The FIVE most difficult Opera Arias for Tenor (feat. Musicologist Daniele Garuti)

[@johndereszewski6655]

The choice of Dalla Sua Pace is particularly ironic since it was specifically composed for the opera's 1788 Vienna premiere as the house tenor was not up to the task of singing O Mio Tesoro. The latter makes extremely difficult demands upon the tenor's vocal stamina and especially his breath control. So Mozart wrote Dalla Sua Pace to be the "easier" alternative.

[@normanzurich2781]

Di quella pira (Trovatore) - Ah mes amis quel jour de fête (La fille du régiment) - Oh fiamma soave (La donna del lago) - Cessa di più resistere (Barbiere di Seviglia) - Pourquoi me réveiller (Werther) ❤❤❤

[@sytoo8983]

An excellent choice of subject. Very well done. Should do more in the future. Mr Garuti is very very knowledgable

[@MarioFelipeOrtegayCano]

Beautifuly sung and also much instructive. Bravo!

[@jamesward7789]

So informative and the singers blew me away.

[@marycummings3589]

Super series! Thanks so much. I'm a huge opera fan but struggle with musical terms and concepts. You've helped a lot!

[@Djm8520]

C’mon, ‘Pour mon âme’ from La fille du Régiment, with its 9, count ‘em, 9 high C’s, in the space of about one minute, should not only be on your list, but it should be number one‼️

[@ventzislavstefanov7339]

A really very difficult aria has been missed and that is "Celeste Aida" from Verdi's "Aida". The majority of the tenors even the greatest are not singing but shouting this aria, not talking about the terrible portamento in the aria main phrase "Celeste Aida, forma divina" which definitely was not the composer idea. Being in the same time heroic and deeply lyric this aria requires the highest level of voice maturity and a technical skills.

[@potusumanbibingka]

Indeed. Even Mario del monaco mentioned that celeste aida is a difficult aria. Un di alazzuro spacio from Giordano's Andrea chenier is also a suicidal aria when ever a tenor sings it without proper lessons.

[@ventzislavstefanov7339]

@@potusumanbibingka Andre Chenier Improvizo is requiring a dramatic natural voice. If you dispose of such voice the only difficult part of the aria is just the entry and only because of the right intonation the singer has to keep. I am a dramatic tenor myself and do not have any problem with this area except the concentration needed at the very beginning.

[@potusumanbibingka]

@@ventzislavstefanov7339 it is difficult due to the vowels in the lyrics just like amor ti vita

[@jefolson6989]

@@ventzislavstefanov7339 you mean the phrase all on one (fairly) high note? I agree thats tough. Sames Nessun Dorma. The hard part is the first " de legua notte, tra mon da...". You can't let the support go slack for a second. Its a short aria, not too hard, otherwise, if you nail the high note. That what they are waiting for, and you feel it from the audience!

[@ZENOBlAmusic]

@Mor Isil Wëindal Franco Corelli was really the only one who sang the correct ending to the aria, even in live performances.

[@mikaelb7735]

Thank you very much! That was interesting. ((And gave a few laughter reading what the opera besserwisser quickly wrote here. SIGH!))

[@jorge.L.Sanchez7909]

For what kind of tenor? light? lyrical? lyrical-light? dramatic? spin? for which?

[@69EBubu]

Typical useless video... First they should specify IN THE TITLE "from the Italian repertoire".... And even then... Guillaume Tell is by an italian composer indeed, but in French.... And of course the notion of "difficulty" is SOoooo subjective...

[@peterbrook329]

I would think “pour moi name” from Daughter of the Regiment with 7 high C’s would be difficult.

[@firkinja]

I think Ah Mes Amis from Donizetti’s La Fille du Regiment deserves a place on this list as well. There are so many from bel canto era that could’ve been here, but I know difficulty is so subjective!!! Je Crois Entendre Encore from Pêcheurs de Perles comes to mind as well Edit: didn’t realize this was Italian arias only!!!

