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This is SCARILY good. It sounds painfully real. Bravo…

@photo161

Жыл бұрын

I share your enthusiam for this post, but I'm puzzled as to why you found the realism of the sound "painful?" ...just curious...All the best to a fellow fan of the vocal arts.

@williamlewis4318

Жыл бұрын

@@photo161 By painful I meant the rawness of emotion that feels/sounds so real it evokes the same emotions in the listener. I don’t mean it was unpleasant to listen to, hopefully that clears things up a bit.

By 1936, Giovanni Martinelli had been singing “Pagliacci” for 22 years, having first performed it on November 28, 1914. Two seasons later, when he sang in the world premiere of “Goyescas” on a double bill with “Pagliacci” in which Caruso sang Canio, Caruso gave him one of his own costumes as a gesture of his regard for the young Martinelli. Taking into account the number and range of demanding roles Martinelli sang-including Otello, which he added to his repertoire a year after this “Pagliacci” broadcast and was acclaimed by the New York critics for his “clarion voice” and “a sincerity, a fervor, and a comprehension of what the music could be made to yield in dramatic expressiveness”-his “Vesti la giubba” as heard here commands respect.

@Garwfechan-ry5lk

9 ай бұрын

Martinelli had sung Pagliacci in London and Paris before 1914.

@RubyRosaRudy

9 ай бұрын

According to the annals of Covent Garden, Martinelli first sang Canio in London on June 15, 1919, under the baton of Leopold Mugnone.

@Garwfechan-ry5lk

9 ай бұрын

Sorry you are correct, on that, but he did sing the role earlier than New York, that is what I thought, but I have my Grandfathers diaries and notes and I have been looking through them, I hope you will forgive my error, I am not a real Opera buff like my Father was, but I have grown into the subject in my later life, my grandad was a Tenor in the Chorus at the Garden for many years 1909 till 1940, he admired Martinelli a great deal as man and artist, he wrote of his performances with Destinn 1919, that his voice had become much more Dramatic than in the pre World War days and that he was well matched with Destinn , in 1937 my father also heard him and he also became a great fan, he actually interviewed him in the Sixties when he came to London having first met him in 1937 with my Grandmother back stage, she was a Rehearsal pianist at the Garden , I am no musician, I love Opera, but I do believe the Singers of today, are very much inferior, my father said that he believed it started to happen in the mid sixties and went downhill from there, at that time I was not interested, that happened really in the 1980's when I saw a performance of Parsifal and I was just spellbound, the Music and Drama allied with Wagner's music won me over, I then took more interest in my Grandfathers notes and diaries, he had met and knew many great singers and he died at the age of 98 in 1977. I have made a error, but at least it is a nice error, because I would have loved to see him sing the role, my father passed on earlier this year at 106, he was extremely well read and a linguist, his first Wife my mother was killed in the Blitz, in 1940, but I have three other Brothers and one Sister from his second marriage, he met her after the war in Graz Austria , where he was then working for the International Red Cross, she was a Danish nurse, he had left the War as a officer in the SOE equivalent in the American Forces was OSS, they married in 1949, but he became a Pacifist after the Trauma's of Wartime Experiences that made him think of more Peaceful things in Life, his hobby and a lovely hobby was writing for some Opera Magazines, which he would write about performances he saw abroad, especially in Italy and Austria. Also interviewing many singers and some Musicians and Conductors, it was a difficult time in Europe then, wounds had not healed and they never would with some. I wish you a good night Sir, Nos da.@@RubyRosaRudy

@RubyRosaRudy

9 ай бұрын

@@Garwfechan-ry5lk: I am grateful to you for the extremely interesting information about your grandfather and your father, both of whom lived exceptionally long lives filled with a passion for the great singers of their eras. To have heard the young Martinelli with Emmy Destinn would have been an unforgettable experience. As you may know, Artur Rubinstein became her young lover, and said that his goal as a pianist was to make the piano sound like Destinn’s voice. In his memoirs he also wrote that on one of her legs she had a cobra snake tattooed from her ankle to her navel. Every time I see a photo of her, I can’t help thinking of that cobra …!

@erostom1896

7 ай бұрын

@@Garwfechan-ry5lk Are you the son of Mr. Robert Evans? Until recently, you could read his very interesting comments about Martinelli, based on his own experience, as well as that of his father, of the Covent Garden choir. I see with great pleasure that you preserve the notes of your grandfather and your father. I sincerely hope that you can publish them one day, because I find - I repeat - very interesting about Martinelli, of course, but also above all the knowledge that his grandfather and his father had about the operatic activity in London and, for example, the interviews that his father maintained with important singers (Martinelli and Lauri-Volpi, for example). My respectful greetings to you.

Orgoglio della città di Montagnana assieme al grandissimo collega e concittadino A. Pertile.

