SongStudio 2019: Piotr Beczała Master Class: De Curtis’s "Tu ca nun chiagne"

Acclaimed tenor Piotr Beczała coaches tenor Jose Simerilla Romero and pianist Andrew King on Ernesto De Curtis’s "Tu ca nun chiagne."
To watch more master class videos, visit: • SongStudio 2019
SongStudio is a program for young vocalists under the leadership of world-renowned soprano Renée Fleming. Designed to renew and refresh the presentation and experience of the vocal recital, SongStudio brings leading musicians and other performing artists together to mentor emerging vocalists and collaborative pianists, exploring innovative approaches to both classic and current song repertoire, and inviting new audiences to engage with the art form. SongStudio builds on the remarkable legacy of supporting young vocalists and the art of the vocal recital that Marilyn Horne sustained over the past two decades through The Song Continues. To learn more about workshops and master classes at Carnegie Hall, visit carnegiehall.org/workshops.

[@Artiej0hn0]

Beczała did a very nice job with this student. Bardzo dobrze.

[@Radiobestia1]

no! non e "duzghe dobre" _e un iresponsabile che trasforma la classe in una comedia gtelevisiva! risultato _questo studente senza preparazione e presente nel facebook come PROFESSORE! specialista Del canto! mA COME E POSSIBILE CADERE COSI BASSO?

[@liloruf2838]

FINALLY some good teaching! Good teqnique Common sense, constructive but straight to the point Best masterclass of SO many

[@giorgiojvladiqt6060]

I AM A TENOR FOR MY SELF, AND I LIKE VERY MUCH YOUR TECHNIQUE VERY GOOD, BRAVO MAESTRO.

[@luisjavierjimenez677]

Gratamente sorprendido por la calidad humana y gran conocimiento mostrado por Piotr Beczala. Gracias 🤗

[@chk1230]

Love Piotr' personality, and I think the tenor is very good

[@ransomcoates546]

No one worked harder on his voice than Corelli. And how can he not say something about the fact that it is all FLAT.

[@benjaminwerth]

The Corelli thing annoys me too. Totally promotes the super talent/no work myth. The singer isn't always flat. It may not ring the same way throughout, but he isn't universally flat. Even if he were, there isn't much a someone can do in a masterclass to address pitch problems. These silly things really aren't very useful as much as they are for entertainment.

[@ransomcoates546]

Benjamin Werth Having attended many of them I think you are no doubt right in your conclusion.

[@celibidache1000]

His caprino vibrato is very wide with the tonal centre slightly too low, so he touches the notes with the top of the vibrato, but he is flat.

[@labienus9968]

Yes, Corelli worked very hard, but look what he had to work with. Maybe the point was more that all the work in the world would not make you sound like Corelli-but you try to learn how to sing effectively with what you have. I don't know if there was more to this when the student is trying to sound like Corelli which would be a mistake.

[@celibidache1000]

@@labienus9968 But telling somebody what they aren't or what they DON'T have, is a questionable tactic to employ if you want somebody to sing well in a masterclass.

[@roswitharichter8502]

einfach köstlich...mit so viel Temperament und Engagement, lieber Piotr Beczala ..es ist ein Genuss, das anzuhören und anzuschauen...ein herrlicher Lehrer, von dem die Sänger vieles lernen können...Brawo Maestro

[@green7apocalyptica]

Piotr is so funny😅 love it❤️

[@linlasj]

Let your vocal chord work, do not disturbe them. So true.

[@Tigrangasparianofficial]

The end - Bravo for Piotr for the coaching!

[@raitler]

Let you vocal cords work, don't disturb them. Best advice for tenor.

[@peteradaniel]

I absolutely agree. Speak from the diaphragm and don't think about placement or any of that rubbish.

[@ssr6036]

@@peteradaniel I actually think the opposite was happening here. I agree that the vocal chords should be left alone and not to place the voice, 100%!!! The student here however, was being very lazy with his phonation which resulted in a throaty sound that had not much ping or squillo and was very woofy. When he was made to sing down the octave, his pronunciation of the words was much clearer and much more precise, because it needs to be for a tenor to sing down there at that register. You almost have to work a little harder so as not swallow the sound. Then we he sang back up in the correct register his voice was more (and i hate to use this term) in the mask. This is why Italian is such a perfect language for opera. When it is pronounced like the Italians do, with clarity and precision, then half the work is already done. The sound is already somewhat in the right position for singing and you just have to combine that with the air from the diaphragm.

[@luisgarcia-ls2gs]

Oh I am good! Only a tenor could say that!

