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  • MARISOLDELMONACO: no eres justa con los españoles porque haya alguno al que no le guste MARIO, yo soy española, no soy racista y considero a MARIO DEL MONACO como el mejor tenor que existe, y, digo existe en presente por que para mí es como si siguiera vivo.

  • Quienes dicen que CORELLI era más viríl que MARIO no entiendo a qué se refieren, ¿cantando? ¿ porque era más alto ( que no más  guapo) ? me lo expliquen por favor los entendidos que se han sacado de la manga una tonteria semejante,

  • El enfrentamiento que muchos pretenden entre el GRAN FRANCO CORELLI Y EL UNICO E INSUPERABLE MARIO DEL MONACO , me parece ridículo, eran muy buenos amigos y se admiraban mutuamente, sobre todo CORELLI a DEL MONACO, , como ha dejado reflejado en muchas entrevistas que hicieron a FRACO y él decia de MARIO que era el MEJOR de todos ellos.....

  • es curioso lo que me sucede con Del Monaco... considero que tiene muy buena técnica y voz, pero su timbre no lo soporto... exijo una explicación

  • @gomongio no hay explicación solo te comento que me pasa lo mismo con Franco Corelli . reconozco su técnica pero no me toca ninguna fibra, y su timbre no lo soporto.

  • @MARISOLDELMONACO  Dijera alguien por ahi : "En gustos, se rompen gèneros" . :D

  • @gomongio ¿Quieres una explicación?, que Mario del Mónaco fue, es y será el mejor tenor dramático de la historia.

  • @gomongio ¿quieres una explicación?, que Mario del Mónaco es,fue y será el mejor tenor dramático de la historia.

  • @gaytenor YES! great JB was very smart he never touched it in house as far as the complete opera. Good recording of it and Peerce early did an excellent rec. of this aria, both stayed away from the entire opera but sang Ballo very well with JB avoiding the last act aria for a not known reason, Yet he sang Manrico so well . Bergonzi just sang Ballo on Sirius with Leonie from 1962 and did sing the last act aria at that met show. Some tenors left it out, MDM in SF also left it out!

  • The greatest dramatic tenor of all time!! Del Monaco is often not given the credit he deserved for being able to sing lyrically and the bronze hue of his great voice could be ravishingly beautiful. This is the great tenor at his best and I have long enjoyed this recording. Since Caruso, Martinelli, Lauri-Volpi, and Tucker were all spintos Del Monaco rules as a dramatic tenor his only competition, Giovanni Zenatello is often terrible. Bravo Del Monaco!!

  • In his prime here he was the dramatic tenor of his day and a great Otello also. His auto accident hurt him badly and caused damage that lasted. His Canio also was really great. In the 40's he managed a wonderful live performance in Ballo and sang even lyrically with ease.

  • In his prime here he was the dramatic tenor of his day and a great Otello also. His auto accident hurt him badly and caused damage to him that lasted. His Canio also was really great. In the 40's he managed a wonderful live performance in Ballo and sang even lyrically with ease.

  • @SHICOFF1 Well put my friend!! Enzo is a spinto role and it ideally requires a great tenor voice with clarion top notes to carry the concertati. Since I'm no fan of the scooping and bleating of Corelli I'm left with Del Monaco and Tucker. There are other great performances of the aria available--Caruso, Bjorling, Peerce, Lauri-Volpi, Martinelli, Tucker--but this performance is the equal of any I've heard.

  • Very fine and for me this one and my favorite live version, the 1959 Tucker Met performance live are the best of all the tenors singing the aria. I heard MDM in 1959 sing in house Otello and in that role he was just fantastic, he was a great dramatic tenor, the best in his time and one of the best ever.

  • I have listened to this recording many times and have been a student of voice for most of my life. It astounds me how closely del Monaco's performance of this aria resembles the singing, the technique, the beauty, power and passion of Enrico Caruso. While Caruso may have been a bit more versatile, nonetheless, del Monaco was certainly one of the greatest singers of the last century. Thank you Marisol for this beautiful recording and for your constant support of MDM.

  • STRAORDINARIO...IL METALLO NELLA SUA VOCE..LO SQUILLO...NON HO PAROLE!

  • del monaco il numero uno

  • @andyroma72 aprés Mario Lanza!!!!

  • Che belle voce!! piena calda squillante........prima di criticare questa voce...sciaquatevi la bocca....e poi...non fatelo!! questa voce....insieme a giacomini e corelli....è una prova che DIO esiste!!!!

  • Bravo this great dramatic tenor!

  • per favore lasciate in pace Del Monaco ,lui non era un tenore, era tre tenori messi insieme! dilettanti!

  • Such an amazing singer and voice!!

  • Thank you for posting, this was Del Monaco at his best, simply excellent...

  • Bellisima interpretacion. Del Monaco canta un diminuendo bien controlado "in maschera". Agudos brillantes.

  • Basta con i confronti pregiudiziali. Quì Mario è grande, difficile fare meglio.

  • Di certo non è la virilità ciò di cui Del Monaco difetta, rispetto a Corelli. Semmai la capacità di penetrare nelle fibre più fragili del personaggio. Io preferisco Corelli, in genere - nel confronto. Ciò non toglie che questa versione di Cielo e mar sia Olimpica.

