Tenors by Franco Tenelli

How many subcategories tenor FACH has?

[@petergraham8681]

The way he categorizes these various types of tenor voices is totally spot on in my opinion.

[@TenelliVoiceGuru]

This video is not meant to necessarily put all of my favorite tenors. Corelli is Heroic Italian tenor:somewhere between dramatic and full lyric.

[@luomodelloggione6564]

Maestro Tenelli, You came first. This was an enormous offering and it was for free. Thank you

[@casimiralexander]

I love your channel Maestro. You have helped me rework my whole voice. Gracie.

[@bradleymonroe6443]

I love the lirico - spinto tenor voice so much! The full dramatic tenor voice is so thrilling!! My favorite type of light tenor voice is the Rossini tenor voice.

[@andriyapradiptakarim5979]

My favorite type of the tenor voice among the others : Tenore Contraltino Tenore Di Grazia Tenor Lìgero Tenor Lígero Ténor Léger Tenor Altino Tenor Buffo

[@andriyapradiptakarim5979]

Next : Haute Contre Alto Contro Alto Contra

[@bradleymonroe6443]

@@andriyapradiptakarim5979 My favorite types of tenors are Robust Lyric Tenors Spinto Tenors Dramatic Tenors Heldentenors

[@andriyapradiptakarim5979]

@@bradleymonroe6443 Bradley Monroe Tenor

[@keeganheath2305]

i guess im asking the wrong place but does any of you know a tool to get back into an instagram account..? I was stupid lost my password. I love any assistance you can offer me

[@sellaholding9205]

May 2016....... Thank You Maestro Tenelli for explaining the differences in the tenor voice! To my untrained ear I only know what I like to hear like Pavarotti , Caruso, and Di Stefano!

[@michaelyiochalas3369]

Once again thank you maestro Tenelli! I'm surprised you did not categorize or even mention the great (in my opinion the greatest of them all) Franco Corelli, since I remember you saying in an older video that he is your favourite tenor.

[@eli_here]

SUPER HELPFUL! Thank you!

[@tiagodelode9368]

