Mattia Battistini - Vien Leonora - La Favorita - Donizetti

[@АллаМоргулева]

Я впервые услышала голос маэстро Баттистини. До этого только читала о нём или слушала очень некачественные записи, в которых смешивались голос, оркестр и помехи в какой-то непонятный гул. Голос прекрасный, сильный, красивый, удивительный! Он дарит зрителю и слушателю истинное наслаждение! И я благодарна и самому маэстро, и автору канала за наслаждение высоким искусством! ❤❤❤

[@blascortes8391]

Superbo!

[@giuseppegabriele4461]

MERAVIGLIOSO

[@SilverSingingMethod]

Thank you SO much for sharing that. All those people who *think* that these singers sang lightly definitely did not. They sang full and free with ringing voices. That is the opposite of today!

[@SilverSingingMethod]

The reason is that most baritones today sing "woofy" with no squillante. So when you hear one that does it sounds like the squillante of a tenor. He was a baritone. No doubt.

[@SilverSingingMethod]

And Ruffo was dramatic while Battistini was a lyric. So it is hard to compare really. Both were amazing.

[@Dobrib]

Nearly forgotten today.Shame!Thanks for uploading this jewel.

[@matthewroach2326]

Thank you MrCafiero for sharing the treasure

[@thomasrexdale3706]

this is one of the best and clearest recordings of B. ive ever heard. When was it done? Im guessing around 1907 but clarity is Amazing!!

[@willesferreiradecarvalho3452]

Isso que é saber cantar!

[@LudovicoValoroso]

AWESOME, thank you for sharing this!!!

[@juliamalik9210]

Amazing clarity, thank you for posting this. I’ll learn a lot.

[@SilverSingingMethod]

@cdbaxte Singing lyrically is totally different than classifying vocal size and weight as lyric vs. dramatic. That is where the confusion lies. Both Ruffo and Battistini sang "lyrically", but Ruffo's voice was bigger, darker and heavier and thus was a dramatic voice in terms of fach. Battistini's voice - while still having lots of power - was less dark and heavy and thus was lyric in size.

[@SilverSingingMethod]

What do you mean "no"? So you are saying that Battistini's voice isn't clearer, with more squillante, than baritones today who sing "woofy"? Of course recording quality takes things out of the voice. That has little to do with what I am saying. Most baritones today sing very woofy. So if one comes along who doesn't people are not used to it and think it sounds tenorish.

[@yosifslavov8613]

Petar Raichev. Bulgarian tenor was born on 9 March 1887 in Varna. He studied with Umberto Mazetti and in Naples with Fernando de Luca and made his debut in 1913 in St. Petersburg. He left Russia in 1920 after singing the roles of Lensky, Herman, Canio and Rodolfo and during the next 15 years he performed in Italy, Vienna, Berlin, Leipzig, Dresden and Paris. In 1930 Petar Raichev joined the Opera Russe in Paris. With this opera house he toured throughout Europe and South America. Following an engagement with the National Opera of Zagreb between 1934 and 1935 he returned to Bulgaria to sing with the Sofia National Opera. To to his Russian roles he added those of Count Almaviva, Alfredo and the Duke (Rigoletto). Petar Raichev was one of the founders of the opera company in his native town Varna in 1947 and was its artistic director for several years. Upon retiring from singing in 1950 he taught vocal studies at the State Academy of Music until his death on 31 August 1960 in Sofia. kzbin.info/www/bejne/maKqqHmPo8Rqfbs kzbin.info/www/bejne/a2XRZ4CcqqqhgKc

[@Tkimba2]

Ottimo

[@johnfalstaff2270]

Battistini was 52 years old when he made this and most of his other recordings. I think, he was already past of his prime and shortly after he withdrew from stage performance giving rather public concerts. Nevertheless, his perfect technique you can enjoy by listening everything.

[@tobiolopainto]

You must be confusing Battistini with some other baritone. Battistini recorded in 1898, 1902, 1906, 1911, 1912, through the late teens and up to 1924 when he made his last records. He was singing internationally the whole time he made records. The only disappointment of his career was that one month before his Golden Jubilee, he died of an asthma attack. In other words, he sang until he died. And he died in 1928. See Michael Scott in the Record of Singing for an understanding and appreciation of Battistini's work. (If you do the math, it means he was singing in his late sixties and early seventies).

