Che Gelida Manina Battle(B4-C5(-C#5)READ DESCRIPTION)

[@draganvidic2039]

One example of perfect covering and full tone with some chestvoice is Jerry Hadley! May he rest in peace!

[@joseridelman8155]

When you hear opera, and a particular Aria, judging quality is much, much more than reaching a note!

[@purisermonisamator]

Jose, you read my mind.

[@hugodelcerro7400]

Pienso igual . Y los que hacen el do5 no son mejores que los que lo hacen en si4 . Por caso un contratenor podría hacerla aún más aguda y no por eso quedaría más bella . A mí me gustó más el do de Diego Florez . Más equilibrado lo siento .

[@ombresetlumieres3137]

"Che Gelida Manina", cet air si bouleversant du génial Puccini, ici interprété par les plus belles voix de ténors, du passé et d'aujourd'hui! Comment ne pas être ému par tant de beauté vocale pour servir une œuvre magistrale, peut-être le chef d’œuvre du grand compositeur Italien?.

[@shereewilson6278]

All wonderful but Jesse Bjorlings rendition is really special .His technique at holding that note is just amazing and produces the wow factor for me.

[@JussiBiorling]

Alfredo Kraus, Pavarotti and Jussi Biörling are perfect.

[@awokwok1029]

Perfect? Kraus sounded nasal and constricted here lol.

[@adamturrubiates7462]

​@@awokwok1029check out krauses earlier recording of this it's insanely good . Alot of people.only know Kraus and his late recordings. When he was in his prime he was easily top 5

[@konradottingen7187]

@@awokwok1029 ma non dire ca***e

[@withitr6672]

@@adamturrubiates7462 kzbin.info/www/bejne/b5nKl5l8l9KVqKssi=LwcMKXPrL1UIVs0z

[@irpas07]

@@awokwok1029 why don't you do better then, can't find any awokwok1029 on the list here

[@katef6154]

Carreras for me not for the high note but for the whole aria - I really believed he is a young poet in Paris who has met this woman who has just by her presence captured his heart

[@barrybernstein9049]

Carlo Bergonzi's debut Rudolfo at the Met in 1958 of "Che gelida manina" is the one that casts the longest shadow for me. You can find it on KZbin. Rudolfo is expressing to Mimi in EVERY intonation in Bergonzi's legato , who he is, what he does. How he survives. Whilst he holds her frozen hand . And in his singing Bergonzi shows her his feelings. In a manner which nobody else achieves. There is no exaggeration . It is pure perfection. But just don't take my word for it. Jussi Bjorling, Leonard Bernstein and Pavarotti have all said how fantastic Bergonzi's rendition of Puccini's finest tenor aria was..

[@joshuaalfred8307]

So many incredible voices. Pavarotti takes my heart though. That soaring, bright, piercing and resonant high C and the soft control at the end just gets me every time.

[@dyllpickle8890]

jonathan tetelman actually kinda killed it, not sharp, not flat nailed all of the notes in the sequence right on the head.

[@LocutusBorgOf]

Kinda fast vibrato tho

[@bryanschlippjr4894]

Hey at 7:59, that high note almost similar to Pavarotti

[@sebastiancalmac237]

neue stimmen is actually the name of the contest/festival, not the name of the singer (6:29)

[@mr.hashundredsofprivatepla3711]

The singer’s name is Chen Dashuai

[@meganmorgan8039]

Now I see why my father rated Bjorling highly.. he made the hairs stand up on the back of my head! I still love Pavarotti though..

[@rugby8-Philadelphia]

....except for the approach to the C 🤤

[@Yavor54]

Wow...that was amazing. Going to have to give it to Pavarotti #1 and Bjorling #2.

[@rogerchandler8415]

The best ones integrate the high C within the phrase without interrupting the flow of the phrase. Roberto Alagna does an excellent job of smoothly singing the phrase as well as Pavarotti. The ones that "hiccup" before the high C are less musically and technically successful in my opinion.

[@kururugi8221]

I agree with you ^^

[@johnhoie1]

For years I’ve been a big fan of Bjorling (especially), Pavarotti and Corelli, but Beczala was really impressive in this short snippet. I know of him without having heard much. Have to seek him out.

[@johnalbanese868]

Im fan of pink floyd beatles etc but recently discovered this gem of music i can't stop listening to this and now have puccini verdi rossini's brahm and wagner as my favourite

[@purisermonisamator]

Congratulations, John. Tell me, please, who is your favorite Wagner singers?