Estoy absolutamente de acuerdo con Franco Tenelli, la clasificación que ha dado posiblemente no sea aceptada por muchos puesto que los que se quedan en las voces de la primera mitad del siglo XX podrían pensar que esta clasificación dada es artificial. Las voces no solo se modifican, sino que las técnicas van avanzando. Incluso las modas avanzan y la ópera no tiene inmunidad ante ello. Posiblemente abrir la clasificación entre Tenores ligeros es una sutileza que no muchos apreciarán como válidas pero Tenelli es un gran profesor que no solo se ajusta a criterios académicos sino que además investiga y se cuestiona. Un tenor de grazia englobaría, hace décadas, a todo tenor cuya voz expresase ligereza y un acceso al registro de cabeza con buen color y volumen pero la verdad que no es tan así si se mide la rigurocidad que debe tener un tenor en el repertorio rossiniano que, además de contar con esta particularidad en su emisión debe tener un dominio del recitativo muy particular, por ejemplo. Entonces, vamos a ver que esta amplitud de clasificación tiene un sentido, hoy más que ayer, puesto que hoy nos encontramos con una paleta de colores diferentes en las voces que dominan el candelero lírico internacional Hoy como casi nunca tenemos una gama de voces de primer nivel donde son muy pocos los que pueden clasificarse en la misma categoría. De allí que es indispensable saber el por qué, no solo para ajustar un repertorio, sino para que las nuevas generaciones se concentren en su estudio sin intención de imitar a nadie, porque posiblemente en el futuro tengamos que abrir aún más (ojalá así suceda) las categorías. Los críticos generalmente rehusan de este tipo de clasificación, para ellos es más facil juzgar a un cantante si es blanco o negro y así hacer su trabajo de ensalzar o defenestrar a un artista, pero el melómano debe saber escuchar y admirar las particularidades de un instrumento irrepetible por lo que le brinda el artista que lo ejecuta, no porque se lo tenga que encasillar. A nadie se le ocurriría decir que Daniel Baremboin es un buen director porque su batuta es larga o corta, porque usa levita o smoking, como podríamos entonces juzgar a un cantante solo porque tiene un timbre diferente en su voz. Al menos debemos ser respetuosos de lo que la divina providencia puso en esa garganta y si no nos gusta el color, buscar aquel que nos gueste. Hoy es muy diferente la producción operistica en general de lo que eran en décadas pasadas. Los teatros acomodan sus títulos en base a los interpretes como lo hacían a comienzos del siglo XX. En la variedad está el gusto. Por otra parte, la clasificación de voces es un concepto estático de algo tan maleable y mutable como la voz humana. Solo ayuda a identificar tesituras diferentes, pero luego vamos a tener aquello que viene con el artista y es su capacidad de extender su registro o ampliar el dominio de sus resonancias. Eso hace al artista identificable y único. No quiere decir que todo bari-tenor vaya a cantar como Kaufmann o todo rossiniano lo haga como Flores. En este momento un tenor rossiniano canta Otello en el Roya Opera House, en contraposición a un bari-tenor que lo hizo semanas antes. Eso no es incorrecto, solo que hay que saber si es posible o no. Posible es si el rango del registro permite seguir la partitura ya que en la opera no se pueden hacer arreglos para que un cantante con menos voz pueda cantar algo que exige mayor rango vocal. Fuera de allí va en gustos escuchar un tenor oscuro en un rol dramático o preferir una voz más clara para el mismo personaje. En todo caso lo que hay que velar es porque no se comentan errores que lleve a uno o a otro a arruinar su garganta por exigencias fuera de lugar. Los tenores de cualquiera de estas categorías pueden tener un registro de tres octavas como kaufamnn o cantar en una octava y cuarto como diego flores y ser ambos modelos de técnica y paradigmas del cantante moderno. Pavarotti básicamente no podía cantar en mezza-voce, sus pianissimos son inexistentes, sus desminuendos no existieron jamás, solo bajaba la voz pero no hacia disminuendos. Del Mónaco era una voz preciosa pero no había forma de que tomara colores diferentes, en él el Alfredo de la Traviata suena igual que el Manrico de Il Trovatore o el Polione de Norma. No es falta de técnica ni de calidad vocal, sino que su instrumento es único como el de los demás. Eso debe ser entendido para no juzgar a partir de clasificaciones al artista. al artista se lo debe juzgar desde su técnica, su cualidad y su performace. al Louvre entran millones de visitantes al año y todos contemplan la Mona Lisa pero mientras que millones la admiran incluso no gustándole el retrato, son muy pocos los que van a ver que técnica usó Da Vinci para pintar. Esos especialistas no son mejores contempladores que el resto, solo van con otra intención. Tener un crítico entre 3000 asistentes a un espectáculo de opera no lo hace una eminencia en algo, solo va a cumplir otro tipo de tarea, el resto del público va a disfrutar y es el que tiene la última palabra, le guste o no al crítico, los críticos son absolutamente prescindentes en una manifestación artística.

[@brunoarturomendozavicente3775]

Adalberto Lopez todo estaba bien hasta que mencionaste a Kauffman como ejemplo de buena técnica

[@jorge.sanchez7909]

Excelente aporte!! Felicitaciones

[@nikolaicrusader]

I learned so much recommended watch mr tenellis videos all and at least 3x..i watched all but as now im marketing i learned again btw im a tenor..as this video may sought..i maybe mozartian

[@thomasnguyen6144]

I love my fellow tenors.

[@astrobot702]

Light Tenor here... Represent. Woot woot...

[@Maverick_Dewitt]

Helpful video man. Thank you*

[@TenelliVoiceGuru]

Almost all of them.Information about those I did not hear(Del Monaco) comes from very reliable sources like my Father(professional opera tenor) and opera singers I know and trust. I heard Domingo, Pavarotti, Giacomini etc...

[@camtep2you]

THANKS FOR THE CLASS AND i AM IN SOUTHERN WISCONSIN, 1 HOUR NORTH WEST OF CHICAGO. I AM THE ONE THAT HAD THE CHANGE OF VOICE FROM BARITONE TO TENOR( REMEMBER ON ANOTHER VIDEO/)

[@aryankhah]

Thanks maestro My favorite Tenor types are full lyric and lyrico - spinto and spinto and my favorite singers as well are Corelli - Pavarotti - Daniele Barioni- Mario Filippeschi -young Bonsolli - Richard tucker and Peter Anders ,most of them Spinto tenors....

