Cuanta ignorancia veo por aquí y cuantos entendidos que hablan de falsete en Kraus,.... es facilmente demostrable con el ejemplo siguiente: La potencia de un falsete es inferior a la voz de cabeza y menos aun a la de pecho por natura y lógica, pues entonces,expliquen¿porque el superagudo final es el más potente? yo si lo se:por años de estudio, trabajo, inteligencia y administración de su voz sin cometer barbaridades (antigua escuela del belcanto)además era tenor liricoligero con gran extensión.
Hasta el maestro Florez lo dice siempre : El maestro Kraus fué el mejor tenor de la historia. Para Juan Diego, Kraus es siempre su punto de referencia!
Wow! I had no idea Alfredo Kraus had recorded this aria! and I call myself a Kraus fan :) This is just spectacular! His upper register is as secure as it gets. TY for sharing this
@lpizzella ESTOY DE ACUERDO CONTIGO NUNCA UTILIZO EL FALSETE NI LA MEDIA VOZ ,NO SABIA EL LO RECONOCIO ERA UN SUPERDOTADO EL AGUDO LO DOMINABA A LA PERFECCION ,LOS QUE UTILIZAN LOS FALSETES AHORA ES PARA OCULTAR SUS CARENCIAS EN EL AGUDO POR QUE NO LLEGAN,SALUDOS.SIEMPRE "BELCANTO"
tengo toda la discografia y filmografia de alfredo kraus,documentales biograficos,conciertos,presentaciones en tv,opedras completas,interesados escribanme
Merryjest you are right, the upper male range is similar to a female middle range. I know some female singer who can sing the same range than men with the exception that they can move the cords faster than men and it may blend even at low range.
I think that the best high note( a high D) of Maestro is in the clip where he sings La Sonnambula. I think it is weird that he did DSharp here. By the way: People confuse what falsetto, head register are... This is a wonderful mixed tone... It is not a falsetto
Interesting comments here. It is always confusing for a young tenor; falsetto, covering the voice, mixed voice, etc. I have actually trained myself to blend full voice with falsetto so it's not bad, it's useful. I can feel the slip from falsetto to full (or vice versa) but you cannot hear it. After 15 years I think I've got it.
Disculpe que le rectifique finidi72 pero el falsete nunca formó parte de la técnica de Kraus algo que muchas veces se confunde con su técnica de "mascara" basada en los resonadores faciales y de cabeza.
No son necesarias las disculpas Kraustrujillo, le agradezco su rectificación, pero el agradecimiento sería mayor si pudiera explicarme la diferencia entre estas dos técnicas. Por desgracia mi amor por la música no va acompañado por mis conocimientos, lo que probablemente haga que mi disfrute de maestros como Don Alfredo no sea completo. Muchas gracias y un saludo.
Es lo que algunos llaman "falsetto apoyado", que en realidad no lo es: simplemente se trata de activar la funcion delgada de los filos de las cuerdas vocales. Es la típica extensión aguda del leggiero, y algunos tenores líricos pueden activarla también, pero toma mucho desarrollarla.
El verdadero falsete no suena nada, es como el canto coral, el falsetone puede sonar aun mas fuerte que la voz de "pecho" pero tiene ese componente que no lo relaciona con el after verismo machismo, donde todo es grito del la para arriba. Estoy de acuerdo que por razones musicales hay que ser mas flexible con los fanatismos, pero el aceptar el falsetone acorta el tiempo de entrenamiento y cambia el estilo a quizas lo usado en 1700 1800.
A menos que, claro, uno sea un tenor ligero, dentro de lo cual pues se necesita tener cierta mezcla de falsetone porque nuestras voces tienen una cierta particularidad y no se puede llevar el peso hasta tan arriva como lo hacen los tenores líricos.
lo tenore liricos que saben cantar cantan sullfiato como Helge Roswange, Fleta, Bjoerling, los que no tienen solucion y gritan terminan matando la voz aguda como Distefano, Carreras, la voz tiene que ser sulfiatto sin preocupacion de que color vocal tenes. De donde eres?
