I will never forget the first time I heard his voice on recording. I was listening to his interpretation of "Oh Thou Tellest Good Tidings" from Messiah conducted by Bernstein. A countertenor myself, I was shocked by what I heard. His placement is perfect! I had to check the box to make sure it really was a male singing. My mother thought he was a contralto like herself. We were very taken by surprise! He sounds sooo much different then the modern countertenors of today! BRAVO!!!!
He needs to do a word for word translation of the lyrics as he does not seem to know what he is singing about given his non verbals. He needs to take a lesson from Marilyn Horne.
Mr. Oberlin has an incredible naturally high male voice and a fabulous coloratura technique. The natural sound of his singing is prescious and probably unique. What a gift to be able to hear him on video! Thank you for the gift of your singing, Sir!
Cannot bear Philippe Jaroussky nasal tonalities: Russell Oberlin has none of that and as mentioned by other commentators appears to have no strain at all throughout his entire range. An amazing voice! What a gift!
Now that the music world belatedly has regained an interest in Baroque opera, one might say that Russell was a generation or more too early....or a century or more too late. Thank you for emphasizing the fact that Russell sang alto with full voice. The term "countertenor" as thought of today can mislead people.
Yes, he was my teacher and still dear friend. Russell is not and never was a "falsettist." His speaking voice is quite high...He is natural, I can assure ALL of you.
I have heard Phillippe Jaroussky and David Daniels to name 2 contemporary favorites. Still...Russell Oberlin will remain a counter-tenor upon whom all others might be measured, at least, for me.
i can imagine and accept he was not using falsetto. but how do you explain the absence of strain on *all* the range ? surely the highest note should be more strained like they are for a tenor (but at lower pitch) ?
He has other pieces (I only have recordings, no links) in which he has to go higher than this. You can hear the fringes of strain in them. This is simply not the top of his range.
....................la sua grandezza nel non falsare mai il timbro lo rende sicuramente uno dei più grandi e la tecnica nel fiato e nelle agilità da senz'altro filo da torcere a molti mezzosoprani donne.
This is the best rendition I've ever heard. Oberlin is incomparable. I also appreciate the sensible tempo. Somewhat faster is acceptable, but too often many performances are so super-vivace as to be sloppy and unappealing.
wow, this was your teacher! wow! i can't believe this. he is a pioneer! what a wonderful voice! do you know the same is sung from philippe jaroussky, lets watcht it! it's also wonderful
I think he sounds like hes using a modified head voice falsetto register with hints of whistle but really utilizing a secret Oberlin register that using pedagogical principles similar to that of a tenore di grazia mixed with the timbre of a supposed castrati sound, although it is possible that there are no registers and that he is only using two of them.
That's what you all sound like. I just think he sounds pretty and awesome.
You would realy have to listen to his speaking voice over the course of an hour or so to realy get a sence of if he is either a high tenor or a counter tenor.
Though his claims of Haute Contre are debatable, the term "High Tenor voice" is utter rubbish; his mechanism does not slightly resemble a chested mechanism which a tenor would use, he also is much more strained on his lower notes, which a naturally high tenor wouldn't be. I believe he's a counter-tenor, whom used a voice covering mechanism to extend his softer tone. I think the confusion with Russel Oberlin today is that the term "Counter-tenor" was often met with automatic disdain, (cont.)
So hence to support his commercial career, he used other termanologies (such as Haute Contre, or high tenor) which was more respected than the mis-interpreted "Counter-tenor" and "Falsettist". The use of the term falsetto does bear a ugly stereotype, which many have paraded here, there is a define diffrenciation between "weak falsetto" which Russel Oberlin "demonstrated" between a fully structured mechanism inbuilt into the singers natural mechanism.
On a final note; don't automatically disregard falsetto, it is another singer technique which some singers use well, some don't. In the end it don't matter what technique you use, it matters that you're delivering the music.
I actually do believe Oberlin used a different mechanism than pure falsetto, an extension of head voice. You wouldn't think Natalie Dessay used whistle register but head voice, so why asume a high tenor has to use falsetto?
Anyways, my voice is very similar in timbre to his, but I do have strong low notes, even bass notes as well as soprano notes. But those high notes are more of a controlled scream, not the pretty sound of falsetto but bright and LOUD.
