@NMEnrique The point is you don't know what you're talking about unless you heard her live. People who saw her performances said she could if she wanted to out-sing pretty much any tenor (although she would have the skill to hold back her voice and not drown them out if she wanted to). Recordings don't give a good indication of her voice.
@NMEnrique I think you're right that he didn't sing the high c, but I happened to here Nilsson live and she easily drown out any tenor, and from the recording of her and Prevedi she seems to easily be a match for him too, although he has a huge voice.
The loudest singer ever is Carl Haus. After him is Luciano Pavarotti. Pavarotti despite his medium voice he had the most perfect technique which allowed him to be the second loudest singer of all time.
@suchero Filippeschi isn't one of the biggest voices ever but because of his technique he is one of the loudest voices ever. In Tosca he drowned Maria Callas totally.
Un ramassis très hétérogène:Le meilleur côtoie le pire!..Serviettes et serpillières entassées dans le même tiroir:Pas hygiénique et vraiment pas didactique!
I don't agree with the descriptions of these performances- many/most are painful/embarrassing. Except Nilsson and a few others. But really fun to listen to the insanity. Thank you for some great entertainment, if some lousy singing!
Nilsson, Fillipesschi and Domingo! Now that is high and loud and in TUNE. Some of the rest of this is just ill-pitched screaming, and I love every minute of it. LOL Thanks for the giddy pleasure!
Nilsson and Fillipesschi are absolutely wonderful, as are Bjorling, DelMonaco and Domingo. I love the volume on Tebaldi and Callas' notes as well. If you had more time on this video, which was very well done and interesting, I personally would have included Joan Sutherland's E flat during the mad scene in Lucia di Lamermoor or even Rigoletto during Si Vendetta, and Sherrill Milnes' A flat in the Pagliacci prologue at the Met, one of the most thrilling baritone notes I have heard.
AfroPoli, gracias por ésta original y buena selección de inerpretes de la lirica.. Causa extrañesa que no esté el Gran Maestro Franco Corelli, la más bella e imponente voz e inalcansablemente hermosa interpretaciones, o uno de los más grandes tenores.
I, for one, have no interest in hearing every singer render "a stock version" of an aria, which is what is served today in most major opera houses. No wonder old-time recordings are so popular with listeners. Added to my list of FAVORITES.
This is a thrilling assemblage of outstanding singers. The poster's obvious liking for Filippeschi is readily understandable--and until today I never heard of the man! What makes this collection so fascinating is that the singers did their particular thing to thrill their audiences...and they succeeded admirably.
I think singers singing those EXTREMELY long notes, obnly demosntrated what a bad taste, out of style and egocentric they´re, not respecting what the composer wrote and much less, non whatsoever respect of music. Only showing off and sometimes not really beautiful.
CALLAS!! That E flat gave me goosebumps!! those who think she had the wobble in this early part of her career are deaf! she always had a LOOSE vibrato even in her low notes.. she never had the tight vibrato that sutherland had.. both are amazing but you can't find any recording of JS doing that kind of E flat! notice how maria's voice just fades out after she held that Volcanic E flat?? no one dares to do that kind of stuff anymore.
I can't imagine how loud Tebaldi's C was at ~2:!5, but the audience literally explodes. She didn't always get Cs this great, so they must have been beside themselves.
hehe! Not so many years ago, I would have "jumped into the fray" with a vengeance! Listening to today's singers however, causes me to say about everybody in this compilation -- "It's a waste of time to worry about the things they're not; be thankful for the things they got" (with apologies to Luther in So Pacific).
Bravo everybody! Nilsson was unbelievable! Callas was divine! [Probably biggest E-Flat ever! Enough to cover a Wagnerian orchestra and chorus! But of quiestionable taste in that portion of the opera...]. Bjôrling beuatiful as always [What control!]. But MOST important is that most of them had dramatic and emotional meaning, they were sung with DRAMA!
Biorling (stupendo) è spesso crescente e la Tebaldi in compenso è calante ma anche la Callas le tiene compagnia anche se si spinge al mi. Anche Del MoNACO non è da meno.Per fortuna che c'è Filippeschi.
@NeuroniAssociati ...prima di dire che la Tebaldi è calante bisognerebbe sapere in quale chiave ella cantasse. Ma oramai oggi sapere prima di parlare è una rarità...
Shame no Sutherland/ Kirsten Flagstad/Leonce Escalais/Nazzareno de Angleis/Gertrude Grob-Prandl/Corelli - but enjoyed most of what was here except Barioni and Mario Filippeschi, who sounds like a dying goat.
The singer is dead and their work ought to be evaluated OR do you
think only positive reviews are allowed.? I suggest you read reviews of singers some of which are good and others not so. For you it is okay to attack me because I do NOT agree with your opinion. Strange thinking.
@65attila Come on, if you state your comment by such a comparison, you don't have to be that niminy-pinimy relating to yourself. I guess it is less rude to tell you that you need a hearing aid as your image of Filippeschi singing like a dying goat, and I think because he is dead you could show more respect. You don't have to like him but you can just state this in a more concrete way by using musical arguments, don't you think?
@65attila I did not say that dead artists should be more respected than alive artists, I just said you could show some respect because you mentioned he is dead and so you can say whatever you want to. So you really want to say that to give an opinion about a wannabe-singer who is famous for not beeing able to sing like Foster Jenkins is comparable with a great singer an respectable artist like Filippeschi, you must be kidding.
@65attila If you think it is OK to say that Filippeschi's performance reminds you of a dying goat, you must be comfortable when I tell you that your comments remind me of a deaf ignorant. And if you think that it is OK to insult people because they are dead, then you can't complain if I declare you... well, never mind.
@Melomondo In fact 65attila singled out Fillipeschi and Baroni. Quite rightly and Fillipeschi is by far the worst of these two. A penetrating ringing voice can be fantastic like Bjoerling from 1939, but his vibrato is wonderful while Fillipeschis is horrible. A beautiful voice is not the same thing as a strong firealarm. Not to mention the singing leading up to Fillipeschis high notes, hadn't he a musical coach? 65attila may be a bit rude but he isn't a "deaf ignorant"...
