both of them more volume in the upper range than most lyric voices (most tenors sound like they got kicked in the balls when they sing high. pav makes it sound easy and natural like it should be for someone with good technique)
The high F is kind of falsetto on the Gedda recording with sills of course, sounds not human for any tenor that high, tenor means high but that is nuts.
Ktaus/ Gedda was another one with the gift of high notes and Chris Merritt in a 87' Recital in Italy did Daughter with all the C'S CAPPED BY d FLAT AND THEN REPEATED IT and sang an even better d flat again. He did all those 18 high C's after a long hard program and I have a CD of it from premiere opera. He never cracked once that day! Bjorling sang many fewer roles later cause he wanted concerts for the money and he hated rehearsal, plus he had health problems as we all know.
@pearlmuth3 Why do you attempt to promote your favorite singers by pointing out supposed faults of other famous singers. Is that really necessary? Do your examples in any way offer definitive proof of their superiority? You're a fan of certain singers whom you prefer over others; leave it at that.
Bjorling sang did sing fille du regiment many times early on and recorded stabat with the high D flat and an operetta selection with a d flat also but as far as later on---No but had an equal C to pav but stopped singing them in the mid 1950's live. His lower notes where super but sure he did not sound Italian but was better then most Italian tenors though Gigli was most beautiful and sure pav. was great.
It must be incredibly difficult to produce four C sharps in one night. Perhaps Bjorling didn't want to risk cracking, as Pavarotti rarely did in I Puritani (not badly, but occasionally on a C sharp, the note would break slightly).
SHE ALSO RECORDED IT WITH GEDDA ON WESTMINSTER AROUND 69-- HE DOES I REMEMBER A QUICK HIGH F. HEARD HER SING IT WITH MAURO IN LOS ANGELES IN THE 70's AND SHE HELD HER OWN ON THE BIG HIGH C's HE PUT OUT, IN FACT SHE CARRIED BETTER THEN HE DID, BRAVA! PAV. STILL HAD GOOD C's AT THIS TIME, STRANGE BJORLING HAD GREAT C'S ALSO BUT NEVER SANG THIS OUTSIDE OF PERHAPS SWEDEN, MAYBE THEY DID NOT DO THE OPERA IN THE TIME HE SANG HERE.
Those are C sharps that Pavarotti sings here. Maybe Bjorling just didn't want to sing above the C constantly. Arturo is demanding in that sense, some tenors do this role with high Ds. Pavarotti still had a wonderful high C in 1979, he sang perfect Cs as Rodolfo at La Scala. He lost that glorious high C in the 80s, such a shame.
Expecting a modern era tenor to sing anything above a C5 is rather ridiculous as the approach to singing as well as the technique used has changed quite a bit since the days of I Puritani.
That's why very few tenors tackle this role. When P. did it in the studio he dubbed in the high notes separately (or so I read somewhere). Incidentally in Bellini's day tenors weren't expected to sing such high notes from the chest -- they could "cheat" and use their falsetto voice.
It's impossible for a male to sing an F in pure chest without destroying his voice. And tenors in Rubini's time didn't use falsetto, they used mixed head voice which produces quite a different sound to falsetto.
I suppose I don't have much room to talk as I can only hit a high Eb5 (but I'm a baritone lol) but it's not impossible. Most tenor leggieros can only go up to an E5 and the higher one's can hit an full F5. Although you're right, the passage area into head voice for tenors is about an octave below the F5.
I have this recording somewhere (at least the highlights). This is Sills at her peak -- the tightest trill in town. She does slightly different ornaments than she did on her studio recording.
Pavarotti doesn't attempt the high F's in this recording, unlike HIS studio version (where I believe they were actually dubbed in afterwards.)
A glorious evening - I was at this performance and it was super.
65attila 7 months ago
oh my... listen to the speed at the end! amazing!
MGHall07 8 months ago
They're both wonderful. That F must be dangerous for a tenor to sing--but Pavarotti did it.
windstorm1000 1 year ago
BEVERLY!!!! GURL YOU BETTER WORKKKKKK!!!! r.i.p
chrisscruzzz 1 year ago
@chrisscruzzz Best comment ever? I think yes.
RaWrZzZz 1 year ago
This is fabulous.. Sills is grand, and it is why i love her, she is a great actress.. you understand every word too.
kgarmaker123 2 years ago
both of them more volume in the upper range than most lyric voices (most tenors sound like they got kicked in the balls when they sing high. pav makes it sound easy and natural like it should be for someone with good technique)
raigekimaru 2 years ago
I cant' believe my ears, and this is live too. Bliss.
dermotafan 2 years ago 3
This is ridiculous! High D-flat. Ahhh my two favorite opera singers.
dulcicantor 2 years ago 2
SUPREME PERFORMANCE!
TreblesBasses 2 years ago
Those TRILLS!!!!! *drool!*
godivapaw 3 years ago 6
thanks for posting this!
bbbartolo 3 years ago 2
was this at the academy of music?
harpguy18 3 years ago
FANTASTIC!!!
