Huge sound but ugly ugly voice...yuck this is just one of the ugliest sounds I've heard. The harshness is a result of an artificially supressed larynx...distorting the vowels and overall just a woofy mush sound...
There is a recording of him performing Celeste Aida on youtube from I think 1996...The sheer change in his voice from these two records is insane! I mean mroe than 5 years went by, but to just note the difference is amazing!
@elotello Can you name a black tenor who could sing Otello? The culture is simply different - singing isn't something that young males do, any more than playing flute or harp...
Muy oscuar, resulta un tanto mayor, y no alcanza la nota en "uragano", casi afónica le resulta. Mejor quede como barítono a estas edades dada su evolución.
A ver si te compras algun disco de este tenor o tienes la oportunidad de verlo en vivo y te daras cuenta que es un gran tenor dramatico.Mirate lo de la meningitis MAESTRO DE CANTO.
A Dramatic Tenor, like Vinay, Cossutta, Vickers, are baritones that can sing high notes without getting tired and sing a complete tenor role. Many baritones have easy high Cs and they sound with less colour and heavyness than some Dramatic Tenors.
are tenors or baritones? Baritone can sing easyly a high C and that not means he could sing the tessitura of a tenor. There are, notes, arias and complete operas.
he's completely wrong, don't pay attention. there is a lot more to vocal classification than simply timbre and tessitura. the passaggios are very important. a dramatic tenor will have passaggios on C and F, as opposed to a baritone, who will have passaggios on Bb and Eb.
WRONG. WRONG WRONG WRONG WRONG. FAIL. a dramatic tenor will have passaggios on C and F, as opposed to a baritone who will have them on Bb and Eb. also, the mechanism in which they produce sound is completely different.
You are right IF...the baritone is a real one like Carlos Alvarez with a nice almost bass like dark sound, but Herman Prey, Hampson, Horostovsky, Capuccili, have the same passagio like a dramatic tenor.
wrong again... i'd just stop talking if I were you... alvarez is a bass-baritone, and his passaggios are on A and D. hvorostovsky and cappuccilli are verdi baritones, with passaggios on Bb and Eb, and prey and hampson are lyric baritones, with passaggios on B and E. A dramatic tenor would have passaggios on C/C# and F/F#
The theory of the passagio is a big lie, if not listen to Alfredo Kraus conference about technique, . The vocal cords have a specific amout the breath on each occilation, only if the singer and the voice teacher is so brute that can´t feel the excess then passagio appear. Passagio is technicall error not something natural, a limit in going up and down is only the incapacity of controling the breath.
the passaggios are well documented and scientific... and you yourself just admitted it. when one does not sing correctly, they appear, and they appear at different points for each fach. when one sing's correctly, they are much less noticeable. however, it is undeniable that at one point the voice transitions into the "voce piena in testa," and that is the second passaggio...
Of course the are different registers sopr,mezzo,alto,tenor,Bar,Bass. I read Miller(rip), Hines, even the Schiller Intitute Book of registration with the crazie mathematical relation to the passagio in F# high for male and low for female. Even they call it scientific discovery,jajaja the relation of the human voice with the Planets orbits!!!
Now saying that all tenors experience tension or another register in F# or F or E because the different funtioning is wrong.
registers are not voice types... and nobody is talking about planets, what are you even saying? also, an E natural is that of a lyric baritone. also, it is absolutely true to say that the voice shifts at a certain point (for tenors, F, F#, or G) into voce piena in testa, i.e. head voice. also, i'm gonna go ahead and believe the italian school of bel canto (which has proved itself quite successful in turning out good singers) and vocal doctors over some guy on youtube. have a nice day :)
I know you are not talking about planets but read Book of tuning and registration by Schiller Institute and you´ll see what I mean. Carlo Bergonzi supports what is written in that book!!!! There are many crazie ideas about passagios!!
I enjoy exchanging info, Registers yes are tenor, baritone, personally I would call voice type to Leggero, Lyric or Dramatic in any register. There is more relation between a Dramatic tenor and Dramatic baritone than a Leggero tenor and a Lyric tenor
I do not believe that the term passaggio is a lie but the singer can change his passagio note with his demands. For example almost all singers do not cover his voices and pass the mixed voice in the aria Madamina... (Siepi, Furlanetto) or Eric Halfvarson (Maybe the most dramatic operaic bass) even takes High F's almost not covered. Therefore, i do not believe the catagorizing the fach's according to "passaggios". That is all about timbre, darkness, richness and the most important : the reflexes.
