I saw Domingo when he started out at City Opera at Lincoln Center. He did different roles and they were either in a nasal constricted voice or in a muddy one. Neither "technique" worked; plus no high notes. Later, Levine at the Met transposed down everything above an "a" natural. The public was conned. Not so with Bonisolli. I sang in the chorus when he did his Arnoldo under Muti. This was a lirico-spinto whose acuti were enormous. and, he could (and did) hold them forever. A very hammy actor though, and would do things like scratch his nose while the soprano was singing. I preferred him, however, over Corelli who was never consistent.
Tom MacDonald ■ You have been lucky to hear these great singers in live productions. Maybe the audiences were "conned" by PD ... but all things considered ... he did give some striking performances for a tenor w/o _the C._ As far as Corelli not being "consistent", forgive my presumption, but anyone hearing Corelli live ( consistent or not ), was lucky to be in that man's magnificent vocal-orbit !
We need more videos like that, not to humiliate anyone but to set things right again and remember what singing used to be like. I strongly recomend the youtube channel Phantoms of the Opera for that matter.
I agree. And his fans insist in justify him by telling tenors are more than high notes. Even if that's true, why did he keep taking that role, and Trovatore, and Otello, and so on?
It is beyond strange that a tenor super-star should have no high notes. In a way, the most secure parts for him were the Wagnerian ones. To his credit he always admitted his difficulty with the acuti, and contrasted himself and Carreras with Pavarotti in that regard. I think what contributed more than anything to his success was his purely musical ability in terms of learning repertoire and a punishing work ethic.
@@williammountfield8508 It was never good, but got better. Southern Mediterranean singers have a big problem with closed German vowels, de los Angeles being a notable exception.
@@ransomcoates546 sure, and that might have been forgivable if he was a great singer, but even in the Wagnerian roles he didn’t have the voice, he was not a Melchior or Lorenz or Svanholm by any stretch of the imagination.
@@williammountfield8508 James King(who had reason to dislike him that were personal) told me his ‘column of air’ was not broad enough to make him a valid Wagner tenor, but listening to him in those parts was a lot less painful than Rodolfo or Calaf.
In My Opinion, It's not just PD's high notes, but squeezing in the passaggio and often cutting phrases short. Is there any other tenor with these short comings that we would come to defend? He was a fair to excellent tenor at times but not a great one. Think about Corelli, Del Monaco, Tucker, Lauri Volpi, Labo, Filippeschi, Barioni, Masini, Gigli, Zenatello, Aragall, Merli, Cecchele, Limarilli, Consiglio, Polari, and Poggi. Some great and excellent tenors that didn't squeeze in the passaggio and in their high notes.
From this list, you'd think that 9/10 tenors are Italian. Where are all the excellent French, Russian, German, and Spanish tenors? Where's Aleksandr Davydov, Paul Franz, Léon Escalaïs, Raoul Jobin, Janis Zabers, Fritz Wunderlich, Sergei Lemeshev, John McCormack, Miguel Fleta, Anatolij Solov'janen'ko, Isidoro Fagoaga, etc.?
Yes I'd agree with that, I saw PD early in 1972 in Carmen and a few times later in different roles and in concert, but the older he got the tighter the top got. I prefer to comment on singers I saw in house. I'm not much of a Domingo fan, but good comes to mind as you said, he was not for me great, just an opinion.
@@shicoff1398 Yes, I also heard PD in a very good Trovatore sometime in the 1970s and was hopeful he would soon become a great tenor in the older tradition of Tucker, Corelli or MDM, but it never happened
Great Bonisolli, but definitely not dramatic - more of a heroic lyric, in the Filippeschi tradition. He also lost some of his youth brightness due to excessively heavy roles.
Actually Id already expected that Domingo would be appeared as overrated tenor. And I also well know It was his calaf at Met. because I bought DVD and I was very disappointed. It was 'tenore nightmare'.
It is easy to criticise an isolated recording that can be a good or a bad day, and that exposes a voice to crappy sound and mediocre recording. Hearing Domingo at the Opera house was one of the most exciting experiences of my life, and I heard him at least once a year for more than 12 years. I have heard him sing Otelo three times, and every time it was different and exciting. I heard him sing Fedora and it was an experience that made me happy for being alive. It was not vocally perfect, but it was art coming from an artist, and it was exciting as hell. Do not judge a career on the basis of a recording: the opera belongs in a live performance in a theatre without microphones.
I think one can listen to every recording of Turandot by Domingo (except for the one by Karajan, which is clearly edited) and hear him cracking. But as a matter of fact, Opera is much more than a high note or only an aria. Is just that Domingo is really a polarizing and controversial figure doing polarizing and controversial things (for which I don't think he's well suited). I believe this comparisons are made to recognize that opera has a problem due to marketing. We've spent way too many years recognizing cute but bad voices, while they may be real good ones, being put apart or silenced, nonetheless, about that part no one has any proof.
Estos vídeos ayudan a mucha gente engañada para abrir los ojos realmente.....no hay equivalencias entre Domingo y Bonisolli...tampoco las hay con tantos otros tenores que no fueron ni la mitad de famosos que Plácido.....Domingo confunde el Otello de Verdi y el verismo pucciniano con los gritos de tarzán; hay que decir la verdad. Cantar no es gritar y ver quién grita más fuerte, y tipos como Domingo o Kaufman le han hecho mucho daño a la ópera italiana. Después de escuchar a Bonisolli o a Bergonzi no vuelves a tocar un disco de Plácido.
Sin hablar de lo que saboteaba a su competencia incluso a los que no lo eran como a Kraus... un saboteador y también. Un armador de elencos que se negaba a actuar con sopranos que a su vista eran gordas como Caballe, que fue la única que se quejó de eso o como tantas otras por cantar con las “sexys”...
Puedo estar de acuerdo en que el sí natural de Domingo no es su aspecto destacable, pero valorar a un intérprete solamente por eso no es justo, ni muestra mucha profundidad en el asunto, ya que creo que Domingo tiene muchas virtudes. Yo sí que pongo un disco de Domingo después de escuchar a Bergonzi o a Bonisolli, que por cierto son para mi bastante diferentes. Sencillamente el timbre me resulta más atractivo, más bello y la interpretación más pasional y creíble. Para gustos colores. Para mi ha sido un gran tenor aún sin tener el sí o el do de Corelli o de otros.
I never liked Domingo. He is technically a good musician but his vocal quality never impressed me. In some of the passages played, he didn't make the high C. It just cut-out where he should have held it. Very bad. If Bonisolli is a lyric tenor, he sure has a gutsy sounding middle range; very baritone sounding there and impressive.
I heared Bonisolli in 1974/75 in Vienna in a lot of his roles. One day he was good, the other day he was not good and searching his voice. It had reasons when Domingo was more popular and successful and Bonisolli was not.
@@achmedmohamed4708 I heard Bonisolli, Aragall and Domingo exactly in those days - in every role they sang - in the 8ies I was at Stehplatz every night. It is true, that Bonisolli - and also Aragall had god and bad days. On their good days they were gods. Domingo NEVER was good and I did never hear a performance with him, where he had no problems with the high notes. The only thing he really knew perfectly, was to fake with his postures, that he is good and he could impress people with pig ears. (By the way - Carreras did learn the same - after his breakdown in the third act of Rigoletto.) - When Aragalls and Bonisollis voices did not work in some performances, you could even see in in their behavior - because it destroyed them physically and mentally!