WOW. What breathe control. Unbelievable. The old timers where the greatest. We will never see or hear those glorious voices again. So sad 🌺

@matOpera

Жыл бұрын

It’s hard to grasp that people just went to the opera almost like going to the movies today, only to witness historic performances that we now look back on hardly believing people once could sing like this.

@busterbeach

Жыл бұрын

@@matOpera Opera today is dead. Nothing. The music is always so beautiful but the great voices are all gone. I think the last great who is alive is Leontyne Price. I saw her with Corelli on the 60s and I will forget them at the old Met. I was about 10 and I was lifted to the heavens. Great memories of glorious voices♥️♥️♥️

@matOpera

Жыл бұрын

@@busterbeach Unfortunately, you’re right. Seeing Corelli with Price must have been magical. Price, especially early in her career, could make some magical sounds.

@veramayer9571

Жыл бұрын

@@matOpera indeed, opera was a lot less elitist than it is now... and yet performances were better. It's really weird, when you think of it! Although, perhaps, great performances are what is needed to bring it closer to the masses again.

@matOpera

Жыл бұрын

@@veramayer9571 I agree. And art often loses its grounding when it loses the interest of the many for that of the wealthy, self-satisfied few.

pazzesco!!! un gigante!!!!

Interpretazione maestosa,fiati lunghissimi,voce fraseggio e legato da fuoriclasse.Una delle migliori esecuzioni in assoluto.

Very high caliber performance for sure, but I think I still like the Del Monaco version he did live in Tokyo better--the laughter he did was maniacal, scary.

Whenever an up-loader claims the ''BEST EVER'' it will always stir up some controversy. Martinelli's accomplishments at the Met alone were historic, based on the amount and variety of roles from lyric to spinto-dramatic he performed in over a 30 year period. GM sang over 900 performances at the Met alone, to mostly rave reviews from independent objective critics. 56 Faust, 116 I Pagliacci's, 69 Trovatore's 74 Carmen's, 26 Lucia's, 35 Boheme's 26 La Juive, and a record 123 Aida's. Gugliemo Tell, Forza, Turandot, Norma, Fanciulla, Gioconda, Chenier, Tosca, L'Africana, Ernani and Boccanegra, and 26 great Otello's when he was in his early 50s There's much more, but the Met Archives were hacked and temporarily not available. My father saw Martinelli live and told me that his voice was less hard sounding and less steely in the theater. There probably have been more beautiful voices than Martinellli, but few equaled his artistry in the theater. Martinelli was renown for his acting ability

Definitely the best I've ever heard. WOW!!!

This is unbelievably good. I may agree with you

greatness.

I like the way you put the words in. 😄😄

Very good performance and excellent sound for a live recording. The slow tempo does highlight his excellent long phrases. But for me the greatest recording of this aria will always be Corelli in his amazing 1962 complete recording made when his voice was in its prime. Canio's pathos comes through like a glittering knife on fire during Corelli's timeless performance.

With my admittedly untrained ear, I would rank this version up there with Lanza's and DeStefano's. Proclaiming any of those three “best” is beyond my abilities.

Yo....wow, just wow. That power. 💯💯💯❤

I agree with you👍

How about Caruso and Paoli? Both were Leoncavallo's friends.

@matOpera

Жыл бұрын

Oh, I think both were tremendous, and their renditions of this aria are spectacular. I just think Martinelli’s phrasing, control, and acting-in a live performance, at that-all just click here better than I’ve ever heard from any other singer in this piece.

Interpretazione struggente con un legato da antologia!!!

Bravo Giovanni! I agree that this is the best.

😢 per me è la migliore interpretazione, quella più vicina alla visione dell'autore, ha dato vita a un vero personaggio

Do you know of June Bronhill? You might quite like her Maria Stuarda. She was a student of Galli-Curci and was said to sound exactly like her.

@KajiVocals

Жыл бұрын

8:35 onwards here kzread.info/dash/bejne/eYGFybmdqti-o8o.html

@matOpera

Жыл бұрын

@@KajiVocals She sounds incredible! How can I only be learning of her now? The opera world is really not a meritocracy. Thank you for introducing her to me.

@KajiVocals

Жыл бұрын

@@matOpera She's INCREDIBLE. Sadly not much material of her available on KZread. I'm trying to get some of her concert vinyls when I can. She's a genuine natural coloratura soprano (very high bright voice), yet she has a very strong chest register and middle range.

@matOpera

Жыл бұрын

@@KajiVocals I’ll be on the lookout for anything you post. I listened to a few of her performances available on KZread, and even with the limited selection, she really shines.

Grande Martinelli! But this illustrates the danger of labeling any sing the "best ever". You exclude OTHER "best ever" sings of this same aria! Like Caruso. Like Gigli. Like 1952 Del Monaco.