[@bradleymonroe6443]

My favorite tenor types are lyrico-spinto, spinto, dramatic, and heldentenor and my favorite tenors of these fachs associate with Corelli, Bonisolli, Mario del Monaco, Mario Lanza, Rudolf Schock, Lauritz Melchior, Siegfried Jerusalem, Jonas Kaufmann, and Claude Heater.

[@bradleymonroe6443]

After 6 years of singing (even though I started as a baritone that is really a tenor that might sing the heldentenor rep between tessitura and German diction) I feel like my singing voice if I am still a tenor will fit within the tenor tessitura that's in-between the dramatic robust-tenor and lyric Mozartian tenor. (Most likely inbetween full lyric tenor and spinto-dramatic tenor for sure). Which in this case with Wagnerian agility to be most likely a heldentenor that sings the jugendlicher and echter roles but may beef up some baritonal color to evolve into the schweriger roles.

[@VIDEOHEREBOB]

Thank you. Bob

[@raulhermida1933]

Thank you Maestro. Your contribution to tenor's voices have been tremendous. Have you thought to have on line singing classes? Could be another step in your useful teaching career.

[@jorge.sanchez7909]

Very interesting the video! very well explained. In my case they have told me that I am lyrical-light tenor. I was previously told light (when I was younger). Anyway, I think one changes with age.

[@draganvidic2039]

It’s leggero

[@Vivii610]

Actually my voice sounds like Spinto Dramatic Tenor, but i'm not sure and i want to try being a Dramatic Bari-tenor, has someone advices to improve my voice (training exercices..or something else ?) ?

[@notreallyasinger1000]

Seeing this, I think I could be a Lyric Tenor. It was a voice pretty bright. I wish I could sing like him.

[@nikolaicrusader]

Perfect expanation in the end..

[@hanj31]

you can put studio musicians in a general fach based on passagio and vocal timbre.

[@bradleymonroe6443]

Thanks for the video maestro. I could be a full lyric tenor, spinto tenor, or dramatic tenor. I thought about being a heldentenor but my passaggio could be in primo at C♯4 to F♯4 or D4 to G4 which could mean full lyric tenor, spinto tenor or Italian dramatic tenor knowing that a heldentenor is at C4 to F4 in the zona di passaggio.

[@jubilex7119]

At 9:50 didn't fully understand what he was explaining can someone illuminate me?

[@paprika2854]

Yesssss. Im a light tenor

[@Elgary.1991]

Opera singer here. I'm currently taking voice lessons with an operatic soprano. For now, she says that I'm a solid lyric tenor [(Bb2) C3-B4 (Eb5)]. Strong, full, warm, bright and ringing quality. Decent range but I have an undeveloped head register. I hate the passaggio. 😒

[@marcelyuda]

Thank you maestro for this very informative video. I would think that you supposed to have heard all singers you mentioned in live performance, or haven't you?

[@paulhelman2376]

Where would you place Schmidt who seemed to have full chest voice to a high range and rather beautiful quality that was clearly identifiable.

[@leongodwin9942]

I’d love to know what song that is at the end of the lesson.

[@adiethammett91]

Is Mozart Tenor's tessitura tend to be like a Lyric Tenor has?

[@filipszyga7394]

Why istead of liric Pavarotti as Rigoletto there is his Calaf?

[@hazlosipuedes]

greetings thank you hear my video and tell me if I'm a tenor, as I've always said I'm baritone, I sing the high note ... thanks

[@marcelyuda]

I wish I would get a chance to hear at least one of the great singers you mentioned in a good opera production. What about you maetro. Which type of tenor is your voice?

[@edinshealtiel3754]

GREATEST LESSON..... I WANT TO SING BARI FULL ,, LYRIC,, SOFT HIGH. Tenor ....

[@josemariadasilveirajunior4786]

Normalmente os tenores das óperas wagnerianas, são: Baritenores ou Spinto. Eles classificam de Heroicos, mas podem ser reclassificados de Baritenores o Spinto.