@mozzrt I think that Barioni suffers from terrible audio quality on this particular video. I have a much, much clearer recording of his "E nun me fa Campa" and the C at the end is really incredible. He seems to be very underrated amongst the YouTube opera crowd.
Tebaldi is too deep on her C, too deep; Nilsson, great, is singing a B natural in In questa Reggia not a C; Del Monaco is too deep through the entire two pieces; Domingo is singing, beautifully a B natural, not a B flat; the B flat at the end of Celeste Aida, is written pp and morendo, by VERDI. Opera is about making MUSIC not only about high notes..... but thank you for the effort...
A singer should have even and effortless vibrato, fantastic beauty, no difficulties with breathing and so on. That goes for the highnotes also. Nilsson is splendid, but Tebaldi has done so much better, she is not good here. Rossi-Lemeni is awsome, let alone that it isn't a stupendous highnote. But there is only one highnote in here that is truly and honestly MAGICAL in it's perfection, the young Bjoerling. You very seldom get to hear a high pure vibratoperfect highnote like that.
I have a great recording of Pavarotti doing "La donna e mobile" and he took the piece up a half step (probably just because he's Pavarotti) so he ends with a massive and wonderful C!
Tebaldi was ruined by the idiotic audience, she was great though. Callas not. Bjorling 59 bad, Bjorling 39 absolutely spectacular. Del Monaco ghastly of course. But Nilsson is the true wonder. Windows must've cracked.
Il Do su "lama" della Tebaldi è una cosa apocalittica, di una precisione e una potenza vocale fuori dal comune... cosa darei per esser stato in quel pubblico esultante che non l'ha lasciata proseguire con "gli piantai nel cor". Grazie per aver pubblicato questa preziosa rarità !
Callas y Bjorling por lejos los mas grandes cantantes de opera de la historia, lo que uno busca en la voz ellos te lo dan, magnificos. Muy bien filipeschi, tambien me gusto mucho.
oh my gawd! tebaldi's high c made my bedroom rattle! i think it also may have cracked one of my teeth! taht's for the bitches who say she could not sing it
non è giuso identificarli con gli acuti, poichè il canto non è solo quello.........
ma sarebbe bene che li sapessero fare.......... visto ke è sempre più difficile sentirli, e soprattutto sentirli belli,potnti, fermi,e belli in fuori con una voce pienamente in maschera!!!!
Why thank you. I heard both Pavarotti and Giacomini sing Cavaradossi at SF Opera. I would have heard Domingo too but I got Spiess on my series not Domingo. Of course I heard Domingo in many other operas.
It's odd to have Rossi-Lemeni sing only an E Natural. At the end of next scene Phillip steps forward and sings an exposed phrase from a high F to a low F. At the very end of the opera he sings a high F#.
I have posted before the opinion that Domingo had better top notes than Pavarotti. That's when the death threats begin. Domingo had(has?) a really great B flat. I heard him blow his voice out on a B Natural once and of course he never sang a C on stage. Pavarotti just didn't have the power or punch for climactic high notes. Pav always sang the high options that Domingo typically avoided but when you come to that single high B Flat - it was Domingo who had the goods.
Nice compilation. My favorite is Jussi Bjorling. But you cannot really judge vocal size on a recording. Even on stage you may be in a favorable position and get an acoustic boost. As for Callas, in this case it sounds like the entire chorus sings an octave lower making her voice stand out more.
"AfroPoli", the very fact that you resorted to name-calling, mudslinging pretty much shows that you are unable to engage in a debatement in a civilized, intelligent manner. And that explains the reason why Nilsson is good for you, just as person like is good for Nilsson.
"AfroPoli", the very fact that you resorted to name-calling, mudslinging pretty much shows that you are unable to engage in a debatement in a civilized, intelligent manner. And that explains the reason why Nilsson is good for you, just as person like you is good for Nilsson.
You bunch of ostrich queen, you could thumb down my comment. But that didn't change the fact Tebaldi went off pitch in that high C and that Nilsson used to scoop up from beneath instead of attack dead-center whenever she sings notes above the stave and along the way paid no attention to the one golden rule that governs all kinds of singing: legato. Not to mention characterization, phrasing, nuance, subtlety are all but absent in Nilsson's sphere.
I pitched the Zambon 'B' as a high C. I know it's B in the score. Pitched del Monaco's B as a B natural on pitch. Zambon went sharp. But it's great singing.
This comment has received too many negative votesshow
Notwithstanding the instant applause, Tebaldi 's high c is totally off pitch. And by the way, Nilsson's so called high register is hardly what is generally trumpeted to be: she changes the thread of the voice whenever she sings notes above the stave, scooping up to it from beneath instead of attacking it dead-center, paying no attention to the one golden rule that governs all kinds of singing "legato". She definitely is one of the most over-rated singer of all time.
This comment has received too many negative votesshow
What an absolute rubbish, that can only be written by someone who has never heard her live! I have heard her more than once, and it remains one of the greatest operatic experiences i have had in my life. By the way I agree about Tebaldi being very flat on her high note.
This comment has received too many negative votesshow
I'we never heard about Amadeo Zambon, but he is unbeliveable! Tebaldi is very flat, and also MDM in Vittoria! Domingo gives a great effect. A lack some Correli moments. He was the only, who coul go with Nilsson is Gli emigni sono tre.
I must say I was very impressed by Domingo's beautiful and secure high note as well as by the way Lauri Volpi manages to control his wobble and give the audience another stunning acute.
As for Callas, she developed a wobble in the early 50's which became more pronounced with the years. However, this is not in evidence in this Aida. Far from that. For a person who had been singing demanding parts since her teens she is in excellent vocal state. Those seeking a Callas wobble must look elsewhere.
I miei preferiti qui, sono Zambon e Filippeschi. Quello che si mostra da del Monaco e Lauri Volpi e piu tosto calante. Sono grandi, ma non si capisce da questa registrazione. Sicuramente si puo trovare una migliore!
Callas' E flat is neither shrill nor wobble. I find it perfect. The recording is very old and everything sounds a bit wobbly. Besides, if produced, that E flat must be heard over the orchestra and choir otherwise why to produce it at all? So those who commented would have been nasty no matter what she'd have done.
I just woundering if I still sittng in my room infront off my beloved computer listen to a nother fantastic opera event on you-tub that I can never thank's fore, any howe ore I been BLASED to a nother dimension by thise power voisi's that make's hard metal rocker's pray fore mercy and green off anvy.