@matOpera

Жыл бұрын

I think they are all spectacular, and Caruso and Gigli were probably technically even better singers that Martinelli. But what Martinelli accomplishes in this performance of this aria is beyond what I have heard in any of Caruso or Gigli or Del Monaco’s performances. They all sing it exceptionally, staggeringly well. But Martinelli simply transcends.

@downfromkentuckeh

7 ай бұрын

​@@matOperato your ears that is.

@matOpera

7 ай бұрын

@@downfromkentuckeh Correct

What control and complete dominance with his pace and milking every beautiful note with dramatic spinto and interpretation! Cant be touched overall by any of the other greats especially the passionate reading

Best ever? I dont imagine it is but its Mertinelli at his best.

Ni Mario del Monaco ni nadie. Oh. I am sorry perhaps except Placido's ( and indeed I am joking).

He is great! But I like MDM more

@ivanandreev9571

8 ай бұрын

ты везде чтоли?)) еще и мысли мои читаешь

The Best Ever!!!!

@matOpera

Жыл бұрын

Amazing vocalist and artist.

Too slow! The rhythm of the music is there for a reason!

A big voice for sure, but the best??????????

@matOpera

Жыл бұрын

Not the best voice ever-but the best rendition of this aria. The voice combined with his phrasing, breath control, and sheer dramatic abandon do it for me.

@familypondman

Жыл бұрын

@@matOpera For you it's alright!

@matOpera

Жыл бұрын

@@familypondman Obviously a preferential statement is subjective. But at the same time, what’s a better performance on this aria?

@familypondman

Жыл бұрын

@@matOpera It's in the ears of the beholder sir, but could tell you, you and do'nt believe me if I tell you, you are sure!

Very different version; I like it. But when it comes to the A4 „infranto“, Caruso shows why he is the greatest tenor ever

Mario Lanza is the greatest master of this aria. Likely the greatest lyrico-spinto tenor ever- for sheer range and quality of voice. * Soprano Maria Callas said of him in a 1973 interview: “My biggest regret is not to have had the opportunity of singing with the greatest tenor voice I’ve ever heard.” kzread.info/dash/bejne/pIacz9GgctaTl7g.html

@alejandraponce5629

8 ай бұрын

Mario Lanza era actor, jamás fue un cantante de ópera tal, no creo que tuviera la capacidad de cantar toda la ópera completa.

@swissarmytenor

7 ай бұрын

@@alejandraponce5629 not exactly. Lanza was a singer who became an actor...but was still a singer. His first great teach was Gigli's teacher, Enrico Rosati, who when he heard Lanza said, "I've waited for you for 20 years". Lanza did many concert tours in his early years, and completed a run as Pinkerton in Madama Butterfly in New Orleans (to great reviews) shortly before signing on with MGM, so complete operas weren't a problem for him. His Met colleagues who sang with him doing the recordings for "The Great Caruso" all said he should be at the Met, and Licia Albanese also said he was absolutely fantastic. Late in life, he was in talks to sing at La Scala - it never happened, but La Scala wanted him for complete operas - they knew he could do it.

@marcogori9677

5 ай бұрын

Lanza non ha mai cantato in teatro un’opera intera

@swissarmytenor

5 ай бұрын

@@marcogori9677 Sì ha fatto. Ha cantato Pinkerton in Madama Butterfly per la New Orleans Opera. Ha ricevuto ottime recensioni come questa: "Mario Lanza ha interpretato... il tenente Pinkerton con notevole verve e slancio. Raramente abbiamo visto un tenore principale più straordinariamente romantico. La sua voce eccezionalmente bella aiuta incommensurabilmente." Successivamente gli fu chiesto di cantare La Traviata lì nel 1949, ma aveva firmato un contratto con la MGM.

Though this performance is amazing it does not come close to Enrico Caruso, sorry.

Rather hear DEL MONACO DO IT.

Good but del monaco was much better

The more people say this singer or that singer was the greatest hands down blah blah blah, the less I love opera. Its too much idol worship, too much. You people are rancid, mindless mobs.

@matOpera

7 ай бұрын

Hey now, I’m just saying this is the best rendition of this aria

Lanza `s version from 1958 are better !

hm, very heavy voice - I bet he was only good in Verismo...

Shouty. Not the worst I've heard (quite good, actually) but not worth the plethora of über-appreciative comments here. His final 'infamia's are a bit sad (and not in the score, I don't think). I'm reminded of Kenneth Williams in Carry on Cleopatra (as Julius Caesar, being stabbed in the forum, which sounds uncomfortable): "Infamy! Infamy! They've all got it in fer me!" I'm not sure why Americans are so obsessed by women's menstrual cycles and think they have any bearing on the truth or otherwise of a claim. Of course I'm criticising the title.

