#beniaminogigli — Public Fediverse posts

(Note. The bit about watching/listening and Tagliavini refers to a Reddit post in which I asked about four different versions of La Boheme that I have in my large list of opera links. Also, Schipa is still my favourite singer of all time. But Gigli is second, Tagliavini is third, and Battistini is fourth.)
"I just finished listening to La Boheme from 1938. I say "listening" because several people mentioned that I said "watching" in the post where I was trying to decide on a version. I am totally blind, so it's all listening for me, whether there is a video or not. But I'm accustomed to saying "watch" when referring to things that I find on Youtube, which is odd, as I usually download them as mp3s, but anyway. This is the full opera.

youtube.com/watch?v=mE5vRfD7uC…

This is the libretto that I used.

opera-arias.com/puccini/la-boh…

The first act basically told the story of the characters themselves. The second made me laugh in several places. Marcello and (Musetta were quite funny, in general. Poor Alcindoro) kept trying to calm Musetta and was ultimately stuck with the bill, but that was clever. The third, of course, was more serious, and forshaddowed things to come. I'm glad the fourth act had some comedy in it, because the ending was heart-breaking. Even though I knew what would happen, it was played so well that it brought me to tears, and I had to calm down before writing this review! Even Schipa himself couldn't do that, and I have the last scene with him in it! Gigli was an absolute master of this role, and while complaining about his sobs in other instances may be justified, he used them expertly in this performance, and truly brought the character of Rodolfo to life. What really surprised me is how much I liked Licia Albanese. I am usually not a fan of high-pitched female voices, but for some reason, I liked her, and the chemistry between her and Gigli's characters could be felt. I am really glad that I chose this version and would highly recommend it to anyone."

"Since I mentioned being caught between Gigli and Tagliavini in my other post, here is Che Gelida Manina by both of them.

Gigli
youtube.com/watch?v=b5Ba_MSygG…

Tagliavini

(I am providing two versions because he sings them quite differently. The first is extremely sweet and the second less so, but it still sounds like it's before the voice change. I have always loved his version, but I don't know how he would handle the rest, particularly the really dramatic parts.)

1
youtube.com/watch?v=ux1QuTbQsc…

2
youtube.com/watch?v=2DdPoNsTRD…

Now for Schipa.

youtube.com/watch?v=gqcuAAA_2m…

And this is the final scene that I mentioned in my review. Naturally, it is played well, as Schipa always sang everything beautifully. But Gigli added his own elements to it.

youtube.com/watch?v=IMTQ7gGyuw… "

Since I mentioned it, here is my large list of operas.

dandylover1.dreamwidth.org/242…

#BeniaminoGigli #FerruccioTagliavini #Gigli #LaBoheme #opera #Puccini #review #Tagliavini #TitoSchipa #Schipa

Here 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

Due to the anniversary of the writing of La Boheme on 1 February), I am going to do another comparison of a single song by some of the best singers in history. I didn't know about this until yesterday morning, so it actually works out well that I have these! Again, I am new to opera, (my theatrical love is operetta), so take any comments I make with that in mind. That, or just ignore them entirely and enjoy the wonderful music. Now, on to the comparison! A few voices will be familiar from last time, while a few wil be new to the mix. These are in chronological order.

Enrico Caruso (1906) - La Bohème_ Che gelida manina
youtube.com/watch?v=8FFRrfUUCh…

John McCormack ~ Che gelida manina. 1910 4
youtube.com/watch?v=mmnakODRH0…

Tito Schipa - Che gelida manina (1913)
youtube.com/watch?v=zadVt0UgmG…

Richard Tauber La Boheme Che Gelida Manina HMB 75 M x xxB6981 2 enregistré le25 avril1924
youtube.com/watch?v=GQB3zsdkJj…

Louis Graveure - La Boheme Che Galida Manina Your Tiny Hand Is Frozen Sung In French 4
youtube.com/watch?v=QnWwfMMZvk…

Beniamino Gigli - Che gelida manina (H.M.V. 1931)
youtube.com/watch?v=vZEe4lLAST…

Analysis

Enrico Caruso
I actually read that Puccini himself loved this version, and I am not surprised. Caruso could sing anything placed before him and make it seem effortless. As usual, his control is perfect, being not too strong and not too quiet. At the same time, he conveys great emotion without being overly dramatic. He hits the high note with ease, then slides down with only the slightest embellishment.

