50+ MusicOn 1 February 1904: Italian tenor #EnricoCaruso makes his first recordings in America, singing "Questa o quella" and "La donna è mobile" from #GiuseppeVerdi's "Rigoletto" in Carnegie Hall, NYC, for Victor Talking Machine Company.
#OnThisDay in 1920, #EnricoCaruso gives his last public performance, with the Metropolitan Opera in NYC.
LoC Appreciation SocietyEnrico Caruso, 1873-1921, full-length portrait, facing right, walking with a woman, others behind them [no date recorded on caption card]
1 photographic print.
Enrico Caruso was an Italian operatic tenor, who sang to great acclaim at the major opera houses of Europe and the Americas, appearing in a wide variety of roles that ranged from the lyric to the dramatic. Generally recognized as the first international recording star, Caruso made around 250 commercially released recordings from 1902 to 1920. https://en.wikipedia.org/wiki/Enrico_Caruso
#EnricoCaruso #Portrait #Photography #Early20thCentury #FormalAttire #OutdoorArea #PublicEvent #Caruso #Walking #News
https://www.loc.gov/item/2005680265/
Maria MarinouAnd the stars were shining, and the earth smelled sweet
https://www.youtube.com/watch?v=aBabT0Wj6to
When you chose me—
love chose—
I came out of the great anonymity
from everyone, from nothing.
Till then
I was never taller than
the sierras of the world.
I never sank deeper
than the maximum
depths marked out
on maritime charts.
And my gladness was
sad, as small watches are
without a wrist to fasten to,
without a winding crown, stopped.
But when you said: you,
to me, yes, to me singled out,
I was higher than stars,
deeper than coral.
Pedro Salinas
#pedrosalinas #enricocaruso #elucevanlestelle #drivingshots #nightshots #universalemptiness #icanloveathousandlonelinesses #eternalwandering #tripping #moonlight #abandoned #architectural #ghostbuildings #ghosttrees #blurry #ichglaubeannächte #thessaloniki
https://www.youtube.com/watch?v=aBabT0Wj6to
When you chose me—
love chose—
I came out of the great anonymity
from everyone, from nothing.
Till then
I was never taller than
the sierras of the world.
I never sank deeper
than the maximum
depths marked out
on maritime charts.
And my gladness was
sad, as small watches are
without a wrist to fasten to,
without a winding crown, stopped.
But when you said: you,
to me, yes, to me singled out,
I was higher than stars,
deeper than coral.
Pedro Salinas
#pedrosalinas #enricocaruso #elucevanlestelle #drivingshots #nightshots #universalemptiness #icanloveathousandlonelinesses #eternalwandering #tripping #moonlight #abandoned #architectural #ghostbuildings #ghosttrees #blurry #ichglaubeannächte #thessaloniki
ResearchBuzz: FirehoseUC Santa Barbara: Opera archive honoring famed Italian tenor donated to library. “A recent archival donation to the Performing Arts Collection at UC Santa Barbara Library opens a new door for researchers, historians and opera fans with the establishment of the Enrico Caruso Jr. Collection, named for the son of legendary Italian tenor Enrico Caruso (1873–1921), a pioneer in the history of […]
Georgiana BrummellHere is another opera review, this time with a twist. I already know the results and have grouped them accordingly. In this case, it's those who have no business singing this and those who sing it perfectly. Make no mistake. Everyone here has a beautiful voice. But not every voice type can, or should, sing everything.
Let's start with those who should not sing this aria.
Louis Graveure E lucevan le stelle
youtube.com/watch?v=rH-B7ftmBX…
As I have said in other reviews, the story of Louis Graveure is quite amazing. He came to Clara Novello Davies unable to sing at all, with extreme congestion. Caruso's own doctor recommended him to her, knowing that she helped with breathing exercises. After years of study, he became a phenomenal baritone. However, at some point, he deliberately changed into a tenor. While he has a very powerful voice, I could hear him struggling several times. At the very least, his voice made noises that it shouldn't have and it detracted from the performance. He was far better off as a baritone, but he is still good when he sings less demanding tenor roles.