  • @Vendimi3 questo è un commento che merita un plauso... complimenti. saluti

  • @Vendimi3 corelli non interpretava i personaggi ne come del monaco ne come domingo

  • Wonderful. BTW, very rendition from Lanza at the same time.

  • grande....grandissimo!!!!!!!!!­!!!!voto 9.

  • troppe chiacchere inutili... in spagnolo, inglese... lasciate perdere e ascoltate la musica!!!! o almeno scrivete cose intelligenti!!!

  • Why did you have to title this the "Best" version? Why invite comments other than praise for this great tenor? Plus you take away from other tenor's recordings.

  • BELLA, GRANDIOSA

  • Apoligies. Since I don't read Italian I understand only the English comments here. DelMonaco was a bit before my time but I'm glad to have discovered him, if late. Oddly, I first stumbled across his rendition of the American cowboy classic, "Ghost Riders in the Sky," Spectacular! If startling to hear an Italian tenor singing, "yippie ai ay, yippie ai o" at full throttle. I looked him up, found this and hope to find his operatic recordings are available! Music crosses cultures, yes?

  • è vero che del monaco a una fortìssima voce drammatica. per comparare alla sua forza di voce ed espressione, forse se ne trovano soltanto qualche rari tenori eroici.

  • mi fa schifo qualcuno come te.

    mi dispiacce in spagnolo.

    que nauseabundo ver ha alguien que se dice de apreciar el arte hable con majaderias.

    os importa si Corelli era viril o no.

    es absurdo comparare siempre a Corelli con Del Monaco.

    no teneis otra cosa que hacer.

    ustedes los españoles como siempre Racistas y se ve que has tenido mala esperiencia con las italianas.

  • non è un tenor eroico, ma è forse la più virile di tutte e voci di tenor

  • forse... ma corelli non e piu virile?

  • oclhie: Corelli piu virile? Vuoi dire qualcosa. Mario Del Monacao è stato un tenoreDrammatico.Franco Corelli è stato Lirico Spinto. ti piacce di piu Corelli? va bene. ma il tuo commento e asurdo.

  • la donna italiana... mi piacce Del Monaco. Ma solo un commento. Corelli e spinto anche drammatico. Y absurda lo serás tú, que mala leche las italianas coño

  • Muy hermosa y perfecta interpretación de Mario Del Monaco..y eso que soy admiradora del gran Franco Corelli.....pieri...

  • i just started listening to mdm, i really cant express the feelings into words when i listen, it's more like luminacent colors

  • Absolutely Stunning !! For sheer raw power MDM was untouchable, but Mario did not know the meaning of Dolce, or pianissimo nor did he ever incorporate it in his singing. Forte ! Forte!! Forte!!! was what Mario was known for... it was his crowning glory and he wore the Crown well. Bravo!!

  • 1:56

  • I might be biased but check his Ballo un youtube..... if you can get hold of the whole recording available on MYTO records you will experience one - if not the best "ella e pura"

  • he has his own piano and a full scale emotion in every interpretation, shall we give him one more CROWN?

  • Every voice has it's own natural range of dynamics...I'd say just around 2:00 to 2:30, Del Monaco was singing his version of pianissimo, which is quiet enough for me. Can't expect a big voice like his to fit into the tiny shoes you might want it to ;P

  • I agree, I have his studio recordings of Manon, Tosca, Fanciulla, and Il Trovatore (all with Tebaldi) and he actually varies dynamics more than he's given credit for. Sure he's no Di Stefano but he isn't supposed to be!! To me it's sort of endearing hearing him try to "scale it down" and I think it works, dramatically :P

  • I find that Del Monaco sang with far more nuance in his live performances; just listen to the 1954 FANCIULLA DEL WEST from Florence or any live performance before 1955. I was told that his wife would yell "Piu forte, Mario!" to him in the recording studio, and also the mictorphones couldn't do justice to his huge sound- he needed a BIG theatre! People who heard him live said the chandeliers shook when he sang. This GIOCONDA is GREAT!

  • Who told Del Monaco could not sing tenderly? Power combined with passion and tenderness. The absolute beauty of a great tenor voice.

    Tks for posting.

  • @Aetion

    There is a group of people opera critics who hates Monaco and consistently badmouthed him for the same baseless excuses. It's a cult now.

  • @Doooku Yes, you are so right. Same with Maria Callas. The greater one is the more envied.

  • Complete and utter perfection. No one could convey drama or passion like Del Monaco could.

  • I respect Mario del Monaco for the sheer force he always displays... but this is one of the few times he conquers my ears not by the power, but by beauty. It's passionated and astonishing as no one could do.

  • @Marvioraf

    I think you have some bias against Monaco. he was of course able to deliver subtle details in the singing. This was one of the MANY samples of his complete skill sets in the singing. For example, sometimes Pavarotti sang like woman.

  • I must correct you dear Marisol - this recording is for DECCA from July 1957, recorded in Teatro Communale, Firenze with Anita Cerquetti, Ettore Bastianini, G. Simionato and C. Siepi. Kiss

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