En est e videos MARIO DEL MONACO está en desventaja con F.CORELLI,, los aplausos al último los han alargado en casi un minuto. No me gusta nada que se enfrente a dos maravillosos cantantes, que lo cantaban todo de vicio, eran muy buenos amigos y se admiraban mutuamente, y para compararlos, se deben poner las m ismas árias, por ejemplo para DEL MONACO, LA DE 1948, -TEBALDI-DE SABATA, ó la de 1955- c/ CALLAS, SCALA.
I wonder how many of you have noticed that Corelli has a lisp? LOL! I chuckle every time I hear him because of that lisp. Those of you who have never noticed it before my pointing it out now, will no doubt hate me for the rest of time because that's all you're going to hear from now on! Hahahahahahahahahaha!
@MrAndredekock I know Corelli did lisp at times,but I do Think it was later in his Career.Can you tell me on what words he lisps here?Also,Chenier was a signature role for FC,along with Trovatore, Carmen, Tosca, Turandot ,Aida, Ernani,Don Carlo& Poliuto. Not bad for someone with a speech inpediment. I'm sure your favorite tenor has his short comings as well, but you don't have to mention him. Keep laughing it's good for the soul
@sugarbist I apologise if I hurt your feelings and perhaps my laughter was uncalled for ..... I admired the young Corelli greatly and loved the rich timbre of his voice. It was to me a pity that he did not stop singing at his prime and so we have so many recordings where he scoops and slides up and down to notes, but once on a high note it was a magnificent sound and his diminuendo in the Celeste Aida is still unsurpassed. I don't have a particular favorite tenor, but many of them.
Yes you are also correct in the that Corelli did scoop.However he did do a lot of portamento which is sometimes confused with scooping.Portamento is acceptable but scooping is rising to a notejustunderdesired note to be hit and then hitting the highnote.FC did do this,but not as often as he'sbeen accused When asked interview why he did do a lot of portamento,His answer was(To be sure)as he did suffer terribly from nerves & stage fright.Many tenors unfortunately sing past their prime.Enjoy
Yo no diria que son tenores dramaticos, tienen timbres muy brillantes y voces agudas, no es que sea un defecto, pero un tenor dramatico debe tener un timbre oscuro como Vickers, Vinay o Giacomini que realmente son los mejores tenores dramaticos
I would not say they are dramatic tenors, both have very bright timbres and voices very acute, not that that is a defect, but a dramatic tenor should have a dramatic and dark timbre like Vickers, Vinay and Giacomini true dramatic tenors
@ezev8logos3tenors you mention were prettygood.But none of these3could hold the vocal line evenly&consistently with impeccable diction&phrasing,along with incredible FIATO as Del Monaco did.None of these3round out the phrases&vowels as MDM does,Its not just enough to have a dramatic quality of voice,but tenors should be moreconsistent.Vinay for me is the tenor I enjoy the most out of the3.Vickers voice had a fatty quality&Giacomini was vocally impressive but doesn't hold my interest.Enjoy
this comparison has no sense... here del Monaco was quite old... his "Un dì all'azzurro spazio" was 100 times "stronger" that Corelli's... listen to the edition with de Sabata (la Scala 1949)!!!
For sheer volume and excitement, it's hard to beat Del Monaco. But Corelli had those virtues, plus a greater capacity for lyricism and a warmer sound. Both were great. Although Corelli was taller, it's worth noting too that as tenors go, they were rather handsome guys:) -
This is crazy.. don't mix voice-types like this.. Perhaps you think dramatic means full of drama, but that's absolutely not the same thing when talking about vocal types.
