Juan Diego Flórez and Benjamin Bernheim reveal the secrets of the tenor's voice

World-famous tenors Juan Diego Flórez and Benjamin Bernheim: two heroes of contemporary opera
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#Musica

[@basilmanolakos4926]

Benjamin Bernheim is a likeable, warm stage personality with gold in the throat.

[@crisha721]

Benjamin sounds like a very sweet person, I like his mixed voice very much, for me it sounds much more "natural" 3:20. On the other side, his "full voice" was very constricted 3:06 his eyebrows and larynx were shaking

[@misssophie6515]

Singing as amazing as someone like Florez and keeping the voice healthy over a career that already spans 25 super active years takes neverending daily work and discipline, a favourable predisposition, talent and knowledge. But singers are often modest and don't talk much about the hours and hours and hours behind the scenes. If you didn't eat or sleep right, took long flights, stressed your airways with dry and dusty indoor air, you can't ask for another body or "instrument", you still have to find a way to sound great. Also the right support (mentors, teachers etc.) is hard to find, especially when the singer is young. There is no "secret" as such, like following a recipe, which is why there are only ever a select few truly phenomenal singers of each fach per century and for me Florez is the best living tenor, whom I have heard live quite a few times.

[@kthdinvest424]

you know he isn’t singing real opera right ?

[@jimbuxton2187]

@@kthdinvest424 ... lol no.. he's SINGING, not screaming and wobbling.... lol

[@gillycooper8717]

You display ignorance by making a comment like that. What's your problem I wonder?​@@kthdinvest424

[@marie-laurecoupeau525]

Moi, je tremble pour le ténor et j'espère que je ne suis pas la seule. Je trouve le public en général très intransigeant et peu tolérant pour ce merveilleux travail et pour la voix, cet instrument magnifique mais aussi si fragile. Alors Messieurs les ténors, sachez que si je suis dans la salle, il y a au moins une personne suspendue à vos lèvres, attentive, passionnée et prévenante pour vous applaudir en toute circonstance. Vous faites un métier excessivement difficile mais aussi un des plus beaux métiers au monde. Vous nous faites rêver et rien que pour cela, vous avez toute mon admiration. Merci Messieurs.

[@jdwakyl5400]

Vous êtes un ange, merci beaucoup !

[@dieterflorian865]

Juan Diego’s voice is a unique special and has a very special sound, not comparing with other tenors and he is a wonderful actor special in comedy roles by singing at the same time, a Rossini tenor par excellence 🎶😍🎶

[@galinakrivulin6767]

The secrets revealed! And what looks natural takes great talent and much work!

[@johnholmes912]

the secret of a bad technique perhaps

[@SteamPunkScript]

Bjorling, Kraus, Wunderlich, Gigli, Gedda, Tucker, Tagliavini, Bergonzi, Alva, Peerce, Pav, Domingo, and recently guys like Rockwell Blake, and Bruce Ford... are all amazing.

[@r.h.7486]

To each their own Tenor🌹🌹

[@judithdavidson2356]

I totally agree and as importantly, he is a good person

[@loudspeakers3469]

Very nice feature! Thanks!

[@bachopinbee5991]

We're still left without an answer

[@jorinafourie9199]

I love Florez with his unique warm lyrical tone and he is so good in the more comical roles of Rossini and Daughter of the Regiment

[@user-xz5gp9fz7t]

B. B. It's my c Current Favorite

[@judithdavidson2356]

Florez was wonderful in Werther .

[@rosarioc9236]

Great documentary thank you thank you.

[@bnast6849]

It's not enough to reach that tone it also has to be pleasant...

[@leonel3551]

¿Dónde puedo conseguir esto en español? O alguien que sepa inglés y lo pueda subtitular 🥺

[@flaze3]

Dicen que se trabaja mucho como tenor (el escaneo muestra que el diafragma y la laringe trabajan mucho). Que hay que mirar otros cantantes cantar y aprender de ellos y ya jaja

[@davidgould9431]

1:34 "the tenor is the highest male voice". Alfred Deller and others would disagree. Or, in Alfred's case, "would have disagreed". There are plenty of living countertenors around: Google is your friend.