[@morganhanson7940]

Long way to go 🇺🇸

[@SamSung-um6wq]

Beautifful👍👍👍👏👏👏

[@carnegiehall]

Thank you for watching!

[@codekantum829]

Super vidéo thanks a lot

[@marie-jeannevallecalle9991]

Très bien jeune homme 👨

[@antonioramires9559]

Um boi tenor.nada mais que icido.bravo Del Mônaco!!!

[@morganhanson7940]

Perfect student

[@Chris-wm4th]

Interesting, when he told him not to make music the vowels were great and the line was smooth. Something to consider.

[@andrzejzborowski4920]

Many singers during the singing think only how to keep the proper position of the voice and project round vowels and not what they're singing about. The technique is an instrument and not the goal for itself.

[@bodiloto]

Quando vedo e soprattutto sento i master qua sul YT mi sto chiedendo ma dove sono sparite le bellissime giovani voci degli anni 50-70?!… A cosa stanno insegnando i giovani alla scuola media e al Conservatorio?!… no comment il vecchio

[@13esimotenore]

Salve ho letto vari suoi commenti e ho capito che lei è un esperto di canto, volevo chiederle se le andava di ascoltarmi, sul mio canale ho un video soltanto e non dura molto. SALUTI!

[@alexeiderperezhernandez461]

5:14 suddenly MAGIC

[@Sabininho]

4:18 whaaaatttt????

[@momoabdelkrim5347]

😂

[@enriquepazescudero4536]

¿ Porqué estos grandes cantantes, no cantan con los alumnos en las clases, por las que seguramente cobran un "dineral" ?.

[@Radiobestia1]

porque no son grande3s cantantes y no pueden mostra con voz -el dineral ---hay que "CUIDARLO" VERGUENZA LES DEBERIA DAR! a los organiszadores -en primer lugar!" LO RETO! SI! BLO RETO!

[@ingridreichel7292]

Piotr du bist einfach wunderbar!

[@Markinsky]

I really like this feedback

[@gianpierotilotta2120]

La canzone napoletana non si canta Impostata Si canta con il cuore Solo così puoi davvero superarti e anche l'opera Se ci fate caso i tenori dell'anno 1900 A salire fanno emozionare ( apparte che la tecnica della vecchia scuola e molto meglio) i cantanti lirici di oggi cantano senza anima pochi ce ne sono che cantano davvero con l'anima

[@zs1968]

Del Monaco diceva che la canzone Napolitana richiedeva uno sforzo superiore a quello di un aria d opera. Come dice Lei, giustamente, va cantata con i tre C (cervello, cuore e co......) Qui abbiamo una versione da camera di una delle più belle melodie partenopea. Che schifo!

[@gianninov2613]

Niente di più vero. Io canto tutte e 2 le cose. E posso confermare che è più difficile cantare le napoletane (davanti a napoletani ancor di più) proprio perche sono cariche di sentimento, sentimento vero. Mentre l'opera e comunque una finzione. Anche se puoi tranquillamente cercare uno stratagemma per entrare nel personaggio, ma non sarà mai lo stesso. Ti faccio un esempio: se io devo cantare questa canzone, basta che penso per tutta la canzone, di star seduto in una panchina a Napoli, mentre guardo il tramonto, o l'alba. Mentre guardo il mare, con un senso di malinconia. Mettendomi nei panni di un napoletano che deve abbandonare la sua terra. Solo così puoi cantare le canzoni napoletane. Naturalmente bisogna conoscere Napoli, ed i napoletani, proprio per capire quanto loro amino la propria terra, per capire quanto sentimento hanno dentro. Se salti questo passaggio non potrai mai cantarle bene. Qui è il cuore di Napoli che bisogna cantare, non solo una canzone. Napoli è cuore forte, è amore, forza, malinconia. Non è 2 note messe su un pentagramma. Ecco perche sentite pochi cantarle bene. Perche pensano ai soldi mentre cantano, pensano a sistemare la giacca, pensano a fare la sfida della voce grossa. Tutto il contrario, praticamente. Napoli non si può cantare come in questo video. E la cosa preoccupante è che non lo sa nemmeno il maestro. Anche se nessun maestro nelle canzoni napoletane, è migliore della stessa Napoli. E lo dice un cantante sardo, che nutre un amore smisurato per la Campania.

