confesso che la figura di gigli non mi ha mai ispirato simpatia ma dove do giudicare in modo obiettivo non posso che collocarlo all'apice dell'olimpo della lirica

Glad you're enjoying it. Gigli's voice is amazing. Always moves the soul.

I’m glad to hear you say that as I feel exactly the same way….it helps me realize that while I’m fanatical, I’m not crazy

bella e iperduta” potrà risorgere!

Bravissimo beniamino gigllo ma mi piace anche la versione Corelli .superlativi entrambi.

I hear it. I hear it. He's the only singer who can make me weep with E Lucevan le stelle. Others sing it like an anthem. He sings it the way I feel it should be... like a lament.

Gokou Son I understand completely, the sheer beauty of the voice and the delivery captures our attention until he chooses to let us go.

大哥你也唱

I also love giglis voice,in my humble opinion he had the most sincerest voice of all tenors and beautiful honey tone and yet he could sing some of the heavier roles with ease,as for the improviso,my favourite in this aria will always be del monaco,

PERFEITA DEFINICAO DA ARTE DE GIGLI

Indico para não perderem também um dueto do gigli com o barítono giuseppe de lucca infelizmente esqueci o trecho da ópera estão juntos com a hall curci é a tabata

​@@FranciscoSantamaria389 es un film de Bella figlia dell'amore de Rigoletto, el cuarteto

Yes, listen to his Nessun Dorma also, aged 59, where he carefully sings all the vinceros with equal care, unlike many modern singers who only think of the final vincero, in hope they will hit the note, whilst straining red-faced to hold onto it. They lack Gigli,s technique and control of the voice, where he can sing with ease and not sound like a strangled cat.

ALTRI SONO BRAVI MA GIGLI RESTA "UNICO"

Un saluto a tutti voi, il grande Gigli lo ricordo da quando ero ragazzino con voce meraviglioso ché non stancava dì a scolarla e già a quei tempi lo seguivo

@@antonimelli3754 meraviglioso Gigli, ineguagliabile

Beautiful full voice, mezza voce

PARABENS PARA QUEM DEFINIU GIGLI COMO CANTOR CLASSICO FOI A MAIS COMPLETA E ACHO QUE NUNCA MAIS VEREI UMA IGUAL OU MELHOR. SENSACIONAL E COMPLETA DEFINIÇÃO PARABENS

Eu também amo esta voz.

Sig.ra Pucci, che dire del Gigli interprete della Manon Lescaut di Puccini: un'interpretazione perfetta, come voce e come recitazione. Gigli unico al mondo.

@@eusebioorru7383Purtroppo è un'opera che non ho visto dal vivo, ma cercherò su youtube. Grazie del suggerimento.

100% correct. Not only is he in his very best voice, he actually becomes Chenier. And yes….he has sooo many fine recordings and interpretations, but this one stands tallest. I love the backstory to the role at the Met, where both Gigli and Caruso were singing in 1921-22. Gatti-Gasazza gave Caruso the responsibility of creating the role in the Met. AND ONCE HE assigned someone to create a role, he NEVER reversed his decision. But when Caruso was too ill to create it (sing for first time) he immediately gave the role to Gigli….remember, Gigli JUST CAME OVER to the States to sing Mefistofele and other really lyric roles…..at 31 years old!!!!!!! The dramatic tenors of the day….hello…Martinelli. So when Gigli debuts in the role poor Caruso is sick in the hospital….and pls don’t get me wrong…..I absolutely adore and am amazed by Enrico. I love the little Napolitan. And for what it’s worth, I love Tita Ruffo. Those 3 voices…..I only wish we could hear more than just and 80+ year old recording of Cotogni. Gesu, he might have been the greatest period! But Caruso, is in the hospital when Gigli debuts in Chenier….a role he was slatted to create…sends his son Jr, to witness Gigli’s creation. Whatever Jr said to the old man, his response was “couldn’t Gigli have waited until I died”!!!!! Caruso, in addition to being one of the greatest VOICES in recording history, was also a talented sketch artist….. outside of himself (LOL) he only sketched ONE other singer…..Beniamino, on the night oh his debut as Faust in Mefistofele in 1921. Gatti-Casazza knew….even Caruso knew. My fathers friend Robert Tuggle….Archive Director at the Met in the 90’s said this…..”a great chain was forged by Caruso….it was continued by Gigli….but nobody else picked it up after that.” As tenors ago…..I’ll take Gigli and Caruso and you can put the rest anywhere u want. Pls understand that’s not 100% serious as I love Tamagno, De Muro, zenatello, Marconi, and even the little Irishman….but Gigli and Caruso….the only one I put smack right into the middle of their league is an artist called Tita Ruffo….in his heyday, he was billed as “The Greatest Baritone, Tenor, and Bass”. I won’t dispute!

