no. not to be done. cannot do it. pardon. pick one? only one/what? the singers are 1st and best of the best in our time, yet i must say this: all equally excel beyond compare by any measure of excellence. and i love Handel and this song! Jakub w/ his youthful, light, and highly refreshing romanticism, engaging and lovely. Sara is warm and full of 'profundo' sounding as though from Elysium itself! Natalie sings superlatively every single time and describes the word astounding! Philippe shines brightly here! he is coming to a place of maturity and expressiveness that is gratifying to hear! a smoother and well-rounded and a much more accomplished sound! Franco is stunning in his refined, restrained effulgence in this number - the working man's countertenor = a true pro! great command and style! and his interpretation beautiful in it's formalized exuberance and richness! great for an evening performance dressed to the nines!!
Why would you say that? He has drowned in vibrato... I do not think he can sustain a straight tone long note... Well, people have different tastes though.
This is a killer aria that requires great vocal endurance while making the whole thing sound effortless. I loved the two contraltos, Mingardo just a bit more than Stutzmann. Both were "fiery" as the title suggests, but so fluid. That said, Jaroussky's coloratura was ABSOLUTELY STUNNING. A jaw-dropping performance. Since he's a countertenor, his voice gives the impression of lightness -- the notes he sings which are low for a woman are high for a man, so I guess that's why.
Agitato da fiere tempeste, se il nocchiero rivede sua stella tutto lieto e sicuro se n’va. Io ancor spero tra l’ire funeste dar la calma a quest’alma rubella, che placata, poi lieta sarà. Shaken by ferocious storms, once the sailor finds his guiding star again, he goes on happy and secure. I hope, even amidst deadly wrath, to calm this rebellious heart, which, appeased, shall then be happy. agitato=shaken, da fiere=from fierce, tempeste=tempests, se=when, il nocchiero=the sailor, rivede=sees again, sua stella=his (guiding) star, tutto=completely, lieto=happy, e sicuro=and secure, se n’va=he goes, Io=I, ancor=even, spero=hope, tra=amid, l’ire=wrath, funeste=deadly, dar la calma=to calm, a quest’alma=this heart/soul, rubella=rebellious, che placata=which placated, poi=then/finally, lieta=happy, sarà=will be
It's really difficult to choose one of them... I heard all versions, but my favourites in this aria is Sara Mingardo and Nathalie Stutzmann. It's impossible for me to say that Nathalie was better than Sara or backwards. I adore phenomenal vocal abilities, range and talent of Franco Fagioli but i don't really enjoy him in this aria. I'm sorry, if i was rude or unfair. His Vo solcando... was out of this world, especially the top note!
There is actually no choice. The only singer is Franco. The other have a voice possibly for other pieces. In this they are no match for FF. He is hands down the BEST.❤❤❤
Все хороши, но для меня только Фаджолли. Его бельканто уникально. Его голос не знает границ, техника безупречна, много воздуха и свободы. Это как переливающаяся ртуть. Женщины неплохо, но это женщины. Орлинский несколтко эстраден. Все другие исплнители в жестких рамках, а Фаджолли парит свободно. Моя любовь.
Fagioli is my absolute favorite, but sometimes Jaroussky's softer, more supple sound works best, as I think it does in this case. Much depends on the context.
I love the voice of Orlinski. My voice teacher does not, she prefers Fagioli. But seriously, no comparison here. However, best of all is Sara MIngardo.
Мне очень понравилась эта музыкальная витрина. Словно в музыкальном бутике выбираешь! I really liked this music showcase. It's like being in a music boutique!
Franco Fagioli - Nathalie Stutzmann - Jakub Orliński - Sara Mingardo - Philippe Jaroussky. Todos son unas joyas, imposibles de despreciar. La diferencia es según el gusto del oyente. El colorido de las voces de Fagioli y Stutzmann es muy variado y atractivo (el rango vocal es mas amplio). Orliński y Mingardo no es el aria que los hace lucir, y Jaroussky es mas plana la interpretación y en comparación con los demás pareciera muy rápida la ejecución.