Rossi Lemeni's E in the Don Carlo aria, while well-sung, is held way too long. "Ella giammai m'amo" isn't an aria for vocal showboating, and I find his excessive holding of the note distasteful.
Jussi Björling high B from tosca was Orgasmic love it totally and the high C of Tabaldi in tosca was just so beautiful and Birgit Nilsson on turandot haaaa love it Now CALLAS E FLAT IN AIDA SHE IS A GOD....
Wow, Placido, on 6:36 to 6:47, is that really you? Sei tu? Eres tu?
It seems that all tenors with the name "Mario" had marvelous voices. Del Monaco and Lanza everyone knows but why was Filippeschi not so famous? He had such a great voice!
Scusate ma sono rimasto così incantato da Filippeschi che ho dimenticato di aggiungere Callas , Bjorling, Nilsson, Aragall e la sorprendente Tebaldi. Sul resto sono piuttosto perplesso.
Dopo "La vita mi cotasse!" Del Monaco è completamente calante nel "vi salverò" ed è calante il suo "vittoria , vitoria" , basta sentire quello di Domingo immediatamente dopo!
If you had included some decent E flats (early Sutherland or Sills), you would hear just how much of a wobble Callas's effort here has.
I also noticed that you were able to offer me no tenor launching a high C with bad Hong Kong to support your 'Pavarotti's technique was not so great' statement.
@Mooorhe Also, a minor issue evidently, is the the Callas E flat is flat. Also, the first high note in the "In Questa Reggia" is a B natural, not a high C. Fun listening to some of these other singers, though, some of whom I've never heard.
Charming. First of all, beauty is in the eye of the beholder and I don't behold Callas well, that's an opinion. Second, I'm not an "ignorant," I know quite a lot about opera, being in training (albeit the early stages) myself. On the other hand, I find your statement quite arrogant, you cannot simply dismiss someone else's opinon and state your's as fact. My opinions are my own, your's are your's, it will be best if we keep them apart. I have no will to be involved in a pointless argument.
Well, actually no thumbs down from me... I understand this comment, and I admit that Callas' high notes can be quite difficult to appreciate due to the wobble. I'm also not of the school that deems Callas' singing perfect. She's not perfect, but ironically, that is somehow perfection(I get it, it's a paradoxical statement... but that's just my opinion).
But I just love this high note - it's not (just) showing off... it's also this scream of pain on Aida's part.
I don't care what you think about Callas.She had a huge voice.Serafin,Tebaldi,Sitherland,Zefirelli and all of critics of the 50's who heard Callas in theater share my opinion.She sang with Simionato,del Monaco,Bechi,Stignani and she could always match them in terms of volume as the recordings demonstrate.
ConnonTenor was not challenging the size of Callas's voice. He was agreeing with my opinion of the high E flat.
If I recall correctly, you once criticised Tucker for having a loud voice. At least his loud notes were beautiful, much better than hearing a loud and ugly high E flat with a MASSIVE wobble.
So in theory, you should actually be criticising Callas for having a loud voice if you offered that courtesy to Tucker?
You are simply irrogant.I have nothing against loud voices.What I really detest is singing without dynamic control.Callas had an extremelly controlled voice in Sonnambula she did a decrescendo on a high E-flat in Lady Macbeth she sang a pp high D-flat.Sutherland could never float a note,her softer dynamic was mp and she couldn't decrescendo.How a shrill note could have covered Del Monaco,Dominguez and a huge chorus is beyong me.
Callas' control was not technical, it was willpower and, excuse me for saying it, balls. The voice was thrilling, and there was technique enough for the early years, but it didn't last. All the pianissimi I've heard are hollow and dry. Who cares, you don't listen to Callas the technician, you listen to Callas the dramatist. As for your comment on Sutherland..look, I think you're wrong, I don't think you could be more wrong, the entire voice was floated, at least until the 1964 Norma.
i agree with both of you actually; i think the note's quality left a lot to be desired, but i think it was still totally amazing! she TOTALLY covered mighty Mario Del Monaco, booming Oralia Dominguez and the dramatic Verdian chorus. not only did she cover them, but she drowned them out completely. man, even the ORCHESTRA was hard to hear.
Funny you should say that, because I don't think he DID sing his C against Nilsson's! As for Callas, yeah, it got wobbly, and even from the 1950 Mexico City records you can hear that it was always going to go wobbly, but I wouldn't technically call this a wobble. Overblown and unstable, however, yes.
Actually some notes are too sharp or too flat. For example, Bjorling is so powerful on "la speranza" that he almost sings C#. Del Monaco is flat...especially in "Vittoria".
WOW!!! Excellent work! Even when Nilsson is not one of my favorites it is wonderful how she make you unable to hear the Tenor. I still wonder how many people dare to say that Callas had always a small voice, after listening to her E-Flat sore over everyone, the chorus and the orchestra is obvious how huge here voice really was!!! Even Tabaldi's note is really pretty, i personally hate Tebaldi, but can't say anything bad about her note on this video.
yep, what I always say is that it has a near-Nilssonian power with that beautiful Italian legato and passione most Germanic voices are devoid of. Tebaldi is my favourite soprano!
@NMEnrique The point is you don't know what you're talking about unless you heard her live. People who saw her performances said she could if she wanted to out-sing pretty much any tenor (although she would have the skill to hold back her voice and not drown them out if she wanted to). Recordings don't give a good indication of her voice.
horn0viola 1 month ago
@NMEnrique In fact even when Prevedi comes back in you can here Nilsson easily over him.
horn0viola 1 month ago
@NMEnrique I think you're right that he didn't sing the high c, but I happened to here Nilsson live and she easily drown out any tenor, and from the recording of her and Prevedi she seems to easily be a match for him too, although he has a huge voice.
horn0viola 1 month ago
Favolosi!
Fasolt100 1 month ago
@NMEnrique no match: FILIPPESCHI WINS HANDS DOWN ! ! !
muchogustavo1 2 months ago
Beautiful collection of notes wobbles and all! Thanks for posting.