Puccini: Tosca / Act 3: "E lucevan le stelle" Léopold Simoneau
youtube.com/watch?v=xYOqImv1PI…
When I read this, I burst out laughing. Simoneau has the sweetest voice I have ever heard from anyone, and he has no chest voice, which is not a bad thing, but it doesn't work here. His Mozart pieces are lovely, though.
Tito Schipa - E lucevan le stelle (1913)
youtube.com/watch?v=UD6tQ6wpqk…
It is no secret that I consider Tito Schipa to be the best singer in the world. I adore his voice. But I am eternally grateful that he stopped singing such things within a few years after this recording, though there is one from 1915 and another from 1919. This, from 1913, is one of his earliest records. It's not that he couldn't sing the aria well. In fact, he sang it so well that the conductor, during one of his performances of it, begged him personally for an encore! It's that had he continued in these heavy roles, they would have completely destroyed his voice. Those who know his incredible mezza voce and general control know exactly what I mean.
Ferruccio Tagliavini ＂E lucevan le stelle＂ Tosca
youtube.com/watch?v=8RuKd4hld6…
Ferruccio Tagliavini had such a beautiful voice when younger that he could almost have equalled Schipa himself. But by this point, it was already changing, precisely due to singing roles such as this. Fortunately, he was able to adjust, but there is something to say for the phrase "you can never go home again". If you hear him in a lighter song, such as Una Furtiva Lagrima, in the 1940's and then in the late 1950's or 1960's, there is a huge difference. All the sweetness is gone in the later ones. Schipa's versions of it are beautiful from the 1920's straight to 1962, with only a few signs of age showing. As for this aria, Tagliavini does perform it well, but it's still a cautionary tale.
Now, we get to those who should be singing this sort of thing.
Enrico Caruso - E lucevan le stelle (Zonophone, April 19, 1903)
youtube.com/watch?v=rL6h90m2Ig…
This is from 1903, so his voice transformation (careful and deliberate, not damage) hadn't taken place yet. But his strength and depth is still evident. He can very easily handle this aria, emotionally, vocally, and most of all, physically. There is no strain in his voice at all, and it's a pleasure to listen to.
Beniamino Gigli E Lucevan Le Stelle Audio HQ
youtube.com/watch?v=D5HwI2hMiD…
Gigli was born to sing this sort of role. His rendition sent shivers down my spine. (For a similar experience, listen to his Nessun Dorma, which is incomparable.) Here, he sings even the quieter parts with a certain authority and firmness, yet with such control that it is amazing. When he does sing at full capacity, his emotions are completely in tune with the melody and character. He reaches all notes with ease. Whereas Graveure had some kind of feature in his voice, Gigli's slight changes are a hallmark of his and have been described by some as almost like sobbing. Here, though, they work to great effect to bring out the meaning of the words. Yes, I did research this one in translation.
#EnricoCaruso #BeniaminoGigli #FerruccioTagliavini #LeopoldSimoneau #LouisGraveure #opera #TitoSchipa #review
Louis Graveure E lucevan le stelle
Georgiana BrummellHere is another opera review, this time with a twist. I already know the results and have grouped them accordingly. In this case, it's those who have no business singing this and those who sing it perfectly. Make no mistake. Everyone here has a beautiful voice. But not every voice type can, or should, sing everything.
Let's start with those who should not sing this aria.
Louis Graveure E lucevan le stelle
https://www.youtube.com/watch?v=rH-B7ftmBXM
As I have said in other reviews, the story of Louis Graveure is quite amazing. He came to Clara Novello Davies unable to sing at all, with extreme congestion. Caruso's own doctor recommended him to her, knowing that she helped with breathing exercises. After years of study, he became a phenomenal baritone. However, at some point, he deliberately changed into a tenor. While he has a very powerful voice, I could hear him struggling several times. At the very least, his voice made noises that it shouldn't have and it detracted from the performance. He was far better off as a baritone, but he is still good when he sings less demanding tenor roles.