, This is not an Aria that suits Fagioli, I think, I don't know if I have liked his interpretation of Handel at all. Mingardo's version is more sensitive to the music and is my favourite.
La Mingardo in certe competizioni nemmeno deve entrare è una cantante talmente raffinata, elegante, posata con un emissione perfetta una timbrica più virile di questi falsettisti, che non può competere. Lei è il vero barocco non questo barock orrendo.
Great job! My criteria: I don't want the voice to suddenly vanish in a shadow as it descends, or take on exaggerated chest quality... Or be ugly. None of these score on all counts. Stutzmann for phrasing and instrument. Fagioli for easy top. Mingardo for general vocal tone . Jaroussky for tempo.
This air requires enormous muscular endurance. The pace is as fast as the wind. Jakub Orlinsky and Cecilia Bartoli have the staying power to hold out until the end of this aria. Honestly this doesn't strike me as Orlinsky's best performance, there are better ones.
@@RealHogweed It’s a fair critique, without a doubt, I was just jesting about the formulaic nature of many baroque libretti. It’s true it’s not something about which I particularly care, but if you do, Fagioli and Bartoli are definitely out! No argument required.
@@ChristopherRSkinner When he sung Artaserse he had a passable pronunciation, i get the impression that he doesn’t put enough effort in that regard anymore.
Orlinski. He retains his masculine countertenor colour. Great artist, all in all! Straight tone. However, I have listened to his better renditions of this piece. Fagioli... OMG... So much vibrato, overwhelming, not to my taste.. Jaroussky sounds like a boy here , although light and technically perfect... The contraltos are great singers but again too much vibrato, although much less than Fagioli.
Who told you that voices in the Baroque didn't use vibrato??? As a matter of fact, Porpora, perhaps the most famous voice teacher (and composer) of the baroque era writes extensibly about the use of vibrato in the voice, which as a doctor I can tell you is a natural defense mechanism in order to release the tension on the vocal cords that prevents them from being damaged by a continued tension. Ignorance is always a disservice to art.
@@DrGarri Regarding my ignorance... I have written many times on youtube about vibrato and its use to relax vocal cords... You just did not read it accusing me of ignorance... Well done!
@@user-xs6hi9tr5b A zillion people write on youtube all the time, even those who think Covid is a hoax, what kind of credential is that? I have giving lectures regarding vocal technique, USC gave me my final credentials y I worked along with Marilyn Horne in some projects, including a master class at The Academy of the West in Santa Barbara regarding the vocal technique of the castrati, now, those are qualifications that can be taken seriously, you are just a youtuber by your own admission.
@@user-xs6hi9tr5b I I don't question people's taste, to each its own, but I do question arrogance and ignorance when "experts" , despite their mysterious "backgrounds", expose as "truth" their biased opinions regarding subjects they obviously have no professional experience with. There are still some "health online experts" advising people to take Ivermectin to prevent Covid, enough said.
I know a lot of people enjoy him and I'm not trying to suggest that anyone is wrong for that but I don't like Orlinski at all. I think he is very attractive and has a charming sound but I don't think you can be convincing as an opera singer with all that straight tone singing. When his vibrato does come through it sounds uncontrolled and like a tremolo. I think he would be great as a choral countertenor, in a group like the King's Singers or something, but as legitimate opera singer... I just don't see it.
There is always a bone of contention... Should they use a lot of vibrato when singing Baroque music or not? We are not talking about typical opera singers of the 19th century and on... That is a totally different story. Countertenors cannot sing in them... I can imagine that Fagioli is your favourite. When looking at him (even in an opera performance) I can see a lot of face work and even if it sounds effortlessly, it is not. On top of that, it is more difficult to sing in straight tone and sustain the sound and colour. I, personally, like the tight and economical vibrato of Orlinski which sounds instrumental and much more suits ancient music. I think Orlinski's goal is to sing for everyone, not only for the narrow circle of experts and he has been doing very well at achieving it... Actually, he has taken this music out of the expert circle.
