OTELLO - SI PEL CIEL - Melchior vs. Svanholm

[@richardcameron8759]

Melchior's voice had the bellows of a cathedral organ behind it!!

[@AlainArvelo]

Svanholm. From when he sings the first note, you can hear Otello's anger, the thunder from the heavens, the bloodlust. Warren is also tremendous.

[@villalobos1981]

Dois gigantes como tenores. A voz de Melchior é mais densa, mais indicada para Otelo e Tristão Svanholm, pouco mais spinto, captura o ouvinte com sua impres sionante dramaticidade , além de uma voz que é uma bênção. Zenatello foi o melhor Otelo que ouvi.

[@AfroPoli]

Svanholm and Warren sang Otello many times in other houses. This particular recording is from San Francisco.

[@smemr]

Note that Melchoir is 56 years old when recorded here whereas Svanholm was 43. Just saying that when making comparisons we need to note who is in and who is past their prime as a singer. That said, Melchoir still possessed incredible power and top notes to impress. (As a side note, both Melchoir and Svanholm began their careers as baritones while Warren began his training as a tenor.)

[@alfredoloyola921]

Correct.

[@Garwfechan-ry5lk]

My Grandfather sang in all of Melchiors Otello's at Covent Garden, even though his Italian was not good and he did make some errors, ( Not unusual in Otello) , he said that his Esultate in 1930's certainly raised the rafters from the Back of the stage, he was not a bad actor, Svanholm was always a Baritone, Melchior and Svanholm did not speak for many years after the War, where Svanholm certainly enjoyed his Nazi period and used the Heil Hitler with great Gusto, so apart from Otello what made Melchior the Greatest of all Heldentenors, it is obvious that he could sing Wagner twice a night if wanted, but he was much more than just a Can Belto like Svanholm, he was able to sing song cycles perfectly, he also had an incredible Mezza Voce very unusual in the Heldentenor. Allied with Colours and shadings in his huge voice he was much more than just an up and down Wagner Tenor, if he could have mastered Italian what could he have done! To go back to my Grandfather he sang in the Chorus from 1909 till 1940 as a leading Tenor, he sang in all of Melchiors performances at Covent Garden from 1924 till 1939, including his Florestan which although criticised in the Concerted Passages, in some part, he was Extremely capable in the Gott Welch Dunkel Hier which he was magnificent, there is a snippet of this and the Finale Live in the BBC Library, but there are also recordings live from the Albert Hall where he sings from Le Profete in German which are not able to be released for 100 Years 2031 I believe, same to his Otello's and Wagner roles that were recorded. My Grandfather Heard Svanholm in London after the War. He was impressed with his performance in Siegfried, but he put Svanholm on a Par with Gunnar Graarud with the Scaninavians, Melchior he said to his last Days was by Far the Greatest Heldentenor he ever heard, he had probably heard them all in his lifetime for he had heard De Reszke as well. He said Melchior was like Caruso unique, for like the Great Italian you will never ever have a Heldentenor like Melchior again that is for sure!

[@SuperSlenderman123]

Wow. I had heard of Melchior before listening to this, but never gave him a listen as I generally stick to Italian Opera. This recording blew my mind the amount of power he has in his voice in the first twenty seconds of the recording is astonishing. The slow pace of the duet is also interesting. This does not seem to be the explosive, over-the-top Otello of Del Monaco. Instead, Melchior slowly broods, saying every word with true intent and commitment. It is amazing how one recording can reinterpret an aria I knew so well... What a gem of a recording!

[@giampierone010]

Splendidi Warren-Svanholm...

[@tenorschofield]

BRAVO!!!!, both are great superb tenors.Melchior has a trumpet sound, that mixed with his full bodied voice makes a wonderful Otello. In the other hand Svanholm has a very solid sound, completly equalized from top to bottom; he makes us feel that he can sing all again. He is also a great more lyrical-spinto Otello. Svanholm is a spinto tenor while Melchior is a dramatic tenor...but both sound superb. I would declare an "even result", BRAVOO!!!