I don't think you acctually read my comments, I never implied that Oberlin used pure falsetto at all, I just do not believe he's a 'naturally high tenor'; timbres don't match. Musicians as a whole are still (after years of research) ill equipped to describe and pinpoint all the differant counter-tenor mechanisms.
Have you listened to all of his recordings? He has many. Not only his solo albums, but his recordings as a member of New York Pro Musica, and his ones of early music on the EA label. Also his Messiah. He is different from any other countertenor, male alto, or wahtever term you use for this voice. I urge evryone to seek out his recordings. There is also a live Samson from maybe Dallas in the early sixties.
My timbre is very similar to his, and I definitely employ a good bit of falsetto. BUT...I think most people are neglecting a mixed register. I believe he (as I do) utilize a very mixed register up until the secunda passaggio (which Oberlin never goes over). After that secondary break in the mixed register, it turns into "full falsetto." Under laryngeal analysis my "mixed" register (up until about the C above middle C -- C5) looked more like a "head/chest" mechanism than falsetto.
I was acctually wondering when you was going to comment (We seem view alot of similar music *rofl*). I did acctually mention that you do not have to restrict your registration to single mechanisms, which is was you've just mentioned. You can't describe vocalists by vocal pedaogry/mechanisms accurately, you can only ever estimate; each and every ones voice is unique, with it's own warmths/strengths, you should never try to imitate another singers sound production because of this.
Single mechanisms and mixed registers are things that must be very specifically stated when dealing with countertenors. I happen to disagree about your statement on pedagogy. I think all people's voices can be broken down into pedagogical components, because the vocal mechanisms are science not mere opinions. However, resonance issues are unique to each singer, due to the architecture of the skull being different in everyone. Imitation should only be used for effect, not fundamental tone.
No pedagogical description can valueably define or justify any voice, and because analysis of such mechanisms are based upon "scientific proof", manipulating them is still a much opinionated matter. (Which that singer may or may not have indulged in)."Mere opinions" is quite a wrongful statement, as your "vocal science" is still down to opinions, which is why no singer should imitate another; you should indulged in your own vocal science.
It doesn't sound tenot at all to me, I agree. I think it is just a good medium-pitched countertenor (reinforced falsetto sound) like you heard David Daniels doing, for example. So-called falsetto does not have to be "thin", it depends how you do it/if it suits your voice etc. I don't really like the term. Peole are obsessed about not using a "false"sound. It is just one kind of (valid) singing style among others
Is Oberlin singing live here or miming? The sound track, if it is that, shows great purity and consistency of tone and very accurate and easy florid singing. This strikes me as a perfect performance of its kind.
In this clip, Oberlin engages in somewhat unusual physical movement, as he moves his head from to side, moves his head at the end of phrases, and moves his head in synch with the runs. It is as if he is using physical movement as a parallel to the music and not really acting as a character who is singing text. Did he always do this in live performance?
I might add that I happen to like it; but artificial technique it is, and one that takes its toll, which is why (I believe) he cut his singing career so short: his voice was becoming f***ed!
He is not a falsettist, but neither should he be described as a 'natural' countertenor. He sings almost exclusively in a highly developed head voice, which is why his lower range often seems strained, and his higher notes so easily-attained. He originally trained as a tenor-baritone (indicating his natural chest voice range), but soon adopted this technique instead.
I agree with Samurai9 concerning falsetto.I believe that he is a falsettist who may have learned to eradicate(or at least conceal) the break between chest & falsetto registers.There is absolutely no trace of a tenor quality at the bottom end of the range which if he was a high tenor then there should be.Alternatively,he may be a natural unbroken alto. I also disagree with renaissance27- there are plenty of very rich, and full falsettists around -try listening to James Bowman in full flood.
I am sceptical of Oberlin's claims that he does not sing in falsetto. Although he has an unsually high speaking voice, the singing voice sounds to me like falsetto (feminine), not high tenor (male). Whatever it is, it is an intriguing sound.
Michael Maniaci has even higher speaking voice and he is a natural soprano (and sounds nothing like "high tenor"). I think it is not impossible to believe that Oberlin with his somewhat lower speaking voice may be a natural alto.
The natural castrato Paolo Abel who you have heard had a quite normal male speaking voice which you can hear when he speaks, before singing some songs on his album. I can send you the file if you don't have it. I agree though, Oberlin doesn't sound like other Hautre-Contres. There is one, Mexican Haute-Contre on YouTube and he sounds nowhere like Oberlin.