RRydnew 3 months ago
Holy crap I got goosepumps over and over again.. Tähän pyritään..
unikulkija 4 months ago
la vita mi costasse... ma siamo certi di quel che combina del monaco?
e il buon placido mi pare smentisca coloro che dicono che è tenore senza acuti.
gli acuti non sono tutti, ma come fa un melomane a farne a meno :-)
alflig1 5 months ago
E' impressionante la quantità vocale e la proiezione in avanti della voce della Tebaldi
80Mrmirko 5 months ago
Oh please... I was expecting to hear great voices like Andrea Bocelli ,Paul Potts, Sarah Brightman
RonaldBarone 5 months ago
The loudest singer ever is Carl Haus. After him is Luciano Pavarotti. Pavarotti despite his medium voice he had the most perfect technique which allowed him to be the second loudest singer of all time.
ThePavafan 7 months ago
@ThePavafan listen to FILIPPESCHI in this video!
suchero 7 months ago 3
@suchero Filippeschi isn't one of the biggest voices ever but because of his technique he is one of the loudest voices ever. In Tosca he drowned Maria Callas totally.
ThePavafan 7 months ago
Un ramassis très hétérogène:Le meilleur côtoie le pire!..Serviettes et serpillières entassées dans le même tiroir:Pas hygiénique et vraiment pas didactique!
abracadabranque 7 months ago
I don't agree with the descriptions of these performances- many/most are painful/embarrassing. Except Nilsson and a few others. But really fun to listen to the insanity. Thank you for some great entertainment, if some lousy singing!
fullbuck50 7 months ago
Nilsson, Fillipesschi and Domingo! Now that is high and loud and in TUNE. Some of the rest of this is just ill-pitched screaming, and I love every minute of it. LOL Thanks for the giddy pleasure!
metropolitan1966 7 months ago
Tutti straordinari,ma la Callas ha compiuto un miracolo!
Poetapersempre 8 months ago 2
Nilsson and Fillipesschi are absolutely wonderful, as are Bjorling, DelMonaco and Domingo. I love the volume on Tebaldi and Callas' notes as well. If you had more time on this video, which was very well done and interesting, I personally would have included Joan Sutherland's E flat during the mad scene in Lucia di Lamermoor or even Rigoletto during Si Vendetta, and Sherrill Milnes' A flat in the Pagliacci prologue at the Met, one of the most thrilling baritone notes I have heard.
Beth29252 8 months ago
AfroPoli, gracias por ésta original y buena selección de inerpretes de la lirica.. Causa extrañesa que no esté el Gran Maestro Franco Corelli, la más bella e imponente voz e inalcansablemente hermosa interpretaciones, o uno de los más grandes tenores.
pieritlyon 8 months ago
la nilsson poteva anche evitare di asfaltare così prevedi!
FILIPPESCHI
liEder89 8 months ago
I, for one, have no interest in hearing every singer render "a stock version" of an aria, which is what is served today in most major opera houses. No wonder old-time recordings are so popular with listeners. Added to my list of FAVORITES.
gmmix 9 months ago
This is a thrilling assemblage of outstanding singers. The poster's obvious liking for Filippeschi is readily understandable--and until today I never heard of the man! What makes this collection so fascinating is that the singers did their particular thing to thrill their audiences...and they succeeded admirably.
gmmix 9 months ago
@gmmix
Thank you AfroPoli for this fine, wonderful posting... and thank you gmmix for sharing!
CurzonRoad 9 months ago
INACREDITÁVELLLLLLLLLL !!!!!!
maramos68 10 months ago
La Nilsson ,Bravissima !
nedingen 11 months ago
Many thanks for this compilation - wonderful and very much appreciated.
newdor 11 months ago
Filippeschi best of the best
lll1030 11 months ago
I think singers singing those EXTREMELY long notes, obnly demosntrated what a bad taste, out of style and egocentric they´re, not respecting what the composer wrote and much less, non whatsoever respect of music. Only showing off and sometimes not really beautiful.
ezayi 1 year ago
@ezayi Live it up and enjoy and forget that intellect. Jeesh.
rovingdesertfox 9 months ago
@rovingdesertfox Bad taste is difficult to ignore.
ezayi 9 months ago
@ezayi but so much fun...!
RVP57 8 months ago
@ezayi FILIPPESCHI! FILIPPESCHI FILIPPESCHI!!!!!!!! he was a REAL TENOR!!!! not small voices of these days.....
suchero 9 months ago
@suchero Most of the times, ugly!
ezayi 9 months ago
espectacular
elyavet666 1 year ago
Joan Sutherland was known to have the best of all high notes, yet doesn.t feature here, how odd!
timsuffolk 1 year ago
yeeeeeeeah
hevertonfonseca2 1 year ago
CALLAS!! That E flat gave me goosebumps!! those who think she had the wobble in this early part of her career are deaf! she always had a LOOSE vibrato even in her low notes.. she never had the tight vibrato that sutherland had.. both are amazing but you can't find any recording of JS doing that kind of E flat! notice how maria's voice just fades out after she held that Volcanic E flat?? no one dares to do that kind of stuff anymore.
tripleaxell 1 year ago
Viva Nilsson!
siegmund80 1 year ago
I can't imagine how loud Tebaldi's C was at ~2:!5, but the audience literally explodes. She didn't always get Cs this great, so they must have been beside themselves.
Opera2go 1 year ago
hehe! Not so many years ago, I would have "jumped into the fray" with a vengeance! Listening to today's singers however, causes me to say about everybody in this compilation -- "It's a waste of time to worry about the things they're not; be thankful for the things they got" (with apologies to Luther in So Pacific).
Randidan 1 year ago
Mario Filippeschi!!!
arumtriphyllum79 1 year ago
And to think that Amadeo Zambon,Martinucci and Giacomini were Plamingos covers for so many years..............
callasnuts 1 year ago
Bravo everybody! Nilsson was unbelievable! Callas was divine! [Probably biggest E-Flat ever! Enough to cover a Wagnerian orchestra and chorus! But of quiestionable taste in that portion of the opera...]. Bjôrling beuatiful as always [What control!]. But MOST important is that most of them had dramatic and emotional meaning, they were sung with DRAMA!
