Rolando Villazon - La Boheme - Che gelida manina

[@palymusic]

Quanta generosità in questa voce così piena di armonici e di caldo velluto romantico. Era il 2001 e quel "giova" fa percepire la ricerca di un passaggio che "ingola". Siamo nel 2008...

[@can3112]

Oh my, how young he is in that part. He has a marvellous voice!!!

[@22441932]

I don't think I've ever heard this aria sung more beautifully or passionately. I have to agree with Pywacket2 that Villazon IS the most exciting, as well as delightful, tenor around today, and I hope he stays around for a very long time!

[@ralphgar3690]

what a great powerful voice he has! God blessed him truly with talent

[@adjoeba1]

wat is het toch een prachtige opera ik ben zelf dochter van een operazanger en mijn vadfer heeft dit heel wat keren gezongen ik raak er steeds weer ontroerd van kippevel van mijn tenen tot aan mijn kruin prachtig gewoon

[@bbbartolo]

everytime I hear this version I'm floored. ¡Viva Villazon!

[@isengart072]

You guy don't know what you are talking about. - Villazon is a very good singer, he has a darker timbre than many others but he is not throaty at all. And he sings with heart. There is passion in his voice and if I am honest I prefer this way of singing to any technical voice without emotion.

[@huhas1]

The pick of the cast was undoubtedly Villazón. His first word "Fontainebleau" full of the passion and yearning that suffused his entire performance - sent a shiver down my spine. This production is very much Carlo's story, a tragedy on a Shakespearean scale, and Rolando, in magnificent form, provided a charismatic centre. His Carlo was a Spanish Hamlet, immature impulsive and ruled by his passions, an interpretation lent emphasis by the comparative restraint the other principal performances

[@mariamerce]

BRAVO ROLANDO ! YOU ARE THE BEST

[@PuppetNightmares]

Rolando la mejor voz juvenil que he escuchado sigue adelande viva VillAzoN

[@dalferr]

Fantástico! Bravo Villazon.

[@SilverSingingMethod]

He is developing a tremolo as I predicted about 1 year ago. And there is little to no squillante in the sound despite the sound enhancement.

[@rumichaop]

I agree Villazon is cool! Don't know why people criticize him so badly... I hate that people!

[@raythespian]

You may be right. This year (2007) he started cracking on A and above, and cancelled everything 'til Jan. I hope he can fix the problem and get back to the form he's in here. The high B was terrific, with huge expansion and amazing breath control.

[@primobaritono]

I agree with you, MrCafiero. Sadly the art of singing has declined steadily since the end 1950's. And the fact that microphones are so widely used today is just another sign that 400 years of artistic singing are now coming to an end. What a shame....

[@jhvorotin]

let's see...First, Pavarotti belongs to such a unique and superior realm of singing that we cannot justly compare him to any other tenor. I think what people like about Villazon is that he reveals passion, the feeling that one is overwhelmed. His gulps and energy reveal emotions. He may show a lack of control but that's why people like. The emotions are tangible and he highly conveys them to people. As the French idiom goes: "what matters the jug, if drunkeness be within?". How's that to you?

[@victoriagiri8571]

HOY POR HOY ROLANDO ES EL MAS GRANDE, QUE VOZ POR FAVOR.-

[@hightenor123]

It is fine if you don't like his voice, it is unique. All voices will move people differently. He certainly comes over well in the house. A mid-sized intrument with decent carry, except for when he pushes. He does not have a wobble, but a quick... somewhat wooden vibrato, which is more something that you notice on recording than live. City opera now used micraphones in all productions.... which is what it is

[@Kraveth]

Hay muchos comentarios muy diferentes entre si, en mi muy humilde opinion, esta es un aria carente de muchao cosas. Si bajas de tono un aria (y sobre todo de una con tanto peso como esta) es porque el interprete tal vez no tiene el registro, pero tiene el talento, la inteligencia y la habilidad para hacer que valga la pena y de sacarle los aplausos a la gente, cosa que no sucedió conmigo. No sirve de nada comparar, pero si se tiene el ejemplo del maestro pavarotti, hay que tratar de superarlo

[@enmanuelmartinez709]

