Beniamino Gigli gives a little bel canto masterclass

Beniamino Gigli, tenor
Gigli gives a tip when talking about vocal technique.
Translation:
- "Therefore, I'll do a breath, a breath without diaphragm. I'll tell you that I'll do that over the breath:
- M'ama, sì m'ama lo vedo... lo vedo
(highlight of the aria Una Furtiva Lagrima, from L'Elisir D'Amore - Donizetti).
It's not necessary the diaphragm. Why? I'll say: this 'canto' is supported only over the breath, over the 'fiato', but when:
- quando io mi debbo impegna-a-a-re...
now is necessary, when is need to pledge, is necessary to find the diaphragm."
Sorry for my imperfect italian translation, that's not my natural language.

[@hrbooksmusic7878]

Listen, listen, listen to Gigli singing, tenors of today, listen and LEARN! Thank you for sharing this! 🙏🍀

[@operataste]

Someone that had never learned can't teach how to do anything. Gigli is one of the best singers of all times, his technique was perfect. He used to sing more than 30 pieces (between arias and songs) at one recital, without loosing his voice. That's the real technique! Like him, there were few others.

[@Rochey93]

Translation: "Therefore, we put it that we do a breath. A breath, without the diaphragm - which means we do it ON the breath. (Sings an example) It isn't necessary, the diaphragm, because we say that this singing is supported uniquely on the breathing , on the breath. But when (Sings the second example)...it is necessary to engage the diaphragm."

[@tenorandrewowens]

While I was never a fan of the many affects Gigli added to his singing, you can't deny that he was in absolute control of his instrument and knew it inside and out. His voice was in fine working order up until the day he died. Practically EVERY great tenor (Corelli, Pavarotti, Bjorling, et al) revere him as as true master.

[@eliascastillorivera7130]

hi Andrew! can I ask you please a favor ? you used to have in KZbin a video where you show how you were training the high F.. I wish if you could shared it again, is truly interesting ! thanks !

[@harmonysinger8077]

Gigli is imo in the very top tier of tenors. I really enjoy his singing

[@juanmurillo4025]

La voz del Cielo. El gran y enorme Beniamino Gigli.

[@gahualli]

Oh My God!!! if just 1% of us, singers of today, could apply this!!!... how wonderful! Thank you Operastate very much!

[@juanpablopinoarauz]

for all the people who said what he said is not right ,or trying to said hi is singing pianissimo ,he was not ,he was singing sul fiato ,and yes you don't need much effort,not like when you sing mezza voce or pianissimo when you really need the appoggio ,why because the first example he did do not need any projection ,that's why he show the second example ,in other words what he said all the depends on the requirements . awesome example ,great maestro...

[@bodiloto]

fenomeno . divino .

[@deutschefach]

@TheVerdiBaritone He solved the most important problem. Gigli learned to sing on the voice at all times. He sings pianos like Garcia advised "la voce di petto in testa". He is a master of opening the vowels at all volume levels and flowing rather than bottling up either air pressure or muscle resistance. But the key is the opening of the vowels to their max. This allows the chest voice to connect to the head tones with no gear shifting. Schipa did this as has Gedda. For me Gigli is best.

[@bilstew]

anyone out there try to get his book"Memoirs"He sang here in Belfasts Uuster Hall and was most impressive.His book tells how he was lucky to get into the college of St Cecilia in Rome because he didnt play piano.He was just a humble saxofonist(hope ive spelt that right)in the local band.He loved to read the critics on his performances in the opera ,and always said that your critics should be treated as friends,What a man What a book...bilstew Ireland...

[@TheVerdiBaritone]

Jussi Bjoerling's wife said her favorite tenor voice was that of Beniamino Gigli!!