En esta grabación queda claro que, indiscutiblemente , el Gran F. Corelli es superior en belleza de voz e interpretación a el Gran M: Del Monaco; ambos tienen una gran potencia de voz, como ninguno otro, bellas voces pero la del G. Maestro F. Corellies impactante bella y calida, además pasa de las notas más altas y sostenidad a los diminuendos pianisimos sostenidosen forma bellisima y magnifica, lo que , aún no se ha podido alcanzar y el Gran M: Del Monaco no lo hace.
ot correct to say that. Since there spinto? Voices are intermediate between the lyrical and dramatic. See example Tebaldi. To say that all voices can sing everything is an absurd mistake. If Corelli sang only repertoire dramatic ruin your voice forever. Every singer has to know his own voice and stay in the appropriate repertoire. Few people do it and few know how to classify voices properly.
Spinto is a made up Fach ... there are only lyric and dramatic voices (well, there is the very rare lirico-leggiero, who has a more lyric tone) and ALL voices are able to sing dramatic and lyric sections ... but still singers have only one real Fach ... Villazon for example is more a lyric Tenor ... Corelli is more dramatic (I might be mistaken). So actually every goddamn singer can be "spinto" or "jugendlich-dramatisch" ...
pieta signore this forte.. ok MDM its you and Andrea cenier Corelli you know how to sing my pieta would be much quieter and assessing to God to ask His help, bur MDM recieved it
musashitzu, thanks we agree on the Olymp we can put and they are there surely already many more, the Pieta Signore is an invocation for his own life... Quella mi creda, MDM Corelli yes they share it
It's realy impossible to say from the recordings. According to Franco Corelli himself, Mario Del Monaco had the loudest but he also forsed. Dark timber like Bonissolli's realy is not a proof of loudness, in fact, I herad him life he soundes like lirico-spinto. Giacomini, may be:-heared him like was impressed by the power. There is no way to say unless you put them all together in front of a decibel device and mesure:)
Today's recordings lie as hell, Khvorostovsky is sounding like DB indeed LD
I was just discussing this yesterday with Ross. He said Atlantov. I think I agree. We were trying to decide between Corelli and McCracken. Also notable was Vickers when he sang the final A Natural at the end of Act I of Walkure. Never heard Del Monaco live. Ross spoke up for Tucker.
I will always remember Guy Chauvet's "Celeste Aida". Really really loud. Unfortunately the final B Flat was closer to an A Natural. If you're going to sing flat its probably better not to have a big voice.
Not that that list was in any particular order. The most powerful tenor voice? I don't know! Tullio Serafin, who conducted Tamagno, said his was not the most powerful. Caruso? Once again, there are legitimate counter claims. But who cares, really? The most powerful baritone voice I know of belonged to Domenico Borghese, but I find Ruffo's voice better.
MDM is tops , MDM's voice was deeper and darker than Corelli's but Corelli had more squillo and brillance in my opinon. I also enjoy the other Franco (Bonisolli ) who rivaled MDM as far as dark heroic voices go but because of his crazy antic's was not really given his due credit as a great dramatic tenor. Let's not forget Richard Tucker and James McCracken both had huge dramatic tenor voices .
@Etnalleb MDM'S voice had more squillo&brilliance than Corelli's voice. FC voice had a warmer sound and his voice was more cultivated than MDM.They were both phenominal (LIVE) I never heardTucker live but he was a Spinto & not a Dramatic. Perhaps he had dramatic impact at times like Corelli.Mc Crackens voice was opaque at times and for me was not a clean sound.I like your evaluation of Bonisolli. He had great command of his vocals and sang everything without transposing.Enjoy
Dark tenor voices? Del Monaco is very dark, but has a brillaint edge that could be very thrilling. Tamagno was known for a number of qualities: his squillo, his projection, and his enunciation, which was clear as a bell.
To my ears, the darkest tenor voice I've ever heard is Ramon Vinay. Magnificent!
Tamagno was definitely a dramatic tenor, but he seemed to lack the darkness we usually associate with dramatic/heroic tenors.