[@hildegerdhaugen7864]

I think Set sound more wicked than Lauritz here. I am obsessed with both voices though.

[@MsGreeceland]

Incomparable, maravilloso Estos son verdaderos cantantes. Melchior es único Me emociona

[@omairagamboa7821]

I am so fond of Set Svanholm, a heldentenor in purity!

[@ettoredipugnar6990]

❤️

[@Gopher31]

There is a Del Monaco quality to Svanholm, an angry quality which is perfect for this aria.

[@bodiloto]

Svanholm e Warren - meravigliosi entrambi .

[@MDM679]

Yes because Svanholm has the tune of dramatic tenor and the best high notes of heldentenors. Three swedish tenors are in my top 10:Bjorling, Gedda and svanholm, also they are in top 3 of my not-Italian and not-Georgian tenors compilation: Sweden must be proud for these wonderful men

[@gzorose]

You must be kidding...Melchior is/was the greatest heldentenors ever and still unsurpassed. Agree love Bjoerling as a lyric tenor (wonderful, wonderful voice) and did see him 'live'. Gedda was good, but his voice was 'too harsh' and smooth at all.

[@道-p2e]

great list, high taste,

[@dubbelhenke854]

@@gzorose Gedda is a wonderful and gifted singer but his high notes has never appealed to me and his voice lacks the beauty of Björling. However I share MDM427s high opinion of Svanholm - his voice is kind of exciting and "Siegfridish" in a certain way.....

[@道-p2e]

both are great duets, cannot decide tenor choice, but prefer warren's solid warm baritone voice with maturity. Great performance both!!!

[@akinkunmicook2977]

Incredible! I didn’t know these two great singers sang together! A truly brilliant performance! Thanks for sharing!!!!

[@giampierone010]

Svanholm per me è uno dei più grandi Otello della storia..insieme a Vinay, Del Monaco...saluti

[@e.g.8454]

Zenatello Paoli Franz Tamagno Ershov Cecchele Atlantov Miranda Ferraro Slezak Giacomini Merli Volpi Cossutta

[@rickos1915]

Warren outstanding --

[@photo161]

That is so true. I have never heard the great Leonard Warren sound so utterly heroic. He nearly steals the show from Svanholm, who is himself in outstanding voice. Overall, this entire post is a superb exhibition of vocal greatness we have long since been deprived of. Thanks so much for such an exceptional post.

[@Luifernal6]

My favorite here is Svanholm & Warren

[@oliverdelica2289]

That's fair enough

[@道-p2e]

great singings, highest class, thank you for posting.

[@alexandermiles2890]

Depends what champagne I am drinking that night! Both are splendid! Set Svanholm was the director of the Royal Theatre aka Opera in Stockholm for the longest time. Set sang in Bayreuth at its peak! And, sometimes a no name stand in will capture the laurels . . .

[@andrzejzborowski4920]

I love when Melchior SINGS "Sangue!! Sangue!!! Sangue!!!" and not shouts like most of tenors...

[@oliverdelica2289]

It's fascinating how they sound powerful without yelling 🤔

[@andrzejzborowski4920]

@@oliverdelica2289 yes it is. All those stars with mics should hide.

[@Garwfechan-ry5lk]

Verdi wrote Shout Sangue

[@paolograndinetti7609]

Interessanti queste stupende registrazioni.Ci fanno capire molte cose e come è cambiato il modo di interpretare sia delle voci che della musica. Veramente un buon documento da preservare

[@cherubello9340]

Melchior a 56 anni è ancora gagliardo, ma si sentono. Molto più fresco Svanholm, poco più che trentenne. Impressionante la forza di Warren, fiammeggiante. Nessuno dei due Otello convince davvero, l'ombra delle selve di Siegfrid si proietta oscura....ma il Moro deve brillare di chiara luce veneziana, di pasta chiara e fulmini argentati. Tamagno anche vecchio e dismesso, ha testimoniato che il suono di Otello è solare e italiano, latino, ma anche severamente legato e cantato, cioè musicale. Verdi, non pago, avrebbe preteso anche pianissimi e mezzevoci in chiaroscuro, che non ottenne, per rivelare l'atroce sfaldamento interiore, fino alla beffa finale che lo incenerisce in un lampo di passione suicida e un ultimo sussurro di dolcezza.