@@mv7251 The Met Archives show that Gigli sang 6 performances of Chenier in 1921. The archives also show that Caruso never sang anything at the Met in 1921. The archives don't have Caruso singing Chenier at all. Actually, Gigli carried forward the chain in the lyric repertoire and Martinelli in the heroic repertoire.

@@sugarbist I see that my wording was confusing…apologies. 100% correct that Caruso never sang the role at the Met….now, I didn’t realize that Caruso didn’t sing at all in the Met for the 1921 season. But GC originally gave the role to Caruso and had planned to have him sing the Met debut of the opera. Due to Caruso’s ill health he was unable to fulfill that obligation and Gatti reassigned the role to Gigli in his first season at the Met. Apologies if I wasn’t clear, but thank you for the info as I didn’t realize Enrico didn’t sing at all in ‘21. Very sad.

@@mv7251 No problem. One of my goals is to share information. Corelli- Zucker interviews here on You Tube, show Corelli making some very favorable remarks about Gigli. Pavarotti also said, that after Gigli sang a complete opera, he would at times take requests from the audience and sing 15 to 20 encores. He was a remarkable tenor. Enjoy

@@mv7251. After Caruso suffered a hemorrhage during performance in Brooklyn, December 1920, he never performed again. He left New York for Naples with his whole family and died there on August 4, 1921. Gigli was singing Andrea role but it does not mean that he was a Caruso's replacement. Martinelli with his immensely dramatic voice was the first candidate to perform Andrea.

Tem como traduzir essa música pra mim em português ? Eu não entendo nada

Would you upload the version you have, pls.? Thank you!

I agree. To me, he is singing the top notes too open. I have thhe recording you mention and he is really superb on that one. Plus he was in great voice, in a role where other bigger voiced tenors had an obvious advantage per se. But the beauty, is undeniably exceptional here. 👍❤️👍

“Gigli primo non Caruso secondo”

I’m so grateful that someone else shares the opinion. Yes….the most beautiful voice on record. Perfect vowel shapes….perfect line….perfect ability to spin tones from ppp to ffff instantly. Never a vulgar tone. And the artistry to act with his voice….love, destain, drama….all heard here. And the chiaroscuro!!!!! Here he uses light tones with a dark rim….because while Chenier is a patriot he is first a poet!!!!!! Listen to his E lucevan le Stella from the movie in 1938…..seated at the piano…..in that one he uses the opposite….and inherently DARK TONE with a light rim…..ITS A TOTALLY DIFFERENT VOICE!!!!!! I love Caruso….I love Ruffo…I really like Tabaldi….I’m amazed at Tamagno’s size as well as De Muro…..but this voice is something all together different. And what is so very sad…..it was the last one of its greatness. Robert Tuggle was the Achrive Director of the Metropolitan in the 90’s and was a dear friend of my fathers…..he said in his book…..a great chain was created at the Met with Caruso, was carried on by Gigli…..and never to be picked up since. It’s so true!!!!!