@@user-xs6hi9tr5b actually Cencic and David Daniels have been my top favorites for a long time. However, there are several other countertenors that are not on the level of fame as Cencic, Daniels, Fagioli, or Orlinksi that I have become very fond of. I used to really love Fagioli when he first blew up around 2010, because at that time it was shocking to hear a CT sing with such range and intensity, but then I went to music school and realized how ghastly his technique is. I think he did sound pretty fantastic a few years ago but he is now barely in his 40s and already sounds pretty bad due to his strange technique. I can agree that Orlinksi has a certain marketability (which I think is in no small part due to how handsome he is) and that's great! I just would never consider him a real opera singer. I don't agree at all with this idea that CTs must sing so differently than all other opera singers. Good technique is good technique. This is also why I think that many of the best new generation of CTs are coming from American Conservatories because we train CTs as REAL opera singers here, with the same general approach you would use for a contralto or mezzo. You can't have a well rounded career if you can only sing with that "early music sound" that was characteristic of CTs in the middle of last century.
@@JacquelineLanceTenor I know what you mean that is why I started my message that "it is always a bone of contention". Actually, Orlinski was trained in the US and graduated from The Julliard School of Music (before that he studied in The University of Music in Warsow) and he made his own choice. I believe you cannot be fantastic at everything you sing... You need to make some choices and master your career path you have chosen. It is hardly possible to stylishly sing Baroque and, for example, Wagner's operas using the same technique. There is no room for countertenors in the operas of that period though. Maybe some contemporary music... In singing it is especially audible because instrumentalists can play anything when having a good technical background. Singing, in my opinion, is a bit different. You are the instrument you play on having certain features in your voice that can be worked on but some will never change. So, you need to make specific choices that suit the kind of voice you have. I am a trained musician (instrumentalist) but I also had some voice emission lesson to the required (acceptable) level and it was horrible for me as I was poor at it lol. Even as an instrumentalist I focused on Baroque music as I felt it suited more my imagination and sensitivity.
@@user-xs6hi9tr5b in regard to Wagner vs Baroque singing, I feel it has less to do with technique and more with the size and temperament of an individual's voice. All opera technique is (supposed) to be based on the same basic principles. Of course there are stylistic things that change between different eras but like I said before I think good technique is good technique. Any reputable voice teacher would say the same thing. I think what has been happening for decades is baroque singers have been held to a lesser standard of vocal technique because they "specialize in early music" or something like that. I think we have been getting away from that line of thinking in the 21st century though. We are seeing a lot more singers that typically specialize in baroque that have fully developed voices that properly fit within the operatic canon. That's why I don't like Orlinksi specifically because I think his type of singing represents that dated ideal of, "oh, well they sound like that because they're a baroque singer." Some really fabulous and somewhat lesser known CTs that are starting to make waves are people like Carlo Vistoli, Keymon Murrah, and Christopher Lowrey. They are all exceptional singers that sing with a more traditional operatic approach that I personally feel Orlinksi could not hold a candle to. That's just my take.