Puccini: Tosca / Act 3: "E lucevan le stelle" Léopold Simoneau
https://www.youtube.com/watch?v=xYOqImv1PII
When I read this, I burst out laughing. Simoneau has the sweetest voice I have ever heard from anyone, and he has no chest voice, which is not a bad thing, but it doesn't work here. His Mozart pieces are lovely, though.
Tito Schipa - E lucevan le stelle (1913)
https://www.youtube.com/watch?v=UD6tQ6wpqkA
It is no secret that I consider Tito Schipa to be the best singer in the world. I adore his voice. But I am eternally grateful that he stopped singing such things within a few years after this recording, though there is one from 1915 and another from 1919. This, from 1913, is one of his earliest records. It's not that he couldn't sing the aria well. In fact, he sang it so well that the conductor, during one of his performances of it, begged him personally for an encore! It's that had he continued in these heavy roles, they would have completely destroyed his voice. Those who know his incredible mezza voce and general control know exactly what I mean.
Ferruccio Tagliavini ＂E lucevan le stelle＂ Tosca
https://www.youtube.com/watch?v=8RuKd4hld6o
Ferruccio Tagliavini had such a beautiful voice when younger that he could almost have equalled Schipa himself. But by this point, it was already changing, precisely due to singing roles such as this. Fortunately, he was able to adjust, but there is something to say for the phrase "you can never go home again". If you hear him in a lighter song, such as Una Furtiva Lagrima, in the 1940's and then in the late 1950's or 1960's, there is a huge difference. All the sweetness is gone in the later ones. Schipa's versions of it are beautiful from the 1920's straight to 1962, with only a few signs of age showing. As for this aria, Tagliavini does perform it well, but it's still a cautionary tale.
Now, we get to those who should be singing this sort of thing.
Enrico Caruso - E lucevan le stelle (Zonophone, April 19, 1903)
https://www.youtube.com/watch?v=rL6h90m2Ig8
This is from 1903, so his voice transformation (careful and deliberate, not damage) hadn't taken place yet. But his strength and depth is still evident. He can very easily handle this aria, emotionally, vocally, and most of all, physically. There is no strain in his voice at all, and it's a pleasure to listen to.
Beniamino Gigli E Lucevan Le Stelle Audio HQ
https://www.youtube.com/watch?v=D5HwI2hMiDI
Gigli was born to sing this sort of role. His rendition sent shivers down my spine. (For a similar experience, listen to his Nessun Dorma, which is incomparable.) Here, he sings even the quieter parts with a certain authority and firmness, yet with such control that it is amazing. When he does sing at full capacity, his emotions are completely in tune with the melody and character. He reaches all notes with ease. Whereas Graveure had some kind of feature in his voice, Gigli's slight changes are a hallmark of his and have been described by some as almost like sobbing. Here, though, they work to great effect to bring out the meaning of the words. Yes, I did research this one in translation.
#EnricoCaruso #BeniaminoGigli #FerruccioTagliavini #LeopoldSimoneau #LouisGraveure #opera #TitoSchipa #review
Let's start with those who should not sing this aria.
Louis Graveure E lucevan le stelle
https://www.youtube.com/watch?v=rH-B7ftmBXM
As I have said in other reviews, the story of Louis Graveure is quite amazing. He came to Clara Novello Davies unable to sing at all, with extreme congestion. Caruso's own doctor recommended him to her, knowing that she helped with breathing exercises. After years of study, he became a phenomenal baritone. However, at some point, he deliberately changed into a tenor. While he has a very powerful voice, I could hear him struggling several times. At the very least, his voice made noises that it shouldn't have and it detracted from the performance. He was far better off as a baritone, but he is still good when he sings less demanding tenor roles.
Puccini: Tosca / Act 3: "E lucevan le stelle" Léopold Simoneau
https://www.youtube.com/watch?v=xYOqImv1PII
When I read this, I burst out laughing. Simoneau has the sweetest voice I have ever heard from anyone, and he has no chest voice, which is not a bad thing, but it doesn't work here. His Mozart pieces are lovely, though.
