Parole Santissime amico mio carissimo. Spero stia bene la saluto con affetto ❤️

@@alessandroscano8 carissimo Amico , come stai ?! ti mando i miei saluti cordiali con la speranza che un giorno ci vedremo di nuovo a Parigi ! io sto bene, in questi mesi faccio molta attenzione visto la mia canuta età ... ti adoro ragazzo, sei Enorme ! non devi dimenticare mai queste parole mie ! a presto ! con affetto il tuo vecchio amico Nicola

@@bodiloto che immenso piacere risentirti amico mio carissimo. Spero di poter venire presto a Parigi per abbracciarti. Viva la lirica e viva gli esperti come te ❤️

mi associo e u miracolo divino grande beniami

Avete ragione mi associo e malato di diabete

Al più bo’ ed tuti!

Concordo: Gigli era immenso, nella sua perfezione vocale. Potenza, teatralità, vigore scena.

Indeed! I keep coming back to this great artist and magnificent piece that he gloriously magnificently have done.

He was a spinto by this time. I wonder why he sang so lightly on studio recordings, and used falsetto. He certainly didn't need to! This performance shows he had balls. Great big ones!

@@jefolson6989 Dear Jef, for me, categorizing tenors does get a little tricky at times. Even though I consider Gigli, Di Stefano, and Bjorling to be lyric tenors, they were successful in some of the spinto dramatic roles, but I believe that their basic quality of voice was lyric, so suitability becomes more so a factor than categorizing a tenor voice. ''Corelli - Zucker'' here on YT, mentions that Gigli was great in Chenier and Forza and he also debuted in La Gioconda. Bjorling refer to himself as a spinto tenor, but JB never touched Gioconda, Forza ,Carmen, and Chenier. However, JB was successful in Trovatore, Cavalleria, Manon L. and Tosca. Both Gigli and Bjorling did not do very well in Aida. Di Stefano, like Gigli did sing everything, but with varying reviews depending on what age he was in his career. Corelli referred to himself as a lyric tenor, where I believe the color of his voice was spinto, or spinto dramatic. I think Tucker's voice transitioned over time from lyric, lyric spinto and finally a full spinto tenor, as he also successfully sang across a wide variety of roles. Pavarotti is another lyric based tenor that did do well in Chenier, Trovatore, Tosca,Turandot, Luisa Miller, I lombardi, and Ernani but mixed reviews in Aida. In my opinion, all these aforementioned tenors were amazing. Enjoy

@@sugarbist Bjoerling was a special case. His voice changed very little throughout his career, and he sang spinto roles in a very lyric way- never forcing. He did Rhadames, which in my opinion is more difficult than Gioconda. I have Trovatores from 41 and 60. Bjoerling is almost identical in both. BUT- he is on fire, and in full spinto mode on the 56 met Manon Lescaut with Albanese. Something about this opera seems to bring it out of tenors. Tucker's performance with Olivero from Carracas is one of his greatest. 3 great tenors in the same role, each giving more , vocally and dramatically, than one would think possible. They transcended classification and fach. Its a great shame Corelli never sang the part! When Zucker asks about it, Corelli says it just never came up. He was busy with Chenier and Calaf. Interesting that Corelli assumed more lyric roles late in the game. Last time I saw him was Rodolfo. ( it was pretty sad. A bundle of neuroses and mannerisms. The sound was still glorious- but he got so sloppy musically )

