Esultate! - Best Comparison EVER!!!
Vložit
- čas přidán 14. 07. 2023
- 00:14 Antonio Paoli
(1871-1946)
00:58 Beniamino Gigli
(1890-1957)
01:39 Flaviano Labò
(1927-1991)
02:32 Francesco Merli
(1887-1976)
03:22 Franco Bonisolli
(1938-2003)
04:15 Franco Corelli
(1921-2003)
05:12 Giacomo Lauri-Volpi
(1892-1979)
06:02 Gianfranco Cecchele
(1938-2018)
06:48 Gianni Raimondi
(1923-2008)
07:29 Giovanni Manurita
(1895-1984)
08:19 Giovanni Martinelli
(1885-1969)
09:03 Giovanni Zenatello
(1876-1949)
10:01 Giuseppe Di Stefano
(1921-2008)
10:42 Giuseppe Giacomini
(1940-2021)
11:18 Helge Rosvaenge
(1897-1972)
11:53 Italo Righi Briani
(1883-1962)
12:50 John O'Sullivan
(1877-1955)
13:48 José Luccioni
(1903-1978)
14:31 Luciano Pavarotti
(1935-2007)
15:08 Mario Del Monaco
(1915-1982)
15:55 Ramón Vinay
(1911-1996) - Hudba
Che grande Otello sarebbe stato Franco Corelli.Il suo esultate è da mandare nelle scuole di canto.Ascoltate è imparate:come si diventa un mito.
All hail - Mario Del Monaco. Whatever you think of him, no one is ever again going to perform Otello 427 times... or whatever the number is.
That number seems to be accurate if you include full dress rehearsals from what I've read
Ɓut Zeffirelli filmed Otello, afterDel Monaco?! With that overrated Domimgo! Was he bribed in some way or other to make that ridiculous Do.imgo as Otello?!! There is no other tenor to rival him in this part!
However, if my favourite tenor ever, Franco Corelli, hadn't refused point blank, it would have been big treat for us his devouted fans.
Per me, dato che non abbiamo potuto avere la versione intera di Corelli..Otello, dopo 70, anni è ancora Del Monaco
Oh maestro Corelli! What a marvellous Othello he would make!
Yes! he would have been great in the role .
Corelli aveva paura di affrontare questo ruolo tremendo. Non è mai stato un cuor di leone, soffriva l'ansia da palcoscenico.
@@enricobonacina2044😊
What a marvelous Otello he would make.
@@enricobonacina2044 Dear Enrico, yes Corelli suffered from stage fright, but he still had the heart of a lion and was courageous and brave when appearing even though he had stage fright. You do not know the difference between frightened and bravery. Corelli was brave. You are not.
Corelli. Il più grande tra i grandi! ❤
Premesso che ci troviamo davanti ai nomi di alcuni fra i più grandi tenori degli ultimi 100 anni, non ci vuole molto a capire che fra le voci presenti in questa compilation, quelle che meglio si adattano al carattere e alla portata vocale di questo meraviglioso ruolo verdiano, sono quelle che poi hanno avuto maggior successo nei teatri di tutto il mondo e cioè: Merli, Del Monaco e Vinay. E' vero che a questi sarebbe corretto aggiungere anche le voci di Corelli e Giacomini, entrambe perfette per il ruolo di Otello, ma mentre il primo non ci ha regalato riscontri in quanto non l'ha mai voluto affrontare, Giacomini si è invece lasciato frenare dalle numerose critiche subite e relative all'interpretazione, impedendogli così di trovare il giusto tempo per maturare un suo Otello.
Va notato infine, che tutti e 5 tenori sopra citati sono bari-tenori, così come Tamagno (che lo ha debuttato sotto la regia di Verdi), Caruso, Vickers, Domingo. E questo dice molto dell'impronta timbrica che Verdi voleva e cercava per questo ruolo.
I don't think I even need to watch the video to know it's going to be Del Monaco...
bella e interessante raccolta.
Bueno, aquí debo hacer una diferenciación obligada, y es que Verdi escribió Otello para un Mesías… y nació Mario del Mónaco. Jamás antes, jamás durante, jamás después… nunca igualado en esta interpretación: Completa, perfecta!!