Listen to his other roles posted here, Calaf, Radames and Pinkerton for example, and you will notice how he manufactures a darker voice for Otello, it seems he wants to sound like Ramon Vinay. I heard him live in Venice some years ago and his performance was very effortful with a lot of hoarseness in the voice and very tired towards the end. His natural voice is fine for Otello whay does he fake it. Vinay by the way, started and ended his career as a baritone.
My coach from Theater Colon had the opportunity to work with Carlo Cossutta and other Dramatic singers.This kind of voices use to have 3 octaves C1 to C3 like Melchior, of course they are not voices for the belcanto tenor, but excelent for verdi and verismo. They can perfectly sing baritone and some bass like Vinay. Do you know that Hans Hotter was trained as tenor first? Some basses can vocalized C3. that is confusing for voice teachers!!!
No, he's a dramatic tenor. Listen to where his voice turns, its an F natural. He's a dramatic tenor. Giacomini was, in my opinion, an even darker voice than his, although he shouted less than Galouzine. If he were a baritone, exactly what kind of baritone would he be? hmmmm?
and no High B in Esultate, "lohohoragano" on the same note. As a tenor-baritone he will get away with Otello but what about other roles like Radames, Calaf?
I've heard his Radames, no doubt a great voice but very tight on high notes and under pitch singing. Real tenors, even dramatic ones, should have at least stable b flats: to my humble op. he's a baritone refusing to be a baritone but in anycase he is much better then Cura, who is such a disapointment
Cesare Galuzine have a good Bflat, B, and huge C. There are some masterclasses where he sings Che gelida LA SPERANZA with strong and beautifull sound.
I heard this masterclasses with overblown, forsed voice. Galuzin has a great material, no doubt, but he is repeating del Monaco's mistake by wanting to be the loudest tenor on earth and witout proper technique or nature.
He cracks Bflat in Aida almost all the time he sings it, is that supposed to be a good technique? he has no piano, like Del Monaco-is that good technique. To my point he is a wannabe dramatic, not a real one like Giacomini or Melchior. One has to sing beautifuly no matter w. v.
about High C in a masterclass, I fount it real terrible, he shows a liric tenor how to sing a passage with high C and forses his high C as much as one can imagine. That you find beautiful? I hope you are not talking about the masterclass I saw(in French it was I guess). In German(Pique Dame) I like him the most, Italian opera is not his buseness.
Because it's not an entirely traditional production (it's sort of a mix of modern and traditional). Incidentally, I don't think Othello *has* to be black (though it kind of helps, especially in opera, to draw out the contrasts).
he is referred to as 'the moor' though. Patrick Stewart did a (stage) production where he was the only white man in an otherwise completely black cast, that makes sense to me, but anyway, I guess the words could do enough.
There were stagings of Shakespeare's play (and drawings to show it) in the 18th Century where Othello was played as some kind of Turk. I think the important thing (in the original context) is that he is a 'convert' to Christianity from a previously 'savage' race. That's why in the Zeffirelli film with Domingo, you see him totally reverting back to primitive superstition, and that explains his animalistic behaviour in this production.
He's a convert to Christianity, i.e. he's fighting against the people he used to be a part of.
I don't think it's an assumption by Zeffirelli, I think it's an interpretation, and one which is a very traditional reading of Shakespeare (Zeffirelli tends to be traditional and literal). There are modern interpretations of the play that see it as being something to do with racial tensions, but you can be assured that that was not in the mind of a 16th Century playright.
The savagery is always there, but is "drawn out" by Iago. Iago knows how to bring out Othello's latent bestial nature. So Othello transforms from being an extremely cultured, sensitive man in the beginning of the play to a raging, spitting beast (and some may thus think he is "reverting" to what he once was). It is understandable that many nowadays do not like this reading of the play since it assumes a superiority of Christian and Western civilisation. But that is as it is.
So do you think that the savagery is only a state without God for Othello and that his being black has no relevance or do you think that Shakespeare would have been playing on some level on assumptions about libidonous and bestial tendencies in black people especially. Otherwise what is the reason for him to be 'the moor'
I don't think that "race" in the modern sense was really thought about in the same way as it is now. Rather, there were "civilised" peoples and "uncivilised" peoples; Othello was an uncivilised man who became civilised. This could mean that he's black or Arab or Turkish, it doesn't really matter. The point is that he failed ultimately (but perhaps nobly) in his attempts to achieve this change.
