I agree.

Io me lo ricordo bene fal vivo eravamo snche molto amici hrande immrnso cantamte .e uomo tvb.

Totalmente de acuerdo contigo amigo japonés. Saludos de un chileno

AGREED! 👍👍❤️

Daccordissimo

The true resonator is trachea and larinx. The faringeal space is only 20-25 % of resonance

@@santisramos5832 How can be trachea a resonator if it starts below the larynx?

@@Makenor13 yes and the real column has to be below the larynx, in other case you can not controle the air., that goes to the larynx and to the mouth. the trachea is hollow and has the high and low resonance and frequencies. the only fharynx can not be resonator. but the good singer forms the vowels a.e.i.o.u there, not in the mouth

@@santisramos5832 A resonator, by definition, can't be before the sound source. Since the air stream goes only in one direction (from the lungs to the mouth), and before getting to the vocal cords it's just silent air who brings no sound wave, everything that is below the larynx is not went through the sound, so it can't be a resonator

@@Makenor13 it is your opinion only, i said that the part of the larinx with trachea is the true resonator. and the trachea has to be secluded below. this is the column and resonator. and in this way the sound is produced, where were investigations that proved the trachea had the low and high frequencies that coincided with 3300 HRZ. the only farinx has not these frequencies and he is not hollow

Prima di essere Otello,era Dick Jonshon,Sansone,Ernani,Radames,Chenier,Pollione...ecc

@@radames5855 Totalmente de acuerdo. Saludos cordiales

Sorry. I hope you didn't mind? I just got random photos from Google images.

That's a wonderful drawing mate ♥️♥️🔥

@@RadamesAida2Operalovers Not at all, I feel very honoured! He's my hero! Thank you!

perfectly describes my experience. the diction, the tone, the power all keep me coming back

Domingo doesn't belong in that exalted company.

I would rather choose to listen to Caruso and young Del Monaco any time.

Condivido .inpieno Mario eccezzionale

Giustissimo quello che é stato scritto unico non ha rivali

I can see where others pale in comparison. Later he lost the ability to sing softer than forte. The unrelenting volume became fatiguing for the audience. (Well, me.) He had it all brains, looks, da voice, and great involvment in the dramatic situation.

L'ho trovato però è proprio un piccolo pezzetto. Peccato. Se a quell'epoca avessero saputo che noi oggi avremmo cercato questi video e che sarebbero diventati come delle reliquie, forse li avrebbero fatto meglio.

Antoinetta Stella.

I think the soprano is Antionetta Stella

This is a love duet from Andrea Chenier. This scene comes from RAI television recorded in 1956. Antonietta Stella as Magdalena. Also in the whole recording Giuseppe Taddei was Gerard. The whole opera with them you can find here in KZfaq.

"Or son sei mesi" from La fanciulla del West

"La Fanciulla del west." "Or son sei mesi" kzfaq.info/get/bejne/n9uplLKenNamoJc.html

Not really, Corelli a spinto tenor had a warm organ sounding voice full of feeling. Lanza had a most beautiful lyric quality. Del Monaco had a Bronze like dramatic sound with impeccable diction, but all 3 had great voices.Enjoy

@@sugarbist del Monaco was lirico spinto. Not dramatic

@@santisramos5832 When Del Monaco was in his 30s, He was already a spinto tenor with dramatic impact when needed, also debuting in Otello at age 35. When MDM got into his 40s, his voice transcended into a full dramatic tenor voice. Imo, the dramatic tenor should have a rich constant powerful, dark ringing voice which describes MDM. Zenatello, Vinay, Merli,Vickers, Slezak are perhaps examples of dramatic tenors. Even Corelli had some dark dramatic quality to his voice but I don't believe he was a dramatic tenor. Domingo was a medium spinto voice who sung Otello many times, but I think he fell short in some of the more fiery portions of the opera like the Esultate, Ora Per Sempre and the Si Per Ciel, where he didn't have the driving phrasing and wielding force required to be a great Otello. But he was respectable.

@@sugarbist del monaco did not have baritonal colour in his was. he was liric spinto. domingo was a full liric tenor that wanted to sing everything. merli, vinaj zenatello were dramatic tenor, yes

@@santisramos5832 Del Monaco is constantly referred to as a dramatic tenor. Even his obituary claims he was a dramatic tenor. After 1960 his repertoire consisted of mostly dramatic roles. I've heard some people say he was a spinto tenor, but never a lyric spinto. See Jerome Hines interview with Stefan Zucker & Corelli here on Y.T.. Hines says, Please excuse me Franco" When Del Monaco opened his mouth for the first time in an Aida rehearsal in 1951 at the Met, it was the most Gigantic brilliant sound I ever heard in my life and it was spectacular." Corelli said"It's true" MDM had a clean dark tenor voice and not necessarily a baritone sound. Vinay started out as a baritone, then became a tenor and then finished his career as a baritone but always considered himself a baritone. Domingo did sing everything but I believe he was either a lyric spinto or a medium size spinto. Zenatello was a phenominal dramatic tenor.

😂😂