@@ulrikewermann1268 Weil Domingo so schlecht war, deshalb wollte die ganze Welt ihn haben. 🤣 Er wurde der reichste Tenor aller Zeiten, denn er war fleissiger als z.B. Pavarotti, der schon länger tot ist und der mit den Massenveranstaltungen sehr viel Geld eingenommen hatte. Carreras hatte eine schlecht sitzende Stimme und war schlecht geschult. Der musste immer forcieren, um der Stimme die nötigen Töne abzuringen. Von Aragall weiss ich, dass er eigentlich nicht geeignet war, Opernsänger zu sein, wie er selber sagte, aber seine Stimme zwang ihm dieses Leben auf. Ich weiss auch, wie das war, als Aragall, sehr jung und unausgebildet, einfach in Arbeitskleidung in Barcelona ins Liceum reingegangen war und vorsingen wollte. Ich weiss das von Miguel Bar. Gri, der mit ihm eng befreudet war. Den Vorgang kann ich genau schildern, wenn es gewünscht wird. Ich war mit Miguel eng befreundet. Miguel, Pavarotti und Domingo sind Jahrgang 35. Mirella Freni sagte mal, komisch ist das, wir drei waren alle gleich alt und jetzt plötzlich ist Placido 6 Jahre jünger als wir.
Para quienes buscan miles de excusas para las carencias de Domingo: ¿por qué en la versión de estudio de Traviata con Cotrubas, su vergonzosa interpretación de la cabaletta "O mio rimorso" incluye un lamentable aullido intentando llegar al sobreagudo final, que ni siquiera existe en la partitura original? En cuanto al misterioso enigma respecto de su injustificable carrera como estrella internacional, ¿no habrá tenido alguna responsabilidad su representante y la habilidad del mismo en el plano comercial? Particularmente con las empresas discográficas.
Me encantaría saber más sobre ese tema. Durante mi juventud Domingo me gustaba mucho y en parte por que esos años no había mucho más que escuchar. Con la llegada de youtube se abrió un mundo aparte. Recuerdo una entrevista con Kraus, donde me cionó algo de lobos vestidos de ovejas. No se si se refería a él.
Sometimes I listen to an aria, sung by Aragall and afterwards the same aria sung by Domingo and specially in this situation Domingos voice seems to me like someone singing into a tin mug.
for so long I have been trying to figure out what that awful whining sound in Domingo's high notes reminds me of, and you figured it out: Tarzan's call 😂😂 very good video! love Bonisolli!
Francisquilla Seguro tu lo haces mejor Que fácil es criticar cuando no haces nada...Que bueno que hay gente como tú... Así se puede valorar más la objetividad y calidad humana en otras personas claro..😒
@Andres Santiago :: I don't think the producer of this video meant to use Tarzan as in insult. I think he used Tarzan as an example for what Domingo was NOT ! Did you not hear Tarzan's vocal power ; his lung-capacity ; his volume ; his stamina ... the _aaah aaah aaah_ ( legato ) in the middle of that delivery ... & continuing the note ... with breath-control [ un-broken ] to finish the longevity of that note ! Whoever did the actual vocalizing for Johnny Weissmuller, most have been a singer -- with those lungs & tonality.
Desde sus primeras grabaciones se nota que Plácido Domingo no podía emitir con cómodamente las notas altas, como el si bemol y sobre todo el do de pecho, como le llaman al C5 los italianos, en las que la voz se le ahogaba o se le quebraba. Tenían más amplitud vocal sus colegas coterráneos, por ejemplo, Pedro Lavirgen, Bernabé Martí, Jaime Aragall y, más aún, Alfredo Kraus. La fama no es siempre la medida de la calidad de alguna cosa, porque se puede manipular a su favor cuando se tienen muchos recursos para engrandecerse. Plácido Domingo y Julio Iglesias tiene el paralelo de haber ascendido a la cúspide de la fama a base de publicidad. No es casualidad que Domingo haya dicho que su cantante favorito era Julio Iglesias, quien decía que era el mejor y que de Domingo fueron unos "expertos en tenores" los que lo santificaron, burdamente, como el mejor tenor de la historia. El barítono Luis Sagi-ela, famoso por su distinción como cantante de zarzuelas, en un encuentro casual en Madrid (1991) cuando andaba conociendo el Teatro Real que estaba restaurándose, al hablar de cantantes de ópera tocamos el tema de Plácido Domingo, de quien me dijo lo llamaban cariñosamente Plácido Mingo, quitándole el Do de su apellido porque no alcanzaba con la debida técnica, sin forzado y angustioso, el do de pecho. Cuando en visita a Perú le preguntaron a Plácido Mingo sobre su elección como el mejor tenor de todos los tiempos, halbó únicamente de la cantidad de papeles (unos 150) que había cantando, pero eludió el decir si merecía o no esa distinción. Es oportuno aclarar que para cantar 150 papeles operáticos no se tiene una voz que pueda afrontarlos con propiedad, porque algunos de tesitura media, otros de tesitura grave y otros de tesitura aguda. Así, Richard Tucker y Franco Corelli, que tenían mejores voces que Domingo, no se atrevieron a cantar el Otello de Verdi porque estaba frente a ellos la voz broncínea, potente, brillante y amenazante de Mario del Mónaco. Así lo cantó, entre otros, James McCracken, un barítono de voz potente, oscura, engolada, forzada y dispareja en su extensión, abordó como tenor el Otello y también triunfó como Vinay y Domingo. cantar como tenor, como la había hecho el chileno Ramón Vinay, también un barítono forzado como tenor que no lo fue. ¿Porqué se engaña al público? Saludos,
Si existe algo en lo que vocalmente se “superó” Pla-Sin-Do es en cantar peor como Barítono que como lo hacía en el registro de Tenor. Es de admiración su musicalidad y su actuación, pero para su desgracia eso no elimina las pésimas condiciones vocales que siempre tuvo, y si avanzó fue por la propia Mafia que creó en el mundo de la Ópera en contra de mucha gente (no hablo de las acusaciones, absurdas desde luego, de acoso) como Kraus, Cruz-Romo o Caballé. Es claro que como Cantante y ser humano es una vil bestia.
Gigi Petriashvili ● I saw a video of Cecchele singing Calaf w / Nilsson ... I had never heard his voice before ... they were in a duet ... his voice was so refined ... I wanted to hear him sing Mozart ... but I couldn't fully-enjoy his Calaf because, as he was singing in the most beautiful tones ... Nilsson made a sudden, quick movement ( in character ) and distracted from his singing ... she ruined the most sublime singing of a fellow singer ! Or, it was one of the worst directions by a director !
@sananton2821 I couldn't have known she would make that jerking motion when I first saw that scene ; so, it's not about closing my eyes, it's about an unnecessary movement, that is seen, when another singer is singing. I'll take your advice when I watch again. Your advice is non-sensical when seeing that scene for the first time, genius !
and in case people think this is related to the accusations against him, not at all. I've had this opinion since the early 80s, since I started comparing various tenors in the same roles.
Domingo is very good in a proper repertoir. Dramatic parts are not for his voice. But that's rather a question of the public having a vulgar taste, taking inappropriate performances, question of greedy management, and a question of his ego...
He would be the first to admit he doesnt have the range of Pavarotti or the traditional Italian sound. I respect him for what he has accomplished with a good ( not great) voice and cords of steel. He is an artist, able to use what he had to great effect. As pure sound he has limitations, but for number of roles and performances and his solid consistency he will be long remembered. He has been a part of the opera world so long its hard to imagine it without him.
Agree with comments regarding Domingo.For sublime top notes listen to Corelli, Del Monaco, Bjorling and even Lanza, superior to Domingo.Pavarotti great high C's but below his middle voice, the voice was weak.
