Vero. Martinelli pure lui non se la cava male

vechio amico ,Rosa Pinzillio e divina ,ma Martinelli ?

@@marcelpopa8018 Caro amico, mi stai chiedendo cosa penso di Martinelli ?! Martinelli era Martinelli cioè era Fantastico 😉. Saluti Nicola

@@marcelpopa8018 SUPER _MARTINELLI --ascoltare "O TERRA ADDIO ..basta....CE UNA COSA CHE MI INCANTA ; BENCHE SORPRENDE UN PO ___CANTANO AMBIDUI COME SE NON ESSISTESSE IL PUBBLICO E LE OPINIONI DEI "ESSPERTI" -- recording VITHAUT THE PUBLIC!?

Esa máquina del tiempo, para oír a Rosa Ponselle cuando estaba cantando…… la he deseado por muchos años!

Deep.

An all-time classic... many thanks, Shlomo!

No doubt about it, Doug. This is one for the books!! Shlomo.

It should be compulsory listening for everyone - I don't think you can listen to this kind of beautiful music and go out and kill somebody for their wallet. [Maybe for their phone if they have this recording on it. :-) ]

No, my friend. Singing like this cannot be taught. Teachers, coaches, etc. can only work with the voices that are brought to them. For complex reasons, the quality of the singing voice itself has been declining inexorably for at least a hundred years.

Patricia Janeckova Perhaps ... If she stays well ... 🙏🏻

Indeed, an all-time classic... thank you, Michael!

"masterly" is right. Martinelli has deserved an amount of criticism (in his recordings, in general ... and, maybe, specifically), and his intonation isn't of the steadiest, of all. He's very-forthright, though, and there's a true CHARACTER to his interpretation, esp. at the 6:23 mark!! ... No need to comment, very much, about Rosa P. Her characterization is WOMANLY, fully-pointed (vocally), and is one of the most-remarkable of all of her BEST, on record. I think that the leadership of Bourdon is very-wonderful, also; Rosario B was her husband, wasn't he?

listen to that phrase at 3:44-3:49 too, all the way to 3:49, such limpid legato

Sadly this tradition has been lost in today's world. Teachers and students just can't be bothered to take the time and though necessary to learn how to sing, to learn languages and truly learn a role with all its intricacies.So many singers today don't even have basic breath technique.

@@vanzofaust knnnnnnnnjjjjjh j jiìòi0o0

I’m professional opera singer from Moscow, Russia and you, Alexander said the TRUTH. I’m the witness of it. Plus gays dominance in the art, man has to become gay to become a star.... and much more... that’s why I sing to Christ only from now on.

@raynardi 2326 ,Si !

I think GM very much played to the audience, listen to his Sento in Simon Boccanegra, but this only brought more fire to his performances.

Other than the same roles, its hard for me to find much to compare between Corelli and Martinelli . Both were beloved: one for the sound, the other in spite of it. I couldnt do without either of them!

As opera is as a dramatic art as musical excessive emotion as some would say should not be blamed at all, I mean Corelli 's artistry greatly added to his immense popularity. All in all art is for the public first of all, then for the stern critics to let them have some bread...

Не поэтому.

Поменялись ценности , все говорят, Нетребко лучшая, ей платят хорошие гонорары, вот студенты и будущие певцы ее слушают и думают, что это эталон, несчастные))

+MrTrackman100 Since Corelli i came after Martinelli, I think the correct way to express this sentiment should be "Correlli sounded exactly like Martinelli with excessive vibrato and emotional exaggeration" :)

+Fok wing chau Not sure why you feel my sentence is incorrect. What does sounding like someone have to do with time order? Strange.

+MrTrackman100 Its just a light hearted comment. Please do not take it seriously. But logically speaking, at the time Martinelli was singing, there is no Corelli. In that sense, his voice is unique. At a later stage, Corelli appeared onto the scene, and when his voice is compared with Martinelli, there is a lot of similarity. Hence we are comparing Corelli with Martinelli and not Martinelli with Corelli, :) Corelli had the unique ability to sweeten the tone to produce a lyrical quality as he swelled it. For that he is very much admired. But in doing so, it lost some of the noble heroic quality when the likes of Martinelli and del Monaco opened up for a 'trumpet' blast. Both are great singers that I admire. I only wish we could have singers like these in the present age.

You're so right.

In a Corelli Zucker interview, Corelli claims he cleaned up his excessive vibrato very early in his career. He also rolled his Rs on one of his very first LPs, but quickly eliminated that mannerism as well. In Lauri Volpi's book "Parallel Voice's" Volpi parallel's Del Monaco with Martinelli, but not for the similarity in voice but voice production, claiming that both tenor's applied a lot of physical strength to produce great sound. I don't believe that Corelli ever sounded like Martinelli aside from both singer's being spinto or spinto-dramatic tenor's. Martinelli had a steel like quality to his voice, where Corelli had a warm organ like sound. Both terrific tenor's that are scrutinized at times, but imagine the raves from today's public that either tenor would receive, separating them from the dismal spinto-dramatic category that today seems non-existent.

I think he sang Tosca there the same season, but it was a one off. Gatti would not let him premier Calaf at La Scala, so he took London when it was offered. He had been Puccini and Toscanini's choice for Calaf, but would not sing it at the Met because of Gatti's action. I suspect Covent garden couldn't match what he was getting at the Met, though it was only about $1,000 per performance in the Depression. Simpler to be a house tenor in those days than travel internationally. He did sing some in Philly and Chicago

Henry Webb You mean "sings"? What Martinelli does on his own time is nobody's business. I agree with you that Martinelli is great with Ponselle in this duet. I also happen to like Bjoerling a great deal. Love the way that Martinelli rolls those "r's". Perhaps the only contemporary soprano who was Ponselle's equal would be Claudia Muzio.

Henry Webb Maybe Lanza was insecure about himself when he realized that there was someone who could sing better than he could. There is nothing like the singers of the past, and sadly there are no singers who can match Matinelli, Bjoerling, Gigli, and of course, the king of them all--CARUSO!!! I also enjoy your website, and I am sure that you must have quite a collection of old recordings. Unlike most pop and contemporary music that is ephemeral, opera is here to stay and will be listened to by posterity. My only regret is that I never had a chance to listen to the great singers live.

+diarci Thanks for the clarification. It's important that someone's reputation is not unjustly besmirched.

@SHICOFF1 However one classifies Lanza, there is no doubt he made opera lovers out of an entire generation. Periodically someone appears to bring great music back to a starving public. More recently that job has been done by Boccelli, Paul Potts, and the many opera singing janitors and 1st grade teachers on contest shows. Easy to find fault but they bring this art to the masses. I saw a cartoon as a child : "the whale who sang at the Met". Changed my life forever!