Truth be told, I’m a super fan of Gigli….and a few others. And I agree with u….the most beautiful voice ever recorded. I am an absolute nobody in life….outside of a talented classical pianist that just plays for himself. But I’m a nobody. But I can hear voices….and I’ve had friends….friends that were great artists. Gigli brought Licia into the recording world for La Boheme…..and Licia became a dear friend of mine in the 90’s. Hell, I almost feel like Licia’s Mimi….I’m alone….I run a cigar shop….I pass my time by listening to opera and playing Chopin/Beethoven/Mozart. But I have stories….I was part of the NYC operatic world for many years. My story for u is this…..Gabor Corelli was a family friend….I’m sure u can google him to get a pic to see with your eyes what I’m telling u. Dear Gabor, was a comparmario tenor at the Met…..but he was also Gigli’s illegitimate child. There’s no shame AT ALL!!!! Gabor sung the Spy in Chenier…..and would u believe he even sung it with his father signing the title role…..I mean how wonderful is that as I wipe the tear from my eye. I can not lie if told him that I knew him, cus I didn’t. BUT MY FATHER DID….and very well. And My father, in the 80’s, taped all of his phone conversations….and not for nefarious purposes!!!! But for artistic ones, as my father was a pianist too….albeit, far less talented, but an artist and a lover of Gigli and Opera nonetheless. He was far more financially successful than me so I guess I’m the loser LOL. But he recorded a conversation with Gabor that MATTERS to any fan that loves Gigli today…..and it should matter to any fan of singing in general today for Gigli could sing like very few before and NONE after. So I share this with you all….. Gabor was with Gigli at the very end of his life in 1957. And two weeks before his passing, he was driving him to the train station. In the car, Gigli started singing, in his exquisite mezza voce “Mi Par d’udire Ancora. And as Gabor said….really really as beautiful as ever. Well, Gabor, of course, just broke down in tears while driving and Gigli just responded…”there, there, Gabor…..u see…..it’s not the voice that has been taken from me….it’s the heart”. Gigli’s way of saying that he had lost the capacity to control his breath in the final 2 years of his life. Gabor told my father it actually was the sweetest tone he had ever heard….from Gigli or otherwise. And I don’t know if Gigli ever admitted to being his father. Gabor was too good of a human being to ever say……but just look at the pictures. La Madonna….it’s a spitting image. But if I could only share with you the sound of both of their speaking voices……you would be astonished. They sounded EXACTLY alike. So much so that I can’t believe that the fathers gift for singing tone never transferred to his son. My point in all of this…..it’s not hubris….like I said, I’m a loser outside of those I love…..it’s to support u with a fact…..you are 100% correct when you say that his voice could’ve sang forever!!!!!!!!! The only flaws you hear in his voice from…..honestly….1949 until his final recordings at His villa in Recananti in ‘55….they are a result of his failing heart, and kidneys with his diabetic condition. I guess I believe in God…..I certainly WANT TO…..and this was the Lords perfect, PERFECT little singing machine for over 6 decades……but the voice itself, was IMMORTAL..till the end

​@@mv7251 espero que você esteja bem. A musica é uma companheira incrivel. 🎉🎉🎉

I think Gigli's debut was at the Met in Mefistofele in 1920

What makes it unique for me, is that Gigli was basically a lyric tenor or at most lyric spinto and yet he was successful in this opera. Pavarotti waited till he was 6o years old to sing it, sure it wasn't his best role by far, but he got some good reviews singing it with Soprano Millo-- but Gigli sings it with great feeling, perhaps more Then anybody, he sings the meaning for every word, and a beautiful voice besides, one of the greats in the role, our own late great American Spinto tenor, Richard Tucker said that of the past great tenors, "the sweet as sugar voice of Gigli" was a great favorite of his always. RIP Gigli.-- (He can Sob all he wants, still one of the most beautiful voices of all time, the voice and singing the meaning of the words is number #1 important)

@@shicoff1398 It's good to hear from you, again. Gigli's outstanding artistic abilities made it possible for him to parlay that lyric tenor voice to impressive use in other "heavier" roles such as Cavaradossi, Manrico, and, yes, Radames much like Bjoerling. It attests to their innate talents to sing well and perhaps more importantly, to preserve their resources.