For the life of me, I still don’t understand how Domingo had the career he did. As a tenor, you simply must own the high notes. If you can’t, you better start working on that baritone rep! 😄 Considering how crappy he sounds, it’s sad to think of all of the voices that we missed out on during that era because Domingo got all the work. Like many “great artists”, I guess he knew how to be in the right place at the right time.
the power of marketing, and a handsome face. look at the cover of Tales of Hoffmann under Ozawa on DG. but that's 15 years after his début. so ... no. no idea. hahaha
@@cliffgaither A Brazilian tenor Martin Müller (sic) was very sabotaged by Domingo...and...isn't that Bonisolli-leaves-Karajan-Trovatore-Tale a little strange one...?
Jon Vickers didn't have a high C, on good days a B flat, and he is/was still one of the mightiest and greatly appraised Tenors-even thought he wasn't a tenor for the masses like Domingo.
I heard Domingo in the 80ies (Don Jose, Samson, Otello, Rodolfo in Luisa Miller) I saw Carreras booed in Hamburg and a week later Domingo in the same production with amazing success. I heard Domingo some years ago as Baritone in Nabucco. (with low expectation. And he was really cool) In all this performances he dominated the stage. Vocally and as an actor. What you call flat, was live very convincing, because he opened his voice like a baritone. Not like a trumpet, but as a human being. But loud and dominating. I also heard Bonisolli in several performances. he had C s. But in the lower and middle register he wasn't there like Domingo. I liked him, but more as a freak. And he was a bit unwillingly funny. (Atlantow at the same time was vocally astonishing.) Well... and also thinking about Domingos very broad repertoire: Wagner, Zarzuela, Mahler, Strauss etc. I would say: He was and is a legend.
I saw Domingo as Sigmund at the Met in the mid 2000's, before he gave up tenorizing. I have always loved Wagner singing, have immersed myself in it, and feel I know it well. But when I saw this singer (note that, a singer) *sing* Wagner, I was astonished. it was lovely, restrained, singerly. And, of course, actorly, a huge plus on the stage. He tired a bit in the second act -- who wouldn't, and at his then age? But for an Italian-trained tenor taking to Wagner, it was a revelation to me. I award him kudos for his pluses, and take a pass on any faults. Would we not all like to have that accredited to ourselves, my friends?
I should add that we shouldn't forget Domingo's 1980s forays into "Otello." Given his beauty of voice and fache, I believe this was his perfect role at this time.
Problem is... Why a performer with such limited resources is praised as a reference? Why is he singing Wagner, with dozens of tenors better than him with no chance whatsoever? Why he is quoted as the definitive Otello, when (and this video demonstrates one of them...) there were, by the time he sang the role, at least 6 tenors far better than him(Cecchele, Atlantov; Martinucci, Cossutta, Bonisolli, Murgu (Cecchele and Murgu being scions of the Mellochi school)?! If someone works his ass to sing some role that he cannot do really justice, why is he so praised?!
Ah...(and don't 'you' Freni-sang-only-Butterfly-in-studio' me!); he was wildly and widely praised as Walter, and dozens of reports came out, also praising him at the live Berlin Opera Performances of this Opera...actually, he never sang Walter on Stage - all the performances prior/by the time of Jochum's recording were sung by Matti Kastu!. When he sings in German, his Puppy-breathing technique shows up - he does not end phrases with clarity (case in point, his "Triste (sad)" Tristan, his Tannhäuser, his FrOsch Emperor
@@andrevital8920 Cecchele had a wobble, Atlantov forced and overdarkened, Bonisolli was a miserable musician who forced, and I don't recall the others of the top of my head.
Lo que se observa es que las supuestas fallas de Domingo se escuchan con un sonido muy malo. Y las de supuesto tenor de verdad se escucha muy claro y resonante...claramente no es igual el nivel de grabación para comparar. Además, se juzga un sonido en una actuación de opera de Domingo que claramente tiene en su canto una interpretación del personaje en vivo...el sonido del supuesto tenor de verdad, se escucha grabación de estudio, algo muy diferente para poder comparar y afirmar que un tenor es mejor que otro.
Plácido Domingo nunca fue un tenor verdadero, solamente aprendió técnicas de impostación con resonancia nasal, siempre fue un baritenor que construyó nasalmente el A#4 y el B4 (C5 lo hacía mediocremente), de esta manera se convirtió en tenor dramático (dramatoide).
It's about qualities. Domisgo's voice is one of the most beautiful ever and his performances very catching and great, but his high notes and tecnnique are not the best, he is still great, but not to be named "the greatest tenor of all time"
Sometimes I listen to an aria, sung by Aragall and afterwards the same aria sung by Domingo and specially in this situation Domingos voice seems to me like someone singing into a tin mug.
Both Domingo and Bonisolli were wrong in the scene with Desdemona, Bonisolli sang a NOT written note. Domingo is just a Baritone in everything. A light one as well.
I heard Domingo, Atlantow, Bonnisolli. Etc. in Hsmburg quite often. Bonnisolli had great high notes, but other bits were not very impressive. And as an actor he was not very convincing. Domingo took the audience on journey. And what you call constricted or flat was sometimes huge. Life a baritone high note. Anyway. I liked both.
Opera has gotten too commercial. The pure voice in the hall is so much better. The Met Opera House is too big. Before leaving the stage, Mr. MacNeil gave an opinion of the opera world to Met colleague Jerome Hines, for a 1982 book, Great Singers on Great Singing: "Opera is an excessive art form populated by excessive people. We make it more excessive than necessary. Singing is really a very simple thing… just difficult to acquire” Cornell MacNeil
Placido Domingo is more like a baritone who used to be able to squeeze some high notes 😂 There are some baritones who think they can repeat the career success of his, hence they "changed" their nature to sing like tenors, the result is that we now have some fake dramatic tenors.
I have been blessed to attend operas in several countries and with many different singers (and in all the major opera houses of the world). And although one operaI I heard with Placido was just OK (Samson & Dalila), the best opera that I have heard in my life was Fedora with Placido, it was an out of this world experience, it is almost impossible to think that so much voice and overtones can come out of one person, he absolutely filled the whole opera house. After this opera, I realized why he is in the top, but you really have to experience it live to understand it.
Trio crooks: nasal mingo with DISASTERALIA and harassments, wooden pop mosquito bareras, mosquito pavarati with cutting a sounds cause of his tiny awful squeaks
I feel kind of sorry for you... If all you care about it he high notes, I guess you enjoy 15-30 seconds out of a 2.5 hour opera.. Domingo is one of the great voices and performers of the 20th century. We can live with the imperfect high C's/
Thank God for someone who can see the forest and the trees. He is not the only tenor who lacked a ringing high C. I have little respect for him now that he is singing all the baritone roles, but J B Steane included him in his three volumn "Great Singers of the Century" and I see no reason to dispute that decision.
Are you kidding me guys?! 🤣 He has one of the most beautiful timbre ever ! Ha i see , only the high notes 😏 I can’t believe you take so many times making this videos for laughing at a legend It’s kind of funny actually
@@Luifernal6 I really don’t understand why you guys have such a problem with him . I just don’t seriously. His voice is so beautiful . Del Monaco is also very good in a different style but when it comes to Corelli or Bonissolli , I found them very shouty, they have a great voice but there yelling and don’t care about making a smooth beautiful phrase and Domingo does that perfectly. Ok yeah maybe his high notes are a bit nasal. He always had a hard time with that . He worked like hell to become a pure tenor . But the rest , sorry it’s just divine
With Domingo, Kaufmann, Beczala, Florez etc. a lot of things is incorrect: they use wrong muscles, the emission is constricted, the articulation blurred, the highest and lowest notes cut, and so on. Imagine a violinist abusing his violin, beating, yanking, but producing some nice tones - horrible, but nice. When you have some education in classical singing, you can't help noticing it - but to a regular audience Domingo may seem better.