And as far as falsetto, an extremely high tone begun as falsetto and "budded" into an open chest resonator is virtually indistinquishable from the rest of the voice if done correctlty. It is the only way to get through a role like Arnoldo or Arturo and sing the notes as the compser wished, including the pianissimi above the staff singing.
Kraus was my IDOL. When I was enagaged to sing Arnoldo, I listened only to his singing of the role. It was the most perfect, and to my ear, remains so to this day. I miss him terribly.
Kraus managed to sing the E b with the same quality of his C.But not Gedda, not Pavarotti.Listen Gedda on Puritani F and it had lost the tenor strength but it is nice anyway.Hipolito Lazaro had a high F really strong not in the countertenor way, like belcanto tenor.
Sorry but, it has nothing to do with a falsetto. Its a exquisite example of great head voice and in no doubt voce piena. Blending of falsetto into your voce piena is done usually with very light tenor voices. Kraus was lyric, but not a leggiero or tenorini.
I got a clip of me hitting a G above high C and to me that's not falsetto coz well, my falsetto in general is weak and airy, and to record that clip I was standing several feet away from the microphone and still got clipping and also you can hear the higher harmonics instead of the hollower sound of falsetto, can you listen and tell me that you think?
In Italy we call it falsettone, as opposed to an unsupported falsetto tone. I think it was Bonci who said that falsettone is like silk, whereas falsetto is like cotton.
Actually the way Pavarotti does it is the way Rubini would have done it. It wasn't until Gilbert Duprez that tenors were expected to sing their high tessitura in 'head voice', which is a mixed voice register. I worship Kraus, but historically Pavarotti's high falsetto F is the correct bel canto approach. Hitting it in full voice creates a strident and unpleasant sound.
I am sorry to deagree. kraus did it the way it should be sung because he was a master when it comes of using the natural resources which are spreaded throughout the head and always sung in masquera so that gives to the voice a more natural element of sonority, pavarotti lost this quality if he ever had it.
very interesting ideas about the tenor voice, the problem with falsetto is that the balance on the cords is lost and breath start to come out more and more and the strength is lost.Very few tenors had the full male funtioning up to high C, like Corelli, young Distefano, Del Monaco.Dramatic tenor extend their chest to B flat like cossuta, Vinay, Melchior and the technique is different than liric tenors
I wish singers and teachers could agree of the same terminology - it is confusing for people trying to leran to sing, if people use the same words to mean different things... like I don;t really know what operabitch means by saying all lyric tenors use falsetto, otherwise they couldn't get out of baritone register. The concept of "mixed voice"for tenor high notes makes some sense to me, but not saying these notes are "falsetto".
I disagree that "all lyric tenors use falsetto" - the tenor head voice is different from falsetto - it's connected to the rest of the voice in the way you use the muscles, even thought the place it resonates in feels similar to the falsetto(IMO).
I feel different when I'm singing a tenor head voice note from when I sing the same note with a supported falsetto (i.e. countertenor style) even though some pretty vocally knowledgable people have taken my supported falsetto notes for normal head voice before now.
To my ears when he goes up to the e flat this IS probably a falsetto, not that this is some sort of crime.. the difference between the "full"head voice used very lightly and lyrically and a supported falsetto is quite small anyway, but I think the lightness and ease with which he goes up and touches that note sounds more falsettoey to me, than full head voicey.
I have experimented with doing the same before - singing around an E in a strong falsetto and then blending back down into normal tenor head voice. I have also heard Pavarotto do it on a recording before . I think the whole thing about falsetto being "bad" or weak etc (the name doesn't help) is silly anyway, although i guess even purists couldn;t really moan about it if the guy only uses it when he sings above top C.
Don't forget that until Duprez, falsetto was not regarded as anything more than a coloristic resource and, as far as most singers went, the only alternative for the tenor in the high register. Any upper mixture was considered unsightly (Rossini called the Duprez high C "the squack of a chicken with its throat cut")
And don't forget that a tenore leggiero's upper extension above the A flat must contain the mixture already. Their secondo passaggio hits at Ab and if not properly trained it can sound like they go into falsetto, if they haven't worked on blending the registers evenly.
all lyrics tenors use falsetto gentlemen!!! it's a support version of head voice. we need to use it or the voice would never be able to leave the baritone register. it's physics and not technique!!!! some natural voice are bigger and lounder than others. as is the falsetto tenors use to sing HIGH notes!!! the tenor voice is a made up instrument. it's a phenom!