[@clefnoteproductions6695]

It should include tenor arias in all languages. Perhaps Italian were the ones explored in this video, maybe a follow up video will be done?

[@ciroalb3]

Per viver vicino a Maria (in Italian ) is more difficult in Fille.

[@giorgiobianconi1694]

Ciao Martin ... Finalmente ti rivedo. Congratulazioni!

[@modestofontanez3343]

Una scelta óttima! Tante grazie!

[@albastros8829]

More, more, please

[@likeariver2237]

Excellent commentary 👌

[@MartinNg]

Thank you

[@johnhoie1]

The clip for Rossini’s aria was not O Muto Asil (Asil Hereditaire in the original French) but the following cabaletta, named Voliam, Corriam (Amis, Amis in French). The first time I heard that scene, I thought “This is where Verdi got the structure for Ah Si, Ben Mio / Di Quella Pira”.

[@qwosters]

Bravo Martin, bell’Italiano!

[@jefolson6989]

The hardest aria , bar none, ive ever worked on is: "Love in her eyes sits playing" from Acis amd Galetea. OMG! RIDICULOUS tessitirura.

[@jefolson6989]

i never found Dalla sua pace that difficult. Un aura amorosa from Cosi sholuld occupy that slot. The only hard part about Gelida manina is the high note. Nothing to fear but fear itself! Thats why lots of tenors take it down a step.They can probably sing the C, but if they blow it, the evening is ruined. why take a chance so early in the show? The other 3 I agree with, although there are arias just as difficult as Parmi veder le lagrime. Equally hard. Depends on the singer. Difficult arias are easy for a one singer, while a Handel aria strikes terror in their heart. Good show!

[@MartinNg]

Perhaps il mio tesoro is more difficult ?

[@jefolson6989]

@@MartinNg il might Tesoro is difficult because there is no good place to breathe without breaking up the long run. I took a tip from McCormack, who does: " nuncio volio ( breath) tornar. " its the middle of a sentence but at least you have a chance of doing the run in one breath. The range is fairly easy though. Mozart and Handel are difficult because the voice is totally exposed. If you make even a tiny mistake everyone knows it.

[@LeeJCander]

I agree a lot with this! Un aura Is harder than Dalla Sun Pace! I find Una Furtiva harder overall than Che Gelida minus the high note.

[@SimonTBam]

I completely agree. Un Aura Amorosa is far more difficult than Dalla Sua Pace. As regards Che Gelida Manina I think many tenors transpose down because the sound of the approach to the top note tends to sound better in the lower key and therefore they are less pressured when they arrive at the top. It is always better, in my opinion, to sing a top b well than a top c like a strangled cat. Parmi Veder Le Lagrime is difficult but because of the frequent transitions of the emotions required to sing it... anger and then lyricism and legato..

[@jefolson6989]

@SimonTBam I prefer the boheme aria in the lower key. Allows for more expression and its no fun to sing while thinking " oh shit, here comes the high note". Takes the fun out of it. High Cs are nice, but you can be a tenor without one. Caruso never sang a C in public after age 30. But yoy HAVE to have a reliable B natural. IN PUBLIC is the operative. I can sing C, D, maybe F but they will never be free enough for public consumption.

[@sasu6959]

Very fun!! Stylish layout.. !! :))

[@MartinNg]

Hope the subtitles were useful!!

[@maxmustermann7903]

Romerzählung from "Tannhäuser". It has no high c , but it a threat to vocal stamina. Especially after you have already sung the entire opera which is a killer for any tenor.

[@wuhappykitchen]

So nice

[@geoffreyriggs6331]

The most obvious omission from this list is "O jour de peine et de souffrance" from Vepres. Certainly agree with the Guillaume Tell and Puritani choices. But not only is the Vepres aria clearly comparable, some have seriously suggested this is just about the most daunting tenor role in all Verdi -- and certainly the "O jour de peine" is the tenor's most daunting aria.