What ever did this bum on a opera stage, struggling to sing roles for what he lacked vocal skills and with big voiced sopranos, is for me AMAZING!!!!! Normaly an audition has to be made by the opera manager and by the conductor. If a singer is not able to do the job he has to be changed....right? In the case of Mingo tarzoon we can ask ourself how the things realy are.
I mean come on. Constant exposure to the guys will limit one's perception of what's wrong and what's right. That's why we train to listen to the old schoolers
Aww. Look at all of the no-talent, hack, arm-chair critics swarming like flies on shit. Congratulations! You’ve successfully pointed out a few times when a man, with more talent than you could ever dream of, didn’t quite ‘make the grade’. So, out of curiosity, when will we be able to hear your vastly superior performances of these pieces?
I have nothing against competition and objective comparison - but I don‘t like publicly badmouthing singers with relish (as done in many of the comments; well, the video was probably meant as an invitation to do so…) But, seriously, how can anyone enjoy something like this? Bashing and bullying others. Sorry, not my cup of tea…
Por qué no disfrutan de la ópera como tal,en vez de ser Haters de tal o cuál cantante. En definitiva, se trata de apreciaciones subjetivas. Otros que también saben no dicen lo mismo. Lo más gracioso es que muchos de los " críticos" no pueden cantar ni en la ducha.
Yes, Cecchele's voice did not age well, but he does have a beautiful recording of Cavalleria with Guelfi and Cossotto, where Cechele is about 30 years old.
Claro, Domingo era tan malo que por eso cantó en los mejores teatros del mundo. Seguro que si voz dista de ser perfecta, pero quién acaso tiene todo perfecto? : Técnica, potencia, musicalidad, actuación, ? No existe. Domingo no fue el mejor sin dudas pero tampoco el peor como para dedicarle un video entero para ridiculizarlo
Corelli, del Mónaco, tucker, gigli, cecchele, Bonisolli, Pavarotti, prácticamente cualquier tenor era y es mejor que Domingo eso de sumar todo tipo de óperas hoy madame butterfly mañana Otello no es un gran acierto ni un gran logro cuando ambas las canto malisimo 0 tecnica
Why are you people so pleased with yourselves bashing Placido Domingo? It’s not the Golden Age of Opera. The poor soul has a nice voice. He tries his best and who cares if some of his notes aren’t as clear strong or perfect. it’s the imperfection and the unique voices that offer their imprint on the Stage. Look at Pavoretti the Fatty sometimes screeched like an airplane propeller. Look at Maria Callas she sometimes sounded like she was a Greek male Olympic Athelete. Yet other times or stages in their careers they brought talent w their unique interpretations. What have you the critic accomplished that you can arm chair quarter back and judge these people and condemn them for their imperfections. Why not focus on the Character of these singers the Brave and principals ones like Rufffo,Caruso and for the females Tebaldi.
Criticism isn't about tearing down; it's about holding artists to the high standards that make their moments of brilliance so breathtaking. Critics might not be on stage, but their role is crucial-they push performers to be better and to avoid resting on their laurels and names. Legends like Corelli, Caruso, Callas, or Tebaldi were revered for their bravery, relentless pursuit of perfection, and ability to deliver remarkable performances. Let's not settle for "good enough." They did not sing for free. Let's honor these artists by challenging them to be extraordinary. That is what true artistry is all about.
What is your point with these horribly bad recorded pieces it's clear you don't like Domingo, I am wondering could you even sing the worst ever piece he sang??? Didn't think so.
Hmmm. All of you could sing BETTER than Domingo ? Ha ,ha, ha.. I have Manon Lescaut with him SINGIN a HIGH C, with the soprano... (Last act.) Bad people GO TO HELL you know... Jealousy IS A SYN..... (Corelli IS NASAL ) Del Monaco BETTER...
you "have" a Manon Lescaut? You mean you have a recording? Domingo manipulated recordings - even the "fake live" performances in television - they were sent a quarter of an hour later so the technicans could cut better high notes in, when he cracked!
Dear Karifrid, I think you realize that You Tube is a platform where people can come and express their opinions, without the expectation of going to hell, as I also believe that your inaccurate statement about Corelli being nasal will not send you to damnation.lol
Dimitrova destroying Placido and the world with her ringing high notes. 😂💜😎
I saw Domingo when he started out at City Opera at Lincoln Center. He did different roles and they were either in a nasal constricted voice or in a muddy one. Neither "technique" worked; plus no high notes. Later, Levine at the Met transposed down everything above an "a" natural. The public was conned. Not so with Bonisolli. I sang in the chorus when he did his Arnoldo under Muti. This was a lirico-spinto whose acuti were enormous. and, he could (and did) hold them forever. A very hammy actor though, and would do things like scratch his nose while the soprano was singing. I preferred him, however, over Corelli who was never consistent.
Never heard of Corelli not being consistent?
@@jackoconnell9428 Corelli was very great!
@@PBXVIILY ■ No offence ... Corelli was _the_ greatest ! 😊
Tom MacDonald ■ You have been lucky to hear these great singers in live productions. Maybe the audiences were "conned" by PD ... but all things considered ... he did give some striking performances for a tenor w/o _the C._
As far as Corelli not being "consistent", forgive my presumption, but anyone hearing Corelli live ( consistent or not ), was lucky to be in that man's magnificent vocal-orbit !
@@cliffgaither Yes and great looking!
We need more videos like that, not to humiliate anyone but to set things right again and remember what singing used to be like.
I strongly recomend the youtube channel Phantoms of the Opera for that matter.
Magnífica recopilación. Domingo el tenor más sobrevalorado de la historia. Bueno mejor dicho el Bajobaritenor.
I'll never understand the Domingo craze....Audiences have been brainwashed for years..
I agree. And his fans insist in justify him by telling tenors are more than high notes. Even if that's true, why did he keep taking that role, and Trovatore, and Otello, and so on?
It is beyond strange that a tenor super-star should have no high notes. In a way, the most secure parts for him were the Wagnerian ones. To his credit he always admitted his difficulty with the acuti, and contrasted himself and Carreras with Pavarotti in that regard. I think what contributed more than anything to his success was his purely musical ability in terms of learning repertoire and a punishing work ethic.
Except he couldn’t speak German to save his life.
@@williammountfield8508 It was never good, but got better. Southern Mediterranean singers have a big problem with closed German vowels, de los Angeles being a notable exception.
@@ransomcoates546 sure, and that might have been forgivable if he was a great singer, but even in the Wagnerian roles he didn’t have the voice, he was not a Melchior or Lorenz or Svanholm by any stretch of the imagination.
@@williammountfield8508 James King(who had reason to dislike him that were personal) told me his ‘column of air’ was not broad enough to make him a valid Wagner tenor, but listening to him in those parts was a lot less painful than Rodolfo or Calaf.
Notice how Domingo studiously avoided singing Siegfried, which requires a number of high Cs
Corelli, Schipa, Gigli, Caruso e tanti altri grandi della lirica e del bel canto, non sbagliavano mai.
