This guy is ridiculous. Certainly there are other good versions of this aria by very talented, accomplished baritones. But I've yet to find any who capture the comic silliness this aria is really about as well as Mr. Hampson. He is so at ease with this absurdly difficult aria that he can clown around the stage and genuinely have a good time. Molto Bravissimo!
By far my favourite rendition of this song. He plays the character so well, the best Figaro I have ever seen. Always brings a smile to my face. Bravisimo!
Interesting voice indeed. To not be an Italian he has a great diction, funny and entertaining performance full of charm and personality. I always loved Bechi overall as Figaro, but Mr Hampson is quite trilling. Never heard of him before I must confess, but I will investigate the matter...if anybody as links with his performances please send them straightaway :)))
American singers have to have excellent Italian, French, and German diction. It is drilled into us in school as few operas are in English. If we don't have good diction, we don't work...as simple as that.
I guess if you have the technical skill to sing this aria as no one else ; good-looking ; tall, you may as well get the best out of it. Opera singers w / his vocal talent & appearance must know it ain't gonna last, so ... enjoy it now ... but at least don't let the audience know you're conceited ... that has to be a sign of some professionalism.
Fantástico!, con una dicción maravillosa, me tiene enamorada la voz de este hombre. Es genial ver como te cuenta la historia de principio a fin y como la disfruta sin ponerse excesivamente heroico, me pone la piel de gallina.
Shelby Maberry I can understand that! Hampson has tons of charm - I bet that huge man with windturbine arms can make even the worst spinster feel seducive. His Italian is good enough for him to use large gestures. One the reason the concert performance of him and Bartoli in Chi darem la mano... is so exiting. Two trainloads of charm colliding head on. It is hard to find out who won - but something really changed. What buckled and what bust is not alltogether clear.
After John Rawnsley, Thomas Hampson is the second great performer of this difficult Largo al factotum music. These two baritons are the best I have hear in more than 112 samples and they are really great!!
Great. I especially liked the stress on "di" (qualità). Interestingly, the "di" is no dying but revives in the final where it's not "della citta" as in other interpretations, but "fortunatissimo DI (btw it's not or never "per") verità". I now think that this aria was some name giver for the Forbes magazine, gosh. This intrigues me! Just great. Beautiful c - teeth. Edit: Sorry, it is "per verità". However, it's good to be lucky by truth. Great show! I like it.
Meraviglioso come ha perculato il direttore (da linciare soprattutto per il ritmo forsennato del finale) che gli ha, secondo me arbitrariamente, cassato la prima cadenza.
No, I just think he is a baritone with a strong upper range. Voice fach/type isn’t really determined by range, but timbre. Thomas Hampson’s timbre is very much that of a lyric baritone.
One of the best performances of the cavatina! Thomas Hampson knows well how to have fun with this piece, and that's the secret to make a "better than mediocre" performance of this song. Truly is, that Mr. Hampson always made outstanding performances of this song!! Even when he fails the high note at 2:33, he makes fun of it and blast away a super high a few seconds after... He's truly amazing!
He did not fail at 2:33, he had to jump ahead when the conductor made a mistake and brouht the orchestra in a few beats early. Check out the same singer at the performance at the Met Opera Gala on RUclips. Better recording, too, and you'll see.
He is just singing it the way it's written, and then he adds a high C later during the fermata to mess with your head. The G is usually added for singers to show off their strong G (many people believe it is a high C), but was intended to be omitted, as a musical joke, precisely because it is expected. That's also why he laughs, he's like "Gotcha there". (edited)
It is written this way. It is written specifically that the clarinets start playing halfway through the singer's third quarter note, the D, with no defined "a piacere" or fermata or anything to imply otherwise. It is obvious to me and hopefully someone else that it is the kind of humor that Rossini often has in his music. It was probably a baritone who's high G was very much liked who decided to show it off a bit more, since most the high notes in the written cavatina are short and percussive.
What a horror!!! Uncle sang somewhere in the pub. Deep, then in this direction, then in that. Throws on himself, absorbs the sound. Wide sound, does not fit - diverges. Culture - -10 points on a 10-point scale.
@Arfat Sorry, but I don't hear any trace of falsetto in the tone. A counter tenor would sound way differently. Plus, Hampson has shown great ease in the upper register so, regardless of how you view this note, it is likely that he has it in him to hit C5s anyway. Not that it matters, I personally prefer good singing to hitting high notes.