[@zs1968]

@@gianninov2613 grazie di cuore per questa bella risposta che conferma l importanza della canzone partenopea nel mondo. Aggiungerei solo che, che sia cantata in modo lirico o no, la canzone di Napoli deve venire « da o core» per essere ricevuta dal cuore dell ascoltatore. Basta sentire il grande Merola che ti fa tanto chiagnere quando lo ascolti. In campo lirico, Caruso, Di Stefano, Del Monaco, Poggi e anche....Schipa che diceva che il napolitano non è un dialetto ma una lingua. Per questo siamo d'accordo che la canzone partenopea è la più bella espressione popolare Italiana. Anche i gondolieri le cantano. Cordialemente.

[@gianninov2613]

@@zs1968 si si assolutamente giusto. Sono 2 interpretazioni diverse, tutte e 2 stupende, lirica e leggera. Nella lirica, proprio come da significato della parola è un recitar cantando, la voce recita il testo, come l'autore lo ha scritto. Mentre la leggera non ha vincoli, e può tranquillamente farla a modo suo. E Merola, sapeva il fatto suo, in una canzone napoletana, ci metteva il cuore napoletano, unione perfetta, con risultati perfetti. La canzone napoletana È la canzone italiana. Non esiste altro tipo di canzone italiana. Esiste il folk, che varia da regione a regione, esiste la musica americana cantata in italiano, che è la musica contemporanea. Ma la musica italiana, quella vera e originale è la canzone napoletana, e la musica operistica. Da li non si scappa. Il resto, ripeto, è tradizione statunitense, cantata in italiano. E nel mondo si, piacciono tantissimo. Le persone di tutto il mondo restano estasiate da quelle melodie. E come dar torto.

[@zs1968]

@@gianninov2613 Molto giusto e condivido pienamente questo Suo parere. Nella sua ultima intervista il grande Mario Del Monaco diceva che il Napolitano che sentiamo in quelle belle canzone è «italianizzato» perché il Napolutano DOC non si esporta. Infatti quando sento Gigi d Alessio non capisco quasi niente. Sono Siculo e in Sicilia è la stessa cosa con i vari dialetti che troviamo e che poi i giovani non sanno più parlare. Vivendo all estero ho ricevuto dalla nascita questo dialetto DOC da mia madre e mia nonna. In Sicilia usano una specie di slang ... Mi fa piacere condividere questo pensierino con un altro isolano come me. Molto cordialemente😊😊🙏🙏

[@clarkepaul837]

WELL........ THE MOST MUSICAL PHRASE WAS THE ONE THAT THE TENOR SANG "ANTI-MUSICALLY".....THAT TELLS ALL.

[@InfernoDaBaka]

Well Corelli worked too 😄😄😄

[@johnblasiak2499]

Hardest thing to do sing in front in front another singer

[@AndreTenore1]

Прикольно. Ничего не понимаю в английском, но Пётр в принципе толково объяснил ему не задираться и петь в позиции, что нет высокой ноты, а нужно петь в позиции говорения, интонация сама добавиться.

[@kentst8956]

Voice masterclasses are always interesting. Voice is SO VERY difficult to work with....it is invisible.

[@bodiloto]

Kent St Giustissimo, soprattutto quando il giovane non ha una voce bella … il vecchio

[@adrianmolle4480]

Swietny glos...

[@marinakoreytem5821]

😄

[@ЛюдмилаШилова-у1р]

Отлично!!!Все понятно.Спасибо,Петр!!!👏👏👏

[@carnegiehall]

Thank you for listening to this master class excerpt.

[@Radiobestia1]

svinstvo!

[@ЛюдмилаШилова-у1р]

@@Radiobestia1 Это Вы кому написали?

[@giuseppestefano6278]

he teaches good

[@jenspflug7473]

As for Corelli there is lots of exaggeration done by Beczala here. According to Wikipedia his height was 185 cm a far cry from being a giant. Sportsman yes,as he was referred to as a former rower. Moving the grand piano with one finger......I mean, come on 😂😂 Question: Does Beczala believe that himself or did he use that exaggeration as a motivational means for the student?

[@adamfrandsen]

What do you think 🤦

[@imadude8075]

I’m sorry. This is the sexiest thing I have ever seen or heard in my life!!!

[@salvaromano4172]

Con questo Canto fai Piangere a noi Napoletani proprio brutto

[@miguelemiliovidal2150]

Para mi, sucesor de Nicolai Gedda

[@bokewilhelm1452]

nachdem beczela richtig singt müsste er auch ein guter lehrer sein-schade dass ich ihn nicht kennenlernte, wichtig aber ist dass man ein schöne stimme und das talent

[@KaMiSa07]

❤️

[@marc.pottiez8833]

Non raconta niente per questo non functiona la voce Parlare mentre cantare non pensare a sue stesso Solo DIRE il canto prego

[@St.Garoosh]

Established singers are often horrible teachers. He can't explain things correctly (English fluency aside). The kid is choking on the higher notes because his larynx is rising up. Also all his vowels are muddy which creates extra noise in the sound. BUT! When he sang an octave lower, his larynx dropped, he dipped down into his chest voice and the vowels opened up more. He should then bring up the chest to the right octave and watch the voice bloom.