Oh, wow! Now, this is how Handel's alto arias should be sung! Full voice! Yes! Yes! Yes! ... Technique isn't very period-authentic but the voice is spectacular. Heard another altino named Arturo Pedraza sing a handelian aria and it was very exciting. He's also on youtube.
What an idiotic question. Was I around in 1710. Guess ... As for your first question, it's a little something called research. Believe it or not, people knew how to write back then and their works such as singing treatises, compositions, exercises ETC. can be found. also, there are artists today who seek to get as close as they can to the style and sound of a time period by using instruments and techniques common at the time.
You aren't that bright are you? If you were, you would detect the sarcasm in me asking if you were from 1710.
Anyhow, my point is that even the best of music scholars to this day still can't agree on what is "authentic". For example, straight tone vs. vibrato in the renaissance period.
There is no correct answer since one will truely never know. One could only presume.
Unabashed masculine singing. This is what Handel's castrati hero roles should be about. Bought the recently released Oberlin CD and can't stop listening. Why, oh why did this brilliant singer stop singing?
honestly he must go in falsetto for the higher notes, just because logically the voice should get more strained the higher it is and in this case, the highest note of this aria is less strained than some of the lower notes. no ?
Not necessarily true. My F4 - C4 range is audibly more free and less strained than some of my middle range notes. It's all about physiology and how you use your voice.
Actually, that would be similar to saying that sopranos would have to go into falsetto for anything on the first ledger line and above. And that's not the case. There are ways to take the head voice up into the stratosphere without resorting to falsetto.
Grandissimo Oberlin! Che voce e che stile! Il più grande controtenore, se così lo possiamo chiamare, di sempre, e uno dei pochi in grado di entrare nel novero dei grandissimi cantanti che han veramente segnato la storia della musica!
This comment has received too many negative votesshow
I'm sorry.....that is NOT a dude's voice. I am gonna have to hear more samples of this guy before I belief. I know he's lip-synching for the show, but that is a woman he is singing to, not a man. If that is his voice, he is no countertenor, someone smashed his gourds when he was little!
or you are wholly ignorant of the countertenor voice! This in no way sounds like a female (I think you should extract the wax from your ears), unlike Deller, who I really did think was a Contralto on first hearing. How wonderful to be able to hear these pieces sung *au naturel* and without employing falsetto! Bravo! Mr Oberlin, Bravo!
Purely on the quality and timbre of the voice, this is, for me, in another league to any other counter-tenor - even that superb artist Scholl! Ignore the rather wooden acting and listen with the heart! There is a magical, thrilling, and authentic quality in Oberlin's Handel arias, paricularly the *Dove Sei*: which is sublime! If you don't shed a tear, you haven't a heart! Thank you so much for posting...might we expect the Dove Sei?
wtf!!... Italian lousy!
LAPITAGORIZACION 4 months ago
vengence is often disguised with a charming smile....
Bigbearbeau 5 months ago
Does he know this is a vengenace aria?
baritonebynight 7 months ago
what a voice!!!
onlytruelover0 10 months ago
How beautifully matched his voice is from top to bottom! He is the benchmark for American countertenors.
Crwthy 11 months ago
What other recordings are avilable on CD ? The voice is astounding! The best controtenore fro the ages of Senesino.
dossig09 1 year ago
I will never forget the first time I heard his voice on recording. I was listening to his interpretation of "Oh Thou Tellest Good Tidings" from Messiah conducted by Bernstein. A countertenor myself, I was shocked by what I heard. His placement is perfect! I had to check the box to make sure it really was a male singing. My mother thought he was a contralto like herself. We were very taken by surprise! He sounds sooo much different then the modern countertenors of today! BRAVO!!!!
klassicalkid90 1 year ago
dear god, screw david daniels haha. jk, I love david too! Just wish I could sing that high and not sound so unnatural hahaha
Wally773MTG 1 year ago
gut. Erik Kurmangaliev ( d. 2007) was a Svjatoslav Richer favorite , only original male alto in Earth.
