The following is long but quite interesting.
Today, I asked about something that has intrigued me for awhile.

Me. "The opera singers I like are usually those who made the transition from acoustic to electric. I stop at the 1950's, when voice sound and quality began to change. But what I would like to understand is the transformation of the sound of opera brought about by Enrico Caruso. Aside from his vocal range, which was truly extraordinary, how did he change people's and singers' expectations of what an opera voice should sound like? How did his predecessor sound?"

Perplexity. "Enrico Caruso profoundly transformed the sound and expectations of opera singing in the early 20th century, largely due to his unique vocal qualities, interpretive style, and his embrace of recording technology.
Caruso's Influence on Opera Singing
1. Vocal Technique and Resonance:
• Caruso possessed extraordinary physiological attributes, including a resonant body that acted as a natural amplifier, allowing for a rich and powerful sound. He sang with correct physiological voice production, achieving a balance between technical precision and emotional expression
• His approach to recitative blurred the line between speech and melody, creating what critics described as "melodious talking," which brought a new clarity and emotional depth to operatic storytelling.
2. Modernisation of Vocal Style:
• Caruso represented a shift from the "old school" Italian vocal style, characterised by lighter and more ornamental singing, to a "modern" style that emphasised dramatic power and emotional immediacy. This is evident in comparisons with predecessors like Fernando De Lucia and Alessandro Bonci.
3. Repertoire Choices:
• He championed verismo operas (realistic operas) by composers like Puccini and Leoncavallo, which demanded more dramatic vocal expression. His performances in roles such as Canio in Pagliacci set new benchmarks for emotional intensity in opera.
4. Impact of Recordings:
• Caruso was one of the first opera singers to embrace recording technology, making over 250 records between 1902 and 1920. His recordings introduced opera to a global audience, standardising expectations for vocal quality and interpretation. His recording of "Vesti la giubba" became the first million-selling record
Comparison with Predecessors
Caruso's predecessors in the late 19th century adhered to the bel canto tradition, which prioritised vocal agility, purity of tone, and intricate ornamentation. Singers like Fernando De Lucia exemplified this style with lighter voices and a focus on elegance over dramatic power
In contrast, Caruso's voice was darker, richer, and more robust, aligning with the demands of verismo operas. His ability to combine technical mastery with raw emotional expression marked a departure from the more restrained performances of earlier tenors..

Me. It seems that I prefer the bel canto style, or at the very least, lighter voices. For instance, I find Beniamino Gigli to be overly dramatic. Richard Tauber, while he had a very powerful voice, was also controlled. I love Tito Schipa's voice and lightness, and the sweetness of John McCormac, and especially Leopold Simonau, even though he was a much later singer."

Perplexity. "Your preference for lighter voices and the bel canto style aligns with the hallmarks of this tradition, which emphasises beauty, agility, and emotional subtlety. Singers like Tito Schipa, John McCormack, and Leopold Simoneau embody many of these qualities, offering a contrast to the more dramatic styles of Beniamino Gigli or even Richard Tauber.
Characteristics of Bel Canto Singing
1. Vocal Agility:
• Bel canto singers are renowned for their ability to execute rapid and intricate passages with precision, clarity, and ease. This agility allows for fluid ornamentation, such as trills, runs, and cadenzas, which are essential in this style.
2. Lightness and Control:
• The bel canto approach favours a light tone in the higher registers and impeccable legato throughout the range. This creates a seamless flow of sound that prioritises beauty over sheer power.
3. Expressive Nuance:
• Emotional expression is achieved through subtle dynamics, phrasing, and rubato (flexible tempo). Singers focus on conveying the text's meaning with delicacy rather than dramatic force.
4. Orchestral Balance:
• The orchestration in bel canto operas is intentionally light to allow the voice to shine. Composers like Rossini, Bellini, and Donizetti wrote music that served as a vehicle for vocal virtuosity rather than overpowering it."

We then spoke briefly about singing during the late eighteenth and early nineteenth centuries.

