Galouzine seems to be demonstarating to this young singer how to stay in the cover zone and to maintain his support without which it is impossible to keep the voice in that zone. The better term for what I call "cover zone" is the open throated appogio technique which Franco Tenelli explains. This singer doesn't support consistently throughout his phrases-he uses shallow vowels which are meant to hook into the so called "mask". Galouzine has him round these vowels to stay in the "cover zone".
galousine was a baritono and his maniera di canto a la giacomini ist not correct for the second guy, with another type of tenor...and it s a stupit to be a fan of the singer which you never heard in live and esp to compare with another which you never heard and will never hear
No LP is better than Bjorling surely but not close to Caruso. LP overcovered. Listen to Caruso, Corelli, or Del Monaco(in his prime); when they sing above F. They DO NOT loose any chiaro, whereas LP does to SOME extent. My teacher taught me to listen for this a while ago and I didn't really hear it then, but I do now. Also LP did not have a stellar piano or pianissimo; it actually gets breathy when he tries. LP in the late-60's/early-70's was VERY good, but he was not up to Caruso.
No LP is better than Bjorling surely but not close to Caruso. LP overcovered. Listen to Caruso, Corelli, or Del Monaco(in his prime); when they sing above F. They DO NOT loose any chiaro, whereas LP does to SOME extent. My teacher taught me to listen for this a while ago and I didn't really hear it then, but I do now. Also LP did not have a stellar piano or pianissimo; it actually gets breathy when he tries. LP in the late-60's/early-70's was VERY good, but he was not up to Caruso
No LP is better than Bjorling surely but not close to Caruso. LP overcovered. Listen to Caruso, Corelli, or Del Monaco(in his prime); when they sing above F. They DO NOT loose any chiaro, whereas LP does to SOME extent. My teacher taught me to listen for this a while ago and I didn't really hear it then, but I do now. Also LP did not have a stellar piano or pianissimo; it actually gets breathy when he tries. LP in the late-60's/early-70's was VERY good, but he was not up to Caruso.
This is a very well trained singer with an unusual voice. Franco Corelli told me he learned to sing his high tones by studying baritone arias. His debut in Spoleto was in Carmen because it had a low tessatura. The point is the connection to the vibration in the chest. Watch where he points his thumb when making examples. He is stressing an open throat, but he indicates chest vibration. When the student sounds stressed it is because he is singing thin: disconnected. That is the point.
From someone who understand's russian, and technique, this man is so full of shit. I want to hear what he sounds like in 5-10 years when his carreer is over.
lots of tenors crack/cracked on that aria, its the most vocally difficult aria in the whole tenor rep practically and is a horrible example to use. also everyone cracks once in a while. he has VERY good technique and do not confuse volume with pushing. his voice it very large justifying his volume. also free voices make more sound than a pushed voice does, you have no clue what you are talking about, sorry. He knows what he is doing and what he is teaching. and it is correct, its a masterclass.
I have very much idea what I`m talking about, and yes I agree with you that every singer has to crack in aria sometimes, we are humans not instruments or machines....
But in that recording I mentioned he cracked on the end because he had no idea how he will sing that aria, he just started hopping that he will make it to the end...
And listen to his voice timber that is spinto tenor not so dark and closed like today...
And that comparison of human voice vibrato with violin is ridiculous...
wrong, a large or wide vibrato happens when the tone is driven or pushed, a correctly supported voice will have a natural spinning even vibrato throughout the whole instrument. pavarotti is the perfect example, his vibrato was the same on the high notes as in the mid voice. where carreras or maria callas for example sound fine in the mid voice but the vibrato slows way down on the high notes. im sure he was having an off night in Aida because if he always cracked he wouldnt have been hired.
Corelli had the thing cold "caprito" what you cold "goat voice" (lol) because of his large lung and muscle capacity witch he couldn`t control in beginning of his period.
And I`m sure that with his high resonance of tone and emission Corelli would be heard much further in hall then Vladimir...