[@Labienus]

Of course your fundamental categories make sense, but the way you break them down after that is open to more debate-there does seem to be certain overlapping of types. But thank you for the sensible view of Lanza. Sometimes I think I'm running a one man campaign in response to the endless internet chatter placing him as one of the great operatic tenors. As you said, and as I say, he was not an opera tenor and cannot be compared with other voices who sang complete operas on stage, (and learned complete roles) It was a studio voice, and what it could have been-who knows? I also think you have it right-that it was a lyric (or full lyric as I think you call it) with a certain darkness in the lower register.

[@jessejeremiahjurius1939]

Can someone type out the name for full lyric tenor plz?😁

[@Sabininho]

Maestro, If Corelli had 2 octaves of chiaro-scuro and bright squillante sound all the way, it means that he was a dramatic tenor? Or some kind of a bari-tenor because he started as a baritone in the Conservatory. It intrigues me because I started too as a baritone and Iwas very conviced about it untill I lost the high notes (well, I recovered them meanwhile).

[@draganvidic2039]

No he was a spinto

[@RamonMedeiros_]

He had not 2 octave chiaro scuro. His chiaro started at passagio (F#). Till G, he used only chest voice; afterwards, he used middle voice, which you probably confounded with chiaro-scuro (and it indeed looks lile it). That's why Franco says it's complicated to know if you're singing chiaro-scuro, and you should get a teacher to tell you this, and why so many teachers and singers confound chest voice with chiaro-scuro.

[@Sabininho]

@@RamonMedeiros_ thank you, I suspected that might be the case, because usually heavier tenor voices are capable of chiaroscuro in the middle range. So Corelli having chiaroscuro from F#4 is making sense

[@RamonMedeiros_]

@@Sabininho That's quite the case for myself. I've got a spinto coloured voice, but I believe my chiaro-scuro starts at C4. Reminds me what Tenelli said about fachs: there are 16 known but he believes it exists more than 20. Of course the case might be true for some others lyrico-spinto tenors, but they might still maintain their larynx a bit higher so they can sing those coloratura middle voice parts, which would probay destroy a spinto tenor if he used chiaro-scuro starting at G flat. Neverless, I believe even though singing with my larynx low enough to start chiaro-scuro at F# sharp passagio, I still have a heavier voice than most lyrical spintos, so I myself might be one of those so many more categories Tenelli talked about.

[@mohamedahmed-sp8kj]

so , what is the helden tenor , with examples , if u don't mind ?? :)

[@aran125]

How bout placido Domingo back in the day? Lyrical spinto? What about carerras?

[@voicualex87]

In my opinion Carreras was in his prime a Full-Lyric and he ended a Lirico-Spinto. Domingo a Lirico-Spinto.

[@draganvidic2039]

Both lyric tenors

[@TenelliVoiceGuru]

Абсолютно верно и не только Паваротти но всякий тип полного лирического тенора делает тоже самое. Если у певца Киаро-скуро в полном диапазоне то ему не надо прикрывать звук, он уже прикрыт и ему нужно только его опирать. Если вы смотрели мои видео о опоре звука аподжио то вы поймете насколько неправильно ставятся голоса когда не понимают природы звука

[@jaymschow6457]

What are those songs name in first few minutes

[@RadogastBrown]

Я очень много смотрел ваших видео, и сейчас смотрю каждый день,мне очень помогает,спасибо! Про саму опору ясно многое, а вот неясно как нижний регистр петь лирическому тенору,при этом не прикрывая специально и чтобы звук тембрально был с высокой формантой ???

[@smi7209]

Im lyric tenor!!!:)

[@smi7209]

What is the aria Of the lirico spinto?? Please tell me this aria...

[@elnegrocanibal]

Recondita armonia, e lucevan le estelle, nessun dorma.

[@nikolaicrusader]

I think lanza will adjust so much if he sung in opera

[@michaelyiochalas3369]

I thought that Corelli was lyrico-spinto. I hope someday you make a video explicetely on Corelli. Thanks again!