@MarcelloArletti This high note is called "tenor C" no matter who sings it. That's why it's so impressive! There are not many baritones or basses that can do this ( 2:40 ).
The high C was unwritten, a vulgar display that served nothing expect to allow Mr. Hampson to show off. Somewhere there is an interview with him saying that he just agonized over whether to include it or not and consulted many people all of whom assured him that no, Tom, it isn’t vulgar. You just get out there and sing your high C! Oh, please!
Largo al factotum della citta. Largo! La la la la la la la LA! Presto a bottega che l'alba e gia. Presto! La la la la la la la LA! Ah, che bel vivere, che bel piacere (che bel piacere) per un barbiere di qualita! (di qualita!) Ah, bravo Figaro! Bravo, bravissimo! Bravo! La la la la la la la LA! Fortunatissimo per verita! Bravo! La la la la la la la LA! Fortunatissimo per verita! Fortunatissimo per verita! La la la la, la la la la, la la la la la la la LA! Pronto a far tutto, la notte e il giorno sempre d'intorno in giro sta. Miglior cuccagna per un barbiere, vita piu nobile, no, non si da. La la la la la la la la la la la la la! Rasori e pettini lancette e forbici, al mio comando tutto qui sta. Rasori e pettini lancette e forbici, al mio comando tutto qui sta. V'e la risorsa, poi, de mestiere colla donnetta... col cavaliere... colla donnetta... la la li la la la la la col cavaliere... la la li la la la la la la la LA!!! Ah, che bel vivere, che bel piacere (che bel piacere) per un barbiere di qualita! (di qualita!) Tutti mi chiedono, tutti mi vogliono, donne, ragazzi, vecchi, fanciulle: Qua la parruca... Presto la barba... Qua la sanguigna... Presto il biglietto... Tutto mi chiedono, tutti mi vogliono, tutti mi chiedono, tutti mi vogliono, Qua la parruca, presto la barba, presto il biglietto, ehi! Figaro... Figaro... Figaro... Figaro...Figaro... Figaro... Figaro... Figaro... Figaro...Figaro!!! Ahime, (ahime) che furia! Ahime, che folla! Uno alla volta, per carita! (per carita! per carita!) Uno alla volta, uno alla volta, uno alla volta, per carita! Figaro! Son qua. Ehi, Figaro! Son qua. Figaro qua, Figaro la, Figaro qua, Figaro la, Figaro su, Figaro giu, Figaro su, Figaro giu. Pronto prontissimo son come il fumine: sono il factotum della citta. (della citta, della citta, della citta, della citta) Ah, bravo Figaro! Bravo, bravissimo; Ah, bravo Figaro! Bravo, bravissimo; a te fortuna (a te fortuna, a te fortuna) non manchera. Ah, bravo Figaro! Bravo, bravissimo; Ah, bravo Figaro! Bravo, bravissimo; a te fortuna (a te fortuna, a te fortuna) non manchera. Sono il factotum della citta, Sono il factotum della citta, della citta, della citta, Della citta!!! La la la la la la la la la!
Most high baritones can become dramatic tenors and many dramatic tenors often sing lyric baritone roles so they don’t stick out too much singing other tenor roles
@Barone Vitellio Scarpia dude stop embaressing yourself. This is just his "tenor" technique. He's already a high bariton, but here he really uses a "tenor" position, in oder not to sing too heavy. I'd prefer him to have more flesh in his timbre, but this is a perfectly fine voice for lyric German and French repertoire. I love his Mahler songs, I despise his Macbeth. Not everyone needs to be Bastiannini.
@SWEETXXSUGARXXANGEL Beaumarchais may have based the character's name on the French phrase fils Caron meaning "son of Caron", which was his own nickname and would have been pronounced in a similar way. In modern French the word figaro has acquired the meaning "barber", reflecting the character's profession.
Mullet is a hairstyle in which the hair is left long at the back but cut short on the top and sides. Hampson doesn't sport a mullet here. He simply has long hair, the length is esp noticeable at the sides. Typical mullet is either MacGuyver, Andre Agassi (when he had hair) or Jaromir Jagr.
