This is a great video showing how those amazing tenors sang the aria their own ways using their strength and their interpretation of the material. That's what made them famous because of their own unique quality. You can tell who sings what by their voices. These days, tenors sound the same honestly. I expected Björling/Kraus/Gigli to sing this piece with more power due to their voice types and Gedda sang with the impeccable mixed-voice because of his gifted upper register. Kind of made sad that all four have gone beyond the veil. These are rare specimen of tenors that just don't come by often if ever again.
Какие прекрасные голоса!У каждого человека свои предпочтения,но нельзя не признать,что все они Великие мастера оперного пения,покорившие слушателей Великим искусством!Браво!!!
@@Mariano-ge6de kraus era tão grande em humildade que em entrevista admitiu não saber como era o falsete, por não ter acesso a esse recurso, admitiu que como Gigli o fazia era muito bela a voz de Gigli por exemplo. Então quem somos nós para julgar aos grandes do passado?
@@sidneikovacs5499Se que lo dijo en una entrevista, le puedo mandar varias grabaciones de joven donde recurre al falsete de forma puntual, después dejó de hacerlo. En esta partitura el compositor en ningún momento indica que se tenga a recurrir al falsete y menos de manera continua. La palabra lo dice, canto falso. En el barroco si pega en este aria cuando se canta de manera natural la voz suena lógicamente más bella. Que se haga por tradición y por ser más fácil cantarla así me parece muy bien pero a mi no me gusta en absoluto. A mi Gigli me encanta pero cuando canta arias sin abusar constantemente de ese recurso.
Very nice. Thank you for the video. Many ways to sing it. Also sung by different types of tenors: Bjorling - Spinto Kraus - Lyric Gigli - Dramatic Gedda - Leggero
@@aliqalandi Não esqueça que Bjorling era fã admirador de Beniamino Gigli assim como inúmeros tenores o eram, além de amigo pessoal de Gigli. Bjorling foi visitar Gigli quando o mesmo estava muito doente ja proximo da morte. Esses artista eram divinos e humanos. Para mim Bjorling, Gigli, Kraus, Caruso .... são eternos, cada um tem seu preferido e não há melhor ou pior, questão de gosto pessoal, mas não esqueçamos que é unanime entre todas as partner sopranos e mezzo que cantaram com Gigli que sua mezza voce era mel puro, ouro líquido, ninguém atingiu essa qualidade de equilíbrem todos registros como Gigli, principalmente no período do Metropolitan ou seja, Gigli ate os quarenta anos de idade. Sou fã de todos, Gueda, Vanzo, mas Gigli é fora da curva...🎉🎉🎉🎉
@@sidneikovacs5499 je préfére aussi la douceur de Benianimo GIGLI et sa simplicité sans effet. J'ai apprecié aussi l'interprétation de... Tino Rossi, lui aussi tout en fluidité!
Sin duda los 4 son maravillosos, cada uno es su estilo y en su tono. Amo esta parte de esta opera, aplaudo el sentimiento con que fue hecha. Recuerdo tanto a los mios cuando la escucho.
Gedda for me. I think his way of singing is the way i would want to sing it and hear it. Full power in the voice seems wrong.. and a tone lower sounds like cheating!
Ed dificil escoger, pero Gedda domina mejor que ninguno el idioma francés y su canto es atercipelado y sin excesos. Repito, todos maravillosos pero me quedo con Gedda .
When I hear these remarkable voices, I wonder if Bizet ever had the opportunity to hear his work sung so well. Possibly not. Which tenor would he choose?
it's nice to have such great renditions adding up to each other instead of the usual rants on who is best ever. For a native French rendition, you can also check Alain Vanzo.
I do believe you are confusing mezza voce vs piena voce and chest voice vs falsetto. Gedda does have the most beautiful *falsetto* of the four (Gigli is close second) but sings amazingly in any volume.
I was just comparing tenors on this when I saw your compilation! All wonderful. I was leaning towards Krauss, whose mezza voce is one of the finest, until I heard Gedda. I love your notations-spot on! I agree the last version by Gedda is the finest! The floated, mezza voce pianissimos are like an Angel surely from heaven comes down to sing this hauntingly beautiful aria.