But you have your opinion and you have the right to have it, but I`m speaking with lot of knowledge so I have no wish to argue with you about what is obliviously your bad taste....
i understand human chords work on air flow. but the longer the chords also the more distance of travel to get closure, i didnt mean that long chords make a wide wobbly vibrato. the differences will be minute. this mans vibrato is even when he sings, don't execute him over his example when showing a student how to connect the sound from bottom to top. also do we have any examples of caruso singing in his 50s? 60s? all of his are pretty much in his 30s maybe early 40s i i believe. a young man.
this man has a larger voice than any of the tenors you mentioned, and his vibrato is even and fluid not too wide or wobbly or driven like singers with poor technique, this mans technique is very solid, corelli had the opposite problem early with his vibrato and sounded like a goat if you hear his early recordings. every voice has a different vibrato as everyone has chords of differnt length but the differences shouldnt be astronomical and need to still hold pitch. this mans voice is just verybig
Did you really say that this man's voice is larger than Del Monaco's? This man's technique is far from solid...he goes beyond singing in a way that is properly dark to singing woofily. Although I will say that he does some things right that most tenors today do very wrong.
On vibrato: there are many things that contribute to a bad vibrato (tremelo or wobble) not just breathing unbalanced or undeveloped registration.
#1 caruso did not have this mans instrument, and even though you must be a super fanatic of caruso, the truth is there have been many greater tenors since him just like the auto mobile has evolved so has the tenor and schools of technique. #2 i was speaking in terms of properly supported voices from small to large. any support problems will obviously effect the vibrato negatively. I understand what you are saying, you can blow too much air thru the vocal chords but this man does not have trouble
honestly vladimir is new to me but i have listened to everything i can of him and i dont hear problems. i understand where you are coming from, i just dont like hearing people get slaughered for giving examples in a masterclass, every singer has different imagery they use and examples of how it feels. some ideas they have sound wrong but the way they produce the sound may be right. i dont understand russian so i didnt hear what he said, just the sounds he makes. im sorry to be arguementative.
i will take your word for what he is saying, because i have no idea of what he is saying. however i have had voice teachers in the past tell me things that sound completely wrong and even seemed harmful vocally but once i grasped my own voice i could then see what they were trying to get me to do even though the way they told me did not seem right at the time or the imagery did not agree with my ideas i had of my voice at the time. that is my experience however, he could be a poor teacher.
Wow, the ignorance is EPIC. You REALLY do NOT understand voice. Galouzine's voice is a MESS. Caruso's sound was all in the mask. Get some knowledge kthxbai
sorry but you are deaf if you cannot hear that Galouzine sings with a lot of nasal pharengeal or "masK" resonance. how do you think his voice carries so well? he sings like a russian not an italian, they have 2 totally different techniques, and while i personally prefer italian, this man knows what he is doing with his voice, or he couldn't sing notes like he does. and for all caruso's fame and even tho i enjoy him aswell, he was the first, not the BEST. people confuse that. he had probs too.
First off all sound does not resonate well in the nasal pharynx....too porous and soft in the relation to the laryngeal pharynx which is where sound resonates. BTW what is the physical mechanism by which you deliver sound to the mask? Hmm? Impossible to do such a thing sir.
On Caruso: If you cannot hear that Caruso was the greatest TENOR in recorded history you should listen more.
Excuse me let me refine my words: Sound resonates BEST in the larygeal pharynx as opposed to the laryngeal pharynx and most of the resonance DOES indeed occur in the laryngeal pharynx as opposed to the nasal pharynx or face or whatever else these fools make up.
@omarihardy when people talk about the mask they are talking about nasal pharengeal resonance. the vocal folds create the sound obviously. on caruso he was the first, not necessarily the best. i enjoy caruso and have listened to him extensively. but you miss alot in those old recordings and while you can hear what he is doing you are not getting the full sound. i agree he was great but not the greatest, which is of course all a matter of opinion.
He was possessed a greater degree of technical mastery than any other tenor and probably any other singer in recorded history. Most (if not all) aspects of technique are quantifiable; other things (timbre, beauty, etc.) are not. What does nasal pharyngeal resonance have to do with carrying? Much less than laryngeal pharyngeal resonance surely.
@omarihardy i disagree. there have been many other tenors with at least the same level of technical mastery Bjorling and LP to name 2. Yet in the case with LP you much more beautiful phrasing, cleaner diction, and superior legato making for much more exciting listenning in my opinion. Caruso might have arguably had a prettier sound than bjorling but certainly not LP. but here we get inot matters of opinion again. it seems we simply disagree.