And let us never forget Melchior. He was phenomenal.
dynomax, when you speak of darkness, I feel you are actually referring to a rich baritonal quality to the middle & lower voice. But that quality is very much a modern component of the dramatic tenor. Tamagno had a far bigger top than any other tenor, including MDM, Corelli, & even Melchior, - but it was always a true tenor voice with no evidence of baritonal underpinnings. Moreover, even at 53 & dying of angina, his voice retained its clarity & youthful freshness. Perhaps that's why?
Tamagno was indeed a phenomenon, but not unique. Remember Lauri-Volpi?
Mario Filipesschi? From what I remember reading about Rubini, he had a baritonal quality to his voice. He was a most accomplished tenor and lived and performed during Rossini's prime. True tenor voices, with 'no' baritonal colorations? Hmmm. Di Stefano? Wunderlich? Alva? Matteuzzi? Bjorling? I tend to listen and see if I like what I'm hearing. After that, I analyze for my own pleasure.
Citing Rubini as possessing a baritonal quality, must be balanced against the prevailing tastes of the day. It's extremely unlikely that a modern audience used to the effulgent tones of Melchior, MDM, & Caruso, would have regarded Rubini as such. Enrico Tamberlik was perhaps closest to the modern dramatic voice, but he too had a top similar to Tamagno & Lauri-Volpi.
I hear no baritonal colour in the voices of Bjorling, Wunderlich, Alva, Mateuzzi, or Di Stefano. They are true tenor sounds.
I've been told that Labo was very hard to hear at the Met!! A dramatic tenor is not hard to hear even in the vast cavern that the Met is.The party who told me was a very devoted standee. Labo did have a very good lyrico-spinto tenor voice much like Barry Morell and both tenors were well beyond house hacks.
It's the timbre that is darker, richer, and powerful. Still in the Tenor range by territory but usually (not always) have lower tessitura than other Tenors. I'm a Lyric Tenor though.
Heavyiest tenor Ive heard on record...PLUS one of the greatest lyric singers ever.Yes, heavier singers can be lyric. He had this boyancy, and then an absolute cannon, for any sort of dramatic declamation. Tannhauser, Bajazzo etc(Only sang in German)50's 6o's
I'd add Lauriz Melchior and take off Corelli, because he was not a dramatic but lirico-spinto that in no way diminishes his greatness. and one more thing:judging a power of voice by shere recording is not a very reliable thing. Example: Gigli in some recordings sounds like he is at least a spinto but he was a liric tenor with a good chest connection that made his voice darker then in usual liric tenor voiceIn a close mike sessions that type will sound darker then usual, therefore more dramatic
Franco, Caruso certainly possessed a profusion of lower harmonics in his voice, particularly below the bridging notes. But it must be remembered that the acoustic recording process is notoriously poor at picking up the higher frequency harmonics that give the upper notes brightness & squillo. With this in mind, you only have to listen to his diamond hard upper notes to appreciate that Caruso's voice was very bright at the top, with enormous squillo.
that's to be expected. ambiguity is my specialty. i have to admit, this guy must have made more men jealous in his day than Pearce Brosnan has in his.
I wish MusashiTzu used the recording of Del Monaco's "live" excerpt of his Improviso from 1954 w/Serafin conducting. It's like a tidal wave comin at U. I'd like people 2 get 2 know the name FLAVIANO LABO!' If it were my choice, I would've loved 2C these 3(Del Monaco, Corelli & Labo')2gether. I have pictures of Del Monaco & Labo' 2gether in the same shot. Anyways, if U R fond of the 1st 2, U'd love Labo!' Try 2 get a hold of Labo's "live" aria recs on the Il Mitto del'opera series. Incredible!!!!
These are truly two of the most splendidly ample voices of the Italian repertory and although professional rivals, they came to greatly respect the other's work. Humans have not lost the capacity to sing in this way but the cultural context that nurtured these tenors is no longer as vibrant. We WILL grow tired of bel canto light style, as the norm (lovely for Bellini but not right to produce Verdi Puccini or veristic voices) and the phoenix will rise again. Beauty cannot forever be denied.