AOG93 1 year ago
Aragall is singing beautifully as usual in an opera house. Many of the others sound as they were in a zoo.
esclarmonde1 1 year ago
Biorling (stupendo) è spesso crescente e la Tebaldi in compenso è calante ma anche la Callas le tiene compagnia anche se si spinge al mi. Anche Del MoNACO non è da meno.Per fortuna che c'è Filippeschi.
NeuroniAssociati 1 year ago
@NeuroniAssociati ...prima di dire che la Tebaldi è calante bisognerebbe sapere in quale chiave ella cantasse. Ma oramai oggi sapere prima di parlare è una rarità...
SensusEtRatio 8 months ago
Sorry should of course be 'Filippeschi' and 'Barioni'
mozzrt 1 year ago
Shame no Sutherland/ Kirsten Flagstad/Leonce Escalais/Nazzareno de Angleis/Gertrude Grob-Prandl/Corelli - but enjoyed most of what was here except Barioni and Mario Filippeschi, who sounds like a dying goat.
65attila 1 year ago
@65attila Filippeschi a dying goat? You need a hearing aid.
Melomondo 1 year ago
@Melomondo
Why are you rude to someone you do not know?
This is my reaction to Mario Filippeschi. If you do not like it - get over it. My ears are much better than your manners.
65attila 1 year ago
@65attila Not very polite to call a great singer a dying goat. Your behaviour is bad and your ears are apparantly even worse.
Melomondo 1 year ago
@Melomondo
The singer is dead and their work ought to be evaluated OR do you
think only positive reviews are allowed.? I suggest you read reviews of singers some of which are good and others not so. For you it is okay to attack me because I do NOT agree with your opinion. Strange thinking.
65attila 1 year ago
@65attila Come on, if you state your comment by such a comparison, you don't have to be that niminy-pinimy relating to yourself. I guess it is less rude to tell you that you need a hearing aid as your image of Filippeschi singing like a dying goat, and I think because he is dead you could show more respect. You don't have to like him but you can just state this in a more concrete way by using musical arguments, don't you think?
bassavoce 1 year ago
@bassavoce
What musical terms are like a dying goat - strangled and bleating
tone ERGO a dying goat. Is is OKAY to describe a voice as beautiful as a Lark?
Got it now?- singing is sometimes described in terms of nature.
I do NOT think the DEAD deserve more respect than the living when it comes to art. How about Florence Foster Jenkins?
BTW - what do YOU like about Mario Filippeschi's singing here?
65attila 1 year ago
@65attila I did not say that dead artists should be more respected than alive artists, I just said you could show some respect because you mentioned he is dead and so you can say whatever you want to. So you really want to say that to give an opinion about a wannabe-singer who is famous for not beeing able to sing like Foster Jenkins is comparable with a great singer an respectable artist like Filippeschi, you must be kidding.
bassavoce 1 year ago
@bassavoce
Well at least you spent some time talking about Mario Filippeschi's
singing rather than about me. Good boy!!!!! You seem to have trouble with subtle
thinking.
65attila 1 year ago
@65attila What you call subtle thinking is just weak argumentation and full of nonsense, that's all.
bassavoce 1 year ago
@bassavoce
I posted about IMO about Filippeschi's poor singing and you and melomondo
attacked ME rather than defend Filippeschi. You did not even argue with me - just attacked me. Your mind seems not very accurately targeted.
65attila 1 year ago
@65attila I attacked you? Where did I attack you? Now you are getting rude, for what reason? You must be mental.
bassavoce 1 year ago
@65attila If you think it is OK to say that Filippeschi's performance reminds you of a dying goat, you must be comfortable when I tell you that your comments remind me of a deaf ignorant. And if you think that it is OK to insult people because they are dead, then you can't complain if I declare you... well, never mind.
Melomondo 1 year ago
@Melomondo In fact 65attila singled out Fillipeschi and Baroni. Quite rightly and Fillipeschi is by far the worst of these two. A penetrating ringing voice can be fantastic like Bjoerling from 1939, but his vibrato is wonderful while Fillipeschis is horrible. A beautiful voice is not the same thing as a strong firealarm. Not to mention the singing leading up to Fillipeschis high notes, hadn't he a musical coach? 65attila may be a bit rude but he isn't a "deaf ignorant"...
mozzrt 1 year ago
@mozzrt I think that Barioni suffers from terrible audio quality on this particular video. I have a much, much clearer recording of his "E nun me fa Campa" and the C at the end is really incredible. He seems to be very underrated amongst the YouTube opera crowd.
nhcrama 1 year ago
@65attila I am sorry I can't hear what you hear and his high notes are phenomenal.
But to describe it for you in terms of nature, his singing sounds as beautiful as a Lark to me. Got it?
bassavoce 1 year ago
Grazie per aver pubblicato questo video..
palymusic 1 year ago
Tebaldi is too deep on her C, too deep; Nilsson, great, is singing a B natural in In questa Reggia not a C; Del Monaco is too deep through the entire two pieces; Domingo is singing, beautifully a B natural, not a B flat; the B flat at the end of Celeste Aida, is written pp and morendo, by VERDI. Opera is about making MUSIC not only about high notes..... but thank you for the effort...
colonia3059 1 year ago
A singer should have even and effortless vibrato, fantastic beauty, no difficulties with breathing and so on. That goes for the highnotes also. Nilsson is splendid, but Tebaldi has done so much better, she is not good here. Rossi-Lemeni is awsome, let alone that it isn't a stupendous highnote. But there is only one highnote in here that is truly and honestly MAGICAL in it's perfection, the young Bjoerling. You very seldom get to hear a high pure vibratoperfect highnote like that.
mozzrt 1 year ago
I have a great recording of Pavarotti doing "La donna e mobile" and he took the piece up a half step (probably just because he's Pavarotti) so he ends with a massive and wonderful C!
crazycellist973 1 year ago
Tebaldi was ruined by the idiotic audience, she was great though. Callas not. Bjorling 59 bad, Bjorling 39 absolutely spectacular. Del Monaco ghastly of course. But Nilsson is the true wonder. Windows must've cracked.
zgopify 1 year ago
@zgopify Callas not great, Björling 59 bad and del Monaco ghastly of course, sorry don't think so.
JussidelMonaco 1 year ago
Il "Li mortacci tua" all'acuto di Barioni è fantastico. Musicalmente mi piace di più Aragall.