@@JacquelineLanceTenor The question whether baroque music should be sung (especially sacral music) in the operatic style remains unanswered... Using a lot of vibrato or not? I have just listened to a couple of renditions of the countertenors mentioned above and my impression is: Carlo Vistoli and Keymon Murrah have more a female-male voice... Christopher Lowrey, in the lower registered when performing "He was despised", sounds very flat. I cannot say I liked the timbre of his voice. The first two sound great but their voices are completely different to Orlinski's. Orlinski's colour is masculine through the whole register. As far as I know due to the colour of his voice he does not sing female characters in baroque operas and is not going to do it. I do not think he would go for Rossini either. The next question is how much vibrato would the average listener accept? What they like about Orlinski is his simplicity and uncomplicated straight tone. Hence many people say he sings like an angel... A simple, straightforward and easy way to accept by nearly everyone, not only by opera enthusiasts or a narrow circle of experts. His good looks and charisma help, of course, too. Good technique? What is it? Does it make you sound generic if done in the same way? As far as the piano technique is concerned there is no one and only good technique. Each pianists plays in a different way. No point looking for 2 pianists playing with exactly the same technique as there are so many differences in anatomy. Of course, we may focus on a few aspects to produce what our imagination tells us but in the end we all end up with our own technique. The good technique is the one which does not harm our body, health and lets achieve the goals we set for ourselves. The one that does not destroy your voice and lets you express yourself on stage. Most say vibrato is a good, healthy technique because it allows the vocal cords to relax. That's true. However, overused vibrato often becomes a mannerism so in my opinion it should be used (especially in Baroque) when needed or leads to the goal you set for yourself in your interpretation. For each artist the goal will be different, I suppose. It is a tool which helps relaxation and ornamentation of sounds. Obviously, I just expressed my opinion and many people will disagree with me. According to me, every musician (not only singer) should have the technique that does not lead to injury, lets express their feelings, imagination and involves enough skills and dexterity to freely perform music they chose. The last and final say belongs to the audience anyway. And... People's tastes are different so not everyone likes the same artists. Hence all good artists find their fans:-)
![[FULL] Mayaan Licht - Da Tempeste Il Legno Infranto - Queen Cleopatra - Händel: Giulio Cesare](http://i.ytimg.com/vi/AD1AXqnUluA/mqdefault.jpg)
Orliński! So natural, no-forced voice. Great voice emission, diction and pronunciation.
¡¡¡ Franco Fagioli sin ninguna duda !!!
Una impecable interpretación, con una paleta de colores en su voz !!!
Desde Buenos Aires - Argentina
Franco Fagioli. Unico & Stupendo.
no. not to be done. cannot do it. pardon. pick one? only one/what? the singers are 1st and best of the best in our time, yet i must say this: all equally excel beyond compare by any measure of excellence. and i love Handel and this song! Jakub w/ his youthful, light, and highly refreshing romanticism, engaging and lovely. Sara is warm and full of 'profundo' sounding as though from Elysium itself! Natalie sings superlatively every single time and describes the word astounding! Philippe shines brightly here! he is coming to a place of maturity and expressiveness that is gratifying to hear! a smoother and well-rounded and a much more accomplished sound! Franco is stunning in his refined, restrained effulgence in this number - the working man's countertenor = a true pro! great command and style! and his interpretation beautiful in it's formalized exuberance and richness! great for an evening performance dressed to the nines!!
Oui, on ne peut comparer Fagioli qu'à lui-même . Sa tempête est brillante, scintillante de trilles, écumante, et la fin est une merveille .
Mercifully, Orlinski is hot.
Franco and Philippe - such a lively bright performance!
Esatto!
Orliński and Mingardo really touched my heart ❤️
I like the contraltos best: Mingardo and Stutzmann
ALTHOUGH I LOOOOVE STUTZMANN S VOICE, I MUST ADMIT FAGIOLI S SO DAMN GREAT! HE SURREAL! FAGIOLI, ALL THE FREAKIN' WAY!
Fagioli.
Fagioli 👍
First of all, many thanks for sharing this beautiful compilation. I have enjoyed every minute of it. My choice is Mingardo, Stutzmann and Fagioli.
MOI AUSSI!
All marvelous performances, but seriously, it’s not fair to compare anyone to Fagioli. He’s in a league of his own. One God, one Fagioli!
Why would you say that? He has drowned in vibrato... I do not think he can sustain a straight tone long note... Well, people have different tastes though.
Franco Fagioli
I love them all but first is Mingardo, second Stutzman and third Fagioli.
Fagioli❤👍
This is a killer aria that requires great vocal endurance while making the whole thing sound effortless. I loved the two contraltos, Mingardo just a bit more than Stutzmann. Both were "fiery" as the title suggests, but so fluid. That said, Jaroussky's coloratura was ABSOLUTELY STUNNING. A jaw-dropping performance. Since he's a countertenor, his voice gives the impression of lightness -- the notes he sings which are low for a woman are high for a man, so I guess that's why.