@@jefolson6989 Bjorling received a disappointing review at the Met as Cavaradossi in 1945. The NY Times critic claimed, he sang tastefully as always, but his voice seemed to be too small. But Bjorling did receive a good review from his Dec. 1959 performance. ''This Cavaradossi singing was sheer delight, his acting truly convincing, while his rousing cry of ''Vitoria Vitoria'' nearly started a peaceful resorgimento in the gallery. Bjorling seemed to be more emotional live than on recordings. Birgit Nilsson from the Andrew Farkas Book; ''Bjorling sang a beautiful Radames with me at the Stockholm Opera house, capacity ''1180'', but when I saw him in Aida in Chicago1959, ''capacity 3563'' his voice seemed too small for the role''. IMO, The grueling 3rd act in Aida needs a voice with heft, like a Corelli, Tucker or MDM. Met review1939 Oscar Thompson NY Sun. It must be said frankly that Mr. Gigli's is NOT a Radames voice. It remains the voice for ''Una Furtiva Lagrima'' rather than for ''Celeste Aida'' The singer began last night's performance by pumping and pounding out the notes of that air and he pumped and pounded through much of the evening thereafter. There were some seductive phrases in the Nile scene and again in the duet with Amneris in the last act. But, it would be only occasionally that his hard-driven heroics permitted the true and treasured quality of voice to be heard. Mr Gigli's is basically good production. Yet his singing was characterized by almost every vice of style that can be charged against an artist -he scooped, sobbed, he aspirated syllables and resorted to the glottis stroke in the attacks. He treated sundry legato phrases as if they were successions of small explosions and in his effort to enlarge his limited top notes, he sang them so ''open'' that they resembled shouts. Yet in spite of the punishment to which the voice was subjected, much of it's beauty remained. There are few such voices , the reason for conserving the lyric charm of this one. I think Corelli may have been taking on the more lyric roles late in the game, to possibly extend his career. He was having trouble holding a steady vocal line in his middle register, even as early as 1970-71. I think his voice was well suited for Manon L. Yes, F.C. had a great voice but he was full of mannerisms, possibly because of having stage fright. Notice that he is a far better singer on his studio recordings than in the theater. But he knew how to light up the stage and the audience. I saw him in an electrifying Trovatore at the Met circa 1961. He received a lukewarm review, but he did set the audience on fire. He was known as Mr. Soldout at the Met. I remember a Don Carlo Matinee circa 1973, where the announcer preempted the performance by stating that Mr. Corelli is under the weather, but will continue with the performance. Some time during the 2nd act, my father turned o me and said, '' it's a good thing he's not feeling well'' meaning that F.C. sounded terrific that day. I only wish we had this great caliber of talent on the operatic stage today. Enjoy

parole sante .

Sono d'accordo con lei. Gigli dovrebbe essere preso ad esempio come manuale del canto e della disciplina che serve per arrivare a livelli simili. Immenso artista.

perché perdonare? sarà istrionico ma in linea con il pathos dell'aria. Emoziona!

Pertile👑👑👑👑👑 has the voice of a 🦁! I always think that he can even be considered as a dramatic tenor.

Gigli has dark timbre when in forte.

bravo hai capito tutto gigli inmenso grande

Tra l'altro Gigli negli ultimi anni di carriera era diabetico e gli era stata riscontrata anche una miocardite, un leone della lirica.

Lei ha capito tutto.

Mingo piccolo piccolo voce

Su Domingo ti do ragione, ottimo tenore, musicale, ma di secondo piano. Su Bergonzi ho da eccepire: grandissima tecnica e fraseggio in superabile, purtroppo penalizzato da un timbro poco metallico. Anche Corelli del resto fu penalizzato da una dizione (delle "s" che sembravano "f") imperfetta.

Bergonzi è assai migliore di nasal Domingo.

Corelli states that the low larynx technique existed long before the Melocchi school. Lauri Volpi writes that after a devastating outing in La Gioconda in Spain, Del Monaco went to Melocchi and together they fabricated a voice to sing Otello. Corelli - Zucker here on You Tube states that MDM did not have a big voice upon arriving to Melocchi, but emerged from the Melocchi School with a very large voice.

si, certamente peggio

@@riccardobarreca8066 due voci troppo diverse per fare dei paragoni....

@@guidogreco341 I cantanti si distinguono per timbro e per imposto. Il modo di cantare di Gigli era di certo diverso da quello di Del Monaco e a prescindere dal timbro uno poteva essere più efficace dell'altro nell'interpretare la medesima romanza, Per naturalezza di emissione e capacità di fraseggio, quindi per impostazione tecnica, Beniamino Gigli era superiore a Del Monaco e infatti nella sua carriera ebbe la possibilità di cantare ottimamente nei ruoli più disparati, da quelli elegiaci a quelli più drammatici.

@@riccardobarreca8066 nulla da eccepire sulle qualità del grande Gigli rimane il fatto che a mio modestissimo parere nei ruoli di Chenier,Pagliacci,Radames,Otello reputo Del Monaco superiore.Ovviamente Gigli rimane un icona del bel canto e l accostamento forse va fatto con Jussy Byorling o Fleta...comunque grande scuola

@@guidogreco341 Arturo Melocchi fu maestro di Mario Del Monaco e anche di Gastone Limarilli. A suo tempo presi delle lezioni di canto da quest'ultimo e per questo motivo azzardo pareri sul modo di cantare. Il cosiddetto "affondo" comporta dei limiti interpretativi d'imposto, oneroso per il tipo di emissione e appoggio sul fiato. Per questo motivo azzardo a volte pareri sul canto di Del Monaco, pur riconoscendone il grande valore e mi pare in sostanza che per le sue qualità, Beniamino Gigli non gli sia mai stato da meno anche nei ruoli da lei citati.

To Gigli's credit, it was *not* transposed!!