[@garygreen3845]

The biggest inconsistency of this "category" is what type of tenor are you talking about? You listed no contemporary arias! If you ask five different tenors, you will get 5 different lists of arias!!!

[@69EBubu]

It would be great to credit the singers and performers of each excerpt. (Was trying to find the full Guillaume Tell concert... who is the tenor ?)

[@vully70]

Fuor del Mar from Idomeneo o Ich baue ganz auf Deine Stärke from Die Entführung aus dem Serail for Mozart. Celeste Aida for Verdi Cessa di pìu resistere from Il Barbiere di Siviglia Dir töne Lob from Tannhäuser (Colorature for a Heldentenor) La fleur que tu mavais jetée from Carmen.

[@juadan]

This is a strange supposition. Which are the most difficult tenor arias for whom? It depends a lot on the type of voice, the size, the "fach" of the singer attempting the arias.

[@rebusdemis]

Wonderful rubric

[@gonzalobustos2976]

Creo que debieras hacer la diferencia entre arias del bel canto y otra de arias veristas

[@mindychen4304]

la fille du regiment

[@Ed-wi7gf]

Interesting discussion 👏

[@MartinNg]

Thank you for your feedback

[@MrNiborson]

No. 5, Dalla Sua Pace sound good......i like it

[@MartinNg]

It's a beautiful aria

[@magorzatamalinowska380]

Beczała?

[@barbarachmielewska]

@@magorzatamalinowska380 Piotr Beczala is excellent here in this aria as well as in all his Mozart performances.

[@magorzatamalinowska380]

@@barbarachmielewska chyba nie byłam pewna czy dobrze poznaję, dzięki.

[@barbarachmielewska]

@@magorzatamalinowska380 To video jest na youtube - z przedstawienia "Don Giovanniego" na festiwalu w Salzburgu w 2006 roku.

[@Artiej0hn0]

It is important to remember that when Rossini was composing William Tell, neither he, nor Bellini the composer of I Puritani, were expecting the Hi Cs and Hi C#s to be sung from the chest. Neither the great Nourrit, who created the role of Arnoldo, nor the great Rubini, who premiered the role of Arturo sang the "DO DI PETTO", so to speak.

[@lospazio]

Who's the tenor that sings the Rossini?

[@gergelybuday7433]

Bryan Hymel

[@lospazio]

@@gergelybuday7433 Thanks!

[@tiffanymemory]

Great video👍👍

[@MartinNg]

Grazie mille. Sei d'accordo con questa scelta?

[@tiffanymemory]

@@MartinNg il discorso è molto utile, bravi !!

[@eberardo6750]

Yo encuentro muy difícil cantar "Di rigori armato un seno"

[@marcolucarini2373]

Where is "Ah mes amis" from La fille du regiment, by Donizetti? 😮I thought it was the most difficult

[@clement2780]

depends whether you are talking celeste aida, flower song , lucevan stelle, cessa di piu resistere from barber of seville rossini; credeasi misera puritani bellini, siegfried götterdämmerung, tristan aria, alfredo traviata, trovatore quella pira, nessun dorma turandot, faust, romeo by gounod

[@maikdehyung4591]

I love your video

[@MartinNg]

Thank u!

[@g_vezz]

What ever happened to the great Bryan Hymal? Such a magnificent voice..

[@eberlinpascal2837]

L'air de Percy dans Anna Bolena, l'air du ténor de la Fille du Régiment, l'air de Manrico dans Trovatore " a si ben moi ....Di quella pira ...❤

[@valerietaylor9615]

What about “Pour Mon Ame” from “La Fille Du Regiment”, with its notorious ten high Cs? Pavarotti sang them all perfectly at the beginning of his career ( with Joan Sutherland at Covent Garden), but cracked on them twenty-five years later.

[@lxf9914]

who was the first singer?