What the critics have to try to understand is that the new school of singing has destroyed the message and the delivery and the tempo of many of the opera nowadays. The expectation on delivery of and note by note perfectionism, has destroyed the very essence behind the purpose of the text and the music. They have turned singing into a torturous and tortuous act. Singers of this music should be more free to navigate and experience and freely deliver this arias without the pressure put on the of what a perfect flawless sound should be. Almost everything has become too strict linear and disciplined that there is no freedom of interpretation. Take the example of Carusso. He delivered arias as he felt them, with freedom, with different colors in the voice. And people loved it. This extreme criticism has brought about a new era of rigorous singing rather than a joyful experience. I believe he delivered. He is really good! Huge voice! He has more effort in that high C, and as a tenor, I get it. I have been there. Resting in parts of the text or breathing are necessary. Then you have a better larynx to deliver that high note. The reason why all tenors for whom those high notes are harder don't sound as beautiful when they get there, is because of everything I explained above. When one sings super impostato from the beginning, regardless of whether is piano or forte, the muscles get tired and then come the High note, it sounds less bright, or opaque, or one can even crack! Look at Pavarotti, Apperto Ma Cupperto! Rest in between phrases and deliver as though you are talking to someone. Enough to be heard in a theater back row but no so impostato that your muscles tire. Apperto ma Cupperto! And every tenor is different. One has to find empirically what works and what doesn't! I know it's difficult. But to me he is amazing and a great performer.

[@GermanOperaSinger]

Rolando....take a deep breath...relax. 'Singing is like speaking' said Caruso. Listen to this advice. Please...relax. Let the sound flow naturally...I'd like to see you go far, but if you continue to sing in such a tense manner, you won't. PS Tell Placido that he's wronged you.

[@jhvorotin]

Note that by acting I mean not merely the gestures, but primarily and more importantly, the way by which the singer speaks the words, emphasizes certains syllables, dynamics...etc. That is what makes good acting. Opera is equally both singing and acting. That is what makes a good opera. Acting gives depth to singing and to the meaning of the text (and vice versa). Actually, if and only if(physical) acting is excellent, we may infer what is going on, more or less.

[@josephcold]

there is a point people get to when they are learning vocal technique where u understand where all the tones should be when you sing them (where the resonance should be..placement, once placement/deep sense of support is established, then theres diction, etc).. once the sense of freedom is achieved..its just a matter of expanding the understanding of the opera..

[@jhvorotin]

Today, opera houses search for the singing and the acting. The acting becomes more and more important. Many, I think, would say that opera is foremost about acting as opera was first invented to recreate Greek Drama. Although Villazon is not an example of technique, we cannot say that today's "market-opera" throws technique out of the window. There is still hope in vocal excellence today. Villazon is just an exeptional with a few others maybe. Yet, he is not void of technique. It still counts.

[@jhvorotin]

Right, what I said shows a case which reduces the importance of technique, and the celebrates the expression of emotions. A singer both with a technical and emotional voice is ideal. But if this is not the case, what is more important for you? I think, in a desire to democratize opera, people also favor the expression of emotions. This is not necessarily a bad thing...

[@banaliltes]

What a gorgeous performance. As someone here opined, Villazon's dark tenor, which harbors an undertone, nearly baritone hue, is certainly closer to his countryman Domingo's than it is to Pavarotti's. And while the comparison game is merely frivolous in the end, Villazon will likely find himself compared to Grigorio, at least in the opera going public's eye, for some time to come, in much the same way that it pitted Luciano to Placido. Nothing to take seriously, as they are both superb singers

[@phantom4087]

I honestly think that Deutsche Grammophon, despite it's glorious past of wonderful recordings (with Maestri Karajan, Richter, Mravinsky etc), made their biggest mistake in signing on Villazon. Not only that, but they support him as their flagship tenor while many talented young tenors go almost unnoticed. One of these is Piotr Beczala. He has a few videos here. Tell me what you think of him. He'll be singing Rodolfo this season at the San Francisco Opera.

[@SilverSingingMethod]

Not sure, but I will listen to more current things and see. I don't listen to him much due to these problems.

[@primobaritono]

That is mostly true. And you know what ? Artistic singing isn't meant for such large spaces. We have all these huge theaters and stadiums, because singing and opera has become hyped up by the media. It's all some kind of show, it's not about the artform anymore.

[@adri235]

No lo he descalificado, simplemente he escrito que no me transmite tanto como otros intérpretes. Que es un gran cantante no hay ninguna duda pero creo que depende demasiado del rol. Un saludo.

