Mario Del Monaco - Celeste Aida - Aida - Verdi - 35 Years Old

[deutschefach]

This is one of two recordings of MDM here on YT that are very interesting. MDM was trained by Melocchi and delivered the "open throated" ringing tone always. This he does here with more refinement and is not at his maximum so much. The result is calmer and more nuanced. His voice does not crack once compared to 3 times in the 1957 RAI cut. In this example the middle range is more floated than thrusted. I prefer this recording for hearing how he sang at his best. I to sang Radames. Nice job MDM.

[wiseroldfart]

As much as I like del Monaco and Corelli on this aria, I prefer the 'Jussi Björling - Celeste Aida' posted by GermanOperaSinger. Listen to the second one down on the search list (not the studio recording). It's better than the studio recording and Bjorling scales that last B-flat back beautifully. Corelli was also a master at that difficult task and apparently never failed to do it. Regardless, I like what Bjorling did with his voice on his best version.

[MrCafiero]

@wiseroldfart I hear what you are saying, but it is really not possible to compare a light lyric with more dramatic voices. The lyrics will sound better on the recordings, but the dramatics will be better and more impressive in person.

[wiseroldfart]

@MrCafiero Bjorling wasn't as 'light' as most lyrics. There was some body in that steely voice and his upper register was remarkable. He could do spinto, but apparently couldn't produce the heft desired in the lower register. You can get a decent picture of what a tenor sounded like on stage if you listen to enough of his recordings. Bjorling's high notes and the way he manipulates his voice in 'Celeste aida' is what makes his best version (with the fading B-flat) stand out for me.

[btsg]

he used the cover here and left the nasal out of it --my favorite period of his voice.

[Biser1974]

Bravo!!!The Best!!!

[Biser1974]

Bravo!!!

[coralrabida]

37 o 35...

[MrCafiero]

@coralrabida 35

[grrrjenaimarre]

Se quel guerriero io fossi. Se il mio sogno si avverasse!... Un esercito di prodi da me guidato... e la vittoria e il plauso di Menfi tutta! E a te, mia dolce Aida, tornar di lauri cinto... Dirti, per te ho pugnato, e per te ho vinto! Celeste Aida, forma divina, mistico serto di luce fior, del mio pensiero tu sei regina, tu di mia vita sei lo splendor. Il tuo bel cielo vorrei ridarti, le dolci brezze del patrio suol, un regal serto sul crin posarti, ergerti un trono vicino al sol.

[iononcambio]

Del Monaco e Corelli sono in assoluto i due più grandi tenori del '900..Le caratteristiche sono diverse ma le voci ineguagliabili..entrambi potenti ma del monaco con timbro drammatico e corelli con timbro lirico..L'otello di Del Monaco non lo farà più nessuno così come il trovatore di corelli... Chapeau...addio a due grandisimi!!

[sttar1982]

del Monaco The Bes†™©®ªº

[VivaRenata]

Del Monaco è il tenore piú grande di tutti i tempi, eccetto il repertorio tedesco/wagneriano, dove Svanholm sia stato l'interpreto definitivo. Paragonare Del Monaco con interpreti d'una generazione piú giovane, anche quei bravi, è un errore. Non possiamo mai più sentire voci come il suo. Dobbiamo comunque ricordare gli incisioni di questi grandissimi (bari-tenori), dove Svanholm canta Otello e Del Monaco La Valkiria!. Non ci sentiremo mai più cantanti di questo talento e capacità.

[iononcambio]

@VivaRenata Hai ragione vivarenata...

[legatofancier]

Since I never got to hear Del Monaco or Corelli live, I can't weigh in on the differences in the way they sounded live versus commercial recordings. Of course, I've noticed the differences in the way singers sounded that I've heard live versus their commercial recordings. Everyone whom I spoke to who had heard Del Monaco live was duly impressed with the size and dramatic impact of his voice. In the recordings from his prime, the sound of his voice in live or studio recordings is amazing!

[ShawDAMAN]

Many thanks for posting this; however one tiny correction for your description- this aria is definitely not from Werther, ha ha :D

Great singing

[MrCafiero]

OH, thanks for pointing that out. I posted the Werther aria which is why!LOL!