No LP is better than Bjorling surely but not close to Caruso. LP overcovered. Listen to Caruso, Corelli, or Del Monaco(in his prime); when they sing above F. They DO NOT loose any chiaro, whereas LP does to SOME extent. My teacher taught me to listen for this a while ago and I didn't really hear it then, but I do now. Also LP did not have a stellar piano or pianissimo; it actually gets breathy when he tries. LP in the late-60's/early-70's was VERY good, but he was not up to Caruso.
No LP is better than Bjorling surely but not close to Caruso. LP overcovered. Listen to Caruso, Corelli, or Del Monaco(in his prime); when they sing above F. They DO NOT loose any chiaro, whereas LP does to SOME extent. My teacher taught me to listen for this a while ago and I didn't really hear it then, but I do now. Also LP did not have a stellar piano or pianissimo; it actually gets breathy when he tries. LP in the late-60's/early-70's was VERY good, but he was not up to Caruso.
listen to me mr @omarihardy . I am an operatic tenor. I listen to the great tenors for a long time.I can tell you that you have a bad teacher,a fake teacher who doesn't know anything about music. My teacher used to be an incredible baritone and he says that pav is the best and most incredible singer ever. Pavarotti's voice was more gifted, more beautiful and louder than anyone. He didn't have the biggest voice ever but his technique allowed him to be the loudest. Bjorling's pianissimos suck.
@omarihardy pav didn't overcover. His technique was the best. He was perfect. His pianissimos were the best ones i've ever heard and i've heard him a lot ,in an OPERA HOUSE. In Wien every time they sung together pav drowned ghena dimitrova one of the biggest and loudest soprano voices ever. She would kill Bjorling, Caruso, Del Monaco. Luciano Pavarotti was a lot louder than her and she was in an awesome voice in that performance.
@omarihardy. loudness has nothing to do with bigness of the voice.Pav didn't have a gigantic voice but,his technique allowed him to be the loudest.He could easly drown Bjorling,Caruso,Del Monaco,or any other singer in beauty,perfection and loudness of his voice. He had the best pianissimos. He was not forcing anything.He wasn't breathy, it can't be heard correct on video because of the air interference even indoors.If you haven't heard pav in an OPERA HOUSE you don't know anything.
@omarihardy when you don't know anything you shouldn't judge because after that you look like an idiot. PAVAROTTI COULD OUTSING CARUSO ON HIS WORST DAY.Pav is way better than caruso. Caruso is only the most important tenor because he invented the new technique for the tenor's voice .But pav's technique was even better than carusos.Pav's technique was far more improved.PAVAROTTI WAS FAR BETTER THAN CARUSO OR ANY OTHER SINGER.Pav was the best,is and will be.
@omarihardy a voice like caruso's comes up every 100 years,like bjorling's every 500 years, like corelli's every 1000 years,like Pavarotti's only once in eternity.
No LP is better than Bjorling surely but not close to Caruso. LP overcovered. Listen to Caruso, Corelli, or Del Monaco(in his prime); when they sing above F. They DO NOT loose any chiaro, whereas LP does to SOME extent. My teacher taught me to listen for this a while ago and I didn't really hear it then, but I do now. Also LP did not have a stellar piano or pianissimo; it actually gets breathy when he tries. LP in the late-60's/early-70's was VERY good, but he was not up to Caruso.
oh and by the way im not saying vladimir is the BEST either, but you can't put him on the chopping block for his technique or sound because he has proved it works. you may not like it but that is beside the point. 99% of tenors couldn't make his sound if they were held at gun point because their voices arent big enough. and you cant compare caruso to him because they dont have nearly the same size of instrument. most tenors with his size of voice sound worse and can't sing a C like he just did.
how old is he? i dont think he has 10 years left due to his age probably so its no use being hostile =) his speaking voice and his singing voice are supported and clear as a bell, he is going to be fine, but if you are talking about his student here then thats different, the kid is pushing out of his mind. vladimir just uses his voice and he connects it from top to bottom which it looks like he is telling the kid to do. he shouldnt try to immitate vlad by pushing, his voice is tiny.never imitate
@Webarton Interesting comments about Galouzine's longevity. I heard him at Houston grand last night in Pique Dame, and the man sounds dramatic AND youthful, an INCREDIBLY rare combination. He sounded great in act I, amazing in act II, and extraordinary in act III. He turns 54 this June. In 10 years he'll be normal retirement age and I'm sure he'll still sound great. And maybe he's not Caruso. But Caruso died at 48 and had previously suffered a performance related throat hemorrhage.
