This is just a small introduction to bel canto music, with the most important singers at that time: Joan Sutherland Marilyn Horne Luciano Pavarotti Richard Bonynge …
Well, it’s hard to … Well, it’s hard to say because Luciano was smart and very careful with his voice and decided to market himself as a lyric tenor. But he does have a more robust sound than some of the other lyric tenors of his generation (Kraus, Gedda, ) and so he could venture into spinto without damaging his voice.
Pavarotti’s was a … Pavarotti’s was a light voice, not suited for any Puccini but Pinkerton and Rodolfo. He was not suited to Verdi much either, beyond Duca, Alfredo and Riccardo, he shoudn’t have sung Verdi until much longer after he did.
His voice was a Donizetti voice, with ability to sing some Bellini.
That’s your opinion … That’s your opinion, and it’s mine that the Pav was comfortable and at his best with Verdi and Puccini. Now for this aria, besides Gigli and Schipa, you may also want to listen to di Stefano, Kraus, Gedda, and especially Alva, Blake and Simoneau for sublime renditions.
‘NO, of course not, … ‘NO, of course not, though I do sing Una Furtiva Lagrima better. Pavarotti is great with verismo, spinto singing. Bel Canto requires finesse which Pav doesn’t have.’
What complete rubbish.
watch?v=EanDDURW4pY&feature=channel_page
Pavarotti sang Bel Canto with extreme finesse. You’d have to be Schipa or Gigli to sing Una furtiva lagrima better than Pavarotti does in that 1969 SF performance.
i used to… but … i used to… but they weren’t very serious… they were supposed to be only choirling but then my teacher become to be very found of my voice and it’s aparent versatility… so i began to sing several songs out the traditional choir repertoir such as easy or popular arias… of course i must have made several mistakes, considering my non-proficiency…. that way i sang from bass-baritone to counter tenor in mezzo key.
do you take lessons … do you take lessons? people with large voices and large ranges are often confused about which type they are until they have had significant training. this is especially true in voices with versatile abilities (for instance, I’m a significantly large voiced baritone but my teacher says I’m very agile so we’ve started doing some leggiero exercises too)
the only advice I can give you now is to find a teacher that will help you find your natural placement and not be quick to type you
the thing is a … the thing is a could always change the colours of my voice, size, weight of it when i was in choir… that way i could sing duets without a female partner… wich was pretty funny actually… but the thing is that it was 6 years ago, when i was 14. And now my range changes everytime… sometimes i can go from C2 to G5 or E2 to B6 (this being falsetto)… its always different…
probably a baritone … probably a baritone or a bass. range is not the indicator though. it’s about the weight, tessitura, size, and agility among other factors. you probably won’t know until you’ve had training though. I initially thought I was a bass but I’m now a baritone.
there is no way to … there is no way to know if a voice is going to be dramatic at 21. when a dramatic voice does not start to mature until around the age of 21. i say dont get caught up in the hype of what everyone is telling you about your voice and learn to sing beautiful regardless of size. work lagato, trills, fioratura, agility and all other techniques and just let your voice grow with time. don’t think too much about having a big voice. think about singing beautiful. its a hype that can hurt u in the future.
as a tenor you … as a tenor you should be able to reach them in full voice. the cover is a blending technique. using smaller vowels to make the transition into the upper register more fluid and ultimately easier.
I study operatic … I study operatic dramatic coloratura soprano Lynda Canaday. she’s sung a number of leads including Queen of the Night and has sung all over the world. we use the speech level singing technique.
oh it’s not a … oh it’s not a problem, I’m rather found of it . it just complicates blending in choir. large voices in general will have a lot of squillo. it just means your voice is probably moving towards a dramatic baritone (or Verdi baritone if you’re a higher baritone)
very true. i feel … very true. i feel like squillo is kinda a problem with alot fo baritones no matter the size. that type of voice jsut tends to be heard.
my voice is quite … my voice is quite large and dark too. it gives me trouble in choir because their voices are all really light and “pretty” (my squillo doesn’t help much with that either). fortunately though, my teacher is a dramatic coloratura so she understands how to train a big voice. some teachers don’t know what to do with a big voice so they give horrible advice like “lighten up” which if followed with close off and tighten the voice.
i started singing … i started singing not too long ago, im 21. im kidna holdin off and getting my plan B degree and backups out of the way before i sing. i actually go up to high B above F and have secure a flats and G’s but i really just have a thing with high notes lol. i have a rather dark and really large voice for my age so maybe thats it.
how old are you? … how old are you? most younger baritones don’t like to go past an F4 very often. I’m only 17 but I love F#s and Gs (mostly for dramatic endings though), but that’s probably because my teacher and I used to think I was a bass so when I got those top notes I was like YES!
that’s me as well ( … that’s me as well (vocalizing range; Eb2-C5 on warm ups), but I have to practically scream anything past Ab because my range isn’t solid up there yet.
This is just a small introduction to bel canto music, with the most important singers at that time: Joan Sutherland Marilyn Horne Luciano Pavarotti Richard Bonynge …
Well, it’s hard to …
Well, it’s hard to say because Luciano was smart and very careful with his voice and decided to market himself as a lyric tenor. But he does have a more robust sound than some of the other lyric tenors of his generation (Kraus, Gedda, ) and so he could venture into spinto without damaging his voice.
