The other copies of this performance on KZfaq are from a recording that was erroneously transferred at too high a pitch/speed, making the voices/vowel colors too open and shrill.
Now with the pitch corrected, the voices have more depth, more thump and twap-making that penultimate high G from Mac and Tuck all the more impactful.
Teatro Colón
Buenos Aires
June 24, 1966
Bruno Bartoletti, conductor
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Yes, the singing is... extra.
Trrill™ is about florid passages, improvisatory underpinnings, staccato'd intuitions, and virtuosities even at their most ridiculous.
But it's also about the biggest, boldest form of vocal emission, with aural examples of basically correct singing, correct impostazione-chiaroscuro, vowel clarity, firm and centered pitch, correct vibrato action, absence of throatiness or thickness, sounds free from constriction and from the acoustic noise that accompanies it-with occasional video examples that demonstrate what the body, face, mouth, jaw, and tongue look like when used with correct impostazione-the vocal emission of the one and only Italian school.
Caveat: I'm biased in favor of #baritones and baritone literature, but if you want to learn about and listen to all the greatest singers in the old-school tradition, explore this spreadsheet (voice parts are separated by tabs):
bit.ly/2W4qmE3
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#baritones #tenors #duets