Now, honestly, why use Rigoletto to evaluate Bastianini if that wasn't one of the roles he was particularly known for? It frankly isn't fair to him. Yes, Bastianini has one of the most beautiful baritone voices of them all, but you've missed the most important characteristic, its darkness . I think that's what makes him one of the best baritones for playing villain roles..His voice benefits him a lot in his interpretations of classic villain roles like de Luna and Don Carlo (both roles).
Just stupendous- within the first minute, one realizes what a real Verdi baritone is - overwhelming. Thank God for recordings so that we can continue to enjoy his glorious voice. thank you for this!
Ettore Bastianini, God bless his soul, will always be for me the definitive Di Luna, Renato, Rodrigo and Gerard in Andrea Chenier. I couldn't listen to any other interpretation of these roles the moment I heard him. As for his ambiguous characters like Scarpia and Rigoletto, he sang them very well, and as for the interpretation, that depends on the personal taste. His only role that I would never recommend is his Barbiere di Siviglia, that I admit. Just the wrong type of voice for Rossini.
To me, Bastianini is the epitome of Verdian baritone, with no one even close to him nowadays. True, he wasn't the subtlest of singers, but Verdi and other roles Bastrianini excelled in, require broad brush strokes. You wouldn't blame a great master in painting in oils for being not as good in pencils, would you? And what a voice! Probably the most beautiful baritone voice the world had ever heard, ideally suited for characters like di Luna, Rodrigo, Rolando, Carlos di Vargas, Renato...
We had heard E.Bastianini as Andre Chenie, in Vienna Statesopera, and also in La Traviata as Germond, he was wonderfull in voice and play. Both where directed by H.v. Karajan
II. Nun habe ich die Chance, auch einmal in deutscher Sprache zu erklären, warum ich so schreibe, wie man es von mir kennt (und wie es oftmals zu kontroversen Reaktionen führt): 1. Ich habe gegen keinen Sänger eine Abneigung, ganz im Gegenteil: Ich bewundere jeden, der sich auf die Bühne stellt, sing - und dafür vom Publikum anerkannt wird! Der Musik zu dienen ist für mich die schönste aller musischen Künste!
III. Jedem Sänger sollte daher auch gebührender Respekt entgegengebracht werden. So weit, so gut! Daraus resultiert aber auch, dass ein Sänger sein Publikum achten sollte. Das, was er seinem Publikum (das für ihn zahlt!) anbietet, sollte gebührend sein! Scheinbar beherzigt(e) nicht jeder Sänger diese Maxime - einige boten dem Publikum eine höchst zweifelhafte Demonstration ihrer eigenen Gesinnung!
IV. Ein Sänger, der sein Publikum mit beispielloser Gleichgültigkeit hinsichtlich der Musik bedient, kann von mir schwerlich ernst genommen werden. Wer musikalische Vorgaben, Noten und/oder die Absichten der Komponisten regelrecht missachtet, der sollte auch kritisiert werden dürfen. Von dieser Coleur Sänger hat es viele (leider zu viele) gegeben. Ein Beispiel: Mario del Monacos Otello war ein echtes Bühnenerlebnis - aber es war nicht mehr Verdis Otello!
V. Einige Sänger konnten mit ihrer Oberflächlichkeit den größten Eindruck beim Publikum evozieren, den kritischen Prüfungen halten sie aber auf Dauer nicht stand. Glücklicherweise gibt (gab) es von ihnen nur wenige. Es geht mir nicht darum, einen Sänger "schlecht" zu machen - weder verfüge ich über die Reputation noch die Allgewalt dazu. Gerne aber möchte ich den Hörer aufforden, sich von blinder Bewunderung abzuwenden und sich einer konstruktiv-kritischen Betrachtung zuzuwenden!
