMPLETE DE CETTE OPERA AVEC PAVAROTTI,JOAN SUTHERLAND ET LE DIRIGENT RICHARD BONINGER.C'EST DE LA LONDON.DANS CETTE GRAVATION LE MAETRO A INTRODUITE DIVERSE ARIA QUE LES THEATRES NE REDPRODUISENT PAS.
@ MrAndredekock and @ karifrid: Let's be clear: The Metropolitan Opera has allowed tenors to transpose at least a semi-tone the Puccini's aria from La Boheme: Che gelida manina going back to when Caruso sang there. There is proof of this in the broadcasts with Jussi Bjoerling. Bjoerling also used a clever method for avoiding the high C at the end of the Faust aria. Check the broadcast. Check the broadcasts for "Di quella pira".
Avec un contre-fa tenu par Luciano !
For the F5, I'd give it up for Brownlee. Next up, Kudrya - I see a lot of potential in this guy. I would have loved to hear Pavarotti in his really early years when his voice mighta been more on the leggiero side.
I don't care that the f is in falsetto it is still beautiful
ELVIRA
Arturo!
ARTURO
Elvira, Elvira!
ELVIRA
Arturo,Arturo, tu vivi ancor!
ARTURO
Teco io sono.
4:40 That is a lot of Dececco spaghetti
I have been listing to Pavarotti many years now but never have heard this falsetto voice, it doesn’t surprise me but wonder why it never was heard before. Is it because opera singers are frowned upon if they use a falsetto voice?
@tklogan111809 You want power, go with Brownlee. Delicacy, try Mateuzzi or Gedda. Good blend, Osborn. John Osborn sings my favorite high f5.
I don't think a falsetto would do the trick either, but i understand your concern about modern performers. But i believe the best alternative to the the 'high F issue' is the mezza voce sound... Gedda, for example, uses it really well. His F does not sound like a pig squeal neither is it artificial-like, as a falsetto would be.
Gedda is just singing in a reinforced falsetto. Basically just giving extra air to a falsetto position. The blend between his F and the rest of the singing is better, in part because he doesn't sing the whole phrase in falsetto and is able to blend back into m2 when he moves back down to the D in the phrase. But I don't think the note is actually very pleasant. It just doesn't stand out as much. Pavarotti's sound is much more pleasant, but it does definitely stand out, especially because he sings the entire phrase in falsetto. I think Gedda's is one of the nicer versions where the F is sung, but I think Pavarotti just said fuck it and decided that it's more important that it sound great than be blended. I think that's a reasonable choice. Certainly a better choice than to sound like shit but still sing the F is some screechy version of M2. It's not definite that he could have sung it as okay as Gedda. Most don't. Most sound way, way worse.
ELVIRA
Qual mai funerea
Voce funesta
Mi scuote e desta
Dal mio martir!
Se fui sì barbara
Nel trarlo a morte
M'avrà consorte
Nel suo morir!
(chorus,etc)
@muatlas Falzet.
sounds like a heavy metal Pavarotti
Thank you so much for posting this. one Q, is this from the Richard Bonynge Decca recording?
ESTA ARIA LA HACE REDONDA LA GRAN JOAN SUTHERLAND...................RESPETANDO LA CADENCIA DE TENOR..........SABE ESTAR EN SU ESTATUS.............DE SOPRANO SUBLIME............ES POR ESO QUE ES LA MAS GRANDE CANTANTE DE TODOS LOS TIEMPOS.............SIN RENUNCIAR A SU PODERIO ES CAPAZ DE DEJAR LOS HUECOS VOCALES A A SUS SIMILARES...........................
i feel stupid asking for this... but would yo have these lyrics?
Avec un contre-fa aigu tenu !!!
open vowel ...ah............. Italian school of singing. Bel Canto. No others need apply.
Yes but is it a beautiful note ? Pavarotti did it with style and class. The 6th side of the lp set is a lesson in singing from both Pavarotti and Sutherland
@jazztom86 jkajkakja a mobster =)
@doctorcaligarissss I tried posting it here for you but it kept on saying: Error, try again. If you just type in the search window, "Nicolai Gedda Credeasi Misera" it will bring up the correct aria for you.
is this Joan Sutherland's voice with 'Pava'?
Yes. 1975 recording
So Pavarotti could also make a career as a lyric mezzo?