@@hashatz Yes with both Gigli and Bjorling, BTW My grandfather born in 1880, lived to age 100-- saw Caruso twice, as he didn't sing often in Chicago, at most only 3 times, EC was his great fav. and he saw them all being very active and involved later with Chicago opera, anyhow he really loved 3 tenors and they where, EC and then Tucker and Gigli, he did mention Gigli's voice being somewhat larger then JB's-- but I only saw JB, not ever Gigli, sadly that is-- and even though I believe JB had better low notes then Gigli, and was a better artist as far as a musician-- I think Gigli had a unique beauty unmatched, and I saw Tagliavini! --similar middle at times but not that great top Gigli had as did JB, but interesting both Gigli and Bjorling when they sang in Aida at similar ages (47 for JB and 49 For Gigli) both failed in two very Big houses too get good reviews, (I saw JB that 1958 season) yet both did very well in smaller houses in Europe in the Aida role. Nilsson mentioned it in the Farkas book, she heard JB sing in Aida in Chicago that year, I saw him then but as the Duke, she said as did Cassidy in the review, the voice was small for the role in that Chgo. opera house of 3,583 seats --Cassidy said- but in 1955 Nilsson sang it with sang it with him in Sweden, a small house of 1,180 seats and Nilsson mentioned the voice of JB was fine there in the role, Sexton Earling the cond. told her not to eclipse him when in unison, so now Gigli also at similar age in 1939 at the old Met. had similar reviews, as his voice (which was somewhat larger then JB's according to my grandpa) in the old Met house-- Gigli they said in reviews too lyric for the role, to be dramatic or spinto enough, I suppose in act 3, anyhow I did not ever see him but JB was for me adequate as the Duke and surely in Travatore with Callas in 1955 according to Cassidy in a great review of her as she had said, my favorite tenor was JB, I talked to Dan Newman, PR mad at Lyric and he told me then, JB said he was not happy with the Aida and decided not to pursue it in NY as he originally thought h would but he died two years later sadly. He said Chicago is used to MDM in Aida, anyhow in concert nobody I've heard out did JB and he was a great artist of perfection with a middle sized lyric voice, later lyric spinto at most, of course Spinto Tucker and Corelli both had big voices more noticed in house and MDM was when I saw him in powerful dramatic, JB avoided Carmen, Forza and Chenier, maybe had he lived past age 49, he might have sung it and rec. Otello hilites but his health did not hold out etc. see met archives about both tenors in NYC.

@@hashatz yes even though they sang in Aida it early on they still lasted well JB though dead at only age 49. Both had more success in Europe then here in the states in Aida, which Bergonzi and Tucker did well in big houses, Pav sang it but not a great role for him, he managed Chenier at ag 60 better then I would have guessed but that was Tucker, Corelli and MDM meat and yes, Gigli as here, great role for him. BTW I was active in the Jussi Fan club, where you? A pretty good group, not just fanatic fans who only liked JB.

Sorry about the lines in my comment.

Thanks for your comment. Of course, Di Stefano also sang open a lot. Gigli is my favourite singer, for he had so much colour, inflection and variety in his voice. Pavarotti said Gigli was the most elastic tenor, who could sing anything. Today's tenors sound boring to me, very monotonal.

​@@malcolmrobertson8941they all scream. It's the only way to get into the business

As recorded before I was lucky to see him live on 1954 and he was amazing judged by the highest standards even at 64 and for ever the best tenor Always Number One

Thanks for the post. I just listened to some clips of your Father. A very fine voice indeed. Would love to hear this Chenier aria. Are you able to upload it?

Grigolo!!!!!!!!!!!!!!!!!

Invidia

Invidia di che cosa?

@@mariagraziatoscani8143 di averlo conosciuto!

Un tenore lirico strepitoso..ma in questa romanza CORELLI e Del Monaco sono più consoni al ruolo

Et Georges Thill !!!

Quot capita, tot sententiae

Caruso never recorded this ,how do you know that? Corelli and Lanza on a home recording are more exciting Gigli more of the poet than the other two, but beautiful in its own way. A real master of interpretation ! Update I stand corrected Caruso did record this 1907 But I still think gigli did it better. I think Lanza,s home recording is the best period.

@@larmun , don't forget Carreras he was a great Chenier too.

I would not waste even (1) one cent to hear Kaufmann.

Brava!! assolutamente vero!!!

Una descrizione interessante della voce di Gigli.