In My Opinion, It's not just PD's high notes, but squeezing in the passaggio and often cutting phrases short. Is there any other tenor with these short comings that we would come to defend? He was a fair to excellent tenor at times but not a great one. Think about Corelli, Del Monaco, Tucker, Lauri Volpi, Labo, Filippeschi, Barioni, Masini, Gigli, Zenatello, Aragall, Merli, Cecchele, Limarilli, Consiglio, Polari, and Poggi. Some great and excellent tenors that didn't squeeze in the passaggio and in their high notes.
…I can only agree to your judgements. Definitely to PD, „fair to excellent but not a great one.“ RDS
From this list, you'd think that 9/10 tenors are Italian. Where are all the excellent French, Russian, German, and Spanish tenors? Where's Aleksandr Davydov, Paul Franz, Léon Escalaïs, Raoul Jobin, Janis Zabers, Fritz Wunderlich, Sergei Lemeshev, John McCormack, Miguel Fleta, Anatolij Solov'janen'ko, Isidoro Fagoaga, etc.?
He can't sing pianissimo, and his low register is weaker than Pavarotti
Yes I'd agree with that, I saw PD early in 1972 in Carmen and a few times later in different roles and in concert, but the older he got the tighter the top got. I prefer to comment on singers I saw in house. I'm not much of a Domingo fan, but good comes to mind as you said, he was not for me great, just an opinion.
@@shicoff1398 Yes, I also heard PD in a very good Trovatore sometime in the 1970s and was hopeful he would soon become a great tenor in the older tradition of Tucker, Corelli or MDM, but it never happened
Great Bonisolli, but definitely not dramatic - more of a heroic lyric, in the Filippeschi tradition. He also lost some of his youth brightness due to excessively heavy roles.
Actually Id already expected that Domingo would be appeared as overrated tenor. And I also well know It was his calaf at Met. because I bought DVD and I was very disappointed. It was 'tenore nightmare'.
It is easy to criticise an isolated recording that can be a good or a bad day, and that exposes a voice to crappy sound and mediocre recording. Hearing Domingo at the Opera house was one of the most exciting experiences of my life, and I heard him at least once a year for more than 12 years. I have heard him sing Otelo three times, and every time it was different and exciting. I heard him sing Fedora and it was an experience that made me happy for being alive. It was not vocally perfect, but it was art coming from an artist, and it was exciting as hell. Do not judge a career on the basis of a recording: the opera belongs in a live performance in a theatre without microphones.
I think one can listen to every recording of Turandot by Domingo (except for the one by Karajan, which is clearly edited) and hear him cracking. But as a matter of fact, Opera is much more than a high note or only an aria. Is just that Domingo is really a polarizing and controversial figure doing polarizing and controversial things (for which I don't think he's well suited). I believe this comparisons are made to recognize that opera has a problem due to marketing. We've spent way too many years recognizing cute but bad voices, while they may be real good ones, being put apart or silenced, nonetheless, about that part no one has any proof.
Yes - Dimitrova annihilated Domingo...
everybody annihilated Mingo
He should be grateful, otherwise his crack would have been so exposed, like in Nessun dorma.
Estos vídeos ayudan a mucha gente engañada para abrir los ojos realmente.....no hay equivalencias entre Domingo y Bonisolli...tampoco las hay con tantos otros tenores que no fueron ni la mitad de famosos que Plácido.....Domingo confunde el Otello de Verdi y el verismo pucciniano con los gritos de tarzán; hay que decir la verdad. Cantar no es gritar y ver quién grita más fuerte, y tipos como Domingo o Kaufman le han hecho mucho daño a la ópera italiana. Después de escuchar a Bonisolli o a Bergonzi no vuelves a tocar un disco de Plácido.
Sin hablar de lo que saboteaba a su competencia incluso a los que no lo eran como a Kraus... un saboteador y también. Un armador de elencos que se negaba a actuar con sopranos que a su vista eran gordas como Caballe, que fue la única que se quejó de eso o como tantas otras por cantar con las “sexys”...
Y aun así hay quienes pelean por defender que es el mejor tenor de la historia
@@Luifernal6 Si díselo a Ramón Gener
@@Luifernal6 creo que no fue el mejor tenor ni en su casa.
Puedo estar de acuerdo en que el sí natural de Domingo no es su aspecto destacable, pero valorar a un intérprete solamente por eso no es justo, ni muestra mucha profundidad en el asunto, ya que creo que Domingo tiene muchas virtudes.
Yo sí que pongo un disco de Domingo después de escuchar a Bergonzi o a Bonisolli, que por cierto son para mi bastante diferentes. Sencillamente el timbre me resulta más atractivo, más bello y la interpretación más pasional y creíble. Para gustos colores. Para mi ha sido un gran tenor aún sin tener el sí o el do de Corelli o de otros.
I never liked Domingo. He is technically a good musician but his vocal quality never impressed me. In some of the passages played, he didn't make the high C. It just cut-out where he should have held it. Very bad. If Bonisolli is a lyric tenor, he sure has a gutsy sounding middle range; very baritone sounding there and impressive.
I heared Bonisolli in 1974/75 in Vienna in a lot of his roles.
One day he was good, the other day he was not good and searching his voice.
It had reasons when Domingo was more popular and successful and Bonisolli was not.
@@achmedmohamed4708 I heard Bonisolli, Aragall and Domingo exactly in those days - in every role they sang - in the 8ies I was at Stehplatz every night. It is true, that Bonisolli - and also Aragall had god and bad days. On their good days they were gods. Domingo NEVER was good and I did never hear a performance with him, where he had no problems with the high notes. The only thing he really knew perfectly, was to fake with his postures, that he is good and he could impress people with pig ears. (By the way - Carreras did learn the same - after his breakdown in the third act of Rigoletto.) - When Aragalls and Bonisollis voices did not work in some performances, you could even see in in their behavior - because it destroyed them physically and mentally!
@@ulrikewermann1268
Weil Domingo so schlecht war, deshalb wollte die ganze Welt ihn haben. 🤣
Er wurde der reichste Tenor aller Zeiten, denn er war fleissiger als z.B. Pavarotti, der schon länger tot ist und der mit den Massenveranstaltungen sehr viel Geld eingenommen hatte.
Carreras hatte eine schlecht sitzende Stimme und war schlecht geschult.
Der musste immer forcieren, um der Stimme die nötigen Töne abzuringen.
Von Aragall weiss ich, dass er eigentlich nicht geeignet war, Opernsänger zu sein, wie er selber sagte, aber seine Stimme zwang ihm dieses Leben auf.
Ich weiss auch, wie das war, als Aragall, sehr jung und unausgebildet, einfach in Arbeitskleidung in Barcelona ins Liceum reingegangen war und vorsingen wollte.
Ich weiss das von Miguel Bar. Gri, der mit ihm eng befreudet war.
Den Vorgang kann ich genau schildern, wenn es gewünscht wird.
Ich war mit Miguel eng befreundet.
Miguel, Pavarotti und Domingo sind Jahrgang 35.
Mirella Freni sagte mal, komisch ist das, wir drei waren alle gleich alt und jetzt plötzlich ist Placido 6 Jahre jünger als wir.
Thanks God we have the records of brilliant Bonisolli!
Para quienes buscan miles de excusas para las carencias de Domingo: ¿por qué en la versión de estudio de Traviata con Cotrubas, su vergonzosa interpretación de la cabaletta "O mio rimorso" incluye un lamentable aullido intentando llegar al sobreagudo final, que ni siquiera existe en la partitura original? En cuanto al misterioso enigma respecto de su injustificable carrera como estrella internacional, ¿no habrá tenido alguna responsabilidad su representante y la habilidad del mismo en el plano comercial? Particularmente con las empresas discográficas.
