Je suis tellement d'accord avec vous. Pour moi c'est le meilleur. Chaque fois que je l'écoute, j'ai toujours la même émotion.

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Emanuele Maccherini Red as pepper? Barely high? Sorry Emanuele, I totally disagree with what you are writing. I was there in Istanbul and also in Bastille when he sung Werther on stage, and it's a fact that his voice is beautiful. What about this story of the Alagna of 30 years ago? And the Emanuele of yesterday, is he still alive? Singers' voice is changing, evolving, it's normal and his performances are just outstanding for their clarity, power, sensitiveness. You have the right to tell that you don't like, but suggesting that he is not mastering his vocal technique is a pure non sense. Read the reviews (recently in the british press after his Tosca at the ROH, or the German one after the Trojans) and you will realize how they are unanimously highlighting that yes, "il est en très grand forme". And during this concert in Istanbul, the audience was just thrilled. I don't believe they would have cheered the solists in such a way if, as you said, he was just performing and not singing. He has the singing in him.

Emanuele Maccherini Non je ne plaisante pas! Alagna est en grande forme vocale pour ce concert à Istanbul. C'est mon opinion et je ne vois pas pourquoi elle ne vaudrait pas la votre. Que c'est lassant de lire ces commentaires toujours tournés vers le passé. Apprécions le moment présent, sinon à force de regarder en arrière vous vous transformerez en statut de sel!

eveopera66 That 's the all point of Opera: tecnique...in the past was better than now...I love opera, therefore I do not appreciate dogs barking it out loud....Alagna could be enjoyed (maybe 15 years ago) for the timbre....but when I read comments about his skill I simply go mad: it is shouting, and nothing more....past or not past, Alagna is not a singer worthy of this name. He was a french cabaret singer, he has never studied properly and that's it! Neil Shicoff is contemporary enough for you? He was and is a great singer....the fact is that people mislead to be famous with to be a great singer.

Emanuele Maccherini Disagree. We don't mislead at all. Moreover renown and capabilities can't be disjoint at the Opera. This art is too difficult, too demanding, too challenging. No place to cheating. And please don't try to let us think that popularity is a sham, and that everyone, audience or opera houses, is wrong except you, guardian of the temple, the only one clairvoyant about the general decline of technical skills in the nowadays operatic landscape. Emanuele what have you done yourself for Opera exactely? Are you a great international singer as Roberto Alagna is, whatever you can try to suggest here (it's a non sense)? Did you make million people around the world discover and appreciate this Art as Roberto Alagna did? Did you train your voice and study, for long hours, hundred and hundred scores, everyday, for more than 30 years as Alagna did? What do you know from him exactely? Just that he was a cabaret singer when he was 17. And you deduct from that that he has no technical skills and never studied properly?!! I can't let you write that without responding. Perhaps no other singer has a better knowledge of his own vocal instrument than him. He is moved by a genuine passion of music, all the musics (that's what is disturbing you probably), and he has a terrific huge musical culture. He knows everything about singers of the past and be sure he used it to build his own vocal technique. It's just defamatory to write that "he is not a singer worthy of this name". You have the right not to like his singing, his timbre, the color of his voice and so on, every taste are allowed. But be careful, don't be disrespectful and irreverent. As eveopera66 and many many others I enjoy our contemporary singers, and admire their work, abnegation and talent to practise for our great pleasure, despite all the criticisms from people who believe they are always better entitled to judge than the others, despite the guns focused on them at each performance. And I am grateful and pleased to see they are here to perpetuate and keep this art modern and alive.

Voxygen Channel 1) I am not a guardian of anything. 2) I love several contemporary singers ( I suggested Shicoff many times on this page); therefore, please, do not try to include me in a group of people that thinks only to the past-that surely was greater than this-...I love the past, but wherever I hear a decent singer (Filianoti and Florez in their repertoires for example; Netrebko - few years ago pheraps- and so on)...I am always happy to recognise talent. 3) Rodolfo Celletti (the most important critique ever probably in the History of Opera) was a great critic with a terrible voice: -) You do not have to be better of somebody to practice your right of critic. I spent a good 18 years listening to every record of Opera I could put my hands on (including Alagna - as I wrote before he had a really nice timbre when he was young, but with the lack of tecnique -exactly like Carreras and Di stefano before him- he destroyed his own gift), I love music and surely I will never be as famous as he is...but this does not mean I cannot say what I think of a singer. 4) I am afraid for you , that even if I do not like him I have a really good knowledge of his recordings and career: he studied with Rafael Ruiz -who is not exactly the best teacher in the world- while he was practising at the cabaret, he won at 24 years the Pavarotti's challenge in 1988 and after that he had his debut in Traviata (and THAT WAS THE STUFF HE WAS MEANT TO SING, not Aida and Il Trovatore...)...too early, not enough of real opera; then he got dragged by the market, as many others before him, and he ruined his voice serving other purposes. 5) Surely he makes us all a great service in terms of image for the opera, in a commercial way of course, I am not as sure as you are though, that he made a great service to the Opera itself (meaning the Art itself)...I respect who likes his "something" that every singer has...but please, when it comes to tecnique do not mention him....pheraps you could listen to the Trovatore he sang in Paris in 2003...catching a high note (by chance) is not singing: there is no control of the voice, not diminuendo, no mezze voci...nothing...This kind of singers should go to the Teatro Regio in Parma....but they never do, not even Pavarotti (he went once, and it was the last time).... 6) Success and tecnique ARE NOT THE SAME THING! Kaufman is even more famous and it is not even 1/10 of Alagna...people have forgot what singing use to be....Maybe you could listen to Corelli in Il Trovatore MET - 27 Jan. 1961....make a comparison...you will understand what I mean.

I completely agree with you!!!

With pleasure, you're welcome!