I do not agree. His breath control was good in places and appalling in others, there were gasps where there should be no gasps and he was off key on at least three occasions. Even where the breath control was good it added nothing to the performance, and the first phrase you say he does not take a breath he clearly does so. In addition his diction was awful.

Mario Lanza was 1,000,000 times better in voice and in performance than Martinelli. MDM had a much better live rendition than this performance. GM was a great man, and a fair singer with a rather unattractive voice that had no refinement. A harsh and amateurish technique what comes to mind when I hear GM sing.

@dennisj.3439

Жыл бұрын

Idiotic comment comparing Lanza( one operatic performance) to Caruso's successor in the roles (36 years operatic career)!

@operadog2000

Жыл бұрын

​​@@dennisj.3439 Did you ever hear Caruso, Martinelli, MDM, or Lanza in live performance? Of course not, so the only way to compare their voices is through recordings. There are several live recordings of Lanza, Martinelli, MDM, but none of Caruso. Lanza' s voice was the best by far.

@dennisj.3439

Жыл бұрын

@@operadog2000 If you heard Del Monaco live in Pagliacci that's comparable to Martinelli's many Canios at the Met but Lanza might be a more attractive sound to your ears but Martinelli's overall interpretation and passion blows away Lanza on every other level! Case closed Thank you for your participation

@operadog2000

Жыл бұрын

@@dennisj.3439 Sorry, but you're wrong! The individual that starts a rebuttal by saying “Idiotic comment” is not seeking to engage in a conversation, but rather is attempting to bully one into agreeing with him. I did not respond with negativity because I had hoped that you would act in an adult manner and not resort to attacking someone with whom you disagree on something as special as opera. However, your second statement ended with “Case closed. Thank you for your participation”, which is really childish. I’ll make one more attempt to present my argument in hopes that you at least behave as an adult even if you disagree. We can only compare singers before our time through their recordings. Martinelli & MDM both had coarse and unrefined voices that were actually ugly. I respect both men, and I think that they were great opera singers in their time. Mario Lanza had the most beautiful tenor voice of all-time. That aside, he had passion, refinement, and a soft caressing beauty that GM & MDM had never achieved. That being said, I have all of MDM’s recordings and many of GM’s 78 rpms that I play on a 1917 Victrola, which reproduces the voice better than any modern equipment. If you compare GM’s recordings on LP or CD to his 78 rpms, his voice sounds much better played on a Victrola. If you have never heard Caruso’s voice played on a Victrola, then you are missing a glorious experience, and the same is true for Martinelli. GM & MDM had voices that were well suited for opera houses, but the modern recordings picked up a lot of the nuances of their voices that are often overlooked or not heard in the opera house. When I listen to GM & MDM on LP or CD, I hear all of the flaws in their voices, which is not always the case when I listen to their 78 rpm recordings on the Victrola. Please compare Lanza's studio rendition of La donna e mobile (extract from the Great Caruso movie) to either GM or MDM studio recordings of the same aria, and you’ll see than Lanza’s is much better. Both Lanza and MDM recorded that aria around the same time on similar equipment so it’s fair to compare those two recordings. If you want to step outside of the world of opera, then compare Lanza's 1954 recording of the Serenade from the Student Prince to MDM’s studio recording, and Lanza’s easily wins. MDM possessed a metallic tone that was incapable of producing sweetness, and his voice had no refinement or beauty, but it filled the opera house and he sang with his entire body. MDM was indeed a great stage performer. I understand that you do not like Lanza, and that is your prerogative. However, I’ll be you if you were to play the recordings of these three great men to anyone and ask them to choose the most beautiful voice with effortless technique, the vast majority (90% or more) shall choose Lanza. I have heard both Pavarotti and Domingo live at the opera house, and while LP’s voice was more beautiful, Domingo’s filled every part of the opera house with a fullness and warmth that was not captured on record.

@richieg8432

Жыл бұрын

@@operadog2000 I think you are out of line declaring Lanzas voice the best of all time.. it`s your opinion..and that`s all it is. Many many opera lovers would disagree with you.. I choose to enjoy each for different reasons,not to compare and decide who is best. Many arguments about this subject don`t even do fair comparisons,,meaning lyric tenor to lyric tenor..,or Spinto to Spinto..they claim someone like Pavarotti is the greatest operatic tenor ever..I mean how do you compare a lyric to a dramatic? It makes no sense. One voice is not suited to all roles.

Crimi's way better than this. Martinelli lacks power. It's better than del Monaco technically, but it sounda flat in comparison.

Galliano Masini is Best.

Pretty good. But it ain't no Franco Corelli....

@Pjkoko

6 ай бұрын

Better

@konixtwenty8275

6 ай бұрын

@@Pjkoko Nope. Actually worse

@rdargenio

2 ай бұрын

You might like Corelli’s voice better but I think Martinelli is much more deeply into the character of Canio.