Galuzin as absolutly right in his suggestion but I think Galuzin's dramatic voice demonstrations may confuse this lyric tenor especialy that this aria is essentialy liric not dramatic
yes but there is not real Operatic voice without understanding LA VOCE IN PETTO.
Remember that Domingo, Roswange,Bjoerling, said they learned it from listening to Caruso recordings. There is tendency to sing like musicals in Opera lately, never more Del Monacos that way.
thanks God never like Del Monaco. Del Monaco had a terrible technique, pushed, off pitch. Sure he was a great singing actor and unsurpassed in roles like Otello, Canio. Nothing against dramatic tenors-I love them, Melchior, Giacomini sure. Del Monaco nope.
Galuzin to my point was much better as a spinto, later he started to push, lost his high notes and musicality-he is an example of that
At that part "v'entrar con voi pur ora", Mr. Galouzine teaches the same I had already seen at a Carlo Bergonzi masterclass video, that is, the way of attacking the note. Not to spit the sound, but to leave it flows gently.
comme ça... speEEEEE... comme ça :p :p :p
xD
AfroPoli 3 months ago
How To Sing The High Notes - 3 Tips
steveunlocked 5 months ago
Подскажите кто-нибудь,пож-ста!)Где можно приобрести полную версию мастер-класса?))
STASBOGAT 5 months ago
Кто-нибудь знает,где можно приобрести полный фильм мастер-класс Владимира Галузина?))Подскажите,пож-ста!)
STASBOGAT 5 months ago
Bravo to Maestro Galouzine!!!
Pierre Canadian Heldentenor
opera1232010 5 months ago
GALOUZINE'S MY FAVORITE SINGER !
so451 5 months ago
5:39 - fin demonstration Bravo thankyou!
AngelaKikuchiKneale 6 months ago
Galouzine seems to be demonstarating to this young singer how to stay in the cover zone and to maintain his support without which it is impossible to keep the voice in that zone. The better term for what I call "cover zone" is the open throated appogio technique which Franco Tenelli explains. This singer doesn't support consistently throughout his phrases-he uses shallow vowels which are meant to hook into the so called "mask". Galouzine has him round these vowels to stay in the "cover zone".
Markinsky 8 months ago
galousine was a baritono and his maniera di canto a la giacomini ist not correct for the second guy, with another type of tenor...and it s a stupit to be a fan of the singer which you never heard in live and esp to compare with another which you never heard and will never hear
sallpario 9 months ago
Pavarotti had the most perfect,most beautiful,loudest voice ever.
RIP.GIGANT PAVAROTTI
ThePavafan 10 months ago
Este cantante tiene una actitud sobrada cuando enseña, en el fondo lo que quiere es demostrarse él. Le falta humildad para enseñar.
mesie1ever 11 months ago
Excellent teaching by Galouzine.
steakopera 1 year ago
Must have been brutal to be this student. It's like getting knocked off the bike as soon as you put your foot on the pedal.
BurnOutXL 1 year ago
I think both instructor and student have somewhat unpleasant vibratos tbh...not neccesarily too slow, rather too wide and arduous sounding...
Jaaakob 1 year ago
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@bigus
No LP is better than Bjorling surely but not close to Caruso. LP overcovered. Listen to Caruso, Corelli, or Del Monaco(in his prime); when they sing above F. They DO NOT loose any chiaro, whereas LP does to SOME extent. My teacher taught me to listen for this a while ago and I didn't really hear it then, but I do now. Also LP did not have a stellar piano or pianissimo; it actually gets breathy when he tries. LP in the late-60's/early-70's was VERY good, but he was not up to Caruso.