[@rapsodie1211]

Précieux et pas si difficile à comprendre, les deux démonstrations sont importantes et à la base d'une vraie bonne technique vocale pour un ténor, pourquoi s'obstine-t-on aujourd'hui à penser que l'on a amélioré la technique ou à confondre le chant avec une cure orthophonique, c'est un mystère🤕

[@tenorandrewowens]

In regards to his schooling, I have a signed and dated photo of him that he dedicated to Rosati saying "to the true master of the bel canto method, with love and affection of a son, B. Gigli"

[@SandroRussoPianist]

WOW!!!!!!! What a treasure to be found here!

[@sirenadellopera]

Grande, grande, grandissimo Gigli!!!!

[@hunt3r36]

His was the finest interpretation of, "Mi par d'udir ancora" from Bizet's "The Pearl Fishers", (in my opinion).

[@johnblasiak607]

What a Master was Gigli anyone criticising him is an IMBECILE there is nothing he can’t do without any effort just like he is breathing he is alive and when he is talking he is singing Bravo 👏 Maestro

[@annakuros7003]

0 w o9

[@philomelodia]

Very informative. Where's the rest of it? Can it be purchased? Nessuno che canta ancora canta di questa facia in i momenti pianissimi col suspiro. Sempre si trovanno molti che si apogianno in il diaframo. E domaggio, veramente per che l'emozzione e piu forte in momenti intimi cuando si impiega il pianissimo come lo impiegavva Gigli.

[@AHalfBaritone]

2) According to EHC Gigli was a completely natural voice and wouldn't let any teacher mess about with it. Thomas Hampson has something interesting to say on this subject: namely, that his eraly teachers told him that he had a "naturalk" voice, but they said, that wouldn't last. "We need to teach you how it works naturally so that you can keep it in line", or words to that effect. Happy singing to all you singers!

[@darklord220]

AHalfBaritone well he's wrong. Gigli was famously taught by enrico Rosati in Milan, as was lauri volpi.

[@Agorante]

Actually my ex-wife came to this country to study with just such a tenor - Leopold Simoneau. I knew a lot of his students from the conservatory too. Everyone agreed - wonderful singer, lousy teacher. His "je crois entendre encore" recording remains one of the best ever. Alas he couldn't somehow make any of his students sing as well as he had. I love Gigli's recordings. I would however be surprised to learn that he had been able to teach someone how to be the next Gigli.

[@Tin0unoduetre]

As far as I know, he was considered a world class teacher and worked with singers such as Corelli..

[@Masimba]

He even had a gorgeous speaking voice

[@vaskobulgarelli]

the best masterclass all time it is of verita!!!!

[@juanpablopinoarauz]

Maestro one of the best

[@thehix]

No, what he's doing is perfect. It's the exact same position as for full voice only support differs.

[@bradleyjenks]

You are totally right Samurai9, the diaphragm is used principally in the intake of breath, but the lower abs and pelvic muscles are the ones most involved muscles in the exhale, which, of course, is the breath one sings on. =) Anyone who has seen a baby cry, knows that is true.

[@in15ter]

FANTASTIC . .

[@orlando098]

Interesting video thank you. Regarding the translation though, I would say "quando mi devo impegnare" -- means something like "when I've got some hard work to do" or "when I've got to really go for it" - I found it interesting that he says you don;t need a lot of effort from the "diaphragm" when singing gently - I've heard some people suggest you need even More, but I don;t see what's wrong with this simple style he uses here on the piano part.

[@deutschefach]

Respond to this video... The point he is making is not that one makes the support but that the support follows the production. If the production is light, there is support ma non troppo. He sings open regardless of the volume and does not add weight. He does not cramp his body or the sound. It flows. That is what he is saying. La differenza: E la voce di petto in testa. Non e sola la voce in testa."

[@bradleyjenks]

Um, yeah, Pavarotti held him in high esteem technically, preferred di Stefano musically, and was himself one of the greatest singers that ever opened his mouth. They belong in the same ranks, absolutely, any person that doesn't acknowledge that is not just silly, they are a snob, fascinated by minutiae of recorded history, firmly convinced that everything of value 'came before'.