Vendimi3 1 year ago
i never liked aragall... but here he sounds amazing?
what happened later on? in tosca he seems to be trying very hard... am i wrong?
of course he is an amazing performer and great actor.
arisathanactor 1 year ago
Il Do su "lama" della Tebaldi è una cosa apocalittica, di una precisione e una potenza vocale fuori dal comune... cosa darei per esser stato in quel pubblico esultante che non l'ha lasciata proseguire con "gli piantai nel cor". Grazie per aver pubblicato questa preziosa rarità !
stesondrio88 1 year ago 2
@stesondrio88 condivido ... saluti
federic017 1 year ago
you've got the notes wrong - you need to check. jussi note is a Bb, Nilsson's is a B, etc.
ketillflatnefur 1 year ago
Audiences just don't react that way anymore.... Could be that we don't have singers like these though..
johnluc19 2 years ago
Callas y Bjorling por lejos los mas grandes cantantes de opera de la historia, lo que uno busca en la voz ellos te lo dan, magnificos. Muy bien filipeschi, tambien me gusto mucho.
lpizzella 2 years ago 3
Nillson didnt drown out the tenor in Turandot... he didnt sing it..! Haha...
tenorgoodfella 2 years ago
next time make sure to put pavarotti's high C's in La Fille and Gedda's high D's in Puritani. =)
tneprescintr 2 years ago
li mortacci tua???? LOL
barioni i like him
amdnovello 2 years ago
oh my gawd! tebaldi's high c made my bedroom rattle! i think it also may have cracked one of my teeth! taht's for the bitches who say she could not sing it
SiEtIn1 2 years ago
wow tebaldi in tosca is stupendous beyond belief
theprimadonna1980 2 years ago 2
you know the aria from don carlo by rossi lemeni is really called "ella giammai m'amo
theprimadonna1980 2 years ago
Callas is simply amazing in this performance - search Aida Del Monaco -Callas Dal vivo 1951 Messico for a great clip of it.
turnipoverlord 2 years ago
non è giuso identificarli con gli acuti, poichè il canto non è solo quello.........
ma sarebbe bene che li sapessero fare.......... visto ke è sempre più difficile sentirli, e soprattutto sentirli belli,potnti, fermi,e belli in fuori con una voce pienamente in maschera!!!!
carloge77 2 years ago 4
@carloge77 Si , lei ha ragione...saluti
federic017 4 months ago
Possibile che ci sia ancora chi identifica il cantante con gli acuti?
nuovoarrivato 2 years ago
I heard Domingo ons stage - that Bb was a huge warm wave of sound.
65attila 2 years ago
Mi piacerebbe sentire tutta Dicitencello Vuje cantata da Daniele Baroni, potresti inserire su youtube il brano completo?
In ogni caso grazie mille per questo video, contiene davvero delle perle stupende :-)
Blasphemator666 2 years ago
Wow...booming high c from Tebaldi in that Tosca clip!!!
leadoffeohippus 2 years ago
Why thank you. I heard both Pavarotti and Giacomini sing Cavaradossi at SF Opera. I would have heard Domingo too but I got Spiess on my series not Domingo. Of course I heard Domingo in many other operas.
Agorante 2 years ago
It's odd to have Rossi-Lemeni sing only an E Natural. At the end of next scene Phillip steps forward and sings an exposed phrase from a high F to a low F. At the very end of the opera he sings a high F#.
Agorante 2 years ago
I have posted before the opinion that Domingo had better top notes than Pavarotti. That's when the death threats begin. Domingo had(has?) a really great B flat. I heard him blow his voice out on a B Natural once and of course he never sang a C on stage. Pavarotti just didn't have the power or punch for climactic high notes. Pav always sang the high options that Domingo typically avoided but when you come to that single high B Flat - it was Domingo who had the goods.
Agorante 2 years ago
@Agorante
of course! cause domingo has a dramatic voice and because of thicker chords he has more harmonics.
pavarotti could never get all this weight because he had a lyric tenot voice. but this is nature and not technique...
then again ... domingo uses more pharyngeal that produces chest weight on top notes.
but using so much weight you cannot sustain singing above the passagio that long.
arisathanactor 1 year ago
I have yet to hear a disappointing high note from Björling - and one that is not flat from Tebaldi ...
saiserieht 2 years ago 3
Nice compilation. My favorite is Jussi Bjorling. But you cannot really judge vocal size on a recording. Even on stage you may be in a favorable position and get an acoustic boost. As for Callas, in this case it sounds like the entire chorus sings an octave lower making her voice stand out more.
montallio 2 years ago
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"AfroPoli", the very fact that you resorted to name-calling, mudslinging pretty much shows that you are unable to engage in a debatement in a civilized, intelligent manner. And that explains the reason why Nilsson is good for you, just as person like is good for Nilsson.
mannail888 2 years ago
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"AfroPoli", the very fact that you resorted to name-calling, mudslinging pretty much shows that you are unable to engage in a debatement in a civilized, intelligent manner. And that explains the reason why Nilsson is good for you, just as person like you is good for Nilsson.
mannail888 2 years ago
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Yeah, I didn't know. I just know Beniamino Gigli was a woman. Do you know at all what a woman means?
mannail888 2 years ago
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You bunch of ostrich queen, you could thumb down my comment. But that didn't change the fact Tebaldi went off pitch in that high C and that Nilsson used to scoop up from beneath instead of attack dead-center whenever she sings notes above the stave and along the way paid no attention to the one golden rule that governs all kinds of singing: legato. Not to mention characterization, phrasing, nuance, subtlety are all but absent in Nilsson's sphere.
mannail888 2 years ago
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All she did through the years was getting ready for the next high C, of course from beneath.
mannail888 2 years ago
I pitched the Zambon 'B' as a high C. I know it's B in the score. Pitched del Monaco's B as a B natural on pitch. Zambon went sharp. But it's great singing.