[@alessandrodelmagno9125]

Ma il celebrato Otello dì del Monaco non aveva ne' pianissimi ne piani .i

[@richardcameron8759]

Melchior could have shaken chandelier's two blocks away!

[@VivaRenata]

Listening again after a long time. Melchior's pronunciation of Italian is so abysmal that you think he's singing in Danish! Thanks for posting!

[@jefolson6989]

Jansen's isnt great either.

[@SteveBell1942]

My grandfather saw Melchior in the role at ROH. I have the programme

[@65attila]

What wonderful singing by these artists. IMO Melchior is tops as tenor and Warren as baritone. Set Svanholm is a great second.

[@TedinNY]

Thanks so much for posting. Both wonderful. Very hard to choose. I suppose it's a question of individual taste. But, actually, for me, Warren takes the cake... 😄

[@billhamilton]

I much prefer Svanholm. More color and squillo, equality of tone throughout his range, and no sign of strain in the top notes. More of a trumpet to Melchior's French horn. I also prefer the faster tempo, perfect ensemble and equality of volume with Warren, and the loooong final note. Wow!

[@ininacsot]

La deuxième version est (à mon gout) supérieure je retrouve vraiment Otello et Iago! bravo et merci, la première est également bien!!

[@borisvandruff7532]

What an embarrassment of riches in the middle of the 20th century, when we can’t even find one decent Otello today!

[@alfredoloyola921]

True!!besides that. Othello is no black anymore!!!!!!

[@oliverdelica2289]

What are you talking about? There are decent Otellos right now like: Y'know them?

[@oliverdelica2289]

@@alfredoloyola921 perhaps it's because people these days think it's racist? 🤔

[@andrewmargrave7518]

Having pronounced Melchior and Svanholm both tremendous, I would give pride of place to Melchior albeit by a very narrow margin.

[@oliverdelica2289]

Seems like Melchior didn't have to scream to make his Otello powerful 😲

[@johnpolhamus9041]

WOW!!

[@tat3917]

Melchior by a mile. His voice is more clarion, making his intonation clearer. Commenters about his diction should understand that he sings in that style similar to Sutherland where you don't let diction get in the way of an incredible voice.

[@jefolson6989]

Melchior was also a great Canio in Pag I hear. His sound was more Italian than Germanic I think. His phrasing, the cover and legato are not part of what passes for heldentenor "style". He didnt overblow and widen in the tradition of Bayreuth barkers.

[@MDM679]

Absolutely right, Svanholm wins by miles

[@jefolson6989]

I wish there was a Melchior/Warren version. I can almost hear it!

[@stevevandien310]

Melchior was past his prime here, and Svanholm is powerful. But Melchior is better. His voice is bigger and more vibrant, his delivery at least as fervent. And he never sounds pushed and somewhat harsh, as Svanholm does early on. Between the Iagos, it's Warren, even if he isn't in his best voice here. Janssen had a lovely and well-used lyric baritone, which lacked the power, color and richness for Verdi.

[@jackbulmash4247]

I agree. It would have been wonderful if Melchoir had recorded this five years earlier or better yet ten.

[@jefolson6989]

Past his prime? He was in the middle of his prime. He was only 56. He was still singing at 70- THEN he WAS past it. Melchior voice gets smaller near the top. Not as noticeable in Wagner.