Agitato da fiere tempeste,
se il nocchiero rivede sua stella
tutto lieto e sicuro se n’va.
Io ancor spero tra l’ire funeste
dar la calma a quest’alma rubella,
che placata, poi lieta sarà.
Shaken by ferocious storms,
once the sailor finds his guiding star again,
he goes on happy and secure.
I hope, even amidst deadly wrath,
to calm this rebellious heart,
which, appeased, shall then be happy.
agitato=shaken, da fiere=from fierce, tempeste=tempests, se=when, il nocchiero=the sailor, rivede=sees again, sua stella=his (guiding) star, tutto=completely, lieto=happy, e sicuro=and secure, se n’va=he goes, Io=I, ancor=even, spero=hope, tra=amid, l’ire=wrath, funeste=deadly, dar la calma=to calm, a quest’alma=this heart/soul, rubella=rebellious, che placata=which placated, poi=then/finally, lieta=happy, sarà=will be
It's really difficult to choose one of them... I heard all versions, but my favourites in this aria is Sara Mingardo and Nathalie Stutzmann. It's impossible for me to say that Nathalie was better than Sara or backwards. I adore phenomenal vocal abilities, range and talent of Franco Fagioli but i don't really enjoy him in this aria. I'm sorry, if i was rude or unfair. His Vo solcando... was out of this world, especially the top note!
1.Migardo
2.Stutzmann
3.Fagioli
Fagoli's coloratura unsurpassable
Thank you for this highly enjoyable compilation! 👌❤️
There is actually no choice. The only singer is Franco. The other have a voice possibly for other pieces. In this they are no match for FF. He is hands down the BEST.❤❤❤
Fagioli has drowned in overwhelming vibrato which became a mannerism to me... But everyone has a different taste... So...
Полностью с Вами согласна! Только Фаджолли. Франко - гений. Никто не сравнится с его безупречным бельканто, потрясающей техникой. Браво, Франко!
Fagioli - without the slightest doubt. Masterful and to the point.
Thank you! Thank you! Thank you!
Все хороши, но для меня только Фаджолли. Его бельканто уникально. Его голос не знает границ, техника безупречна, много воздуха и свободы. Это как переливающаяся ртуть. Женщины неплохо, но это женщины. Орлинский несколтко эстраден. Все другие исплнители в жестких рамках, а Фаджолли парит свободно. Моя любовь.
Franco Fagioli!
Fagioli is my absolute favorite, but sometimes Jaroussky's softer, more supple sound works best, as I think it does in this case. Much depends on the context.
Once again a matter of personal taste and preferences. All are excellent but I like Philippe Jaroussky most.
J'avoue qu'ici Fagioli est excellant et même bluffant !
Preciosos todos!
I adore Fagioli
Et bien pour moi c'est sans hésitation Jakub Josef Orlinski !!! J'adore le timbre de sa voix , son interprétation, son rythme ..... ☺🤗😍😃
Wow! What a powerful beautiful wonderful voice.
Orliński the best ✨
Mingardo, Stutzmann and Fagioli.
Fagioli. Every comparison with Fagioli is unfair as no one comes even close.
Fagioli, Jaroussky y Stutzmann
Mingardo 🥇and Stutzmann 🥈
IMHO Nathalie great performance!!!
I love the voice of Orlinski. My voice teacher does not, she prefers Fagioli. But seriously, no comparison here. However, best of all is Sara MIngardo.
Fagioli, Mingardo, Stutzmann
Fagioli est l'"enlumineur "de Haendel !
Why choose?
I completely agree! All of them gifts from above 💝
Todos denle like y punto ¡¡¡¡¡Viva la mùsica!!!!!.
Franco Fagioli 👍
Low notes: Stutzmann, High notes: Jaroussky
Mingardo! Philippe!!! Stutzmann❣️... and Fagioli!
Fagioli
Italiano perfetto e voce magnifica per Jaroussky e Fagioli
Mingardo mi primera opción, y de los contratenores me quedo con Orlinski.
