At the National Opera Studio with Tito Gobbi | English language

In this workshop/masterclass/corso di perfezionamento/Opernstudio, Tito Gobbi gives interpretational advice to young professional singers. Scenes discussed:
La Bohème - Mimì, at 02:40, 09:58 (Sì mi chiamano),
Falstaff - Falstaff, at 06:50, 11:41 (Ehi, taverniere... mondo ladro)
Rigoletto - Rigoletto, at 13:04, 26:25 (Pari siamo), 28:25 (Figlia, mio padre)
Don Giovanni - Zerlina, Don Giovanni, at 13:45 (La ci darem la mano)
La Traviata - Violetta, Germont, at 19:00 (Letter scene), 23.00 (Ciel, che discopro)
Otello - Otello, Desdemona, at 32:20 (Già nella notte densa)
With additional comments by Ida Cook, Regina Sarfati and Michael Langdon.
Apologies for the partly poor quality.

[@brunaazzurra]

MAGNIFICA LEZIONE DI GOBBI In this workshop/masterclass/corso di perfezionamento/Opernstudio, Tito Gobbi gives interpretational advice to young professional singers. Scenes discussed: La Bohème - Mimì, at <a href="#" class="seekto" data-time="160">02:40</a>, <a href="#" class="seekto" data-time="598">09:58</a> (Sì mi chiamano), Falstaff - Falstaff, at <a href="#" class="seekto" data-time="410">06:50</a>, <a href="#" class="seekto" data-time="701">11:41</a> (Ehi, taverniere... mondo ladro) Rigoletto - Rigoletto, at <a href="#" class="seekto" data-time="784">13:04</a>, <a href="#" class="seekto" data-time="1585">26:25</a> (Pari siamo), <a href="#" class="seekto" data-time="1705">28:25</a> (Figlia, mio padre) Don Giovanni - Zerlina, Don Giovanni, at <a href="#" class="seekto" data-time="825">13:45</a> (La ci darem la mano) La Traviata - Violetta, Germont, at <a href="#" class="seekto" data-time="1140">19:00</a> (Letter scene), 23.00 (Ciel, che discopro) Otello - Otello, Desdemona, at <a href="#" class="seekto" data-time="1940">32:20</a> (Già nella notte densa) With additional comments by Ida Cook, Regina Sarfati and Michael Langdon. Apologies for the partly poor quality.

[@JamesKoenig]

I studies with Gobbi and have sometimes read comments that favored his "interpretation" over his voice-- but as I go back and look at so many recorded examples from throughout his career, I find great beauty in his voice because it SAYS something. Pear-shaped tones by themselves are not beautiful and usually rather monochromatic. Bravo Maestro! Grand interpreter, intelligent artist, and for me-- beautiful baritone sound that doesn't woof, growl, or bark (unless he so chooses for effect.)

[@JamesKoenig]

Thank you for sharing this! I was fortunate enough to work with Maestro Gobbi and he is very "present" in my singing and teaching. He was an incredible singer, performer, director, and teacher and proponent of the real Italian Lyric tradition.

[@rosemaryallen2128]

An ageing man in a suit, who could yet project a complete scenario in a few bars of music and the minimum of expression! It's hard to define greatness, but its effect on the emotions is unmistakable.

[@diegomr6969]

the best bariton ever.... el mejor IL GRANDE! qepd tito! q bueno ver estos ultimos video con vida al maestro de maestros.

[@user-jt4js7ed3e]

Один из лучших певцов, но среди певцов - лучший артист.

[@EmilyGloeggler7984]

Tito may not have always had his vocal technique secure, though one can say the same of many other opera singers, but he is one of the very rare minority who understood that true opera takes more than just standing on stage and singing big, loud, and dark. You have to have nuance and act and emote the character you are playing - both vocally and physically.

[@splodsquadubdob]

I agree with the latter part certainly. He is one of the best baritones to ever sing Don G in my opinion (with the other greats being basso cantates). How was his technique insecure? I've never heard a bad recording but I'm prepared to be enlightened.

[@andreas_aroditis]

Excellent contribution. I love Gobbi. Thank you for sharing this with us. :-D

[@Tenortalker]

It would be good to know who the students were for these masterclasses in interpretation with the great Maestro Gobbi. I think I recognise one of them. Also Regina Sarfati who is interviewed had a good singing career and also taught I believe.

[@raynardi2326]

Una grande Mimì

[@StavrosChrisAnastasopoulos]

Great!!

[@rayjacques3475]

Canto Liric

[@clefnoteproductions6695]

Crediting the singers in the video would be be wonderful. Are they still singing? Teaching?

[@AfroPoli]

Yes, that *would* be wonderful. I have no idea, though. Sorry.

[@BeastBeauty12]

The lady singing La Boheme has a beautiful voice

[@chopincookies]

The soprano singing Mimì was so good, anyone who can tell me her name? I need it. Thanks.

[@eboli7146]

Bas • Rosamund Illing. She’s an Australian soprano who had an international career

[@user-zq3iu5ih7n]

I would like to ask what is the name of the soprano who sings Mi chiamo mimi？

[@minoallemandi8302]

Gobbi sapeva capire e aiutare molti soprani e altri.

[@joanabanyeres]

Mi piace....

[@diegomr6969]

un dios..

[@raynardi2326]

Gobbi la Callas dei baritoni

[@thesaucegroup1877]

<a href="#" class="seekto" data-time="710">11:50</a>

[@user-zq3iu5ih7n]

Vorrei chiedere che come si chiama il soprano che canta mi chiamo mimi ？

[@aa37444]

<a href="#" class="seekto" data-time="1870">31:10</a>

[@contessapalmieri8100]

Mozzarella cheese!

[@luciococeani1547]

Not the greatest baritone voice of his generation, but no one was a greater interpreter or a more intelligent singer.

[@akechijubeimitsuhide]

Probably not the most velvety (not like Bastianini or Warren), but he had a thousand colours, and he still has no rival when it comes to Scarpia or Rigoletto. He could definitely do beautiful, lyrical singing, but he also wasn't afraid to sound ugly sometimes, when the drama demanded it.

[@diegomr6969]

GOBBI IS THE MOST GREATEST EVER