Me. "Was there anyone recorded (or is there anyone today who sang as they did then? You mentioned Fernando De Lucia and Alessandro Bonci. Would they have followed this older style, or was there's different as well?"

Perplexity. "Fernando De Lucia and Alessandro Bonci, while closer to the older bel canto tradition than many of their contemporaries, did not fully replicate the singing styles of Mozart's time or the early 19th century. Both singers were active during the late 19th and early 20th centuries, a period when operatic singing was already transitioning toward more dramatic and less ornamented styles, influenced by verismo and the demands of larger opera houses.
Fernando De Lucia
• De Lucia (1860–1925) is often cited as one of the last tenors with ties to the bel canto tradition. He had a light, flexible voice and excelled in roles requiring agility and ornamentation. However, his recordings reveal a mix of bel canto elegance and some stylistic concessions to verismo, such as heightened emotional expression and dramatic phrasing. His interpretations are considered an important link to earlier styles but are not identical to what might have been heard in Mozart's or Rossini's time.
Alessandro Bonci
• Bonci (1870–1940) was another tenor associated with bel canto ideals. His voice was lighter than that of contemporaries like Caruso, and he adhered more closely to the refined, ornamented singing style typical of earlier periods. Bonci's recordings demonstrate a commitment to legato and agility, making him a closer approximation of older traditions than most singers of his era.
Revival and Modern Efforts
Today, there are efforts to revive older singing styles through historically informed performance practices:
1. Teatro Nuovo: This company specialises in bel canto opera using period instruments and historically informed techniques. Their singers are trained in long expressive lines, challenging coloratura, and improvisatory ornamentation, reflecting earlier traditions.
2. Specialised Singers: Modern artists like Lawrence Brownlee, Vivica Genaux, and John Osborn are celebrated for their ability to perform bel canto roles with agility and stylistic authenticity.
3. Baroque Specialists: While focused on earlier periods, singers in Baroque opera revivals also employ techniques such as improvisation and ornamentation that overlap with early bel canto practices."

Me. "Is Teatro Nuovo part of the historically informed movement? If not, who is? I am more familiar with it in classical music."

Perplexity. "Yes, Teatro Nuovo is part of the historically informed performance (HIP) movement. The company explicitly focuses on reviving bel canto operas with attention to period-specific vocal techniques, ornamentation, and the use of period instruments. Their approach involves studying historical treatises and performance practices to recreate the style of 19th-century Italian opera as authentically as possible. For instance, they employ a "primo violino et direttore" (first violinist and director) instead of a modern conductor, reflecting historical practices of ensemble leadership.
The "true purists" of bel canto singing—those who aim to replicate the exact techniques, styles, and interpretative practices of the 18th and early 19th centuries—are rare but do exist. These individuals or groups focus on historically informed performance (HIP) practices, often basing their work on early recordings, treatises, and other historical documentation.
Historical Recordings of Bel Canto Singers
Early sound recordings provide a window into the bel canto tradition as it was practiced in the late 19th and early 20th centuries. While not directly from Mozart’s or Rossini’s time, these recordings capture singers who were trained in methods closer to those older traditions:
• Adelina Patti (1843–1919): Patti was considered one of the last great sopranos of the true bel canto era. Her recordings, such as "Voi che sapete" from The Marriage of Figaro (1905), showcase her light, agile voice and ornamentation skills.
• Fernando De Lucia (1860–1925): Known for his ties to bel canto, De Lucia’s recordings reveal a mix of older ornamentation practices and an emerging verismo influence.
• Mattia Battistini (1856–1928): A baritone often referred to as "the last bel canto singer," Battistini’s recordings highlight his use of portamento, elegant phrasing, and dynamic control.
These singers represent a transitional period where elements of true bel canto were preserved but gradually gave way to more dramatic styles.
Modern Purists and Revivalists
1. Robert Toft: A leading figure in historically informed vocal performance, Toft has written extensively on bel canto practices and teaches singers to apply historical techniques such as improvised ornamentation and expressive declamation.
2. Teatro Nuovo: This company revives bel canto operas using period instruments and techniques. Their singers are trained in historical methods, including improvisation and flexible phrasing.
3. Sydney Conservatorium of Music: Researchers like Neal Peres Da Costa and Helen Mitchell are part of projects that emulate early recordings and experiment with historical vocal techniques to rediscover bel canto soundsMethodology of True Purists."