[ShawDAMAN]

Yeah I noticed you had the same description on the Werther aria so you probably just copied the same description without thinking. Hee hee, I was just chuckling thinking of Werther busting out with "Celeste Aida" :D

[MrCafiero]

Yeah, that would be quite a shock to the audience!LOL!! I like your guitar playing.  You should post more.

[ShawDAMAN]

Oh thanks. I probably will at some point. =)

[leadoffeohippus]

Del Monaco was definitely darker than Corelli. I love both singers, but I almost get annoyed when people say Corelli was darker. In that si pel ciel you posted with Del Monaco and Warren, Del Monaco at times sounds almost as baritonal as Warren...in fact he sounds even more baritonal when he sings, "Un sogno che rivela un fatto."

[MrCafiero]

People actually say Corelli was darker than Del Monaco? LOL!! Deaf much? LOL!

[saiserieht]

@MrCafiero del Monaco had more ring. Especially in the extreme high notes Corelli indeed seems darker. But so what.

[MrCafiero]

@saiserieht Del Monaco was much darker than Corelli & had more ring in his prime.

[assindiastignani]

@leadoffeohippus Corelli sounds darker on records or miked up close, as on many broadcasts, than he did live. In the house it was actually a very brilliant, finely focused voice. Dal Monaco was an animal - in my opinion the best. of them all. Incidentally, no Otello of the post-war period (and I heard them all live) ever sang more piano and mezza voce than Dal Monaco, no matter what the ignoranti say, who never heard him live.

[meltzerboy]

This is the unremittingly loud Mario del Monaco that critics have had a field day writing about. This aria demands some modulation in tone. Del Monaco could, and did, sing softly when he wanted to. Moreover, he had an excellent legato and paid attention to the dynamic markings of the score, when he wanted to. I have recently become a del Monaco convert and do appreciate his artistry and his clarion voice. The trumpet tones of the singer can be heard in this aria, but not so much the artistry.

[MrCafiero]

I can understand that, but in an opera house it doesn't seem unremittingly loud. It is appropriate. Maybe he didn't modulate, but on the other hand who could do what he did? And he sang until 60 even with health problems.

[meltzerboy]

I agree the volume is exaggerated on recording and was thrilling in the opera house. Still, one cannot say (at least I cannot) that he sings this particular aria appropriately. Otello is superb and other roles as well. But not this aria, or this performance of it, IMO. As I stated, I like del Monaco's singing in general, more than I once did. He had great breath control, great legato, great tone, passion, and power, even sensitivity at times. A superb tenor, only not at his best here.

[MrCafiero]

Not at his best in what way?

[meltzerboy]

For one thing, the stentorian note at the end is over the top, at least on the recording. In fact, the whole aria is too forte, and, as I said before, without any softening in passages clearly marked so. Caruso and Tucker, both of whom can be strenuous at times, adhere to the dynamic markings. And Del Monaco's phrasing is not as supple as it is in other recordings of his. Also, the tempo in the final phrases is rushed. But the legato is good, the tone is golden, the passion is deeply felt.

[MrCafiero]

I don't agree about the ending note. I think it is exhilirating and exciting and free. That being said, I have not studied the score for this aria, but as far as vocal technique, he is quite amazing here. And while he might not adhere strictly to the dynamic markings, I would rather hear him sing this exactly in this manner than anyone singing it today by a long shot. The quality of sound he is making is legendary. I can cut him some slack.:)

[meltzerboy]

If you put it that way, I definitely agree. Any shortcomings del Monaco may have pale compared to the lackluster and pipsqueak singing we have today. The tone and intensity of del Monaco's voice are always worth hearing.

[sugarbist]

@meltzerboyThe perfect Aida for me,would be Corelli to sing the Celeste Aida & Del Monaco to sing the rest of the opera.Everyone has the right to criticize as I do.But when MDM does some great singing as he does in the Forza Arias, the critics remain silent.They just Obstain. I'm not A GREAT fan of Tucker's. But when he sings something beautiful,.I comment positively.Some peopleare afraid to comment positively.Perhaps they feel it will diminish the standing of their favorite tenor in their minds