Was just watching the Jerome Hines version by way of comparison, and whatever Tibbett's doing, belting or otherwise, he rings clearer and draws you in more. Great to see what a foreceful presence he was
Tibbet un gigante della lirica con un gusto che potremmo defonire molto moderno.È in realtà questa la dote che hanno solo i grandissimi interpreti.Grazie dell invio.
I simply love this; now you know why Lawrence Tibbett was so popular; his charisma just shines through. Feodor Chaliapin recorded this (sound only) a few years earlier; that's also just so terrific; what great talent.
The pitch is raised a half step to accommodate his baritone. The note on the word "d'or" ("Le veau d'or") is an E, and not E-flat as in the score. He is not belting, but he is singing most everything open. He sings an A-flat at the end.
He was one of the good singers/ artists of 20th century! He had core and never waisted air- he controlled his voice and you can hear a proper tongue retraction! Today 99% of modern singers have no low larynx, habe weak voice and the difference is audible if we listen exactly. His interpretation of Wagner's "Todesahnung" is a good exaple for his technique and that means he holds the connection from the belly to the neck. To combine all this little thing is called art of opera singing.Thanks for uploading!
I remember Jerome Hines saying that the singers, when he entered his career sang with greater power and the voices were much bigger than today. It was perhaps a result of the training and the lack of mics all around. Still in opera there are no mics...But he felt that the singers are different.. Perhaps others note this?
Sounds like the aria is transposed 1/2 tone up... And there are some rather open high notes. But this doesn't change the fact that Tibbett is one of the greatest opera singers and performers of all times...
Most bass-baritones are tweeners, who lack the really low bass notes and the high baritone range. Tibbett could reach both the highest and the lowest with ease. He could sing many bass arias as good as any bass, and IMHO was easily the best and most complete baritone ever. Although his dark and ultra-dramatic voice was as if made for the role of the devil, he could just as easily sing the most touchingly soft arias and melt your heart. What a shame that his life was ultimately consumed by drinking, for his utterly natural and unforced manner and style of singing would have allowed him to sing well into his eighties.
Very true. Leo Smart's assessment of Tibbett is outstandingly accurate. Tibbett had the greatest baritone voice ever, and was the greatest baritone singer ever. Imagine what he would have done if he had taken first-rate care of himself and thus been able to sing at the highest levels of excellence well past 80, instead of going post-prime at 40, losing his voice by 45, and dying at 63.
@@xxsaruman82xx87 Non è vero . Conosco dei giovani baritoni che hanno delle voci Meravigliose purtroppo li stanno insegnando male, malissimo!!!! Da anni il sistema mondiale d’insegnamento è un disastro Enorme. I giovani baritoni di oggi di hanno delle voci bellissime . Mi dispiace ma per me quelli che stai dicendo di Mario Del Monaco non è vero. Il Grande Mario non era tenore drammatico vero, era tenore lirico pieno chi interpretava Otello e il grande repertorio con una vocalità Eroica non drammatica . Ciao il vecchio
@@xxsaruman82xx87I think that's a education problem, rather than natural talent problem. We could have people on par or maybe even better than the likes of Siepi or Pinza, but most vocal teachers now a days only work with pop music, no proper opera singing is being taught now a days.
Ah y por cierto olvidé decir algo más. Si ponen atención a su técnica y la manera de emitir sus agudos, tiene la misma técnica de Mario del Mónaco. Digamos que es del Mónaco versión Bajo.
Opera MX Non è vero . La tecnica di Tibbett non ha niente a vedere con quella di Del Monaco . Due mondi molto diversi . Tibbett aveva una estensione dal re naturale al si bemolle acuto . Del Monaco aveva dei problemi Enormi con il do naturale e il re bemolle acuto ! Tibbett - baritono drammatico vero. Del Monaco -tenore lirico pieno vero. 😉
French operas and sung in French are just so plain and dull... Nothing better for the magnificence, majesty and strength of the Mephisto character in this opera's aria than listening to it in Russian language and sung by the best bass voices of yo', such as Pirogov and Reizen!! Apart of them, the only one able to stand at the height of character is Boris Christoff, the best bass voice of his era!!!