LADYLUCK99911 1 year ago
wow, wow! hui, was bin ich begeistert! Donald Fiebing. danke für das Video!
donaldfiebing 1 year ago
Looks like Janet Baker here :^)
hautecontrre 1 year ago
He needs to do a word for word translation of the lyrics as he does not seem to know what he is singing about given his non verbals. He needs to take a lesson from Marilyn Horne.
baritonebynight 1 year ago
Marvelous! I never heard of this singer, and it seems as modern Michael Maniaci is the same in having a natural high male voice.
a058852 1 year ago
Mr. Oberlin has an incredible naturally high male voice and a fabulous coloratura technique. The natural sound of his singing is prescious and probably unique. What a gift to be able to hear him on video! Thank you for the gift of your singing, Sir!
CaraPhilos 2 years ago 4
Comment removed
restlesspride666 2 years ago
Cannot bear Philippe Jaroussky nasal tonalities: Russell Oberlin has none of that and as mentioned by other commentators appears to have no strain at all throughout his entire range. An amazing voice! What a gift!
zimnaya 2 years ago 3
They are different kinds of countertenor: Oberlin was a modal alto; PJ is, I believe, a baritone-falsettist.
OlDoinyo 1 year ago
Now that the music world belatedly has regained an interest in Baroque opera, one might say that Russell was a generation or more too early....or a century or more too late. Thank you for emphasizing the fact that Russell sang alto with full voice. The term "countertenor" as thought of today can mislead people.
sfkcbf 2 years ago
Superb!!! 10/10
enrom55 2 years ago
Best countertenor ever ! Uncomparible !!!
Cvallo77 2 years ago
Russ was two years ahead of me in high school and even then was a remarkably kind yet unaffected guy.
0808peacock 2 years ago
Yes, he was my teacher and still dear friend. Russell is not and never was a "falsettist." His speaking voice is quite high...He is natural, I can assure ALL of you.
I have heard Phillippe Jaroussky and David Daniels to name 2 contemporary favorites. Still...Russell Oberlin will remain a counter-tenor upon whom all others might be measured, at least, for me.
catharticartist1 2 years ago 4
i can imagine and accept he was not using falsetto. but how do you explain the absence of strain on *all* the range ? surely the highest note should be more strained like they are for a tenor (but at lower pitch) ?
eustazio 2 years ago
He has other pieces (I only have recordings, no links) in which he has to go higher than this. You can hear the fringes of strain in them. This is simply not the top of his range.
admiralteal 2 years ago 2
that would explain it! thanks for that precision. maybe you could post some of those here :)
cuicuimusic 2 years ago
thank you. here you all can see one of the earliest countertenors in the world near alfred deller! wow!
tastibasti 2 years ago
Does anyone know what his range is (approximately).
ArnesonZach 2 years ago
....................la sua grandezza nel non falsare mai il timbro lo rende sicuramente uno dei più grandi e la tecnica nel fiato e nelle agilità da senz'altro filo da torcere a molti mezzosoprani donne.
asterflamm 2 years ago
This is the best rendition I've ever heard. Oberlin is incomparable. I also appreciate the sensible tempo. Somewhat faster is acceptable, but too often many performances are so super-vivace as to be sloppy and unappealing.
fordtruxdad 2 years ago
This man was my teacher. He was and will forever be a source of inspiration. He is 'joy.'
catharticartist1 2 years ago
wow, this was your teacher! wow! i can't believe this. he is a pioneer! what a wonderful voice! do you know the same is sung from philippe jaroussky, lets watcht it! it's also wonderful
tastibasti 2 years ago
Beautiful! The fist "Haute-Contre", not a counter-tenor, of his generation, the modern century! What a voice he had!
ilovecm 2 years ago
E' straordinario per chiarezza, pulizia, fraseggio, tutto...
arkeo2001 2 years ago
I think he sounds like hes using a modified head voice falsetto register with hints of whistle but really utilizing a secret Oberlin register that using pedagogical principles similar to that of a tenore di grazia mixed with the timbre of a supposed castrati sound, although it is possible that there are no registers and that he is only using two of them.
That's what you all sound like. I just think he sounds pretty and awesome.
Dacookstar 2 years ago 15
@Dacookstar wow did you just make that up,and 8 morons believe it.
hobo1975 1 year ago
This comment has received too many negative votes show
I cant judge the musical and technical aspects of his singing, but the way he moves, he might as well sing about a basket full of puppies ^^
furballvie 3 years ago
You countertenor people are absolute maniacs! Why not contact the dear man himself... alive and well in NYC.
zostro123 3 years ago 3
You would realy have to listen to his speaking voice over the course of an hour or so to realy get a sence of if he is either a high tenor or a counter tenor.
tenorismo 3 years ago
Head voice ultra ligth-tenor or contralto.