[@johnalbanese868]

@@purisermonisamator i like brahm. Even though beethoven is more famous i find he is over-rated thats my opinion. I love puccini music and verdi.Rossini is colouful and very pleasing.

[@purisermonisamator]

@@johnalbanese868 Unfortunately you've forgotten to write about Wagner and your favourite singers. However I don't insist at all.

[@johnalbanese868]

@@purisermonisamator yes wagner is good but not my favourite aside one piece he wrote the valkyrye ( i think thats how you spell it ).

[@purisermonisamator]

@@johnalbanese868 Hey, John! What about the Beatles? Which of their records and songs do you prefer? Could you please compare John and Paul?

[@johnnybeanz1296]

Very fun video! Good job.

[@brendant19]

Can anyone really compare to Pavarotti's composure on "Za" though? He's in complete control.

[@Piotr_Szyba]

Yes, i've always been amazed by how he handles that phrase.

[@klaudiusmarcelus]

I like Fisichella, altough the recording is not so good.

[@newironside]

KZbin is drunk as hell. Right after spamming me with clips of new in Arabic they put this in a Mix with the SMT IV OST, which not only has no lyrics but also entirely synthesized. Enjoyed this anyway, haven't listened to Opera since highschool

[@JLFAN2009]

In studio recordings, all tenors (including even Domingo) sing it in the original key, meaning that they take the high C at the end of the aria. But in live performances, they seem to be divided: I used to think that transposing the aria down by half a tone was the exception, not the rule. However, according to Pavarotti, even many great tenors in the past were known to do this.

[@peripheraldevotee94]

It largely comes down to whether they're performing the opera in full, or merely reciting the aria by itself. When La Boheme's performed in the original key, Rodolfo's part has a very high tessitura, so a fair number of productions transpose it down to reduce wear and tear on the voice.

[@ZENOBlAmusic]

Pavarotti himself transposed it very often.

[@suffes1]

Perfect to save Rodolfo himself for the final appearance. Jussi Björling was Rodolfo throughout his career and will forever be Rodolfo!

[@Ursaminor31]

The c5 was always easier to sing for me than the b4. My stickiest spot was always b4 and bflat.

[@vickiw3335]

BJORLING...PAVAROTTI! Tetelman - Wow, where did he come from??!!

[@marciaschumanndasilvagonca6932]

And then you compare salvatore fisichella teaching and then singing its exactly the same vocal strenght! AMAZING!

[@neibaf4897]

This is so weird that all those men have the same voice when they reach high notes! That fascinates me considering our resonators are so different from a person to another!

[@SmokeymcJoint420]

That's kind of how notes work....

[@tomvandongen8075]

@@SmokeymcJoint420 notes are all the same base pitch but one man's G4 will sound quite different to another, whereas I get what the OP is saying here; most singers sound like they're switching to an incredibly similar method of production for that one note specifically

[@acitipo]

El más hermoso C5, emitido, brillante, claro, luminoso, sin constricción, LUCIANO PAVAROTTI!!!!

[@道-p2e]

Jussi Bjorling and followed by Pavarotti. Great choices...

[@mijunhong1]

Bjorling for sure. Last but the best!

[@cobalt._.27]

Those guys doing the La Speranza challenge before it was cool

[@Piotr_Szyba]

What is it?

[@flocz5655]

Piotr Szyba Ive looked it up. Seems like u have to sing those high notes of La Speranza for the 20mins duration of washing hands as another corona-challenge.

[@brendant19]

I think Sabbatini is pretty underrated. He has excellent control.

[@alessandrocodeluppi4916]

Alagna is fabulous here!!

[@iancaldeian]

Some of these tenors achieve that note so smoothly that I felt like I was soaring with them on wings. Rame Lahai wasn't necessarily my favorite - how could you choose just one - but his rendition seemed the most distinctive. Thanks for sharing. Could you post an Esultate - Otello battle, please?

[@bradleymonroe6443]

Oh he will. But could he also post tenors singing Mario Lanza songs.

[@Agorante]

No need. As everyone knows Mario del Monaco owned that opening. He was simply stupendous eclipsing all others. But after those first few minutes Vickers was a better Otello in every way. I heard Domingo sing it live twice - once the famous opening night where he flew across the whole country to save the show. In truth he wasn't too good in that scene - it was late and we were all exhausted - including him.