Yes, Gedda's tones extremely pure. It seems he was the most attentive to every single sound being pleasing, never a single rough or grating sound. Sung with just amazing intelligence
4 perfect ways of singing this aria. Gigli touched me more because of that amazing golden tone (so smooth, really gives the malinchonic vibe to the aria)
@@BaroneVitellioScarpia1 Pippo tenía una pésima técnica. Que hartazgo de ver cómo te gusta imponer tus gustos sin el mínimo criterio musical. No estás bien....
Yes, and in any language his Lyric beauty of voice is warm and among the most beautiful of all tenors of his type, a great favorite of mine for the sweet wonderful tone and so Italian!
Gigli is the one mastered the bel canto technique all the way. The last technique singer should achieve in my opinion. It’s called “Carezza” “sooth your vocal core with air”
Difícil quedarse con uno... Todos conmueven a su manera y acentúan unas cosas y frasean distinto porque son grandes artistas. Aunque Krauss está imperial, entiendo que lo vaporoso del tema y esa música que se balancea como unas leves olas en una orilla lejana admiten sin duda esos mal llamados falsetes en tono despreciativo por algunos y encajan perfectamente en el estilo de la época, y si duda, en la intención y la expresividad nostálgica que sin duda Bizet le quiso dar al aria. En este sentido me parece que Kraus aquí opta más por el lucimiento personal con ese do sobreagudo que por el espíritu en extremo delicado de la pieza.
Nem as sopranos e mezzo sopranos que cantaram com Beniamino Gigli chegavam a uma conclusão definitiva. Isso porque tiveram o privilégio de estar a centímetros do grande maestro....🎉🎉🎉🎉🎉🎉
El mejor y mas técnico Kraus. Su voz es la mas adecuada para esta aria. Gedda bien tambien. No me gusta cuando cantan de cabeza. Gjorling con su portentosa voz le da mucha fuerza innecesaria. Gigli es muy comercial y canta demasiado agudo. Indisto, para mi gusto el mejor es Kraus..
All wonderful singers I think john McCormac sang this wonderfully and deserves a shout. Thank you, his version mi par dudir ancor. Sorry about misspellings.
I hope I don't get attacked for this as I have before but Kraus was my least favorite amongst this group of legends. That said, Kraus is a legend in his own right and rightfully so. Tis' all! Thanks for creating such a wonderful comparison!
I heard Kraus many times and even was at his debut run in the USA back in 1962 in Chicago, but he sang in fact for many years, a long time, even long after his long prime years, a great artist with wonderful high notes, but here, and I'm a fan of his, I've heard him better, so I agree with you. Gedda is great here and Bjoerling was but the RCA recording has some kind of reverb in it, that Jussi himself wasn't happy about with what RCA did at the time, but since the singing was so great it was released, and of course he was superb as he always was, a class act .
If you got attacked big deal. All these opinions are only that, no right or wrong, when someone says this one or that one is the best, it's only in their opinion, no way is their opinion the right or wrong one, anymore then mine or yours, but saying so and so wins is odd, because even professional critics don't exactly use words like that, it's IMO! (in my opinion) Anyhow we all hear differently, and of course I know what I like and to each his own.
@@shicoff1398 no...last time I got 'attacked' was from an unhinged Italian about how I was a POS for even suggesting that Kraus' later stuff was a little too nasal for my liking. It was just ridiculously abusive. lol That said I love Kraus and envy anyone who heard him live regardless of his age or quality. The man is a legend! That said I stand by my convictions. Yes! You are right in regards to 'IMO' and I appreciate your comments! Thankfully without any ill will or malice. Anywho, life goes on! Take care! :)
@@shmac96 Good reply from you. BTW I saw Kraus so many times from his USA debut run in 1962 in Chicago on to when he was a bit past his long prime but that slight nasal sound on recordings, even live ones (I also can hear it) was not as noticed in house when you sat there listening to him, as wit Peerce I first saw in 1958, many records sound nasal at times but in house he wasn't nearly as nasal, so some people record not as well as others, Bjoerling has a stronger Vibrato on many records compared to when I saw him live, and live I did prefer his use of vibrato up top more then on some of his records , just my own opinion, no right or wrong, and he was warmer in singing live then on some studio records, it wasn't a big voice in house, but it always carried fine in his roles. Some of these people are fighting for no good reason and don't know that we all hear voices differently. No right or wrong, but this I can tell you, seeing a singer in house is far more accurate then on records, " live or especially studio", most of my fav's are dead now, but being past 80 I saw so many of them in my time, now just keeping my health is most important. Enjoy!
