Mario del Monaco - 13 live records of "Esultate!" 1950-1972
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- čas přidán 13. 01. 2019
- 00:00 - 1950
00:42 - 1951
01:28 - 1954
02:04 - 1957
02:43 - 1958
03:23 - 1959
03:58 - 1960
04:36 - 1961
05:12 - 1962
05:46 - 1966
06:24 - 1969
07:06 - 1971
07:44 - 1972
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It's so incredible that his voice lost neither luster nor power over the span of 22 years. Todays voices are lucky to last 10 years. I would have loved to have heard him live. Alas I was born way too late.
IMMENSO,MAESTOSO,REGALE,POSSENTE, POTENTE, TUTTO IN UN COGNOME...... MARIO DEL MONACO !!!! gli altri ? si mettano i in fila !!!!.....
Un Otello inimitabile...grazie Mario del Monaco, maestoso grande, indimenticabile
What strikes me is the remarkable level of consistent over so many years!
Mario del Monaco one of the greatest tenors in the history, the best otello of the decade 50, the best actor in the rol of otello. Very good video, very good compilation thanks.
Che voce, Che colore, Che fiato. Incredibile.
O
A distanza di 60 anni fa ancora accapponare la pelle....un esultate vale tutta l'opera. Otello è Del Monaco
fenomeno .
UNICO!!! Un "Otello"così adesso ce lo possiamo solo sognare... "Otello" purtroppo ha cessato di esistere quando Mario Del Monaco è volato... E questo ascolto è dedicato soprattutto a quelli che hanno osato parlar male di un Artista inarrivabile come Lui!!! INVIDIOSI, TORCETEVI PURE E RASSEGNATEVI!!!
He took it to extreme heights, unbelievable, now other tenors can't measure up to this force. So virile and settled and fully in command with huge volume/projection. To see him live must have been majestic as he was reputed to be a tremendous actor, certainly in this role. Incomparable.
He sang absolutely great, gigantic Esultate! through 22 years. And from the 70th heeven improved his interpretation singing the last two phrases in one breath. Within the high B! Incerdibe! No other tenor can do this!
....Indeed. If current would-be Otellos tried that, they would end aphon!. RDS
Верно!
A Verona si dice che quando cantava in Arena si sentiva chiaramente fino all'orologio di Corso Porta Nuova (almeno 150 metri lontano dall'Arena).Leggenda?Non credo .Ho parlato con tanti veronesi.
Muchas gracias por la anécdota. Es historia que no estaría de otra forma al alcance de quienes no vivimos allí.
This is the real tenore sound, today’s voice teachers are scared to produce large scaled voices like this! Bravo Del Monaco!
Giralo come vuoi ma è sempre il più grande. Senza possibili paragoni.
Nessuno come lui !!!! 👏👏👏
Great Tenor Mario forevermore!!! 👍👍🤩🤩🤩🤩🤩🤩🤩🤩🤩🤩❤️❤️❤️♥️♥️♥️♥️♥️❤️❤️👏👏👏👏👏
Incredibilmente quello del 71 e 72 sono addirittura migliori di quando era più giovane,se non avesse avuto problemi di salute avrebbe interpretato Otello fino ad 80 anni, numero uno in assoluto..
il più grande tenore eroico di tutti i tempi senza confronto serio con altri
Concordo
Вихрь страсти, бурлящая энергия сердца, пронзительный голос!!
SOOOO CONSISTENT
00:00 - 1950
00:42 - 1951
01:28 - 1954
02:04 - 1957
02:43 - 1958
03:23 - 1959
03:58 - 1960
04:36 - 1961
05:12 - 1962
05:46 - 1966
06:24 - 1969
07:06 - 1971
07:44 - 1972
I just decided what I wish I’d do first if somebody invented a time machine: I would go back to the 60s and 70s in an actual opera theatre and listen to all these “Esultate” with my own ears. To fully appreciate all the harmonics of this indescribable voice. A sword. A sharp piece of metal. Vibrant. Violent!
In the last two, he sings from “dopo l’armi” till the end in just 1 breath. At that volume of voice. Unbelievable...
I would love to join you in that time machine!
И я тоже!
Take me with you! I want his vocal resonance something fierce.
The monster!!!!