For me Fagioli AND Jaroussky
JJ.ORLIŃSKI
JJO!
Мне очень понравилась эта музыкальная витрина. Словно в музыкальном бутике выбираешь! I really liked this music showcase. It's like being in a music boutique!
Spasibo!
Franco FAGOLI , coloratura absolu, avec sa virtuosité proche de FARINELLI, brille devant J-J. ORLINSKY, si angélique qu'il soit !!!
Love you.....
Piêknie. ...Love you....
🌈✨🧡Nathalie Stutzmann🧡✨🌈
Fagioli. The one and only. Powerful. With all due respect for all the other great artista.
Haha. For me the one and only is Jaroussky.
Jaroussky best!
Franco Fagioli - Nathalie Stutzmann - Jakub Orliński - Sara Mingardo - Philippe Jaroussky.
Todos son unas joyas, imposibles de despreciar. La diferencia es según el gusto del oyente.
El colorido de las voces de Fagioli y Stutzmann es muy variado y atractivo (el rango vocal es mas amplio). Orliński y Mingardo no es el aria que los hace lucir, y Jaroussky es mas plana la interpretación y en comparación con los demás pareciera muy rápida la ejecución.
Para mi Fagioli y Mingardo
Ma préférence va à Sara Mingardo, mais tous ces chanteurs sont de grands artistes.
Mingardo
It's obvious
N1. Fagioli
2. Jaroussky
3.Mingardo
4.Stutzmann
5.Orlinsky
Era doveroso inserire in questo gruppo la bella esecuzione di Drew Minter!!!!!
Ann Hallenberg although she is not in this compilation!
Fagioli, Jaroussky, stutzmann
Stutzmann 🌷
Stutzmann
FRANCO!
Спасибо. Прекрасно и равнозначно Сара Наталия Франко
, This is not an Aria that suits Fagioli, I think, I don't know if I have liked his interpretation of Handel at all. Mingardo's version is more sensitive to the music and is my favourite.
Fagioli magnificent! Love!
Like nmb 100 👍❤😁
Contralto-Mingardo; Countertenot-Fagioli are my preferences. They are all good.
Франко.
Franco Fagioli 🥇
La Mingardo in certe competizioni nemmeno deve entrare è una cantante talmente raffinata, elegante, posata con un emissione perfetta una timbrica più virile di questi falsettisti, che non può competere. Lei è il vero barocco non questo barock orrendo.
Franco is the best!
Bravi tutti, ma Handel avrebbe scelto Mingardo❤
Great job!
My criteria: I don't want the voice to suddenly vanish in a shadow as it descends, or take on exaggerated chest quality...
Or be ugly. None of these score on all counts. Stutzmann for phrasing and instrument. Fagioli for easy top. Mingardo for general vocal tone .
Jaroussky for tempo.
This air requires enormous muscular endurance. The pace is as fast as the wind. Jakub Orlinsky and Cecilia Bartoli have the staying power to hold out until the end of this aria. Honestly this doesn't strike me as Orlinsky's best performance, there are better ones.
Mingardo no doubt. I can’t fathom why people like fagioli so much, you can barely understand what he’s singing
Yeah I really hate not being able to catch every word of that formulaic Baroque libretto :P
@@ChristopherRSkinner if it’s not a problem for you, fine. I do like my language though and i prefer when it’s not butchered.
@@RealHogweed It’s a fair critique, without a doubt, I was just jesting about the formulaic nature of many baroque libretti. It’s true it’s not something about which I particularly care, but if you do, Fagioli and Bartoli are definitely out! No argument required.
@@ChristopherRSkinner When he sung Artaserse he had a passable pronunciation, i get the impression that he doesn’t put enough effort in that regard anymore.
Mingardo straordinaria, difficile eguagliarla
Sara Mingardo
Mingardo e Fagioli le migliori.