@@shicoff1398 How fortunate you were to have heard so many wonderful legends from a bygone era! Truly! I agree with you a hundred percent that a singers voice on recording is rarely what one experiences live. Bigger voices are much harder to capture on recordings. That being said I just don't hear the quality of singers that you would have heard 30 or 40 years ago and on. Proof is in how long the voice lasts and or its continuously declining quality. I saw Johann Botha at the Met in Othello with Renee Fleming and Fabiano. Shortly before Botha died. Fleming was ok, Botha apparently was nothing like he had been and Fabiano I heard a few years later in Faust who when he opened up had a wonderful release. That being said Im hard to impress because of what I have been exposed and taught by my teacher. I am often times disappointed as few if any as far as male singers go give any credence to tone, release and quality of sound. Its just how big can I make this and if I can sing the notes no matter how I do it. Which ends up leading to short live careers if lived at all. Same is especially true her in Germany. However I have not had the chance to see any shows in the big houses like Munich, Berlin, Hamburg etc but I did have the wonderful opportunity to be invited for an audition at the Wiener Staatsoper 2019 just before the lockdown here. Was a dream come true! Stay well friend! Cheers!
A Kraus lo puedo tolerar sólo en este repertorio (para no decir que casi sólo en esta aria), y me parece acá mejor que Gedda. Pero me quedo con los otros dos: prefiero un tono menos pero mejor emisión.
Comparing singers is allways difficult and i agree we should cherish each one individually . That is the beauty of recitative music , the same thing sung in different ways. For me however Bjorling embodies the melancholy of this aria. I never liked Kraus or Gedda for me their voices are well trained but lack the beauty of Gigli and Bjorling.
I would probably agree with you on that, early Kraus had a certain Lyric beauty but only in his prime early years. Gedda had a great top with high notes galore!
il conviendrait également de prendre en compte la prononciation de Français. Ce versions sont toutes différentes. Bien d'autres encore valent le détour !
My favorite is Pippo's but R.Tucker suprised me with his interpretation . I mean we're splitting hairs , I'm personally so grateful that there are so many of them . Not so long ago I discovered a fine tenor , Alessandro Valente.I was blown away .
With all due respect to any other art, this very aria is an epitome of human civilization.
The shimmering liquid tones of Bjorling are unmatchable in my view.
This is a great video showing how those amazing tenors sang the aria their own ways using their strength and their interpretation of the material. That's what made them famous because of their own unique quality. You can tell who sings what by their voices. These days, tenors sound the same honestly. I expected Björling/Kraus/Gigli to sing this piece with more power due to their voice types and Gedda sang with the impeccable mixed-voice because of his gifted upper register. Kind of made sad that all four have gone beyond the veil. These are rare specimen of tenors that just don't come by often if ever again.
all 4 were great but for me Gedda and Bjorling both stood out in their interpretations of this beautiful aria.
Bjorling, what a amazing voice
instämmer!
agree
Dear god, what gorgeous singing! They're all absolutely stupendous, but Gedda inches ahead on style and linguistic presence, in my book.
For this aria the tone of Gigli
is so perfect 👌👌
They all win! I hate to compare artists since the great ones always bring something extraordinary.
straordinari tutti!
Very true. Also, this is an extraordinary beautiful piece. Bizet is a winner too!
Agree, no right or wrong ,it's basically all opinions anyhow.
By saying that some are great, you are comparing artists.
Björling - fantastic as usual.
No question Gigli is the one who make people in tears!
Какие прекрасные голоса!У каждого человека свои предпочтения,но нельзя не признать,что все они Великие мастера оперного пения,покорившие слушателей Великим искусством!Браво!!!
I am stunned by what mankind is able to make and perform...SIMPLY...BEAUTIFUL ..
thanks a lot..Cheers...😇
putting an ad in the mid of the video break all the vibe .....thank you
All of these singers great and bring their unique renditions we are lucky to be able to listen to them via recordings, 👍😁
All 4 were godlike tenors, but gedda's Mezza voce is just unreal. Gilgi was also a true master of this technique. All incredible anyway ✨👏
Kraus sin recurrir al falsete
@@Mariano-ge6de kraus era tão grande em humildade que em entrevista admitiu não saber como era o falsete, por não ter acesso a esse recurso, admitiu que como Gigli o fazia era muito bela a voz de Gigli por exemplo. Então quem somos nós para julgar aos grandes do passado?
