I often try to pick contrasting voices/pieces. Keeps it interesting and a good variety. You’ll find many times I’ll do a high soprano then a bass or reverse

@@manolis.799 And you do very well.Specially in these last two cases,the difference was really great.But to think that your beloved Puccini only wrote Colline s aria for a BASS left me puzzled.Mainly because you started singing and loving ópera after watching his ópera prima. I learn a lot from you Manoli.Yesterday I also revised Turandot to find those famous words you say are considered an aria.But first I had to stop to listen to Non piangere Liu,one of my favourite ones. I was walking to my daughter who beloves Puccini , specially Turandot and La Boheme. I sent her Colline s and my favourite version of Non piangere Liu. She asked me what my favourite opera was nowadays.I m puzzled I told her.I don't think I ll ever have a favourite opera again.Just favourite arias and representations... Sills was a discovery for me.I can't keep listening to her almost every day.And all that we owe it to you,dear Manoli.

I’ve seen some count Timur’s lines after Liù dies as an aria.

I prefer Siepi on the basis that Don Giovanni is a bass role, and he’s arguably the best exponent of it (Pinza is a worthy contender as well, and much later on, Ramey deserves mention). The argument that the tessitura is high and therefore, it is acceptable or even preferable to have a baritone in the role has never held much water for me. While the term baritone was not in use at Mozart’s time, he clearly was familiar with singers of this range. Count Almaviva, Papageno, and arguably Giuglielmo and Alfonso in Cosi fan Tutte are all examples of baritone roles written by Mozart. Don Giovanni, while high for a bass, never goes beyond E natural. For reference, Osmin has a few written F naturals. While I like some baritone Don Giovannis, Gobbi being the cream of the crop, I cannot completely separate the fact that it really isn’t the “right” voice for the role. With that said, I can’t fault Gobbi, as baritone Giovannis are more common and his characterization is second to none and vocally he is flawless. An issue with a baritone Don Giovanni is it can cause an effect where the Leporello has a richer sound than the title role, upsetting the balance of power. Some rectify that by casting a buffo singer as Leporello but it very clearly isn’t a buffo role. It’s highly implied that Leporello was either a former noble or raised alongside Giovanni (how is he able to read? How is he able to document every single one of Giovanni’s “conquests?”) and casting a buffo does a disservice to the multifaceted, and pseudo-Giovanni character Leporello is meant to represent. In short, I think Siepi is probably the greatest Giovanni due to his suavity and ability to sing the higher tessitura without the slightest strain and in a rich basso sound. Gobbi’s Giovanni is more patently evil, but Siepi’s can easily trick you into falling for his charm, which is more consistent with the character. I love them both for different reasons and have enshrined them both on this channel as a result. Of course, I am also biased, seeing as I, myself, am a bass.

Hi​ @manolis.799, my aunt, María Adriana Fraga Estévez, is impressed with the length and quality of your response. She is having a problem with her KZbin account at the moment, but she will reply to your comment as soon as she can. Thanks!

@@manolis.799 Dearest Manoli.First of all allow me to say thank you for what must have been one of your longest replies in your channel ever. In a way I thought that the content would be this one.If you remember we had talked some time ago,about the possibility of you choosing an opera where you would sing.I told you specifically that you could choose to be a bass or maybe a rich dark voiced baritone,thus you have told me how much you loved Rigoletto.I thought at the moment that the idea tempted you.But, finally,you decided to leave it for another moment. That only shows Manoli your dignity and well meaning.You could have broaden your choice immensely,but didn't do. Not everyone is as respectful as you,I m afraid.In this case,being your voice not well defined in Mozart's time,people have taken advantage of it and have abused it. And you're so kind that you even Wellcome it in the special case of Gobbi for you appreciate his bright acting and devilish nature he ads to the Don s part. Some of the people writing for you also like it deeply.But,of course,then comes the problem.It compromises the voice of the servant,to the point they have to search for a buffo. I completely agree with you in the Siepi election or Ramey.And also think that through sweetness and subtleties you can reach the most devilish attitudes of all not only in opera but in Life in general. Besides if baritones have inmense possibilities of choosing parts,why would they steal more ones to the basses.It s outrageous. That's why leaving tessituras and E and F naturals apart,the correct thing would be two basses.A darker one for Don and a lighter for Leporello. Given that I ve been blocked in YT for one day I ve been able to search what Leporellos have been congratulated lately.And what was my surprise when I found out that one of the greatest of all was SIEPI.. I was,of course horrified,after reading your article we could call it,with authentic passion. I think that,once again , you've given us all a lesson of humbleness, respect and clear words,which are more necessary day by day. And all that praising everyone s work and knowledge. Manoli,I hope to see you one fine day at the MET,but above all let me recognise that you're a man of big values and excellent presenter of problems that many others would rather not touch.Congratulations.

Prime Callas exists

I agree & I'll b 72 in 2 days....

@@frangoldstein7171 HAPPY BIRTHDAY!

@@frangoldstein7171happy late birthday!!!