How I wish there could have been a "three tenors" with these two and Di Stefano! (Or in my wildest dreams Caruso! Even though the time line makes that impossible).
I never heard more drama from Monaco than in this clip of Pieta Signore, its a scared song and he rings it out more than his otello! Some would call that vulgar but I see it as the highest expression of faith. Likewise while Andrea Chenier is not the most dramatic of operas, corelli's rendition makes it so!
No matter Corelli is my favourite and Del Monaco follows him near, but i have to say: Helge Rosvaenge
1993MGB 3 months ago
En est e videos MARIO DEL MONACO está en desventaja con F.CORELLI,, los aplausos al último los han alargado en casi un minuto. No me gusta nada que se enfrente a dos maravillosos cantantes, que lo cantaban todo de vicio, eran muy buenos amigos y se admiraban mutuamente, y para compararlos, se deben poner las m ismas árias, por ejemplo para DEL MONACO, LA DE 1948, -TEBALDI-DE SABATA, ó la de 1955- c/ CALLAS, SCALA.
Maripudelmonaco 3 months ago
For those who like dramatic tenors, be sure to listen to Gianfranco Cecchele too!
baritoneortenor 3 months ago
Giacomini, Vinay, Corelli and Monaco. Can't beat that.
Honken 4 months ago
What is the first aria??
Tyhjis1988 4 months ago
I wonder how many of you have noticed that Corelli has a lisp? LOL! I chuckle every time I hear him because of that lisp. Those of you who have never noticed it before my pointing it out now, will no doubt hate me for the rest of time because that's all you're going to hear from now on! Hahahahahahahahahaha!
MrAndredekock 5 months ago
@MrAndredekock I know Corelli did lisp at times,but I do Think it was later in his Career.Can you tell me on what words he lisps here?Also,Chenier was a signature role for FC,along with Trovatore, Carmen, Tosca, Turandot ,Aida, Ernani,Don Carlo& Poliuto. Not bad for someone with a speech inpediment. I'm sure your favorite tenor has his short comings as well, but you don't have to mention him. Keep laughing it's good for the soul
sugarbist 4 months ago
@sugarbist I apologise if I hurt your feelings and perhaps my laughter was uncalled for ..... I admired the young Corelli greatly and loved the rich timbre of his voice. It was to me a pity that he did not stop singing at his prime and so we have so many recordings where he scoops and slides up and down to notes, but once on a high note it was a magnificent sound and his diminuendo in the Celeste Aida is still unsurpassed. I don't have a particular favorite tenor, but many of them.
MrAndredekock 4 months ago
Yes you are also correct in the that Corelli did scoop.However he did do a lot of portamento which is sometimes confused with scooping.Portamento is acceptable but scooping is rising to a notejustunderdesired note to be hit and then hitting the highnote.FC did do this,but not as often as he'sbeen accused When asked interview why he did do a lot of portamento,His answer was(To be sure)as he did suffer terribly from nerves & stage fright.Many tenors unfortunately sing past their prime.Enjoy
sugarbist 4 months ago
Let's not forget Giacomini!!
Let's not forget Giacomini though!!
ultraboog 6 months ago 2
FRANCO REIGNS FOREVER !!!!!!!
hazelssister 6 months ago
Corelli is a dramatic-spinto tenor voice ;)
TheCaseyonline 7 months ago
sono grandi
family980628 8 months ago
Perhaps del Monaco was a touch more dramatic, but they're my two favorite power tenors. Each had a unique talent the other couldn't quite mimic.
wiseroldfart 9 months ago
Wahrlich, das waren und sind die Größten!
fox64able 11 months ago
O maior tenor dramático de toda a Lírica é MARIO DEL MONACO.
O maior tenor (lírico-dramático-heróico) é FRANCO CORELI.