È pazzesca la tenuta vocale di questo DIO dell'opera, infatti l'Esultate non è cambiato di una virgola dall'età giovanile a quella più anziana, anzi forse è addirittura migliorato. Semplicemente un mostro
Maravilloso!
L'ultimo esultate del 72' rimane scolpito nella mente di chi ascolta...il fiato è tecnicamente perfetto..non molla...come si fa ad apprezzare altro oggi? Non c'è nulla .......ormai è finita....non ci sarà mai un altro grande tenore...
Non sono erudito in materia ma da.... dopo l'armi .... è un fiato unico fino alla fine. Fantastico Mario !
My god,what stamina,and breath control,he didnt lose anything over the 22 year period singing this
Onoriamo il più grande interprete di Otello!
Non il più grande......lui era Otello.
Il più grande tenore di tutti I tempi !
il più grande tenore drammatico di tutti i tempi
@@francescoponti4130 è la veritá
@@francescoponti4130 non solo drammatico. Armoniche a non finire, timbro, colore, emissione omogenea e stabile, vocalità, espressività, tecnica perfetta. Tutto aveva. Mai nessun tenore nella storia ha avuto simili capacità. Faceva quel che voleva della sua voce, consapevole qual era. Un mostro di madre natura.
Aveva un viso molto bello
@@cristinamonaco3474 solo il viso ? 🤔😂
Wow! and Wow!!!
Nella maturità raggiunse la perfezione. "Dopol'armilovinsel'uragano" senza interruzione , tutto d'un fiato. Come quello del 1972.
The DEFINITIVE Otello of our times!
Vera mente il miglior!
Proverei a fare un video con altri interpreti,per vedere se dopo 22 anni di Otello la voce è sempre integra!!!
Impressionante l'esultate del 69 e non era più un ragazzo e anche nelle ultime performances:
fiati, armonici,limpidezza del timbro e potenza negli acuti. Le amebe di oggi ,
osannati"tenori",farebbero un patto con Belzebù per averne solo una piccola parte!
1972...grandioso.
Salvo engano no Teatro Municipal de São Paulo foi sua 300 apresentação nesta Opera em São Paulo. Nos anos 50 a estreia dele no Cólon de Buenos Aires. Idem a estreia em Maurício no Trovatore foi no Teatro Municipal de São Paulo.
Manrico em Il Trovatore foi no Teatro Municipal de São Paulo.
Commovente
The OTELLO to die for.
unrivaled, the best for ever
I have no idea how he was able to achieve such resonance in his voice! It is truly a wonder! What a powerful Otello he was!!!!!
That was the product of the Melochi school of singing and impecable diaphragmatic support.
@@modestofontanez3343 And his own hard work, unique set of circumstances, particular chords, mindset...etc..
I'm very tired of people attributing someone's production to any one technique or school. I'm not against Melocchi by any means, but enough with the reductive explanations.
I agree with you but do not understand why give credit where credit is due.
@@benjaminwerth Exactly right. Melocchi was not a magician. He didn't wave a wand and "make" a Del Monaco. Mario had the right vocal cords, the right head, the right resonance chambers, the right chest, and a fantastic technique, not to mention his voracious desire to learn all he could about singing. I'm convinced that Mario would have been Mario no matter who he studied with.
@@moorfan1 Corelli here on You Tube states that Del Monaco had a small voice prior to going to Melocchi. But emerged out of the Melocchi School with a very large voice. Volpi writes, that Del Monaco had a terrible experience in La Gioconda in Spain, and upon arriving to the Melocchi School he had to make a decision to either retire from the stage or create a voice to sing Otello. Page 147-148 of ''Voci Parallele'' Volpi also states that when the day comes that Otello has exhausted Del Monaco, he could always sing as a soprano with a different timber and an extension up to E-Flat. Corelli also states that the lower larynx technique has been around for many years and did not originate with Melocchi. There are many interesting interviews with Corelli- Zucker here on YT discussing MDM, many other singers, voice technique etc.
È SEMPRE ECCEZIONALE! 🧡💛💫💫
7:24
8:05
Who can sing just 1 breath!! like him!!
The older he the better he became. WOW.
This is incredible. Bravo for putting it together!