The high F with falsetto is better than those by screaming.
Agreed completely. I think there are 2 options for this phrase. Sing it in falsetto and do it beautifully, or repeat the D and ignore it altogether. Screeching out an F in the M2 register just to say you did it totally ruins the performance. And if Brownlee, who is a particularly high tenor can't do it, almost nobody can. And he can't, he screeches it out. I think I've seen 2 people do an okay job of it where it didn't sound terrible and neither were all that great in general.
Also I don't know why there is such a stigma against falsetto in this piece (or there seems to be, maybe I'm wrong). Tenors routinely sing pianissimo phrases in and above the passaggio in falsetto (a small few are able to sing in a controlled voix mixte instead) and add a bit of a blend or diminuendo from chest to keep a consistent sound. But a lot of listeners and fans will just deny this is the case for some reason like there is shame in it despite it being well blended and appropriate for the phrase. If you sing though you can generally tell. Some of the really big voices like Corelli are harder to spot and I think that's just because he had such a big round sound, his falsetto is also bigger and rounder compared to most.
ARTURO
Arrestatevi, scostate,
Crudeli, crudeli!
Ella è tremante,
Ella è spirante,
Anime perfide,
Sorde a pietà.
Un solo istante,
Ah, l'ira frenate
Poi vi straziate
Di crudeltà.
Lol. Thanks SuperDedara. I wonder what your qualifications are? Mine is a BMus in voice and a diploma in operatic performance and 32 years as a baritone. So yes, I probably am primitive and stupid as you claim.
i love pavarotti.....but you gotta laugh at 1:20:)
pavarotti also as a soprano :D jajaja
4:31 is waayy better than 4:52 it just sounds bizarre, otherwise masterpiece
That's a matter of opinion. It's different for sure. We're not used to hearing male voices sing in falsetto without any effort to blend the quality with the rest of the voice (which you can't do that high up), but I think this is great singing either way. That was a clean, pleasant, supported falsetto and it is much better than a shitty, screechy F in "head" voice.
Please ,listen to both Gedda and Pavarotti and be happy they are on many recordings.
When I try to advertise and say " I am the best high C tenor in Iceland" many say to me. "High notes are not so important". I have listened to both of them to LEARN, I must say I think Pavarotti has more beauty in his voice,but Gedda has a lot to offer...For a tenor who wants to sing great high notes it is IMPORTANT to listen to them.I can NOT sing an F.My best hig note on youtube is in Rigoletto duett,D flat.
That high F is falsetto correct?
"Do di petto" was not in many tenors "arsenal" when Bellini wrote I Puritani. It IS WRITTEN for tenor singing "a falsetto".1831 Gilbert Louis Duprez sang "the first High C from the chest ".I puritani was on stage 1835,only four years later.I think it was written for normal tenors at that time singing in "falsetto" A and higher,perhaps starting lower.The tenors that CAN sing natural HIGH F are many with very small voices.But NOT all of them.IS IT WRONG to sing Che gelida manina semitone lower ?
haha, in the foto at 2:00 he looks like a mafioso.
It was probably more stylistically correct for the time of Bellini, when people weren't so hung up about the use "falsetto"...
Beautiful. Pavarotti takes your breath away. Only Gedda sings this aria as well.
So 24 people don't like this?
@TheInquisitive4Ever Absolutely! All this dumb talk about falsetto high F! As I think you (or someone else mentioned), it was well after this was written that any tenor sang a C5 in 'full head' voice. The style has changed.
Quelle voix magnifique ! Le contre fa est émis en falsetto et n’est donc pas très intéressant (contrairement aux sublimes contre ré qui le précèdent).Je ne ne connais que Kunde qui ait vraiment émis ce contre fa en voix de poitrine.Un exploit !
@iwbljd490 IF I was a tenor and had the range I would sing Puritani. My point is simply that any opera singer of integrity says, "I can't sing that role". So all the tenors who do NOT have an effortless high F should steer clear and NOT transpose it or sing falsetto. How would you feel about some tenor singing every high C falsetto? Should he be singing roles he can't manage? Your attempt at humor doesn't fit the scenario. But please don't take this as an insult, it's just my opinion.
F5の声がファルセットと皆言ってますがなんでわからないんでしょう!
ジョーンジーランドがその部分を歌っていますよ!
Lol. Dream on Mr know-it-all-nothing.