Orlinski. He retains his masculine countertenor colour. Great artist, all in all! Straight tone. However, I have listened to his better renditions of this piece. Fagioli... OMG... So much vibrato, overwhelming, not to my taste.. Jaroussky sounds like a boy here , although light and technically perfect... The contraltos are great singers but again too much vibrato, although much less than Fagioli.
Who told you that voices in the Baroque didn't use vibrato??? As a matter of fact, Porpora, perhaps the most famous voice teacher (and composer) of the baroque era writes extensibly about the use of vibrato in the voice, which as a doctor I can tell you is a natural defense mechanism in order to release the tension on the vocal cords that prevents them from being damaged by a continued tension. Ignorance is always a disservice to art.
@@DrGarri Regarding my ignorance... I have written many times on youtube about vibrato and its use to relax vocal cords... You just did not read it accusing me of ignorance... Well done!
@@user-xs6hi9tr5b A zillion people write on youtube all the time, even those who think Covid is a hoax, what kind of credential is that? I have giving lectures regarding vocal technique, USC gave me my final credentials y I worked along with Marilyn Horne in some projects, including a master class at The Academy of the West in Santa Barbara regarding the vocal technique of the castrati, now, those are qualifications that can be taken seriously, you are just a youtuber by your own admission.
@@DrGarri Well... Yes, I am JUST a youtuber but you do not know my background... Regardless, everyone has a personal taste which is so good.
@@user-xs6hi9tr5b I I don't question people's taste, to each its own, but I do question arrogance and ignorance when "experts" , despite their mysterious "backgrounds", expose as "truth" their biased opinions regarding subjects they obviously have no professional experience with. There are still some "health online experts" advising people to take Ivermectin to prevent Covid, enough said.
I know a lot of people enjoy him and I'm not trying to suggest that anyone is wrong for that but I don't like Orlinski at all. I think he is very attractive and has a charming sound but I don't think you can be convincing as an opera singer with all that straight tone singing. When his vibrato does come through it sounds uncontrolled and like a tremolo. I think he would be great as a choral countertenor, in a group like the King's Singers or something, but as legitimate opera singer... I just don't see it.
There is always a bone of contention... Should they use a lot of vibrato when singing Baroque music or not? We are not talking about typical opera singers of the 19th century and on... That is a totally different story. Countertenors cannot sing in them... I can imagine that Fagioli is your favourite. When looking at him (even in an opera performance) I can see a lot of face work and even if it sounds effortlessly, it is not. On top of that, it is more difficult to sing in straight tone and sustain the sound and colour. I, personally, like the tight and economical vibrato of Orlinski which sounds instrumental and much more suits ancient music. I think Orlinski's goal is to sing for everyone, not only for the narrow circle of experts and he has been doing very well at achieving it... Actually, he has taken this music out of the expert circle.
@@user-xs6hi9tr5b actually Cencic and David Daniels have been my top favorites for a long time. However, there are several other countertenors that are not on the level of fame as Cencic, Daniels, Fagioli, or Orlinksi that I have become very fond of. I used to really love Fagioli when he first blew up around 2010, because at that time it was shocking to hear a CT sing with such range and intensity, but then I went to music school and realized how ghastly his technique is. I think he did sound pretty fantastic a few years ago but he is now barely in his 40s and already sounds pretty bad due to his strange technique. I can agree that Orlinksi has a certain marketability (which I think is in no small part due to how handsome he is) and that's great! I just would never consider him a real opera singer. I don't agree at all with this idea that CTs must sing so differently than all other opera singers. Good technique is good technique. This is also why I think that many of the best new generation of CTs are coming from American Conservatories because we train CTs as REAL opera singers here, with the same general approach you would use for a contralto or mezzo. You can't have a well rounded career if you can only sing with that "early music sound" that was characteristic of CTs in the middle of last century.