2:43 The dude behind him hears the huge voice crack is like: Imma hold it, Imma hold it ... (little smile) ... imma hold it ... (sweat breaking) Inside he goes: HAHAHAHAHAHAHAAH WHAT A VOICE CRACK HAHAHAH ME AND THE CHOIR BOYS WILL LAUGH ABOUT THIS EVERY REHEARSAL HAHAHAHAAHAHHAAHAHAHH Then he goes: ok, calm down, I'll laugh when they applaud him
@@akap9612 Thank you for your intellect and high IQ reply! You can recieve your douchebag gift at the door on your way out of cultural society. Have a good day!
he's not just great, but yet entertaining and funny too! :D just very, very like Figaro at the song it self !! (figaro is the barberer at this song :) )
read the comment above, there is no note written in the original score for this song. where he is laughing, there is not a vocal note written. rossini didn't write that note. it's a joke. it's an unfinished arpeggio. do i need to explain more? thanks for being smart.
I think the conductor forgot to wait for Hampson to do long notes at 2:34 I don't think that was on purpose. Hampson usually makes long notes on that part.
This dude kills it every time. Loud, resonant clear and fast. Best Figaro ever.
This guy is ridiculous. Certainly there are other good versions of this aria by very talented, accomplished baritones. But I've yet to find any who capture the comic silliness this aria is really about as well as Mr. Hampson. He is so at ease with this absurdly difficult aria that he can clown around the stage and genuinely have a good time. Molto Bravissimo!
Ridiculous,.why?Figaro est un personnage de comédie,presque Comedia del Arte,ici.....Et la voix de Thomas Hampson est superbe,..
@@chantalgautier644 Ridiculous can be a compliment in English. Ridiculously good; inctedible; beyond-human.
@@ktrewin23 sorry..vraiment désolée..my english ist not good enough.....i won't forget this meaning,thanks a lot...Karen
@@chantalgautier644 C'est la même chose pour mon français chère amie! Aujourd'hui c'est le 14ème Juliet; alors Vive la France! Mes félicitations!
@@ktrewin23 Merci !
Bravo, Mr. Hampson!! Good voice, wonderful singing and a true showman.
15 years later... Mr Thomas Hampson is an amazing performer. I wonder what's happened to him since
Looks/sounds like the performance at the Rossini Gala at Lincoln Center, NYC. i have the CD - nice to see what the laughter was about! thanks
By far my favourite rendition of this song. He plays the character so well, the best Figaro I have ever seen. Always brings a smile to my face. Bravisimo!
Look at Apollo Granforte, another master class.
Interesting voice indeed. To not be an Italian he has a great diction, funny and entertaining performance full of charm and personality. I always loved Bechi overall as Figaro, but Mr Hampson is quite trilling.
Never heard of him before I must confess, but I will investigate the matter...if anybody as links with his performances please send them straightaway :)))
American singers have to have excellent Italian, French, and German diction. It is drilled into us in school as few operas are in English. If we don't have good diction, we don't work...as simple as that.
Yep, But great tenors such as Shicoff struggled quite a lot :))))
Igor Onishchenko is a very talented young man as well...
Muslim Magomaev is great, too, Check him out.
Получил искреннее удовольствие!
Середину и финал прослушал несколько раз - великолепно!
He's very expressive and lots of fun!💙❤🧡💞💛💜💝
They are trained for it. All opera singers sing without microphone. Voice really is the most marvelous instrument of all.
I'm certain I have tanlllllsbditiond
Enjoyin' himself, ain't he? Nice combo, gorgeous voice & gorgeous looks. And doesn't he know it!^^
I guess if you have the technical skill to sing this aria as no one else ; good-looking ; tall, you may as well get the best out of it. Opera singers w / his vocal talent & appearance must know it ain't gonna last, so ... enjoy it now ... but at least don't let the audience know you're conceited ... that has to be a sign of some professionalism.
la mejor interpretacion que he visto! Este tio actua! no solo canta como otros...simplemente genial :)
Fantástico!, con una dicción maravillosa, me tiene enamorada la voz de este hombre. Es genial ver como te cuenta la historia de principio a fin y como la disfruta sin ponerse excesivamente heroico, me pone la piel de gallina.
What a delightful performance! I couldn't stop smiling :D
Shelby Maberry I can understand that! Hampson has tons of charm - I bet that huge man with windturbine arms can make even the worst spinster feel seducive.
His Italian is good enough for him to use large gestures.
One the reason the concert performance of him and Bartoli in Chi darem la mano... is so exiting. Two trainloads of charm colliding head on. It is hard to find out who won - but something really changed. What buckled and what bust is not alltogether clear.