GermanOperaSinger 2 years ago
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When tebaldi sung that high, I rather hear caballé in that, hear here in youtube her version his carreras.
tena2 2 years ago
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Notwithstanding the instant applause, Tebaldi 's high c is totally off pitch. And by the way, Nilsson's so called high register is hardly what is generally trumpeted to be: she changes the thread of the voice whenever she sings notes above the stave, scooping up to it from beneath instead of attacking it dead-center, paying no attention to the one golden rule that governs all kinds of singing "legato". She definitely is one of the most over-rated singer of all time.
mannail888 2 years ago
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What an absolute rubbish, that can only be written by someone who has never heard her live! I have heard her more than once, and it remains one of the greatest operatic experiences i have had in my life. By the way I agree about Tebaldi being very flat on her high note.
oscalinetto 2 years ago
The Callas's Eflat is near ultrasound!
Galoises73 2 years ago
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hahaha yes i agree i think some of the Audience when deafffff
MAPIAKALLAS 2 years ago
...sure I guess Domingo..the B flat
j72050 2 years ago
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I'we never heard about Amadeo Zambon, but he is unbeliveable! Tebaldi is very flat, and also MDM in Vittoria! Domingo gives a great effect. A lack some Correli moments. He was the only, who coul go with Nilsson is Gli emigni sono tre.
marokt 2 years ago
I must say I was very impressed by Domingo's beautiful and secure high note as well as by the way Lauri Volpi manages to control his wobble and give the audience another stunning acute.
As for Callas, she developed a wobble in the early 50's which became more pronounced with the years. However, this is not in evidence in this Aida. Far from that. For a person who had been singing demanding parts since her teens she is in excellent vocal state. Those seeking a Callas wobble must look elsewhere.
bAdAbAdA13 2 years ago
La Nilsson in Turandot è invece fenomenale
carlo331 2 years ago
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Il DO della Tebaldi è paurosamente calante!! altro che acuto suberbo...
carlo331 2 years ago
I miei preferiti qui, sono Zambon e Filippeschi. Quello che si mostra da del Monaco e Lauri Volpi e piu tosto calante. Sono grandi, ma non si capisce da questa registrazione. Sicuramente si puo trovare una migliore!
yonkoff 2 years ago
I love aragall's " la speranza"...
ulyg92 2 years ago 2
Callas' E flat is neither shrill nor wobble. I find it perfect. The recording is very old and everything sounds a bit wobbly. Besides, if produced, that E flat must be heard over the orchestra and choir otherwise why to produce it at all? So those who commented would have been nasty no matter what she'd have done.
AliciaDupres 2 years ago 2
I just woundering if I still sittng in my room infront off my beloved computer listen to a nother fantastic opera event on you-tub that I can never thank's fore, any howe ore I been BLASED to a nother dimension by thise power voisi's that make's hard metal rocker's pray fore mercy and green off anvy.
(sorry fore terribly dyslektiv Swed-Anglo-American lingvestik)
tjallew 2 years ago
Once singers could hold notes as long as they wanted to...Not these days...
Bigman240 2 years ago 11
@Bigman240 The duration Netrebko holds her Eb is pathetic
Drelnis 1 year ago
@Bigman240 because they can't do it anymore.
seektheforce 1 year ago
Jussi Bjorling is the best tenor ever!! no voice like that.
cantanteporsiempre 2 years ago 22
Faltaría 'Enzo adorato"..Callas en su grabación Cetra; Di Stefano: Salut demeure en el Met. y, Corelli: la Tosca de Parma y el Poliuto...
Erial80
erial80 2 years ago
Rossi Lemeni's E in the Don Carlo aria, while well-sung, is held way too long. "Ella giammai m'amo" isn't an aria for vocal showboating, and I find his excessive holding of the note distasteful.
BorisGodunov 2 years ago 2
missed corelli
lyricarts 2 years ago 3
Anyone got more of this Achille Braschi? Never heard him before and I'm really curious to hear more from him
poolification 2 years ago 2
Callas unbelievable !!!!!!!
Galoises73 2 years ago 3
...mio dio che cantanti!
maxpertile 2 years ago 2
holy crap, that MDM high B from Tosca is just amazing!
OettingerCroat 2 years ago
Great! but i think you missed the F of devia in sonnambula, and also nucci's A!!! in la forza
bachsnachkomme 2 years ago
Jussi Björling high B from tosca was Orgasmic love it totally and the high C of Tabaldi in tosca was just so beautiful and Birgit Nilsson on turandot haaaa love it Now CALLAS E FLAT IN AIDA SHE IS A GOD....
MAPIAKALLAS 2 years ago 3
Wow, Placido, on 6:36 to 6:47, is that really you? Sei tu? Eres tu?
It seems that all tenors with the name "Mario" had marvelous voices. Del Monaco and Lanza everyone knows but why was Filippeschi not so famous? He had such a great voice!
Milordvega 2 years ago
And yet no-one has whinged about Lauri Volpi's wobble! Effortless, my foot..
33blueberries 2 years ago
Personally I am blown away, knowing that Lauri-Volpi was 65 years old at the time of the recording.
KnutUrban 2 years ago
Scusate ma sono rimasto così incantato da Filippeschi che ho dimenticato di aggiungere Callas , Bjorling, Nilsson, Aragall e la sorprendente Tebaldi. Sul resto sono piuttosto perplesso.
lanaturale 2 years ago 2
Qui gli unici acuti fantastici che si sentono sono quelli di Mario Filippeschi.
lanaturale 2 years ago
En la frase "Quel grido e quella morte" no es un Do Agudo, es un Si agudo. In th frase "Quel grido e quella morte" is not a high C is a B!
jorgeraulcassis 2 years ago
Dopo "La vita mi cotasse!" Del Monaco è completamente calante nel "vi salverò" ed è calante il suo "vittoria , vitoria" , basta sentire quello di Domingo immediatamente dopo!
camilla0690 2 years ago
No wobble?
If you had included some decent E flats (early Sutherland or Sills), you would hear just how much of a wobble Callas's effort here has.
I also noticed that you were able to offer me no tenor launching a high C with bad Hong Kong to support your 'Pavarotti's technique was not so great' statement.
Mooorhe 2 years ago
A decent E-flat by Sills?LOL.Her high notes evenduring the early years of her career where small and shrilly like Scotto.
quis178 2 years ago
@Mooorhe Also, a minor issue evidently, is the the Callas E flat is flat. Also, the first high note in the "In Questa Reggia" is a B natural, not a high C. Fun listening to some of these other singers, though, some of whom I've never heard.
iriisblue 1 year ago
@Mooorhe hahaha callas did not had a wobble in the E you have a wobble on in and at your brain and ears
danielryandesign 1 year ago 11
Girls you obviously need to discover
Leon Escalais, Emile Scaramberg,
Vezzani and Alain Vanzo.