For this reason, I think there is something more to it than being in a state without God, otherwise his converting would have been enough to truly change his character. So yes, the subtext of the play is that non-European peoples have a different, bestial nature to European peoples. This isn't so strange a belief, since people up to quite recently even believed that Mediterranean people were more 'passionate' and libidonous than Northern Europeans.
yeah so that leads me to question why Zeffirelli would perpetuate this in what you call 'animalistic behaviour' and 'primitive superstition'. I guess there is a fine line between Othello's so called animalism as an individual and his animalism as a black person.
еден од најдобрите гласови на сите времиња
ThePavafan 10 months ago
Huge sound but ugly ugly voice...yuck this is just one of the ugliest sounds I've heard. The harshness is a result of an artificially supressed larynx...distorting the vowels and overall just a woofy mush sound...
emilianopreciado 11 months ago
Bravo, ma perchè non è nero?
TheSilvasan 1 year ago
hes a baritone.
tenorismo 1 year ago
bad voice and too manu breaths inside the phrase... not good for me.
gaemp 2 years ago
.... he breaths too many times so the phrase is broken. Also the voice is nothing special....
gaemp 2 years ago
There is a recording of him performing Celeste Aida on youtube from I think 1996...The sheer change in his voice from these two records is insane! I mean mroe than 5 years went by, but to just note the difference is amazing!
marcomeatball 2 years ago
è un baritono!!!
misterfabiomusic 2 years ago
what happened to otello i thought he was black not white
elotello 2 years ago
@elotello Can you name a black tenor who could sing Otello? The culture is simply different - singing isn't something that young males do, any more than playing flute or harp...
Englishtenor2 2 years ago
Incredibly ugly singing.
ali1082 2 years ago
a white othello?
HMW 2 years ago
sara' una questione di gusti ma a me non piace come canta
liric01994 3 years ago
Muy oscuar, resulta un tanto mayor, y no alcanza la nota en "uragano", casi afónica le resulta. Mejor quede como barítono a estas edades dada su evolución.
ubedajils 3 years ago
A ver si te compras algun disco de este tenor o tienes la oportunidad de verlo en vivo y te daras cuenta que es un gran tenor dramatico.Mirate lo de la meningitis MAESTRO DE CANTO.
licariototal 3 years ago 2
Prefiero tirar el dinero en alguna fundación de ayuda a los de tu estilo, faltando a quienes no opinan de la misma manera, absurdo.
ubedajils 3 years ago
Qué grosero eres.
Gerardeus 3 years ago
Cada uno lo que merece y a la altura de lo que merece.
ubedajils 3 years ago
A Dramatic Tenor, like Vinay, Cossutta, Vickers, are baritones that can sing high notes without getting tired and sing a complete tenor role. Many baritones have easy high Cs and they sound with less colour and heavyness than some Dramatic Tenors.
ilbacioditosca 4 years ago
are tenors or baritones? Baritone can sing easyly a high C and that not means he could sing the tessitura of a tenor. There are, notes, arias and complete operas.
aguacun 3 years ago
he's completely wrong, don't pay attention. there is a lot more to vocal classification than simply timbre and tessitura. the passaggios are very important. a dramatic tenor will have passaggios on C and F, as opposed to a baritone, who will have passaggios on Bb and Eb.
HMW 2 years ago
WRONG. WRONG WRONG WRONG WRONG. FAIL. a dramatic tenor will have passaggios on C and F, as opposed to a baritone who will have them on Bb and Eb. also, the mechanism in which they produce sound is completely different.
HMW 2 years ago
You are right IF...the baritone is a real one like Carlos Alvarez with a nice almost bass like dark sound, but Herman Prey, Hampson, Horostovsky, Capuccili, have the same passagio like a dramatic tenor.
ilbacioditosca 2 years ago
wrong again... i'd just stop talking if I were you... alvarez is a bass-baritone, and his passaggios are on A and D. hvorostovsky and cappuccilli are verdi baritones, with passaggios on Bb and Eb, and prey and hampson are lyric baritones, with passaggios on B and E. A dramatic tenor would have passaggios on C/C# and F/F#
HMW 2 years ago
The theory of the passagio is a big lie, if not listen to Alfredo Kraus conference about technique, . The vocal cords have a specific amout the breath on each occilation, only if the singer and the voice teacher is so brute that can´t feel the excess then passagio appear. Passagio is technicall error not something natural, a limit in going up and down is only the incapacity of controling the breath.
ilbacioditosca 2 years ago
the passaggios are well documented and scientific... and you yourself just admitted it. when one does not sing correctly, they appear, and they appear at different points for each fach. when one sing's correctly, they are much less noticeable. however, it is undeniable that at one point the voice transitions into the "voce piena in testa," and that is the second passaggio...