Дикция плохая,не все слова можно разобрать,не то что у Хворостовского.Очевидно,итальянским не очень владеет
Mr Hampson is the best!!! such an amazing voice, talented and so charming!
Yes, the best in the provincial theater.
Magnificent! Fits the role quite naturally.
Obviously this man enjoys whatever register he sings in ! What a great presentation of this piece. He really put it over!
OMG! having fun and interpreting an excellent Largo! Bravo!
he is absloutely stunning
Wow!!! He is so charming!!! True Opera Star!
Yeah, in the back.
Ah,he just made my day.How charming and delightful.A real seductor.
He's just SO good. I love that guy!
Love this rendition ❤❤
After John Rawnsley, Thomas Hampson is the second great performer of this difficult Largo al factotum music. These two baritons are the best I have hear in more than 112 samples and they are really great!!
Thomas Hampson is a true master. 👍🙏
Great. I especially liked the stress on "di" (qualità). Interestingly, the "di" is no dying but revives in the final where it's not "della citta" as in other interpretations, but "fortunatissimo DI (btw it's not or never "per") verità". I now think that this aria was some name giver for the Forbes magazine, gosh.
This intrigues me! Just great. Beautiful c - teeth.
Edit: Sorry, it is "per verità". However, it's good to be lucky by truth. Great show! I like it.
If I don't listen to this about once a week, I think my sanity goes MIA. Thomas Hampson is mesmerizing.
Meraviglioso come ha perculato il direttore (da linciare soprattutto per il ritmo forsennato del finale) che gli ha, secondo me arbitrariamente, cassato la prima cadenza.
I think I would just die to hear him sing this live. He is so great to watch too!
excellent breath control, sheer beauty, top of his vocal peak,
Bravo Mr Hampson, Bravissimo!!!!!!!!!!
The one and only Mr. Thomas Hampson. Best interpretation of the Largo al factotum aria! What a voice, what a personality! OMG
H I am almost sure he is a tenor, even he sings High C in this video :)
No, I just think he is a baritone with a strong upper range. Voice fach/type isn’t really determined by range, but timbre. Thomas Hampson’s timbre is very much that of a lyric baritone.
Thomas Hampson is very fantastic singer! And this music is wonderful!
It is a high C. It's fully connected, obviously, it's not a strong note or a sustained note, but it is a true high C.
C5. High C for a female voice is C6, an octave higher.
@@jasonhurd4379 Male singers call it a high C because it is practical for them to do so.
That's the high C of tenors!!!
Bravo Bravissimo! Figaro!
Wonderful!
One of the best performances of the cavatina! Thomas Hampson knows well how to have fun with this piece, and that's the secret to make a "better than mediocre" performance of this song. Truly is, that Mr. Hampson always made outstanding performances of this song!! Even when he fails the high note at 2:33, he makes fun of it and blast away a super high a few seconds after... He's truly amazing!
He did not fail at 2:33, he had to jump ahead when the conductor made a mistake and brouht the orchestra in a few beats early. Check out the same singer at the performance at the Met Opera Gala on RUclips. Better recording, too, and you'll see.
amazing.
Oh, my God, he is absolutely wonderful. And God, is he gorgeous!!!!!
Thank you for putting ths up...it was here a while back but left!!! Totally my FAV!!!
He is just singing it the way it's written, and then he adds a high C later during the fermata to mess with your head. The G is usually added for singers to show off their strong G (many people believe it is a high C), but was intended to be omitted, as a musical joke, precisely because it is expected. That's also why he laughs, he's like "Gotcha there". (edited)
Nah - I think the conductor made a mistake by coming in as written, rather than making space for the traditional cadenza.
Hampson and I have birthDATES just a few weeks apart so maybe then there's hope for me too!
Thank you!
It is written this way. It is written specifically that the clarinets start playing halfway through the singer's third quarter note, the D, with no defined "a piacere" or fermata or anything to imply otherwise. It is obvious to me and hopefully someone else that it is the kind of humor that Rossini often has in his music.
It was probably a baritone who's high G was very much liked who decided to show it off a bit more, since most the high notes in the written cavatina are short and percussive.
Bravo Hampson! Fantastico!
Amazing Song ! That's Nice One !