Tito Schipa - E lucevan le stelle (1913)
https://www.youtube.com/watch?v=UD6tQ6wpqkA
It is no secret that I consider Tito Schipa to be the best singer in the world. I adore his voice. But I am eternally grateful that he stopped singing such things within a few years after this recording, though there is one from 1915 and another from 1919. This, from 1913, is one of his earliest records. It's not that he couldn't sing the aria well. In fact, he sang it so well that the conductor, during one of his performances of it, begged him personally for an encore! It's that had he continued in these heavy roles, they would have completely destroyed his voice. Those who know his incredible mezza voce and general control know exactly what I mean.
Ferruccio Tagliavini ＂E lucevan le stelle＂ Tosca
https://www.youtube.com/watch?v=8RuKd4hld6o
Ferruccio Tagliavini had such a beautiful voice when younger that he could almost have equalled Schipa himself. But by this point, it was already changing, precisely due to singing roles such as this. Fortunately, he was able to adjust, but there is something to say for the phrase "you can never go home again". If you hear him in a lighter song, such as Una Furtiva Lagrima, in the 1940's and then in the late 1950's or 1960's, there is a huge difference. All the sweetness is gone in the later ones. Schipa's versions of it are beautiful from the 1920's straight to 1962, with only a few signs of age showing. As for this aria, Tagliavini does perform it well, but it's still a cautionary tale.
Now, we get to those who should be singing this sort of thing.
Enrico Caruso - E lucevan le stelle (Zonophone, April 19, 1903)
https://www.youtube.com/watch?v=rL6h90m2Ig8
This is from 1903, so his voice transformation (careful and deliberate, not damage) hadn't taken place yet. But his strength and depth is still evident. He can very easily handle this aria, emotionally, vocally, and most of all, physically. There is no strain in his voice at all, and it's a pleasure to listen to.
Beniamino Gigli E Lucevan Le Stelle Audio HQ
https://www.youtube.com/watch?v=D5HwI2hMiDI
Gigli was born to sing this sort of role. His rendition sent shivers down my spine. (For a similar experience, listen to his Nessun Dorma, which is incomparable.) Here, he sings even the quieter parts with a certain authority and firmness, yet with such control that it is amazing. When he does sing at full capacity, his emotions are completely in tune with the melody and character. He reaches all notes with ease. Whereas Graveure had some kind of feature in his voice, Gigli's slight changes are a hallmark of his and have been described by some as almost like sobbing. Here, though, they work to great effect to bring out the meaning of the words. Yes, I did research this one in translation.
#EnricoCaruso #BeniaminoGigli #FerruccioTagliavini #LeopoldSimoneau #LouisGraveure #opera #TitoSchipa #review
Louis Graveure E lucevan le stelle
It's time for another opera review! As always, please remember that my knowledge of operettas is far more extensive than that of opera, and I am not any sort of professional. I do this for fun, and just started this journey a few weeks ago. Having said that, this time, we have two new voices to add to the collection, along with a few familiar ones.
Enrico Caruso - Ideale (1906)
https://www.youtube.com/watch?v=w85mS_Z8OAQ
In the first few notes, it actually sounds as if some instruments are a bit flat here, and I have no idea why! I am accustomed to very old recordings, so that's not it. Anyway, this is supposed to be prior to Caruso's voice change, or right around there of, but to me, I can already hear a deepness in his voice. He's singing it as a tenor, but there is a sort of dark tamber to it. He slides notes very heavily and smoothly. He is also very expressive and rolls his rs a lot.
John McCormack - Ideale (1909)
https://www.youtube.com/watch?v=dGqt47GaYAg
I wasn't originally going to include him, but after listening to a bit of his version, I decided to do so. He is the only non-Italian in our list today. His pitch is the same as Caruso's. His pronunciation sounds accurate, judging by that of the others. He has a light l sound. He rolls his rs as well. Not only does he reach the high note, but upon sliding down from it, he ads a special sound that I cannot describe. His voice has more vibrato on those notes. He also ends on a high note, like Caruso, and holds it for a long time.
Dino Borgioli - Ideale (undated)
https://www.youtube.com/watch?v=YoPIAlqpNeY
He sings this at the same pitch as McCormac. His voice is light, sweet, and clear. He also slides notes, but has a wonderful control of his dynamics. His rs are not rolled strongly. Interestingly, he doesn't end on a high note as the previous two did.