[@draganvidic2039]

He was a spinto

[@pierrebeukes6315]

My voice range is G-flat 2 to E flat 5, my falsettto is extremely soft. I have a strong mid range between C3 and G 5 and the my voice goes into whstle register but my whistle voice placement is low as my voice goes down when I sing here. The sound is high and strong and bright and I find it verry easy to sing between A flat 5 and E5. What kind of voice would you say I have. It's a verry projective voice which some confuse with loudness. P.S I suspect I sing in fry below B Flat 3 but it doesn't hurt it doesn't have lots of ppwer but as I say it's verry projective and the voice has a rich colour in thst lowe range. Many teachers has regarded my voice as lyric bariton or Dramatic tenor because of the rich sound below C4. But I don't think I ever sing in chiaro scuro. I am now 49 and my voice still sound bright at the top and rich and strong in the middle and warm at the bottom.

[@hanj31]

you're probably in the 3rd category maybe 2nd

[@OperaSinger8822]

Viva Tenore!:)

[@FranzFischerSDG]

I accidentally bumped into this youtube. According to this man's analysis, there should be at least 100 different classification. What a dumb idea.

[@alessandrott7568]

What are the 3 arias from his dramatic subcategories "dramatic, spinto and lyrico-spinto"?

[@TenelliVoiceGuru]

Full lyric tenor if you hear him live

[@TenelliVoiceGuru]

sure , some call him a lyrico spinto, but I would not use spinto in Corelli's place. Spinto is more for Pertile or Del Monaco. but you see there is no precise science about those types of voices

[@TenelliVoiceGuru]

French/German full lyric tenor

[@henkmueller2550]

Maestro, where do you put Björling , Domingo. Carreras. Bergonzi, Gedda? Last 4 i heard live.

[@MrFree-vj8qj]

I think this only applies to classical music, does these types have any meaning in other musics ? I dont think so

[@ZENOBlAmusic]

It does have meaning, not as much as in opera. But it can be important. In pop music and R&B everyone is very light lyric tenors. In rock singers tend to be full lyric tenors, and in metal you will see a few dramatic tenors. Your voice type perhaps doesn't matter that music in only pop music, expect if you are going to duets. But I ve seen that it makes a difference in rock. Perhaps because rock music has a lot of loud instruments. I have seen light lyric tenors cover songs from spinto or dramatic tenors, and their voices disappears underneath the music. You might write music differently depending on how much loud instrumentation a voice can take. You can only increase the volume of your microphone to a certain degree. Or if you have a leggero voice, you will constantly have to sing extremely high, because the voice is often on a similar frequency as the guitar. In a way you are often competing against the guitarist, and they will often win, guitarist will just turn up their sound. So it can make a difference if it is music with real instruments.

[@RadogastBrown]

Добрый день господин Тенелли!) Мне вот непонятно...вы сказали,что Паваротти поет кьяро-скуру и прикрывает звук только на переходных нотах и выше а внизу использует только грудной голос? Я правильно понял?

[@IanAlvarezXD]

Mr Tenelli, where would you classify young Alfredo Kraus?

[@axelzeltsch1668]

Like Florez in my opinion

[@sahelsalamtenor7610]

No way, he was totally a lyric tenor through and through. Florez emulated his technique, but the balance of Kraus’ voice had significantly more chest and his timbre was darker. The roles he sang show him to have been in the middle of Count/Pasquale and Duke.

[@austinmenezes8074]

Could you make a video on baritone voice types?

[@SilfredoSerrano]

Lirico should be spelled with an "i", not a "y"

[@TenelliVoiceGuru]

helden tenor is a German Dramatic tenor though it means Heroic tenor in German. In ideal, German helden tenor is like Italian Dramatic, full chiaro scuro dramatic voice(Melchior)

[@draganvidic2039]

Correct but this video doesn’t really say that…

[@bradleymonroe6443]

I am a fan of this tenor type. Siegfried Jerusalem, Ramon Vinay, and Claude Heater are examples of heldentenors in addition to Melchior.

[@Fafner888]

What is the category of Domingo?