Es muy denso pero esta puesto allí no por sus destrezas vocales más bien por otras cosas
Me encantaría saber más sobre ese tema. Durante mi juventud Domingo me gustaba mucho y en parte por que esos años no había mucho más que escuchar. Con la llegada de youtube se abrió un mundo aparte. Recuerdo una entrevista con Kraus, donde me cionó algo de lobos vestidos de ovejas. No se si se refería a él.
Sometimes I listen to an aria, sung by Aragall and afterwards the same aria sung by Domingo and specially in this situation Domingos voice seems to me like someone singing into a tin mug.
Aragall did suffer from migraine headaches and stage fright. He remains my favorite Spanish tenor
Yes, mine too!@@sugarbist
for so long I have been trying to figure out what that awful whining sound in Domingo's high notes reminds me of, and you figured it out: Tarzan's call 😂😂 very good video! love Bonisolli!
Francisquilla
Seguro tu lo haces mejor
Que fácil es criticar cuando no haces nada...Que bueno que hay gente como tú...
Así se puede valorar más la objetividad y calidad humana en otras personas claro..😒
@Andres Santiago Nope. Domingo's high notes were almost always nasal from the 70s onwards. Corelli, Di Stefano and Bonisolli, etc were never nasal
@@xxsaruman82xx87 you need to look at your messages on Reddit, no one can contact you.
@Andres Santiago ::
I don't think the producer of this video meant to use Tarzan as in insult. I think he used Tarzan as an example for what Domingo was NOT !
Did you not hear Tarzan's vocal power ; his lung-capacity ; his volume ; his stamina ... the _aaah aaah aaah_ ( legato ) in the middle of that delivery ... & continuing the note ... with breath-control [ un-broken ] to finish the longevity of that note !
Whoever did the actual vocalizing for Johnny Weissmuller, most have been a singer -- with those lungs & tonality.
@@xxsaruman82xx87 ● Corelli was / is my favorite Tenor ! ... but he did sound like he had a cold.
Opera can replace those sopranos with home alarms sirens and the audience won't notice.
They weren’t good ones in this clip, but the great ones are spectacular.
@@williammountfield8508 :: Dimitrova sounded great !
@@cliffgaither she was alright.
@@williammountfield8508● Come on, Bro.! Turandot is a hard-sing. She was definitely the best in this group & she is famous for the role.
Misguided title. They are all true tenors. Some are simply singing roles too heavy - or have techniques that are *almost* correct.
You should put the names
Desde sus primeras grabaciones se nota que Plácido Domingo no podía emitir con cómodamente las notas altas, como el si bemol y sobre todo el do de pecho, como le llaman al C5 los italianos, en las que la voz se le ahogaba o se le quebraba. Tenían más amplitud vocal sus colegas coterráneos, por ejemplo, Pedro Lavirgen, Bernabé Martí, Jaime Aragall y, más aún, Alfredo Kraus. La fama no es siempre la medida de la calidad de alguna cosa, porque se puede manipular a su favor cuando se tienen muchos recursos para engrandecerse. Plácido Domingo y Julio Iglesias tiene el paralelo de haber ascendido a la cúspide de la fama a base de publicidad. No es casualidad que Domingo haya dicho que su cantante favorito era Julio Iglesias, quien decía que era el mejor y que de Domingo fueron unos "expertos en tenores" los que lo santificaron, burdamente, como el mejor tenor de la historia. El barítono Luis Sagi-ela, famoso por su distinción como cantante de zarzuelas, en un encuentro casual en Madrid (1991) cuando andaba conociendo el Teatro Real que estaba restaurándose, al hablar de cantantes de ópera tocamos el tema de Plácido Domingo, de quien me dijo lo llamaban cariñosamente Plácido Mingo, quitándole el Do de su apellido porque no alcanzaba con la debida técnica, sin forzado y angustioso, el do de pecho. Cuando en visita a Perú le preguntaron a Plácido Mingo sobre su elección como el mejor tenor de todos los tiempos, halbó únicamente de la cantidad de papeles (unos 150) que había cantando, pero eludió el decir si merecía o no esa distinción. Es oportuno aclarar que para cantar 150 papeles operáticos no se tiene una voz que pueda afrontarlos con propiedad, porque algunos de tesitura media, otros de tesitura grave y otros de tesitura aguda. Así, Richard Tucker y Franco Corelli, que tenían mejores voces que Domingo, no se atrevieron a cantar el Otello de Verdi porque estaba frente a ellos la voz broncínea, potente, brillante y amenazante de Mario del Mónaco. Así lo cantó, entre otros, James McCracken, un barítono de voz potente, oscura, engolada, forzada y dispareja en su extensión, abordó como tenor el Otello y también triunfó como Vinay y Domingo. cantar como tenor, como la había hecho el chileno Ramón Vinay, también un barítono forzado como tenor que no lo fue. ¿Porqué se engaña al público? Saludos,
lo máximo, gracias
Si existe algo en lo que vocalmente se “superó” Pla-Sin-Do es en cantar peor como Barítono que como lo hacía en el registro de Tenor. Es de admiración su musicalidad y su actuación, pero para su desgracia eso no elimina las pésimas condiciones vocales que siempre tuvo, y si avanzó fue por la propia Mafia que creó en el mundo de la Ópera en contra de mucha gente (no hablo de las acusaciones, absurdas desde luego, de acoso) como Kraus, Cruz-Romo o Caballé. Es claro que como Cantante y ser humano es una vil bestia.
Jajajaja. Muy buena esa de pla-sin-do, nunca le escuché un do a Domingo.
Wow I never knew this, I heard Caballe pushed his career, as well as Carreras.
Porque absurdas?
Cecchele and Bonisolli was amazing Tenors 🙌
Gigi Petriashvili ●
I saw a video of Cecchele singing Calaf w / Nilsson ... I had never heard his voice before ... they were in a duet ... his voice was so refined ... I wanted to hear him sing Mozart ... but I couldn't fully-enjoy his Calaf because, as he was singing in the most beautiful tones ... Nilsson made a sudden, quick movement ( in character ) and distracted from his singing ... she ruined the most sublime singing of a fellow singer ! Or, it was one of the worst directions by a director !
@@cliffgaither Then just close your eyes, genius.
@sananton2821 I couldn't have known she would make that jerking motion when I first saw that scene ; so, it's not about closing my eyes, it's about an unnecessary movement, that is seen, when another singer is singing. I'll take your advice when I watch again. Your advice is non-sensical when seeing that scene for the first time, genius !
and in case people think this is related to the accusations against him, not at all. I've had this opinion since the early 80s, since I started comparing various tenors in the same roles.
Domingo is very good in a proper repertoir. Dramatic parts are not for his voice. But that's rather a question of the public having a vulgar taste, taking inappropriate performances, question of greedy management, and a question of his ego...
He would be the first to admit he doesnt have the range of Pavarotti or the traditional Italian sound. I respect him for what he has accomplished with a good ( not great) voice and cords of steel. He is an artist, able to use what he had to great effect. As pure sound he has limitations, but for number of roles and performances and his solid consistency he will be long remembered. He has been a part of the opera world so long its hard to imagine it without him.
Agree with comments regarding Domingo.For sublime top notes listen to Corelli, Del Monaco, Bjorling and even Lanza, superior to Domingo.Pavarotti great high C's but below his middle voice, the voice was weak.
What is the name of the other tenors?