HMW 2 years ago
Of course the are different registers sopr,mezzo,alto,tenor,Bar,Bass. I read Miller(rip), Hines, even the Schiller Intitute Book of registration with the crazie mathematical relation to the passagio in F# high for male and low for female. Even they call it scientific discovery,jajaja the relation of the human voice with the Planets orbits!!!
Now saying that all tenors experience tension or another register in F# or F or E because the different funtioning is wrong.
ilbacioditosca 2 years ago
registers are not voice types... and nobody is talking about planets, what are you even saying? also, an E natural is that of a lyric baritone. also, it is absolutely true to say that the voice shifts at a certain point (for tenors, F, F#, or G) into voce piena in testa, i.e. head voice. also, i'm gonna go ahead and believe the italian school of bel canto (which has proved itself quite successful in turning out good singers) and vocal doctors over some guy on youtube. have a nice day :)
HMW 2 years ago
I know you are not talking about planets but read Book of tuning and registration by Schiller Institute and you´ll see what I mean. Carlo Bergonzi supports what is written in that book!!!! There are many crazie ideas about passagios!!
I enjoy exchanging info, Registers yes are tenor, baritone, personally I would call voice type to Leggero, Lyric or Dramatic in any register. There is more relation between a Dramatic tenor and Dramatic baritone than a Leggero tenor and a Lyric tenor
ilbacioditosca 2 years ago
I do not believe that the term passaggio is a lie but the singer can change his passagio note with his demands. For example almost all singers do not cover his voices and pass the mixed voice in the aria Madamina... (Siepi, Furlanetto) or Eric Halfvarson (Maybe the most dramatic operaic bass) even takes High F's almost not covered. Therefore, i do not believe the catagorizing the fach's according to "passaggios". That is all about timbre, darkness, richness and the most important : the reflexes.
onaykk 2 years ago
This comment has received too many negative votes show
this voice is terrible!!
webtenor 4 years ago
Listen to his other roles posted here, Calaf, Radames and Pinkerton for example, and you will notice how he manufactures a darker voice for Otello, it seems he wants to sound like Ramon Vinay. I heard him live in Venice some years ago and his performance was very effortful with a lot of hoarseness in the voice and very tired towards the end. His natural voice is fine for Otello whay does he fake it. Vinay by the way, started and ended his career as a baritone.
CzarDodon 4 years ago
Ramon Vinay was Baritone at first. but his last role was grande inquisitore in Don Carlos in early seventies. So he was real Bassotenore:)
Baritenore 4 years ago
I didn't know that, interesting curiosity!
CzarDodon 4 years ago
yes i would like to be bassotenore ahah
BariTenoreDram 4 years ago
My coach from Theater Colon had the opportunity to work with Carlo Cossutta and other Dramatic singers.This kind of voices use to have 3 octaves C1 to C3 like Melchior, of course they are not voices for the belcanto tenor, but excelent for verdi and verismo. They can perfectly sing baritone and some bass like Vinay. Do you know that Hans Hotter was trained as tenor first? Some basses can vocalized C3. that is confusing for voice teachers!!!
ilbacioditosca 3 years ago
I totaly agree!!! there is no doubt tha he is a dramatic tenor, please!!
Danjor06 4 years ago 3
Galouzine, the baritone who pretends to be a tenor...
JuanDiegooooo 4 years ago
No, he's a dramatic tenor. Listen to where his voice turns, its an F natural. He's a dramatic tenor. Giacomini was, in my opinion, an even darker voice than his, although he shouted less than Galouzine. If he were a baritone, exactly what kind of baritone would he be? hmmmm?
ddevicente 4 years ago 5
Hope you wouldn't have your Juan Diego signing Otello
CzarDodon 4 years ago 6
WELL YOU PRETEND BE NORMAL...AND..YOU ARE DEAF.sORRY
licariototal 3 years ago
i think i just peed my pant!!OMG!! He is it!
blktenorpower 4 years ago
Great voice, but rather baritone then a tenor.
and no High B in Esultate, "lohohoragano" on the same note. As a tenor-baritone he will get away with Otello but what about other roles like Radames, Calaf?
can you post them to prove me wrong?