Preferisco accostarlo ad un buon barolo d'annata.....sale molto più lentamente e se ne può bere di più.....🤪

Thanks for the excellent comments. Very interesting. Yes, I have many rare recordings of Gigli, some by Edward J Smith, who made many live recordings of Gigli. He is my favourite tenor of all time.

@@malcolmrobertson8941 Oh sure, EJ Smith had so many great live recordings of Gigli….and a couple of them sadly never made it to CD. Like there’s a live recording of Gigli singing Il Epilogo from Mefestofele from 1941 as I recall. It’s so wonderful for it demonstrates that even at 51 years old, not only could he still sing the lyric roles but his execution is actually better than it was 20 years earlier! This is such a rare quality when a lyric tenor with age, gains the ability to sing some of the dramatic roles….they lose some of their ability in the lyric department. The fact that Gigli never lost that ability is impressive but not shocking. The shocking part is how he actually sounded better at 51 than he did at 30. It wasn’t until his health problems began to tax his breathing. So at 52/53 you finally can hear just a touch of heaviness….again I’m splitting hairs here as we all know, Gigli could still sing at San Remo, late 1954 at 64. Then he fell ill and had to retire in ‘55. Another great one is Smiths live complete recording of Traviata from Covent Garden in ‘39. Lyrically, he NEVER sounded better!

We all listen to what you have to say… Your insight, enthusiasm and knowledge are mesmerizing… Thank you! Btw, my voice teacher who was not that easy to impress was completely in awe whenever he spoke of Gigli‘s voice and incredible vocal technique. Among the two of us he even confessed that he preferred him over Caruso (because he thought that he was actually better), something which is considered lèse majesty. So it stayed between us. As long as people listen to their heart and soul, they‘ll also listen to the wonderful, exceptional singer who was Beniamino Gigli. That‘s what I believe.