@@JacquelineLanceTenor I know what you mean that is why I started my message that "it is always a bone of contention". Actually, Orlinski was trained in the US and graduated from The Julliard School of Music (before that he studied in The University of Music in Warsow) and he made his own choice. I believe you cannot be fantastic at everything you sing... You need to make some choices and master your career path you have chosen. It is hardly possible to stylishly sing Baroque and, for example, Wagner's operas using the same technique. There is no room for countertenors in the operas of that period though. Maybe some contemporary music... In singing it is especially audible because instrumentalists can play anything when having a good technical background. Singing, in my opinion, is a bit different. You are the instrument you play on having certain features in your voice that can be worked on but some will never change. So, you need to make specific choices that suit the kind of voice you have. I am a trained musician (instrumentalist) but I also had some voice emission lesson to the required (acceptable) level and it was horrible for me as I was poor at it lol. Even as an instrumentalist I focused on Baroque music as I felt it suited more my imagination and sensitivity.
@@user-xs6hi9tr5b in regard to Wagner vs Baroque singing, I feel it has less to do with technique and more with the size and temperament of an individual's voice. All opera technique is (supposed) to be based on the same basic principles. Of course there are stylistic things that change between different eras but like I said before I think good technique is good technique. Any reputable voice teacher would say the same thing. I think what has been happening for decades is baroque singers have been held to a lesser standard of vocal technique because they "specialize in early music" or something like that. I think we have been getting away from that line of thinking in the 21st century though. We are seeing a lot more singers that typically specialize in baroque that have fully developed voices that properly fit within the operatic canon. That's why I don't like Orlinksi specifically because I think his type of singing represents that dated ideal of, "oh, well they sound like that because they're a baroque singer." Some really fabulous and somewhat lesser known CTs that are starting to make waves are people like Carlo Vistoli, Keymon Murrah, and Christopher Lowrey. They are all exceptional singers that sing with a more traditional operatic approach that I personally feel Orlinksi could not hold a candle to. That's just my take.
@@JacquelineLanceTenor The question whether baroque music should be sung (especially sacral music) in the operatic style remains unanswered... Using a lot of vibrato or not? I have just listened to a couple of renditions of the countertenors mentioned above and my impression is: Carlo Vistoli and Keymon Murrah have more a female-male voice... Christopher Lowrey, in the lower registered when performing "He was despised", sounds very flat. I cannot say I liked the timbre of his voice. The first two sound great but their voices are completely different to Orlinski's. Orlinski's colour is masculine through the whole register. As far as I know due to the colour of his voice he does not sing female characters in baroque operas and is not going to do it. I do not think he would go for Rossini either.
The next question is how much vibrato would the average listener accept?
What they like about Orlinski is his simplicity and uncomplicated straight tone. Hence many people say he sings like an angel... A simple, straightforward and easy way to accept by nearly everyone, not only by opera enthusiasts or a narrow circle of experts. His good looks and charisma help, of course, too.
Good technique? What is it? Does it make you sound generic if done in the same way? As far as the piano technique is concerned there is no one and only good technique. Each pianists plays in a different way. No point looking for 2 pianists playing with exactly the same technique as there are so many differences in anatomy. Of course, we may focus on a few aspects to produce what our imagination tells us but in the end we all end up with our own technique. The good technique is the one which does not harm our body, health and lets achieve the goals we set for ourselves. The one that does not destroy your voice and lets you express yourself on stage. Most say vibrato is a good, healthy technique because it allows the vocal cords to relax. That's true. However, overused vibrato often becomes a mannerism so in my opinion it should be used (especially in Baroque) when needed or leads to the goal you set for yourself in your interpretation. For each artist the goal will be different, I suppose. It is a tool which helps relaxation and ornamentation of sounds.
Obviously, I just expressed my opinion and many people will disagree with me. According to me, every musician (not only singer) should have the technique that does not lead to injury, lets express their feelings, imagination and involves enough skills and dexterity to freely perform music they chose. The last and final say belongs to the audience anyway. And... People's tastes are different so not everyone likes the same artists. Hence all good artists find their fans:-)
I will have to pick jaroussky and mingardo.
Jaroussky, Fagioli close behind. If Orlinski weren't hot, nobody would have heard of him.
Fagioli