+gomongio Frenchman Mr. Gounod composed this masterpiece to a French libretto written by Frenchment - so the masterpiece to be authentic has to be in French - Now I guess the magnificence of the Russian language would give it a special language - Not so in Italian, as many famous singers used to do decades ago - Dio de l'or del mondo signor - sorry but I think
+gomongio I agree that in russian it sounds good and I prefer russian too but this one is sung with this nice french accent, for me it sounds better than other french versions.
@@visionfugitive et vous croyez quoi, que je suis javanaise...Je ne me permettrais pas de critiquer s'il chantait dans une autre langue que le français.
Mixed bag impression... Huge/unique voice so ineffectively/inaccurately used. Transposing famous aria half a tone up and singing it with open sound, almost shouting?... - Strange choice, I believe with his voice he could have easily done it in the original key.
Badly acted - vocally and physically but given the Devil can be a braggart - it might be ignored by some. Still, this is not the Best Mephistopheles I have heard. Jose Mardones, the Bass, sang this much better.
@@Muttonchop_USA Ah the no talented hypocrite slanderer pervert pedophile troll known as MuttonChop is at it again, with nothing to back up his verbal diarrhea nor his depravity.
ye there are many with horrible french on this piece. Jose Van dam ruined it for everyone with his exquisite version of this :) Although maybe lacks a little "bass" sound for the Devil
Barry Tonelove José Van Dam ?! non era lo stesso baritono chi cantava durante le sue recite con una vocalità degna dei cabaret qua à Parigi ?! ahahahahahahahahahahahahahah ! 1 Tibbett = 30 José Van Dam e ancora ...
@@xxsaruman82xx87 Ghiaurov era basso cantante vero, era unico. Tibbett era uno dei migliori baritoni d’origine americana . Due leoni della lirica . Due vocalità molto diverse . Hai ragione . Ciao il vecchio
![Lawrence Tibbett - Erlkönig (Schubert) - in English [live]](http://i.ytimg.com/vi/Wtd0Bq1utwc/mqdefault.jpg)
We are very lucky to be able to see so many of these great singers on film, thanks to these old films. Many thanks for the upload
What dark power! The voice cuts like a laser. Bravo, Signor Tibbett.
His voice is simply a steady and sturdy geiser. He transitions from low to high notes with the upmost ease with a dark burnish. A great artist.
Was just watching the Jerome Hines version by way of comparison, and whatever Tibbett's doing, belting or otherwise, he rings clearer and draws you in more. Great to see what a foreceful presence he was
Tibbet un gigante della lirica con un gusto che potremmo defonire molto moderno.È in realtà questa la dote che hanno solo i grandissimi interpreti.Grazie dell invio.
I simply love this; now you know why Lawrence Tibbett was so popular; his charisma just shines through.
Feodor Chaliapin recorded this (sound only) a few years earlier; that's also just so terrific; what great talent.
The pitch is raised a half step to accommodate his baritone. The note on the word "d'or" ("Le veau d'or") is an E, and not E-flat as in the score. He is not belting, but he is singing most everything open. He sings an A-flat at the end.
No Wonder I couldn't sing along!
He was one of the good singers/ artists of 20th century! He had core and never waisted air- he controlled his voice and you can hear a proper tongue retraction! Today 99% of modern singers have no low larynx, habe weak voice and the difference is audible if we listen exactly. His interpretation of Wagner's "Todesahnung" is a good exaple for his technique and that means he holds the connection from the belly to the neck. To combine all this little thing is called art of opera singing.Thanks for uploading!
I remember Jerome Hines saying that the singers, when he entered his career sang with greater power and the voices were much bigger than today. It was perhaps a result of the training and the lack of mics all around. Still in opera there are no mics...But he felt that the singers are different.. Perhaps others note this?
Singers now are being chosen on appearance, not voice.
He was probably no longer hearing as well.
Everyone grows up singing popular music now and nobody uses their chest voices correctly. He was right that the voices are minuscule now.
