Added: 2 years ago
From: antmusique
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  • Does anybody know if a recording of The Barber of Seville with Simon Keenlyside has ever been... well recorded?

  • Ok, yes, you diction critics are right. And he starts slightly earlier in the beginning. And there are two notes out of tune. BUT I damned don´t care it at all, as this is such an elaborated interpretation, he is not only beautifully singing, but acting through his voice as well, he builds a perfect arch of logical music evolution, his gestures are appropriate and funny, and his performance oozes such energy. He knows what he is doing and he enjoys it. That´s what most people call "charming"...

  • Love this guy!!!!!!

  • This is the problem I have living in America.......no one appreciates music or people like this anymore its like a dieing art its depressing. Makes me think of moving to Europe somewhere.

  • To all the people complaining about the diction: You've never messed up during a performance, on a song that you know perfectly well, for no apparent reason? It happens to professional musicians all the time.

  • 13 peorle disliked this wonderful performance by SIMON KEENLYSIDE. It would be interesting to know what versions THEY liked----- and even more interesting to hear any one of them demonstrate how it should be performed.  carragher5370.

  • He's very good.

  • I hear what everyone's saying about the diction.

    This is not a perfect performance - but what is?

    Despite the problems with enunciation, this is easily my favourite performance of this song I have seen on youtube.

    I think he does a superb job of acting in character, both with his body and with his voice. He is a consummate performer.

    I can see why some people would not like this performance, but I do, and these things are always a matter of taste.

  • Very nice, indeed a fine singer, but the diction is unacceptable ("Sono il FECTOTUM della citta"?!) Besides, he copied all the cadenzas from Hermann Prey. 

  • Very nice, indeed a fine singer, but the diction is unacceptable. Besides, he copied all the cadenzas from Hermann Prey.

  • а gret actor. 

  • Ruffo,Danise,Stracciari,Granfo­rte e ancora più di 20 baritoni tutti migliori da Keenlyside...

  • I am Italian and I look that is wonderful how he can perfectly pronounce Italian words so fastly. I saw him in Papageno and I have already had no doubts, he is fantastic!

  • I am a baritone singing Opera in Germany and Simon is someone I look up to. He has a very beautiful voice, solid technique and the man can ACT. Anyone who criticize this has obviously no clue or have never sung this aria in public never mind to a big orchestra at Covent Garden which would be absolutely nerve wrecking to say the least. Have some respect

  • @mandreika1 Well yes I would say a big bravo to Simon for his stage presence and acting abilities.

    However, singing isn't about the sound of your voice or employing techniques. Singing is about how you use your voice. It is not about tone but about words and expression - storytelling. Simon gives it his all and that's to be commended. However, he does not sing within the realms of the natural use of his voice. He possesses vocal freedom inside, but his mind instructs the voice against nature.

  • He is the factotum della cita....

  • @deybal della città! not like you have written.

  • @Vincenzo2010an ok, sorry.. :'(

  • Simon is probably my favorite baritone. Thanks for the upload!

  • It actually didn't quite work out x)

  • 9 people are Idiots!

  • I adore Simon! Love his "figaros"...the very beginning was a little off on this timing with the orchestra but in short time he was on track and the rest was brilliant!

  • Wonderful!!! To be unedited (since most of the critical people here have no real appreciation for the art of real music let me point that out) and in such a large opera house he can project his voice beautifully! I would love to hear this man in person!!

  • Oh, bad timing problems in the beginning...

  • Wow, I would've never guessed the Opera was about a Barber. . .

  • @comedyguy911 Well, the Opera is not really about a Barber. He is a character in the opera certainly, and this famous aria is about his trade. It's a wonderful comic opera and I highly recommend it to you. It's a perfect first opera in my opinion.

  • Well, one of us doesn't...

