Oh he definitely COULD, he just didn't want to in public, probably because it may sound, gasp, *slightly less than perfectly covered chesty tone*. My god, it may even be fully in head voice!!🙄 Its such a pet peeve of mine, I refuse to believe its possible to have a D5 that good without having at least an acceptable Eb/E5. Especially since the B2 WAS clearly at the edge of the range. If thats his low note, he DEFINITELY could have done at least a head Eb5+. And since thats how the notes were, you know, *supposed* to be performed anyway...

@@lucianopavarotti2843 I've been trying to find it for so long, but I haven't found it...

@@todoopera4996 Well thank you very much for this clip anyway.

Carol Vaness

"O Muto Asil del Pianto" That C5 is from the Cabaletta "Corriam Voliam"

​@@todoopera4996 Gracias ❤

Guelmo Tell in the middle🌸

El ser mas ignorante y sordo de la historia opinando sobre temas que no puede comrpender

He was probably as much of a tenor as any tenor can be. One of those who had absolutely nothing baritonish to themselves. B2 probably was the absolutely lowest one he was physically capable of singing on stage, it is an audible strain to him here in this recording. So probably yes, the really powerful notes started at the C#3, D3 level in his case. But a certain weakness in terms of low notes is perfectly acceptable for a lyrical tenor. Especially for a wonderful lyrical tenor with wonderful middle and high notes and no difficulties with the C5 and even some way beyond. (Well, he did develop difficulties hitting the C5 eventually, but not before his old age when probably every tenor does)

​@@mysteriumvitae5338 Pretty good analysis. I think his speaking voice probably went down to Ab2, G2 at most. A spinto/dramatic tenor will be able to touch F2/E2 when talking, and have a useable A2 when sung. Not that you'd ever need that note as a tenor lol

​@@somerandomguy84 Oh, there are some really interesting ones actually! Chap./St. Phar in Le Postillon actually has a Bb2 (and a B2 later) written. And Rossini wrote multiple tenor roles down to A2. I know Otello, Pirro, and Idreno were all A2-D5, cause Rossini was a lunatic 😆. Rodrigo in La donna and the lead tenors in Armida and Mose (who I cant recall the names of) were actually down to Ab2 (and still up to C5 or D5, cause again, lunatic). Not that youd know it from any recordings. Spyres, Kunde, and Merritt are the only ones I know of whove sang the Ab2s in La donna on albums. The others were all transposing the notes below C3 up an octave. Why take a role to record if you cant sing it lol? They aren't even optional in the scores! Sorry, pet peeve of mine that so many interesting operas just get left behind or altered from the composers intentions like that lol.