I agree here, where you say he is playing with fa;lsetto to make this high E flat, and it is fun to hear; but elsewhere you claim all lyric tenors use falsetto to go above the BARITONE range, which I don't agree with and seems contradictory
Met him in Chicago around 1979. Very unassuming and quiet. Seemed to be honored to be asked for autograph. 5'8" and very thin shows you skill is better than fat. Not much notice when he died, but news today is not concerned with the news.
Ah Dios!A pesar mío me detengo...¡Mi padre murió,y yo sigo viviendo!Mudo refugio de llano donde ayer fui feliz.¡Y hoy repleto de fatalidad!En vano a mi padre llamo,Él ya no me oye. Huir de este techo deseo que tan querido me fue un día.
¡No me dejes, esperanza de la venganza!Guillermo está encadenado,Y yo dudo en este instante.En este dulce asilo... ¡Cuanto silencio! Entraré... No escucho Mas que el sonido de mis pasos...Debo de liberarme del terror oculto!...Entraré...
With the old scholing belcanto technique these performances are not unbelievable. Alfredo Kraus was a bel canto master too. Who knows Kraus'disciples?
Yes,it is quite amazing. He did the similar vocal stunt in La Sonnambula(1960 with R Scotto),a stupendous highD in his act 2 aria. Unbelievable Alfredo Kraus !!
DEL MAESTRO KRAUS SIN COMENTARIOS YA SABEMOS QUE ES EL MEJOR LIGERO DE LA HISTORIA.SIEMPRE BELCANTO
franviniegra 2 months ago
Cuanta ignorancia veo por aquí y cuantos entendidos que hablan de falsete en Kraus,.... es facilmente demostrable con el ejemplo siguiente: La potencia de un falsete es inferior a la voz de cabeza y menos aun a la de pecho por natura y lógica, pues entonces,expliquen¿porque el superagudo final es el más potente? yo si lo se:por años de estudio, trabajo, inteligencia y administración de su voz sin cometer barbaridades (antigua escuela del belcanto)además era tenor liricoligero con gran extensión.
MadameBorgi 7 months ago
Hasta el maestro Florez lo dice siempre : El maestro Kraus fué el mejor tenor de la historia. Para Juan Diego, Kraus es siempre su punto de referencia!
Camdeus 1 year ago 2
@Camdeus Debería ser un punto de referencia para todos ;)
esvemonte 3 months ago
Wow! I had no idea Alfredo Kraus had recorded this aria! and I call myself a Kraus fan :) This is just spectacular! His upper register is as secure as it gets. TY for sharing this
RoyKa2010 1 year ago 2
Falsete o no Falsete (obviamente no es falsete), es PERFECTO.
yosoyamorverdadero 1 year ago 4
This comment has received too many negative votes show
pavarotti's interpretation is even better but, Kraus, what a voice....
estrogiovanile 1 year ago
Estoy de acuerdo, Kraus era ademas de un verdadero maestro del canto una voz naturalmente libre de falsetes y golpes de efecto.
lpizzella 1 year ago
@lpizzella ESTOY DE ACUERDO CONTIGO NUNCA UTILIZO EL FALSETE NI LA MEDIA VOZ ,NO SABIA EL LO RECONOCIO ERA UN SUPERDOTADO EL AGUDO LO DOMINABA A LA PERFECCION ,LOS QUE UTILIZAN LOS FALSETES AHORA ES PARA OCULTAR SUS CARENCIAS EN EL AGUDO POR QUE NO LLEGAN,SALUDOS.SIEMPRE "BELCANTO"
franviniegra 2 months ago
vravisimo ese tono es grandioso y se escucha muy natural vravisimo...
cochobamba 2 years ago
A. kRAUS è sempre stato il mio idolo ma più lo ascolto ed ogni volta mi meraviglio della sua sua tecnica vocale GRANDE
juancitogv 2 years ago 5
Lastima que no grabo la opera completa, se la imaginan?,,,
josemuso1 2 years ago
Uhg, people just don't realize how much SOUND this man made.. THEN you would really know the difference between him and the other tenors.
