Gravitational anomaly
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- čas přidán 12. 05. 2008
- Yes there seems to have been some sort of gravitational anomaly in Italy in the early ottocento. All the tenors sank to Naples and the basses floated up to the northern Italian cities.
Consider the casts of the northern Italian Rossini operas - Barber and Cenerentola. One tenor and three high basses (Figaro, Bartolo, Basilio and Magnifico, Dandini, and Alidoro). Then consider Armida - seven tenor roles and one minor bass part.
Armida is the most popular topic in all opera. There have been nearly 100 opera or ballet versions including works by Lully, Gluck, Salieri, Haydn, and Dvorak.
Most of the tenor parts are doubled like Masetto-Commendatore so that only four tenors can manage. Oddly the lead tenor Rinaldo has no aria but the second and third tenors have very big challenging arias.
This concert performance gives us Bruce Ford as Rinaldo, Raul Gimenez, and Juan Carmona. - Hudba
Una straordinaria Armida presente su youtube in versione completa da concerto, svoltasi ad Amsterdam nel 1988. L'ho ascoltata parecchie volte sempre con piacere. 🎉👍🌹🌹
All three are fine, accomplished “Rossini” Tenors, but once in a while a talent comes along that just takes the technique and skill to a much higher level. That name is Bruce Ford. While he had a incredible career, he never became a famous tenor like many of our heros; but, there is a reason why some of the greatest tenors and teachers in the world today regard Bruce as being “legendary great!” And here that reason is obvious. Bravo!!!
And as I've asked on another posting, how is that Bruce Ford could NOT be "THE tenor" of note ( sorry :) ? I have a library of records and have been fixated on opera for 45 years, and found NO recordings of him in opera or recital or "lieder nights". I'd welcome any possible explanation, but this one is a mystery.
@@Winnepausakee But he was! He was a very accomplished tenor and has few great CDs on his own and is featured on a number of others. He also recorded a wonderful Lucia di Lammermoor.
I went to college with Bruce Ford when we were at West Texas State University. It was clear that he would be great back then.
MERAVIGLIOSO!!!!
Here you can realize what is a voice endowed with a nice ring. In the finale Ford's voice just floats easily above the orchestra and overshadows the other two tenors. Since I heard him singing Crociato in Egitto I thought he's a really good baritenore.
Bruce Ford is simply amazing!
He has always been one of my favorite tenors.
This version is surely the most brilliant that I had the pleasure to hear: Ford faces stiff competition from Merritt and Blake in the role, and yet I find him much more tonally beautiful; Carmona is unfamiliar to me, but his winning Italian-sounding voice is a pleasure; Gimenez provides some of the most exciting Cs in here. A winner, all-around :)!
Wonderful!!!, all three tenors are great!!! this is a superb tercetto rarely sang by this quality of artists, BRAVOOO!!! (a deluxe concert!!!)
Thank you so much for posting. I keep re-watching and listening to this video. So beautiful I'll never tire of it. And Giménez as wonderful as always.
Fantastically beautiful. KUDOS!
It must cost a lot of money to have three great tenors like this singing on the same consert.....Thanks for putting this on youtube...
BRAVO!!!!!, all three are great superb tenors!!!!, Mr. Ford has a more rounded position that makes his voice warm and easy.Mr. Gimenez has a more brigth and "spear position" that allows his voice to sound incredibly. Mr. Carmona has also a similar voice as Gimenez, but less brilliant even still a little more rounded. To any aspiring tenor, this is a "MUST" a Master Class on action.BRAVOOO!!!!!!!!
Wow!!!
The 3rd tenor is Juan Luque Carmona
3:44-4:52 WOW. hes a rossini tenor singing like that. god why is lawrence brownlee and juan diego getting more attention
I have two complete commercial Armida CDs (Fleming and Kunde)(Meritt and Ford), two complete Armida DVDs (Blake and Gimenez)(Ford and Gimenez). I also have Blake's and Ford's commercial recital CDs. Both of these CDS have a version of this trio.
This is my favorite performance.
@viv3147 I'm sorry, but anyone who faults the voice of Lawrence Brownlee must have ample justification. However, i do agree; Ford was never as highly acclaimed on the world stage as he deserved to be.
Sorry, I don't have that recording. I will listen to you La Donna excerpt ASAP.
I think it's fair to note that mr Ford, great as he is, sings a line than lies a third or more higher than the other two tenors. Given that they're all high tenors that bloom in the same tessitura that makes for a difference in both loudness and cutting quality, since both increase with rising pitch. I personally found myself liking and wanting to hear more of mr Carmona. I don't think his line put him at an advantage here. Nevertheless, this is spectacular.