[@iancaldeian]

Where did that skinny guy get such a big voice? Yijie Shi

[@ZENOBlAmusic]

@@iancaldeian It is usually the skinny athletic guys who have the dramatic voices. The lyric tenors are usually more round.

[@Sokx41]

How can the accompanying soprano withstand such a blast of sound in their ears if they are close and in front on the tenor?

[@elizabethharland-hazebroek7413]

There is a great difference....

[@Agorante]

I've heard a lot of these guys live. The first tenor comparison I ever made was on cassette tapes while walking to college playing this same aria 'Che gelida manina'. It was 1960 when I was just out of high school. I compared Mario Lanza, Jan Peerce, and Jussi Bjorling. I had never heard the aria before or Jussi. I had heard Lanza and thought he was great but then as now a lot of 'experts' found fault with him. I decided to make up my own mind. Well Peerce and Lanza were easy. Peerce was legitimate - he sang at the Met. But he couldn't hold a candle to Lanza. Later I was to hear Peerce live several times. He was good of course but the voice was never a challenge to the the best guys. The voice just wasn't as pretty as that of the top tenors. Then I played this guy I'd never heard before - Bjorling. I expected his efforts to also not match up to Mario's version. Wrong! It was what you call a revelation. Lanza was really good in most of the repertoire but Bjorling owned that role. Half a century later I still remember that day when I compared tenors. I saw Boheme many times and sang three different bass roles (Colline, Alcindoro and Benoit) in the opera. Many different productions many performances. Every time I heard the tenor's big aria I compared it with the Bjorling version. Jussi is still the champ. Bergonzi like Domingo had been a baritone. Domingo of course was never happy with the High C but overall - and I've heard them both live many times - Domingo had a much better top voice. I don't care if Bergonzi sang the C once in a studio. Bergonzi not Lanza was the guy who only sounded good on records. Live Bergonzi had a small and somewhat pale voice. Not thrilling at all. Domingo had a great but slightly short top. Almost no normal star tenor sings a C in performance. Chris Merritt, Salvatore Fisichella, Bruce Ford, Frank Lopardo, and Juan Diego Florez pop out top C's and above with ease, but they are not mainstream tenors likely to sing Rudolfo at a major opera house. They are high note tenors. Some of them like Ford and Florez have small voices and would not do Boheme in a big American opera house. Some tenors with famous super high note come a cropper in live performance. I heard Pavarotti's C in Trovatore - thin. And Kraus' D in Puritani - spread. High notes are treacherous. High notes are just a matter of the length of your vocal cords. Short cords - you're a tenor - You get the girl. Medium length cords - as a baritone you're likely to be the villain. But with big manly vocal cords - in opera you stand at the back and wear a toga. High notes are only part of opera but they can be important. I once sang a high G in performance. Once. It was a concert and I sang an original song that wasn't too good. On the spur of the moment I sang a final climatic High G - something I'd never done before in performance. It made the song. The composer cried like a baby. High note magic.

[@andymanland]

Franco Bonisolli is the best high note tenor (well at least from 1970's to 1990's. Hard to compare to singers of older era. But as to those from 1970' s an on -- he is the BEST.

[@Agorante]

@@andymanland This is possibly true but Fisichella also has his admirers. Bonisolli had a bigger career. Never heard Fisichella live. Heard Bonisolli a couple times. Liked him a lot. There are many Rossini tenors who have tons of high notes but usually they have smaller voices not appropriate for Verdi or Puccini. One of the best high-note tenors was Leon Esclais. Not a really pretty voice but a sensational top.

[@potusumanbibingka]

seems like you didn't mention Corelli.

[@Agorante]

@@potusumanbibingka I didn't mention many others too. I have several Corelli videos posted and dozens of comments.

[@darrenmendez7262]

How bout franco corelli

[@ransomcoates546]

I can understand uncertainty in the pitch of older recordings, but with the moderns you know what key they are singing in (most singers lower the aria half a step, and there’s no dishonor to it), so I would prefer to know what note they intend to sing and let the listener decide if they are sharp - as Bjoerling is, very sharp). Controversy will always rage about what he sounded like live and unamplified, but in this repertoire I think Lanza is the best, as he would not be in ‘Trovatore’, where Corelli always lowered the ‘Pira’ but sang D flat at the end of the Act I trio. Go figure.

