Giulio Crimi Giuseppe Danise Leonard Warren Leonard Warren L'Ultima Canzone

[@Zuria-ph9mk]

Nikola Nikolov-L'Ultima Canzone 11:19 - NO. Valdengo - ?

[@lisaszxu1961]

There is no Valdengo here. I am analyzing Giuseppe Danise and Leonard Warren. It reminds me that although Danise personally guided Valdengo, he was unable to inherit his teacher’s singing technique. On the other hand, Leonard Warren carried forward the Italian bel canto tradition. In the future, I will create an episode comparing the teacher Giuseppe Danise with his student Giuseppe Valdengo.

[@OldSchoolOpera]

Danise is the king in this repertoire. I generally find Warren's voice too backwards and he has voce ingolata, his vowels normally aren't at the clarity level of the Italians like Ruffo or Battistini, but here his singing very good. Crimi, the teacher of Tito Gobbi and Gino del Signore, is an excellent tenor, and created Paolo in Zandonai's Francesca di Rimini, his legato and breath control are imo superior to Nikolov here.

[@lisaszxu1961]

I completely agree. Here, Crimi is so perfect that even Caruso might not surpass him. You mentioned Warren’s voice being too backward, but I think it works well here. He actually has a characteristic of Italian bel canto without over-exaggerating resonant cavities, which is quite similar to Danise. I must say, Danise's student, Giuseppe Valdengo, does not compare to Warren. Battistini has already deviated from the true Italian bel canto. Ruffo and Battistini should not be regarded the same; in terms of emotional expression, Battistini falls far behind.

[@OldSchoolOpera]

@@lisaszxu1961 Warren in some of his more famous recordings clearly had voce ingolata especially later on (like that Largo al factotum video or the Toreador video for example), and his vowels could be kinda woofy, but in this recording he's really good. Valdengo to Danise is similar to Penno to Pertile in a way, Valdengo didn't have the breath support and in high notes he could be constricted (like his Aida and Otello under Toscanini). About Battistini, I believe that he was better in the 19th century compared to what we've heard from his 1910s-20s recordings. Both Verdi and Wagner liked him (Wagner thought his Wolfram is the best even) and that alone explained a lot I think.

[@lisaszxu1961]

@@OldSchoolOpera You are absolutely right. Penno also did not learn Pertile's technique, and the same goes for Valdengo who did not learn Danise’s. When Danise coached Valdengo, he made a mess of things, and Danise truly knew more about bel canto technique than Volpi did. Do you understand the meaning behind this? Voice lessons with baritone Giuseppe Danise sharing bel canto wisdom with Giuseppe Valdengo. Some tenors take months, even longer, to understand it. If you understand Danise's guidance, please share your thoughts. My idea is: Why, at 20, wouldn't you become a singer? You could sing just as well as they did. Haven’t you studied? The repertoire of Valdengo and Danise is very suitable for both baritones and tenors. If I were you, I’d become a singer and surpass everyone. With all your knowledge, why settle for being a critic? It's a bit of a waste. My guess is that you might not fully understand what Danise said to Valdengo. I feel like nowadays people can’t grasp it; they can’t reach a certain level in singing and won’t understand. But I’ve listened to it, and I think some of Danise’s bel canto techniques even surpass Caruso.

[@lisaszxu1961]

@@OldSchoolOpera kzbin.info/www/bejne/r3XFfHqCachkppI