Bravissimo 👏🏻👏🏻👏🏻❤️💋🔥
In 2:33 it wasn't a Mr. Hampson mistake. It was a director with his orchestra!!! He was to early!
Great voice Mr. Hampson!
4:05 - the bloody bastard's too fast!!! He knows it!! Watch for the expression of success! Grudging admiration..........
😱 Omg this man is amazing.
He's wonderful!
What a horror!!! Uncle sang somewhere in the pub. Deep, then in this direction, then in that. Throws on himself, absorbs the sound. Wide sound, does not fit - diverges. Culture - -10 points on a 10-point scale.
BRAVO BRAVISIMO.....!
cuanta elegancia, que buen espectáculo!
Wow That was fun to watch!
I am going to run for POTUS just so I can give Richard Handsome a Presidential Medal of Freedom or whatever it’s called. This guy is awesome.
@Arfat Sorry, but I don't hear any trace of falsetto in the tone. A counter tenor would sound way differently. Plus, Hampson has shown great ease in the upper register so, regardless of how you view this note, it is likely that he has it in him to hit C5s anyway. Not that it matters, I personally prefer good singing to hitting high notes.
wow, amazing work
@MarcelloArletti This high note is called "tenor C" no matter who sings it. That's why it's so impressive! There are not many baritones or basses that can do this ( 2:40 ).
Most of us sweat the two optional high As in this aria.....I don't know of anyone else who touches a high C here except Hampson.
The high C was unwritten, a vulgar display that served nothing expect to allow Mr. Hampson to show off. Somewhere there is an interview with him saying that he just agonized over whether to include it or not and consulted many people all of whom assured him that no, Tom, it isn’t vulgar. You just get out there and sing your high C! Oh, please!
2:30 lol
2.43 man
This guy has such karisma :) Bravo!!!!
Bello TENORE!😂😂😂
BRAVO!...HE IS THE BEST ONE TO SING THI ARIA...:Din my opinion...:Dim happy when i hear and see him...:D
One of the great baritones!
Rossini:Sevillai borbély..."Mily jól elérheted...Rejtett kis célod...
Ha van borbélyod..Aki ügyes!"
BRAVISSIMO!!!!
From the beginning a very convincing Figaro. Bravo!
He's great !
bravo....Bravo.....
Largo al factotum della citta.
Largo! La la la la la la la LA!
Presto a bottega che l'alba e gia.
Presto! La la la la la la la LA!
Ah, che bel vivere, che bel piacere (che bel piacere)
per un barbiere di qualita! (di qualita!)
Ah, bravo Figaro!
Bravo, bravissimo!
Bravo! La la la la la la la LA!
Fortunatissimo per verita!
Bravo!
La la la la la la la LA!
Fortunatissimo per verita!
Fortunatissimo per verita!
La la la la, la la la la, la la la la la la la LA!
Pronto a far tutto, la notte e il giorno
sempre d'intorno in giro sta.
Miglior cuccagna per un barbiere,
vita piu nobile, no, non si da.
La la la la la la la la la la la la la!
Rasori e pettini
lancette e forbici,
al mio comando
tutto qui sta.
Rasori e pettini
lancette e forbici,
al mio comando
tutto qui sta.
V'e la risorsa,
poi, de mestiere
colla donnetta... col cavaliere...
colla donnetta... la la li la la la la la
col cavaliere... la la li la la la la la la la LA!!!
Ah, che bel vivere, che bel piacere (che bel piacere)
per un barbiere di qualita! (di qualita!)
Tutti mi chiedono, tutti mi vogliono,
donne, ragazzi, vecchi, fanciulle:
Qua la parruca... Presto la barba...
Qua la sanguigna... Presto il biglietto...
Tutto mi chiedono, tutti mi vogliono,
tutti mi chiedono, tutti mi vogliono,
Qua la parruca, presto la barba, presto il biglietto, ehi!
Figaro... Figaro... Figaro... Figaro...Figaro...
Figaro... Figaro... Figaro... Figaro...Figaro!!!
Ahime, (ahime) che furia!
Ahime, che folla!
Uno alla volta,
per carita! (per carita! per carita!)
Uno alla volta, uno alla volta,
uno alla volta, per carita!
Figaro! Son qua.
Ehi, Figaro! Son qua.
Figaro qua, Figaro la, Figaro qua, Figaro la,
Figaro su, Figaro giu, Figaro su, Figaro giu.