[@huhas1]

Primobaritono: Of course I agree. Not only singing but also classical instrumental music not supposed to perform in huge spaces. Many important things lost completely. Unfortunately it is influence of popular genre. And we have to face reality. But still :):) he is so nice in this aria..

[@belleangele]

an outstanding aria

[@stanncie]

wow!! i'm in love!

[@nichtsleezy]

I agree with you completely.

[@huhas1]

Before (400 0r 300 0r 100 years ago) they did not sing in concert halls and theaters with capacity of 5000 seats and in stadions with 20 000 peoples listening. So microphones are just mark of new times.

[@moorfan1]

I strongly disagree with you. There has been someone in every era who says this crap. Regarding Villazon, I have stood 10 feet from him in recital, and basked in the beauty and richness of his timbre. And the volume. He does not need a mic. He's been a little faint at times when I have heard him at the Met (a few times) but the only criticism I have for him is that he sings so much I can hear the strain in his voice recently.

[@donde2k]

He has a tenor voice like Placido, I think. Placido's voice is/was "darker" then that of his friend Pavarotti - and the world is/was richer for having both of them at the same time.

[@MrGARRO84]

Qual'è il problema? High C or high B?? it's fantastic!!

[@josephcold]

i liked his b natural, it was nice and bright, not as covered as many others, i mean, he is an internationally aclaimed opera singer, im sure he learned from the best... the people should judge the performance... imho, if the technical thing creates a defect in the performance, then there is a problem, but there are some things that people do because it is there style, it doesnt really hurt their voice... as far as I can tell/hear.

[@iscarechildren]

yeah but MrCafiero, the description says this video was from 2001. I wonder if he has fixed it since this performance.

[@JeVoudraisDire]

Awesome!

[@CaledonianCelt]

Excellent, Rolando! I'll bet none of your detractors here could hold a tune in a bucket???

[@commandert5]

What happened. He had the chance to develop into a great spinto and it all fell apart. At least we have good lighter recordings like this

[@marokt]

He is a great artist. I dounno why you find him rough or something else.

[@moorfan1]

Gabba, isn't this video from 1996? I have it as that in my VHS library.

[@Robbdoubleflat]

this is the B nat version no High C here

[@jhvorotin]

I agree let's keep this superb artform pristine, but this involves excellent singing as well as excellent acting.

[@huhas1]

He is 28 years old here...

[@dominiquedore]

I'm a huge Pavarotti fan, but honestly prefer this performance more.

[@BenGulley]

Bravissimo

[@steakopera]

You need to reread my comment accurately. You just recommenting my comment. By the way Pavarotti didn't lower the key until he was at his fifties. How young is Villazon in this video? at his thirties. LOL

[@steakopera]

4Ever.You stick up Florez because?

[@SilverSingingMethod]

Yeah, everyone thinks these singers are amazing because they are mic'd and enhanced. They aren't. And most people are not around TRULY great singing. So they have nothing to compare it to. Sad.

[@SilverSingingMethod]

Mic's or no mic's, his sound is not on the level of the greats of the past. Not being afraid is absolutely irrelevant. Some of the worst singers have no fear and some of the best are scared.

[@MUTEGIO36]

@BeniaminoGigli1985 yeah i was wondering that too! Luciano did the same thing too which kinda bugged me :\

[@steakopera]

If you are implying on strictly vocal aspects about Domingo, I wouldn't consider him to be the most idealistic. He possessed opposite quality in his voice that is quite contrary to Pavarotti and some of the light italianate lyric timbre. However Domingo is the most spontaneously consistant with vocal endurance that never quits. Obviously Villazon is no match for Domingo in vocal bench press.

[@SilverSingingMethod]

I don't think it is as well as it should be for the amount of praise he is given. However, there aren't many out there now doing it on this level. That is my point; opera is in decline.

[@thebananamonkey]

You're so right. Especially with this aria, it's sort of a condensation of a life well lived. It shouldn't sound this hard, even if it is. I have the Jussi Bjorling/Victoria de los Angeles recording of this, and you forget they're singing sometimes. It's just magic. You should be seduced at the end of this. I can see Mimi turning around and going next door for a match.

[@moorfan1]

Nope, indeed it is 2001. My error..