[@b00i00d]

Operataste, you shouldn't be apologising for your english, it is us who should be extra-thanking you, not only for posting this amazing clip but also going into the trouble of translating too!... My Italian is very rusty so your info has been great. Not being a trained singer, I'm still not sure what is meant by "breath without diaphragm" - I thought all singing uses the diaphragm and support muscles to control the voice. But still, thank you very much for a great post. Mille gracie!

[@micaelat3734]

Now I understand what Messa di voce means: to send your voice on the breath, such that it swells.

[@michaelcaliplip8908]

He controlled his breathing to produce the pure sound without sounding strain...

[@viverito]

Wow. Wow. Wow. God I love Gigli.

[@AHalfBaritone]

1) Yes. A huge amount of commentary about these 2 demonstrations. It is worth reading Gigli's lesson which introduces Edgar Herbert-Caesari's (EHC) book, THE VOICE OF THE MIND, as "796824" suggests. EHC says that he knew Gigli very well from when they were students together in Rome from about 1907. As far as training was concerned he also says that Gigli had a first (and critical) year with Antonio Cotogni, before AC retired.

[@MarcioSaburi]

My friend, do you know where I can get this book? I did my research, but apparently there are only some incredibly expensive copies.

[@pugh.joseph]

​@@MarcioSaburisome libraries have it

[@MarcioSaburi]

@@pugh.joseph, not in Brazil :(

[@jorge.sanchez7909]

Excelente.

[@Bjoerrelli]

To me voce sull fiato don´t mean singing without support. The key is to be able to control the air in the breath without to much diaphramic support. Singing light with an open throat without manufactured sound and with great cord closure. Gigli was the master of this and noone has done it better in my opinion.

[@mariopietta5888]

e' impossibile cantare senza usare il diaframma, e' un muscolo involontario,purtroppo anche i grandi cantanti hanno detto delle stupidaggini. tito schipa nn ha mai detto niente di simile

[@sidneikovacs5499]

Perfeito! O resultado é um som puríssimo cristalino.

[@TheVerdiBaritone]

Some below have mentioned the easy transition from falsetto to full voice. This is one of the glories of the lyric voice. Pavarotti did this very well, Domingo did not. Domingo had a much heavier voice. I have heard really beautiful recordings of Melchior, although most sound labored. I've been told it was truly exciting in the house. The connecting thread in my comment here is that the great artists sing as best suits their instrument.

[@robertevans8010]

I am now 98 I actually Heard Melchior live in opera with Frida Leider, Flagstad, Lehmann, and Florence Austral he was magnificent all at Covent Garden, his Tristan was out of this world he never sounded tired and he was a very capable actor, I saw Gigli also before the war and after the war in Aida he was not at his best, after the war in La Boheme with his daughter Rina at Covent Garden it was a magnificent performance and is among my lasting memories, also Martinelli's performances in 1937 Coronation season were also in my memory, this man has come in for a lot of criticism , mostly from people who probably never heard him live, his was a much stronger voice than Gigli and certainly more than Domingo, his acting abilities were superb and his line and legato of phrasing were breathtaking, he was a real musician and a great artist, my father who sang in the Chorus at the garden from 1909 till 1940 wrote in his diaries in 1912, Giovanni Martinelli has arrived from Italy a new tenor, he is quite tall for an Italian tenor, he is handsome, he is also very easy to talk too, he impressed the people in the wings while singing a warm up in rehearsals, it was a very luscious and peculiarly more Russian sounding voice than Italian, this man is going to be a sensation, that did happen he sang with great passion and was easy on the high notes. This impression also increased in the following season which Caruso watched in the wings, they appear to be very friendly, In 1919 Martinelli along with Belgian Tenor Fernand Ansseau were given a lot of remarks about their qualities, particularly Martinelli's Ballo with Destinn which he said brought the house down with both doing a tremendous Dflat on the duet. Ansseau also was a very fine tenor in the mould of Paul Franz . I saw Pavarotti live many times, it was not a large voice, but had great beauty at times, although I think he should have kept to the lighter Lyrical roles, this was his forte, not Calaf, Radames, Manrico or Otello, but a great Singer and that cannot be doubted, Domingo, he impressed me in Carmen and in Aida although he was rather strained in parts, but his voice was another beautiful instrument, of the modern tenors today , I am in despair at the quality, there is none, after the war I heard Del Monaco, Corelli, Di Stefano, Masini, and many many others, Di Stefano was a really beautiful voice in the house, but he misused it and a lot of the polish had gone quite early, Del Monaco is the Tenor who I regard as a real magnificent voice, it was virile and exciting whatever he was singing, Corelli also was magnificent, these were the qualities I was hearing as a young boy and man, I was lucky enough to work in Italy for 12 years after the war, mainly for refugee agencies, I heard a young Callas and Tebaldi, both incredible and Callas is from another world, she was along with Claudia Muzio and Frida Leider the best soprano's in my opinion that i had heard, but I cannot think of a bad one, that is until I heard a Famous? Soprano in 2009 at Covent Garden who had a Microphone my god I thought what is happening here, I was asked to be taken out, it was to much for me. I hope you do not mind my remarks, they are personal, I met Martinelli on three occasions in 37 62 and 64 a truly great Man and Artist he was full of praise for his colleagues and was always gracious and a very kind and respectful man, a real Human Being, I talked to him about Toscanini and his thoughts about him as man and musician, they were very close friends I knew that, he said to me that if he lowered his head and looked at you with one eye, you looked for the nearest exit, but he was a wonderful man and like Caruso was irreplaceable and unique.