Prefiero a Paoli, Tamagno, Zenatello o Vinay
@@alejandraponce5629 Magnífico, fueron grandes también e inolvidables.
Wow, some of these tenors made my floorboards shake! My favourite , as always, is Franco Corelli! I love him in everything he sings! Bravo Franco!
Gianfranco Cecchele forever.
The best!!!
He had an amazing voice. Very close to the sound of del Monaco
The Otello " Giovanni Martinelli "
Corelli the greatest of all greats in all parts
Otello is synonymous with Mario del Monaco. Corelli and others here didn't even dare to sing the role. They limited themselves to recording an "esultate" there, a duet of "Gia nella note Densa" here... and that was it. Listen to Del Monaco's esultate live in Belgium in 1972, already close to 60 years old. Almost in one breath.
Your right! And of course that duet "Gia Nella note Densa " doesn't need a dramatic tenor, so yes, they often limit themselves .
It is strange how some people have this magical believe that Otello can only be completed by a dramatic tenor. That myth has obviously been debunked. Pavarotti performed it live and Alagna currently performs it live. Turandot has a bigger orchestra then Otello and the role is much higher, Del Monaco only did roles such as Turandot and Il Trovatore a handful of times in his career, those roles were obviously much more difficult for him personally then Otello. The real difficult roles are the tenor bel canto assoluto roles such as Guillaume Tell, La Prophete, Les Huguenots, Polliuto. Very few singers have sung these roles in last 100 years, these are the roles that not every tenor can perform. Whereas everyone and their dog are performing Otello these days. I am not saying that everyone is performing the role of Otello well, that is a different matter, but clearly any type of tenor can get through a performance of Otello on stage. It is debatable if Tamagno was actually a dramatic tenor, or if he was more of a spinto like Martinelli.
@@ZENOBlAmusic2 Being able to do it means doing it with quality, doing it well.
Did Pavarotti and Alagna play Othello? Yes. Even Di Stefano (!!!!!) did it live.
But I don't know a single critic who approved of their performance.
"Being able to do it" even Alain Vanzo or Tagliavini could do it. But so what?
Pavarotti's Otello, for example, was called "bland" by critics.
But the Otello's remembered to this day and considered references on paper, whether live or on recordings, are: Vickers, Vinay, Plácido, Del Mônaco.....all dramatic tenors.
So it's not a myth that Othello is for dramatic tenors, it's a fact.
A fact that could only be overturned if a lyrical tenor or lyrical spinto had a great performance in the role. Which hasn't happened at least so far.
Just remember that giants like Corelli, Bjorling, Gigli, Caruso, Tucker, Bergonzi... avoided the role.
Guillaume Tell, La Prophete, Les Huguenots, Polliuto... are difficult because they require lighter voices and easy extreme highs.
Otello's vocal difficulty is of another order: it requires a full-bodied and quite voluminous voice from beginning to end.
In time, I must remember that Del Monaco was a great Manrico.
There are a huge number of live recordings of him on Il Trovatore.
In addition to the studio recording made in 1956, alongside Tebaldi, Simionato and Savarese conducted by Alberto Erede, which is one of the most beloved
@@ZENOBlAmusic2 Dear Zenobia, Pavarotti did perform Otello live in concert form, which is obviously easier. His review in part from the N.Y. Times. Mr. Pavarotti sang better than one could have expected under the circumstances. ''A cold''' The voice was recognizably that of our foremost lyric tenor, but, it was not the trombone needed for Otello's exultant first entry, or for his subsequent demented rages, and thus could not do the role justice. Verdi's own requirement, as difficult to meet in his day as it is in ours, was for an Otello who, '' now warrior, passionate lover, now ferocious as a savage, must sing and howl. Mr. Pavarotti, though probably preoccupied by his medical problems, managed to sing beautifully, if impersonally. Overall, his interpretation was neither tender enough or fearsome enough. The mercurial Otello would seem to be outside his temperamental range. In 2018, Alagna received good reviews in Otello in 2018 at the 2300 capacity Vienna Opera House. The only negative comment was, that he did not have enough thrust to his voice for certain moments in the opera. Alagna had a good outing as Calaf in 2017 at Covent Garden, capacity about 1800. Michael Fabiano received fine reviews in his debut as Calaf at the Rome Opera House capacity 2300 in 2022 and more recently in Spain. Alagna will also be singing Calaf at the Met on Feb. 28th of this year, with subsequent performances through the first week in June. Alagna is 57 years old. It seems that anbody is singing Calaf as well. Richard Tucker 1974 YT interview with George Jellinek.'' I could sing Otello, if I want to, why not? But I feel that myself, that the voice would not fill the requirements that this role demands, and that is the reason why I don't sing Otello''. I also feel that the tenors I mentioned above, do not fill the requirements of Otello or Calaf.