[@ilecier]

Why making such an artificial fuss about the tenor's voice and mystifying the high C? There is no other "secret" than a certain talent and work. Alongside the well known singers there is tons of lesser known or unknown tenors out there who can sing a high C....

[@alexgomez2]

It’s evident that Flórez is tapping into more lyric repertoire because he’s aging, however, for him to sing Nessun Dorma is NOT the same effort than for a lyric or a spinto tenor. His tenorino (light tenor voice) is already high. Great lyric, spinto or even dramatic tenors like Carlo Bergonzi, Placido Domingo, Giuseppe Giaccomini, who are baritones with high notes are far more exciting.

[@fishwigy]

If anything it's more effort for a light voice to sing Puccini than for a heavy voice.

[@andriyapradiptakarim5979]

My Request for the all of the opera singers in the all of the world : PLEASE DON'T TRY TO SING LIKE A MEZZO-SOPRANO, CONTRALTO, BARITONE, SOPRANO, TENOR, BASS, AND ALTO !

[@andriyapradiptakarim5979]

BUT A SING LIKE A POP BALLAD, POP METAL, POP PUNK, POP ROCK, R&B BALLAD, R&B METAL, R&B BLUES, R&B PUNK, R&B ROCK, R&B SOUL, R&B POP, METAL, PUNK, ROCK, R&B, SOUL, POP, ETC.

[@andriyapradiptakarim5979]

AND ALSO THE LIKE A TEENAGE GIRL, TEENAGE GAL, TEENAGE KID, TEENAGE BOY, TEENAGE SON, NOVICE GIRL, NOVICE GAL, NOVICE KID, NOVICE BOY, NOVICE SON, BABY GLOW, BABY FACE, BABY DOLL, BABY KID, TEEN GIRL, TEEN GAL, TEEN KID, TEEN BOY, TEEN SON, CHILDREN, CHILDISH, TEENAGE, CHAPPIE, CUTECEL, COLLEEN, MAIDEN, DAMSEL, VIRGIN, TEENER, VARLET, VESTAL, LASSIE, WENCH, YOUNG, YOUTH, TEENY, KIDDY, CHILD, BABY, GIRL, TEEN, KIDS, LASS, GAL, LAD, KID, BOY, AND A SON.

[@andriyapradiptakarim5979]

LIKE THE AGE OF A 25 YEARS OLD, 24 YEARS OLD, 23 YEARS OLD, 22 YEARS OLD, 21 YEARS OLD, 20 YEARS OLD, 19 YEARS OLD, 18 YEARS OLD, 17 YEARS OLD, 16 YEARS OLD, 15 YEARS OLD, 14 YEARS OLD, 13 YEARS OLD, 12 YEARS OLD, 11 YEARS OLD, 10 YEARS OLD, 9 YEARS OLD, 8 YEARS OLD, 7 YEARS OLD, 6 YEARS OLD, 5 YEARS OLD, 4 YEARS OLD, 3 YEARS OLD, 2 YEARS OLD, 1 YEARS OLD, ETC.

[@vladimirsolodovnikov945]

Нельзя Диего петь крепкие партии ...! Он музыкален, образован , но голос не интересный по тембру без груди без блеска и силы ...! Француз получше, но тоже без изюминки и красоты ...Это современные вокальные проходимцы ! Я слушаю Скипу , Тальявини , Джильи , Карузо , Корелли и.т.д...!

[@sidneikovacs5499]

I agree 👋👋👋 adeus belo passado 😢😢

[@basilmanolakos4926]

Juan Diego Flores is basically a lyric tenor but heavier stuff doesn't suit him. Nessun Dorma, Che Gelida Mannina, etc. He should avoid these arias and roles.