[@johnfalstaff2270]

@@tobiolopainto, I said most of his recordings. All Battistini records I heard are from around 1907. Don Carlo and beautifully sang La Favorita are from that period. Possibly he made some earlier and later documents of his performances but I am not familiar with them. Marcelina Sembrich Kochanska, Stracciari, Ruffo and Caruso, among of many others did so why not Battistini. But for sure my ears would never confuse his voice with anyone else.

[@tobiolopainto]

@@johnfalstaff2270 Battistini made no recordings in 1907. His wonderful series with arias from Ballo, Zampa, La Favorita, Don Giovanni, Ernani and other operas and songs were made in 1906. Earlier than that, he made records in 1902. In this series, there's a great performance of Eugene Onegin's First Act aria which has the most beautiful fade out on an F in the whole history of recording. The 1902 records show definitely that he was a long breathed singer. Also there's a performance of "Oh! tu bell'astro incantator" the Italian translation of "O du mein holder Abendstern" from Tannhauser. Wagner himself said that Battistini's performance of this aria was the most beautiful he'd ever heard. B made a non-commercial recording of the aria in 1898. Do yourself a favor. Listen to B's later recordings. He's just as magnificent as he was in 1906. There are great things and one of a kind blasts of beauty- - a Schubert song: Delizia, from 1912, Many Italian songs by Denza, Tosti, Rotoli, Quaranta and Gounod. Wonderful singing! A very late performance of Caro Mio Ben (the first song that all singers undertake) is sublime; the whole thing is sung in a piano or pianissimo exalted tone. Also "Vittoria, vittoria, mio core" by Carissimi shows that as late as 1921 he can still move his voice with agility. I envy you that you're going to hear all this wonderful music-making for the first time. Have fun with late Battistini!

[@johnfalstaff2270]

@@tobiolopainto, shut down your emotions. You do not read carefully my comments. I did not say he made all recordings in 1907 but around 1907. When exactly I do not care. Also, I added that he made some earlier and later. It does not matter when exactly. I know that when he suddenly passed away still a new contract for his next public concerto was waiting on his desk. However, it is not a matter of high importance. All what is relevant is the record of his voice and technique, which Titta Ruffo in turn was missing.

[@tobiolopainto]

@@johnfalstaff2270 I am not emotional. However, I agree totally with what you just wrote. Have a great day and a great the rest of your life. Vivo Battistini!

[@SilverSingingMethod]

@cdbaxte That is right. You are very welcome!!! Most voice teachers today unfortunately just cause confusion for the students. That is why opera is in a state of destruction right now. it needs to be revived by getting the right training and information out there.

[@raphaelhudson]

This is the best recording of Battistini have ever heard, where did you get it?? Wow this must have been him in his prime.

[@legatofancier]

Battistini had the reputaton for being a musically sophisticated singer who tended to sing with fidelity to the written score. Ruffo was not as sophisticated musically. Although both were great artists, some music lovers appreciated Battistini's greater musical refinement. Others preferred Ruffo's greater visceral power. That's what makes horse racing - and opera fans!

[@Tkimba2]

I think it's the opposite.

[@escr76]

That is true! I see you know what are you talking about.

[@lalohan]

@jbeer82 Riccardo Stracciari!

[@meltzerboy]

All in all, Battistini is my favorite baritone, although there are, of course, others with great gifts. Moreover, he is probably one of the finest baritones of all time, including the many who never recorded. His voice has a characteristic nasal sound which is endearing, while his technique is virtually unique in its legato singing, shading, pianissimo, and agility. Further, he is a great stylistic interpreter of all kinds of music. Sometimes, on record, he seems a bit out of breath and certain high notes are strained, probably due to aging. The low register appears weaker than the middle and high registers. But, apart from these shortcomings, he is a true marvel of an expressive bel canto artist.

[@SilverSingingMethod]

Sad isn't it? He is so far beyond what we hear today that it is laughable. Or is it cry-able? LOL :{!!

[@voltape]

To me he sound more like a tenor!

[@giglistignanipinza]

that's because you've grown accustomed to an artificially darkened and less effective style of baritone singing

[@voltape]

@@giglistignanipinza WOW! 11 Years ago - I'd forgotten about it. Did I write that?? Tut tut to me, It should have written "he sounds"

[@giglistignanipinza]

@@voltape hahaha I'm shocked that you're around to reply! Hope the last 11 years have treated you well!

[@ronkalinovsky6898]

@@giglistignanipinza @voltape Checking in three years later!