@@principecalaff Yes, I do agree. I don't think any of these tenors sing Otello well. But there is an idea that many singer simply couldn't physically sing Otello, which is obviously not true. You said others didn't dare to sing the role, as if they somehow wouldn't have been able to do so. I perhaps purposely forgot that even Di Stefano sang Otello. lol He obviously did not care about the traditions of the time.
In practice many singers could sing it, but it might not be very good. It might not be up to expectations. Unfortunately, Otello hasn't been performed up to expectations for decades now, the same is true for the other heavy roles as well.
Dramatic and spinto tenors used to sing Guillaume Tell, Polluito and other Meyerbeer roles. It wasn't meant for leggero tenors as it is performed today.
Domingo has certainly never been a dramatic tenor. Many spinto tenors did perform the role successfully. Marinelli was a very popular Otello, and Lauri Volpi also received some acclaim.
Zenatello and Martinelli sound very fierce.
MDM unmatched, Cecchele very close 👏🏻👏🏻👏🏻
Una delle voci piu' belle e' sicuramente quella di Corelli, ma purtroppo non e' "eroica" come quella di Del Monaco. Quello era eroico e nessuno mai lo ha emulato. Comunque grandissimi i nostri tenori
Corelli n.1
Thanks for sharing
Franco Corelli excellent
@@eugeniogentili1048 FC had a great voice, but as with both Caruso he didn't sing the complete Otello role, they just didn't think it best for their voices, but could have sung it. Corelli with his dramatic color could have, other big voices avoided it, the American tenor Tucker and German born Kurt Baum, both avoided singing the role. .
I saw Del Monaco sing it in 1959 when I was 19 years old and many more since then as Otello, including both Domingo, Carlo Cossutta and Ben Heppner, but as Otello as far as those I saw, MDM was the best for me, so just IMO as Otello, the best is "who ever you like best", so saying "so and so" is best is just a personal opinion" even the paid critics for major newspapers also have different opinions, and they are paid to be critical of course, as the name "Critic" implies, if they flame a singer we like, we often then don't like the critic, it also depends on the role, some singers are better in certain roles and not in others, of course, some tenors record better then others, both Pavarotti and Bjoerling usually studio recorded better then some bigger voices, I say that because I saw them in their prime years, I saw Jussi Bjoerling in 1958, firs time for Di Stefano I saw him in 1959, GDS was still great then, as was Del Monaco in that 59' Otello, Corelli was born in 1921, MDM in 1915 and the older Tucker born in 1913, I saw him many times, he sang even when older, so big voices needed to be seen in house and in their prime years, to be most appreciated and not matter what anyone says, a tenor at age 60 isn't going to be quite the same as he was at as age 40, as a comparison, he might still be good, but not "as good" in most cases. So age matters and so does the role. In house is the best way to know a voice, Barry Morell was a good Lyric tenor, but he did record bigger then it was, so did Bjorling and younger Pavarotti, when Pav. was older the voice gained lots of middle power, I saw him in the early 1970's first and later 1980's last. Lyric Shicoff in his prime in the 1980's had great Squillo in house and was a fine vocal actor on stage.
Both Mccracken and Melchior also have very fine versions not included here. Still I prefer MDM.
Agree.
Merli,O'Sullivan,Vinay sono i più adatti vocalmente al ruolo,essendo tenori drammatici...Del Monaco è un"caso" a parte...la sua voce è costruita per quel ruolo,almeno fino al 1962!!! Mio nonno lo ha visto molte volte in teatro,e parla sempre di un fenomenale Otello!!!
