Imagine that because of this misunderstandings in technical terminology we have lost a big part of quality singing. Kind of sad irony.

The interviewer has a TERRIBLE voice. He should seek a different line of work.

o Tenor dos Tenores...

Insuperable.

Здесь даже лучше Корелли исполнил. Ох как нам сейчас Вас не хватает.

Divino!!!!🎉🎉🎉❤🎉🎉🎉🎉

This is what an effective nationalization of culture sounds like.

This is a stupid song

Name of this aria?

3:10 They didn't avoid the chest voice while singing bits of arias. They used chest voice, but weren't aware of it as they have a different understanding of what it actually means. Barbieri revealed her understanding of a chest voice by emitting a deep, ugly and cracking noise back in the throat. I think she wanted to produce something of una voce ingolato. Obviously, her (false) understanding of chest voice........

Che meraviglia..mio dio

What a bass... A whole life admiring him...

Dear Stefan, I'm looking for a good quality video file of this film. Do you know if it's possible to find it somewhere? Thanks

My favourite personality is Gavazzi. She is so passionate when she talks about opera. The saddest, based on my memory of the whole film, is Simionato. The joy of singing left her completely.

Absolutely beautiful! Love to hear more from her.

Um Semi Deus da Lirica. 👋👋👋👋🙏🏿🙏🏿👋👋

Morreu de forma tão trágica!!

beautiful song lovely film lovely story but a tear jerker I cried terrible watching it a classic film

How prophetic! It's incredible!

Why does this kinda just look like how people dance at school dances

02:44 Finale

DIE BESTE AUFNAHME DIESER ARIE FANTASTISCH

Mario!!!!!!!!!!!!!!!!!!!!!

Why is the singer so vehement against olivero at the end ? Saying she overused it to have success. Can someone explain this to me ?

Що значить ГОЛОС.з УКРАIНИ!! Бо хтось у коментарi написав :"мой земляк, горжусь..--То не його земляк!

What a fooked a person.

RIP Schmidt 1904-1942.

Este es el verdadero Bel canto de la vieja escuela.... con una tecnología de audio, deficiente se puede apreciar su voz, ya que canta con una técnica extraordinaria, esto no podría escucharse de la misma manera, grabando a los nuevos cantantes con esa tecnología,valga la redundancia,ya que hoy en día los nuevos cantantes de ópera, carecen de esa técnica, que los cantantes del pasado tenían como requisito para poder salir a un teatro, ahora con los avances tecnológicos en los micrófonos, ya cualquier tenor que sepa solfear, bien micrófoneado suena bien ya que ahora lo que importa es la imágen, y la mercadotecnia se encarga de inflar a los que se dicen los mejores tenores del mundo...y si se les regresara al pasado, serían solo aprendices de estos grandes que si cantaban de verdad.

"There is no chest voice" ... I challenge anyone to prove to me that there is a chest voice " The truth is that they confused the chest voice with the swallowed voice. Being a great singer does not mean being competent to teach. How much confusion!

it is very clear that there is a shift on the terminology and different understanding of the term between those truly amazing vocal artists; all of them used the heavy modal register (chest voice), in different proportions; but while simionato, pobbe and barbieri understand it as a literal "chest resonance" or "chest position" (and therefore are right on saying there is no "chest resonance" as a means per se, because you cannot put your voice anywhere else from where it is actually produced) gencer and gavazzi do mean the physiological "heavy modal register", the "chest registration", which is indeed very often used and has to be trained, as garcia taught; all of them had the registers very well developed, but none of them wanted to depress the larynx artificially, thus creating the "chest feeling" which simionato and barbieri rightfully point out as wrong. these different ways of understanding (and misunderstanding the matter) had though, in fact, led to a series of singers of newer generations (including mine) who really do not develop the chest register enough and this causes a big problem, especially affronting dramatic repertoire... unfortunately.

Il miglior Chenier di sempre Del Monaco insuperabile voce potente è cristallina senza alcuna sbavatura. E l'interpretazione è inarrivabile neanche dal miglior Corelli e Domingo

Dear Stefan, I'm suggesting that you write a book about Franco Corelli. It seems that you knew him best and it would make a remarkable read for so many of his fans and other opera goers as well.

Mi chiedo se sono o ci fanno... grandissime e fanno finta di non sapere o non capire? La Gencer è un mito... ahahah.

La adoro!!!!!

The majority of these comments let me know that you all know very little about opera in general

Why it's incomplete?

my favourite tenor of all time it is sad to think of the suffering that these people had to experience going though the second world war. I look at the young women and wonder if they ever experienced a normal life afterward if they happened to survive .

Leyla Gencer was right, Simionato and Barbieri were wrong.

I think the confusion stems from the terms used because they say no chest voice and then go on to sing in chest voice in the same breath.

I saw Rubinstein perform about 30 times from 1969 through the late 1970's in California. This is one of his favorite encore pieces. This recording is much older than 1977. This looks like a recording made at Carnegie Hall in 1947.

Brings back so many memories. 70 years worth:)

Danced and choreographed by Judith Berg (who was also married to the film's composer, Henoch Kon)

Creepy

Betty boop!

Divina voce.

kzfaq.info/get/bejne/btaBoZCbzrWZmIE.html

Besonders in den Höhen unübertroffener Tenor! Da können einige Tenöre der Neuzeit neidisch sein. Die Verzierung zum Beispiel der interpolierten Trillre am Ende hat mit Schmidts Ausbildung als Kantor zu tun.

The way she used the media is so laughable 🤗 miserable vipers. Arnold Bourbon Amaral

Giulietta is a Goddess

Another great tenor in the Havenly Choir.