Pavarotti’s was a …
Pavarotti’s was a light voice, not suited for any Puccini but Pinkerton and Rodolfo. He was not suited to Verdi much either, beyond Duca, Alfredo and Riccardo, he shoudn’t have sung Verdi until much longer after he did.
His voice was a Donizetti voice, with ability to sing some Bellini.
That’s your opinion …
That’s your opinion, and it’s mine that the Pav was comfortable and at his best with Verdi and Puccini. Now for this aria, besides Gigli and Schipa, you may also want to listen to di Stefano, Kraus, Gedda, and especially Alva, Blake and Simoneau for sublime renditions.
‘NO, of course not, …
‘NO, of course not, though I do sing Una Furtiva Lagrima better. Pavarotti is great with verismo, spinto singing. Bel Canto requires finesse which Pav doesn’t have.’
What complete rubbish.
watch?v=EanDDURW4pY&feature=channel_page
Pavarotti sang Bel Canto with extreme finesse. You’d have to be Schipa or Gigli to sing Una furtiva lagrima better than Pavarotti does in that 1969 SF performance.
i used to… but …
i used to… but they weren’t very serious… they were supposed to be only choirling but then my teacher become to be very found of my voice and it’s aparent versatility… so i began to sing several songs out the traditional choir repertoir such as easy or popular arias… of course i must have made several mistakes, considering my non-proficiency…. that way i sang from bass-baritone to counter tenor in mezzo key.
do you take lessons …
do you take lessons? people with large voices and large ranges are often confused about which type they are until they have had significant training. this is especially true in voices with versatile abilities (for instance, I’m a significantly large voiced baritone but my teacher says I’m very agile so we’ve started doing some leggiero exercises too)
the only advice I can give you now is to find a teacher that will help you find your natural placement and not be quick to type you
tis true… they …
tis true… they are. thats why im working hard…lol
the thing is a …
the thing is a could always change the colours of my voice, size, weight of it when i was in choir… that way i could sing duets without a female partner… wich was pretty funny actually… but the thing is that it was 6 years ago, when i was 14. And now my range changes everytime… sometimes i can go from C2 to G5 or E2 to B6 (this being falsetto)… its always different…
probably a baritone …
probably a baritone or a bass. range is not the indicator though. it’s about the weight, tessitura, size, and agility among other factors. you probably won’t know until you’ve had training though. I initially thought I was a bass but I’m now a baritone.
love the part at 4: …
love the part at 4:00
all of the GOOD …
all of the GOOD tenors use a cover. good tenors are in short supply right now.
all of the famous …
all of the famous tenors use a cover… thats just how it sounds in pavarotti’s voice.
there is no way to …
there is no way to know if a voice is going to be dramatic at 21. when a dramatic voice does not start to mature until around the age of 21. i say dont get caught up in the hype of what everyone is telling you about your voice and learn to sing beautiful regardless of size. work lagato, trills, fioratura, agility and all other techniques and just let your voice grow with time. don’t think too much about having a big voice. think about singing beautiful. its a hype that can hurt u in the future.
as a tenor you …
as a tenor you should be able to reach them in full voice. the cover is a blending technique. using smaller vowels to make the transition into the upper register more fluid and ultimately easier.
What a treasure .
What a treasure .
I can reach from E2 …
I can reach from E2 to G5, in full voice… what am i?
I study operatic …
I study operatic dramatic coloratura soprano Lynda Canaday. she’s sung a number of leads including Queen of the Night and has sung all over the world. we use the speech level singing technique.
who do you study …
who do you study with?
oh it’s not a …
oh it’s not a problem, I’m rather found of it . it just complicates blending in choir. large voices in general will have a lot of squillo. it just means your voice is probably moving towards a dramatic baritone (or Verdi baritone if you’re a higher baritone)
very true. i feel …
very true. i feel like squillo is kinda a problem with alot fo baritones no matter the size. that type of voice jsut tends to be heard.
my voice is quite …
my voice is quite large and dark too. it gives me trouble in choir because their voices are all really light and “pretty” (my squillo doesn’t help much with that either). fortunately though, my teacher is a dramatic coloratura so she understands how to train a big voice. some teachers don’t know what to do with a big voice so they give horrible advice like “lighten up” which if followed with close off and tighten the voice.
i started singing …
i started singing not too long ago, im 21. im kidna holdin off and getting my plan B degree and backups out of the way before i sing. i actually go up to high B above F and have secure a flats and G’s but i really just have a thing with high notes lol. i have a rather dark and really large voice for my age so maybe thats it.
how old are you? …
how old are you? most younger baritones don’t like to go past an F4 very often. I’m only 17 but I love F#s and Gs (mostly for dramatic endings though), but that’s probably because my teacher and I used to think I was a bass so when I got those top notes I was like YES!
im a baritone as …
im a baritone as well and i dunno if its me but are other baritones as scared of singing a high f sharp as i am,
that’s me as well ( …
that’s me as well (vocalizing range; Eb2-C5 on warm ups), but I have to practically scream anything past Ab because my range isn’t solid up there yet.