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FULL Norma Turin 2022 Fiume Stroppa Korchak

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Comment (14)

  1. Weak singers, Korchak is just a real miscast, Pollione is a role created for baritenor, not for such character tenor he is. Plus his voice became even worse now with age.

  2. BBSVK, Check out Osborn, Spyres, Kunde, they sound solid as Pollione and have really great bel canto technique. I’ve listened to them in person and they were amazing!

  3. Well in my opinion and by the sound of the audience we think Dmitry Korchak
    was brilliant loved it thanks to the photographer x

    1. To be clear, I do not complain about Korchak or tenors in general.

      Just was curious to hear the reconstruction of the orriginal Pollione, because, supposedly, he was like a baritone of today, with high tones added by falsetto, pretty unusual, so I asked for recommendations.

  4. BBSVK if you have appealed to Domenico Donzelli, the first Pollione, he had been performing different repertoire through his opera career. He started as tenorino, proceeded as high Rossinian tenor and then started to sing robust baritenor’s roles, though his voice always was dark and solid, he somehow adapt his colour, volume and technique to role’s demandings. But he wasn’t the coloratura singer, and his high notes were performed in falsettone, though he couldn reach only up to high C as Gaetano Crivelli, another Italian baritenor of this period. So, the dark colour and impressive low range were the main characteristics of his voice which made him famous.

    1. So who is most similar to Donlzelli now ?

      How do you like Brandon Jovanovich ?
      I have also noticed Bruno Prevedi on an older recolrding with Leyla Gencer. Does he replace the high tones with lower ones, to avoid falsetto ? Or am I just imagining it ?

  5. BBSVK, no one in modern opera world couldn’t be even a little bit similar to Donizelli, baritenors or any singer of that period. The nowadays vocal techniques and the vocal classification itself destroyed the authentic nature of such voices. It is presumed as something unnatural today. Jovanovich is nothing to do with baritenor’s sound, nor Prevedi, Penno, Brevario, Picchi or other spinto tenors of the XX century. The main word is ”tenor”. Del Monaco is much closer in my opinion because of the powerful emission and solid central register. Cecchele is similar to Dl Monaco, in fact, he liked to imitate his way of singing. Filippeschi is very close to Cecchele, though lyrical nature of his voice allowed him to show more flexibility and colours. Corelli along with Del Monaco is considered to be the best interpreters of Pollione, but he is the best in order with modern tenor standards. In Donzelli’s time such way of singing wasn’t ”ordinary”. The same situation with female roles of that period. Colbran, malibran, Pasta had very special, hybrid voices, due to it no one modern soprano or high mezzo can’t be organic in this roles. So we can only dream of the reconstruction of voices of that period. I’m afraid today such singing is objectively impossible because of the reasons which I’ve mentioned above.

  6. The main point of baritenor’s voice is not even that ”dark” sound, it is very low notes, even go down to bass register in some pieces created for this voice type. Dark, smooth, powerful, resonant, natural low register is the key to baritenor’s voice and the most dramatic tenor voices of the XX century such as Martinelli or Del Monaco hadn’t this impressive low notes because they were the product of modern vocal classification. May be only Caruso or Vinay in some way are closer to baritenors, but initially they started as baritones so it is logically. Vinay sung both as tenor and baritone during his career. It is very complex topic.

  7. L’unico baritenore dal 1950 ad oggi è stato Franco Corelli. Dimostrazione di ciò è il suo repertorio di inizio carriera (Carmen-Agnese di Hohenstaufen-Vestale-Guerra e pace-Il Pirata ecc.), Del Monaco aveva debuttato in Butterfly, quindi come tenore lirico. L’ampiezza della prima ottava di Corelli e del centro restano tutt’ora difficilmente riscontrabili, sopratutto per l’unione poi al registro acuto. Oggi purtroppo ci sono tanti tenori lirici che spingono, non tenori lirico-spinto.

  8. Alberto, Corelli actually is not baritenor, he is ”classical” tenor associated with the first ”tenor di forza” Gilbert Duprez if you want some historical analogies. His singing is totally different than baritenor’s emission, though Duprez took from baritenor’s technique the method of chest singing. But Duprez started to use chest voice in the high register, while baritenors performed only low and central notes with chest voice. Roles which you’ve mentioned are written for the very special voices, because Bellini, Spontini created their roles for the only two tenor voice types existed in that period – high lyrical tenors and baritenors, Bizet wrote for special voice type – French tenor, which actually was more light and lyrical than Italian ”tenor di forza” of the mid of 19 century. So the main problem as I’ve mentioned already is that the modern standards of opera singing destroyed baritenors as a class of singers and we never could understand how Nozzari, Crivelli, Donzelli and other famous baritenors actually sounded, understand and feel their real voice. We only can imagine it, but we need a time machine for it. Though there are so many problems with female voices also. For example, today no one could perform Norma properly. So, today we can’t hear not only proper Pollione, but Norma as well. But this problems are the product of modern vocal system and classification.

  9. I’m so glad not to know any of these old tenors or whatever and just appreciate the fantastic ones we have now
    such as Dmitry Korchak

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