Aureliano Pertile & Margaret Burke Sheridan - "Vicino a te" from "Andrea Chenier"

[@skindeepable]

Beautiful

[@laprimmadonna2341]

Pertile!!!!!Sin palabras…madre mía…qué tenor!!!!Muchas gracias ❤❤❤

[@amantedellopera1681]

Maggie flying the flag for ireland alongside one of the 20th century's best ever spinto tenors.this is an excellent version of how this duet shojld be sung bravo

[@martinmariani8974]

Pertile, voce unica nel campo drammatico, con tutti i registri sapientemente dosati. Anche Mrs. Sheridan possiede una voce splendida e "moderna".

[@eugeniolino8695]

Pertile grande stile voce potente e passaggi delicati di grande sensibilità, di grande professionalità drammatico lirica, per me un tenore unico nelle sue interpretazioni molto famose, ormai leggendarie del bel canto italiano, della quale fu grande ambasciatore, grazie Aureliano Pertile! 👍👍

[@PianoGuy1990]

Bravo!!! This touched my ❤️

[@MrPAPAGAYO46]

AURELIANO PERTILE y MARGARET BURKE SHERIDAN conforman otro grandioso Dueto de Amor, el mismo que diversas parejas de grandes solistas han igualmente interpretado con absoluta maestría y con un profesionalismo sin límites. Este dueto marca el cierre impetuoso de la Opera ANDREA CHENIER, original del gran compositor italiano Umberto Giordano y basada en textos sobre episodios reales de la Revolución Francesa, aunque los hechos narrados y los nombres sean realmente ficticios. La magnificencia de las dos voces, la fuerza expresiva de la música, junto con el vigoroso respaldo de los timbales y de los redoblantes en los pasajes más intensos de este cuadro final, hacen de este cierre uno de los más grandiosos jamás escritos en el catálogo de dramas históricos tipificados en las notas vibrantes y arrolladoras de este final.

[@eliascastillorivera7130]

es.m.wikipedia.org/wiki/Andr%C3%A9_Ch%C3%A9nier Me parece que no fueron tan ficticios en realidad

[@ronnieince4568]

Pertile was the teacher of the great Virgina Zeani -his voice always seems to have immense reserves of power even at extreme dynamics -a vocal Ferrari on tick over .

[@giovannimarchesi3776]

An immense Aureliano Pertile and an excellent Margaret Sheridan in one of the most beautiful recordings in the history of bel canto, a precious document of how Opera should be sung. In particular, the perfection and nobility of Pertile's "legato" and phrasing are something indescribable. In this voice that literally flies over the Orchestra we not only hear a good tenor: we feel, in a word, the soul of Andrea Chenier, the soul of the Poet.

[@annaruocco8097]

Absolutely.the master.

[@billobrien5118]

This is from the VERISMO school of opera - it is NOT BEL CANTO! Its CAN - BELTO!!!

[@amantedellopera1681]

Indeed very much verismo,not bel canto

[@brunaazzurra]

che grandezza nei fraseggi di Pertile!.....dolce e convincente la Sheridan. grandi!

[@nuriaimarc1282]

Magnificent. Superb. Perfection

[@aetion]

Great singing by both. Thank you, VinylToVideo.

[@gaytenor]

A terrific performance of the great duet with Pertile in great form and Ms. Sheridan, new to me I think, is also quite fine. To keep on delighting us with your rich treasure trove of goodies from before 'the age of frauds' thank you very, very much.

[@voicemad]

Love these two, were a fabulous pair Pertile with his fabulous steel warmth and Sheridan with her great thundering great middle register and also high secure sound. Love them.

[@ottorinoperuzzi7051]

Non ci sono parole per descrivere questo grandissimo è unico tenore grazie maestro

[@gemmadestate3216]

Un duetto da pelle d'oca e cosa é la musica dell'Andrea Chenier...sono "audiotrasportata" in paradiso...

[@65attila]

What vocal and interpretively glory by these great singers.

[@radames5855]

Meravigliosi...sopratutto Pertile con un legato superbo da fenomeno...

[@josephbellano2817]

Voices of the Golden Age of Opera

[@breberto]

Sono pieno di commozione, non si può cantare con più stile, emozione e partecipazione di quanto fa Pertile, le sue mezze voci sono sublimi, le sue smorzature oggi sono una merce che non esiste più. Ascoltando dischi come questo capisco i cultori del bel tempo passato. Mi succede di essere sempre più insoddisfatto delle esecuzioni delle opere del grande repertorio.

[@andreaprandi4711]

Un vero amante della lirica non può esimersi dall' ascolto di giganti come Aureliano. Fortuna che è nata la registrazione, altrimenti cosa avremmo perduto. Troppo.

[@hashatz]

Pertile portrays an ardent Chenier full of feeling and emotional fire. He is warm and caresses while singing with great conviction. This is a wonderful recording. Sheridan is outstanding.

[@peterbailie1558]

Shlomo Hoffert...hers was a short but outstanding career ...how lucky we would be to find a voice like this on any stage nowadays...... Pertile certainly brings out the best in whoever he partners...

[@hashatz]

@@peterbailie1558 I'll buy into this statement, anytime.

[@stefanogrimaldi503]

Pertile è un fuoriclasse totale

[@amantedellopera1681]

Pertile world class very polished he truly understands what he is singing likewise Sheridan a great duet with greater leads bravo

[@dragansavic39]

It is great to hear Pertile again, the master of high tones. Meraviglioso !

[@pascalDOM61]

Merveilleux chanteur, surpassant nombre de ses successeurs!