VI. Aus zahlreichen Mails an mich weiß ich, dass tatsächlich einige Zuhörer nunmehr Dinge hören, die sie zuvor "überhört" haben. Die Auseinandersetzung mit der Musik, mit dem Künstler - die Abkehr von der unkritischen Bewunderung: Möglicherweise sind dies die höchsten Ziele, die ich mit einem Projekt wie "100 Singers" erreichen möchte. Und wer Wind säht, der darf sich vor der Sturm-Ernte nicht fürchten! Liebe Grüße - Mike
@100Singers Hello Mike, I'm really touched by the professionalism with which you've carried out the project! It's really commendable. I translated the German comments you wrote on this video. I understand that you don't approve of singers who treat the work that they are singing with indifference but I believe there are some singers who actually didn't care much about what they were singing. Their performances didn't show such signs. What do you think of them? I heard Bjorling was 1.
IV As to the statement of this J. Stean ( who was a devoted and passionat admirer of Tito Gobbi and therefore zweifelsohne, biased) that " E.B. never gave more than an ordinary rendition ", well that´s, using one of your favorit words, pure and simple RIDICULOUS and makes me seriosly wonder, if this gentleman ever even SAW Ettore performing in vivo.
III Fürs Erste, if you WANT to find "flaws" Mike, you certainly WILL find some....perfection doesn´t excist ~also not in your personal Benjamini. Mr. B. not only was blessed by mother nature with a voice di "Bellezza Assoluta ", he also was a VERY WELL TRAINED singer who, with intelligence, tenacity, hard work and great commitment, knew how to "refine" his instrument.
II I confess, I was a bit surprised and disappointed not to find E.B. name on your list of favorites and , in all honesty ,I also didn´t appreciate some of what you had to say.
I Hallo Mike, wahrscheinlich bist Du zu beschäftigt mit dem "Corelli war" um an der Meinung eines Bastianini fans interessiert zu sein however, I would like to say a few words on behalf of this great artist.
You might argue that neither Bastianini nor Del Monaco were exactly subtle artists but WOW! what fabulously full-bodied singing. And their voices are ideally matched on this excerpt.
Bastianini and Fischer Dieskau are not comparable... Each artist for his proper repertory. FD was lighter than B , even having sung some lyric characters. Nothing with italian repertory like Bastianini.
In certain roles, there are few, if any, to match the conviction of Bastianini's voice, and its beauty is unique--he is not the ideal for every Verdi role, perhaps, but in certain verismo and Puccini parts, I find him far more satisfying than those contemporaries listed here. His Gerard and Michele are two of my favorites, but there are many more. If only the last few years of his short life had not been overwhelmed by illness, I think his interpretations would have deepened.
I entirely agree with you! I mentioned many roles I heard him in, but I forgot to mention his Luna from 1961 Trovatore with Corelli, Price, and Simionato! Wonderful! And yes, his life was indeed too short and this prevented him from giving us more, but anyway, he gave us certainly enough to remember him forever!
yeah, but, if corelli is not in any of the video?? i chose this one to post it beacouse of the amazing forza that performed with corelli, SO WHAT machiequesto? Anyway, i totally agree with sospello´s opinion. And thanks for answering
The comment was intended as a reply to Beathame88--that is the what--but somehow it did not appear specifically as an answer to that comment. Regret any confusion on my addendum to a rather lengthy appreciation of Bastianini.
Das ist doch köstlich: Ex aequo auf dem 4.Platz Bastianini und Fischer-Dieskau! Grössere Gegensätze sind wohl kaum denkbar. Man träume mal von einer Kombination von Bastianinis Material in Fischer-Dieskaus Kehle...! Der hätte es auf jeden Fall in die ersten 100 geschafft :-))
Großartige Stimme, die ihren Höhepunkt wohl noch gar nicht erreicht hatte. Was eine Schande und ein Verlust!
Unglaubliche dramatische Expressivität, aber oft ohne einen diabolische Unterton, der ihm gut gestanden hätte. Trotzdem, ich mag ihn außerordentlich gerne und höre ihm stets mit Genuss zu. Was auch daran liegt, daß ich dunkel gefärbte Baritone mehr mag als die hellen (FD, Lisitsian etc) lyrischen Baritone.