[@peteradaniel]

Nothing to do with his larynx and everything to do with his breath. Which is why Beczala is asking him to go to the same he finished the previous phrase. His breath is rising which then chokes the throat. He just needs to put the voice back on the breath and speak from the diaphragm as well as more breathing exercises to strengthen the diaphragm.

[@St.Garoosh]

@@peteradaniel Thats hogwash. Years of that bullshit has produced the inferior singing we have today. Everything is dependant on the adduction of the cords and the position of the larynx. The higher you sing, the higher the larynx naturally rises and begins to choke the sound. There is not enough room for the cords to adduct a higher frequencies. Same as when you the larynx is depressed too far and the sound is swallowed, or ingolato. The diaphragm is an indepedent function, related to sustaining a note but not integral to the quality of the tone produced. Breathing exercises are akin to meditating on your navel. The only way for him not to choke on the higher notes is to lower the larynx, not depressed it, depressing is causes the voice to be ingolata. Once you lower the larynx a little create more acoustical space for the cords to adduct.

[@Darksaga28]

@@St.Garoosh you sir are 100% right. The only established singers that I've seen giving good advice to young tenors is maestro Salvatore Fisichella. He ALWAYS mentions your larynx position, which is the key to opera singing.

[@downfromkentuckeh]

@@St.Garoosh you have the correct idea. 👍👍

[@St.Garoosh]

@@downfromkentuckeh thank you

[@salvoferraro6976]

Ridicoli entrambi,l'allievo ingolato dovrebbe prima fare due anni di vocalizzi e poi forse cimentarsi in altro.

[@giorgiojvladiqt6060]

To much like a SHEEP beeee

[@philippaldowieser1942]

I also didn't like particularly his vibrato... but in a masterclass, it's not easy to focus on everything I guess. Generally, that guy has a very nice voice

[@xxsaruman82xx87]

Beczala shouldn't be teaching at all.

[@peteradaniel]

Beczala is a terrible teacher and communicator. But almost everything he says is correct. The kid moves his diaphragm to hit the high and pushes up his breath. When he marks he doesn't move his breath at all, but he's afraid of the high notes so he moves his breath to compensate, which is a completely natural reaction but a terrible habit for an opera singer. This blocks the passaggio. Simply Sing every vowel in the same place and every consonant on the breath. Easy! LOL

[@jhernandez16]

Every vowel in the same place? Hmm...I might reconsider that notion.

[@Beadle_Bamford]

Yeah, I would definitely always consider the strange vocal advice of a bare chested headless torso...

[@emailvonsour]

lmao "move the breath" okay

[@SilverSingingMethod]

He is a master of nothing. Poor student.

[@gianpierotilotta2120]

Ma andate a casa e cambiate mestiere E lasciate stare franco corelli

[@xxirapax8830]

Non ho capito se lo tributa o lo deride... Se fosse la seconda sarebbe da denunciare

[@tommycanaparo443]

Lo sta solamente idolatrando e stimando

[@draganvidic2039]

Masterclass, yes but this tenor almost got a caprino in his voice which have to go away before singing at a stage...

[@buhnedej]

yes because his larynx isnt low enough

[@luisgarcia-ls2gs]

@@buhnedej you could be right about that.

[@bensitsdownwithfriends]

Corelli exhibiting this same quality but trained as a baritone and was an Olympic level swimmer so he could sustain it and had the Colour in his voice for it to sound palatable. Then, he just worked it out brother!

[@michaelzimmermann1958]