@@sidneikovacs5499Se que lo dijo en una entrevista, le puedo mandar varias grabaciones de joven donde recurre al falsete de forma puntual, después dejó de hacerlo. En esta partitura el compositor en ningún momento indica que se tenga a recurrir al falsete y menos de manera continua. La palabra lo dice, canto falso. En el barroco si pega en este aria cuando se canta de manera natural la voz suena lógicamente más bella. Que se haga por tradición y por ser más fácil cantarla así me parece muy bien pero a mi no me gusta en absoluto. A mi Gigli me encanta pero cuando canta arias sin abusar constantemente de ese recurso.
Божественно. Спасибо за возможность сравнить и насладиться.
Very nice. Thank you for the video. Many ways to sing it. Also sung by different types of tenors:
Bjorling - Spinto
Kraus - Lyric
Gigli - Dramatic
Gedda - Leggero
Gigli every time; how can that glorious voice not reduce anyone to tears.
Bjorling incomparable ! Just pure voice with out any ornaments 👏👏👏
Listen to Sergey Lemeshev first. That is the voice to make you cry together with his hero.....
@@aliqalandi Não esqueça que Bjorling era fã admirador de Beniamino Gigli assim como inúmeros tenores o eram, além de amigo pessoal de Gigli. Bjorling foi visitar Gigli quando o mesmo estava muito doente ja proximo da morte. Esses artista eram divinos e humanos. Para mim Bjorling, Gigli, Kraus, Caruso .... são eternos, cada um tem seu preferido e não há melhor ou pior, questão de gosto pessoal, mas não esqueçamos que é unanime entre todas as partner sopranos e mezzo que cantaram com Gigli que sua mezza voce era mel puro, ouro líquido, ninguém atingiu essa qualidade de equilíbrem todos registros como Gigli, principalmente no período do Metropolitan ou seja, Gigli ate os quarenta anos de idade. Sou fã de todos, Gueda, Vanzo, mas Gigli é fora da curva...🎉🎉🎉🎉
@@sidneikovacs5499 All good, but Gedda the best of these recordings
@@sidneikovacs5499 je préfére aussi la douceur de Benianimo GIGLI et sa simplicité sans effet. J'ai apprecié aussi l'interprétation de... Tino Rossi, lui aussi tout en fluidité!
@old school singer. I must thank you for this treat. All 4 are masters of their art. Be safe
I love them all! wonderful!
Four great tenors. Bu Björling,
the first to sing, is the greatest
tenor of alltime .
Kraus and Gigli! They are wonderful!!!
Quattro perle della lirica,vanno ascoltati in religioo silenzio...che tecnica fraseggio...il belcanto...dell era d oro della lirica
Gedda and Kraus! Same interpretation of this magical aria. Brilliant.
I adore this aria, very poetic and full of mystic sentiments.💙
Alfredo Kraus And Nicolai Gedda are my favorites 💜
They are all amazing...
Gedda is my favorit! ❤
JUSSI!!!
Los cuatro fantásticos.👏👏👏👏👏👏
Very interesting. Thanks for posting!
The perfect voice bjorling the best
it's hard to compare such a great renditions from such a great singers, but i think Gigli is the best here.
Yes I confess to favoring the Swedes - especially Nicolai Gedda, but all are wonderful.
And the winner is!! There are no winners. They are all unique...
Wonderful, thanks very much.
Sin duda los 4 son maravillosos, cada uno es su estilo y en su tono. Amo esta parte de esta opera, aplaudo el sentimiento con que fue hecha. Recuerdo tanto a los mios cuando la escucho.
Excellent video. Highly educational with beauty to boot.
Different types of voices I like all of them... Beauty is beautiful !Have an ear at Cesar Vezzani, very nice too.
Thank you so much. I haven't heard of Gedda until now. I'm in love with that voice.
You hadn’t heard of Gedda? How old are you?
Have you heard his live performance of this in Moscow? It is spellbinding, and it's on youtube.
Whoever was singing at 2:30 was superb. I have never heard what they did there, the little added portamento was beautiful
Gedda for me. I think his way of singing is the way i would want to sing it and hear it. Full power in the voice seems wrong.. and a tone lower sounds like cheating!
It was Gedda at 2:30 and so well done.
Merci pour la vidéo
Gedda y Gigli son las mejores interpretaciones de este aria, pero los cuatro son grandes cantantes.
Hola crack sigue a Genius opera el sube opera de la buena O:-)
Para mi Kraus, el único que no recurre al falsete.