Ferruccio Tagliavini： Ideale (Tosti) (1955)
https://www.youtube.com/watch?v=tQCX0i2mC3Q
I actually have two different versions from him, the other being from 1964. However, I chose this one because he's closer to the age of the other singers. It's worth noting that in the later one, he does sing it in a lower key. That said, here, he is almost parallel with Caruso in pitch. He, too, has excellent dynamics He rolls his rs slightly more than Borgioli. He ends on a higher note, but not the highest.
Tito Schipa Ideale (Recorded 1930)
https://www.youtube.com/watch?v=tWZ_8k2l9io
His version is in the highest pitch. His phrasing seems a bit shorter than the others. Like Caruso, his rs are rolled, and I can also hear the dark l sound. His dynamics are also displayed wonderfully, as is to be expected, since he has excellent breath control. As always, the clarity of his words is quite obvious.
Final Analysis
I was surprised at the variations here, from pitch to end-note. Even though I truly enjoy the voice of Tagliavini (one of our newcomers), in this instance, he really didn't impress me as much. His performance seemed not to be as expressive as the others. The reason I kept mentioning rolled rs is that some Italians seem to have it while singing but some don't. I had mistakenly believed that Schipa came from Naples, since he sang so much Neapolitan music, but that's not true. He was from Lecce, which has its own dialect, called Salentino. Still, he and Caruso, who did come from there, both share this characteristic. But what I really found interesting is that McCormac, an Irishman, did this as well! I was also surprised that, even though this is his lighter period, Caruso's voice still had a dark sound to it. Yet he ended on a high note.
And my personal winner is... John McCormac! I was all set to choose the other newcommer to our list, Dino Borgioli, whose performance was exceptional and whose voice is truly amazing. But after hearing McCormac, I was forced to change my mind. It was such a close call, though, that it was almost a draw. But he had that little something extra. I thought, before starting this, that Schipa would win, since he is my favourite singer. In fact, I deliberately went against the timeline and put him last in the list so that I wouldn't be partial to his version! I guess it worked.
#DinoBorgioli #EnricoCaruso #FerruccioTagliavini #JohnMcCormac #opera #review #TitoSchipa
Enrico Caruso - Ideale (1906)
https://www.youtube.com/watch?v=w85mS_Z8OAQ
In the first few notes, it actually sounds as if some instruments are a bit flat here, and I have no idea why! I am accustomed to very old recordings, so that's not it. Anyway, this is supposed to be prior to Caruso's voice change, or right around there of, but to me, I can already hear a deepness in his voice. He's singing it as a tenor, but there is a sort of dark tamber to it. He slides notes very heavily and smoothly. He is also very expressive and rolls his rs a lot.
John McCormack - Ideale (1909)
https://www.youtube.com/watch?v=dGqt47GaYAg
I wasn't originally going to include him, but after listening to a bit of his version, I decided to do so. He is the only non-Italian in our list today. His pitch is the same as Caruso's. His pronunciation sounds accurate, judging by that of the others. He has a light l sound. He rolls his rs as well. Not only does he reach the high note, but upon sliding down from it, he ads a special sound that I cannot describe. His voice has more vibrato on those notes. He also ends on a high note, like Caruso, and holds it for a long time.
Dino Borgioli - Ideale (undated)
https://www.youtube.com/watch?v=YoPIAlqpNeY
He sings this at the same pitch as McCormac. His voice is light, sweet, and clear. He also slides notes, but has a wonderful control of his dynamics. His rs are not rolled strongly. Interestingly, he doesn't end on a high note as the previous two did.
Ferruccio Tagliavini： Ideale (Tosti) (1955)
https://www.youtube.com/watch?v=tQCX0i2mC3Q
I actually have two different versions from him, the other being from 1964. However, I chose this one because he's closer to the age of the other singers. It's worth noting that in the later one, he does sing it in a lower key. That said, here, he is almost parallel with Caruso in pitch. He, too, has excellent dynamics He rolls his rs slightly more than Borgioli. He ends on a higher note, but not the highest.