[@AfroPoli]

Cretinese per principianti

[@hetedeleambacht6608]

uhm.... soprano and any other singing is not `natural` as such whenever it surpasses the regular speaking register frequently, and loudly....simgimg in itself is a technique that takes years to master....so soprano voice is hardly more natural then a tenor voice!!

[@falkfink]

Many untrained sopranos can hit a C6 or even higher. No untrained tenor can hit a C5 in full voice. That is the main difference.

[@aaronmckone8973]

The voice naturally transitions from a low “register” to a high one (chest voice/head voice (falsetto/whatever you want to call it). In opera, female voices do sing well well above this transition, but they allow the transition (well, nowadays, female singers do the inverse and carry head voice all the way down, but in the past, all female singers had strong, developed chest and head voices, and would transition between the two, generally in the natural place where the voice would require it.) male voices in opera stay in chest voice (or should.. it’s a bit ironic to hear Bernstein and JDF talking about it since they only kind of halfway stay in chest voice anyways…).. but yes the idea is male voices stay in chest, basses never go above that natural transition. Baritones will skirt around the upper limit of the natural placement of the “chest voice,” occasionally going slightly above, but tenors really make their careers off of taking that chest register, which usually ends around F#4-Ab4 in an untrained male voice, and learning to maintain chest voice connection as you extend above that limit. I think thats what Bernheim is getting at there. All opera singers are doing “unnatural” things, but when a soprano sings, they are usually changing their registration around the natural places where those registers would shift, whereas tenors must carry chest voice beyond its natural limits, and in that way it’s a bit of a different game. So yeah, their both unnatural, but tenors do kind of have to take the normal limit of chest voice and learn how to extend that beyond it’s normal limits, whereas female voices very very rarely have to extend chest voice to such an extreme, and in that way I think tenors are doing something that is less “natural,” although yes all singers are doing the unnatural by singing

[@giannis_tar]

@@aaronmckone8973 what I find a bit confusing about this is why are baritones and basses not considered to be doing the same. Doesn't the limit to their chest voice technically lower, which means they also have to carry their chest voice higher than its limit for their high notes?

[@aaronmckone8973]

@@giannis_tar the bass and baritone passaggi (secondo passaggio, to be specific) are slightly lower, but not by a lot. So while they do occasionally extend their chest voice to the limits of their passaggi and occasionally above that limit, it is much less often and also to a much smaller extent. A tenor high C for example is a full diminished 5th above the F#4 that most tenors would call their “breaks” (secondo passaggio). The baritone “break” is more commonly around E4 or F4, and it is very rare that they will ever sing above an Ab, and even that is an outlier. It is even less common for bass-baritones and basses to exceed their “breaks” by a large amount. It happens, yes, but it is simply not a part of the job description in nearly the same way that it is for a tenor. Basses and baritones spend most of their time well below this break. Tenors spend a ridiculous amount of time right around and above this break, and even very high above the break. All the time. It’s also very natural to be able to extend the chest voice slightly above this break. Most untrained tenors can squeeze out a G or an Ab or maybe even an A with enough force and determination. However, learning to sing these notes easily and well, but still full and chesty, is much more complicated. And then of course Bb’s, B’s, C’s, and higher are not notes that an untrained voice can just squeeze out in chest voice. Some people are lucky and figure it out the coordination easily with little to no training, sure, but it is a coordination. Some baritones and basses can and do have and use this coordination well, but it is not a requirement to the same degree at all. I’m not saying what they’re doing isn’t just as difficult and amazing, but there is definitely a big difference between a tenor carrying full chest up to C5 (which I’ll be honest.. look up Corelli or Mario Del Monaco sing Di quella pira if you want to hear just how much chest a tenor is capable of carrying up to a High C) and a high baritone singing up to Ab4 or even A4. Hope that helps!