Me. I wonder if listening to bel canto basses and baritones would help me appreciate them more. I usually prefer tenors, not just because of their vocal range but because they tend to be lighter. I don't like loud, dramatic, heavy voices, even though I know some are definitely required. Likewise with suppranos. Many simply give me a headache with extremely high notes, and even in English, I sometimes have difficulty understanding them. That may not be true for bel canto singers."

Perplexity. "If you generally prefer lighter voices and find dramatic, heavy voices less appealing, exploring bel canto basses and baritones could indeed offer a new perspective. Bel canto basses and baritones often display a lighter, more agile vocal quality compared to the heavier, dramatic styles associated with later Romantic or verismo opera. Their focus on legato phrasing, ornamentation, and text clarity aligns with the principles of bel canto singing.
Characteristics of Bel Canto Basses and Baritones
1. Agility: Unlike the stentorian basses of later opera (e.g., Wagnerian roles), bel canto basses and baritones are required to execute intricate coloratura passages with precision.
2. Lightness of Tone: The emphasis is on beauty of sound rather than sheer power, allowing for a more lyrical and nuanced performance.
3. Expressive Nuance: Bel canto singers use tools like messa di voce (gradual swelling and diminishing of tone) and portamento (sliding between notes) to enhance emotional expression.
4. Text Clarity: Clear diction and rhetorical phrasing are essential, which might address your difficulty in understanding some sopranos.
Key Roles for Basses and Baritones in Bel Canto
• Basses: Roles such as Don Basilio (Il barbiere di Siviglia by Rossini) or Dr. Dulcamara (L'elisir d'amore by Donizetti) often require a combination of vocal agility and comedic timing.
• Baritones: Roles like Figaro (Il barbiere di Siviglia) or Belcore (L'elisir d'amore) showcase the lyrical and florid aspects of the baritone voice.
Singers to Explore
1. Past Singers:
• Luigi Lablache: A renowned 19th-century basso cantante who excelled in Rossini roles.
• Mattia Battistini: Known as the "King of Baritones," his recordings reflect bel canto elegance.
2. Modern Revivalists:
• Alessandro Corbelli: A master of comedic bel canto roles with a light, agile bass-baritone voice.
• Ildebrando D’Arcangelo: Noted for his performances as Don Giovanni and Leporello, blending lyricism with agility.

#baritones #basses #BelCanto #HistoricallyInformedPerformance #opera #singing #tenors #VocalStyles

I have a little gift for all of you. I just found it today. For those of you who are seasoned veterans, I'm sure you already know about it. But for those of us who are new to opera, and who won't accept anything but the best, there is a full recording of Don Pasquale from 1932! Not only does it naturally have wonderful singing, due to the time in which it was recorded, but Tito Schipa himself is in it! For my blind peers, do not turn it off after the first song if you inten to hear it all. After each song, there is a little pause, since these were originally 78s, not lps. For my fellow operetta lovers, this, while a true opera, is, nonetheless, very light, so it should appeal to you.

youtube.com/watch?v=lOOkdoN7pE…

If, like me, you don't know Italian, here is the libretto in English. I'm sure there are others, but this is from a year before Schipa's birth, so it's not full of modernised language and other nonsense. I don't know if that is done often with operas (it is with operettas, to my extreme annoyance), but it's better to be safe than sorry. My strategy has been to read one or two scenes, then listen to some of it, then read more.

archive.org/details/donizettis…

#78Rpm #DonPasquale #FullOpera #GaetanoDonizetti #opera #Italian #TitoSchipa

Yesterday, I had a long conversation with Perplexity, as usual. We were discussing vocal ranges, opera, and operetta. Anyway, I found a video that was perfect for me to test my range. Keep in mind that I am not accustomed to these notes as numbers, as this became popular after my time of study. But to make things easier, I will use them to explain my results.

youtube.com/watch?v=feuJ7sW2g7…

Apparently, My comfortable range is F3 to C5, with an extended range of D3 to F5, with the last two top notes feeling thin. I can also hit C3, but only quietly.