Tito Schipa Ideale (Recorded 1930)
https://www.youtube.com/watch?v=tWZ_8k2l9io
His version is in the highest pitch. His phrasing seems a bit shorter than the others. Like Caruso, his rs are rolled, and I can also hear the dark l sound. His dynamics are also displayed wonderfully, as is to be expected, since he has excellent breath control. As always, the clarity of his words is quite obvious.
Final Analysis
I was surprised at the variations here, from pitch to end-note. Even though I truly enjoy the voice of Tagliavini (one of our newcomers), in this instance, he really didn't impress me as much. His performance seemed not to be as expressive as the others. The reason I kept mentioning rolled rs is that some Italians seem to have it while singing but some don't. I had mistakenly believed that Schipa came from Naples, since he sang so much Neapolitan music, but that's not true. He was from Lecce, which has its own dialect, called Salentino. Still, he and Caruso, who did come from there, both share this characteristic. But what I really found interesting is that McCormac, an Irishman, did this as well! I was also surprised that, even though this is his lighter period, Caruso's voice still had a dark sound to it. Yet he ended on a high note.
And my personal winner is... John McCormac! I was all set to choose the other newcommer to our list, Dino Borgioli, whose performance was exceptional and whose voice is truly amazing. But after hearing McCormac, I was forced to change my mind. It was such a close call, though, that it was almost a draw. But he had that little something extra. I thought, before starting this, that Schipa would win, since he is my favourite singer. In fact, I deliberately went against the timeline and put him last in the list so that I wouldn't be partial to his version! I guess it worked.
#DinoBorgioli #EnricoCaruso #FerruccioTagliavini #JohnMcCormac #opera #review #TitoSchipa
Enrico Caruso - Ideale (1906)
Here is another operatic conversation I had with Perplexity. I literally just found dino Borgioli tonight and I love what I hear. I think he may rate in my top five, the others being Schipa at number one, Simoneau, and though he was very different, Tauber. I don't have a fifth yet, but Borgioli may slip into third place if this loveliness continues. I don't know much about Fernando de Lucia. He seems decent, but not in the way of my immediately loving his voice. As for Caruso, I seem to prefer his earlier recordings prior to his voice change, even though, on a scholarly level, I am fascinated by it.
Me. "Over the last month, I have started to learn about opera. With only one exception, I prefer the singers from prior to the 1950's. I especially love tenore de grazia, but I listen to other types as well. It seems that there is a list of songs that almost everyone recorded, so I use them as a quick determinent of someone's voice and singing style. These are "Che gelida manina", "Un furtiva lacrima", "Il mio tesoro intanto", and occasionally, "La donna è mobile", and "O Sole Mio" if they sang it (yes, I know the last is not opera). But most sang the first three, at least. I love comparing different versions. So far, I think the best "Un furtiva lacrima" was sung by Tito Schipa, and the best "Il mio tesoro intanto" was sung by Leopold Simoneau. I couldn't decide between Schipa and Enrico Caruso for "Che gelida manina". But Caruso may win on "La donna è mobile". I must test him against a few others. Other singers I've reviewed include Richard Tauber, John McCormack, Beniamino Gigli, and Louis Graveure. I must include Fernando de Lucia, and newly discovered (for me) Dino Borgioli in my reviews. Are these good songs? Can you recommend others or will these give a good idea of voices, strengths, etc?"
Perplexity. "Your selection of arias for comparing opera singers, particularly those from the early 20th century, is indeed excellent. These pieces are widely regarded as staples of the tenor repertoire and offer a good basis for evaluating a singer's technique, expressiveness, and overall vocal quality.
"Che gelida manina" from Puccini's "La Bohème", "Una furtiva lagrima" from Donizetti's "L'elisir d'amore", and "Il mio tesoro intanto" from Mozart's "Don Giovanni" are all excellent choices for assessing different aspects of a tenor's abilities. These arias showcase lyrical singing, emotional depth, and technical prowess, respectively.
Your preference for tenore di grazia, or leggero tenor, is well-served by these selections, particularly "Una furtiva lagrima" and "Il mio tesoro intanto". These roles often require the light, flexible voice characteristic of this voice type.