Amadeuss84 3 years ago
Uma ova que ele nao usa falsete.
todooamordessemundo 3 years ago
Though his claims of Haute Contre are debatable, the term "High Tenor voice" is utter rubbish; his mechanism does not slightly resemble a chested mechanism which a tenor would use, he also is much more strained on his lower notes, which a naturally high tenor wouldn't be. I believe he's a counter-tenor, whom used a voice covering mechanism to extend his softer tone. I think the confusion with Russel Oberlin today is that the term "Counter-tenor" was often met with automatic disdain, (cont.)
Counterten0r 3 years ago
So hence to support his commercial career, he used other termanologies (such as Haute Contre, or high tenor) which was more respected than the mis-interpreted "Counter-tenor" and "Falsettist". The use of the term falsetto does bear a ugly stereotype, which many have paraded here, there is a define diffrenciation between "weak falsetto" which Russel Oberlin "demonstrated" between a fully structured mechanism inbuilt into the singers natural mechanism.
Counterten0r 3 years ago
On a final note; don't automatically disregard falsetto, it is another singer technique which some singers use well, some don't. In the end it don't matter what technique you use, it matters that you're delivering the music.
Counterten0r 3 years ago
I actually do believe Oberlin used a different mechanism than pure falsetto, an extension of head voice. You wouldn't think Natalie Dessay used whistle register but head voice, so why asume a high tenor has to use falsetto?
Anyways, my voice is very similar in timbre to his, but I do have strong low notes, even bass notes as well as soprano notes. But those high notes are more of a controlled scream, not the pretty sound of falsetto but bright and LOUD.
agnellodei 3 years ago
I don't think you acctually read my comments, I never implied that Oberlin used pure falsetto at all, I just do not believe he's a 'naturally high tenor'; timbres don't match. Musicians as a whole are still (after years of research) ill equipped to describe and pinpoint all the differant counter-tenor mechanisms.
Counterten0r 3 years ago
Have you listened to all of his recordings? He has many. Not only his solo albums, but his recordings as a member of New York Pro Musica, and his ones of early music on the EA label. Also his Messiah. He is different from any other countertenor, male alto, or wahtever term you use for this voice. I urge evryone to seek out his recordings. There is also a live Samson from maybe Dallas in the early sixties.
operaman2000 3 years ago
Yes, acctually, I have listened to quite alot of Russel Oberlin's work.
Counterten0r 3 years ago
My timbre is very similar to his, and I definitely employ a good bit of falsetto. BUT...I think most people are neglecting a mixed register. I believe he (as I do) utilize a very mixed register up until the secunda passaggio (which Oberlin never goes over). After that secondary break in the mixed register, it turns into "full falsetto." Under laryngeal analysis my "mixed" register (up until about the C above middle C -- C5) looked more like a "head/chest" mechanism than falsetto.
CountertenorJ 3 years ago
I was acctually wondering when you was going to comment (We seem view alot of similar music *rofl*). I did acctually mention that you do not have to restrict your registration to single mechanisms, which is was you've just mentioned. You can't describe vocalists by vocal pedaogry/mechanisms accurately, you can only ever estimate; each and every ones voice is unique, with it's own warmths/strengths, you should never try to imitate another singers sound production because of this.
Counterten0r 3 years ago
Single mechanisms and mixed registers are things that must be very specifically stated when dealing with countertenors. I happen to disagree about your statement on pedagogy. I think all people's voices can be broken down into pedagogical components, because the vocal mechanisms are science not mere opinions. However, resonance issues are unique to each singer, due to the architecture of the skull being different in everyone. Imitation should only be used for effect, not fundamental tone.
CountertenorJ 3 years ago
No pedagogical description can valueably define or justify any voice, and because analysis of such mechanisms are based upon "scientific proof", manipulating them is still a much opinionated matter. (Which that singer may or may not have indulged in)."Mere opinions" is quite a wrongful statement, as your "vocal science" is still down to opinions, which is why no singer should imitate another; you should indulged in your own vocal science.
Counterten0r 3 years ago
Fail.