[@georginankansah5091]

Che gelida manina is extremely difficult because of all the half tones. Il mio tesoro is impossible because of the breath control required. Parmi veder le lagrime is difficult because it requires Verdian attack combined with a lirico or lirico spinto legato and line

[@derrickharmon2]

I would add Il Mio Tesoro, cielo e mar, Ma se me forza (un ballo), and Celeste Aida to the list.

[@MartinNg]

Those are very difficult arias too!

[@pedagogicoprimer9240]

And let's not forget about Che Gelida Manina from Puccini's La Boheme, the role of Rodolfo. The high C required at the end of this aria is a true challenge for a lot of tenors.

[@MartinNg]

Indeed a very difficult aria. We spoke about it in the video as aria no. 4

[@potusumanbibingka]

Miguel fleta nailed this aria. My favorite version is his.

[@georginankansah5091]

@@MartinNg All the low half tones from the middle voice are much more difficult

[@absdyna]

Optional high C tho, technically lol

[@ZENOBlAmusic]

This is not really a difficult aria, since every tenor can sing this quite well. Even Mario Del Monaco with his heavy voice has a nice version.

[@jefolson6989]

OK now what are the easiest? ( they are all difficult to do right)

[@paulmariu]

Di sicuro Martin parla italiano meglio di molti italiani...

[@blabberblabbing8935]

Let's stick to one popular aria for popular composers. There are for sure super-hard unknown arias around and otherwise Rossini and Bellini would probably split the whole top 10. 1) Rossini: agree with the aria + cabaletta of Arnoldo. Probably the hardest overall. 2) Bellini: "Nel furor delle tempeste... Per te di vane lagrime" or "A tanto duol…Ascolta, o padre" (with the Fs) 3) Verdi: "Ah si ben mio... Di quella Pira" (with the Cs) or "Si pel ciel" with the intro. 4) Bizet: "Je crois d'entendre encore" 5) Donizetti: "Pour mon ame..." 6) Puccini: "Nessun Dorma". Hard because it's possibly the most popular and climactic so you can't be "average". 7) Mozart:: "Ah lo veggio..." PS: I understand that Garuti here likely tried to deal with lyric and leggero tenors only but "Dalla sua pace" is so basic and easy that tenors use it to warm up their voice... "Nessun dorma" starts with the same D, should we compare the difficulty of these arias? A really hard start? "Esultate" from Verdi's "Otello".

[@potusumanbibingka]

Celeste aida, di quella pira, un di alazzuro spacio. No contemporary tenors sing this aria like how Corelli and del Monaco executed it.

[@魚-c3d]

We don't care.

[@eamonmcdevitt6813]

Mozart wrote the First Act aria Dalla sua pace as an easier alternative to the Second Act aria Il mio Tesoro which the tenor had found too difficult!

[@rickcabral6226]

Il mio tesoro. Where do you breathe without chopping up the line?

[@clement2780]

verismo has so much rubato that even as pianist or conductor so much understanding of conventions are needed

[@pippofan]

Gianni Schicchi's Avete torto is also difficult.

[@sugarbist]

Pavarotti has a slight crack in the the C in the ''Che Gelida Manina''. Kudos to Martin NG for his excellent Italian. The tenor in Gugliemo Tell has the facility in his upper range, but the voice is NOT free enough

[@hectorbravo6862]

El credease misera tiene, en mi opinión, el problema de estar al final, cuando ya el tenor ha dado todo de su parte tratando de lucir su registro agudo y sobreagudo y le ponen un suplicio digno de los tártaros (se sabe que esta ópera la compuso Bellini para Rubini y ahí tenemos por lo menos dos problemas: no se usaba el A440 sino algo más bajo; cómo cantaba Rubini? Todavía no aparecía Duprez inaugurando el C5 (mal llamado de pecho y odiado con todas sus fuerzas por Rossini que lo comparaba al grito de gallo cuando es degollado).