omarihardy 1 year ago
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@bigus
No LP is better than Bjorling surely but not close to Caruso. LP overcovered. Listen to Caruso, Corelli, or Del Monaco(in his prime); when they sing above F. They DO NOT loose any chiaro, whereas LP does to SOME extent. My teacher taught me to listen for this a while ago and I didn't really hear it then, but I do now. Also LP did not have a stellar piano or pianissimo; it actually gets breathy when he tries. LP in the late-60's/early-70's was VERY good, but he was not up to Caruso
omarihardy 1 year ago
This has been flagged as spam show
@bigus
No LP is better than Bjorling surely but not close to Caruso. LP overcovered. Listen to Caruso, Corelli, or Del Monaco(in his prime); when they sing above F. They DO NOT loose any chiaro, whereas LP does to SOME extent. My teacher taught me to listen for this a while ago and I didn't really hear it then, but I do now. Also LP did not have a stellar piano or pianissimo; it actually gets breathy when he tries. LP in the late-60's/early-70's was VERY good, but he was not up to Caruso.
omarihardy 1 year ago
This is a very well trained singer with an unusual voice. Franco Corelli told me he learned to sing his high tones by studying baritone arias. His debut in Spoleto was in Carmen because it had a low tessatura. The point is the connection to the vibration in the chest. Watch where he points his thumb when making examples. He is stressing an open throat, but he indicates chest vibration. When the student sounds stressed it is because he is singing thin: disconnected. That is the point.
deutschefach 2 years ago
...oh oh, he does not know how to teach.
dg6da 2 years ago
From someone who understand's russian, and technique, this man is so full of shit. I want to hear what he sounds like in 5-10 years when his carreer is over.
Webarton 2 years ago
hey...whats the name of this aria?
Gaigaia 2 years ago
che gelida manina, la boheme.
kkm3000 2 years ago
Thats amazing. Vladimir is a Heroic Tenor, and that guy is a Ligeiro tenor, both the heaviest and lightest tones of tenor
Heroic - Dramatic - Spinto - Lyric - Ligeiro
^^
Thats something to think.
Gaigaia 2 years ago
This is a tragedy that he is teaching.
Webarton 2 years ago
Agree.... That is completely wrong....
Like hi is trying to justify broken voice, and bad vibrato what is in his case overused end pushed voice...
listen to his celeste aida from 95.....
He didn`t had idea how to sing that aria and cracked on the end....
caruso81 2 years ago
lots of tenors crack/cracked on that aria, its the most vocally difficult aria in the whole tenor rep practically and is a horrible example to use. also everyone cracks once in a while. he has VERY good technique and do not confuse volume with pushing. his voice it very large justifying his volume. also free voices make more sound than a pushed voice does, you have no clue what you are talking about, sorry. He knows what he is doing and what he is teaching. and it is correct, its a masterclass.
bigus 2 years ago
I have very much idea what I`m talking about, and yes I agree with you that every singer has to crack in aria sometimes, we are humans not instruments or machines....
But in that recording I mentioned he cracked on the end because he had no idea how he will sing that aria, he just started hopping that he will make it to the end...
And listen to his voice timber that is spinto tenor not so dark and closed like today...
And that comparison of human voice vibrato with violin is ridiculous...
caruso81 2 years ago
Did you ever heard Corelli del Monaco Gigli Pavarotti Caruso doing that....
Large vibrato in voice becomes when one start to loose breath control and start loosing strength of all vocal muscles...
caruso81 2 years ago
wrong, a large or wide vibrato happens when the tone is driven or pushed, a correctly supported voice will have a natural spinning even vibrato throughout the whole instrument. pavarotti is the perfect example, his vibrato was the same on the high notes as in the mid voice. where carreras or maria callas for example sound fine in the mid voice but the vibrato slows way down on the high notes. im sure he was having an off night in Aida because if he always cracked he wouldnt have been hired.
bigus 2 years ago
LOL!
Vibrato is not related with the lenght of a vocal chords...
The name Chord is confusing to many....
Human voice is based on a airflow not chord instrument...
The vibrato is not related with the size of vocal the voice!!!
Does CARUSO had small voice???? LOL
Do you her large vibrate in his voice?
caruso81 2 years ago
Of course you do not!!!
Corelli had the thing cold "caprito" what you cold "goat voice" (lol) because of his large lung and muscle capacity witch he couldn`t control in beginning of his period.