[@Bjoerrelli]

listen to the first note before Rolando starts to sing if that´s a G instead of a Ab then this aria has been transposed half a step easy, peacy, japaneasy.

[@Vielflieger01]

TheInquisitive4Ever you seem to have no idea about voices if you say florez is exceptional and now I know why you spend so much time critizising non florez singers!! does he pay you? or you do it for free? ...

[@Fuiga]

its transposed down a half step

[@hightenor123]

I think you should have heart... I don't think he is the best out there. I think he is the "idol" which has rarely belonged to the greatest voice. Botha can bring the big sounds, so can Heppner. Piotr Bezcala is out there making amazing sounds, so is Matt Polenzani. Marcello Giordani is keeping verdi going at the met, and Ramon Vargas has a honeyed voice that bathes the house. There are more... but don't give up hope!

[@josephcold]

I'm sorry, i dont understand, you dont call this a solid technique?

[@steakopera]

Villazon and the conducter had pre-arraged it. Orchestra don't just lower the key volunterilly. Often the tenors do it. Pavarotti, Carerras, etc..........

[@oswaldobmeraz]

Entonces tampoco deberías de gastar tu tiempo descalificandolo. ¡Saludos!

[@gonzalo384]

Elvirateamo: evidentemente sos uno mas de esos que habla desde abajo, se nota que nunca subiste a un escenario y cantaste frente a publico. Escuche a dos de los que comparaste con grandes de la historia de la opera como placido domingo (que con cerca de 68 años sigue cantando (que mala tecnica no)) y el grandisimo Franco Corelli. 1° para empezar a hablar, que dejen los microfonos, con microfono canta cualquiera.

[@josephcold]

i dont understand all this deep critisism about technique. really. everyone has something different to bring to the table...i doubt technique has much to do with that...

[@GermanOperaSinger]

He scoops and slops everywhere, overdarkening on purpose, trying to make Rodolfo sound like Andrea Chenier. Di Stefano misplaced his vowels but as a result he sounded better, very bright and youthful sound. Villazon sounds worse as a result of his technical flaws.

[@katalinluedtke4838]

So wunderschön... Puccini halt. ❤

[@gotthelf100]

@fanofclassic Ja, leider, leider...

[@steakopera]

>I have factual about Florez. What do you mean by factual about Florez? You seem to have negative impressions toward Villazon and why do you call him Kermit. Are you a classical singer? What kind of reportoire have you acquired for yourself? Are you a tenor?, a baritone?, a bass? or none of the above.?

[@hightenor123]

Well, I personally am going to try to do something about it. :)

[@BulentBezduzOfficial]

Listen to the Bulent Bezduz ...

[@GermanOperaSinger]

I never compared Villazon to di Stefano. He doesn't hold a candle to the latter, who was in my opinion, the best ever for this role. I think that Villazon had a good voice and potential but delivers his sound in an ugly manner...perhaps I didn't clarify.

[@Bjoerrelli]

Its B-natural he has taken it down half a step

[@SilverSingingMethod]

Thanks. i will try, but I don't particularly think any of those people are great. I have not heard Matt Polenzani though. Heppner has a wobble, Giordani screams the top and has no middle or low range, Vargas is tiny voiced and constricted. Maybe I am just pessimistic!;) I think we have to remember what Opera SHOULD be and was.:) None of these guys are terrible, but they are not on the level of great tenors of the past.

[@steakopera]

so...how do you know Kermit as you call it, would kill to sing like Florez? Have you personal acquaintance with Villazon?

[@charis337]

i agree with you on Florez being perfect with technique but not very exciting. even his flawless 9 high c's in ah mes amis don't bring out the kind of excitement that you get from Pavarotti.

[@steakopera]

Mingo was funny. It took me few minutes.

[@adri235]

Yo no pago un dineral por ir a la Opera a escuchar a este Señor porque se supone que está en el Top 10. Me niego. Ni me emociona, ni me llega ni me transporta ni nada. Un chico cantando canciones de los mayores.

[@AGUELAMARTA]

Criticar es facil Si no te gusta no lo escuches y listo

[@gonzalo384]

Nos soy argentino, vivo aqui pero soy español, la agresion es tipica de gente sin inteligencia e imaginacion. Conozco el negocio porque estoy en el. No se puede hablar con gente asi. En vez de insultar porque no hablan un poco de tecnica si e sque saben algo...