  • @AmhranaiAlainn I am not fooled by Simon's agility - I am impressed that he has sufficient control to demonstrate that flexibility - far more so than any of the baritones you mentioned, as he does so within the context of the piece rather than improvising random notes. I am curious to know where you think he is coming away from the word or note - can you name 3 instances? Furthermore, I have heard Simon speak, ad there is no way he is a tenor - a common comment made of any high baritone, especi

  • @philgault For some reason youtube did not notify me of your comment, so I've just noticed it. I will come back to with specifics on parts where he comes off the word (not note). But really I think you could figure that out if you listen to him more. Recording qualities aside, if you honestly think that Keenlyside's voice is freer than Ruffo's or Stracciari's, then you don't understand what vocal freedom is, which is at the core of true Bel Canto singing.

  • Unfortunate mis-timing at the beginning. Well performed after he recovers from this though.

  • Love this! Such a classic....just look at the conductor...my man! lol

  • This is simply THE best rendition of this aria I`ve ever heard! I love his light timbre and awesome coloratura passages. And last, but not least, he`s an amazing actor!

  • @AmhranaiAlainn Having just listened to 2 of the singers you mentioned (S &R), I couldn't disagree with your comparison more - Simon's voice is much more free and his vowels have less modification. This is his natural tone, except for when he deliberately colours it for effect (colla donnetta, col cavaliere, for example). Also - he sings all the right notes and words...

  • @philgault I presume you mean you listened to Stracciari and Ruffo two of the finest baritones ever recorded. Don't be fooled by the agility of Simon's voice. It is a very good instrument, but he does not have complete freedom with it. He comes back (and falls) off the centre of the word on many an occasion. He also uses a baritone sounding tone which does not occur naturally in his speech. Have you listened to him speak? He may in fact be a tenor.

  • excellent rendition bravo

  • Bravo!

  • Bravo! Excellent expression at 3:15!

  •  great!

  • one of the worlds top baritones

  • @lenozzedifigarofan15 that statement i would sign anytime:-)

  • cold and a bit too fast in some moments imho

  • Comment removed

  • largo al factotum della mediocrita.

  • Good stage presence and good effort but unfortunately false singing i.e. from sound. Thus the voice is not natural and his own unique true colours are lost. To listen to true colours and true effortless singing we must unfortunately still look to the past recordings, which are treasures indeed. Listen to the way Stracciari sings this piece - the voice 'floats' - a tell tell sign that it is being used correctly i.e naturally.

  • @AmhranaiAlainn stfu nerd

  • @AmhranaiAlainn What absolute nonsense you are uttering! Do you actually know anything about singing and the voice? There are many ways to perform any particular song and this is just another interpretation by a highly skilled singer whose success speaks for itself!

  • What an absurd comment! What exactly is a false singing voice? This very excellent performance is Keenlyside's interpretation of this music. His success through the years speaks for itself and as for floating I don't really think that this is really a 'floating' aria, rather it is highly dramatic and very intense.

  • @32Styx If you do not know what 'true' singing is then on what grounds do you have to call my comments absurd. I didn't criticize his interpretation, character and stage presence but the way in which he uses his voice. It is not his natural voice. This is the difference between this baritone and say Stracciari, Ruffo, Sammarco, Battistini to mention a few. The four singers I mentioned all sang within the realms of nature and sang with true colours. When you sing true, the vocal line is seamless.

  • @AmhranaiAlainn I still am not clear on what you mean by 'false' singing. Having successfully taught voice for thirty years I don't believe that I have have ever become acquainted with such an anomaly.  But thanks anyway for your response!

  • @32Styx Your most welcome. To explain further: My 'anomaly' was actually the norm before the introduction of the 'maestros' who dissected singing like scientists and in doing so ruined the true art of singing that is still innately inside us all. We are all born vocally free but as adults we separate singing and speaking. This is the heart of the problem with modern singing. Singing and speaking are in fact the same and it is the foundation upon which Bel Canto artistry is built.

  • @AmhranaiAlainn Your last statement is absolutely correct! But I cannot agree that 'modern' singers are necessarily unaware of this approach. In fact, most ot my fellow voice teachers( as I do )approach the singing and speaking voice as one entity, and I further must object to your original comment about Keenlyside. It doesn't ring true! But at least you are interested in hearing the various voices; it's just that we disagree on assessments. Thank-you!