Warum wollen so viele Menschen öffentlich SINGEN, die aber kein Talent, keine Stimme und KEIN Herz besitzen? Sie STUDIEREN jahrelang und sind NICHT in der Lage von INNEN heraus zu singen. Sie haben KEINE Phantasie, geschweige Empathie und haben keine EIGENE Vorstellungskraft etwas Eigenständiges, Einmaliges zu kreieren. Es gibt Ausnahmen, jedoch dies sind leider sehr wenige. Ja, beim Singen sollte eine sehr gute Technik der Stimme verinnerlicht sein. Die Voraussetzung dafür natürlich, dass eine STIMME einen gewissen Reiz besitzt, ein Timbre, dass einen anspricht. Dann braucht es aber auch Persönlichkeit, Phantasie, Spontanität, Musikalität und Natürlichkeit im Ausdruck. Wer hat diese Gaben heute? Nicht einmal so hochgejubelte Sänger und Sängerinnen, die heutzutage ANGESAGT sind. Ich möchte hier jetzt keine Namen nennen. Piotr Beczala aber gehört definitiv NICHT dazu. Für mich ein Vorbild für die jetzige Generation! Was seine Einstellung zur Kunst angeht, die er immer noch für sich weiter entwickelt. Er besitzt Persönlichkeit, gesangliches Können und KANN wirklich SINGEN, so dass ich persönlich von seinem Gesang berührt und begeistert werden kann. Es wäre schön, wenn ihm Nachfolger folgen würden, die ihren Beruf so ernst nehmen würden, wie er und die Demut besässen, sich immer mehr im Gesang zu vervollkommnen suchen würden. Dann wird die Oper und der klassische Gesang nie sterben, sondern weiterhin dem Publikum Freude bereiten.

[@OlyaGusseva]

Lasciate cantare italiani queste canzoni, non riuscirete mai essere credibili

[@familypondman]

Everything is in the nose, please!!!!!!! He is doing it good and the Tenor is not listening!

[@ssr6036]

I wouldn't say it's in the nose, it sound more woofy than it does nasaly. To me, the sound is too low down in the throat and false mask. It is not lifting enough because his pronunciation is very lazy and droopy.

[@familypondman]

@@ssr6036 The sound comes from the throat there is the instrument, you shouldn't lift at all!!!!

[@ssr6036]

@@familypondman Sure, but you don't want it to stay there, ultimately you want it to resonate in the head. You also most certainly don't want to pronounce the vowels in your throat. The voice "lifting" dosen't mean you necessarily lift it like you would an object. It is more that you are rebounding it so it goes higher, like an elastic or sling shot.

[@familypondman]

@@ssr6036 You can tell what you want, but you have to learn to make all the vocals in the throat by practice, listen to the great singers of the past and open the throat and stay there the sound comes forward by itself, you can find it on youtube, what Del Monaco has to say about that and also sows it!

[@ssr6036]

@@familypondman No, that is not how it works. You leave the throat alone, yes it has to be open but you do not sing in your throat unless you don't mind strangling yourself and nobody being able to hear you. Del Monaco was talking about the larynx being in a low position. You achieve that through breathing and relaxing, which in turn creates an open throat. The "A" vowel which he used is the vowel that sits the lowest and furthest back, and creates the most tension in the diaphragm all the other vowels are pronounced much closer to the lips teeth and resonate higher. The pronunciation of the words, is created with the tongue and facial muscle, hard pallet such as when you speak. The voice needs to go in to the maks, the real one that is from the bottom of the eyes up in to the forehead, not false mask that is below that or nose. The air has to push it up in to these resonance and the pronunciation assists. The positioning will also help to create a more open throat. Put your thumb and index finger on either side of larynx and take a deep breath. Now do it with an exaggerated smile and feel how much more your throat expands.

[@alvarorojas7495]

Este Señ9r Bektzala.Gran Tenor!!! Pero tecnica??? Una manera muy poco clara de trabsmitir tecnica,un metodo.Cuabdo todos sabemos que el utiliza el metodo de inalar la voz.dicho por el. Ya sta ,eso se dice claramente si se quiere.Todo lo demas es querer mostrarce como el divo sinpatico y ya... Una Pena.🤔

[@Radiobestia1]

VERGOGNA! LA PAROLA ERA "level", MA CHE IMPORTA -E UN BLUFF CON LA COMPLICITA DEI ASSISTENTI "ridenti": quale era il prezzo per fargli ridere a costa dell studente! mostrare con voce ---non e troppo veccio; mi signor !sfacciato come tutti chi usano solo il Nome -NIENTE le savoire faire!

[@aleksandarvucetic8281]

Bješčala nije i nema kapacitet držati masterclass drugima...

[@bencopeland3560]

Every annoying Master Class has the same annoying sequence. It’s tied up in the fact the the “Master” himself has a need to perform (he’s being paid after all) as much as the singer. Remember these master are usually not skilled teachers nor do they know and understand their subjects’ voices, strengths, challenges. The sequence goes: 1) Singer sings. 2) “Master” scrambles for something (anything) to say. 3) Singer is confused and sings it again, exactly as before. 4) Repeat steps 2-3. 5)Master exclaims “AHH, so much better!” 6) Audience erupts in an expression of their approval. SMH, such a useless charade. It’s the emperor’s new clothes.