[@sospello]

Wow--Pertile is one of my favorite Italian tenors of the early 20th--this is great and of course you introduced me to the recordings of Burke Sheridan. Thank you, VTV.

[@hashatz]

This is a sensitive, artistic reading of a moving duet. Pertile and Sheridan are thrilling! Would there were more like them singing on today's stages. Listen to Pertile caress the phrases, tender, loving. He gives immemse moral strength to Magdalena in the moments before their death. Sheridan is superb.Marvelous!!

[@Ilvermibaleno]

Madonna quanto è bravo Pertile.

[@AHalfBaritone]

I love Pertile in this duet and will listen to him more. There is a very interesting chapter in Edgar Herbert-Caesari's book, THE ALCHEMY OF VOICE, where he talks about Margaret Sheridan studying with him from 1934-39 and 1945-46, after a "devastating emotional upheaval" in her life (?) and after all her success, to rebuild her confidence as well as her vocal technique. In Caesari's view she was a "natural" and had never really learnt any technique as such. It's a facsinating account.

[@wbondar]

Stunning! Bravo to them both!

[@rupepill]

A remarkably well sounding recording of two fine singers. Thank you very much for this very enjoyable video.

[@VenusLover17]

Fabulous! Thanks so much

[@gayoperadude63]

wow! I love both Pertile and Sheridan! I was introduced to both of them by late voice teacher Mario Rossi

[@radames5855]

Pertile stupendo, come sempre

[@Tenortalker]

What a poetic singer Pertile was and Sheridan was a great artist too.

[@patricktee6305]

Sublime.

[@phyllisramsey9531]

Superb singing by both singers! They sound wonderful together!

[@gorgiasromero4647]

Giorgano's soul itself. AMEN.

[@michele22951]

Asoltando Aureliano Pertile, nel suo sommo magistero, s'acqueta ...la nostra ansia di sentire il Canto con la C maiuscola !

[@boothtarkington2681]

SPLENDID SINGING REFLECTING THE ART OF BEL CANTO - NO LONGER HEARD ON THE OPERATIC STAGE.

[@annaruocco8097]

unfortunately very true.

[@amantedellopera1681]

Its not bel canto,it is however very much a verismo opera,very different from bel canto

[@mariarosaesergiomarycib2492]

Sono magnifici ,magnifici. Mari

[@TheGuidogeno]

Non ci sono aggettivi per tutti e due, specie per Pertile "mostruoso" La più bella incisione del brano ed ha 84 anni!

[@MrSkylark1]

This represents "THE LOST ART OF SINGING'

[@gaytenor]

@Mighty Tenor: part 2- When I was young eons ago we had tenors like Tucker, Konya, McCracken, VIckers, King, Corelli, etc., handling the heavy roles at the Met today we have lyrics like Alvarez, Alagna, etc. trying to win the 'Trashing your voice award' previously won by DiStefano, Carreras, Leech, and Villazon to mention only the singers with great voices that went bye-bye quick. Lyrics like Peerce, Bjorling, and yes Pavarotti knew how to say NO to management.

[@AHalfBaritone]

I would also mention Edgar Herbert-Caeasari's other books to add to my previous posting. THE SCIENCE AND SENSATION OF VOCAL TONE, THE VOICE OF THE MIND, TRADITION AND GIGLI, THE ALCHEMY OF VOICE (as previously mentioned)AND VOCAL TRUTH. Alma, Caesari's daughter is still alive and living in London and has re published her fathers books.

[@hiram242]

Fabulous...thank you for sharing. Check out the clip with Tucker and Curtis-Verna.

[@gaytenor]

Bravo on your totally on-point remark. We must consider the beauty of Madame Netrebko I guess. I didn't know about the performance you mentioned below it must have been interesting!

[@gayoperadude63]

her voie is bright which makes it easier to cut! so many darken to make the voice sound bigger! hers cuts just fine! LIsten to his Calaf! WIth OLivero ans Cigna! Amazing!

[@Salomes7Veils]

I agree that many darken their voice, but most dramatic sopranos and spintos happen to have a dark colour to their voice. Like me, and I cut fine. Sheridans voice doesn't seem very bright to me, except from in the high passages. It is round and beautiful, and I also take the recording into consideration. All voices from that time tend to sound brighter than they really were, due to the recording techniques at the time. Mostly the high overtones were captured. I am sure Sheridans voice was far warmer in the top as well, than what we get to hear.

[@peterbailie1558]

Sorry I Down thumbed by mistake.... Could not agree more....your analysis of the the current recording practices of the time are absolutely correct...l’m old enough and lucky enough to know people...to have known people who had heard La Sheridan and the voice as you say...or as they say... was much warmer on top...whatever...a fabulous duet here for which we should thank the poster... ..

[@gaytenor]

@MightyTenor: We simply do not have real spinto tenors these days. The problem, in my opinion, is not the fault of the singers but rather is a combination of two factors--the conductors want to gather all the attention by making the orchestra the dominant factor and the sheer size of an opera house like the Met demands a cannon sized voice in the heavier operas. Another factor is that singers are pushed by management into too heavy roles too, too soon before their voices have matured. See part 2

[@hashatz]

Let's not forget that the Old Met was cavernous and singers with less than a cannon in size did not overwork their vocal resources. Good singers know how to husband their assets.

[@ivano4201]

Così si canta

[@italopera6036]

The friend of my Maestro Guearti

[@robertocaccamese482]

Pertile eccelso.

[@infrantasi]

I would be likely to refer to "the age of frauds" in Italian as "l'étà dei cacasotti"-the age of the shitpants kids"!

[@infrantasi]

Such as Anna Netrebko singing Anna Bolenskaya.

[@ivano4201]

Pertile grande No Grandissimo