Webarton 2 years ago
BRAVO!
josecarloseduardo 2 years ago
Mamma mia!!! Che sento!!!
SladkyPersik 2 years ago
Mi padre que también murió lo conoció de pequeño, eran vecinos y jugaban con piedritas como si fueran canicas en la ciudad de Telde
Aiothril 2 years ago
tengo toda la discografia y filmografia de alfredo kraus,documentales biograficos,conciertos,presentaciones en tv,opedras completas,interesados escribanme
alfredokraus53 3 years ago
lindoo!!!
LANZADD 3 years ago
Maravilloso !!!! sin falsetos !!!!! con la voz aguda y bella!!!!!...
yuroregaskurvesen 3 years ago 3
I think this was Kraus best tssitura. High and light. When getting heavier he looses this touch and his tone closes and becomes restrained.
Very nice rendition, masterly.
fabrizzzio48 3 years ago
Kraus's tone was almost never "closed".
Webarton 2 years ago
Merryjest you are right, the upper male range is similar to a female middle range. I know some female singer who can sing the same range than men with the exception that they can move the cords faster than men and it may blend even at low range.
ilbacioditosca 4 years ago
I think that the best high note( a high D) of Maestro is in the clip where he sings La Sonnambula. I think it is weird that he did DSharp here. By the way: People confuse what falsetto, head register are... This is a wonderful mixed tone... It is not a falsetto
mertsungu 4 years ago 2
How great it is!I really want to have such high note
lucianohighC 4 years ago
Wow!That's great!Amazing!How can a man hit such a high note!
lucianohighC 4 years ago
1:45 is D#, please tell me something =)
urns100 4 years ago 9
Interesting comments here. It is always confusing for a young tenor; falsetto, covering the voice, mixed voice, etc. I have actually trained myself to blend full voice with falsetto so it's not bad, it's useful. I can feel the slip from falsetto to full (or vice versa) but you cannot hear it. After 15 years I think I've got it.
spgtenor 4 years ago
Hasta cuando canta de falsete es el nº 1
finidi72 4 years ago
Disculpe que le rectifique finidi72 pero el falsete nunca formó parte de la técnica de Kraus algo que muchas veces se confunde con su técnica de "mascara" basada en los resonadores faciales y de cabeza.
Un saludo
kraustrujillo 4 years ago 4
No son necesarias las disculpas Kraustrujillo, le agradezco su rectificación, pero el agradecimiento sería mayor si pudiera explicarme la diferencia entre estas dos técnicas. Por desgracia mi amor por la música no va acompañado por mis conocimientos, lo que probablemente haga que mi disfrute de maestros como Don Alfredo no sea completo. Muchas gracias y un saludo.
finidi72 4 years ago
Es lo que algunos llaman "falsetto apoyado", que en realidad no lo es: simplemente se trata de activar la funcion delgada de los filos de las cuerdas vocales. Es la típica extensión aguda del leggiero, y algunos tenores líricos pueden activarla también, pero toma mucho desarrollarla.
Merryjest 4 years ago
El verdadero falsete no suena nada, es como el canto coral, el falsetone puede sonar aun mas fuerte que la voz de "pecho" pero tiene ese componente que no lo relaciona con el after verismo machismo, donde todo es grito del la para arriba. Estoy de acuerdo que por razones musicales hay que ser mas flexible con los fanatismos, pero el aceptar el falsetone acorta el tiempo de entrenamiento y cambia el estilo a quizas lo usado en 1700 1800.
ilbacioditosca 4 years ago
A menos que, claro, uno sea un tenor ligero, dentro de lo cual pues se necesita tener cierta mezcla de falsetone porque nuestras voces tienen una cierta particularidad y no se puede llevar el peso hasta tan arriva como lo hacen los tenores líricos.