[@brunoarturomendozavicente3775]

No han visto las arias de Vivaldi (para tenor) por lo visto, las Handel, Vinci y Porpora. Están en nada :v

[@clefnoteproductions6695]

They're going through standard repertoire rather than historical or less frequently done baroque and classical era arias

[@brunopicaude3092]

Here, Pavarotti transposes a half tone lower.

[@comment6864]

Why is the screen so terribly shaky?? Very annoying

[@andriyapradiptakarim5979]

My favorite for a subtype among the others : Tenore Contraltino Tenore Di Grazia Tenor Ligero Ténor Léger Tenor Altino Tenor Buffo

[@andriyapradiptakarim5979]

Next : Haute Contre Alto Contro Alto Contra

[@jefolson6989]

I am a "tenor senza grazia". One of the most common types!

[@andriyapradiptakarim5979]

@@jefolson6989 My request for you among the others : Tenore Contraltino + Haute Contre + Tenor Altino

[@andriyapradiptakarim5979]

@@jefolson6989 Next Request : Tenore Di Grazia + Tenor Ligero + Ténor Léger + Tenor Buffo

[@giselamarch1994]

Did you loose Franco Corelli?

[@tracciadunombra6680]

Perché dice "ìnfida"? Si pronuncia "infìda", parossitono.

[@clefnoteproductions6695]

Magische Töne by Carl Goldmark isn't an easy aria either

[@clement2780]

werther pourquoi me reveiller massenet;

[@paylmoffat3409]

Surely there has to be some Wagnerian stuff that’s almost impossible. Sopranos and Tenors mostly tend to avoid Wagner because they are not confident they can do him justice. The audiences are usually packed with merciless purists.

[@gyorgy11]

The Prize Song from Die Meistersinger is just merciless in its constant moving to and through the F#/G/A passaggio and culminating in the sustained forte high A for several measures --- at the end of a VERY long evening of singing.

[@falkfink]

Not Wagner, but "Du weißt, dass ich in Brügge blieb" from die Tote Stadt is ridiculously difficult

[@clement2780]

now do soprano , mezzo, baritone, bass; and oratorio, lieder, cantata, musical theatre

[@wylie5525]

When writing an opera, the composers had a specific singer in mind for the major roles, not a generic tenor or soprano. Today we almost expect any tenor to sing any tenor role. Pavarotti stayed away from The Ring for a reason.

[@drtmuir]

Fuor del mar (Idomeneo)

[@saelind73]

Amo Puccini, Mascagni, Giordano, Cilea etc., ma Il verismo è stata la rovina del bel canto. Infatti sono "note impossibili per la maggior parte dei tenori" di oggi. Un declino che inizia da molto tempo fa. Direi inizia già con gli anni 60 e 70. Adesso poi lasciamo perdere proprio, il deserto. Anche l'ultimo tenore (nel video) non gliela fa alla fine con Rossini. sigh!

[@ZYLIM-dv8or]

👏🏻👏🏻👏🏻

[@juno-m6061]

Verdi's early belcanto operas have arias which are more difficult than 'Parmi', though this is very difficult indeed. 'Dalla sua pace' is not even the most difficult tenor aria in Don Giovanni, 'Il mio tesoro' is more demanding and the cadenza is very difficult. "Hier soll ich dich denn sehen' from 'Entführung' is more difficult than both of them. 'Povero Ernesto' from 'Don Pasquale' is far more difficult than any of these Mozart arias. The video should be called 'The 5 most difficult FAMOUS arias', good luck if you try singing any Meyerbeer or 'Ah! fuyez!' from Massenet's 'Manon', a terribly difficult aria.

[@lilytan2190]

👍👍👍

[@iRockBilly7]

totally agree for the #1. Pavarotti struggled(only studio recording) and so were most of the tenors.Spyres probably is the best for it so far.

[@clement2780]

recitativo in mid of puccini is super hard

[@charleskramer8995]

I would mention the tenor aria from A Life for the Tsar and the tenor arias from Mithradate.