  • @32Styx When I say false singing, what I mean is that he is singing with a degree of false tone i.e. that which does not naturally occur when spoken. When the natural form that a word takes in the spoken manner is 'disguised' with unnatural tone when sung, the effect it has is that it throws the voice off its natural balance and this has a knock on effect on the synchronisation of the physical parts that are employed naturally in correct speaking. The results can be slight or horrendous.

  • da paura!!!!!!

  • Oh! Keenlyside and Relyea ar the hottest male opera singers these days ;)

  • Really nice. I would say rather that MacKerras started the piece too slow, and Keenlyside merely brought it to the correct tempo. I would disagree about Hampson. He's never had the quality of sound that this guy has. Hampson is perhaps the bigger voice, but only by a little.

  • Very nice job. He's a great baritone. Tough song and very much an acting piece as well. I still believe Thomas Hampson's is the best out there.

  • The thing that i dont like is that he sings other tempo that the orchestra plays...otherway he's damn good:)

  • Admirable technique, excellent musician, he even sings the high "A", but I still prefer an authentic Italian pronunciation, and I don't understand why he wasn't with the orchestra at the start..

  • @Bigman240 I'm guessing he wanted the orchestra to go faster so that he could show off what he's capable of. The end of the aria, of course, requires great virtuosity on the part of the singer. A faster tempo means more of an opportunity to demonstrate one's skill, so I think he was just signaling to the conductor "I can do better than that!"

  • He's so damn SEXY!!!!!!

  • he is!!!

  • I love this guy, he is awesome!! And for those who don't like it or think it has issues with diction etc..., just remember he is world famous and has performed in many of the world's most famous opera houses. So obviously he's doing something right and people who are actually in the opera buisness find great value in him!

  • he was singing hamlet in a nice french:-)) yesterday, then he was talking English in the interview, i didnt understand much :-)))

  • For being live and untouched, it is awesome. You guys are pretty critical. Fantastic Figaro.

  • i like him. as far as diction is concerned i heard a lot worse, and it's not easy to spit out all those double consonants at a fast tempo, in a foreign language.

  • Terribile dizione italiana!

    Horrible Italian diction!

  • ducadi... si sono sordi, o piena di merda

  • I would agree that he seemed uncomfortable at the beginning.. Was it maybe un-rehearsed and at short notice? .. But the later sections were fine. And I agree with Nikolaidelphinki.. It's good to hear a Figaro who isn't a cross between Machiavelli and Goofy, but a normal human being!

  • Contagious vivacity and lovely voice!

  • All in all a good performance. However, I can´t help thinking he was very nervous indeed. This would explain his extremely poor timing, whereby I don´t even mean the difficult bits! Listen to his second phrase; it´s FAR too early! Shouldn´t happen to an ex -St John´s choral scholar.

  • 3:13.....YES

  • God bless him for spitting out all that at that tempo!

  • Simon is the best barbar ever, great voice.

  • awful... sometimes he is faster than the music ...:S

    especially in the beginning..

  • much better than Mattei in the Met production

  • Best barber ever! At least that we have video of.

  • he actually sounds italian... and actually has lots of character that doesnt seem goofy. He just looks like a barber who really likes his job!! Bravo!!!!!

  • très beau baryton un très beau timbre de voix j'aime beaucoup. bravo

  • OMG.. Simon Keenlyside's voice is sooo beautiful. I wish I could see his performance on stage during my lifetime..

  • Awesome!!!

  • Glad to hear him sing the Barber!

  • Wow those high notes are to die for!

  • Now this is some technique. So wonderful.

  • Superb!

  • Thanks so much for posting this, I've been looking for Keenlyside doing this piece! And: Yay - another high C baritone. :-D

  • Keenlyside and Mackerras! Yes, please!

  • I was about to comment on your Don Carlo video, but it turns out that your account has been deleted. Is everything okay? Please come back!

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