Love this exciting rendition
EZIO Pinza also sung Faust in the movies - it was TONIGHT WE SING and you can find it complete here in you tube - he sings vous qui faitez l'endormio-
Recording date would be around 1930 and it's very well done; microphone placement is EXCELLENT with terrific balance and presence; way to go.
Actually it’s from a movie circa 1937, and it’s dubbed.
Tibbett , - wohl die beste Version !
fantastic grande ..W TIBBET
Che bella, possente e piacevole voce!!!!
What a MAJESTIC voice. This version matches in beauty Enzio Pinza's.
Riveting! Thank you so much for uploading this.
Tibbett may not have been a basso, but his interpretation of "The Calf of Gold" is very powerful and quite convincing.
THE BEST MEPHISTO! A LEGJOBB MEFISZTÓ!
My, what a guy! Tenor, Baritone and Bass!! how did he do?
Artista completo!
Pinza did this in a film, but I haven't seen it on RUclips yet.
Sounds like the aria is transposed 1/2 tone up... And there are some rather open high notes. But this doesn't change the fact that Tibbett is one of the greatest opera singers and performers of all times...
I love his appearance here..nice if that kind of effect could be achieved on the stage!
👏👌👍🌿🕊
Most bass-baritones are tweeners, who lack the really low bass notes and the high baritone range. Tibbett could reach both the highest and the lowest with ease. He could sing many bass arias as good as any bass, and IMHO was easily the best and most complete baritone ever. Although his dark and ultra-dramatic voice was as if made for the role of the devil, he could just as easily sing the most touchingly soft arias and melt your heart. What a shame that his life was ultimately consumed by drinking, for his utterly natural and unforced manner and style of singing would have allowed him to sing well into his eighties.
Very true. An outstanding assessment of the greatest baritone voice ever and the greatest baritone singer ever.
Very true. Leo Smart's assessment of Tibbett is outstandingly accurate. Tibbett had the greatest baritone voice ever, and was the greatest baritone singer ever. Imagine what he would have done if he had taken first-rate care of himself and thus been able to sing at the highest levels of excellence well past 80, instead of going post-prime at 40, losing his voice by 45, and dying at 63.
Sad that we have come to a point where baritones of the past sound like basses compared to the woofy and small baritone and bass voices of today!
Del Monaco sounds like a basso profundo next to today's baritones!
@@xxsaruman82xx87
Non è vero .
Conosco dei giovani baritoni che hanno delle voci Meravigliose purtroppo li stanno insegnando male, malissimo!!!!
Da anni il sistema mondiale d’insegnamento è un disastro Enorme.
I giovani baritoni di oggi di hanno delle voci bellissime .
Mi dispiace ma per me quelli che stai dicendo di Mario Del Monaco non è vero.
Il Grande Mario non era tenore drammatico vero, era tenore lirico pieno chi interpretava Otello e il grande repertorio con una vocalità Eroica non drammatica .
Ciao
il vecchio
Ah it’s the Satanic hypocritical sexual predator troll known as Jeremy “Jeremiah” Silver.
@@xxsaruman82xx87I think that's a education problem, rather than natural talent problem. We could have people on par or maybe even better than the likes of Siepi or Pinza, but most vocal teachers now a days only work with pop music, no proper opera singing is being taught now a days.
Fenomeno.
Divino.
❤️
Arthur Treacher AND Gregory Ratoff!
ACTED as well as SUNG! BRAVO!!!
Badly. Please use your ears and eyes next time.
@wattever333 You mean instead of "condut le bol"...not to mention "puissance" instead of "pissance"...
EINE URGEWALT FANTASTISCH
Ah y por cierto olvidé decir algo más. Si ponen atención a su técnica y la manera de emitir sus agudos, tiene la misma técnica de Mario del Mónaco. Digamos que es del Mónaco versión Bajo.
Opera MX
Non è vero .
La tecnica di Tibbett non ha niente a vedere con quella di Del Monaco .
Due mondi molto diversi .
Tibbett aveva una estensione dal re naturale al si bemolle acuto .
Del Monaco aveva dei problemi Enormi con il do naturale e il re bemolle acuto !
Tibbett - baritono drammatico vero.
Del Monaco -tenore lirico pieno vero.