Aber wie immer, nur meine sehr subjektive Meinung.
I ADORE the almost mysterious and melancholic velvety quality that his voice possessed in a unique way! And of course, apart from all that, as I've read, he was truly great as a person. What a pity he passed away so young. Humanity was deprived too early of his legendary, incomparable voice! He definitely deserves his place among the operatic legends! May the merciful God receive his soul!
To me Bastianini is an extremely convincing Verdian baritone, I find his interpretations of Cortigiani aria (the only thing I heard of his Rigoletto), his Renato in Un ballo in maschera, his Don Carlo in Forza, his Posa, and even somenon-Verdi roles: Severo in Poliuto, Gerard in Chenier etc. extremely exciting, and even moving! Not even to mention that his voice is definitely the most beautiful, the richest, darkest and lushest baritone voice I have heard in my life!
Strange they'd compare Lisistian to him, the two voices had nothing in common. The voice was a great one but not in a lyrical sense. The sound reminds me at times of Gino Bechi, but darker. I cannot agree that his was the only comparable to Lisitsian, for my personal choice for most beautiful baritone sound would be Robert Merrill. Bastianini was not as lyrically beautiful as Merrill or Lisitsian but it was a formidable sound with very attractive overtones. He outdoes del Monaco here, IMO.
He's really a moving Posa, my favourite Luna, a fantastic Don Carlo, a great Renato (Ballo),Rolando(Legnano), Giorgio Germont, btw an excellent Gérard, ... I think you could call him a very convincing Verdian baritone. It is not because he was not really matched for Rigoletto that you can't give him this credit. Well, if we look for the fully versatile Verdian baritone then Tagliabue is the obvious choice. But you are right that he owes his succes thanks his voice and not his interpretation.
Bastianini had one of the three male voices that actually physically excites me, the others being Del Monaco and Corelli. This is an excellent choice, for Alvaro was one of his greatest roles. His diction and dramatic intention were always superb.
The Il Trovatore telecast with him and del Monaco was the first opera I ever heard. They were excellent together, the trio in act 1 was spectacularly sung and just as brilliantly acted (give or take a few of del monaco's weird head movements). That said, I agree that Bastianini never gave more than an ordinary rendition, his singing never truly reflected the music.
Good choice, and I agree with your comments on him. Great baritone, but more so in some roles than others. Not a great Rigoletto for me either and not quite lyric enough for "Barbiere." I think he was quite good in this role, particularly in the famous video with Tebaldi and Corelli. And I have his Boheme with Bergonzi and Siepi/Tebaldi- excellent, yes. Very sad end.
Comment removed
DarrenSeacliffe90 2 weeks ago
Now, honestly, why use Rigoletto to evaluate Bastianini if that wasn't one of the roles he was particularly known for? It frankly isn't fair to him. Yes, Bastianini has one of the most beautiful baritone voices of them all, but you've missed the most important characteristic, its darkness . I think that's what makes him one of the best baritones for playing villain roles..His voice benefits him a lot in his interpretations of classic villain roles like de Luna and Don Carlo (both roles).
DarrenSeacliffe90 2 weeks ago
if anyone is to be called "the ideal Verdi baritone" - this is BASTIANINI!
jcab2323 4 months ago
Just stupendous- within the first minute, one realizes what a real Verdi baritone is - overwhelming. Thank God for recordings so that we can continue to enjoy his glorious voice. thank you for this!
baltoman24 8 months ago
This has been flagged as spam show
the best baritone after II world war
occhioverde71 1 year ago
I want to make love to his voice.
CantoSemper49 1 year ago
Ettore Bastianini, God bless his soul, will always be for me the definitive Di Luna, Renato, Rodrigo and Gerard in Andrea Chenier. I couldn't listen to any other interpretation of these roles the moment I heard him. As for his ambiguous characters like Scarpia and Rigoletto, he sang them very well, and as for the interpretation, that depends on the personal taste. His only role that I would never recommend is his Barbiere di Siviglia, that I admit. Just the wrong type of voice for Rossini.