Plinio Ramacciotti
plinioramacciotti 1 year ago
Yo no diria que son tenores dramaticos, tienen timbres muy brillantes y voces agudas, no es que sea un defecto, pero un tenor dramatico debe tener un timbre oscuro como Vickers, Vinay o Giacomini que realmente son los mejores tenores dramaticos
I would not say they are dramatic tenors, both have very bright timbres and voices very acute, not that that is a defect, but a dramatic tenor should have a dramatic and dark timbre like Vickers, Vinay and Giacomini true dramatic tenors
ezev8logos 1 year ago 2
@ezev8logos3tenors you mention were prettygood.But none of these3could hold the vocal line evenly&consistently with impeccable diction&phrasing,along with incredible FIATO as Del Monaco did.None of these3round out the phrases&vowels as MDM does,Its not just enough to have a dramatic quality of voice,but tenors should be moreconsistent.Vinay for me is the tenor I enjoy the most out of the3.Vickers voice had a fatty quality&Giacomini was vocally impressive but doesn't hold my interest.Enjoy
sugarbist 7 months ago
I understand that many baritones doe some tenor parts, but don Ramón definitely was a baritone, that's at least what he told me
hartmuthopp 1 year ago
As far as I know, Ramon Vinay was a baritone
hartmuthopp 1 year ago
@hartmuthopp Also a tenor. He sang in both fachs.
hiyadroogs 1 year ago
del Monaco is the bestest.
222mozart 1 year ago
No musical critic would agree. Ever. Screaming, not singing.
zgopify 1 year ago
this comparison has no sense... here del Monaco was quite old... his "Un dì all'azzurro spazio" was 100 times "stronger" that Corelli's... listen to the edition with de Sabata (la Scala 1949)!!!
gaemp 1 year ago
Why isn't Vickers mentioned here?
Joeleole 1 year ago
@Joeleole very often Vickers' pitch was terrible...
gaemp 1 year ago
For sheer volume and excitement, it's hard to beat Del Monaco. But Corelli had those virtues, plus a greater capacity for lyricism and a warmer sound. Both were great. Although Corelli was taller, it's worth noting too that as tenors go, they were rather handsome guys:) -
stevevandien 1 year ago 3
DEL MONACO IL TENORE DEI TENORI
andyroma72 1 year ago 4
DEL MONACO
andyroma72 1 year ago
This is crazy.. don't mix voice-types like this.. Perhaps you think dramatic means full of drama, but that's absolutely not the same thing when talking about vocal types.
Trombligliotti 2 years ago 2
En esta grabación queda claro que, indiscutiblemente , el Gran F. Corelli es superior en belleza de voz e interpretación a el Gran M: Del Monaco; ambos tienen una gran potencia de voz, como ninguno otro, bellas voces pero la del G. Maestro F. Corellies impactante bella y calida, además pasa de las notas más altas y sostenidad a los diminuendos pianisimos sostenidosen forma bellisima y magnifica, lo que , aún no se ha podido alcanzar y el Gran M: Del Monaco no lo hace.
pieritlyon 2 years ago
The comparisons are absurd.
always put Del Monaco in his last years, and Corelli in fullness.
I acknowledge the art of Corelli
but we must listen at the age of Del Monaco in this recording,
not have the same vocal quality.
MARISOLDELMONACO 2 years ago
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ot correct to say that. Since there spinto? Voices are intermediate between the lyrical and dramatic. See example Tebaldi. To say that all voices can sing everything is an absurd mistake. If Corelli sang only repertoire dramatic ruin your voice forever. Every singer has to know his own voice and stay in the appropriate repertoire. Few people do it and few know how to classify voices properly.
contatolirico 2 years ago
Comment removed
contatolirico 2 years ago
Vilazon is not dramatic (spinto)
Corelli is not dramatic (spinto)
Bergonzi is not dramatic (spinto)
error total.
contatolirico 2 years ago
Spinto is a made up Fach ... there are only lyric and dramatic voices (well, there is the very rare lirico-leggiero, who has a more lyric tone) and ALL voices are able to sing dramatic and lyric sections ... but still singers have only one real Fach ... Villazon for example is more a lyric Tenor ... Corelli is more dramatic (I might be mistaken). So actually every goddamn singer can be "spinto" or "jugendlich-dramatisch" ...
