A great example of this I usually share to illustrate this particular point is the duet from Otello with Caruso and Ruffo, in which the similaritiy in the middle voice is patent.
@@evan-dunn Best regards. It is interesting that, when one tries to approach singing in a way remotely similar to that of the old masters, there are often complaints about the sound of the middle voice, usually pointing to the "excessive brightness" or "excessive weight".
@@evan-dunn I really hope I don't thrill anyone beyond reason. I uploaded an early rehearsal excerpt of Fanciulla del West and would love your thoughts!
Videos from channels like this gives me hope that young Opera singers like myself may be a part of a revolution in this industry -- revitalizing a once GREAT artform to what it was before and lighting up the way for more people like myself to go out and go forward! I am in the midst of changing some things to my own channel but I have multiple videos of my own vocal growth throughout the years and videos like this proves exactly why it is IMPORTANT for overall study.
Singer's shouldn't strive for woofy as it's a fault that dampens vocal production. However, certain dramatic tenors/schwer heldentenors (Lauritz Melchior, Hans Beirer, Ludwig Suthaus, Ramon Vinay, Claude Heater to name a few), can sound very baritonal. Especially in the lower and lower middle regions of their voices.
There is no way to sing woofy/overly-dark and sound convincing to a trained ear! People of all voice types try to do it and some have big careers, but that doesn't mean it is healthy vocally!
@@alleviation91I don't think Melchior should be a voice one should strive for. He had vocal issues: mixed voices instead of a coordinated voice. He also had tongue divots, distorted vowels in his cover, etc.
Yes!!! I didn't even think of that. A name that aria with only ONE pitch! That is ingenious! You are correct about Il balen, but there is no Prologo example.
Personally, I do not agree that there is an actual voice type "bass-baritone" nor "baritenor". The singer is going to excel in one and be weak in the other or be weak in both.
In some ways that is true! But it is also true that there are as many voice types as there are singers. Each voice is so unique that it can feel arbitrary to try and force voices into a few boxes. But I totally get what you're saying! Sometimes, underdeveloped voices can't sing the repertoire they could sing if they had properly developed their whole instrument, so they need a new fach that suits them and their weaknesses a little better.
Saying that George London should have sung all the same repertoire and had similar capabilities to Robert Merrill is daft, though, isn’t it? I know it’s very fashionable to say there is no such thing as a bass-baritone, but a high bass or a low baritone can, less pedantically, be called a bass-baritone can’t it?
@@jackholton9981 I agree with you! Sometimes, people with undeveloped voices, use a fach like bass-baritone as an excuse not to develop their high notes. But it is also completely true that there are as many different voice types as there are singers in this world.
I think humanity have a lot of voices with type "Transitional voices". A lot of Basses(who baritone) And baritones(who a tenore) but bad technik close the voices.
A great example of this I usually share to illustrate this particular point is the duet from Otello with Caruso and Ruffo, in which the similaritiy in the middle voice is patent.
I need to listen to that again! I can imagine exactly what you're talking about! Thanks for sharing.
@@evan-dunn Best regards. It is interesting that, when one tries to approach singing in a way remotely similar to that of the old masters, there are often complaints about the sound of the middle voice, usually pointing to the "excessive brightness" or "excessive weight".
@@juliovicsilvaaray It's TOOOO LOUD!!!! How dare you make the audiences ears ring in such a thrilling way!!! 🤣
@@evan-dunn I really hope I don't thrill anyone beyond reason. I uploaded an early rehearsal excerpt of Fanciulla del West and would love your thoughts!
@@juliovicsilvaaray Is it on youtube? I didn't see it on your channel yet! But I look forward to hearing it.
This should be shown to all singers and teachers around the world.
Thanks for your vote of support! I also find it important!
Have you considered doing voice overs for the written parts of the video? My (very much unsolicited lol) two cents is, that would be very cool 😁
I will have to give that a try! Thanks 😍
Videos from channels like this gives me hope that young Opera singers like myself may be a part of a revolution in this industry -- revitalizing a once GREAT artform to what it was before and lighting up the way for more people like myself to go out and go forward!
I am in the midst of changing some things to my own channel but I have multiple videos of my own vocal growth throughout the years and videos like this proves exactly why it is IMPORTANT for overall study.
Thanks for supporting! I am excited to check out your own channel and hear your journey. Keep up the good work 😍
Hy, I'm too. Can we have a dialogue?
@@shattered_soul Nice to meet you! Have a lovely day.
Can a tenor be overly dark and woofy and sound convincingly baritonal?
Singer's shouldn't strive for woofy as it's a fault that dampens vocal production. However, certain dramatic tenors/schwer heldentenors (Lauritz Melchior, Hans Beirer, Ludwig Suthaus, Ramon Vinay, Claude Heater to name a few), can sound very baritonal. Especially in the lower and lower middle regions of their voices.
There is no way to sing woofy/overly-dark and sound convincing to a trained ear! People of all voice types try to do it and some have big careers, but that doesn't mean it is healthy vocally!
@@alleviation91 I completely agree! I would say that most if not all of the developed tenors sounded baritonal in some ways!
@@alleviation91I don't think Melchior should be a voice one should strive for. He had vocal issues: mixed voices instead of a coordinated voice. He also had tongue divots, distorted vowels in his cover, etc.
It would be funnier to identify the arias. To me Il balen del suo sorriso and Prologo seem obvious.
Telling a deep soprano from a tenor, less so
Yes!!! I didn't even think of that. A name that aria with only ONE pitch! That is ingenious!
You are correct about Il balen, but there is no Prologo example.
@@evan-dunnmaybe just obsessed with the aria that some tenors try to sing, being one myself.
Still, it's fun to watch, thanks
@@joaquimcevallosmorales8944 My pleasure, thanks for watching!
Personally, I do not agree that there is an actual voice type "bass-baritone" nor "baritenor". The singer is going to excel in one and be weak in the other or be weak in both.
In some ways that is true! But it is also true that there are as many voice types as there are singers. Each voice is so unique that it can feel arbitrary to try and force voices into a few boxes. But I totally get what you're saying! Sometimes, underdeveloped voices can't sing the repertoire they could sing if they had properly developed their whole instrument, so they need a new fach that suits them and their weaknesses a little better.
Saying that George London should have sung all the same repertoire and had similar capabilities to Robert Merrill is daft, though, isn’t it?
I know it’s very fashionable to say there is no such thing as a bass-baritone, but a high bass or a low baritone can, less pedantically, be called a bass-baritone can’t it?
@@jackholton9981 George London was a Wagnerian baritone. His voice was heavier and due to his timbre.
@@jackholton9981 I agree with you! Sometimes, people with undeveloped voices, use a fach like bass-baritone as an excuse not to develop their high notes. But it is also completely true that there are as many different voice types as there are singers in this world.
I think humanity have a lot of voices with type "Transitional voices". A lot of Basses(who baritone) And baritones(who a tenore) but bad technik close the voices.