Arashi110 1 year ago
To me, Bastianini is the epitome of Verdian baritone, with no one even close to him nowadays. True, he wasn't the subtlest of singers, but Verdi and other roles Bastrianini excelled in, require broad brush strokes. You wouldn't blame a great master in painting in oils for being not as good in pencils, would you? And what a voice! Probably the most beautiful baritone voice the world had ever heard, ideally suited for characters like di Luna, Rodrigo, Rolando, Carlos di Vargas, Renato...
Arashi110 1 year ago
We had heard E.Bastianini as Andre Chenie, in Vienna Statesopera, and also in La Traviata as Germond, he was wonderfull in voice and play. Both where directed by H.v. Karajan
WQ673 2 years ago
II. Nun habe ich die Chance, auch einmal in deutscher Sprache zu erklären, warum ich so schreibe, wie man es von mir kennt (und wie es oftmals zu kontroversen Reaktionen führt): 1. Ich habe gegen keinen Sänger eine Abneigung, ganz im Gegenteil: Ich bewundere jeden, der sich auf die Bühne stellt, sing - und dafür vom Publikum anerkannt wird! Der Musik zu dienen ist für mich die schönste aller musischen Künste!
100Singers 2 years ago
III. Jedem Sänger sollte daher auch gebührender Respekt entgegengebracht werden. So weit, so gut! Daraus resultiert aber auch, dass ein Sänger sein Publikum achten sollte. Das, was er seinem Publikum (das für ihn zahlt!) anbietet, sollte gebührend sein! Scheinbar beherzigt(e) nicht jeder Sänger diese Maxime - einige boten dem Publikum eine höchst zweifelhafte Demonstration ihrer eigenen Gesinnung!
100Singers 2 years ago
IV. Ein Sänger, der sein Publikum mit beispielloser Gleichgültigkeit hinsichtlich der Musik bedient, kann von mir schwerlich ernst genommen werden. Wer musikalische Vorgaben, Noten und/oder die Absichten der Komponisten regelrecht missachtet, der sollte auch kritisiert werden dürfen. Von dieser Coleur Sänger hat es viele (leider zu viele) gegeben. Ein Beispiel: Mario del Monacos Otello war ein echtes Bühnenerlebnis - aber es war nicht mehr Verdis Otello!
100Singers 2 years ago
V. Einige Sänger konnten mit ihrer Oberflächlichkeit den größten Eindruck beim Publikum evozieren, den kritischen Prüfungen halten sie aber auf Dauer nicht stand. Glücklicherweise gibt (gab) es von ihnen nur wenige. Es geht mir nicht darum, einen Sänger "schlecht" zu machen - weder verfüge ich über die Reputation noch die Allgewalt dazu. Gerne aber möchte ich den Hörer aufforden, sich von blinder Bewunderung abzuwenden und sich einer konstruktiv-kritischen Betrachtung zuzuwenden!
100Singers 2 years ago
VI. Aus zahlreichen Mails an mich weiß ich, dass tatsächlich einige Zuhörer nunmehr Dinge hören, die sie zuvor "überhört" haben. Die Auseinandersetzung mit der Musik, mit dem Künstler - die Abkehr von der unkritischen Bewunderung: Möglicherweise sind dies die höchsten Ziele, die ich mit einem Projekt wie "100 Singers" erreichen möchte. Und wer Wind säht, der darf sich vor der Sturm-Ernte nicht fürchten! Liebe Grüße - Mike
100Singers 2 years ago
Wie schön, eine Diskussion verfolgen zu dürfen, aus der man persönlichen Nutzen ziehen kann und von der man lernt!
So soll es sein, daher Danke an Mike und auch an Ingriddoppler.