JericClage 2 years ago
vilazon es dramatico
andyroma72 1 year ago
@andyroma72 Dramatico es escucharlo imitando Placido Domingo
contatolirico 1 year ago 2
@contatolirico VILAZON ES PURO TENOR DRAMATICO MAS QUE EL NO HAY
andyroma72 1 year ago
Include Enrico Caruso!
AZo9jojo 2 years ago
Villazon is not a dramatic tenor but a drama of tenor!...please be serious!
DonRamirolo 2 years ago 17
@DonRamirolo Hahaha! Completely agree!, (and not a tenor, but a "terror" :D )
lalungenuictdestens 1 year ago
pieta signore this forte.. ok MDM its you and Andrea cenier Corelli you know how to sing my pieta would be much quieter and assessing to God to ask His help, bur MDM recieved it
egymagyar1111111 2 years ago
Villazon, the greatest dramatic voice of all time???
What other dramatic voices have you been listening to?
eugeneonegin 2 years ago
Comment removed
marisolyd 2 years ago
@marisolyd hahaha i like villazon but his voice has nooooothing dramatic
jcmcpr 2 years ago 2
Corelli, Del Monaco (never McCracken - not in their class), Vickers, Bergonzi, Kraus and Windgassen.
My favorite tenors with Corelli being Primo!
malfada22 2 years ago
take out bergonzi kraus and windgassen and you've got a list
crwv 2 years ago
Comment removed
federic017 2 years ago
...singers are like football players.....violinists...so many are absolutely great, stupendous.....
j72050 2 years ago
musashitzu, thanks we agree on the Olymp we can put and they are there surely already many more, the Pieta Signore is an invocation for his own life... Quella mi creda, MDM Corelli yes they share it
egymagyar1111111 2 years ago
It's realy impossible to say from the recordings. According to Franco Corelli himself, Mario Del Monaco had the loudest but he also forsed. Dark timber like Bonissolli's realy is not a proof of loudness, in fact, I herad him life he soundes like lirico-spinto. Giacomini, may be:-heared him like was impressed by the power. There is no way to say unless you put them all together in front of a decibel device and mesure:)
Today's recordings lie as hell, Khvorostovsky is sounding like DB indeed LD
Cesaare 2 years ago 2
vickers
operabitch77 2 years ago
I was just discussing this yesterday with Ross. He said Atlantov. I think I agree. We were trying to decide between Corelli and McCracken. Also notable was Vickers when he sang the final A Natural at the end of Act I of Walkure. Never heard Del Monaco live. Ross spoke up for Tucker.
I will always remember Guy Chauvet's "Celeste Aida". Really really loud. Unfortunately the final B Flat was closer to an A Natural. If you're going to sing flat its probably better not to have a big voice.
Agorante 2 years ago
Most dramatic tenor voices of all time...
My votes...yes, VOTES!...
Mario del Monaco
Ramon Vinay
Franco Corelli
Lauritz Melchior
Not that that list was in any particular order. The most powerful tenor voice? I don't know! Tullio Serafin, who conducted Tamagno, said his was not the most powerful. Caruso? Once again, there are legitimate counter claims. But who cares, really? The most powerful baritone voice I know of belonged to Domenico Borghese, but I find Ruffo's voice better.
dynomax101 2 years ago
MDM is tops , MDM's voice was deeper and darker than Corelli's but Corelli had more squillo and brillance in my opinon. I also enjoy the other Franco (Bonisolli ) who rivaled MDM as far as dark heroic voices go but because of his crazy antic's was not really given his due credit as a great dramatic tenor. Let's not forget Richard Tucker and James McCracken both had huge dramatic tenor voices .
