It was so amazing to have lessons with him ❤ gracie maestro

I love how you made the Elf-King's voice 😊❤🎉

McCormick isn’t an heroic tenor but neither is he “tinny”-that’s the recording. He would do quite well for Rudolpho but I prefer him singing songs, particularly Irish songs.

GOD HAS CHOSEN RENEE FLEMING TO OPEN UP MANKIND'S HEART AND SEE THE BEAUTY OF LOVING ONE ANOTHER YES SHE IS PHENOMENAL GREAT SINGER BUT MORE IMPORTANT SHE IS GOD'S VEHICLE TO SPREAD LOVE

L´UNE DE PLUS BELLE VOIX; LA CERQETTI;mais Bastianini aussi

Super!

❤️🎼❤️

.....😕😟 I just found out, that your channel is CLOSED ????? i HOPE THIS IS ONLY one of the many Fake News, dear Mike 😥

Crazy this happened and they just went on with theyre lives

J’ai fait un commenter et mon texte a disparu Ou svp trouvez mon texte

Schwarzkopf had a way smaller voice than Mimi Coertze. Mimi was a real dramatic coloratura soprano. She sang so very beautiful.

Draga naša Sena, počivaj u miru Božjem! ❤ Our beloved Sena, RIP! ❤

Kostbare Schatz der sovitischen Opernbühne.Er war(und ist heute)unvergleichbar nach Tonqualität und Technik mit niemanden von Baßträgern in ussr,aber nur mit den solchen Weltsternen wie Siepi,Pinza,Christoff.Bravo,Maestro für Ewigkeit.

I wonder if him being known as a "castrato" affected his love life and contributed to his poor health. Not to be crude, but we know he was mutilated to maintain his voice, hence "castrato". It's fascinating the lengths people will go to for talent (I know the decision was likely not his, I'm talking about his parents).

EXQUISITO

I used to think that Rossini's music lacked heart...

EXQUISITO GRACIAS POR EL REGALO

EXCELENTE GRACIAS POR RECORDAR ESTAS MAGNIFICAS VOCES OLVIDADAS POR LOS AFICIONADOS DE LA OPERA

Quite a nice and vocally nuanced interpretation, but for me, as a Russian speaker, the pronunciation flaws grate, and detract and distract terribly. Couldn’t he have gotten a diction coach??

Ljuba Welitsch als Salome und Maria Callas als Medea haben die aufregendsten Portraits in der Geschichte des Operngesangs hinterlassen. Beides schon übermächtige Interpretationen. Welitsch besaß eine schöne, leuchtende Stimme. Ich empfehle, sich mal die Sendung hier "Da Capo" mit August Everding im Gespräch anzuhören. Die Frau kann Herzen klauen, ein sehr schönes Interview.

There’s a simple & irrefutable reason that McCracken became a world-wide top star sensation in ‘60-61-62, etc, as Otello, + it’s the same reason he went on to perform it more than any other great tenor in history: it’s because he was PERFECTLY suited to it vocally, dramatically/histrionically, temperamentally, intellectually, technically & so forth 🎶🎭 Martinelli, Vinay & MDM were fresh in the eyes/ears of listeners & critics pretty much everywhere JMcC went - highly unusual in passionate emotional nature + unique in dark, vibrant timbre yet notably easy (yes, it was constantly commented upon by both critics & colleagues) in wide compass, prodigious in energy/stamina, explosive in Vocality, spontaneity of theatricality (for once, there was a singing-actor who didn’t simply repeat himself only varying in being in good voice or less), bold in diction (Shakespearean), & one who combined the intellectual prowess with such open hearted, vulnerability to even raw degrees that commentators exhaustively relayed how totally committed JMcC was & were utterly flabbergasted as to how he ‘did it’ ⚖️ So when one starts to realize that he was creating such a reputation + convincing Serafin, Kleiber, HvK, Leinsdorf, Solti, etc, that he WAS something rather new & different THEN, in THAT era, it should at least allow him very serious, non-revisionist respect NOW, in THIS one ⚖️ Jimmy was often the first to praise other singers too, especially the great tenors; something that was hard of not impossible for others to do! Sadly, the eternal 🇺🇸 Underdog he remains with some, fairly or not, for his many valiant struggles against the BS of unjust internecine warfare that goes on behind the scenes in the Biz - so his strength of real character as a MAN should never be held against him due to courageousness against the odds/unfairness! For ppl to now ever describe him as some sort of also-ran because they prefer others isn’t quite right & truly DOES veer into revisionism… ‘Jimmy McCracken was the most underrated operatic superstar of the 20th Century.’ - Leonard Bernstein

💖🌹❤👏❤🌹💖

@Agorante, I wonder when it was when you heard him in Forza. By the early '80's, Bruno was already seriously ailing. Sadly, he died only one month after his 59th birthday.

Thank you. Moldoveanu is so captivating i could hardly hear the baritone.

Die Daphne .....da verwandelt sich Singen in Gesang , jedenfalls mit Maria Reining❤

He was famous in his day and deservedly so.

My favourite baritone of them all, after I heard his Germont I have collected most of his recordings.

Ein toller Sänger 😢

Tremendous voice I never heard of him till today

Vinay... better than Windgassen???!!! Outrageous.