[@andymanland]

so does Bonisolli, listen to his Manrico (flat d) and than di quella pira twice with hi C and than another d flat in the trio.

[@falkfink]

Bjoerling was always sharp

[@salmonfire]

I love these videos. For me in my late fifties I was brought up on Opera Music and Frank Sinatra. Have I heard all these singers - No. But for the 25% of the top singers here I recognize; its because I searched and bought all these records in my early teens - late seventies. And I went and bought from antique stores early 78's opera singers. My favorite find was Galli-Curci - the queen of crescendo. For me I think its actually the way the singer evokes feelings and emotions... like the opening act here. Jose as soon as he starts singing you get an intake of breath! Then he lets go and you feel it in your body. Many singers here hit the notes - but its like comparing a Recorder instrument vs a Clarinet...

[@glenselenselvs]

The Nordic dude Borjling always.

[@quercingtime]

Was waiting for that 10:04. Björling dominates this one

[@FolyMeister]

Roberto Alagna is just SUPERB!

[@ante-tonciurkovic2389]

Franco Bonisolli should be here between great tenors too.

[@Jeff4014]

One of the few who really should be in this list

[@panospoupou7834]

kzbin.info/www/bejne/q2jOoqmog6-sb9E

[@andymanland]

He shouldn't be here between, he would be the best between these tenors.

[@maximtuboltsev6046]

And there should not be Florez, Villazon, Kauffman and etc.

[@gustavometz]

In this compilation, Pavarotti excerpt is the best.

[@aniellobuonincontro3603]

more than high-pitched voices I love those rich in harmonics

[@iancaldeian]

Taro Ichihara gave a little "that was quite an accomplishment" smile at the end. Love that ring in Tito Schipa's B4 and Carlo Bergonzi's C5. You know that Yijie Chi would hit that C5 as soon as he opened his mouth, but I think that Franco Corelli was born to sing this specific genre of music. What a beautiful arch. Guiseppe Sabbatini and Giacomo Aragall also achieved the same with his C5 and Daniel Matousek reached his effortlessly. Nicholas Gedda performance was one of the most thrilling. I still think that Jonas Kaufmann should be a baritone. These are some of the few that I replayed over and over.

[@Sebastian740]

There is only ONE CORELLI!!

[@Agorante]

Yes of course but Rudolfo wasn't his role.

[@brookeggleston9314]

@@Agorante Thank you! I've been saying that for years, and people jump down my throat! He was a great tenor, but Rudolpho *wasn't* his role!!

[@rugby8-Philadelphia]

....and, based on this, I'm glad! 😁 Have certainly heard him do some great things - but not Rodolfo!

[@jimbuxton2187]

Lol..there is only one anybody ! Corelli was very great. I enjoy his singing. I was really impressed with these new Asian tenors .

[@Agorante]

@@jimbuxton2187 Good for you.

[@bryanschlippjr4894]

Hey Shinobi Vocals, did you know 2 of the tenors Piotr Beczala and Joseph calleja was going to be in this opera la boheme at the met opera this year but they did not because of pandemic? My best guess is Joseph Calleja would sing che gelida manina in the key of B

[@wisemysticaltree7790]

Pavarotti has mastered this song

[@peternaryd_operasinger]

Absolutely Jussi!!❤❤❤

[@d.martingomez3079]

Aragall, Pavarotti, Bjorling ,Gedda, Carreras ¡Sublimes!

[@pupuandpupuline]

My 1. Gedda, 2. Bjorling, 3 Lanza, 4 Di Stefano, ... I would like to hear Gigli. Would be interesting what place he get.

[@geraldcassidy3102]

I see they wisely saved the best for last.

[@sorinkavglazy6327]

Very nice) but I'd like to add a suggestion as a person who loves opera very much but has next to zero music education (and zero intention of getting any) I'd suggest you not only show the scale gradually but also get the staps juxstaposed against each other either at the beginning or at the end of the video for people like me - with not so ideal or trained ears. That might make your videos stand out as well - as something made not only for people who already 'get it' you know. And as the content suggestions go - I think you should continue with the really well-known ones for starters but of course it's all tied up to availability of content - btw I really liked that all of the fragments here are of comparable quality - very often in the videos like that you get a modern recording agains something really creacky grainy and old - and once again I understand that the professionals can (and even like?) to look or hear past it... members of general public like myself not so much I suspect.