Merryjest 4 years ago
lo tenore liricos que saben cantar cantan sullfiato como Helge Roswange, Fleta, Bjoerling, los que no tienen solucion y gritan terminan matando la voz aguda como Distefano, Carreras, la voz tiene que ser sulfiatto sin preocupacion de que color vocal tenes. De donde eres?
ilbacioditosca 4 years ago
@finidi72 la ignorancia es muy atrevida
julioalcorcon 1 year ago
And as far as falsetto, an extremely high tone begun as falsetto and "budded" into an open chest resonator is virtually indistinquishable from the rest of the voice if done correctlty. It is the only way to get through a role like Arnoldo or Arturo and sing the notes as the compser wished, including the pianissimi above the staff singing.
2ManyHighCs 4 years ago
Kraus was my IDOL. When I was enagaged to sing Arnoldo, I listened only to his singing of the role. It was the most perfect, and to my ear, remains so to this day. I miss him terribly.
2ManyHighCs 4 years ago 10
Kraus version of Arnoldo is good. I have never heard a better version than Gianni's, and I have taken the time to look.
Jcrewone7 4 years ago
Check out the Gianni Savelli clip on my page... he can really sing "O muto asil"
onesidered 4 years ago
Kraus managed to sing the E b with the same quality of his C.But not Gedda, not Pavarotti.Listen Gedda on Puritani F and it had lost the tenor strength but it is nice anyway.Hipolito Lazaro had a high F really strong not in the countertenor way, like belcanto tenor.
ilbacioditosca 4 years ago 3
High F in I Puritani is a strong supported Falsetto, almost like a rock singers. Gedda actually has a pretty strong falsetto as well as voce finta.
spgtenor 4 years ago
Sorry but, it has nothing to do with a falsetto. Its a exquisite example of great head voice and in no doubt voce piena. Blending of falsetto into your voce piena is done usually with very light tenor voices. Kraus was lyric, but not a leggiero or tenorini.
djtsinopoulos 4 years ago
I got a clip of me hitting a G above high C and to me that's not falsetto coz well, my falsetto in general is weak and airy, and to record that clip I was standing several feet away from the microphone and still got clipping and also you can hear the higher harmonics instead of the hollower sound of falsetto, can you listen and tell me that you think?
agnellodei 4 years ago
Kraus was a lyric-leggero voice, the whole world knows that fact.
tena2 2 years ago
In Italy we call it falsettone, as opposed to an unsupported falsetto tone. I think it was Bonci who said that falsettone is like silk, whereas falsetto is like cotton.
sevoflurane 4 years ago
Actually the way Pavarotti does it is the way Rubini would have done it. It wasn't until Gilbert Duprez that tenors were expected to sing their high tessitura in 'head voice', which is a mixed voice register. I worship Kraus, but historically Pavarotti's high falsetto F is the correct bel canto approach. Hitting it in full voice creates a strident and unpleasant sound.
Merryjest 4 years ago
I am sorry to deagree. kraus did it the way it should be sung because he was a master when it comes of using the natural resources which are spreaded throughout the head and always sung in masquera so that gives to the voice a more natural element of sonority, pavarotti lost this quality if he ever had it.
tena2 3 years ago
Agreed.
Webarton 2 years ago
very interesting ideas about the tenor voice, the problem with falsetto is that the balance on the cords is lost and breath start to come out more and more and the strength is lost.Very few tenors had the full male funtioning up to high C, like Corelli, young Distefano, Del Monaco.Dramatic tenor extend their chest to B flat like cossuta, Vinay, Melchior and the technique is different than liric tenors
ilbacioditosca 4 years ago
I wish singers and teachers could agree of the same terminology - it is confusing for people trying to leran to sing, if people use the same words to mean different things... like I don;t really know what operabitch means by saying all lyric tenors use falsetto, otherwise they couldn't get out of baritone register. The concept of "mixed voice"for tenor high notes makes some sense to me, but not saying these notes are "falsetto".
orlando098 4 years ago
Falsetto and maschera are different stuff. This is the kind of thing that so many people write about without even knowing its principles.