[@jordipanadesribera6890]

I like both !!

[@Xerxes89]

Mindblowingly good these two.

[@michsturge]

It ust have been unforgettable. The MET would pigeon hole most singers into one "Fach" and that was that. Schumann-Heink was probably the greatest Azucena in opera history yet never performed Italian works at the MET. Her recording of the final duet with Caruso gives but a taste of what it was like. Did you know that Martinelli sang a complete Tristan with Flagstad in Chicago in the late 30's. Flagstad was blown away! There's a photo of him in the role. He actually LOOKED like a Tristan.

[@sugarbist]

A very exciting Svantholm and Warren. Melchior sounds very large

[@ronaldgoff7499]

warren and svanholm rare duet warren massive voice like macneil

[@bjornolsson3120]

No contest here. Svanholm by a mile, wins the 2nd prize for best recording of this duet by a Scandinavian. Doesn't hurt that he has a Iago a few weight classes above Melchior. 1st price to Bjorling (with Merrill), from that stupendous duet album. (Is that the only record of Bjorling touching Otello, btw?)

[@AfroPoli]

Bjorn Olsson Yes. But there is a second take from that session I believe that has been issued on a private LP.

[@vivianaatzei4270]

Immenso Set Svanholm!!😍

[@peterterry9526]

Absolutely outstanding both tenors, and Warren is far superior than Janssen for this role. Svanholm and Warren are so perfectly matched that it is hard to imagine a superior rendition of this duet.

[@andrewmargrave7518]

Both tenors are tremendous. The Svanholm rendition had the better baritone and the better recording quality. Warren is captured in his prime and almost dominates Svanholm. Janssen was a wonderful baritone, but his voice was too light for Iago and too light to balance with Melchior's vast instrument. Melchior and Warren doing this in 1946 or 1947 would have been a recording for the ages.

[@alessandrodelmagno9125]

Grandi i tenori , specialmente Svanholm

[@alessandrodelmagno9125]

Ma avete ascoltato i baritoni?

[@michsturge]

What's the source? Svanholm and Warren did it once at the Met in 1955 but it wasn't broadcast. ONCE, Melchior sang a staged fourth act at a MET gala and got the best reviews of his career. He never sang it again.

[@carlosarriolaisais7068]

There be heroes!!!

[@luisabini1884]

Si proprio bello come delmonaco

[@iacobellus]

superbes … je voudrais dire que les baryons déchirent aussi !!!

[@alangregory9229]

Well if one of the greatest Tristans of the 20th century....Melchior.... can't nail this...? who can??

[@Serhii_Uk]

It is strange for me to hear that Svanholm in the Italian repertoire sounds better than in German.

[@SilverSingingMethod]

All Melchior's vowels in the top on Oh or AH are mixed registration with a divot in his tongue with a distinct UHL sound. Drives me nuts. lol

[@JJ-vv5id]

haha but why does this happen? i also hear this kind of sound from some male german wagnerians in the old days. maybe because of the "singing in the mask" already from that time.. lol

[@jojomutagaya6708]

He was Danish. The ‘uhl’ sound is ever present in Danish, part of what makes it a difficult language to learn. This might be an explanation for the sound. I’d tolerate it for his voice though!😁

[@jackbulmash4247]

@SHICOFF1 I don't know if this makes a difference but Melchoir was 56 at the time of this recording and not in his prime. His recordings of Otello made in German in the early 1930s present a different sort of vocalism.

[@ettoredipugnar6990]

Svanholm and Warren much more exciting. Perfect example . His Otello is just as his Siegfried of La Scala 1950 !