[@glennyweoll678]

@@robertevans8010 👍👍🙏😇

[@foxofthebahia]

Thank you so much beautiful!

[@operataste]

There are two or three complete studio records of the aria, and many others live recorded.

[@orlando098]

When he says a breath without the diaphragm, I think he means the out-breath - he is saying in the first case the sound is just supported on the breath , simply; in the second, where he needs a big sound, he uses "the disaphragm"- by which I suppose he means the abdominal muscles - as, scientifically-speaking, you can't not use the diaphragm in breathing as it is just a sheet of muscle at the bottom of the lungs, which goes down as you take a breath

[@micaelat3734]

In my experience, we have more voluntary control over diaphragm than I used to think. By keeping it tense and wide, and therefore lower, even on the outbreath.

[@gspaulsson]

Many people who are very good at things have natural talent and can't actually explain what they're doing to someone to whom it doesn't come naturally. Someone who has spent years studying technique but just hasn't got the voice might well be a better teacher.

[@darklord220]

You only understand his explanation if you can actually sing; his prescriptions are obvious really, they are just to difficult to execute at first.

[@philomelodia]

Pavarotti's style was entirely different. I'm a devoted fan of Pavarotti but, I gotta hand it to this guy. He was fantastic. Pavarotti himself acknowledges him as a master. I'm just glad nobody has dared compare Paul Pots to this guy. Lots of uninformed fans of his out there are making outrageous claims that he excels any number of the greats. It's bosh but people are going for it nonetheless.

[@bodiloto]

philomelodia live performance : 1 Gigli = 30 Pavarotti .

[@user-bg8hs9yw4i]

Vorrei imparare a Maestro Beniamino Gigli. 😢😢

[@MrSkylark1]

Gigli STUDIED with ENRICO ROSATI, who also taught MARIO LANZA

[@operataste]

@edwardtagg The translation always was available, at the video description. Click on "Show more"

[@operamusicfan]

How do you know whether he can sing or not? And yes, diaphragm is involuntary - you can't push it or relax it. That happens by itself during breathing and every one does it, not only singers.

[@jorge.sanchez7909]

Traducción al español por favor...

[@breton2]

@operataste I think you are totally right, your advise is just fine.

[@afahsieh172]

Speaking like sining!

[@aguacun]

I like more his voice with the diaphragm

[@flaze3]

you can't produce sound without the diaphragm, except for champing your jaws together. What he must have meant is that you need very little breath to produce pianissimo.