[@ShinobiVocals]

sorinkavglazy thank you for your comment and I appreciate your suggestion. I would need some more advanced editing technology to pull of your suggestions but it’s a really good suggestion. Thank you

[@wisemysticaltree7790]

Pavarotti owns this song

[@TheJonsberg]

Jussi Bjørling ❤️

[@marcelinoobligar321]

Lanza, Pavarotti. Bjorling caruso, corelli

[@crisha721]

Bjorling is the best. Gedda , Aragall and Corelli are amazing too. I really missed Lauri volpi

[@JohnDavidDunlap]

Pavarotti all the way.

[@purisermonisamator]

Denuo dicam: de gustibus non est disputandum.

[@amantedellopera1681]

Shicoff is excellent here as is lanza bergonzi hadley fishcella arigall

[@stefanoferrari8781]

E Giacomo Lauri Volpi ??? E Giuseppe Lugo, forse il migliore???

[@peterholwill1170]

Some of the greatest tenor voices of all time wonderful and then there's Jussi Bjorling saving the best until last. Something extra special about his voice

[@louisjordaan8266]

Very special. One of my favorites.

[@JurassicPets_Bretten]

Giacomo Lauri-Volpi? 😞

[@louislesseos1007]

AH! You saved the best for last!!! Bjorling!!!!!!!

[@sgnmath1234]

Yes...I noticed that right away!!!

[@KenWangpiano]

Pavarotti's was unbelievable!

[@bartomiejmaslanka6958]

Where is Mario del Monaco? 😮

[@axelzeltsch1668]

Did he ever sang Rodolfo?

[@bartomiejmaslanka6958]

@@axelzeltsch1668 kzbin.info/www/bejne/iXevXnuehb2AkK8

[@ZENOBlAmusic]

@@axelzeltsch1668 He did!

[@maxf6917]

Good comp! Corelli reached C5 though

[@oscarchavezliu]

Hay otra versión donde Don Alfredo Kraus la canta con un C#5

[@sungryungcho2852]

Sorry, but why are you trying to compare kids with adults?

[@joeyd199]

You should have done two Pavarotti versions. You show early career when he was still finding his voice. His later career renditions are much better as he has more control over the high C.

[@ZENOBlAmusic]

He transposed it, later in his career.

[@mrm.5787]

Jussi Björling!

[@eriknystrom5839]

Yes, the video ends with the best tenor ever. (I’m biased , I’m from Sweden).

[@thevoicepath]

Where are Giacomini and Del Monaco?

[@subjectmatteramateur16]

Saved the best for last. I didn’t even have to see who was sing but knew from just the sound. Luciano was more beautiful but Jucci was more rich.

[@commandert5]

At 6:24 I think you accidentally put the name of the competition, nit the tenor

[@manuelmaldonado2614]

Caruso, Corelli, Villazon, Lanza, di stefano and Bjorling but the cream of the cake is Pavaroti and Monaco.

[@roxalysmendez7941]

CORELLI-LANZA, LANZA-CORELLI.

[@gabryc.3004]

Bravissimi tutti.... Splendide voci.... Il mio preferito MARIO LANZA.... Seconda preferenza Kauffman

[@ic725]

Menção honrosa para Sabbatini, Beczala mas Bjorling e Pavarotti são demais.

[@eduardoalvarado4330]

Galliano Masini is top notch imo. His voice shines more in Verdi's La Forza del Destino

[@homagetogreathistoricalsin9711]

I love the recording of La Forza del Destino with Masini as Alvaro.

[@franzleiermann4955]

Alagna and Gedda for me. And where is Bonisolli?

[@bryanschlippjr4894]

I want to Suggestion a battle: L a donna e mobile battle (B4)

[@ShinobiVocals]

Ooh!! I can do that!😉

[@bryanschlippjr4894]

@@ShinobiVocals Thank you.

[@oliverdelica2289]

@@ShinobiVocals just don't call it a battle. Compilation will be better

[@Dave_Viane]

I’m sorry but you forgot in your video others 3 BIG ITALIAN TENOR: MARIO DEL MONACO, FRANCO CORELLI AND GIUSEPPE GIACOMINI

[@giovic9802]

Have you heard Helge Rosvaenge? I think he's the best

[@ИгорьМиронов-я1й]

Замечательная подборка, спасибо.