Ich freue mich schon sehr auf Teil 3; 100 Singers: Rare and unknown singers, und auf weitere gute Diskussionen!
tenorvoicefan 2 years ago
@100Singers Hello Mike, I'm really touched by the professionalism with which you've carried out the project! It's really commendable. I translated the German comments you wrote on this video. I understand that you don't approve of singers who treat the work that they are singing with indifference but I believe there are some singers who actually didn't care much about what they were singing. Their performances didn't show such signs. What do you think of them? I heard Bjorling was 1.
DarrenSeacliffe90 2 weeks ago
V - there are still some more things on my mind but this speech has become already much too long I´m afraid so ~vielleicht ein anderes Mal.
Wünsch Dir noch " Hals und Beinbruch" zu der nächsten Runde....mit den Del Monaco fans!
Beste Grüsse, tschüss, Ingrid
ingriddoppler 2 years ago
IV As to the statement of this J. Stean ( who was a devoted and passionat admirer of Tito Gobbi and therefore zweifelsohne, biased) that " E.B. never gave more than an ordinary rendition ", well that´s, using one of your favorit words, pure and simple RIDICULOUS and makes me seriosly wonder, if this gentleman ever even SAW Ettore performing in vivo.
ingriddoppler 2 years ago
III Fürs Erste, if you WANT to find "flaws" Mike, you certainly WILL find some....perfection doesn´t excist ~also not in your personal Benjamini. Mr. B. not only was blessed by mother nature with a voice di "Bellezza Assoluta ", he also was a VERY WELL TRAINED singer who, with intelligence, tenacity, hard work and great commitment, knew how to "refine" his instrument.
ingriddoppler 2 years ago
II I confess, I was a bit surprised and disappointed not to find E.B. name on your list of favorites and , in all honesty ,I also didn´t appreciate some of what you had to say.
ingriddoppler 2 years ago
I Hallo Mike, wahrscheinlich bist Du zu beschäftigt mit dem "Corelli war" um an der Meinung eines Bastianini fans interessiert zu sein however, I would like to say a few words on behalf of this great artist.
ingriddoppler 2 years ago
The same comment goes for MDM
tomzoricic 2 years ago
In short - one of greatist baritones EVER!
tomzoricic 2 years ago 2
You might argue that neither Bastianini nor Del Monaco were exactly subtle artists but WOW! what fabulously full-bodied singing. And their voices are ideally matched on this excerpt.
samat1961 2 years ago
Bastianini and Fischer Dieskau are not comparable... Each artist for his proper repertory. FD was lighter than B , even having sung some lyric characters. Nothing with italian repertory like Bastianini.
clytemnestre1 2 years ago
In certain roles, there are few, if any, to match the conviction of Bastianini's voice, and its beauty is unique--he is not the ideal for every Verdi role, perhaps, but in certain verismo and Puccini parts, I find him far more satisfying than those contemporaries listed here. His Gerard and Michele are two of my favorites, but there are many more. If only the last few years of his short life had not been overwhelmed by illness, I think his interpretations would have deepened.
sospello 2 years ago 6
I entirely agree with you! I mentioned many roles I heard him in, but I forgot to mention his Luna from 1961 Trovatore with Corelli, Price, and Simionato! Wonderful! And yes, his life was indeed too short and this prevented him from giving us more, but anyway, he gave us certainly enough to remember him forever!
corellithebest 2 years ago
mmmmm....where is corelli in your list?
Beathame88 2 years ago
Well, my opinion is that Corelli's is a uniquely compelling voice in his repertory that outstrips classification and "lists"for all time in any case.
sospello 2 years ago
@sospello This thread is about Bastianini - so what ??
machiequesto 2 years ago
yeah, but, if corelli is not in any of the video?? i chose this one to post it beacouse of the amazing forza that performed with corelli, SO WHAT machiequesto? Anyway, i totally agree with sospello´s opinion. And thanks for answering
Beathame88 2 years ago
The comment was intended as a reply to Beathame88--that is the what--but somehow it did not appear specifically as an answer to that comment. Regret any confusion on my addendum to a rather lengthy appreciation of Bastianini.
sospello 2 years ago
Das ist doch köstlich: Ex aequo auf dem 4.Platz Bastianini und Fischer-Dieskau! Grössere Gegensätze sind wohl kaum denkbar. Man träume mal von einer Kombination von Bastianinis Material in Fischer-Dieskaus Kehle...! Der hätte es auf jeden Fall in die ersten 100 geschafft :-))
machiequesto 2 years ago
Großartige Stimme, die ihren Höhepunkt wohl noch gar nicht erreicht hatte. Was eine Schande und ein Verlust!