[@giuseppemirkolococo7561]

Grandissimo Artista Gigli, anche se io non sono d'accordo sul fatto che non si debba utilizzare correttamente il diaframma per cantare frasi seppur semplici, credo piuttosto al fatto che il diaframma vada utilizzato sempre e comunque, sia che si cantino frasi semplici sulla I ottava che frasi complesse sulla II ottava, al di là del fatto che una frase sia di per sé assemblata correttamente per un ottimale utilizzo del fiato. Un appoggio sicuro serve sempre e comunque, giusto per non cadere nelle infami trappole delle cosiddette "frasi semplici". Nulla è semplice ma soprattutto nulla è scontanto!

[@bodiloto]

Giuseppe Mirko Lo Coco Non è vero . il vecchio

[@gianfrancocartella3598]

Ho fatto come diceva Gigli. Ho scoperto di cantare meglio di lui. Miracoloooo

[@bilstew]

The chicken evolved first over time and the egg was used as a means of re-production..BILSTEW

[@operataste]

- "Therefore, I'll do a breath, a breath without diaphragm. I'll tell you that I'll do that over the breath: - M'ama, sì m'ama lo vedo... lo vedo (highlight of the aria Una Furtiva Lagrima, from L'Elisir D'Amore - Donizetti). It's not necessary the diaphragm. Why? I'll say: this 'canto' is supported only over the breath, over the 'fiato', but when: - quando... now is necessary, when is need to pledge, is necessary to find the diaphragm."

[@operataste]

To sing is a technique that the singer amount a large set of feelings, memorize them when they produce good efect and avoid them, when the results are not good. The human anatomy really helps to the singer understand more about what happens in his(her) body, but isn't enough to sing. I know that nobody said that it's enough, but I can't consider that Gigli was wrong. Someone is right if the human knowledge goes up to that. When something new is discovered, then the truth "changes".

[@edwardtagg]

Pity -no english translation - havent got a clue??????????

[@Ilcervellonefg]

Ma cos'è, ALIENO ??? O.O

[@joelshuan]

Jajajajajaja No, soltanto un tenore che sapera respirare e spendere correttamente il fiato. È tutto. 🤭

[@sangiorz23]

@freespiritQC I wanted to congratulate your sensible and balanced response, and I accidentally hit the thumb down! I'm sorry I don't know how to reverse that!

[@phantom4087]

Fool!!!!???? Well, first of all, he is one of the greatest tenors who ever lived. Second of all, maybe that's just the imagery he uses. That's how real masters teach.

[@deutschefach]

@operataste I can not disagree with you more. If one wants to sing at Gigli's level, it can not be done without solving this problem. This is a problem that makes or breaks a singer. Fear is not a solution. Finding a solution to this is what makes a singer like Gigli or Gedda superior "technically" to Pavarotti. This is the difference between Del Monaco and Corelli. It has to do with vowels remaining open at low as well as higher volumes, and "con sofiato" singing.

[@ChomskyAnarchist]

@philomelodia How can anybody be devoted to Pavarotti when there are voices like Gigli, Caruso, Lanza, Del Monaco, Corelli, Schipa... Pavarotti fans are almost as ridiculous as Paul Potts.

[@marinarperry5672]

There is no doubt that Gigli had the basic materials of a good tenor but it was his time spent with Professor Rosati (at no fee!) that recognized the raw material and worked with him for 18 months, correcting the existing harm done by previous teachers, until he learned how to sing "su'l fiatto"..."on the breath," instead of forcing it ! For Gigli's US debut, Prof Rosati lent Mino his own tuxedo as Mino had none and their figures were not dissimilar ! How do I know these details, you wonder ! Professor Enrico Rosati was my grandfather; Mino was my Godfather, and my father, Alessandro, student of the violin at Santa Cecilia, a contemporary and pa; of Mino's; shared his room and bed with Mino) while they were both students at Santa Cecilia. Years later, their paths again crossed in Germany while my father was on tour and Gigli was causing quite a stir in Berlin as he had achieved a following in Europe,including even a movie opposite Magda Schneider!) before achieving the same in New York on his first US tour !