@@jesusmunoz2400 eso no es falsete, y tampoco es como que sea tan fácil hacerlo bien, quizas incluso más difícil por qué requiere mucho control
@@JosueArcos0394 👏👏👏👏
No esfalsete propiamente esvoz de cabeza pero si n tener baja la laringe cuando se emite lavoz por eso es más fácil emitir la voz sin bajar la laringe
4 great version and among them Björling stands out.
Ed dificil escoger, pero Gedda domina mejor que ninguno el idioma francés y su canto es atercipelado y sin excesos. Repito, todos maravillosos pero me quedo con Gedda .
Gedda and Gigli...ma tutti e 4 voci assolute e bellissime
Sono straordinari tutti e quattro. Non avevo mai sentito questa romanza cantata da Beniamino Gigli. Una voce e una tecnica meravigliose!
@@stefaniapartini5825 vero
@@stefaniapartini5825 👏👏👏👏👏👏
Non si possono confrontare 4 lingotti d'oro. Io mi commuovo con Gigli ma è personale. Sono tutti e 4 enormi e vanno ascoltati in religioso silenzio
When I hear these remarkable voices, I wonder if Bizet ever had the opportunity to hear his work sung so well. Possibly not. Which tenor would he choose?
Bóerling es único. Impecable y su voz increíble.
Wonderful. Real singing.....Although I like Gedda the least of these singers he does this very moving.
it's nice to have such great renditions adding up to each other instead of the usual rants on who is best ever. For a native French rendition, you can also check Alain Vanzo.
Yes, I forget about Simoneau if he sang it, excellent French Canadian tenor.
Bjoerling! Bjoerling! Bjoerling!!!!!!!!!
Divno
Υπέροχοι και οι τέσσερις
Increíbles los cuatro, siempre. El mejor, Kraus.
Todos maravillosos pero como Kraus ninguno. Su delicadeza es ensoñadora. Me transporta.
No puedo elegir! Todas las versiones me encantan, en especial porque esta aria es bellísima, no sé de qué habla pero me hace llorar
Escucha la versión del francés Alain Vanzo.
Creo oír todavía
Creo oír todavía,
Oculto bajo las palmeras,
Su voz tierna y sonora
Como un canto de palomas.
Oh, noche hechicera,
Éxtasis divino,
Oh, recuerdo encantador,7
Loca embriaguez, ¡dulce sueño!
En la claridad de las estrellas,
Todavía creo verla,
Entreabrir sus velas largas
En la brisa tibia de la tarde.
Oh, noche hechicera,
Éxtasis divino,
Oh, recuerdo encantador,
Loca embriaguez, ¡dulce sueño!
¡Recuerdo encantador! Esta es la traducción
@@oscarberolla9910 es hermosa la letra y la melodía también, interpretada por tenores tan buenos como estos es mucho mejor
@@oscarberolla9910é maravilhoso 👋👋👋👋👋
1. Gigli, 2. Jussi, 3. Gedda, 4. Kraus
They are all so extraordinary yet for me, Alfredo Kraus has the voice that defines what I want to hear in this Aria.
I do believe you are confusing mezza voce vs piena voce and chest voice vs falsetto. Gedda does have the most beautiful *falsetto* of the four (Gigli is close second) but sings amazingly in any volume.
Krauss does not need falsetto ;D
love it
I was just comparing tenors on this when I saw your compilation! All wonderful.
I was leaning towards Krauss, whose mezza voce is one of the finest, until I heard Gedda.
I love your notations-spot on!
I agree the last version by Gedda is the finest! The floated, mezza voce pianissimos are like an Angel surely from heaven comes down to sing this hauntingly beautiful aria.
Yes, Gedda's tones extremely pure. It seems he was the most attentive to every single sound being pleasing, never a single rough or grating sound. Sung with just amazing intelligence
Alfredo Kraus....the best👏👏
Grandissimi Artisti , voci meravigliose,ma sua maestà Gigli è Gigli...
son sencillamente geniales los cuatro, emociona oirlos. yo personalmente me quedo con Krauss. .
SENCILLAMENTE MARAVILLOSOS LOS CUATRO
Gedda 1968. Es insuperable!!!!
I really dont know what I am talking about but there is something really delicate and a bit muffled about Geddas voice that is amazing.
太棒了❤❤❤
4 perfect ways of singing this aria. Gigli touched me more because of that amazing golden tone (so smooth, really gives the malinchonic vibe to the aria)
Perfeito. Nos transporta a outra dimensão.... incrivel 👋👋 não há explicação. Divino Gigli...