The greatest dramatic tenor of all time along with Caruso
Categorizing tenors gets a little tricky. I believe that Caruso was a spinto tenor with dramatic impact when needed. As was Richard Tucker, Martinelli, Bernardo De Muro, Corelli, with large voices as well, and perhaps Domingo, Labo and Bergonzi being medium size spintos. Making it more complicated, the dramatic tenor always has Otello in their repertoire, but the spinto tenor may also have the ability to sing the opera. Corelli referred to himself as a lyric spinto and Bjorling claimed he was a spinto tenor. Others on You Tube refer to MDM as a '' Lyrico Pieno'' what ever that means. My guess is voice suitability and performance for a specific role may be better to evaluate a tenor. Enjoy
Cool video, good idea! Thanks for sharing
20sec note at the end!!!! The Best!!!
È forse il più grande Otello di tutti i tempi. Una voce incomparabile e tornante per oltre 20 anni. Dove la si potrà trovare? Grandissimo MARIO.
Alessandro Moccia Giusto👏✌️👍
@@alessandromoccia471 laurivolpi e Corelli erano superiori.....
@@alessandromoccia471 Corelli è il più grande
@@alessandromoccia471 Corelli é un caso storico ha più voce di tt
Dopo questa mi fermo...mi rendo conto che parla una non addetta ai lavori.pensi quel che vuole
1972: 20 secondi di suono potente, timbratissimo e legatissimo, su una frase declamata e perfettamente scolpita e pronunciata. 20 seconds of powerful sound, with perfect pronunciation and perfect legato on declamato.
Esatto, per me l'interpretazione più bella.
1958 e 1959 sono la perfezione assoluta, poi 1972
UNA FOLGORE.
Siempre con un estado vocal impresionante ! Impar en Otello!
Grande video! Grazie.
I absolutely love Mario del Monaco. In my opinion the best extract was 1969
Il migliore è quello del 72
Bravo Mario !!!
1951s conductor is out of this world!!!Such an inspiration he had to leave MDM alone to his line!Amazing job! Does anyone know who he is?
each year in the 1950's first three -- he is better and better....
I feel like I’m one of only few left today that appreciates the true school of bel canto….and while I’m not a singer myself (only a classical pianist) I have been told by a couple of great artists that I can hear as if I was a singer. The people whole told me this…I feel so very lucky to have had them as dear friends…Licia Albanese and Lucine Amara. In the male voice, I am a great admirer and critic of the voices of Gigli, Caruso, and Ruffo and in no specific order, although for my ear, I hear an absolute perfect instrument in the voice the voice of Gigli. All that said, I must tell you I’m such a fan of Mario in this role, as evident in his recordings!!!! On certain vowels in this Esultate, I hear a quality that I liken to Gigli…..only if Gigli was a dramatic tenor (tenore di forza). I appreciate how you have given us 13 LIVE examples of this to demonstrate that his instrument was virtually unchanged over the years. For my money, I will take 1954…..his attack on the big notes is true Bel Canto…..he starts them all on a PPP and spins them out immediately to FFF. This creates a fluid attack on the vowel, rather than just crash into it. His baritonal quality coupled with the mostly “open” vowels that he chooses make this a great recording. It’s these open tones that create the squillo that are required for the role. He really does do a wonderful job….I can not say this about some of his contemporaries, then or since. I only wish he would take a more open vowel on second to last, but then again there are great risks in doing so.
❤️❤️❤️🍀
마리오 델 모나코 특이한 목청 에푹 빠져본다
I 1959 at age 19 I attended a performance of MDM singing Otello in Milan at La Scala with my parents, and still recall his as the sensational Otello, and I have seen many more since then and with some great tenors, but no Otello Voice as his was, the great Italian dramatic tenor, Del Monaco.
Who were the Desdemona and Iago?
@@ER1CwC When I saw MDM in 1959 as Otello, it was with soprano Rysanek, but in those days I was only into tenors, after seeing a Mario Lanza film in 1950, when I was 10 years old.
@@shicoff1398 That's interesting. I knew that she was singing Sieglinde and Senta at La Scala by then, but management trusted her enough to sing Italian opera!
@@ER1CwC Yes, I do recall that the baritone was NOT Gobbi, for sure!.
THE ONLY OTELLO
He was just Otello!
❤️
he loved so much Otello. RIP Master
love it!! Величайший!!!