)))
Cesaare 5 years ago
I have already posted his Radames. See under related links.
Gabba02 5 years ago
I've heard his Radames, no doubt a great voice but very tight on high notes and under pitch singing. Real tenors, even dramatic ones, should have at least stable b flats: to my humble op. he's a baritone refusing to be a baritone but in anycase he is much better then Cura, who is such a disapointment
Cesaare 5 years ago
Cesare Galuzine have a good Bflat, B, and huge C. There are some masterclasses where he sings Che gelida LA SPERANZA with strong and beautifull sound.
ilbacioditosca 2 years ago 2
I heard this masterclasses with overblown, forsed voice. Galuzin has a great material, no doubt, but he is repeating del Monaco's mistake by wanting to be the loudest tenor on earth and witout proper technique or nature.
He cracks Bflat in Aida almost all the time he sings it, is that supposed to be a good technique? he has no piano, like Del Monaco-is that good technique. To my point he is a wannabe dramatic, not a real one like Giacomini or Melchior. One has to sing beautifuly no matter w. v.
Cesaare 2 years ago
about High C in a masterclass, I fount it real terrible, he shows a liric tenor how to sing a passage with high C and forses his high C as much as one can imagine. That you find beautiful? I hope you are not talking about the masterclass I saw(in French it was I guess). In German(Pique Dame) I like him the most, Italian opera is not his buseness.
Cesaare 2 years ago
interesting voice. Why is he not black?
steainsy 5 years ago
Because it's not an entirely traditional production (it's sort of a mix of modern and traditional). Incidentally, I don't think Othello *has* to be black (though it kind of helps, especially in opera, to draw out the contrasts).
Gabba02 5 years ago
he is referred to as 'the moor' though. Patrick Stewart did a (stage) production where he was the only white man in an otherwise completely black cast, that makes sense to me, but anyway, I guess the words could do enough.
steainsy 5 years ago
There were stagings of Shakespeare's play (and drawings to show it) in the 18th Century where Othello was played as some kind of Turk. I think the important thing (in the original context) is that he is a 'convert' to Christianity from a previously 'savage' race. That's why in the Zeffirelli film with Domingo, you see him totally reverting back to primitive superstition, and that explains his animalistic behaviour in this production.
Gabba02 5 years ago
but he's battling the Turks in the beginning(or 2nd act if you go by the play and not the opera).
Why did Zeffirelli assume he was savage?
steainsy 5 years ago
He's a convert to Christianity, i.e. he's fighting against the people he used to be a part of.
I don't think it's an assumption by Zeffirelli, I think it's an interpretation, and one which is a very traditional reading of Shakespeare (Zeffirelli tends to be traditional and literal). There are modern interpretations of the play that see it as being something to do with racial tensions, but you can be assured that that was not in the mind of a 16th Century playright.
Gabba02 5 years ago
The savagery is always there, but is "drawn out" by Iago. Iago knows how to bring out Othello's latent bestial nature. So Othello transforms from being an extremely cultured, sensitive man in the beginning of the play to a raging, spitting beast (and some may thus think he is "reverting" to what he once was). It is understandable that many nowadays do not like this reading of the play since it assumes a superiority of Christian and Western civilisation. But that is as it is.
Gabba02 5 years ago
So do you think that the savagery is only a state without God for Othello and that his being black has no relevance or do you think that Shakespeare would have been playing on some level on assumptions about libidonous and bestial tendencies in black people especially. Otherwise what is the reason for him to be 'the moor'
steainsy 5 years ago
I don't think that "race" in the modern sense was really thought about in the same way as it is now. Rather, there were "civilised" peoples and "uncivilised" peoples; Othello was an uncivilised man who became civilised. This could mean that he's black or Arab or Turkish, it doesn't really matter. The point is that he failed ultimately (but perhaps nobly) in his attempts to achieve this change.
Gabba02 5 years ago
For this reason, I think there is something more to it than being in a state without God, otherwise his converting would have been enough to truly change his character. So yes, the subtext of the play is that non-European peoples have a different, bestial nature to European peoples. This isn't so strange a belief, since people up to quite recently even believed that Mediterranean people were more 'passionate' and libidonous than Northern Europeans.
Gabba02 5 years ago
yeah so that leads me to question why Zeffirelli would perpetuate this in what you call 'animalistic behaviour' and 'primitive superstition'. I guess there is a fine line between Othello's so called animalism as an individual and his animalism as a black person.
steainsy 5 years ago