Where is Wolfgang Windgassen? Windgassen was far far better than kollo, please...

Admirable …!

Tourangeau is histrionic and ridiculous in this aria. Here is a good rendition with the exact vocal quality needed her, the right style, the right phrasing and diction. kzbin.info/www/bejne/p3XFaaZ5r9KMeLc

excellent

The Great Farrell could have been a superstar but she had no ego and had absolutely no interest in that.❤

The Great Farrell! She was the greatest of the twentieth century! Every note beautifully placed! Gorgeous contralto tone! She sang every song as though it was her favourite song! She sang for one reason only: she loved to sing! Her family came first in her life. She sang like a goddess and talked like a sailor ( somewhat)!

RIP

A glorious singer whom I heard as Mimi and Massenet's Manon as well as in concert. Her voice was just perfect in those roles in Covent Garden, plenty big enough, always beautiful but also extremely expressive. And how well she used the words to bring out the drama and to enliven the vocal line. Gorgeous indeed!

The archdeacon in Eisenstein's "Ivan The Terrible". An unforgettable voice. Thank you.

SERGEY LEMESHEV WAS MAGICAL!!!! HIS VOICE AND SINGING...PIERCES the heart...every single note...everything...doesn t matter that one doesn t know russian...HE MAKES his native language THE language of the "french" song...that is how great he was

Thank you for this . Hearing it like i did in my childhood ? " I feel young . "

You can stop at Jussi and go no further. I am an operatic singer and voice coach. After listening to E Lucevan Le Stelle, Je Crois Entendre Encore, Ingemisco, his slow version of Nessun Dorma..I Dream of Jeannie With the Light Brown Hair, and countless other recordings he made, I was uninterested in listening to any other tenor voice. Those who are Bjoerling fans understand. There are no words to describe his mastery and deeply moving pathos. Straight from heaven.

my dude who wrote the description, his death scream in don giovanni is one of the most unnatural versions that exist xd still the best giovanni imo, but that death scream was horrible in all but one performance (the one in salzburg when he was sick and didn't do it at all)

Ettores twin❤

Fantasztikus munka köszönet

Dimitrova hat mich wirklich nie richtig erreicht. Vielleicht ist dies tatsächlich ein Sopran, der aufgrund seines Volumens nur in großen Opernhäusern seine Wirkung entfaltet und nicht vor dem Mikrofon. Aber ich denke, hier rede ich mir etwas schön. Denn gewaltige Stimmen wie z.B. Flagstad, Nilsson oder Polaski haben auch hier verzaubert, weil sie technisch meisterhaft gesungen haben. Eine gewisse Beherrschung ihres Instruments will ich Dimitrova nicht absprechen, aber letztlich ist sie für mich ein vokaler Bodybuilder, der seine Muskeln spielen lässt, ungehemmt im Fortissimo brüllt und die Höhe stemmt, welche nicht in leuchtenden Kopftönen erblüht, sondern offen und oft schrill herausgeschleudert wird. Unter der mächtig druckvollen, fast vulgären Tonproduktion flackert die Stimme auch in einem hektischen Vibrato. Und ich höre sie eigentlich auch nur in einem monochromen Fortissimo. Elegantes Singen auch in dramatischen Partien geht eben anders, man höre allein die drei erwähnten Kolleginnen. Ich weiß, es gibt zahllose Fans und ich bin sehr harsch in meinem Urteil. Aber dies ist einfach mein Empfinden.

Dutch mezzo-soprano Cora Canne Meijer passed away on August 25, 2020, at the age of 91. Cora Canne Meijer graduated from the Conservatorium van Amsterdam. The mezzo-soprano debuted in 1950 with the Nederlandse Opera (now De Nationale Opera) in the role of Annina in Verdi’s “La Traviata.” During her first year at the Nederlandse Opera, Meijer sang a number of major roles, including Prinz Orlofsky in Johann Strauss’ “Die Fledermaus,” Cherubino in Mozart’s “Le Nozze di Figaro,” Rosina in Rossini’s “Il Barbiere di Siviglia,” and the title role in Ambroise Thomas’ “Mignon,” among others. Cora Canne Meijer also performed at the Glyndebourne Festival in 1957 as Cherubino in Mozart’s “Le Nozze di Figaro.” Meijer was a member of the ensemble of the Opernhaus Zürich from 1960 until 1962. The Dutch mezzo-soprano made her big breakthrough in the Netherlands in the title role of Bizet’s “Carmen” at De Nederlandse Operastichting, after which she had performed roles such as Charlotte in Massenet’s “Werther,” Azucena in Verdi’s “Il Trovatore,” and Der Komponist in Richard Strauss’ “Ariadne auf Naxos.” Cora Canne Meijer also worked as a voice teacher at the Sweelinck Conservatorium in Amsterdam.

RIP, Renata.

Thank you for this In Memoriam for Renata Scotto. She deserved it. She was not my favorite soprano, although I liked her, but she was a true artist. I can't believe that there were and still are so many haters toward Scotto. This is unacceptable. I wish there was a Renata Scotto today, since we don't have singers of her calibre anymore, and it looks like this situation is there to stay.