CountertenorJ 3 years ago 2
lawl. Agreed.
mrtrblmkr1 3 years ago
It doesn't sound tenot at all to me, I agree. I think it is just a good medium-pitched countertenor (reinforced falsetto sound) like you heard David Daniels doing, for example. So-called falsetto does not have to be "thin", it depends how you do it/if it suits your voice etc. I don't really like the term. Peole are obsessed about not using a "false"sound. It is just one kind of (valid) singing style among others
orlando098 3 years ago 3
Those who think he is a falsettist should listen to all his other recordings. He was unique. In no way is he a falsettist.
operaman2000 3 years ago
Oberlin uses a natural high tenor voice, NOT a falsetto.
sour7lemon 3 years ago 3
fantastico
990990009 3 years ago
Is Oberlin singing live here or miming? The sound track, if it is that, shows great purity and consistency of tone and very accurate and easy florid singing. This strikes me as a perfect performance of its kind.
Samurai9 4 years ago 2
He is miming.
Counterten0r 3 years ago
In this clip, Oberlin engages in somewhat unusual physical movement, as he moves his head from to side, moves his head at the end of phrases, and moves his head in synch with the runs. It is as if he is using physical movement as a parallel to the music and not really acting as a character who is singing text. Did he always do this in live performance?
Samurai9 4 years ago
I might add that I happen to like it; but artificial technique it is, and one that takes its toll, which is why (I believe) he cut his singing career so short: his voice was becoming f***ed!
frrolfe 4 years ago
He is not a falsettist, but neither should he be described as a 'natural' countertenor. He sings almost exclusively in a highly developed head voice, which is why his lower range often seems strained, and his higher notes so easily-attained. He originally trained as a tenor-baritone (indicating his natural chest voice range), but soon adopted this technique instead.
frrolfe 4 years ago
Where did you glean the information that he trained as a tenor-baritone?
operaman2000 3 years ago
I agree with Samurai9 concerning falsetto.I believe that he is a falsettist who may have learned to eradicate(or at least conceal) the break between chest & falsetto registers.There is absolutely no trace of a tenor quality at the bottom end of the range which if he was a high tenor then there should be.Alternatively,he may be a natural unbroken alto. I also disagree with renaissance27- there are plenty of very rich, and full falsettists around -try listening to James Bowman in full flood.
nickh46 4 years ago
The best male alto I've heard yet.
I think I'm beginning to believe him that he's not a countertenor but a true haute-contre.
Thrax1982 4 years ago
You cannot compare a counter with a tenor. They are two VERY different mechanisms.
The question is, does he sing in a falsetto voice or a true natural full voice.
I believe this is his natural full voice.
When men sing in falsetto it tends to sound thin and not as plummy as this sound.
Good like finding a counter tenor that sounds this rich and natural..LOL YOU WONT!
renaissance27 4 years ago
I am sceptical of Oberlin's claims that he does not sing in falsetto. Although he has an unsually high speaking voice, the singing voice sounds to me like falsetto (feminine), not high tenor (male). Whatever it is, it is an intriguing sound.
Samurai9 4 years ago
Michael Maniaci has even higher speaking voice and he is a natural soprano (and sounds nothing like "high tenor"). I think it is not impossible to believe that Oberlin with his somewhat lower speaking voice may be a natural alto.
Thrax1982 4 years ago
The natural castrato Paolo Abel who you have heard had a quite normal male speaking voice which you can hear when he speaks, before singing some songs on his album. I can send you the file if you don't have it. I agree though, Oberlin doesn't sound like other Hautre-Contres. There is one, Mexican Haute-Contre on YouTube and he sounds nowhere like Oberlin.
Arkidas 4 years ago
Well, I think I read somewhere that even Moreschi's speaking voice was high tenor.
The Male Soprano page lists both Oberlin
and do Nascimento as tenor altino by the way.
I would love to hear his speaking voice though, send me PM for details.
Thrax1982 4 years ago
THE countertenor:) --
stevevandien 4 years ago
Oh, wow! Now, this is how Handel's alto arias should be sung! Full voice! Yes! Yes! Yes! ... Technique isn't very period-authentic but the voice is spectacular. Heard another altino named Arturo Pedraza sing a handelian aria and it was very exciting. He's also on youtube.
philomelodia 4 years ago
What do you know about period authentic? Did you live in 1710?
renaissance27 4 years ago
What an idiotic question. Was I around in 1710. Guess ... As for your first question, it's a little something called research. Believe it or not, people knew how to write back then and their works such as singing treatises, compositions, exercises ETC. can be found. also, there are artists today who seek to get as close as they can to the style and sound of a time period by using instruments and techniques common at the time.
philomelodia 4 years ago
You aren't that bright are you? If you were, you would detect the sarcasm in me asking if you were from 1710.
