Voce dal timbro meraviglioso,grande interprete e attore.Purtroppo la sua tecnica era non poco macchinosa e adatta solo a lui,e non gli permetteva di fare scelte:egli era obbligato a effettuare il "tutto forte",a differenza di Corelli,che secondo le esigenze interpretative era in grado di arrivare al filo di voce (pur timbrata in maniera che oggi chiunque se lo sogna!).Comunque,nonostante i limiti tecnici,chapeau a questo grandissimo tenore.Se oggi ce ne fosse uno come lui sbaraglierebbe tutti!
@seektheforce Of course. Listen to the recording of him singing Largo al factotum. He sings a pure falsetto at one point. These old singers had control over their registration.
@seektheforce What do you mean? You mean when he talks about the "overuse" of piano and pianissimi? Yes, then he is talking about that. Instead of singing full voice many teach to collapse the voice. And that is bad especially if you have a big voice. And it is BORING. LOL! It is not opera.
Siamo abituati a sentire Werther da voci liriche o lirico leggere...quindi ci sembra troppa voce per quest'aria...ma questo cantante mi sembra non lasci mai niente al caso, e la sua interpretazione pur con troppo volume è senza dubbio di prim'ordine...saluti
Comparing gigli to Del monaco and the other way round is like comparing a downhill to a slalom skier - but in the end you will have to admit that both are great
One cannot deny the aural thrill and beauty (and, yes, chiaroscuro) of Del Monaco's voice and pure legato singing. However, I think the cliche about him does apply here--a little too much power for the traditional style of this French aria, wouldn't you agree, and not enough piano contrast? Werther meets Otello, it seems to me!
Would have had to have heard it done on stage. On stage nothing seems as big or loud as in the recording studio. And for a dramatic I don't think it is too much. I know Gigli would do it differently and I can accept both as magnificent.
I think there's a great amount of piano contrast, my friend...but his piano is not what you might be looking for.
I think this power is wonderful to witness even in this aria. In fact, Gedda's version up on youtube is barely less powerful, which is impressive for Gedda.
The dynamic marking of those A#5's is FF. So how should they be sung? =D
@meltzerboy I think its more like Werther meets Del Monaco. The little too much power always applied but few other tenors had that option. His tecnique made it difficult for him to sing with a lot of nuance,However he was able to create a niche for himself in the dramatic repertoire and was outstanding. His voice was really incredible(LIVE) and that little too much power was truly a great asset.Try his Forza which i think he sings piano & mezza voce.I do think your comments are pretty accurate
I think the audio on this is from the collection called Del Moanco the singing volcano, which I have. Yes he sounds wonderful and he utilizes the Bel Canto long bow stroke into the high notes.
Possibly referring to the portamento approach? In any case, this is simply glorious...thanks for posting! I'm working on this now, and while I need no inspiration for this beautiful aria, I still appreciate as many interpretations as I can find!
How does his voice sound so...idk, have this falsetto thingy in it? I didn't notice it on for example his Otello recordings.
prog112 8 months ago
Voce dal timbro meraviglioso,grande interprete e attore.Purtroppo la sua tecnica era non poco macchinosa e adatta solo a lui,e non gli permetteva di fare scelte:egli era obbligato a effettuare il "tutto forte",a differenza di Corelli,che secondo le esigenze interpretative era in grado di arrivare al filo di voce (pur timbrata in maniera che oggi chiunque se lo sogna!).Comunque,nonostante i limiti tecnici,chapeau a questo grandissimo tenore.Se oggi ce ne fosse uno come lui sbaraglierebbe tutti!
tompussina 1 year ago
So if Mario Del Monaco wished, he could have put more falsetto into his sound? According to his interpretation he doesn't though, right?
seektheforce 1 year ago
@seektheforce Of course. Listen to the recording of him singing Largo al factotum. He sings a pure falsetto at one point. These old singers had control over their registration.
MrCafiero 1 year ago
@MrCafiero so when he refers to "pianos and pianissimo" he is talking about the backing off of the voice?
seektheforce 1 year ago
@seektheforce What do you mean? You mean when he talks about the "overuse" of piano and pianissimi? Yes, then he is talking about that. Instead of singing full voice many teach to collapse the voice. And that is bad especially if you have a big voice. And it is BORING. LOL! It is not opera.
MrCafiero 1 year ago
@MrCafiero ahh, I agree. We have Popera nowadays.
seektheforce 1 year ago
Siamo abituati a sentire Werther da voci liriche o lirico leggere...quindi ci sembra troppa voce per quest'aria...ma questo cantante mi sembra non lasci mai niente al caso, e la sua interpretazione pur con troppo volume è senza dubbio di prim'ordine...saluti
federic017 1 year ago
Comparing gigli to Del monaco and the other way round is like comparing a downhill to a slalom skier - but in the end you will have to admit that both are great
Tenorino1980 2 years ago
One cannot deny the aural thrill and beauty (and, yes, chiaroscuro) of Del Monaco's voice and pure legato singing. However, I think the cliche about him does apply here--a little too much power for the traditional style of this French aria, wouldn't you agree, and not enough piano contrast? Werther meets Otello, it seems to me!
meltzerboy 2 years ago
Would have had to have heard it done on stage. On stage nothing seems as big or loud as in the recording studio. And for a dramatic I don't think it is too much. I know Gigli would do it differently and I can accept both as magnificent.
MrCafiero 2 years ago
I think there's a great amount of piano contrast, my friend...but his piano is not what you might be looking for.
I think this power is wonderful to witness even in this aria. In fact, Gedda's version up on youtube is barely less powerful, which is impressive for Gedda.
The dynamic marking of those A#5's is FF. So how should they be sung? =D
aaronsande 2 years ago
@meltzerboy I think its more like Werther meets Del Monaco. The little too much power always applied but few other tenors had that option. His tecnique made it difficult for him to sing with a lot of nuance,However he was able to create a niche for himself in the dramatic repertoire and was outstanding. His voice was really incredible(LIVE) and that little too much power was truly a great asset.Try his Forza which i think he sings piano & mezza voce.I do think your comments are pretty accurate
sugarbist 11 months ago
I think the audio on this is from the collection called Del Moanco the singing volcano, which I have. Yes he sounds wonderful and he utilizes the Bel Canto long bow stroke into the high notes.
cameratamaestro 3 years ago
It is a different audio. Please explain what you mean by "the Bel Canto long bow stroke into the high notes. "
MrCafiero 3 years ago
Possibly referring to the portamento approach? In any case, this is simply glorious...thanks for posting! I'm working on this now, and while I need no inspiration for this beautiful aria, I still appreciate as many interpretations as I can find!
=D
aaronsande 2 years ago
As long as it is not slurring. :^)
MrCafiero 2 years ago
LOL not my MDM! Never!
aaronsande 2 years ago
No, not him. Others.:^)
MrCafiero 2 years ago