Pronto prontissimo son come il fumine:
sono il factotum della citta.
(della citta, della citta, della citta, della citta)
Ah, bravo Figaro! Bravo, bravissimo;
Ah, bravo Figaro! Bravo, bravissimo;
a te fortuna (a te fortuna, a te fortuna) non manchera.
Ah, bravo Figaro! Bravo, bravissimo;
Ah, bravo Figaro! Bravo, bravissimo;
a te fortuna (a te fortuna, a te fortuna) non manchera.
Sono il factotum della citta,
Sono il factotum della citta,
della citta, della citta,
Della citta!!!
La la la la la la la la la!
Bravissimo
And Then, Hampson has shown his autonomy and his courage. That was the best part, so natural. :D
I’m Italian, his have very very good Italian!
E' un elastico! Agilità incredibile necessaria in questa cavatina difficilissima. Peccato per la pronuncia difettosa. 🤩🤩🤩🙏
No way is this falseto. It's a fully connected sound. Thomas Hampson has an incredible voice with a solid upper extension and is just playing here.
Most high baritones can become dramatic tenors and many dramatic tenors often sing lyric baritone roles so they don’t stick out too much singing other tenor roles
Most of it is not falsetto but some like the hey fígaro line is I think
@Barone Vitellio Scarpia dude stop embaressing yourself. This is just his "tenor" technique. He's already a high bariton, but here he really uses a "tenor" position, in oder not to sing too heavy.
I'd prefer him to have more flesh in his timbre, but this is a perfectly fine voice for lyric German and French repertoire. I love his Mahler songs, I despise his Macbeth.
Not everyone needs to be Bastiannini.
@SWEETXXSUGARXXANGEL Beaumarchais may have based the character's name on the French phrase fils Caron meaning "son of Caron", which was his own nickname and would have been pronounced in a similar way. In modern French the word figaro has acquired the meaning "barber", reflecting the character's profession.
bello, divertido... MUY recomendable
Classic.
That's all i can say.
he's a fantastic Figaro
That awkward yet fabulous moment in time when a mullet was highbrow
Mullet is a hairstyle in which the hair is left long at the back but cut short on the top and sides. Hampson doesn't sport a mullet here. He simply has long hair, the length is esp noticeable at the sides. Typical mullet is either MacGuyver, Andre Agassi (when he had hair) or Jaromir Jagr.
... apparently according to wikipedia MIKA borrowed the chorus to Grace Kelly from this song... Largo al factotum... somehow I'm just not hearing it.
genialissimo
The best Figaro
Is it possible to be better than this?
Don’t think so. Bravo Thomas!!!
que bueno....!!1 bravo
красавчик)))) обожаю его!)))
C’est bien la meilleure interprétation de cet aria ardu.
2:43 The dude behind him hears the huge voice crack is like:
Imma hold it, Imma hold it ... (little smile) ... imma hold it ... (sweat breaking)
Inside he goes:
HAHAHAHAHAHAHAAH WHAT A VOICE CRACK HAHAHAH ME AND THE CHOIR BOYS WILL LAUGH ABOUT THIS EVERY REHEARSAL HAHAHAHAAHAHHAAHAHAHH
Then he goes:
ok, calm down, I'll laugh when they applaud him
He was clearly having a blast. Wicked C.
쵝오............
This man got talent!
No sh*t, Sherlock... 🙄
@@akap9612 Thank you for your intellect and high IQ reply!
You can recieve your douchebag gift at the door on your way out of cultural society.
Have a good day!
I LOVE YOU TH.
NICE!!!
My musical education is very modest but in my opinion Leonard Warren is the best performer of this aria/ Greetings from Serbia
great
he's not just great, but yet entertaining and funny too! :D just very, very like Figaro at the song it self !! (figaro is the barberer at this song :) )
I love jim so much
@LibbySingsMezzo that high G actually isnt written, its just something that almost everyone interpolates
At 2:43, did he sing a high C?
Simpatico
the conductor is the best.
If it is, I can't comprehend the humor in it. How is it a musical joke?
read the comment above, there is no note written in the original score for this song. where he is laughing, there is not a vocal note written. rossini didn't write that note. it's a joke. it's an unfinished arpeggio. do i need to explain more? thanks for being smart.
I think the conductor forgot to wait for Hampson to do long notes at 2:34 I don't think that was on purpose. Hampson usually makes long notes on that part.