Anyhow, my point is that even the best of music scholars to this day still can't agree on what is "authentic". For example, straight tone vs. vibrato in the renaissance period.
There is no correct answer since one will truely never know. One could only presume.
You should know about presuming dear friend.
Ciao!
renaissance27 4 years ago 6
Bravo, maestro! No other countertenor I've ever heard can match your strength, clarity, or character.
fordtruxdad 4 years ago
I first discovered Russell Oberlin about 26 years ago. He has always been my gold standard for the countertenor voice.
DueTrombe 4 years ago 3
Unabashed masculine singing. This is what Handel's castrati hero roles should be about. Bought the recently released Oberlin CD and can't stop listening. Why, oh why did this brilliant singer stop singing?
Altiora101 4 years ago 2
honestly he must go in falsetto for the higher notes, just because logically the voice should get more strained the higher it is and in this case, the highest note of this aria is less strained than some of the lower notes. no ?
eustazio 4 years ago
Not necessarily true. My F4 - C4 range is audibly more free and less strained than some of my middle range notes. It's all about physiology and how you use your voice.
DLONex 4 years ago
Actually, that would be similar to saying that sopranos would have to go into falsetto for anything on the first ledger line and above. And that's not the case. There are ways to take the head voice up into the stratosphere without resorting to falsetto.
reallyharried 4 years ago
QUE VOZ MAS IMPRESIONANTE,concuerdo que es la mas cercana voz de una castratti en contralto,gracias por postearlo,thk a lot for posting !!!!
keno68cl 4 years ago 2
The colour of his voice is just incredible...
terracota01 4 years ago
Thanks so much for posting this - I first discovered Russell Oberlin in the late fifties.
theophano 4 years ago 2
Grandissimo Oberlin! Che voce e che stile! Il più grande controtenore, se così lo possiamo chiamare, di sempre, e uno dei pochi in grado di entrare nel novero dei grandissimi cantanti che han veramente segnato la storia della musica!
Orbazzano 4 years ago 2
Bravissimo . Grazie
olaig100 4 years ago
Bravo, incredible Vivi Tiranno, very nice and natural.
davcos22 4 years ago
This comment has received too many negative votes show
I'm sorry.....that is NOT a dude's voice. I am gonna have to hear more samples of this guy before I belief. I know he's lip-synching for the show, but that is a woman he is singing to, not a man. If that is his voice, he is no countertenor, someone smashed his gourds when he was little!
bradleyjenks 4 years ago
I can only imagine you mean to be provocative?
or you are wholly ignorant of the countertenor voice! This in no way sounds like a female (I think you should extract the wax from your ears), unlike Deller, who I really did think was a Contralto on first hearing. How wonderful to be able to hear these pieces sung *au naturel* and without employing falsetto! Bravo! Mr Oberlin, Bravo!
CountessVonBruhl 4 years ago 2
Purely on the quality and timbre of the voice, this is, for me, in another league to any other counter-tenor - even that superb artist Scholl! Ignore the rather wooden acting and listen with the heart! There is a magical, thrilling, and authentic quality in Oberlin's Handel arias, paricularly the *Dove Sei*: which is sublime! If you don't shed a tear, you haven't a heart! Thank you so much for posting...might we expect the Dove Sei?
CountessVonBruhl 4 years ago
Impresionante! lo´más cercano a la voz de un castrato en lo que contraltos masculinos actuales respecta...
cesarmortis 4 years ago
Is this a guy or girl? My first time with this artist.
Love
DivaDeb
DivaDeb1234 4 years ago
bravo!!!!
dfa1fnf2ife3fl4 4 years ago
Impeccable, remarkable, and satisfying, but isn't it a little lacking in dramatic tension and excitement?
hobanfan 4 years ago
This isn't Puccini or Verdi...
agnellodei 4 years ago
Much, much better tan them. This is Georg Friedrich HÄNDEL. Puccini and Verdi are nothing next this superb German composer!!!
Mimabailarina 4 years ago
Please spare us such nonsense, buy a calendar and look at the date!
CzarDodon 4 years ago
great singing!
hobo1975 4 years ago