I then asked to hear various contraltos. I found a few, but almost all sang high, despite obviously being able to sing lower. So I then asked about songs sung by Tito Schipa, since our ranges overlap. I know he couldn't go as high as I (sources say he couldn't hit a high C), but I have never heard him hit a low note that I can't. Perplexity recommended the following.

1. "A te, o cara" from Bellini's "I Puritani"
2. Arias from Donizetti's "L'elisir d'amore", particularly Nemorino's parts.
3. Selections from Massenet's "Werther".
4. Arias from Donizetti's "Don Pasquale", especially Ernesto's recitatives.

Then, I began to wonder if there are any songs within operetta that would match me well. I received these in reply.

1. "Vilja-Lied" from Franz Lehár's "The Merry Widow"
2. "Softly, as in a Morning Sunrise" from Sigmund Romberg's "The New Moon" (I need to find a tenor version, aas it was originally written for a baritone.)
3. "Ah! Sweet Mystery of Life" from Victor Herbert's "Naughty Marietta"
4. "I'm Falling in Love with Someone" also from "Naughty Marietta"
5. "Serenade" from Romberg's "The Student Prince"
6. "Wanting You" from Romberg's "The New Moon"
7. "Love, Come Back to Me" also from "The New Moon"

Since three of these are from the same work, and since I actually have The New Moon, both as a full modern (sadly) recording and some original songs, I am going to watch that some time soon. It will be good to take a break from opera and go back to operetta. I just have to be careful because finding such music, or I should say, full English productions with dialogue, is incredibly difficult!

At any rate, I then asked which of these songs would be good for a beginner, and Perplexity chose "Ah! Sweet Mystery of Life", "I'm Falling in Love with Someone", "Vilja-Lied", and "Serenade".

Even though I have perfect pitch and photographic musical memory (once I know a song), it will take a long time before I can sing any of these truly correctly. But what do you think about the suggestions in general? Remember, I am not studying to actually perform on stage. This is simply for the love of singing. Personally, after hearing them, I think, other than the operettas, a good starting point might be Schipa's Neapolitan songs. They seem much easier.

But realistically, before I do any of that at all, I need to work on my exercises from Madam Clara! To that end, I have asked my friend to record the first group, on pages 140 to 145. Once I learn these, I will continue to the next set and so on.

archive.org/details/youcansing…

For those who are wondering why I don't learn from Schipa himself (he taught singing and there are exercises from him online), he has an entirely different approach. The exercises (particularly the Preliminaries and Breath-Lock Physicals) in You Can Sing are good for my health and work very well for me.

#ClaraNovelloDavies #contralto #opera #operetta #TitoSchipa #VocalExercises

Mini Review
I will not be analysing the singers as I usually do, but I will give my general opinion.
While I primarily love tenors, there is a certain voice type that I adore, and it is extremely rare. It's the lyric/light tenor, and yes, I put them together deliberately, because, according to my research, these voices could do both. They are not dramatic, but are light and sweet, and if used correctly, their owners have a mastery of phrasing and clarity, rather than sheer volume and/or weight. So far I had only found one serious opera singer with all of these qualities, namely Tito Schipa. Last night, I found another man, named Leopold Simoneau, and I was so moved by his voice that I immediately began downloading his recordings. I even matched him directly against Schipa himself, at one of the roles for which the latter is well-known, and Simoneau was so good that I gave up on trying to decide between them! Here, then, is the same song sung by both. Which do you prefer?