Gianfranco Cecchele / Franco Bonisolli
For the life of me, I still don’t understand how Domingo had the career he did. As a tenor, you simply must own the high notes. If you can’t, you better start working on that baritone rep! 😄 Considering how crappy he sounds, it’s sad to think of all of the voices that we missed out on during that era because Domingo got all the work. Like many “great artists”, I guess he knew how to be in the right place at the right time.
i agree
the power of marketing, and a handsome face.
look at the cover of Tales of Hoffmann under Ozawa on DG.
but that's 15 years after his début. so ... no. no idea. hahaha
Neil Darling ■ There are references about Domingo "sabotaging" other tenors during his career ... but I've never found anything specific.
@@cliffgaither A Brazilian tenor Martin Müller (sic) was very sabotaged by Domingo...and...isn't that Bonisolli-leaves-Karajan-Trovatore-Tale a little strange one...?
Jon Vickers didn't have a high C, on good days a B flat, and he is/was still one of the mightiest and greatly appraised Tenors-even thought he wasn't a tenor for the masses like Domingo.
"Un drama de tenor vs tenores dramaticos". Jajaja
Who is that at 2:40?
Gianfranco cecchele
@@Luifernal6 thats what I thought
I heard Domingo in the 80ies (Don Jose, Samson, Otello, Rodolfo in Luisa Miller) I saw Carreras booed in Hamburg and a week later Domingo in the same production with amazing success. I heard Domingo some years ago as Baritone in Nabucco. (with low expectation. And he was really cool) In all this performances he dominated the stage. Vocally and as an actor. What you call flat, was live very convincing, because he opened his voice like a baritone. Not like a trumpet, but as a human being. But loud and dominating. I also heard Bonisolli in several performances. he had C s. But in the lower and middle register he wasn't there like Domingo. I liked him, but more as a freak. And he was a bit unwillingly funny. (Atlantow at the same time was vocally astonishing.) Well... and also thinking about Domingos very broad repertoire: Wagner, Zarzuela, Mahler, Strauss etc. I would say: He was and is a legend.
Too bad I had to listen to Eva Marton again to hear Domingo's bad example. Never could stand her.
Purtroppo nelle note alte è sempre calante...peccato perchè il timbro è piacevole
Disclaimer: moments in time not an entire career. The sun rises and sets but there are lots of cloudy days during its passage across the sky.
I saw Domingo as Sigmund at the Met in the mid 2000's, before he gave up tenorizing. I have always loved Wagner singing, have immersed myself in it, and feel I know it well. But when I saw this singer (note that, a singer) *sing* Wagner, I was astonished. it was lovely, restrained, singerly. And, of course, actorly, a huge plus on the stage. He tired a bit in the second act -- who wouldn't, and at his then age? But for an Italian-trained tenor taking to Wagner, it was a revelation to me. I award him kudos for his pluses, and take a pass on any faults. Would we not all like to have that accredited to ourselves, my friends?
I should add that we shouldn't forget Domingo's 1980s forays into "Otello." Given his beauty of voice and fache, I believe this was his perfect role at this time.
Problem is...
Why a performer with such limited resources is praised as a reference? Why is he singing Wagner, with dozens of tenors better than him with no chance whatsoever?
Why he is quoted as the definitive Otello, when (and this video demonstrates one of them...) there were, by the time he sang the role, at least 6 tenors far better than him(Cecchele, Atlantov; Martinucci, Cossutta, Bonisolli, Murgu (Cecchele and Murgu being scions of the Mellochi school)?!
If someone works his ass to sing some role that he cannot do really justice, why is he so praised?!
Ah...(and don't 'you' Freni-sang-only-Butterfly-in-studio' me!); he was wildly and widely praised as Walter, and dozens of reports came out, also praising him at the live Berlin Opera Performances of this Opera...actually, he never sang Walter on Stage - all the performances prior/by the time of Jochum's recording were sung by Matti Kastu!.
When he sings in German, his Puppy-breathing technique shows up - he does not end phrases with clarity (case in point, his "Triste (sad)" Tristan, his Tannhäuser, his FrOsch Emperor
@@andrevital8920 Cecchele had a wobble, Atlantov forced and overdarkened, Bonisolli was a miserable musician who forced, and I don't recall the others of the top of my head.
@@sananton2821 czcams.com/video/Sr0Q5e5Beds/video.html
The second soprano sounded beautiful and true! Who is she
Dimitrova
@@Luifernal6 Thank you
Dimitrova DESTROYED Domingo!
Barioni and Del Monaco put both to shame
W Tarzan (e w Bonisolli)
Lo que se observa es que las supuestas fallas de Domingo se escuchan con un sonido muy malo. Y las de supuesto tenor de verdad se escucha muy claro y resonante...claramente no es igual el nivel de grabación para comparar. Además, se juzga un sonido en una actuación de opera de Domingo que claramente tiene en su canto una interpretación del personaje en vivo...el sonido del supuesto tenor de verdad, se escucha grabación de estudio, algo muy diferente para poder comparar y afirmar que un tenor es mejor que otro.
Ma se non arriva nemmeno al Sib...come può arrivare bene al DO?
Plácido Domingo nunca fue un tenor verdadero, solamente aprendió técnicas de impostación con resonancia nasal, siempre fue un baritenor que construyó nasalmente el A#4 y el B4 (C5 lo hacía mediocremente), de esta manera se convirtió en tenor dramático (dramatoide).
It's about qualities. Domisgo's voice is one of the most beautiful ever and his performances very catching and great, but his high notes and tecnnique are not the best, he is still great, but not to be named "the greatest tenor of all time"
I agree absolutely 👌
He had good recordings from the early 60s to early 80s. But beyond that, it went downhill
Sometimes I listen to an aria, sung by Aragall and afterwards the same aria sung by Domingo and specially in this situation Domingos voice seems to me like someone singing into a tin mug.
Is that Placi-dadi-ding-dong?
Domingo and Milnes are the most overrated singers all time.
Both Domingo and Bonisolli were wrong in the scene with Desdemona, Bonisolli sang a NOT written note. Domingo is just a Baritone in everything. A light one as well.
Dear Robert, a tenor singing in a baritone key is still a tenor. There is nothing about Domingo's voice that is baritone like.
No, no, questo è il canto sbagliato di Domingo.
I heard Domingo, Atlantow, Bonnisolli. Etc. in Hsmburg quite often. Bonnisolli had great high notes, but other bits were not very impressive. And as an actor he was not very convincing. Domingo took the audience on journey. And what you call constricted or flat was sometimes huge. Life a baritone high note. Anyway. I liked both.
We all know Domingo has trouble wit h the C, but to call him overrated... Holy moly..
Domingo ha sempre fatto cagare!!
Wrong he’s done legend
Una barzelletta
Opera has gotten too commercial.
The pure voice in the hall is so much better. The Met Opera House is too big. Before leaving the stage, Mr. MacNeil gave an opinion of the opera world to Met colleague Jerome Hines, for a 1982 book, Great Singers on Great Singing: "Opera is an excessive art form populated by excessive people. We make it more excessive than necessary. Singing is really a very simple thing… just difficult to acquire”
Cornell MacNeil
Domingo is one of the singers guilty for opera to become too commercial.
😂😂😂😂😂😂
Placido Domingo is more like a baritone who used to be able to squeeze some high notes 😂 There are some baritones who think they can repeat the career success of his, hence they "changed" their nature to sing like tenors, the result is that we now have some fake dramatic tenors.
I have been blessed to attend operas in several countries and with many different singers (and in all the major opera houses of the world). And although one operaI I heard with Placido was just OK (Samson & Dalila), the best opera that I have heard in my life was Fedora with Placido, it was an out of this world experience, it is almost impossible to think that so much voice and overtones can come out of one person, he absolutely filled the whole opera house. After this opera, I realized why he is in the top, but you really have to experience it live to understand it.