[@andrewwalker3312]

saved the best till last

[@katrinarosales805]

LANZA , CORELLI, BJRLING, ARAGAL.

[@SmokeymcJoint420]

Man, lots of these guys are rushing it, there is so much time to let it breath.

[@DS-co8ed]

And to all tenor lovers: Irakli Kahkhidze, really a great one!

[@anamariamaria824]

Jussi Bjorling!!!!!!!

[@emjai2122]

Think this is more a matter of orchestra tuning and recording quality rather than intentional transposition. For example, you label the first couple as B4 but 440 B4 is a semitone lower than what we heard. Also, I’ve not really ever heard of a conductor transposing just one aria-especially in Puccini. The entire act would have to be transposed or there would be very abrupt (noticeable) changes before or after the aria.

[@ShinobiVocals]

I make no comment on the transposition of arias or operas, or recording quality because that’s not an area of knowledge that I have. But that first note you’re talking about is not a C. So… I’m not exactly sure what you’re talking about when you say it’s a semitone lower than what was heard. If you could educate me me more that’d be appreciated.

[@emjai2122]

@@ShinobiVocals The standard tuning pitch for orchestras, known as concert A, can vary between A415 Hz and A444 Hz, depending on factors such as historical accuracy, regional tradition, and the specific instruments used. In order to keep performances authentic, some opera productions adhere to the historical tuning that the original composer would have used. This means that the same opera can sound slightly different in pitch between productions, due to variations in the tuning standards of different orchestras and historical periods. The international standard of A440 Hz wasn’t established until 1939, and Puccini died in 1924. While most productions just use A440 Hz to tune the orchestra, those who are “historical purists” will actually break today’s standards and purposely use the tuning likely done before 1939 for that composer and region. That’s why you’ll hear “slightly lower” pitches. If you look at the pitches carefully, you’ll notice that that “High C” is too sharp to be a B natural by today’s standards. Thus it’s a semitone (between two notes-not either one or the other). The only explanation for this is that it’s historical tuning-being more true to the times of the composer.

[@DaveTheTurd]

Top 5 I'd say: Corelli, di Stefano, Pavarotti, Bjorling and Tetelman.... 6 thru 10: Bergonzi, Kaufman, Lanza, Fischella and Owens.

[@АлексейПетров-п2ь]

Alexey Tatarintsev 👏👍

[@ic725]

Não tem jeito, Pavarotti rouba a cena.

[@vocalist1124]

Di stefano wow.... 👏👏👏

[@EmmaNuel23Jam]

Que bello ver mexicanos en dentro de los mejores :')

[@aduhaduh4426]

It's even hard in chesty mix because I can't make it sounds full and support my vibrato

[@awokwok1029]

"Chesty mix" They all sing in full covered chest...

[@ryftofcygnus4011]

Bjorling. Villazon, Fisichella, Pav

[@TangoCat303]

Roberto Alagna by miles

[@МартаСавина-к5ц]

Bravooooo!!! 👍👍👍👏👏👏👏👏🌹🌹🌹🌹🌹

[@bryanschlippjr4894]

Hey shinobi vocals please do a Nessun dorma batlle (B4)

[@draganvidic2039]

So it’s a half step down in the beginning, then proper high C:s? I got confused, I guess nobody takes this a half step up? Why does it say C5 and C#5? Or B4 and C5?

[@oliverdelica2289]

I guess it's because some sang it to the point where their notes go sharp a little bit by a half step

[@chinbaatarbatbayar6487]

1 Luciano Pavarotti

[@dyllpickle8890]

corelli is seemingly sharp initially, i wonder why he opted out of the high C

[@boundary2580]

Many of these tenors, including Pavarotti opted to not sing the high C when performing the full show. It’s just such a high tessitura, and performing it day in and day out can very easily destroy a voice. A lot of the high Cs in this video are from standalone performances of the aria.

[@ZENOBlAmusic]

It sounds like he easily could have made the C5 in this example. But Corelli was always troubled by his nerves.

[@falkfink]

It isn't just transposed because of the high C, but also because of how high the tessitura is throughout the aria. Especially for bigger-voiced tenors like Corelli, the super high tessitura propably poses a lot more of a challenge than a singular C.

[@장형업-g2c]

역시 제임스 오웬을 음치로 만들어 버리는 테너 강내우, 윤정수선생님 최고입니다.