FANTASTISCH
After Mario, all other Otellos sound like... Otello's teenage sons!
Un fenomeno irripetibile! Altro che quelli di oggi! Non si sacrificano!
El mejor Esultate lo he escuchado del Heldentenor Lauritz Melchior, por cierto, al que se le compara en potencia con el formidable Mario del Mónaco.
Il piu' grande Otello della storia. Punto e basta.
OTELLO!!! NO ONE ELSE. NO WAY!!!
Every other tenor strangles on the turn, if they attempt it at all. There is no greater ‘Esultate’. Question. Others like Corelli had Melocchi’s technique filtered down by other people, but is MDM the only super-star singer he taught personally?
Every other tenor strangles on the turn? What do you mean?
@@PedroZamagna Listen around to other tenors and how they deal with the first two syllables of the last word, ‘l’uragano’.
@@ransomcoates546 Exactly?
You clearly don't listen to the good tenors, and therefore, only compare Del Monaco to worse ones.
Take even Gigli, or Paoli for the best example on how to sing the "l'uragano" note.
Del Monaco very rarely reached the higher note of that word, and even when he did, it wasn't as coordinated as Gigli and much less Paoli.
Vorrei sapere come è possibile dopo 22 anni dal primo OTELLO,avere una sicurezza vocale come è nell'ultimo Esultate!!! una cosa MAI sentita!!!!!!persino il grande PERTILE in età avanzata aveva perso brillantezza nella voce,divenuta più opaca.....
Che per di più fa il finale tutto d'un fiato.. all'età di 57 anni...!
il più grande tenore eroico di tutti i tempi senza confronto serio con altri
E unico e incomparabile nella sua potenza e nella sua grandiosità.
How can you ever listen to this majestic opening of the opera, without having in minde Del Monaco and his legacy. Today's Opera world has become ridiculous with fake sensationalism which is killing opera big time and is making it a sterile and boring form of art as is happening with all else. How could opera fall into the hands of these impostors and charltans to steal its place as the most spectacular live spectacle possible?
True.
Periodt!
Those opera house managers and "artistic directors" should be mostly shameful...so ugly year by year...
@SuperMagren Thank you. + + +
Совершенно верно!
Спасибо.
Bravo! Are all of these available on CD?
Mario unique!!!!!!
accept no substitutes !!
Singulär, the best
!!!!!!!!!!!!
MAN KANN SICH DIESER STIMME EINFACH NICHT ENTZIEHEN EINFACH FANTASTISCH
1961 is my fave but is it definitely live?
Y ahora que empate Domingo.
1961 for me
MDM IS OTELLO....Vinay can lunch with mdm but everyone else......OUT
Svanholm, Merli, Martinelli, Zanelli, Zenatello, Paoli and Tamagno are also among the greatest Otellos.
1959
唱的俺的军荣
Let's make 24h version!
1. Del Mónaco 2. Giacomini 3. Vickers 4. Corelli.
LOVE FOR MUSIC OR LOVE FOR THE CLOWN
There is a difference between loving squeaks or loving music. He who loves music hears Otello, not 13 chirps in a row. Because loose treble without context, no matter how good treble, it is not music: it is something like the American ranking of trucks with the largest wheels, but they are not trucks. You must have a love for Verdi's music, not for male sexual arousal that operamaniacs have. Mario del Monaco loved music, he loved opera, not "only treble". What is this nonsense?
ONLY LIVE! Thanks
L'esultate del 1972 non sembra umano.
Tutti e tredici non sembrano umani.
Del monaco👑❤️
We will always love Domingo's voice and interpretation!
Dear Carol, After a 1962 performance of Otello in Hartford Connecticut, whereby Domingo sang the tenor part of Cassio to MDM's Otello, Domingo stated that he would never be able sing Otello the way MDM did.
Domingo? 🤔😂
SI BIEN ES CIERTO QUE DEL MONACO FUE EL ULTIMO GRAN OTELLO, NO HAY QUE OLVIDAR, QUE EL MEJOR OTELLO QUE HA PASADO POR EL MUNDO FUE, SIN LUGAR A DUDAS EL CHILENO RAMON VINAY, SOLO PARA QUE LO TENGAN EN MENTE
Grande Vinay,ma Mario del Monaco E' Otello!!!