[@XPRT10R]

Ho capito che il "criterio" di scelta è quello personalissimo del signor "musicologo/tenore", cioè me arie che LUI trova difficili da cantare. Poco valido come "metro"

[@hanj31]

I'm surprised no ah mes amis or credasi misera?

[@MartinNg]

Too many difficult arias to choose from! We choose from a representative aria from each important composer to talk about the difficult to executing different operatic styles

[@Ursaminor31]

Cielo e mar

[@ernieschwarcz9077]

Also missing is Florestan's great aria from Fidelio.

[@falkfink]

The last page of it is absolutely ridiculous. The tessitura just doesn't go down🤣

[@clement2780]

ah non giunge sonnambula, pace dio la forza destino, aidas aria, violetta traviata;

[@evadefrumerie3676]

😀

[@ZENOBlAmusic]

Che gelida manina does not seem like a difficult aria to sing, practically ever tenor has sung a half decent version. Even dramatic tenors can sing this aria quite well. Whereas an aria like Celeste Aida has only been correctly sung basically by one or two tenors.

[@feralteddy]

Una Furtiva?

[@purisermonisamator]

От всей души хочу вам пожелать более квалифицированных собеседников. Арнольд и Артур - это действительно серьёзно, хотя бы в смысле тесситуры (хотя ещё вопрос, что для тенора труднее: спеть высокую ноту или окончание арии Джонсона "Ch'ella mi creda" из "Девушки с Запада"! ) Всё же остальное просто смехотворно. Ваш " musicologist" всерьёз считает, что Рудольф сложнее, чем Калаф, Каварадосси или де Грие? Да эту хрестоматийную арию легко споёт любой тенор, у которого есть в кармане верхнее ДО. Ваш специалист и впрямь уверен, что Герцог со своей сценой сложнее, чем Манрико, Альваро, Радамес, Отелло? Моцартовская же ария, с которой он начал свою нелепую подборку, как уже напомнил кто-то из коллег по комментам, заменила труднейшую "Il mio tesoro", исполнявшуюся на пражской премьере оперы. Ваш гость просто сиехотворен и довольно отважен, выставляя на всемирное обозрение собственную некомпетентность. Что вас заставило побеседовать именно с ним? Или вы просто не знакомы с кем-либо более квалифицированным?

[@Artiej0hn0]

Well said. Can we not presume the most difficult tenor roles are those that are performed the least? Certainly we would hear Il Trovatore more often if there were plenty of tenors who could handle the assignment. After all, every role needs at least one "cover" ready to step in for an indisposed singer.

[@purisermonisamator]

@@Artiej0hn0 In general, your proposal is not without reason, but I would make one extremely significant reservation: many arias, as well as operas that include these arias, are rarely performed not only because of their technical difficulties, but also because of the imperfection of their music. Agree, this is a very significant clarification.

[@Artiej0hn0]

@@purisermonisamator No doubt there are tenor arias that are extremely difficult that have never been published let alone performed in a professional setting. Are you referring to Stockhausen? Gluck?

[@purisermonisamator]

@@Artiej0hn0 I didn't mean Stockhausen, Gluck, or anyone in particular. this can be the case with any composer - both Glinka (see Sobinin's aria "Братцы, в метель"", inaccessible to the vast majority of tenors), and, if you like it, Mascagni. As for the latter, he adored rich and loud orchestral accompaniment and overstated tessitura, creating a lot of problems for tenors. Lauri-Volpi complained to the composer that Turriddu's farewell to his mother was written so high that the tenor needed a ladder to perform it. However, the obvious musical virtues of Mascagni's first opera prompted many tenors to enthusiastically go to this galley. Notwithstanding the situation was quite different with some "Isabeau" or even more so with "William Ratcliffe": the last opera requires a suicidal effort from the tenor - and this despite the fact that the modest musical merits of the opera make one doubt the expediency of such a sacrifice. That's I was talking about. As for the composers you mentioned, I adore Gluck; Stockhausen is not my cup of tea, although I like his "Stimmung".