Vinay was a heavy baritone, he even sang bass parts
@@ariasemusicaslegendadas7657si ma a fine carriera
Mario del Monaco è stato un fenomeno vocale a livello secolare, oggi millantato a parer mio ma che ha lasciato dietro di sè una serie di incisioni storiche e di riferimento e difficilmente ripetibili, mi spiace oggi sia vilipeso da tenori zanzara e critici incompetenti
Of course some here did not sing the role complete on stage.
Corelli,unico
Simpaticissimo Corelli 😂
Oltre ad essere un Otello mancato...
Bonisolli sounds like a BEAST here
Paoli, Zenatello 😍😍
Faltó el primer Otello: Francesco Tamagno.
Labo on a single breathe , did u mentioned?
Del Monaco, Corelli y Vinay... 2 portentos
We shall give the top prize to Mario Del Monaco! Giacomini was practically just as great Del Monaco here. I really enjoy Lauri Volpi and Corelli’s versions for their incredible squillo, and vocal control. Merli, John O’Sullivan and Martinelli was excellent as well. There was quite a few painful notes and a lot of wobbles in these examples as well.
Me parece extraordinaria la actuación del Chileno Ramón Vinay a lo largo de toda la Opera
Mario del Monaco =Otello!
So many of them sing a C natural on SEpolto instead of the written B natural.
Yup, those singing C5, not B4, got lost in pitches in the middle of singing.
Si fuese posibil un video:
Otello: "Ah dannazione. Pria confessi il delitto. E poscia muoia.
Confession. Confessione. La prova.
Jago: Cassio è là.
Otello: Là. Cielo.
Oh giooo(Sib)oooia !"
Gracias 👍
The spectacular Zenatello performance is the November 1926 HMV studio recording.
Merli è impressionante !!!
Di Stefano faceva meglio a fumarsi un bel sigaro....
Mancano Manuel Salazar Pier Miranda Ferraro Set Svanholm
I forgot about the great Svanholm, he sang it also at the Met. once that I know of, besides Sweden, an excellent tenor for German opera etc.
Unfortunately there isn't a recording of Salazar singing Esultate.
@@PedroZamagna Did Fleta ever sing the role?
You have forgotten Vladimir Atlantov, he is a very good dramatic tenor.
czcams.com/video/9evKsGXyz44/video.html
💥
Sel Monaco is the best one!!!
Del Mónaco y Vinay
Corelli.
Raimondi isthe best Rodolfo evet
Bonissolli espectacular, pero del Mónaco es la encarnación de Otello❤
1. RAMON VINAY
2. DEL MONACO
I didn't see Vinay, he was known as a very great Otello, even Del Monaco himself has said Vinay was great, but I did see in 1959 in house, MDM when I attended a performance of Del Monaco singing it, and he was terrific.
@@shicoff1398
I love Vinay very much as Otello. Also,Del Monaco is Great. Domingo was famous too.
@@shicoff1398
"Dio mi potevi". Vinay sing this Aria the best,for me.
@@lilikaamore2123 Thanks, I'll have to listen to it again, as it's been a long time since I heard it.
Дель монако лучший!!!!!!!!!!!!!!!!!!!!!
1.ZENATELLO CORELLI DEL MONACO MARTINELLI🎉
My personal favorites are Antonio Paoli, Giovanni Zenatello, Giovanni, Martinelli, John O'Sullivan, Italo Righi Briani, Francesco Merli, Giacomo Lauri-Volpi, Helge Rosvaenge José Luccioni, Ramon Vinay, Mario del Monaco, Franco Corelli, Flaviano Labó, Gianfranco Cecchele, and Giuseppe Giacomini. However, the seven best vocalists that reign supreme as Otello are Antonio Paoli, Giovanni Zenatello, Francesco Merli, Helge Rosvaenge, José Luccioni, Ramon Vinay, and Mario del Monaco.
I was a big fan of prime Martinelli, I'm going by records as I never saw him, but soprano Stella Roman told me he was her favorite tenor partner and she sang Otello with him many times. With many of these voices from the past long gone we didn't see, and at least have their records .
