Lawrence Tibbett! There are two 1938 live recordings of Otello (Tibbett/Martinelli/Rethberg and Tibbett/Martinelli/Caniglia)which are really worth listening to. Both of them showcase Tibbet's beautiful voice and art. It seems to me that Gino Bechi is a baritone who's too much of a "tenor" for this aria. I like darker voices for Iago's Credo. That doesn't mean I dislike Bechi! Quite the opposite! I love his 'silvery' top notes in other arias!
In my view this particular Bechi interpretation of the Credo from Verdi's Otello leaves everyone else's far behind. Amato and Ruffo may have had better voices but even they coud not produce (at least on recordings) Bechi's indescribable effect.
May I ask you why you say those singers had better voices? Bechi had a better high range and a better low range than Ruffo. Bechi's only weakness is that he pretty much had only one setting to his voice.
I read that in Italy young baritones want to be Bechi. But Bechi wanted to be Ruffo.
Re voice- those who heard him on stage felt studio records fail to capture his incredible sound. I prefer his voice on film sound - he made23 movies, incl Aida Traviata Mad About Opera - Torna a Sorrento is no longer available. I saw him in 5 other films long ago. He sounds spectacular in1943 live recording of an excerpt from Salome and in agreat in live 1958 William Tell w. Filippeschi and Bellezza conducting.
@raphaelhudson Ruffo was one of perhaps only 3 or 4 true vocal phenomenons of the 20th century. No baritone had anything approaching Ruffo's top, not even Pasquale Amato, whose voice was more robust than Bechi's. Even Caruso had to sing full voice next to Ruffo in their only recorded aria, Si Pel Ciel, just to stand equal in volume. It's true that Ruffo's vocal prime was short lived, because he got into the habit of forcing. But in it's prime, his voice was utterly unmatchable for power.
@raphaelhudson Excuse my language, but comparing volume is for people who think in the terms of penises. Bigger, longer, louder, same difference. What does it matter. Bechi was excellent.
The Gino Bechi's Credo is very similar to Titto Gobbi
Gerardeus 3 years ago
@Gerardeus
Gino Bechi's everything is very similar to Titto Gobbi, just compare their "Eri tu"
omarihardy 1 year ago
Take a look at primobaritono's channel. You'll find out who Tibbett was.
melanie1010101 3 years ago
Lawrence Tibbett! There are two 1938 live recordings of Otello (Tibbett/Martinelli/Rethberg and Tibbett/Martinelli/Caniglia)which are really worth listening to. Both of them showcase Tibbet's beautiful voice and art. It seems to me that Gino Bechi is a baritone who's too much of a "tenor" for this aria. I like darker voices for Iago's Credo. That doesn't mean I dislike Bechi! Quite the opposite! I love his 'silvery' top notes in other arias!
melanie1010101 3 years ago
Tibbett's rendition of Iago's Credo is incredibly beautiful powerful. I don't think this one leaves it behind. On the contrary!
melanie1010101 3 years ago
Who's Tibett!?LOL
Antigodsgod 3 years ago
In my view this particular Bechi interpretation of the Credo from Verdi's Otello leaves everyone else's far behind. Amato and Ruffo may have had better voices but even they coud not produce (at least on recordings) Bechi's indescribable effect.
64sembra 4 years ago 2
May I ask you why you say those singers had better voices? Bechi had a better high range and a better low range than Ruffo. Bechi's only weakness is that he pretty much had only one setting to his voice.
raphaelhudson 2 years ago
I read that in Italy young baritones want to be Bechi. But Bechi wanted to be Ruffo.
Re voice- those who heard him on stage felt studio records fail to capture his incredible sound. I prefer his voice on film sound - he made23 movies, incl Aida Traviata Mad About Opera - Torna a Sorrento is no longer available. I saw him in 5 other films long ago. He sounds spectacular in1943 live recording of an excerpt from Salome and in agreat in live 1958 William Tell w. Filippeschi and Bellezza conducting.
64sembra 2 years ago
@raphaelhudson Ruffo was one of perhaps only 3 or 4 true vocal phenomenons of the 20th century. No baritone had anything approaching Ruffo's top, not even Pasquale Amato, whose voice was more robust than Bechi's. Even Caruso had to sing full voice next to Ruffo in their only recorded aria, Si Pel Ciel, just to stand equal in volume. It's true that Ruffo's vocal prime was short lived, because he got into the habit of forcing. But in it's prime, his voice was utterly unmatchable for power.
hiyadroogs 1 year ago
@hiyadroogs How can we know how loud Caruso was? It is impossible to tell what he sounded like from the recordings we have
raphaelhudson 1 year ago
@raphaelhudson Excuse my language, but comparing volume is for people who think in the terms of penises. Bigger, longer, louder, same difference. What does it matter. Bechi was excellent.
AfroPoli 1 year ago