Gigli, without a doubt.
Yep! Kraus is the second!
@@maximtuboltsev6046 di Stefano is the best
@@BaroneVitellioScarpia1, for me, the best is Gigli. Di Stefano is great too!
I mean, his tone and Mezza voce were wonderful but he is not able to sing it in French. Language and diction matter too.
@@BaroneVitellioScarpia1 Pippo tenía una pésima técnica. Que hartazgo de ver cómo te gusta imponer tus gustos sin el mínimo criterio musical. No estás bien....
Все хороши, трудно кого-то выбрать. Но я остаюсь с Бьорлингом и Краусом
Maravillosos tenores !!
Me quedo con Gedda!!!
Björling por color me enamora. Kraus tiene un francés espectacular, le entiendo todo!
Have to agree - Gedda's ending is spellbinding
Gigli is a GOD !!!!!
Yes, and in any language his Lyric beauty of voice is warm and among the most beautiful of all tenors of his type, a great favorite of mine for the sweet wonderful tone and so Italian!
Gigli is the one mastered the bel canto technique all the way.
The last technique singer should achieve in my opinion.
It’s called “Carezza” “sooth your vocal core with air”
Gedda forever! The perfect technique!
El brillo en la voz de Kraus la hace unica e irrepetible
Jussi björling wins... 🖤
Kraus the only tenor who sang this with the correct Breathing control... Real master
Grande Gedda!!!
Sin duda el mejor Kraus . Dicción fraseo legato canto valiente sin trampas ni falsetes. Voz plena y a la vez media voces.
Thank you. Nice selection of voices. Different and beautiful. Applause and congratulations.
Encore!
Bonisolli's version breaks my heart, with beauty and emotion
Difícil quedarse con uno... Todos conmueven a su manera y acentúan unas cosas y frasean distinto porque son grandes artistas. Aunque Krauss está imperial, entiendo que lo vaporoso del tema y esa música que se balancea como unas leves olas en una orilla lejana admiten sin duda esos mal llamados falsetes en tono despreciativo por algunos y encajan perfectamente en el estilo de la época, y si duda, en la intención y la expresividad nostálgica que sin duda Bizet le quiso dar al aria. En este sentido me parece que Kraus aquí opta más por el lucimiento personal con ese do sobreagudo que por el espíritu en extremo delicado de la pieza.
Yo añadiría que el sobreagudo no pega con un Nadir que sueña, recuerda y se queda dormido.
Maravillosos los 4. Mi preferido en esta aria es la de Gigli. Ahora una pregunta; ¿Es media voz o falsete lo de Gigli???
Gigli en el agudo de la primer parte hace falsete, en la segunda parte es Media Voz.
Voz mista .
@@MarioRogelSV media voz
@@MarioRogelSVI wish I understood more of the technicalities, but my appreciation is second to none!
Nem as sopranos e mezzo sopranos que cantaram com Beniamino Gigli chegavam a uma conclusão definitiva. Isso porque tiveram o privilégio de estar a centímetros do grande maestro....🎉🎉🎉🎉🎉🎉
El mejor y mas técnico Kraus. Su voz es la mas adecuada para esta aria. Gedda bien tambien. No me gusta cuando cantan de cabeza. Gjorling con su portentosa voz le da mucha fuerza innecesaria. Gigli es muy comercial y canta demasiado agudo. Indisto, para mi gusto el mejor es Kraus..
My friend Mary was in love with Kraus !!!!
All wonderful singers I think john McCormac sang this wonderfully and deserves a shout.
Thank you, his version mi par dudir ancor. Sorry about misspellings.
Alfredo Krause for ever.
I hope I don't get attacked for this as I have before but Kraus was my least favorite amongst this group of legends. That said, Kraus is a legend in his own right and rightfully so. Tis' all! Thanks for creating such a wonderful comparison!
I heard Kraus many times and even was at his debut run in the USA back in 1962 in Chicago, but he sang in fact for many years, a long time, even long after his long prime years, a great artist with wonderful high notes, but here, and I'm a fan of his, I've heard him better, so I agree with you. Gedda is great here and Bjoerling was but the RCA recording has some kind of reverb in it, that Jussi himself wasn't happy about with what RCA did at the time, but since the singing was so great it was released, and of course he was superb as he always was, a class act .