[@giannis_tar]

@@aaronmckone8973 I see... but this is because composers choose to push the tenor voice more and the lower voice types less, not because it necessarily should be that way, right? Anyway, I didn't mention I'm a trained singer myself (tenor), so I am a well aware of the amount of effort it takes to take chest voice up to a C5. You mentioned that baritones don't often sing above their "break". I've seen so many baritone opera scores and they sing Es and Fs all day. It's just that they rarely go above that for some reason... You also mentioned that the tenor "break" is at F#4, which I am 99% sure is a myth. The shift into the laryngeal tilt on open vowels at F#4 (usually way lower for closed vowels) is a choice, not a requirement. The true "break" is around A4 I believe. You can hear Pavarotti sing some of the G flats in Una Furtiva Lagrima in "open chest" (I'm sure you know what that means)

[@giorgiovladi2093]

The Tenors Are Caruso . Corelli and Pavarotti… and no more Tenors, just teeenoruc

[@danielformica-yourvocalteacher]

I would live to your singing .. with a comment like that you must very good

[@downfromkentuckeh]

oh shut up. Your ego just cant appreciate different shades of the tenor voice.

[@enricoorlando9963]

Indeed! BUT ABOVE ALL THOSE NAMES MARIO DEL MONACO IS THE TENOR

[@johnholmes912]

Senor GIGLI would like a word with you

[@rugby8-Philadelphia]

Juan has No business singing Puccini, for my taste. Barely ok for Verdi. He has(d) runs and high notes - he should stay in rep that features that. I also find him a selfish singer, insomuch as, he sings for himself, doesn't care/connect with the audience or often duet partners. Once he sings the high note (ie:the end of the piece), he moves down center and smiles in a self-congratulatory way. Again, my opinion. He can not act - nor it appear that he cares. That which he did well will be spoiled by Rodolfo, Calaf, etc ....you can hear it happening already. Benjamin, on the other hand, is A JOY to listen to 😊😊😊

[@janeyang3389]

👎👎👎

[@rugby8-Philadelphia]

👍👍👍

[@misssophie6515]

Bernheim promoter/ Florez hater here? Well, he obviously needs your opinion - NOT.

[@rugby8-Philadelphia]

@Miss Sophie Having spent 40+ years as a professional Music Director , Actor, and Director, I find it very easy to call out some of Florez's "issues" He is a lousy actor, and has the demeanor of stereotypical tenor - from the days of Jean de Reske. He stands, sings, and waits for adoration. That style went out over a century ago. When he was younger, he possessed the agility and control for Rossini, et al...was a leader in his field. He is no where near as facile, and is now just another tenor with high notes. Verdi is a stretch, and Puccini for him is laughable. If he follows that route, he'll be retiring soon - his voice can't do it. Calaf...what's nex Otello? Logengrin? Does he really believe he is invincible? The wear and tear are already evident. 😎😎😎

[@misssophie6515]

​@@rugby8-Philadelphia A director, give me a break. Which theatre? But you sound exactly like someone who is not on stage and comments on everything from a chair. You also sound like you don't understand much about singing and like you have attended very few of JDF's actual performances. If you did you would know that JDF never sang Calàf, he only likes to sing one aria, Nessun dorma, at the end of some recitals, so that is a few times a year and that is hardly a stretch for a healthy voice like his. For me what is remarkable about this aria is that after 2 or 3 hours of singing mostly repertoire with coloratura and high notes he still has those low notes required for Nessun dorma, because if he sings it, it is always the final point of the evening. If you were into singing you would value this differently. And of course he is never intending to ever sing Wagner, he is not a Heldentenor. He turns 50 these days and I can hardly think of many tenor voices in such shape after 25+ years of singing. Of course his colours were different when he was younger, but I think he knows well how to take care of his voice and he knows how far he can go with the rep, otherwise his voice would be dead like that of many of his colleagues. Another big thing for me is: I can enjoy some artists and others less, I will compliment the ones I enjoy, but I would never (like you) feel the need to write negative, wrong or tasteless comments about the singers I don't like, it says a lot about the commenter.

[@johnholmes912]

I'm sorry but Florez wouldn't have got past an audition back in the day.............terrible technique.........................he does everything wrong