John McCormack
I first heard of this singer through Ivor Novello's song Keep The Home Fires Burning. I loved his voice and immediately noticed his incredibly clear diction. But I had no idea he sang opera, until I learned more about him. While he was primarily known for much lighter music, he did sing several opera pieces early in his career. Apparently, he sang sixty-four notes in one breath in Il mio tesoro from Don Giovanni!
His voice is lighter than Caruso's, so of course, this lends a different feeling to things. But like the former, the control of his emotions and voice is flawless. I am not surprised that he hit the high note so easily, given his voice type. But he doesn't do much with it, and just slides back down. His version is very sweet and gentle, but powerful in its own right.

Tito Schipa
Here is another light voice, though of a different kind. I will admit, when quickly previewing these before writing this review, this version actually brought tears to my eyes, and it's doing it again as I listen to it! There is simply something magical about this man's voice. I notice control, yes, but such sweetness and smoothness that I can only listen in wonder. I also notice he rolls his rs a lot and really slides his notes. He hits the high note so naturally that he seems made for it, then modulates a bit, making it all more pronounced.

Richard Tauber
Now, we return to the heavy weights with regard to voice. Of course, Tauber had to do things his own way, and sang this in German, which was a unique and interesting touch. Considering how long he lived and that, unlike McCormac, he continued to record opera (among other genres), I was surprised not to find a later recording of this. But at least it puts him on even footing with the others.
Right away, I notice his heavier voice. This is someone who could sing very powerfully and compete with Caruso himself! Unlike the former, however, Tauber really uses dynamics. His emotions are far more pronounced than others we've heard so far, and he is more dramatic. He reaches the high note, but due to the darkness of his voice, it has a heavier feeling to it. He then slides back down without much embellishment.

Louis Graveure
This man needs a bit of an introduction. He is very close to my heart for a specific reason. He was among the most well-known and best students of Clara Novello Davies, from whom I am learning, using her book You Can Sing as a guide. In it, she wrote of him with glowing praise. But when he started with her, he was so badly conjested that he could barely sing at all, and even she was hesitant to take him as a student! (It was a serious problem, not a head cold.) Look what her methods and his hard work produced! It's also worth noting that he actually switched from a baritone to a tenor for the last few years of his recording career, which I didn't even realise was possible!
I am accustomed to his lower voice, so to say that this shocked me is an understatement. He is singing in French, which actually makes sense, given the title and subject of the opera, though I read the original was in Italian. Another thing I notice is that while he can clearly hit the high notes, his voice does crack a tiny bit at least twice when doing so. That said, it's strength is palpable, even through an acoustic recording. His technique is much more agressive than even Tauber's, giving his version a very different feel. He reaches the high note beautifully, which is astounding, given how low his voice could go. Interestingly, it's not as dark as Tauber's. He also adds a tiny bit of modulation before sliding down. I am impressed with the flexibility of his voice, to be sure, but it does seem a product of extremely hard work, rather than being natural.

Beniamino Gigli
He begins with a sound that is almost as sweet as Schipa! Very light and calm, it immediately makes me think of something relaxing. But then, he becomes himself, and sings in the classic opera style that I described in the last review. That said, it works very well with this song, and the power of his voice can be felt. His is the richest of the recordings with relation to dramatic performance and emotion. It's as if he combines various elements of the other singers. His voice is powerful like Tauber's but less dark. When he hits the high note, it's with great ease, and he embellishes a bit afterward. One thing about Gigli is that, while he can be emotional, he does keep things under control, even if it may seem less so than the other singers.

And my personal winner is... Tito Schipa! I think he added the perfect amount of everything. However, it was incredibly difficult choosing between him and Enrico Caruso, and had someone chosen the latter, I would never have argued the point. I think any time Caruso is involved in a comparison, it makes things far more difficult than if he weren't because I have to look beyond the obvious perfection to find another version of what is perfect. In my case, I am also extremely partial to the voice of Schipa, so it was a double problem! Ultimately, for this song, I think it depends on whether you want a powerful treatment or a softer, smooth one. Perhaps, if I knew Italian, French, or German, I would have used that to guide me.