If you got attacked big deal. All these opinions are only that, no right or wrong, when someone says this one or that one is the best, it's only in their opinion, no way is their opinion the right or wrong one, anymore then mine or yours, but saying so and so wins is odd, because even professional critics don't exactly use words like that, it's IMO! (in my opinion) Anyhow we all hear differently, and of course I know what I like and to each his own.
@@shicoff1398 no...last time I got 'attacked' was from an unhinged Italian about how I was a POS for even suggesting that Kraus' later stuff was a little too nasal for my liking. It was just ridiculously abusive. lol That said I love Kraus and envy anyone who heard him live regardless of his age or quality. The man is a legend! That said I stand by my convictions. Yes! You are right in regards to 'IMO' and I appreciate your comments! Thankfully without any ill will or malice. Anywho, life goes on! Take care! :)
@@shmac96 Good reply from you. BTW I saw Kraus so many times from his USA debut run in 1962 in Chicago on to when he was a bit past his long prime but that slight nasal sound on recordings, even live ones (I also can hear it) was not as noticed in house when you sat there listening to him, as wit Peerce I first saw in 1958, many records sound nasal at times but in house he wasn't nearly as nasal, so some people record not as well as others, Bjoerling has a stronger Vibrato on many records compared to when I saw him live, and live I did prefer his use of vibrato up top more then on some of his records , just my own opinion, no right or wrong, and he was warmer in singing live then on some studio records, it wasn't a big voice in house, but it always carried fine in his roles. Some of these people are fighting for no good reason and don't know that we all hear voices differently. No right or wrong, but this I can tell you, seeing a singer in house is far more accurate then on records, " live or especially studio", most of my fav's are dead now, but being past 80 I saw so many of them in my time, now just keeping my health is most important. Enjoy!
@@shicoff1398 How fortunate you were to have heard so many wonderful legends from a bygone era! Truly! I agree with you a hundred percent that a singers voice on recording is rarely what one experiences live. Bigger voices are much harder to capture on recordings. That being said I just don't hear the quality of singers that you would have heard 30 or 40 years ago and on. Proof is in how long the voice lasts and or its continuously declining quality. I saw Johann Botha at the Met in Othello with Renee Fleming and Fabiano. Shortly before Botha died. Fleming was ok, Botha apparently was nothing like he had been and Fabiano I heard a few years later in Faust who when he opened up had a wonderful release. That being said Im hard to impress because of what I have been exposed and taught by my teacher. I am often times disappointed as few if any as far as male singers go give any credence to tone, release and quality of sound. Its just how big can I make this and if I can sing the notes no matter how I do it. Which ends up leading to short live careers if lived at all. Same is especially true her in Germany. However I have not had the chance to see any shows in the big houses like Munich, Berlin, Hamburg etc but I did have the wonderful opportunity to be invited for an audition at the Wiener Staatsoper 2019 just before the lockdown here. Was a dream come true! Stay well friend! Cheers!
What means „Sib“ ???? Please explain to me, as I´m Not native English speaker..
Are these all on You Tube? @OldSchoolSingers If they are will you link them please
A Kraus lo puedo tolerar sólo en este repertorio (para no decir que casi sólo en esta aria), y me parece acá mejor que Gedda. Pero me quedo con los otros dos: prefiero un tono menos pero mejor emisión.
Jajajaja el tnto que odia a Kraus y que no tiene ni idea de lírica.
Il we are nere to compare.... Björling and Gedda are the winners. Silver medal to Gigli. And very, very, very far from podium Kraus
Comparing singers is allways difficult and i agree we should cherish each one individually . That is the beauty of recitative music , the same thing sung in different ways. For me however Bjorling embodies the melancholy of this aria. I never liked Kraus or Gedda for me their voices are well trained but lack the beauty of Gigli and Bjorling.
I would probably agree with you on that, early Kraus had a certain Lyric beauty but only in his prime early years. Gedda had a great top with high notes galore!
il conviendrait également de prendre en compte la prononciation de Français. Ce versions sont toutes différentes. Bien d'autres encore valent le détour !
For me, Gigli here, but this is my favourite: ruclips.net/video/Lo1gzhSayBs/видео.html
My favorite is Pippo's but R.Tucker suprised me with his interpretation . I mean we're splitting hairs , I'm personally so grateful that there are so many of them . Not so long ago I discovered a fine tenor , Alessandro Valente.I was blown away .
I like audio with Franco Bonizolli
Gedda!