[@smi7209]

Lirico spinto

[@draganvidic2039]

Lyric

[@treasurem2491]

I am a light tenor di grazia😊

[@draganvidic2039]

I’m a hysteric dramatic countertenor

[@sitecos]

так и не понял этой тонкой грани между Ди грация (он же леджеро) и россиниевским. Меня отнесли к леджеро, думается из-за чересчур светлого верха от си-бемоля и выше

[@romanpears8442]

Алекс Тут скинь свое пение

[@andreweinberger1305]

It would be very informative if you would also name the tenor by naming before you play the actual snippet of the song put on the video.Hearing such short excerpt does not give time to identify the artist.Many thanks for you intresting video.Rene

[@smi7209]

What is the aria name? One is 0:48~ spinto tenor aria second 3:50~ rossini tenor aria? Tell me Please ..

[@hanj31]

Rossini tenor is from William tell. don't know about the first one.

[@smi7209]

thanks a lot han ! tell me about this 3:50 rossini tenor william tell aria name? i can't find it ...

[@matthewyoungblood7503]

@@smi7209 The rossini one is not from William Tell. It's langiur per una bella from l'italiana in Algeria. 👍

[@smi7209]

@@matthewyoungblood7503 thank you!! Blessyou haha

[@josemariadasilveirajunior4786]

Na sua maneira de classificar os tenores, Mario Lanza seria um Tenor Lirico-Spinto.

[@elnegrocanibal]

Tenor lirico.

[@romanpears8442]

For me Pavarotti is also light tenor, young Pavarotti absolutely.

[@draganvidic2039]

Leggero

[@YgorCortes]

@@draganvidic2039 Pavarotti's voice has absolutely no leggiero qualities at all

[@inhocsigno9151]

Who is the tenor at 5:37 minutes in. He has a lovely, pleasant voice.

[@philla7780]

It is almost certainly Jonas Kaufmann singing the grail aria from Lohengrin. A good example of how some tenors (particularly German ones) can sound like baritones, but if you like that sort of thing, go for it.

[@inhocsigno9151]

He did have a baritone quality. Thank you, I appreciate your depth of knowledge of great singers.

[@philla7780]

You are welcome.

[@shanelouw3206]

InHocSigno jonas kaufmann

[@inhocsigno9151]

Thanks.

[@alfredalfred3571]

do you think a tenor with a perfect technic could unify all these subcategory ???

[@fabriziosarcinelli7566]

Well. Every tenor has his category, I don't know any tenor with the ability of being in all the categories. But a well developed tenor should be Abel to sing EVERYTHING, from Nemorino to Otello. Pertile was a dramatic tenor but could sing a fantastic Nemorino, Del Monaco could so g an incredible Duke. Caruso (spinto) was a great Rodolfo and Nemorino. Kraus (leggero) sang very well Di Quella Pira, Lauri Volpi (Lyric) was a great Manrico and Calaf.

[@Tico4president]

@@fabriziosarcinelli7566 Pertile is not a dramatic tenor. He sounds quite lighter and had easier high notes than Caruso. Caruso is more of a Dramatic Spinto and Pertile more Lyric Spinto.

[@adamirfan6986]

helden tenor?

[@theonystrom7075]

Was Jussi Björling a lyrico-spinto?

[@voicualex87]

No, he sung some spinto roles, but tehnically he was a lyric voice.

[@bulbob100]

is it only me i dont see any diffrence, dramtic and lylic,,lol everyone seems same to me...except pavaroti

[@fredycastropinzon7342]

Pavarotti no era tenor full lirico sini liricp ligero o si no nunca hubiera podido cantar la fille de regimet jamas un tenor lirico podria cantar una opera e lirico ligero

[@adiethammett91]

Sir... Are you sure Light Tenor doesn't have chest voice?

[@gayoperadude63]

Light tenors can and do have chest voice. Though it's rarely taught today evening amongst the dramatic voices. If you list to other Schipa recordings you clearly hear he had chest voice. Chiaroscuro

[@adiethammett91]

Well, What voice type is Chester Bennington ?

[@voicualex87]

@@adiethammett91 Light-Lyric Tenor.

[@adiethammett91]

@@voicualex87Do you mean Rosini Tenor?

[@voicualex87]

@@adiethammett91 Is hard on pop music to classify. I would say he is a lyric tenor but on the light side, not fuller.