Trio crooks: nasal mingo with DISASTERALIA and harassments, wooden pop mosquito bareras, mosquito pavarati with cutting a sounds cause of his tiny awful squeaks
Если бы он был просто назальным...его же любое сопрано просто уничтожает.
I feel kind of sorry for you... If all you care about it he high notes, I guess you enjoy 15-30 seconds out of a 2.5 hour opera.. Domingo is one of the great voices and performers of the 20th century. We can live with the imperfect high C's/
Thank God for someone who can see the forest and the trees. He is not the only tenor who lacked a ringing high C. I have little respect for him now that he is singing all the baritone roles, but J B Steane included him in his three volumn "Great Singers of the Century" and I see no reason to dispute that decision.
He is everything wrong with opera.
@@BodilessVoice thank god for all this “wrong”.
yes, what makes him sooooooooo great is, that he had the most recordings....similar to the hype around Karajan....
@@ulrikewermann1268
Where exactly did I talk about recordings?
Are you kidding me guys?! 🤣
He has one of the most beautiful timbre ever !
Ha i see , only the high notes 😏
I can’t believe you take so many times making this videos for laughing at a legend
It’s kind of funny actually
Forgive them , there idiots
Mental problems
I can’t explain it for you, because you’re deaf 🤷🏻♂️ is not only a high note... is all his voice
@@Luifernal6 I really don’t understand why you guys have such a problem with him . I just don’t seriously. His voice is so beautiful .
Del Monaco is also very good in a different style but when it comes to Corelli or Bonissolli , I found them very shouty, they have a great voice but there yelling and don’t care about making a smooth beautiful phrase and Domingo does that perfectly.
Ok yeah maybe his high notes are a bit nasal. He always had a hard time with that . He worked like hell to become a pure tenor .
But the rest , sorry it’s just divine
With Domingo, Kaufmann, Beczala, Florez etc. a lot of things is incorrect: they use wrong muscles, the emission is constricted, the articulation blurred, the highest and lowest notes cut, and so on. Imagine a violinist abusing his violin, beating, yanking, but producing some nice tones - horrible, but nice. When you have some education in classical singing, you can't help noticing it - but to a regular audience Domingo may seem better.
@@operamaniak81 of course sure
Bonisolli is not dramatic tenor!
Agree, he is a true lyric.
Bonisolli was a half tone sharp at the end of his second "l'enigmi sono tre, una la vita!!"
What ever did this bum on a opera stage, struggling to sing roles for what he lacked vocal skills and with big voiced sopranos, is for me AMAZING!!!!! Normaly an audition has to be made by the opera manager and by the conductor. If a singer is not able to do the job he has to be changed....right?
In the case of Mingo tarzoon we can ask ourself how the things realy are.
LOL then why did he get so many standing ovations by la Scala since the 70s ?
It’s just a small exemple
Stay in your bubble you haters !
Claques...
I mean come on. Constant exposure to the guys will limit one's perception of what's wrong and what's right. That's why we train to listen to the old schoolers
His high notes were fine in the 70s.
✨Debut 1968 🪦 RIP high notes 1970
@Luifernal6 thats the funniest comment I've read about PD, and so true. Maybe Birgit killed his high notes in 1970
Aww. Look at all of the no-talent, hack, arm-chair critics swarming like flies on shit. Congratulations! You’ve successfully pointed out a few times when a man, with more talent than you could ever dream of, didn’t quite ‘make the grade’. So, out of curiosity, when will we be able to hear your vastly superior performances of these pieces?
It’s not about being able to sing, it’s about being able to hear when singing is good.
Most opera stars today cannot.
I have nothing against competition and objective comparison - but I don‘t like publicly badmouthing singers with relish (as done in many of the comments; well, the video was probably meant as an invitation to do so…) But, seriously, how can anyone enjoy something like this? Bashing and bullying others. Sorry, not my cup of tea…
Sich in dieser Weise über Sänger lustig zu machen, finde ich einfach nur unwürdig und dumm!
Por qué no disfrutan de la ópera como tal,en vez de ser Haters de tal o cuál cantante. En definitiva, se trata de apreciaciones subjetivas. Otros que también saben no dicen lo mismo. Lo más gracioso es que muchos de los " críticos" no pueden cantar ni en la ducha.
Not a great fan of Cechelle - his voice did not age well, some of it due to vocal excess, IMHO.
but he is better than Placido..as CALAF
Yes, Cecchele's voice did not age well, but he does have a beautiful recording of Cavalleria with Guelfi and Cossotto, where Cechele is about 30 years old.
They are both horrid, Bonisolli and Domingo
Claro, Domingo era tan malo que por eso cantó en los mejores teatros del mundo. Seguro que si voz dista de ser perfecta, pero quién acaso tiene todo perfecto? : Técnica, potencia, musicalidad, actuación, ? No existe. Domingo no fue el mejor sin dudas pero tampoco el peor como para dedicarle un video entero para ridiculizarlo
Corelli, del Mónaco, tucker, gigli, cecchele, Bonisolli, Pavarotti, prácticamente cualquier tenor era y es mejor que Domingo eso de sumar todo tipo de óperas hoy madame butterfly mañana Otello no es un gran acierto ni un gran logro cuando ambas las canto malisimo 0 tecnica
Why are you people so pleased with yourselves bashing Placido Domingo? It’s not the Golden Age of Opera. The poor soul has a nice voice. He tries his best and who cares if some of his notes aren’t as clear strong or perfect. it’s the imperfection and the unique voices that offer their imprint on the Stage. Look at Pavoretti the Fatty sometimes screeched like an airplane propeller. Look at Maria Callas she sometimes sounded like she was a Greek male Olympic Athelete. Yet other times or stages in their careers they brought talent w their unique interpretations. What have you the critic accomplished that you can arm chair quarter back and judge these people and condemn them for their imperfections. Why not focus on the Character of these singers the Brave and principals ones like Rufffo,Caruso and for the females Tebaldi.
Criticism isn't about tearing down; it's about holding artists to the high standards that make their moments of brilliance so breathtaking. Critics might not be on stage, but their role is crucial-they push performers to be better and to avoid resting on their laurels and names. Legends like Corelli, Caruso, Callas, or Tebaldi were revered for their bravery, relentless pursuit of perfection, and ability to deliver remarkable performances.
Let's not settle for "good enough." They did not sing for free. Let's honor these artists by challenging them to be extraordinary. That is what true artistry is all about.
What is your point with these horribly bad recorded pieces it's clear you don't like Domingo, I am wondering could you even sing the worst ever piece he sang??? Didn't think so.
Hmmm. All of you could sing BETTER than Domingo ? Ha ,ha, ha.. I have Manon Lescaut with him SINGIN a HIGH C, with the soprano... (Last act.) Bad people GO TO HELL you know... Jealousy IS A SYN..... (Corelli IS NASAL ) Del Monaco BETTER...
you "have" a Manon Lescaut? You mean you have a recording? Domingo manipulated recordings - even the "fake live" performances in television - they were sent a quarter of an hour later so the technicans could cut better high notes in, when he cracked!
@@sugarbist I like Corelli very much, he also was suffering from stage fright.
No one is comparing Domingo to their own voice. They're comparing him with other famous tenors.
Dear Karifrid, I think you realize that You Tube is a platform where people can come and express their opinions, without the expectation of going to hell, as I also believe that your inaccurate statement about Corelli being nasal will not send you to damnation.lol
Fake video !:P