[@ManuelTenore]

@inquisite: Im sorry for you because apparently you simply canzt listen to music and enjoy it...... poor guy!

[@SilverSingingMethod]

I don't like his voice as it lacks squillante. I have no idea what a "wooden" vibrato is. When I say he has a tremolo it is at those times when there is not enough pitch oscillation in the vibrato action. I am not saying he is bad, but we have really gone downhill when he is the best out there.

[@quo33]

TheInquisitive4Ever, what ON EARTH is the matter with you?! Why can't you just say you don't like him or whatever or give reasonable critics instead of just insulting people?? And others are allowed to have an opinion too.

[@steakopera]

Not high C.

[@AndyGoo]

inquisitive,you seem to be so bothered by the fact that he has transposed down half a tone. Who really cares? As long as it sounds good. I dont want to hear a tenor sing this aria with a great tone then squeak out the C! if its not there like others let him transpose. He would not be the first. Jussi Bjorling never sang the C live, only in recordings.Corelli was the king of transposing.Renata Tebaldi also had a terrible C,(which you can hear with her duet with Jussi),Domingo.the list goes on.

[@DonTheBass22]

Me temo que así ocurre cuando tu país ya no exporta cantantes de primera, y me refiero especialmente a E.U. e Italia. Incluso a mi, que me gusta un poco más Ramón Vargas, me parece que Villazón es mucho más el paquete completo, y un mejor cantante en general, aunque sí me parece que ahora abre la voz excesivamente; deber estar mal aconsejado.

[@GermanOperaSinger]

I don't recall ever stating that the voice itself sucked.

[@gonzalo384]

y como dicen uds, vivo en un pais de mierda, pero tenemos en los tres ultimos neu stimmen ganaron dos argentinos y en el ultimo salio segundo otro. Marcelo alvarez, jose cura, luis lima, sin habalr de maradona, gardel, favaloro, que pais de mierda no? jaja estudien y le sdeseo suerte. En este pais sin nada se logra mucho eso tiene. TALENTO!!!

[@cornificius22vain]

This is very often done, Pavarotii and the great Caruso did it, so it should be no problem really. Still Villazon is awful, though slightly better than his instigator Domingo. Fortunately we do have good young singers like the lighter, excellent tenor Juan Diego Florez.

[@Artisticz]

well he sang it great but damn you think he can open his mouth wider?

[@vangonza]

Lo que pasa es que las piezas musicales se escriben de una forma y se ha tenido que cambiar las melodias por que el no puede llegar a las notas agudas y si lo hace lo hace de una forma no acpetable y por eso es que no cae bien a las personas que lo escuchan. Eso es todo.

[@gonzalo384]

no canta calquiera ahi... en la television y en shows canta cualquiera, como vi que cantan estos tales Grigolo y Beltran. Los cantantes somos humanos te diste cuenta? y fallamos a veces. Cuando cantes una opera completa y estudies un poco mas recien me podes contestar

[@gonzalo384]

Proyectar la voz es otra cosa. Grigolo, no tiene harmonicos ni brillo. Un principiante. Y Beltran es mejor, pero con agudos bastante ceñidos y desparejos con el centro, que siga estudiando. Si sos inteligente te vas a dar cuenta que si a Domingo y Villazon los contrataron los directores de los mejores teatros del mundo debe ser por algo no?

[@AtaGiacomini]

Eh, gia l'aria comincia da G naturale...Non A flat!!!!

[@steakopera]

You make fun of my English. How many lanuages do you speak? Are you fluent in Italian? French? perhaps in German? Do you have any knowledge in a vocal pedagogy? or do you have a degree in music? What makes you so judgemental.

[@colino72]

Yuk, yuk, yuk!! His voice is tremulous, not vibrant. Have to agree with 'TheInquisitive' on all of this, except perhaps the comparison with Mingo. I think Domingo had a decent sound lower down (yes, hooty, though), with a nice even vibrato, but up high was shocking. This guy is worse again, and has presumably done as well as he has due to his affiliation with Domingo. And people criticise Alagna - he is great in comparison.

[@ridesesquivel4357]

APOTEOSICO!!

[@Bostero3771]

TheInquisitive4Ever you have no clue what you are talking about.

[@livius]

Porque, más engolado no podría cantar el tipo, no???????? Qué poca naturalidad... lástima.