[@8423Jeff]

melchior avant de se spécialiser en Wagner a chanté othello en allemand , la pure présence et la splendeur du timbre renvoient vocalement tous les ténors à leurs études, mais l'incarnation de Svanholm avec des moyens considérables est stupéfiante et Warren écrase Jansenn qui était un prodigieux Wolframm

[@jillnachtsanger4205]

Svanholm sang 'Otello' at the old Boston Opera House in the early '50s. '52 I think. I was there with my father. He sounded wonderful, but the Desdemona he had to strangle outweighed him by forty pounds. We had to giggle a bit at that scene. He interrupted the action for a second to give the audience an apologetic shrug. We gave him a huge wave of applause at the end.

[@AfroPoli]

Jill Nachtsanger Cool story. I wrote a book on Svanholm back in 2015, and there is quite a lot about him singing Otello in the US.

[@operarocks]

@@AfroPoli Can you give me a title please? I'd like to read that. I'd not heard this comp. I gotta remember to go back thru your older vids and inspect. This one is TREMENDOUS. Thank you.

[@nataliyayatsenko8986]

Безупречное пение.

[@michsturge]

I'm truly impressed by Svanholm in this excerpt. I've been aware of his German language work, mostly Wagner, but never in Italian rep. I wish his later recordings weren't marred by so much scooping. The Melchior excerpt is an old and famiiar friend.

[@alfredoloyola921]

There is a lived performance of. Aida!!at the. Met From. 1946 with him in top form,with. Stella. Roman and. Warren!!!!!!!!!!!!

[@piotrsztucki9623]

Lauritz Melchior tenor bohaterski wszechczasów.

[@operamaniak81]

Svanholm is unbelievable! Clearest voice, clearest pitch! Poor Lauritz - alone he's amazing, but next to Set he turnes out to sing with a knödel and, at times, below the note. Only today I paid attention to this...

[@kaboo118]

Real Tenors and Baritones!

[@PcCAvioN]

Melchior has the more beautiful voice to my ear, as well as a more seamless legato. Svanholm also sings at full volume the entire time, making him a bit stale on close listen. He ends up pushing because, well, if you're already at 100% and you try to give more, you'll have to sacrifice something. Janssen wasn't up to the challenge of competing with Melchior's voice, which might help him against Set, as Melchior sounds bigger in comparison. These are just peanuts though, in the house, live, either version would be an experience of a lifetime. Long live Singing!

[@jefolson6989]

Melchior. Better voice, more interesting.

[@petergraham8681]

Too bad there is no complete recording (that I know of) with Melchior as OTELLO. In vocal terms alone, during his prime period there were few, if any, who could match him. 2 in the 1930s might have been Merli & Zanelli. Martinelli, IMO, waited too long to take on the role although he offered some special & substantial interpretive & dramatic qualities that compensated for his vocal limitations. Melchior, as far as I know, never sang a complete OTELLO on stage in the U.S. but had great success elsewhere. At the time, even before Martinelli first sang the role, the MET basically limited Melchior to Wagnerian roles since they had no one else for these parts then & that theater needed him for Wagner specifically. I mentioned that Melchior sang no OTELLOs in the states during this period but now that I think of it what about the San Francisco opera? Even at age 56, as heard here, Melchior might have still made a stunning OTELLO at the MET & an off the air recording would likely have resulted.

[@ronaldgoff7499]

interesting wagner singers doing verdi both great

[@photo161]

Melchior...

[@dimakauffman]

Svanholm is the victor here

[@SilfredoSerrano]

I like Svanholm better. Melchior does something on High A I don't like. That's not to take away from his greatness. He will always be considered probably the greatest heldentenor of the 20th century.

[@averygordon5334]

WOW!!! UTTERLY PEERLESS!!

[@bartomiejmaslanka6958]

2 epic and outstanding voices. But it seems to me they should sing Wagner's arias and Otello and other italian operas should leave for italian singers 😅

[@gzorose]

Lauritz Melchior beat them hands down. Not even close.

[@JoseMurillo-ki6yx]

Set Svanhom does it much better than the great dane! Thanks for posting !