😉
Excellent Tibbett,mais qui est Wagner?Très bien aussi!
This is opera as it should be, great singing which does NOT EXIST TODAY
FAUST-ADDIKCIÓ-ban "szenvedek"...
:)
I actually would like to hear the real bass on the stage sing this, the guy playing Wagner.
Méphistophélès is, technically speaking, a bass-baritone role and could be sung by either a bass or a baritone 🤷♂
There are NO BARITONES on the operatic stage today. Indeed not for a very long while
Ernesto Petti! Nikoloz Lagvilava!
Modern basses attempting to singing this role should listen to this wonderful performance sung by a baritone. May be they come to learn something.....
I would be grateful, if there would be a set design like this at a german oper house. I can't stand this modern Euro-Trash any longer!!!!
French operas and sung in French are just so plain and dull... Nothing better for the magnificence, majesty and strength of the Mephisto character in this opera's aria than listening to it in Russian language and sung by the best bass voices of yo', such as Pirogov and Reizen!! Apart of them, the only one able to stand at the height of character is Boris Christoff, the best bass voice of his era!!!
+gomongio Frenchman Mr. Gounod composed this masterpiece to a French libretto written by Frenchment - so the masterpiece to be authentic has to be in French - Now I guess the magnificence of the Russian language would give it a special language - Not so in Italian, as many famous singers used to do decades ago - Dio de l'or del mondo signor - sorry but I think
+gomongio I agree that in russian it sounds good and I prefer russian too but this one is sung with this nice french accent, for me it sounds better than other french versions.
@@tengokunoshi Funny french accent ! I understand one word out of three...
@@sylviebasyl2835 I'm french and i can understand every word here.
@@visionfugitive et vous croyez quoi, que je suis javanaise...Je ne me permettrais pas de critiquer s'il chantait dans une autre langue que le français.
You're welcome.
Do you really think he's belting here ?
Great. Yet I really like how Muslim Magomaev sings this kuplets.
Die Einfalt lässt grüßen, aber reicht nicht um Operninszenierungen zu beurteilen.
"LE veau", not "la", monsieur ...!!
I like Wagner's voice better :)
not original key, it's higher ..
So what ? Does it really make a difference ?
It's a, bass role not baritone
Mixed bag impression... Huge/unique voice so ineffectively/inaccurately used.
Transposing famous aria half a tone up and singing it with open sound, almost shouting?... - Strange choice, I believe with his voice he could have easily done it in the original key.
Far, far away from Ghiaurov. No comparison possible.
Ina
Nikolai Ghiaurov - basso cantante.
Lawrence Tibbett - baritono drammatico.
Entrambi erano due leoni della lirica.
Immensi .
Immortali .
Badly acted - vocally and physically but given the Devil can be a braggart - it might be ignored by some. Still, this is not the Best Mephistopheles I have heard. Jose Mardones, the Bass, sang this much better.
The no-talent opera troll strikes again.
@@Muttonchop_USA Ah the no talented hypocrite slanderer pervert pedophile troll known as MuttonChop is at it again, with nothing to back up his verbal diarrhea nor his depravity.
@@Muttonchop_USAI’ve seen you trolling that woman on many boards but you have nothing to back up what you are saying. Grow up!
horrible forced french
+Barry Tonelove I like this one, others don't sound french at all.
ye there are many with horrible french on this piece. Jose Van dam ruined it for everyone with his exquisite version of this :) Although maybe lacks a little "bass" sound for the Devil
Barry Tonelove
José Van Dam ?!
non era lo stesso baritono chi cantava durante le sue recite con una vocalità degna dei cabaret qua à Parigi ?!
ahahahahahahahahahahahahahah !
1 Tibbett = 30 José Van Dam e ancora ...
@@bodiloto Van Dam is certainly not bad, but Tibbett is just from another planet. My favourite Mephisto is Ghiaurov, though.
@@xxsaruman82xx87
Ghiaurov era basso cantante vero, era unico.
Tibbett era uno dei migliori baritoni d’origine americana .
Due leoni della lirica .
Due vocalità molto diverse .
Hai ragione .
Ciao
il vecchio