Finally someone who mentions Zenatella and Merli...together with MdM, of course. Thanks...
Christ, did you forget anyone whoever sang the role!?!?
@@johnpickford4222 The tenors I listened to and admired in this collection had something outstanding.
Corelli never sang the role and wisely so
Con tanti Otelli che ha fatto Cossutta... 😢
E anche Pier Miranda Ferraro... Vickers... 😢
You omitted the outstanding performances by Zanelli, Tamagno, Scampini, Cesarani, etc - however of your chosen favourites shown in the video, the believably delivered are Lauri-Volpi, Martinelli, and Di Stefano. Zenatello almost succeeds but he unnecessarily overdoes the “Dopo l’armi lo vinse l’uragano”.
È inutile...la lirica per lei è cosa misteriosa !!! É un fatto...
Rosvaenge is present in the video.
@@shaafeeshameem6219 quella signora, non sa cosa scrive. .scrive solo cose che non hanno né capo né coda!
Saluti
@@shaafeeshameem6219 I was listening while on the go and skimmed through it before work. I then noticed he was on the audio when I came back later. I do apologize for my earlier error and correct myself on that inaccuracy. Thank you though and God bless!
@@radames5855 Dimostri ancora la tua immaturità e la tua ingiustificata ostilità, tuttavia ti perdono per la tua calunnia e ignoranza.
Pavarotti shouldn't have bothered with this aria, which is totally wrong for him. Gigli, also a lyric tenor, did a much better job
Corelli tenía todo para ser un gran Otello, pero los nervios de que padecía lo limitaron mucho a realizar sus proyectos, como cantar Arnoldo de Guillermo, Los puritanos y Otello. Tenía una gran stamina, como lo demuestran las siete veces que cantó Los Huguenotes en La Scala, con gran energía y brillantez vocal. Habría sido un Otello tan grande o más grande que del Monaco, como lo demostró en el Esultate¡, aria en que en la frase final “Dopo l’armi lo vinse l’uragano”, ninguno de estos tenores emite con el gran squillo de Corelli el agudo de "l´uragano", emite un superagudo brillante en la letra "u", que es una vocal cerrada y difícil que sea brillante. Todos los tenores aquí presenados, no logran ese agudo de Corelli, que lo emite con un golpe de glotis y bien squillante. Y sus grabaciones de Gia nella notte densa, con Teres Zylis.Gara, con mucha brillantez y su larga nota final en "venere splende" de este dueto, sólo se compara con del Monaco, que también solía hacerlo bien extenso. En cuanto a Ramon Vinay, escogido por Toscanini para grabar Otello en 1947, en el dueto Sí pel ciel, es opacado por el barítono Giuseppe Valdengo, quien parece el tenor y Vinay el barítono. Realmente, Vinay fue un barítono que cantaba como tenor con una voz potente de barítono con un sonido opaco, a diferencia de del Monaco, que tenía una gran potencia vocal con squillo. El bajo estadounidense Jerome Hines, que cantó con del Monaco en el Metropolian de Nueva York, escribió que nunca había escuchado un si bel tan grande como el de Mario del Monaco y un amigo que lo escuchó La ópera de Roma, cantando Otello, creo que en 1964 o l965, me dijo que tenía la voz más potente que el resto de los grandes tenores de su época. La belleza vocal, el fiato, la expresión y brillantez de del Monaco, en un recital de 1974 en París, en el que cantó Niun mi tema, entre otras arias, no tiene parangón. Estoy de acuerdo que el Otello supremo acaso haya sido Mario del Monaco. Saludos,
1)Corelli 2)del Monaco 3)Vinay 4)Raimondi(a cappella!)5)Rosvaenge
1. Monaco 2. Monaco 3 Monaco 4. KORELLI
yes
Considering Tamagno created the role. it is strange you omit him. He was probably the best interpreter of this role. Verdi's choice and favourite.czcams.com/video/0faSU1vYJPc/video.html
Very wrong my friend, del monaco has a lot of competition
Francesco Merli strepitoso, devastante.