To further expand your comparative listening, you might consider adding:
1.
"Dalla sua pace" from Mozart's "Don Giovanni"
2.
"Je crois entendre encore" from Bizet's "Les pêcheurs de perles"
3.
"Ecco ridente in cielo" from Rossini's "Il barbiere di Siviglia"
These pieces would complement your existing list, offering additional opportunities to assess agility, legato singing, and stylistic interpretation across different composers and periods.
Your selection of singers is also commendable, focusing on some of the most renowned tenors of the early recording era. Tito Schipa, in particular, is often hailed as one of the finest exponents of the tenore di grazia style. By comparing these arias across different singers, you're employing an effective method to discern the nuances of vocal technique, interpretation, and artistry that defined the golden age of opera singing. This approach will undoubtedly provide you with a comprehensive understanding of the great tenor voices of the past."
#BeniaminoGigli #DinoBorgioli #EnricoCaruso #FernandoDeLucia #JohnMcCormack #LeopoldSimoneau #LouisGraveure #RichardTauber #opera #singing #tenors #TitoSchipa
Me. "Over the last month, I have started to learn about opera. With only one exception, I prefer the singers from prior to the 1950's. I especially love tenore de grazia, but I listen to other types as well. It seems that there is a list of songs that almost everyone recorded, so I use them as a quick determinent of someone's voice and singing style. These are "Che gelida manina", "Un furtiva lacrima", "Il mio tesoro intanto", and occasionally, "La donna è mobile", and "O Sole Mio" if they sang it (yes, I know the last is not opera). But most sang the first three, at least. I love comparing different versions. So far, I think the best "Un furtiva lacrima" was sung by Tito Schipa, and the best "Il mio tesoro intanto" was sung by Leopold Simoneau. I couldn't decide between Schipa and Enrico Caruso for "Che gelida manina". But Caruso may win on "La donna è mobile". I must test him against a few others. Other singers I've reviewed include Richard Tauber, John McCormack, Beniamino Gigli, and Louis Graveure. I must include Fernando de Lucia, and newly discovered (for me) Dino Borgioli in my reviews. Are these good songs? Can you recommend others or will these give a good idea of voices, strengths, etc?"
Perplexity. "Your selection of arias for comparing opera singers, particularly those from the early 20th century, is indeed excellent. These pieces are widely regarded as staples of the tenor repertoire and offer a good basis for evaluating a singer's technique, expressiveness, and overall vocal quality.
"Che gelida manina" from Puccini's "La Bohème", "Una furtiva lagrima" from Donizetti's "L'elisir d'amore", and "Il mio tesoro intanto" from Mozart's "Don Giovanni" are all excellent choices for assessing different aspects of a tenor's abilities. These arias showcase lyrical singing, emotional depth, and technical prowess, respectively.
Your preference for tenore di grazia, or leggero tenor, is well-served by these selections, particularly "Una furtiva lagrima" and "Il mio tesoro intanto". These roles often require the light, flexible voice characteristic of this voice type.
To further expand your comparative listening, you might consider adding:
1.
"Dalla sua pace" from Mozart's "Don Giovanni"
2.
"Je crois entendre encore" from Bizet's "Les pêcheurs de perles"
3.
"Ecco ridente in cielo" from Rossini's "Il barbiere di Siviglia"
These pieces would complement your existing list, offering additional opportunities to assess agility, legato singing, and stylistic interpretation across different composers and periods.
Your selection of singers is also commendable, focusing on some of the most renowned tenors of the early recording era. Tito Schipa, in particular, is often hailed as one of the finest exponents of the tenore di grazia style. By comparing these arias across different singers, you're employing an effective method to discern the nuances of vocal technique, interpretation, and artistry that defined the golden age of opera singing. This approach will undoubtedly provide you with a comprehensive understanding of the great tenor voices of the past."
#BeniaminoGigli #DinoBorgioli #EnricoCaruso #FernandoDeLucia #JohnMcCormack #LeopoldSimoneau #LouisGraveure #RichardTauber #opera #singing #tenors #TitoSchipa