#BeniaminoGigli #EnricoCaruso #JohnMcormac #opera #LaBoheme #RichardTauber #TitoSchipa

Let's have a bit of musical fun! This is all the same song, but sung very differently, by the best opera singers in the world, plus an American who would either make them laugh or scream. It's not that I adore this song, but it's one that all of these singers sang, and as you'll see later, it's what got me started in opera (I'm still very new at it). Just a little from each is fine for this experiment.

Let's start with Enrico Caruso. For those who love Mary Ellis, yes, this is the same man she sang with early in her career. Notice how differently he sings from everyone else on this list!

Enrico Caruso - O Sole Mio

youtube.com/watch?v=u1QJwHWvgP…

Now from Richard Tauber. For my fellow operetta lovers, he is very good to know, as he sang with Lehar at the piano many times (including a concert in 1947), along with recording many other lovely songs by other composers, even in English! But back to this one, he actually sings it in German!

Meine Sonne (O Sole Mio) - RICHARD TAUBER (1927)

youtube.com/watch?v=9O1Z3LX1gb…

Now from Beniamino Gigli.

Beniamino Gigli-O sole mio

youtube.com/watch?v=4QG0HK1CTM…

Now, from Pavarotti. Normally, I don't include people born as late as he (1935) in my opera adventures. But he was literally the only opera singer I knew of until a few months ago. Remember, I'm an operetta lover, and that's a whole different thing.

Luciano Pavarotti_ 'O Sole Mio'

youtube.com/watch?v=eQSNVBLTXY…

One of these is not like the others, and here it is! For powerful voices in popular music, I would recommend Tom Jones (he's from Wales, so that's a given), Roy Orbison, or Tony Williams (from the Platters). Nevertheless, this is how I always knew the song, until I heard that it was originally in Italian. One day, I decided to research it, found the version by Caruso, and my opera journey began.

elvis presley - its now or never (1960)

youtube.com/watch?v=QkMVscR5YO…

Here, then, is my very quick analysis, as a listener, not any sort of expert in either singing or opera, so the rest of the world will probably disagree with me.

Enrico Caruso: This performance is flawless. He slides his notes perfectly and doesn't add or subtract too much of anything. Yet his voice is strong, and would be clear if the recording equipment had permitted it.

Richard Tauber: Right away, the difference in language is noticeable, and it is quite interesting. Again, the recording removes some of the clarity, but his voice shines through and is strong. He is a bit more dramatic than Caruso, but is still perfectly balanced.

Beniamino Gigli: Normally, I like his singing. But here, he seems to overdo it. His voice is strong, but he's much too dramatic. That said, this is exactly what I would have expected opera to sound like prior to learning anything about it, so let's call him the classic.

Luciano Pavarotti: His voice is clear and sweet, and his diction is lovely. I'm sure he normally sings wonderfully. But to me, this is void of emotion and is very uninspiring, especially after hearing the others. Had I herd it on its own, my opinion may have been different.

Elvis Presley: It's not really fair to judge him on the same lines as the others. He had no formal training in opera, and he didn't pretend to. He took an operatic song and turned it into a popular one, and on those grounds, he did a good job. His voice is tender and sweet, yet strong when it needs to be.

And my personal winner is... It's a tie between Caruso and Tauber! I really can't decide between them, as both are perfect!

#BeniaminoGigli #ElvisPresley #EnricoCaruso #opera #LucianoPavarotti #RichardTauber

Sadly, if, like me, you don't know Italian, you'll probably miss what he is saying here. If there are subtitles, I can't read them, since I'm blind. This is also why I can't watch full operas (or even operettas) if they're not in English. At any rate, here Bel Canto singing is being demonstrated. This is what I mean by good opera singers, though to call Beniamino Gigli a good opera singer would be doing him a huge disservice, as he was literally one of the best in history! I am curious as to what he is demonstrating, though. In the first example, I actually hear him breathing. For anyone who follows the style of Clara Novello Davies, the whole point is breath control, and I know that this is important in Bel Canto as well. Is he showing what not to do, or that you don't need to apply such power as in the second example? I say that because modern singers have too much vibrato and often show emence effort, while older ones are more natural in their approach, even if they do have powerful voices. This is not me speaking from my hat. I can hear the differences and also heard them described by experts.

youtube.com/watch?v=yta2o_N9w1…

#BelCanto #BeniaminoGigli #Italian #Lesson #opera #singing #TranslateToEnglish