And I`m sure that with his high resonance of tone and emission Corelli would be heard much further in hall then Vladimir...
caruso81 2 years ago
But you have your opinion and you have the right to have it, but I`m speaking with lot of knowledge so I have no wish to argue with you about what is obliviously your bad taste....
caruso81 2 years ago
Listen to his celeste aida....
Why does hi haven`t got large vibrato there?
And he have much lighter voice...
Because he is young and strong and hadn`t opportunity to destroy it. with more of this bad "celeste aidas" ........
caruso81 2 years ago
i understand human chords work on air flow. but the longer the chords also the more distance of travel to get closure, i didnt mean that long chords make a wide wobbly vibrato. the differences will be minute. this mans vibrato is even when he sings, don't execute him over his example when showing a student how to connect the sound from bottom to top. also do we have any examples of caruso singing in his 50s? 60s? all of his are pretty much in his 30s maybe early 40s i i believe. a young man.
bigus 2 years ago
this man has a larger voice than any of the tenors you mentioned, and his vibrato is even and fluid not too wide or wobbly or driven like singers with poor technique, this mans technique is very solid, corelli had the opposite problem early with his vibrato and sounded like a goat if you hear his early recordings. every voice has a different vibrato as everyone has chords of differnt length but the differences shouldnt be astronomical and need to still hold pitch. this mans voice is just verybig
bigus 2 years ago
@bigus
Did you really say that this man's voice is larger than Del Monaco's? This man's technique is far from solid...he goes beyond singing in a way that is properly dark to singing woofily. Although I will say that he does some things right that most tenors today do very wrong.
On vibrato: there are many things that contribute to a bad vibrato (tremelo or wobble) not just breathing unbalanced or undeveloped registration.
omarihardy 1 year ago
#1 caruso did not have this mans instrument, and even though you must be a super fanatic of caruso, the truth is there have been many greater tenors since him just like the auto mobile has evolved so has the tenor and schools of technique. #2 i was speaking in terms of properly supported voices from small to large. any support problems will obviously effect the vibrato negatively. I understand what you are saying, you can blow too much air thru the vocal chords but this man does not have trouble
bigus 2 years ago
I see you are a big fan of Vladimir so I do not wish to argue any more...
Best regards!
caruso81 2 years ago
honestly vladimir is new to me but i have listened to everything i can of him and i dont hear problems. i understand where you are coming from, i just dont like hearing people get slaughered for giving examples in a masterclass, every singer has different imagery they use and examples of how it feels. some ideas they have sound wrong but the way they produce the sound may be right. i dont understand russian so i didnt hear what he said, just the sounds he makes. im sorry to be arguementative.
bigus 2 years ago
I understand Russian and believe me he is making no sense exceptionally for this liryc tenor ....
caruso81 2 years ago
i will take your word for what he is saying, because i have no idea of what he is saying. however i have had voice teachers in the past tell me things that sound completely wrong and even seemed harmful vocally but once i grasped my own voice i could then see what they were trying to get me to do even though the way they told me did not seem right at the time or the imagery did not agree with my ideas i had of my voice at the time. that is my experience however, he could be a poor teacher.
bigus 2 years ago
Wow, the ignorance is EPIC. You REALLY do NOT understand voice. Galouzine's voice is a MESS. Caruso's sound was all in the mask. Get some knowledge kthxbai
Webarton 2 years ago
sorry but you are deaf if you cannot hear that Galouzine sings with a lot of nasal pharengeal or "masK" resonance. how do you think his voice carries so well? he sings like a russian not an italian, they have 2 totally different techniques, and while i personally prefer italian, this man knows what he is doing with his voice, or he couldn't sing notes like he does. and for all caruso's fame and even tho i enjoy him aswell, he was the first, not the BEST. people confuse that. he had probs too.
bigus 2 years ago
@bigus
Whoa hold up a second:
First off all sound does not resonate well in the nasal pharynx....too porous and soft in the relation to the laryngeal pharynx which is where sound resonates. BTW what is the physical mechanism by which you deliver sound to the mask? Hmm? Impossible to do such a thing sir.
