Addio, Fiorito Asil

Tenor Gregory Hanson (www.gregory-hanson.com) sings "Addio, Fiorito Asil" from Puccini's Madama Butterfly. This was at the Lakes Region Opera "Puccini and Pastries" concert where Gregory was the featured soloist.

Category:

Music

Tags:

• Addio
• Fiorito
• Asil
• Pinkerton
• Puccini
• Madam
• Madama
• Butterfly
• Classical
• Opera
• Tenor
• Corelli
• Gregory
• Hanson
• Pavarotti
• Hines

[searnold56]

Not necessarily Mozart. For high lying tenor voices Mozart tends to sit too low. Donizetti is a terrific way to work these technical issues out as well.

[pieritlyon]

Que bonita voz , no desafina, correcta interpretación; faltan algunos detalles técnicos, ya esplicados, Creo y espero que haga una gran carrera de tenor, por que las condiciones las tiene. En estos momentos hay muchos tenores jovenes muy buenos y otros tantos emergiéndo, como este ejemplo de Gregory Hanson; se les debe dar más opotunidades y no seguir limitado a uno o dos que le coartan el camino a los jovenes.El Gran Maestro F: Corelli se retiro en la plenitud de su voz y apostura.

[palymusic]

Grande facilità vocale ed interessante timbro.

Deve prendere più confidenza con l'esibizione e lavorare sul fraseggio e sulla dinamica.

Ottime possibilità.

[OperaSnob]

continue their training for as long as it takes. Also, Tucker's voice lasted forever and was scheduled to perform the day he died. This singer also needs to work on his Italian. When properly trained, American singers generally sound better in Italian than the Italian ones.

[OperaSnob]

Anyways, it's nice to hear a newer tenor who's not so lyrical singing Puccini. In time this singer will be able to get away with heavier roles like Pinkerton, but he really needs more training and it shows. Richard Tucker was still going to his vocal coach for instruction before every performance until the coach died far into Tucker's Met career. A lot of singers did that in those days and I doubt any do now. Tucker suggested to all new singers not to take heavy roles early on and to...

[OperaSnob]

God, I'd love to discuss opera with someone for once in my life and not have Pavarotti come up. Guess I'm hoping for two much? By the way, Pavarotti didn't last. His earliest performances were alright, but later left opera for his 3 tenors and became mechanical and wasn't even able to sing arias in their right key anymore. Look at Jan Peerce who was singing his best when he was in his 60s and later singing almost the same in his 80s as in his early years!

[TenorCub82]

Actually, I think we're not quite talking about the same thing. Using rep that's slightly ahead of your voice can, if done right, be useful for training. For performance, there's good reason to be aware of your limits. I just think it's more about evaluating a particular singer than any rule of age. (Some singers are ready to perform Puccini at 25, others will never have the voice to sing over those dense orchestrations, no matter how old they get.)

[TenorCub82]

Bad technique is bad technique, whether it's used singing Mozart or Wagner. You can ruin your voice on light rep, if you sing with bad technique. The reason, I think, heavy rep is more dangerous is because it's tempting to use bad technique to compensate for an underdeveloped (whether by age or training) voice. If this tenor has a good teacher, he or she should help him avoid bad the bad habits that could kill his voice. Pavarotti sang Rodolfo at 25, and his voice lasted and lasted.

[OperaSnob]

Of course him singing this aria is no big deal, but I otherwise disagree. I think if he sang lighter Mozart and Handel roles in the beginning he would develop a great technique which would be useful for harder/heavier roles later in his career. That's how it was done for years and years with great success. The way things are done now is ridiculous and singers' voices don't last as long as they should because of it.

[TenorCub82]

Well, he's only doing the aria, which I have no problem with.  A challenge is a good way to develop technique, to help him get ready for the full role.