[@patrikforsman1516]

Morgenlich leuchtend... from Meistersinger. Beautiful aria but hellish to sing...

[@valerietaylor9615]

Wagner’s music is hell for singers. The part of Tristan killed the first tenor who sang it ( Ludwig Schnorr von Carolsfeld, if I remember right.) But I love Wagner, anyway.❤

[@hendrikmispelon4936]

They are only discussing Italian repertoire, read the description.

[@reerr7289]

Great topic! Well done. But please stop the background music! Nobody needs that. Why would you (as a musician!) what to have some annoying tinkling piano constantly in the background. Please!

[@fjmugwump]

Who knew how damn difficult it is to sing as the composer intended! Chance to brush up on your Italian 🥰

[@Piotr_Szyba]

I'm an amateur and i sing in the shower, but i find Che Gelida manina quite easy. E lucevan le stelle and Je crois entendre encore are very difficult to me. But the one, which is absolutly unachelievable for me is Un amore cosi grande in Pavarotti's tonation (not an aria tough).

[@LJB103]

I take it from this that it is easy to sing in German.

[@hendrikmispelon4936]

It's a top 5 of Italian repertoire, no other languages.

[@LJB103]

@@hendrikmispelon4936 My mistake. I only read the title before watching.

[@vincenzopagano5316]

amor ti vieta

[@nicolapascoli4580]

Parmi veder le lagrime

[@davidw6025]

99%的人想30秒內，先知道答案，然后只5%,10%也許才會耐下性子聽原因解釋。多少人會耐心的聽完全聽不懂的訪談呢？

[@MartinNg]

那您是屬於那99%的人之一，還是那5-10%呢？

[@pedromiguel2675]

Réponse à @eamonmcdevitt6813 Je vous prie de m'excuser, mais d'après ce que je sais, la situation des deux airs d'Octave de Don Giovanni s'est donnée à l'envers de ce que vous dites. Da Ponte et Mozart avaient prévu à l'origine un seul air pour Don Octave, celui du premier acte, Dalla sua pace. Or ce fût l'occasion du premier Octave, dont le nom était Joachim Raaf je crois, de protester avec véhémence auprès du librettiste et du musicien. Ayant observé que presque tous les personnages, même Zerlina, avaient deux airs à chanter, comment était-il possible qu'à lui-même, qui tenait un personnage important comme celui d'Octave, il ne lui était octroyé qu'un seul air? Donc voilà Da Ponte et Mozart enfermés dans un cul-de-sac et déployant par la suite leur meilleure volonté afin d'écrire le texte et la musique d'Il mio tesoro, dont maître Raaf fût alors très satisfait. L'anecdote est assez croyable me paraît-il si vous observez la magnifique démonstration de bravoure qu'est Il mio tesoro. La mélodie est bien sûr très belle mais on flaire cependant dans Il mio tesoro un certain caractère "décoratif" pourrait-on dire, d'un ajoutier fait sur-le-champ afin d'équilibrer les rôles d'un grand opéra "encyclopédique" par nature comme l'est Don Giovanni. Il est à remarquer d'ailleurs que Dalla sua pace porte plutôt sur le plan de l'expressivité, alors qu'Il mio tesoro le faît plutôt sur le plan vocal, ce qui confirmerait le fait. Malheureusement, je n'ais pas à portée de main une source pour vérifier l'anecdote. Je ne fais que témoigner ce que je sais depuis longtemps, mais quand-même je crois que de la manière dont je les ai présentés, les faits historiques s'enchaînent avec pertinence.

[@philbertchow5425]

Creadeasi Misera F5 😂

[@kirkp7470]

Hear the Golden Age greats on acoustic records. May I recommend Leon Escalais from 1905? Or, hearing Hermann Jadlowker sing il mio tesoro?? You two smell like abject novices.