On Caruso: If you cannot hear that Caruso was the greatest TENOR in recorded history you should listen more.
omarihardy 1 year ago
@omarihardy
Excuse me let me refine my words: Sound resonates BEST in the larygeal pharynx as opposed to the laryngeal pharynx and most of the resonance DOES indeed occur in the laryngeal pharynx as opposed to the nasal pharynx or face or whatever else these fools make up.
omarihardy 1 year ago
@omarihardy when people talk about the mask they are talking about nasal pharengeal resonance. the vocal folds create the sound obviously. on caruso he was the first, not necessarily the best. i enjoy caruso and have listened to him extensively. but you miss alot in those old recordings and while you can hear what he is doing you are not getting the full sound. i agree he was great but not the greatest, which is of course all a matter of opinion.
bigus 1 year ago
@bigus
He was possessed a greater degree of technical mastery than any other tenor and probably any other singer in recorded history. Most (if not all) aspects of technique are quantifiable; other things (timbre, beauty, etc.) are not. What does nasal pharyngeal resonance have to do with carrying? Much less than laryngeal pharyngeal resonance surely.
omarihardy 1 year ago
@omarihardy i disagree. there have been many other tenors with at least the same level of technical mastery Bjorling and LP to name 2. Yet in the case with LP you much more beautiful phrasing, cleaner diction, and superior legato making for much more exciting listenning in my opinion. Caruso might have arguably had a prettier sound than bjorling but certainly not LP. but here we get inot matters of opinion again. it seems we simply disagree.
bigus 1 year ago
@bigus
No LP is better than Bjorling surely but not close to Caruso. LP overcovered. Listen to Caruso, Corelli, or Del Monaco(in his prime); when they sing above F. They DO NOT loose any chiaro, whereas LP does to SOME extent. My teacher taught me to listen for this a while ago and I didn't really hear it then, but I do now. Also LP did not have a stellar piano or pianissimo; it actually gets breathy when he tries. LP in the late-60's/early-70's was VERY good, but he was not up to Caruso.
omarihardy 1 year ago
@bigus
No LP is better than Bjorling surely but not close to Caruso. LP overcovered. Listen to Caruso, Corelli, or Del Monaco(in his prime); when they sing above F. They DO NOT loose any chiaro, whereas LP does to SOME extent. My teacher taught me to listen for this a while ago and I didn't really hear it then, but I do now. Also LP did not have a stellar piano or pianissimo; it actually gets breathy when he tries. LP in the late-60's/early-70's was VERY good, but he was not up to Caruso.
omarihardy 1 year ago
listen to me mr @omarihardy . I am an operatic tenor. I listen to the great tenors for a long time.I can tell you that you have a bad teacher,a fake teacher who doesn't know anything about music. My teacher used to be an incredible baritone and he says that pav is the best and most incredible singer ever. Pavarotti's voice was more gifted, more beautiful and louder than anyone. He didn't have the biggest voice ever but his technique allowed him to be the loudest. Bjorling's pianissimos suck.
ThePavafan 10 months ago
@omarihardy pav didn't overcover. His technique was the best. He was perfect. His pianissimos were the best ones i've ever heard and i've heard him a lot ,in an OPERA HOUSE. In Wien every time they sung together pav drowned ghena dimitrova one of the biggest and loudest soprano voices ever. She would kill Bjorling, Caruso, Del Monaco. Luciano Pavarotti was a lot louder than her and she was in an awesome voice in that performance.
ThePavafan 10 months ago
@omarihardy. loudness has nothing to do with bigness of the voice.Pav didn't have a gigantic voice but,his technique allowed him to be the loudest.He could easly drown Bjorling,Caruso,Del Monaco,or any other singer in beauty,perfection and loudness of his voice. He had the best pianissimos. He was not forcing anything.He wasn't breathy, it can't be heard correct on video because of the air interference even indoors.If you haven't heard pav in an OPERA HOUSE you don't know anything.
ThePavafan 10 months ago
@omarihardy when you don't know anything you shouldn't judge because after that you look like an idiot. PAVAROTTI COULD OUTSING CARUSO ON HIS WORST DAY.Pav is way better than caruso. Caruso is only the most important tenor because he invented the new technique for the tenor's voice .But pav's technique was even better than carusos.Pav's technique was far more improved.PAVAROTTI WAS FAR BETTER THAN CARUSO OR ANY OTHER SINGER.Pav was the best,is and will be.