Thanks for that nice video.
SENAFOREVER 2 years ago
well, what a pitty!
rezila 2 years ago
excuse me but where is corelli?
rezila 2 years ago
Wow, that tenor may as well have not sung his high C against that huge Nilsson one...
Callas annihilate everyone with that horrible shrill E flat with a massive wobble... sure...
Mooorhe 3 years ago
I know I'll get a few thumbs down for this but I'm glad I'm not the only one who thinks that way about Callas.
ConnonTenor 2 years ago
You are not the only ignorant in this site.Callas had a huge voice and that's a fact independently of any objections.
quis178 2 years ago
Charming. First of all, beauty is in the eye of the beholder and I don't behold Callas well, that's an opinion. Second, I'm not an "ignorant," I know quite a lot about opera, being in training (albeit the early stages) myself. On the other hand, I find your statement quite arrogant, you cannot simply dismiss someone else's opinon and state your's as fact. My opinions are my own, your's are your's, it will be best if we keep them apart. I have no will to be involved in a pointless argument.
ConnonTenor 2 years ago
Well, actually no thumbs down from me... I understand this comment, and I admit that Callas' high notes can be quite difficult to appreciate due to the wobble. I'm also not of the school that deems Callas' singing perfect. She's not perfect, but ironically, that is somehow perfection(I get it, it's a paradoxical statement... but that's just my opinion).
But I just love this high note - it's not (just) showing off... it's also this scream of pain on Aida's part.
murderouskeeshondje 2 years ago
I don't care what you think about Callas.She had a huge voice.Serafin,Tebaldi,Sitherland,Zefirelli and all of critics of the 50's who heard Callas in theater share my opinion.She sang with Simionato,del Monaco,Bechi,Stignani and she could always match them in terms of volume as the recordings demonstrate.
quis178 2 years ago
It is again you who is ignorant, quis178.
ConnonTenor was not challenging the size of Callas's voice. He was agreeing with my opinion of the high E flat.
If I recall correctly, you once criticised Tucker for having a loud voice. At least his loud notes were beautiful, much better than hearing a loud and ugly high E flat with a MASSIVE wobble.
So in theory, you should actually be criticising Callas for having a loud voice if you offered that courtesy to Tucker?
Pathetic.
Mooorhe 2 years ago
You are simply irrogant.I have nothing against loud voices.What I really detest is singing without dynamic control.Callas had an extremelly controlled voice in Sonnambula she did a decrescendo on a high E-flat in Lady Macbeth she sang a pp high D-flat.Sutherland could never float a note,her softer dynamic was mp and she couldn't decrescendo.How a shrill note could have covered Del Monaco,Dominguez and a huge chorus is beyong me.
quis178 2 years ago
Callas' control was not technical, it was willpower and, excuse me for saying it, balls. The voice was thrilling, and there was technique enough for the early years, but it didn't last. All the pianissimi I've heard are hollow and dry. Who cares, you don't listen to Callas the technician, you listen to Callas the dramatist. As for your comment on Sutherland..look, I think you're wrong, I don't think you could be more wrong, the entire voice was floated, at least until the 1964 Norma.
33blueberries 2 years ago
i agree with both of you actually; i think the note's quality left a lot to be desired, but i think it was still totally amazing! she TOTALLY covered mighty Mario Del Monaco, booming Oralia Dominguez and the dramatic Verdian chorus. not only did she cover them, but she drowned them out completely. man, even the ORCHESTRA was hard to hear.
OettingerCroat 2 years ago 2
Funny you should say that, because I don't think he DID sing his C against Nilsson's! As for Callas, yeah, it got wobbly, and even from the 1950 Mexico City records you can hear that it was always going to go wobbly, but I wouldn't technically call this a wobble. Overblown and unstable, however, yes.
33blueberries 2 years ago
FILIPPESCHI Is FANTASTIC!!
XPRT10R 3 years ago 3
Actually some notes are too sharp or too flat. For example, Bjorling is so powerful on "la speranza" that he almost sings C#. Del Monaco is flat...especially in "Vittoria".
Callas is exceptional, unbelievable!!!
jhvorotin 3 years ago 2
Silvano Carroli, Mario Del Monaco, Mario Filippeschi...i meglio!
nnsochedirti 3 years ago 4
Aragall is stunning here
Bjoerling divine
Tebaldi's high c is HUGE and glorious
Nilsson - do we really need to say anything? Force of nature
Callas Eflat in Aida is stunning
Del Monaco blows most of them to dust
It's a tough act to follow for all of them, what a great idea - thanks AfroPoli!
Andante735 3 years ago 14
WOW!!! Excellent work! Even when Nilsson is not one of my favorites it is wonderful how she make you unable to hear the Tenor. I still wonder how many people dare to say that Callas had always a small voice, after listening to her E-Flat sore over everyone, the chorus and the orchestra is obvious how huge here voice really was!!! Even Tabaldi's note is really pretty, i personally hate Tebaldi, but can't say anything bad about her note on this video.
NEBESHIKU 3 years ago 2
Who cares so much about top notes, it is not football. Only tenors maybe...;-)
foropera 3 years ago
afropoli: Nilsson high note in "quel grido!" is a Bflat (Sibemole), NOT a high C
claraprellitensky 3 years ago
Right. It should be a B natural though according to the Ricordi score. My apologies.
AfroPoli 3 years ago
yes, nilsson is singing a high B
OettingerCroat 3 years ago
incredible massive Tebaldi high C.Tebaldi voice on top is unbeleivable huge
paternostro63 3 years ago 4
yep, what I always say is that it has a near-Nilssonian power with that beautiful Italian legato and passione most Germanic voices are devoid of. Tebaldi is my favourite soprano!
OettingerCroat 3 years ago 2
I have to agree, Tebaldi is far better than Nilsson.
Mooorhe 3 years ago
If a little flat.
33blueberries 2 years ago
stupendous!!!
OettingerCroat 3 years ago 2
Nice clip, but singing doesn't consist only in singing top notes...this is just a game!
Fehlzeiten 3 years ago