[@raynardi7243]

Ma cosa vuole dire quando dice 'senza diaframma'? Il diaframma si muove sempre...🙄

[@bradleyjenks]

Yeah, okay....ever heard of a guy called Luciano Pavarotti? I get it that Gigli was great. But Pavarotti on a bad day still sang better than most on their best day.

[@alanhowe7659]

Well, a great voice, no doubt. But, this is not pure bel canto singing because the vocal line is interrupted by small, but audible aspirates.

[@operataste]

What Gigli did was not to repeat: he used to pass from the full voice to the falsetto without any effort, it was simple to him. He used to make light phrases without the diaphragm (sul fiato), that means only focusing at the words on the lips, and using the same force as an popular singer singing very "piano". But he was unique, what was easy to him can be a disaster to other singers. My advise is: run away from this!

[@arcot9]

Fool teaching??? You have to be kidding.....or not informed! This is a master talking! Listen and put your ego aside!!!!

[@js59695]

you are way off. As a teacher being a tenor its not all about stamina. What if you are a light lyric do you really think that you can sing through La donna e mobile and then turn around and sing je crois...thats bs...singing it doesnt make you a good teacher. some great singers simply cant teach. good pedagogy is a good start. Some music even without a full orchestra is naturally heavy. take amor ti vieta for instance. Hardest "A" i have ever attempted and that was just with piano

[@bobholtz518]

TheGamingBeardie ;

[@bodiloto]

Non si capisce niente , purtroppo… il vecchio

[@Tkimba2]

Lezione inutile. Certo grandissimi cantanti avrebbero dovuto astenersi dal dare certi "consigli" inutili. Cantante valido non significa insegnante valido

[@bodiloto]

Tomba 2 ma non è vero . per dire le tue parole questo vuol dire che hai lavorato tecnica,impostazione e hai cantato con Gigli più di due anni ... ma dai ... supponiamo che sei un tenore vero . cosa ti impedisce di cercare di imitare il suo gesto vocale imitando la sua vocalità ?!...

[@Tkimba2]

@@bodiloto non credo di aver capito il senso dell'ultima domanda. Comunque... Gigli è stato un grande cantante e si può imparare 100 volte di più da una delle sue splendide registrazioni che da queste lezioni inutili. Ma poi che senso ha parlare di usare così o cosà il diaframma?... È come parlare a un corridore di come deve pompare il sangue il cuore. Poi non so se Gigli a fine carriera si è dedicato all'insegnamento... Non conoscono nessuno che sia stato suo allievo e poi un grande cantante (come potrebbe essere un Thill, allievo di De Lucia).

[@bodiloto]

@@Tkimba2 Carissimo giovane amico, ogni parola che esce della bocca del Grande Beniamino Gigli e' un inestimabile regalo . non amico, si deve parlare della diaframma perché da questo muscolo dipende la bellezza della tua voce ! anch'io non conosco nessuno chi e' uncantante grande dopo aver lavorato con Bergonzi,Pava,Fisichella e compagnia... la mia domanda era simbolica . con le mie parole volevo dirti che chi impara molto di più cercando di imitare la vocalità meravigliosa di Gigli che di ascoltare i ''consigli'' sull'impostazione e la tecnica qua sul YT . un esempio solo,ho un amico tenore chi durante 20 anni era considerato in Italia e dai maestri italiani come tenore leggero . in soli 5 lezioni lo stesso tenore già mi canta a te o cara con una vocalità molto più squillante e bella di quella di Fisichella, canta anche il duca di mantova,cavaradossi.... e ha la vera voce del tenore lirico pieno ... ieri abbiamo cantato insieme più di 3 ore e questo mio collega era felice come un ragazzo di 16 sani chi sta scoprendo il mondo della lirica ... cordialità il vecchio