@@hrbooksmusic7878 I’ve known a small group of people who felt exactly the same way as you both do….my father of course was one of them. But regarding Gigli vs Caruso, my true answer is either one of two….it depends what they are singing….and sometimes even it depends on what day and how I’m feeling. For those two are that great. But Steane, they great Caruso critic said it best….he said that why he loves Caruso best he concedes that when it comes to pure vocal tonal quality and production that even Caruso can not take Gigli. But the interactions between those two we can easily discern that they felt the same way. Gigli comes right out and says that the first time he ever heard Caruso….when Gaiseberg plays him a Caruso recording prior to Gigli’s first recordings….Gigli says that man has a quality in his voice that I only hear in my own. And Caruso it’s a bit more abstract…..of all the caricatures he drew and all of the great singers he sang with, the only one he ever drew was Gigli upon being in the audience at his met debut in 1921. And how knowing that Gigli was chosen over all of his rivals to create the role of Chenier at the Met after Caruso was too ill to do it. He was hospitalized so he sent his son to listen to him and report back. Now just the fact that Gigli was chosen….as u remember Gatti-Casazza NEVER reassigned a role when the the intended creator of the role didn’t sing it. The Opera was just never out on at the Met. So just the reassignment speaks volumes, but the young “lyric” Gigli was chosen to sing a fairly decent sized spinto role over Martinelli, Lauri- Volpi and others like Pertile and etc. So as a side note I get a little ticked when people think Gigli was a lyric tenor…..just because he could be considered the greatest lyric tenor, doesn’t mean it stops there….apparently even at just 32 years old, GC believed him to have a voice already adequately sized for Chenier. And 20 years later he added all of the heavy spinto roles….Trovatore, Aida, etc. The only role that I honestly think Gigli’s voice is not suited for that he sung with success is Canio. And Gigli knew this for he waited to about 60 years old to perform the role!!!! Not that his voice wasn’t big enough, but it wasn’t dark enough….especially because I know how much he admired Caruso and he must have understood his absolute greatness in that role. But anyway, so after his son returns to his hospital room after the Met debut of Chenier, Caruso says “well….” Junior told him he was wonderful….he probably went into detail but he didn’t get into it in this biography of his father. What he did say is that Caruso said with his classic wonderful and colorful personality that btw Gigli thought the world of..“Couldn’t he at least have waited until I died”. When it comes to sheer vocal quality, I agree with Gigli that those two have a special quality that I don’t hear in any other voice…..with one kind of exception. While I don’t put him absolutely in their category, I hear MUCH of the same quality of Gigli/Caruso in McCormack. He is much closer to them the. He is to everyone else. Now quality alone isn’t everything for my personal taste puts a 3rd voice in my personal all time greatest….voices that are in a category by themselves and above all others….and this voice isn’t so much for quality as for uncanny SIZE of the instrument and an exceptional range….Tita Ruffo. This is not only the biggest, but the thickest velvety dark voice that I’ve ever heard. Si Pel Ciel is my personal greatest recording ever by simple math of having 2 of my favorite 3 voices in one recording operating at an Aplus level. When listened to on an acoustic gramophone or Victor Talking Machine two things are clearly evident. Ruffo is much further away from the horn then Enrico, and yet whenever they are singing at the same time, I hear mostly Ruffo….until the little Neapolitan ascends to a high note….then it’s like a bolt of lightning emerges from this tremendous dark cloud. And I love the very last note….usually all one can hear in every recording is the tenor. And that’s understandable as he ascends to a higher not while the baritone maintains the lower harmony. On their final note you can still hear Ruffo….he’s like the foundation/base of a building on which Caruso rests. I’ve read that Ruffos voice didn’t record as well for all I read about is how he had a beautiful quality….that must not be coming thru for while his quality is great it’s not to that other worldly great. But like I said, the sheer size and thickness…UNCANNY. And btw to Carusos quality….Herbert Caesari not only hailed Gigli as the greatest example of vocal technique but he wrote a technical book using him as the example. A completely natural voice of the utmost quality and perfect study. He said this about the quality of Caruso as compared to Gigli…..”don’t look for it on any record for you will not find it. While much of the quality of Caruso comes thru, there is one aspect, his greatest aspect that just doesn’t come thru.” And I trust him….can u imagine what Caruso actually sounded like!?!?! Hey, thank god those two voices recorded very very well because they leave us with something so special. There is a voice that from everything I’ve read might actually be the greatest voice in the history of Italy!!!! But alas there is only 1 recording of it and he was in his eighties…..Toto Cotogni. Gigli’s first teacher who Gigli simply referred to as “The greatest voice Italy ever produced”. It’s such a crime that we can’t hear it. So that’s why I say, thank God we have Caruso and Gigli and that their voices recorded well….unlike the great female voices which we have but did not record well….Patti, Tetrazinni etc

@@mv7251 Thank you very much for taking the time to write such an elaborate, insightful, educative, and interesting comment, which ranks among the most rewarding comments I‘ve ever read! I sincerely hope that many, many more listeners will take the time to read through and benefit from it! Your evaluations, considerations, explanations and opinions are well thought out, show an enormous amount of knowledge and understanding and serve as an eye-opener for various aspects many people may never have thought about in depth. My vocal teacher obviously was completely in line with Herbert Caesari, because he also claimed that Gigli‘s vocal technique was exquisite, was exemplary, in a category of its own. As a teacher he appreciated this fact tremendously and pointed it out frequently. But of course he also loved the quality of the voice in itself, and he used to say that there was a little special something in the voice that spoke directly to his soul. Maybe it was a part of Gigli‘s own soul that he carried in his voice and into his singing. And that‘s the point when, beyond any techniques and qualities, the listener‘s own heart speaks and makes them choose their personal favourites, the ones that touch their heart more than others, no matter the reason. Now I must try to find this only recording of Antonio Cotogni you mentioned above… maybe I‘ll get lucky… Btw, I often thought that especially the female voices of the early recording era didn‘t record well, but when I dared to mention it, I was often reprimanded or downright verbally attacked by fans or self-proclaimed critics, being asked how I dared to doubt the great singers in question - which I never did… I only found some of the recordings regrettably disappointing in that they didn‘t do the great voices justice… But as you said, thank God there are recordings (mainly of the male singers) which do… very much to our inspiration and delight. Thank you again!!! All the best!!! And please don‘t ever stop to write your excellent comments!