Tito Schipa sings Una furtiva lagrima- 1929
youtube.com/watch?v=un_3-NIgeP…

Léopold Simoneau; ＂Una furtiva lagrima
youtube.com/watch?v=5-37KU6gQL…

Here is another comparison. I chose a slightly later recording by Schipa, as the sound is better and it really shows off his voice better than the original.

Tito Schipa live at St. Louis in 1941 - ＂Il mio tesoro＂ from Mozart's ＂Don Giovanni
youtube.com/watch?v=dnCdtz7i03…

Leopold Simoneau - ＂Dalla sua pace＂, ＂Il mio tesoro＂
youtube.com/watch?v=UuPgWtLbk-…

Since the Simoneau version had another song attached, here is a bit more Schipa to compensate. He actually created a role in this opera, meaning that it was written for him. He was seventy-six when recording this, but his voice is still amazing!

Tito Schipa - No! Non lasciarmi solo (La Rondine) (Private recording, 1964)
youtube.com/watch?v=mJex-q5BvX…

Analysis
If I really had to compare these two singers, I would say that Simoneau's voice has a little something that Schipa's lacks, but I can't exactly explain it. Maybe, it's more delicate, flexible, or smooth. I'm not sure. But there is a quality that many other singers have, where they'll start soft, and then overpower everything with loud, booming voices. This is not only true of most modern singers who, after they sing a few notes, I turn off due to dislike of their style. Even the greats who had beautiful voices and sung in the old way did it. I realise, naturally, that some parts truly require this sort of voice, so it is quite necessary. But if I am going to sit down with a glass of wine and listen to someone sing for sheer enjoyment, as I am doing now, I don't want that. I can listen to both Schipa and Simoneau all day without tiring. Even at their loudest and most passionate, they still sound gentle and lovely, which is why they are so rare.

#opera #LeopoldSimoneau #review #TitoSchipa

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 #music #LaBoheme #review #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 #review #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

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People who will always be subscribers: Those who constantly write about politics, who always use obscenities, anti-capitalists, anarchists, extreme leftists and rightists), religious fanatics, those who hardly post in English, only post about technology and/or games (not including accessibility), or medical/mental issues.
Note. I'm not talking about having a bad day or posting once about politics. I'm talking about those who barely post anything else.

People who will always be friends: Those who post about high culture (classical music, good literature, art, history, theatre, wine, coffee, tea, snuff, fine dining, etc.), male fashion, nature, pets (especially cats), plants/gardening, good news, writing, and daily life (without constant drama).

As a grammar prescriptivist, I take writing and proper use of words very seriously. I recently saw a post about ending text messages with full stops. Apparently, some think this is a bad idea. No. It's called using punctuation correctly! Perhaps, they should read a few grammars instead of playing their silly video games! The same is true of netspeak, textspeak, corporate spaek, and abbreviating everything. Likewise, I have no use for political correctness. I refuse to use words such as visually-challenged, vertically-challenged, etc. I will say blind (or visually impaired if the person has some vision), short, fat, etc. Unless I'm writing poetry and am seeking flowery words for things, I call them what they are. Neither do I see any difference between saying "a blind person" and "a person who is blind", for example. I also have no time for so-called gender-neutral words, unless they honestly make sense and are actually descriptive, such as firefighter or police officer. But I'm just as likely to say fireman, policeman, waiter, steward, actor, chairman, etc. and change the gender when necessary. I refuse to use the singular they. There are two sexes (gender is for grammar). You're either one or the other. This absolutely doesn't mean that you can't change your sex. If, for example, I meet you as a woman and you change to a man or are a drag king/queen, I will certainly change my use of pronouns when discussing you or talking about you, either permenantly or temporarily, as the case requires. But unless you literally have multiple personalities or are a machine or an inanimate object, you are neither a they nor an it, and you're certainly not some made-up pronoun such as xe. I would never cause harm to those who use such words. I would just consider them to be silly or confused. If the sex is unknown, or if a sentence can apply to both sexes, I use the masculine, simply because it's grammatically correct to do so.

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