ThePavafan 10 months ago
@ThePavafan moron.
hobo1975 5 months ago
@hobo1975 idiot
ThePavafan 5 months ago
@omarihardy a voice like caruso's comes up every 100 years,like bjorling's every 500 years, like corelli's every 1000 years,like Pavarotti's only once in eternity.
ThePavafan 10 months ago
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@bigus
No LP is better than Bjorling surely but not close to Caruso. LP overcovered. Listen to Caruso, Corelli, or Del Monaco(in his prime); when they sing above F. They DO NOT loose any chiaro, whereas LP does to SOME extent. My teacher taught me to listen for this a while ago and I didn't really hear it then, but I do now. Also LP did not have a stellar piano or pianissimo; it actually gets breathy when he tries. LP in the late-60's/early-70's was VERY good, but he was not up to Caruso.
omarihardy 1 year ago
oh and by the way im not saying vladimir is the BEST either, but you can't put him on the chopping block for his technique or sound because he has proved it works. you may not like it but that is beside the point. 99% of tenors couldn't make his sound if they were held at gun point because their voices arent big enough. and you cant compare caruso to him because they dont have nearly the same size of instrument. most tenors with his size of voice sound worse and can't sing a C like he just did.
bigus 2 years ago
Let us make a bet that he will not be singing 10 years from now or less, shall we? Mr. Bullshit.
Webarton 2 years ago
how old is he? i dont think he has 10 years left due to his age probably so its no use being hostile =) his speaking voice and his singing voice are supported and clear as a bell, he is going to be fine, but if you are talking about his student here then thats different, the kid is pushing out of his mind. vladimir just uses his voice and he connects it from top to bottom which it looks like he is telling the kid to do. he shouldnt try to immitate vlad by pushing, his voice is tiny.never imitate
bigus 2 years ago
@Webarton Interesting comments about Galouzine's longevity. I heard him at Houston grand last night in Pique Dame, and the man sounds dramatic AND youthful, an INCREDIBLY rare combination. He sounded great in act I, amazing in act II, and extraordinary in act III. He turns 54 this June. In 10 years he'll be normal retirement age and I'm sure he'll still sound great. And maybe he's not Caruso. But Caruso died at 48 and had previously suffered a performance related throat hemorrhage.
ajkbaritone 1 year ago
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bodiloto 2 years ago
Galuzin as absolutly right in his suggestion but I think Galuzin's dramatic voice demonstrations may confuse this lyric tenor especialy that this aria is essentialy liric not dramatic
nessundorma111 2 years ago
yes but there is not real Operatic voice without understanding LA VOCE IN PETTO.
Remember that Domingo, Roswange,Bjoerling, said they learned it from listening to Caruso recordings. There is tendency to sing like musicals in Opera lately, never more Del Monacos that way.
ilbacioditosca 2 years ago
thanks God never like Del Monaco. Del Monaco had a terrible technique, pushed, off pitch. Sure he was a great singing actor and unsurpassed in roles like Otello, Canio. Nothing against dramatic tenors-I love them, Melchior, Giacomini sure. Del Monaco nope.
Galuzin to my point was much better as a spinto, later he started to push, lost his high notes and musicality-he is an example of that
nessundorma111 2 years ago
But that fantastic a voice very dramatic issuing the 'high C'. Bravo Galouzine!
sarado88 2 years ago
I like it very much but was unable to find how to order the video on the website. If anyone knows please post a comment.
spintolyric 2 years ago
That's awesome. But when I checked out the website, it was hard to understand in english just how to buy the DVD.
komoru 3 years ago 2
At that part "v'entrar con voi pur ora", Mr. Galouzine teaches the same I had already seen at a Carlo Bergonzi masterclass video, that is, the way of attacking the note. Not to spit the sound, but to leave it flows gently.
TurandotFanatic 3 years ago 2
OMFG! Amazing!
MGZuniga 3 years ago 2
Galouzine: a real master for Masterclass. Just listen to the end of the clip ! An Otello can also persuade as a Rudolfo ! Fantastic demonstration !!
Gerd276 3 years ago
Thank´s, are there more of that videos?
oteroguitar 3 years ago 2
Дядиченко браво!!!!
MishaM1981 3 years ago 2
Bravo Galouzine thank you!!!
tomasjuhasz 3 years ago 3
@tomasjuhasz e che cosa pensa il suo allievo?
bodiloto 11 months ago