Sai quante volte l'ha cantato sempre a livelli altissimi?
Mario del Monaco respetava a Vinay...lo ha dicho muchas veces...
I agree he had an astonishing voice but the liberty he takes holding the notes is embarrassing and old Verdi would turn in his grave. (Aveva una voce stupenda PERO prendeva troppo liberta con i accuti. Verdi, di sicuro, non avra dato permesso.)
Interesting. But many great and good tenors took liberties with the music and holding high notes in live performances. Corelli, Lauri Volpi, Gigli, Tucker, Filippeschi, Martinelli, Zenatello, Barioni, Pavarotti, Bonisolli, and even an impeccable singer like Bjorling did. Verdi may not have approved, but the public loves it.
@@sugarbist This is true but what it does is hold up the opera - all about the singing not the opera. It's a shame because on his studio recordings he sticks to what's written and all the wonder and power of his voice is there, undiminished, without the need to "show off".
@@dannycore4550 I have to disagree a little. Every tenor is more discipline in the environment of a studio atmosphere. Sure we can hear the wonder and the power on his studio recordings, but in my opinion, he often sounded throttled in his London recordings, as if he were singing inside an empty can of soda. MDM's voice was more impressive live, where you could hear the more clear masculine sound of his voice, as I heard him in a Carnegie Hall recital circa 1962. I saw Corelli in Trovatore about a year earlier, but just after my father purchased his first LP. Corelli's voice was also very impressive in the house, but a little more lyric than on his LP. Corelli recorded on the Angel record label which did do his voice justice and where he used less mannerisms than his live performances. I unfortunately did not see Tucker live, but was told by an associate of mine that Tucker like MDM was better in the house than on records. Di Stefano sounded very close live than he did on records except for the beautiful overtones in the theater. I prefer the pulsation of live performances where more emotion is conveyed by the singer than in a studio atmosphere. Even Bjorling with his impeccable singing was more emotional live than in the studio. Jerome Hines mentions that Bjorling sounded like 3 Caruso's on records, but the voice by comparison was small in the house. Not many people care about holding up the opera by a few seconds here and there and actually wait for thrilling high notes to be held longer than expected. Del Monaco ironically stated in an interview, that opera is NOT all about high notes. In other posts MDM and others are criticized for singing '' Nessun Dorma" as written with the 1/4 high B-Natural at the end of the aria as appose to holding the note as long as the tenor can, alla Corelli. Enjoy
@@sugarbist You were certainly fortunate to hear them live. I do enjoy the live recordings. They were all of an era that is truly gone, sadly. Filippeschi is particularly underrated and his live recordings are quite astonishing - I Vespri, Tell, .
@@dannycore4550 Yes, I think so. Filippeschi never sang in the U.S. and there's not much written about him. I feel he was a tenor in the tradition stylistically of Lauri Volpi, in the way that he could and did sing across a variety of roles with success. Like Volpi, MF did have excellent facility in his upper ringing high notes. There use to be a Tosca with Callas here on YT which may no longer be available. Enjoy
que gritón!!!!!
Envidia? O admiración?
Sr. Mujica. Respeto por supuesto, su opinión. Pero verá.... la entrada de Otello en escena, es decir, el "esultate !" se canta exactamente así. Ni más, ni menos. Si no es molestia, si no estaba usted bromeando, ¿podría explicar otra manera de hacerlo? ¿Tal vez susurrando, a media voz?
@@carlosmonzo4102 Probablemente el sr. Mujica no haya escuchado en su vida otra cosa que la opera rossiniana. Por eso ha comentado sin saber. Por supuesto que todas las opiniones son respetables, pero también deben tener un mínimo de coherencia. ¿no les parece?
@@adriantinti6369 O tal vez dicho Señor, es un gran entendido. Y ha tenido el privilegio de acceder al manuscrito original de la partitura de "Otello", donde Verdi anotó que en realidad, el "ESULTATE !" se debe cantar "mezza voce"...... Estos tenores tan orgullosos...... ¡¡ qué caprichosos son !!
Commento inadeguato e privo di logica...
Sommo nei secoli!!!
Разные записи ...Технически не сравнимы ...В студии звучит конечно наиболее отчетливо и мощьно...!