Etnalleb 2 years ago
@Etnalleb MDM'S voice had more squillo&brilliance than Corelli's voice. FC voice had a warmer sound and his voice was more cultivated than MDM.They were both phenominal (LIVE) I never heardTucker live but he was a Spinto & not a Dramatic. Perhaps he had dramatic impact at times like Corelli.Mc Crackens voice was opaque at times and for me was not a clean sound.I like your evaluation of Bonisolli. He had great command of his vocals and sang everything without transposing.Enjoy
sugarbist 1 year ago
DEFINITELY MARIO DEL MONACO
larvael32 2 years ago
Dark tenor voices? Del Monaco is very dark, but has a brillaint edge that could be very thrilling. Tamagno was known for a number of qualities: his squillo, his projection, and his enunciation, which was clear as a bell.
To my ears, the darkest tenor voice I've ever heard is Ramon Vinay. Magnificent!
Tamagno was definitely a dramatic tenor, but he seemed to lack the darkness we usually associate with dramatic/heroic tenors.
And let us never forget Melchior. He was phenomenal.
dynomax101 2 years ago 10
Comment removed
hiyadroogs 2 years ago
dynomax, when you speak of darkness, I feel you are actually referring to a rich baritonal quality to the middle & lower voice. But that quality is very much a modern component of the dramatic tenor. Tamagno had a far bigger top than any other tenor, including MDM, Corelli, & even Melchior, - but it was always a true tenor voice with no evidence of baritonal underpinnings. Moreover, even at 53 & dying of angina, his voice retained its clarity & youthful freshness. Perhaps that's why?
hiyadroogs 2 years ago
Tamagno was indeed a phenomenon, but not unique. Remember Lauri-Volpi?
Mario Filipesschi? From what I remember reading about Rubini, he had a baritonal quality to his voice. He was a most accomplished tenor and lived and performed during Rossini's prime. True tenor voices, with 'no' baritonal colorations? Hmmm. Di Stefano? Wunderlich? Alva? Matteuzzi? Bjorling? I tend to listen and see if I like what I'm hearing. After that, I analyze for my own pleasure.
dynomax101 2 years ago
Citing Rubini as possessing a baritonal quality, must be balanced against the prevailing tastes of the day. It's extremely unlikely that a modern audience used to the effulgent tones of Melchior, MDM, & Caruso, would have regarded Rubini as such. Enrico Tamberlik was perhaps closest to the modern dramatic voice, but he too had a top similar to Tamagno & Lauri-Volpi.
I hear no baritonal colour in the voices of Bjorling, Wunderlich, Alva, Mateuzzi, or Di Stefano. They are true tenor sounds.
hiyadroogs 2 years ago
Hasta lo que yo sé... Corelli era spinto.
ubedajils 2 years ago 3
I've been told that Labo was very hard to hear at the Met!! A dramatic tenor is not hard to hear even in the vast cavern that the Met is.The party who told me was a very devoted standee. Labo did have a very good lyrico-spinto tenor voice much like Barry Morell and both tenors were well beyond house hacks.
gaytenor 2 years ago
Pertile is, in my opinion, a true dramatic tenor. Also Caruso. Imagine those voices with today's recording techniques !!
Corenero 2 years ago 2
It's the timbre that is darker, richer, and powerful. Still in the Tenor range by territory but usually (not always) have lower tessitura than other Tenors. I'm a Lyric Tenor though.
highnote32 3 years ago
Hans Hopf!!!