[@hanslick3375]

This was way past Melchior's prime and his Italian was always questionable. Janssen was never a Verdi baritone. Wolfram was his signature role. Listen to Melchior's Otello recordings from 1930 (they are in German). Dio mi potevi ... (Gott, warum hast du ...) and niun mi tema (Jeder Knabe ...)

[@antonioschiavi6870]

Mi stanno tremando le gambe

[@victoriagrapsidou3474]

What a shame for nowadays opera singers!! There's no match for the old operatic voices!!!

[@t.r.e.1892]

Levine may be a pedo, but he gets the tempo right in this duet. Both of these recordings just drag in the end. Svanholm/Warren hands down.

[@ftumschk]

I thought the tempo on the Svanholm recording was fine, but the Melchior really dragged. Totally agree with you that the Svanholm/Warren recording is an easy winner, though. Like others here, I'm only familiar with Svanholm's germanic work, so this was a real ear-opener.

[@reginaltedbrown]

JUSSI BJORLING is the very best !!

[@tat3917]

Amen to that.

[@MrLeino77]

Di preciso, standosene alle sue intenzioni, che cosa avrebbe dovuto cantare Melchior? Fra dizione e solfeggio fa un macello. Il povero Verdi, non sa nemmeno dove sta di casa :-))) Molto meglio Svanholm e Warren. E, fra i due, paradossalmente è meglio Svanholm.

[@Agorante]

Warren is the only one of these four singers who is captured here singing one of the roles for which he was famous. He was a Verdi baritone after all. The tenors of course were most famous for their Wagner. I've never really like Melchior in anything. Today I'm listening to Wagnerian tenors singing Italian arias. So far I like Peter Anders best. Svanholm comes in second but his later stuff is rather threadbare. Early on he was pretty good. Both he and Melchior started as baritones.

[@EmilyGloeggler7984]

I’ll take both over Del Monaco any day. I prefer Svanholm though.

[@deutschefach]

Svanholm is spreading the tone way to soon. He is singing beyond his maximum for too long. I like his voice but Melchior is more within his powers. Warren smokes Svanholm with one hand tied behind his back.

[@Mpetersable]

I could not agree more.

[@ColonelFredPuntridge]

Yikes!

[@adarpeer3769]

At list in my opinion Set Svanholm was the better Otello because he sung it more theatrical and dramatic than Lauritz Melchior. You can hear that Melchior sings the sangue sangue sangue as it written in the score while Svanholm shouts it desperately, makes it feel a lot more realistic and aggressive.

[@nitetraitor1]

Don’t know what Melchior sounded like in the house, but I know his reputation precedes him. Hyped singers are as old as the art form and my ears don’t like what happens in the top of the voice. Sounds thin (I’m sure it cuts but the vowel is intubation) and Verdi himself wanted some bark in the voice as part of Otello’s character. So, I’m not getting it from either singer really. Giacomini, Vinay, delMonaco come to mind when I think of real Otello.

[@arepo]

Neither, by a long shot. They should stick to their home turf.

[@Chris-wm4th]

Give an example of someone better than these two titans

[@arepo]

@@Chris-wm4th Nice try but I'm not interested in youtube "better" wars.

[@kevinskiles2033]

@@arepo If you're not going to give us a frame of reference for your observation, then it's worthless.

[@arepo]

@@kevinskiles2033 Are you Christopher's "friend"? I'm not interested in convincing you or anyone else. I don't care about you at all. Why do you care about my opinion? Enjoy your obvious preference and leave me to my opinion, there's no need for you to know the rationale behind it. After all, you didn't ask the other users (those who agree with you on an emotional level) about their frame of reference, didn't you? According to your logic, their opinions are worthless too.

[@kevinskiles2033]

@@arepo Sorry, Janie. If you put your opinion out there, then you invite a response to it. It's one thing to say that you prefer others. It's another to denigrate them. By criticizing without offering explanation, you leave us to assume you don't know or understand what you're hearing.