Maestro Lauri Volpi would have said: "Quando un tenor si pinge del color della vergogna" which means "when a tenor becomes of the same colour of the shame (red, for the effort)...Alagna shouts, I am afraid...it does not have any tecnique, it doesn't control the emission of the voice, and the high notes are a disaster...it's simply not a tenor...at least not a good one. I suggest you to listen to Corelli, Bergonzi, even Gedda is better than Alagna. I obviously respect your opinion and your test....just giving you a suggestion.

J'espère que vous ne le classez pas dans les barytons... car il a le timbre de voix dans la lignée des artistes que vous nommez...et vous avez aussi oublié Alain Vanzo.... Alagna a une technique et une ligne de chant dignes des plus grands artistes, dont il fait partie depuis une trentaine d'années... Ses aigus sont clairs, justes et tenus comme ils doivent l'être, et comme dirait l'autre, si vous n'aimez pas cela, n'en dégoutez pas les autres...

Dear Emanuele Maccherini, I have all video and audio records of Corelli, Monaco, Bergonzi and many others. (Gedda is not one of my favorite, sorry!). The actor is not just a vocal (like Bergonzi). The actor is a complex quantity (singing and acting) and ... for me Alagna is GREAT in both. My suggestion - you stay at home listening old records and I'll go to Alagna's performances :) Regards!

Nadya Ilieva Dear Nadia, Personally, when it comes to singing I prefer a clean voice and a serious tecnique...Alagna does not have them...I prefer to sit on the sofa and imagining the performances of Corelli and Bergonzi (Gedda is not my favourite either, I just compared him as a paradox) rather than giving money to this kind of "singer"...at least there's somebody around slightly better - Florez is still acceptable for example -...but again, I totally respect your taste, still a singer, especially an opera one, is a singer, not a Cinema actor...ora a dancer in broadway...

+karifrid Roberto Alagna was born in France . His parents are from Italy.

Heaku Juno Franco : Just Alagna have a better pronounciation

Alagna is native french speaker.

In French “re” is correct not “ri” ;)

Re ve ie / réveiller

Y Kraus por Dios. Mejor que este.

Cara Alice, Le rispondo qui un po' per entrambi gli interventi che mi ha rivolto: Purtroppo non sono assolutamente un cantante (sebbene abbia studiato musica per buona parte della mia vita fino ad oggi, canto incluso, ma solo per passione), bensì un felice insegnante di Lettere antiche residente in Inghilterra. Quanto ai tenori in giro forse dovrebbe cercare meglio, fino a qualche anno fa ce ne erano diversi molto buoni nel loro repertorio, beninteso. Citavo poco sopra Shicoff, che Le consiglio vivamente... Quanto alle mie critiche esercito il diritto di critica basato su delle argomentazioni piuttosto valide (citavo Celletti perchè era un cultore della tecnica dei Garcia e della corretta emissione della voce, oltre ad essere un grande critico purtroppo scomparso nel 2004). Lei capisce che per criticare non si può essere al pari di chi si critica, perchè altrimenti per criticare un film bisognerebbe essere tutti attori, Le pare? Le mie opinioni sono basate su anni di ascolti (e studi), a teatro e a casa...compreso Alagna che ho seguito sin dalla giovane età (debutto nel 1988 in Traviata e da allora ho sempre asoltato le sue performances (si deve ascoltare per criticare). Insultarmi senza rispondere sui punti serve a poco: se può, ribatta con date e opere...non è questioni di essere intenditori, ma di amare l'opera ed esigere sempre il meglio per migliorare i cantanti stessi.... Quanto a Alagna se lo goda, il giorno che farà una grande performance sarò il primo a scrivere su questa pagina...fino a quel giorno La invito vivamente ad ascoltare alcuni dei cantanti che suggerivo, a fare un raffronto...e poi magari, quando ha studiato un po' di più, ne riparliamo...senza urla e strepiti... Cordiali saluti...

La Fabrique de la Mémoire les mêmes barbares comme les Allemands

kzfaq.info/get/bejne/gL2ehaaSp8Wyd58.html..... когда я слушаю его Эдгардо хочется извинить ему всё. Стараюсь пропускать и не слушать записи , где он плохо поет.

Faites le quart de ce qu il fait vocalement apres on avisera et comme tous ces chanteurs la voix l organe vocal etant toujours soliciter puis l age joue un peu mais bon.pour un tenor Bravo.

@@nantericable C'est pas un problème d'âge, Franco Corelli à 50 ans était encore incroyable. Je dis pas que je peux faire mieux, je dis qu'il pourrait faire mieux si il reprenait la bonne technique qu'il avait dans sa jeunesse

@abcd efgh c'est pour cela qu'il a arrêté 4 ans plus tard, après seulement 24 ans de carrière !

@@sylviebasyl2835 "seulement" 24 de carrière. Si Alagna pouvait faire le quart de ce que Corelli faisant en 1975 ce serait pas mal. Corelli a d'ailleurs refait des concerts dans les années 80 où, à 60 ans passés, il avait la qualité de ce qu'il faisait en 1970. Corelli était un monstre de l'art lyrique, 100 fois la puissance et le poids vocal d'Alagna, une palette de couleurs bien plus riche, nuancée.

@@abcdefgh-db1to j'ai déjà eu l'occasion d'écouter des enregistrements de 1980, et je n'ai pas trouvé ça si génial. Mais ce n'est que mon avis ! Je voulais juste souligner qu'à 50 ans, Alagna avait déjà plus de 25 ans de carrière derrière lui. C'est bien tout ce que je voulais dire. Je ne compare jamais les artistes. Ça ne m'intéresse pas. J'écoute aussi bien Coreli qu'Alagna, sauf peut être dans le répertoire français où le français de Coreli me pose quelques problèmes.