Ginotti 4 years ago
I disagree that "all lyric tenors use falsetto" - the tenor head voice is different from falsetto - it's connected to the rest of the voice in the way you use the muscles, even thought the place it resonates in feels similar to the falsetto(IMO).
orlando098 4 years ago
I feel different when I'm singing a tenor head voice note from when I sing the same note with a supported falsetto (i.e. countertenor style) even though some pretty vocally knowledgable people have taken my supported falsetto notes for normal head voice before now.
orlando098 4 years ago
To my ears when he goes up to the e flat this IS probably a falsetto, not that this is some sort of crime.. the difference between the "full"head voice used very lightly and lyrically and a supported falsetto is quite small anyway, but I think the lightness and ease with which he goes up and touches that note sounds more falsettoey to me, than full head voicey.
orlando098 4 years ago
I have experimented with doing the same before - singing around an E in a strong falsetto and then blending back down into normal tenor head voice. I have also heard Pavarotto do it on a recording before . I think the whole thing about falsetto being "bad" or weak etc (the name doesn't help) is silly anyway, although i guess even purists couldn;t really moan about it if the guy only uses it when he sings above top C.
orlando098 4 years ago
Don't forget that until Duprez, falsetto was not regarded as anything more than a coloristic resource and, as far as most singers went, the only alternative for the tenor in the high register. Any upper mixture was considered unsightly (Rossini called the Duprez high C "the squack of a chicken with its throat cut")
Merryjest 4 years ago
And don't forget that a tenore leggiero's upper extension above the A flat must contain the mixture already. Their secondo passaggio hits at Ab and if not properly trained it can sound like they go into falsetto, if they haven't worked on blending the registers evenly.
Merryjest 4 years ago
all lyrics tenors use falsetto gentlemen!!! it's a support version of head voice. we need to use it or the voice would never be able to leave the baritone register. it's physics and not technique!!!! some natural voice are bigger and lounder than others. as is the falsetto tenors use to sing HIGH notes!!! the tenor voice is a made up instrument. it's a phenom!
operabitch77 4 years ago
I agree here, where you say he is playing with fa;lsetto to make this high E flat, and it is fun to hear; but elsewhere you claim all lyric tenors use falsetto to go above the BARITONE range, which I don't agree with and seems contradictory
orlando098 4 years ago
This comment has received too many negative votes show
nice falsetto kraus!!! he always played witht the falset above high C. wow, what a style, not a great sound but always fun to listen too!!!
operabitch77 4 years ago
Me temo que estas equivocado operabitch77,Kraus no utliza en ningún momento la técnica de falsetto como tu dices, para cantar;
su extensión vocal que iba hasta el Mi bemol no necesitaba de eso.
kraustrujillo 4 years ago
Kraus was never a falsetto tenor operabitch77. He had said in an interview "I really dont know falsetto technique"
discovolante21 4 years ago
Alfredo Kraus, ES CANARIO, nuestro hijo prójimo
Gracias Kraus por tanta perfección.
toybailando 4 years ago
Met him in Chicago around 1979. Very unassuming and quiet. Seemed to be honored to be asked for autograph. 5'8" and very thin shows you skill is better than fat. Not much notice when he died, but news today is not concerned with the news.
madisonelectronic 4 years ago
Ah Dios!A pesar mío me detengo...¡Mi padre murió,y yo sigo viviendo!Mudo refugio de llano donde ayer fui feliz.¡Y hoy repleto de fatalidad!En vano a mi padre llamo,Él ya no me oye. Huir de este techo deseo que tan querido me fue un día.
lasultanica 4 years ago
¡No me dejes, esperanza de la venganza!Guillermo está encadenado,Y yo dudo en este instante.En este dulce asilo... ¡Cuanto silencio! Entraré... No escucho Mas que el sonido de mis pasos...Debo de liberarme del terror oculto!...Entraré...
lasultanica 4 years ago
With the old scholing belcanto technique these performances are not unbelievable. Alfredo Kraus was a bel canto master too. Who knows Kraus'disciples?
sulfiatto 4 years ago
Aquiles machado a very promising tenor. Check him out here on youtube. Good luck
gruberosa 4 years ago
As always brilliant performance from Kraus. What the hell is note at 4:46!!!!
discovolante21 4 years ago
In the music score it is a C, but in this audio Kraus touch a Eb. Three seminotes higher. What a tecnique!!!
jcvnet 4 years ago
Yes,it is quite amazing. He did the similar vocal stunt in La Sonnambula(1960 with R Scotto),a stupendous highD in his act 2 aria. Unbelievable Alfredo Kraus !!
dyingswine 4 years ago