Sesto73 3 years ago 6
The high F is kind of falsetto on the Gedda recording with sills of course, sounds not human for any tenor that high, tenor means high but that is nuts.
pearlmuth3 3 years ago 4
Ktaus/ Gedda was another one with the gift of high notes and Chris Merritt in a 87' Recital in Italy did Daughter with all the C'S CAPPED BY d FLAT AND THEN REPEATED IT and sang an even better d flat again. He did all those 18 high C's after a long hard program and I have a CD of it from premiere opera. He never cracked once that day! Bjorling sang many fewer roles later cause he wanted concerts for the money and he hated rehearsal, plus he had health problems as we all know.
pearlmuth3 3 years ago 2
@pearlmuth3 Why do you attempt to promote your favorite singers by pointing out supposed faults of other famous singers. Is that really necessary? Do your examples in any way offer definitive proof of their superiority? You're a fan of certain singers whom you prefer over others; leave it at that.
eyesk8er 1 year ago
Bjorling sang did sing fille du regiment many times early on and recorded stabat with the high D flat and an operetta selection with a d flat also but as far as later on---No but had an equal C to pav but stopped singing them in the mid 1950's live. His lower notes where super but sure he did not sound Italian but was better then most Italian tenors though Gigli was most beautiful and sure pav. was great.
pearlmuth3 3 years ago
It must be incredibly difficult to produce four C sharps in one night. Perhaps Bjorling didn't want to risk cracking, as Pavarotti rarely did in I Puritani (not badly, but occasionally on a C sharp, the note would break slightly).
Mooorhe 3 years ago
SHE ALSO RECORDED IT WITH GEDDA ON WESTMINSTER AROUND 69-- HE DOES I REMEMBER A QUICK HIGH F. HEARD HER SING IT WITH MAURO IN LOS ANGELES IN THE 70's AND SHE HELD HER OWN ON THE BIG HIGH C's HE PUT OUT, IN FACT SHE CARRIED BETTER THEN HE DID, BRAVA! PAV. STILL HAD GOOD C's AT THIS TIME, STRANGE BJORLING HAD GREAT C'S ALSO BUT NEVER SANG THIS OUTSIDE OF PERHAPS SWEDEN, MAYBE THEY DID NOT DO THE OPERA IN THE TIME HE SANG HERE.
pearlmuth3 3 years ago
Those are C sharps that Pavarotti sings here. Maybe Bjorling just didn't want to sing above the C constantly. Arturo is demanding in that sense, some tenors do this role with high Ds. Pavarotti still had a wonderful high C in 1979, he sang perfect Cs as Rodolfo at La Scala. He lost that glorious high C in the 80s, such a shame.
Mooorhe 3 years ago
!!! Favourited.
BRAVI!
What perfection from them both, I've never heard such fantastic high C#s from any tenor in my life! Fantastic performance from both of them.
Mooorhe 3 years ago
Expecting a modern era tenor to sing anything above a C5 is rather ridiculous as the approach to singing as well as the technique used has changed quite a bit since the days of I Puritani.
TheInquisitive4Ever 3 years ago
Is it possible to see and "heard" such a WONDER today ????? NO , never again !!!!! NO NEVER !!!!!
motardbear15 3 years ago
I loooooooove Beverly Sills sooooooooooooo much!!!!!!!!!!!
willthrillws 3 years ago
Bravo!
Adorable voices!!!
zurriuss 3 years ago
Pavarotti+Sills=perfection
raigekimaru 3 years ago 4
Virtuosa!
Jabe88 4 years ago 2
WOW! Sills was great! I love from 7:00 to 7:25 she was just amazing! what a talented voice!!
brightboy86 4 years ago
Thank you thank you for posting this - both of them at their wow best!
looksee26 4 years ago 2
i love PAVAROTTI but no HIGH D it is a HIGH C#. BUt this recording is despite a masterpiece!!!
LYRICTENORHIGHF 4 years ago
It's actually supposed to be a high F!
slobone 4 years ago
no way its not a high F
its difficul and ricky for the voice.
tena2 4 years ago
That's why very few tenors tackle this role. When P. did it in the studio he dubbed in the high notes separately (or so I read somewhere). Incidentally in Bellini's day tenors weren't expected to sing such high notes from the chest -- they could "cheat" and use their falsetto voice.
slobone 4 years ago
It's impossible for a male to sing an F in pure chest without destroying his voice. And tenors in Rubini's time didn't use falsetto, they used mixed head voice which produces quite a different sound to falsetto.
agnellodei 4 years ago
I really have difficulties imagining someone singing a High F in chest voice only...
Do you know/have you ever heard any tenor attempting it?
Jabe88 4 years ago
I suppose I don't have much room to talk as I can only hit a high Eb5 (but I'm a baritone lol) but it's not impossible. Most tenor leggieros can only go up to an E5 and the higher one's can hit an full F5. Although you're right, the passage area into head voice for tenors is about an octave below the F5.
raigekimaru 3 years ago
The notes in Vieni fra queste braccia are meant to be D's, the F is written in Arturo's final aria.
operamagnus 3 years ago
What a great performance. I was there.
63Attila 4 years ago
Finalmente il Finale tragico
youfeda 4 years ago
I have this recording somewhere (at least the highlights). This is Sills at her peak -- the tightest trill in town. She does slightly different ornaments than she did on her studio recording.
Pavarotti doesn't attempt the high F's in this recording, unlike HIS studio version (where I believe they were actually dubbed in afterwards.)
slobone 4 years ago
PS Forgot to mention that I consider this version superior to her studio recording.
slobone 4 years ago
I agree. I have both. Although I dont like the cuts in this version.
turandot82 4 years ago
Stunning, fabulous, adorable, bubbly Beverly!!!
petelovesbevsills 4 years ago 2
she is absolutely amazing; and, Pavarotti would have to be my most favorite-
playboyadonis 4 years ago 2