Heavyiest tenor Ive heard on record...PLUS one of the greatest lyric singers ever.Yes, heavier singers can be lyric. He had this boyancy, and then an absolute cannon, for any sort of dramatic declamation. Tannhauser, Bajazzo etc(Only sang in German)50's 6o's
dxhty 3 years ago
I'd add Lauriz Melchior and take off Corelli, because he was not a dramatic but lirico-spinto that in no way diminishes his greatness. and one more thing:judging a power of voice by shere recording is not a very reliable thing. Example: Gigli in some recordings sounds like he is at least a spinto but he was a liric tenor with a good chest connection that made his voice darker then in usual liric tenor voiceIn a close mike sessions that type will sound darker then usual, therefore more dramatic
francotenelli 3 years ago
Franco, Caruso certainly possessed a profusion of lower harmonics in his voice, particularly below the bridging notes. But it must be remembered that the acoustic recording process is notoriously poor at picking up the higher frequency harmonics that give the upper notes brightness & squillo. With this in mind, you only have to listen to his diamond hard upper notes to appreciate that Caruso's voice was very bright at the top, with enormous squillo.
hiyadroogs 3 years ago
If you want truly DRAMATIC, it's hard to beat Pertile or Lorenz.
Imogenn 3 years ago
I'd say that Pertile sounds like true spinto. not dramatic, but recordings may be decieving.
all I know from Corelli's own words, when Met first heard Del Monaco they admitted they never heard a big voice like that.
Caruso, by his contemporaries was not recognized as a dramatic tenor voice, though he had probaply the darkest tenor voice ever.
Tamagno, who sounds as lighter tenor to Caruso, indeed was recognized as dramatic tenor of his own time(Otello/Riccardo), Caruso never sang Otello:)
francotenelli 3 years ago
Mario del Monaco e il piu' grande tenore drammatico che abbia stato nel secolo scorso.
MARISOLDELMONACO 3 years ago
BOOOOOOOOO!
TsarBovov 2 years ago
studying for my music listening class, this guy's a beast!!!
dragonboy34 3 years ago
i would defecate on the spot if i heard any of my friends sing this....profoundly.
dragonboy34 3 years ago
lol, it took me a second to work out if that was praise or critisim.
MusashiTzu 3 years ago 4
that's to be expected. ambiguity is my specialty. i have to admit, this guy must have made more men jealous in his day than Pearce Brosnan has in his.
dragonboy34 3 years ago
MusashiTzu : credo che Lei adora i scherzi !Dove
mettera i nomi di Marconi,Caruso,Escalais,Fleta,
Paoli,Vinay,Pola,Piccaluga, Merli e tantissimi altri tenori del passato ?adesso sherziamo in due : hahahahahaha
bodiloto 2 years ago
I wish MusashiTzu used the recording of Del Monaco's "live" excerpt of his Improviso from 1954 w/Serafin conducting. It's like a tidal wave comin at U. I'd like people 2 get 2 know the name FLAVIANO LABO!' If it were my choice, I would've loved 2C these 3(Del Monaco, Corelli & Labo')2gether. I have pictures of Del Monaco & Labo' 2gether in the same shot. Anyways, if U R fond of the 1st 2, U'd love Labo!' Try 2 get a hold of Labo's "live" aria recs on the Il Mitto del'opera series. Incredible!!!!
lastofdmelocchians 3 years ago
These are truly two of the most splendidly ample voices of the Italian repertory and although professional rivals, they came to greatly respect the other's work. Humans have not lost the capacity to sing in this way but the cultural context that nurtured these tenors is no longer as vibrant. We WILL grow tired of bel canto light style, as the norm (lovely for Bellini but not right to produce Verdi Puccini or veristic voices) and the phoenix will rise again. Beauty cannot forever be denied.
sospello 3 years ago 4
How I wish there could have been a "three tenors" with these two and Di Stefano! (Or in my wildest dreams Caruso! Even though the time line makes that impossible).
MusashiTzu 3 years ago 8
I never heard more drama from Monaco than in this clip of Pieta Signore, its a scared song and he rings it out more than his otello! Some would call that vulgar but I see it as the highest expression of faith. Likewise while Andrea Chenier is not the most dramatic of operas, corelli's rendition makes it so!
MusashiTzu 3 years ago