[@borisvandruff7532]

>full lyric >Nessun Dorma Heh.

[@lusinepetrosyan6073]

Пожалуйста на русском. Ou en français s'il vous plaît !

[@PeanutLaBelle]

A hint to all commenting what you think your voice type is based on this video; DONT claim a vocal type as yours WITHOUT classical training and a basic classical technique. You'd have to be some kind of stupid to attempt any operatic classification/arias without the two.

[@stone8193]

Peanut LaBelle or someone who has achieved correct technique and can sing a given repertoire (which is possible without a coach)

[@PeanutLaBelle]

True, but a rare case nowadays considering we have so many "professionals" giving away terrible advice to newcomers and beautiful voices who end up destroying their natural placements and ruining the voice. However, I can completely see how this would happen. My cousin (Who is 15 BTW!!) watches videos of old great opera singers like Sutherland, Horne Pavarotti, Caballe (and the list goes on) and he watches masterclass videos and developed his own technique at home before going on to hire a voice teacher.

[@stone8193]

Peanut LaBelle that's fascinating! I also have found the best study is in the same fashion. I had a teacher who frankly gave me profoundly misleading advice like "your support should always feel the same" and "breath as low as possible" both of which are flat out incorrect or incredibly misleading

[@PeanutLaBelle]

I absolutely loathe teachers who say "breath low" and "use the diaphragm". It isn't bad advice for someone who knows what they are doing; however, it's absolutely misleading for someone who has no idea what to feel/do. Singing is a series of sensations, and when you have new people who don't know what to feel and what feels correct while singing, you end up in a melting pot of vocal problems. I remember a teacher telling my mother, who is a dramatic-like spinto soprano, that if she were to "apply lower back pressure", her real "lyric coloratura" would show it's true form. Absolutely ridiculous! Nevertheless, she removed him and began lone-training. Let me know how it's going for you cause it's making absolute progress for me, haha!

[@hanj31]

if you know your passagio you can at least put your self into one of the 3 main fachs. You would need professional to tell you what sub fach you are.

[@draganvidic2039]

Watched 1 minute and several things are wrong already from start compared to how we usually speak about tenor fachs. (Leggero, lyric, spinto, dramatic…) This is just one person’s opinions.

[@zhidanyanuar5261]

spinto, mozartian tenor, rossini tenor

[@contraltissima]

Ridiculous. 20 different tenorfachs, why not say, that every tenor is his own fach?

[@draganvidic2039]

Thank you

[@trilobit4]

I presume Nicolai Gedda to be my top lyric tenor. In the selected repertoire he barely has any competition. His soft singing is fantastic. But even Cavaradossi is too heavy for his voice. Unfortunately, also his vocal cords degraded partly with his age. And the magic of his voice slightly disappeared. He sang also heavier parts. I am Czech. I have a recording of the opera "Dalibor" by Czech composer Bedrich Smetana. He sang it in Czech. His language skills were incredible. The audible accent is indeed negligible. But Dalibor requires a slightly heroic tenor. Nicolai only recorded this part. His appearance in this role on stage was impossible.

[@paprika2854]

So Michael Jackson would be a lyric tenor. People say his light but i just cant hear it.

[@hanj31]

yeah he's probably a regular lyric tenor not full lyric.

[@hanj31]

Stevie wonder would be a light tenor

[@casimiralexander]

Jonas darkens his voice with THE TONGUE!-which means a lack of appogio! His vibrato is too fast, high, in the larynx. A tremolo.

[@MustacheVerra]

That recording of Pavarotti is not representative of what he really was capable of. That's an old Pavarotti way past his prime. Why not pic Pavarotti in his prime. Also, studio recordings of Pavarotti represent him just fine, use that instead.

[@paprika2854]

I'm a light tenor.....suck it y'all lol

[@cliffgaither]

JK has serverely darken his voice, artificially to sing dramatic roles. He sacrificed the lyrical qualities of his voice and as a result, he sounds as if he hasn't quite swallowed his voice, but it's definitely at the back of his mouth/throat. It's not forward and free. Not as commanding as Hadley's. His top notes are smothered and baritonal. Just my opinion from the sound that has resulted from his Mozart singing.