@Agorante do you study sls technique or the "complete singing" technique? Those schools teach the words edge and a lot about the science of singing. Anyway on the whole Ford and Giminez thing, Giminez is fantastic, really, but hes the exact kind of tenor i dont really like, far to light for me. I dont know if its technique or natural ability, i think technique personally, but i like a full manly voice like fords. that bein said, Ford does not have many colors, I now see that, great tone thoug
@viv3147
Thank you for your testimony. I love Brownlee's CZcams videos but I did suspect that heard live his voice might be less impressive. Opera singer's acheive carrying power through the "Singer's Formant" a resonance peak at around 2800Hz. This is the "edge" in the voice that some have and some don't. Microphones and post processing can be made to add the formant. Pavarotti and Björling had big formants.
A very late reply here, and I don't want to offend, but feel compelled to add that the Singer's Formant is not a gift. It is a component that can be discovered and trained to a very high degree even in a voice that might initially seem to be in complete lack of it. It would take a lot of training, but if one has sufficient determination, good help and time, it can be done. I don't want to assume that you think differently, but only wanted to add this so that singers reading won't misunderstand the nature of the Singer's Formant. It can be acquired, and trained enormously. I have been told too many times that the 'cutting quality', 'right overtones', etc. is something you either have or don't, and I have seen myself and others disprove that notion time and time again.
@@Jaaakob
Of course singing teachers try to teach you how to create it. But most of what makes a person a successful singer is your genetic endowment. Voice teachers like to pretend it's all learned but that seems very unlikely.
The good one's don't try to teach it, they *do* teach it. It is not a space in your throat, it is a set of physical actions that take place for the SF to 'manifest'. It is just plain wrong to say that some have it and some don't. Any un-injured, average human throat can produce the frequencies called the Singer's Formant. Yes, some people have it from the beginning, and that depend on several factors. Congratulations to them. There are also people that have very little of it for very logical and more or less easily corrected reasons. It is not an interesting discussion, because most people who divinate about who "has it" or not, genetically speaking, are usually wrong in the end. Which is not very strange, since we cannot perceive or read genes just from listening to someone's voice.
If it wouldn't be a bother and if you have the piece in question, would you be able to post "Qual pena in me", the terzet from "La donna del lago" as performed by Ford and Miricioui on one of their recital CDs? I recently posted a version of this terzet sung by von Stade, Blake and Raffanti, and it would be interesting to compare these two renditions. Incindentally, if you have the time, check out the version on my channel, it features some very exciting singing :)! Cheers :D!
What is the name of this song? I don't know opera it just popped up in my feed and now I love it!
It is usually called just the trio from Armida. Armida has four or five tenor parts and only one female role so it almost has to be an all tenor trio.
@phatphace Truth is, I think if he was singing the same thing in the Deutche Oper Berlin or any other big but not oversized house he would be heard just fine. The met is oversized, even though where I sat wasn't far, its was still far back compared to any normal size theater. The tambre Brownlee has is magnificant, some dont like his vibrato and said its wobbly, like a tremelo, I find it attractive. He is still fantastic despite what I heard, and he at least sings Rossini with full body
these are all great technical tenors...BUT...Ford's voice is the best SOUNDING!
@LindoroAlmaviva11 You obviously know what you are talking about but we will have to disagree on matters of taste. I just don't find Gimenez's voice to be particularly attractive.
Among the Rossini tenors there are those with unattractive voices - Merritt, Matteuzzi, Blake, and Morino. Those with attractive voices - Ford, Lopardo, Kunde and Florez. Gimenez is between these two groups IMHO.
where is this trio from...? The Opera and piece...
Armida
Did all 3 end with the high C or just Bruce and Raul? It made me laugh. I don't quite understand why people are so obsessed with it. It's still mighty enjoyable and arguably more beautiful without all those (tight) tenor top notes. This makes me appreciate even more the Handelian (bari-)tenor parts.
@viv3147 Its such a shame that an individual with such incredible vocal ability can still face physiological shortcomings (I had considered him perhaps one of the greatest recorded Rossini tenors and certainly the superior of Florez). CZcams recordings must be rather forgiving in that case. Thank you for that insight.
@phatphace i loved brownlee until i saw him live in this same role. the man was not made for the stage of the met. fantastic voice and technique really, but the reason juan diego does better than him, amongst im sure many other reasons, is the fact that despite the small size of juans voice, it goes right over the orchestra because its so overtonal. i saw armida a year ago and brownlee was the only one whos voice was really often lost in the orchestra. and i was not sitting so far.
Wait is this video Related to space science...why am i here😂😂
You are here writing your little note because you are slow witted.