Unglaubliche dramatische Expressivität, aber oft ohne einen diabolische Unterton, der ihm gut gestanden hätte. Trotzdem, ich mag ihn außerordentlich gerne und höre ihm stets mit Genuss zu. Was auch daran liegt, daß ich dunkel gefärbte Baritone mehr mag als die hellen (FD, Lisitsian etc) lyrischen Baritone.
Aber wie immer, nur meine sehr subjektive Meinung.
tenorvoicefan 2 years ago
(continued)
I ADORE the almost mysterious and melancholic velvety quality that his voice possessed in a unique way! And of course, apart from all that, as I've read, he was truly great as a person. What a pity he passed away so young. Humanity was deprived too early of his legendary, incomparable voice! He definitely deserves his place among the operatic legends! May the merciful God receive his soul!
corellithebest 2 years ago 3
To me Bastianini is an extremely convincing Verdian baritone, I find his interpretations of Cortigiani aria (the only thing I heard of his Rigoletto), his Renato in Un ballo in maschera, his Don Carlo in Forza, his Posa, and even somenon-Verdi roles: Severo in Poliuto, Gerard in Chenier etc. extremely exciting, and even moving! Not even to mention that his voice is definitely the most beautiful, the richest, darkest and lushest baritone voice I have heard in my life!
corellithebest 2 years ago 6
Strange they'd compare Lisistian to him, the two voices had nothing in common. The voice was a great one but not in a lyrical sense. The sound reminds me at times of Gino Bechi, but darker. I cannot agree that his was the only comparable to Lisitsian, for my personal choice for most beautiful baritone sound would be Robert Merrill. Bastianini was not as lyrically beautiful as Merrill or Lisitsian but it was a formidable sound with very attractive overtones. He outdoes del Monaco here, IMO.
GermanOperaSinger 2 years ago
He's really a moving Posa, my favourite Luna, a fantastic Don Carlo, a great Renato (Ballo),Rolando(Legnano), Giorgio Germont, btw an excellent Gérard, ... I think you could call him a very convincing Verdian baritone. It is not because he was not really matched for Rigoletto that you can't give him this credit. Well, if we look for the fully versatile Verdian baritone then Tagliabue is the obvious choice. But you are right that he owes his succes thanks his voice and not his interpretation.
HadrienB 2 years ago
Bastianini had one of the three male voices that actually physically excites me, the others being Del Monaco and Corelli. This is an excellent choice, for Alvaro was one of his greatest roles. His diction and dramatic intention were always superb.
billyguns2 2 years ago 3
The Il Trovatore telecast with him and del Monaco was the first opera I ever heard. They were excellent together, the trio in act 1 was spectacularly sung and just as brilliantly acted (give or take a few of del monaco's weird head movements). That said, I agree that Bastianini never gave more than an ordinary rendition, his singing never truly reflected the music.
ConnonTenor 2 years ago
Two extremely powerful ringing voices! Truly dramatic stuff.
flaze3 2 years ago
Good choice, and I agree with your comments on him. Great baritone, but more so in some roles than others. Not a great Rigoletto for me either and not quite lyric enough for "Barbiere." I think he was quite good in this role, particularly in the famous video with Tebaldi and Corelli. And I have his Boheme with Bergonzi and Siepi/Tebaldi- excellent, yes. Very sad end.
ShawDAMAN 2 years ago
Very interesting rendition...
1st view :-)
LordMgls 2 years ago