Not Raimondi. Shame, shame shame! [respectfully] Gigli would also not make my top ten list,…too much crying in the voice,….but a beautiful voice. Peace and Prosit! Agree totally about Del Monaco. You can take your dog for a walk around the block before Melchior finishes the second ‘Wälse’. Lyrischer Tenor roles and arias. He had a great voice. He was known as the American Caruso. He also could float a line like nobody since. 2 Jon Vickers. best greatings from Vienna/Austria/Europa on 29 April 2016. Leo Slezak, the great dramatic tenor, for me beats out all the wonderful lyric tenors with his 1903 “Viens, Gentille Dame.” Holds me in an orgasmic vice!!! Don’t know why it went elsewhere. In the duet that concludes the second act of Otello he’s paired with another vocal miracle, Leonard Warren. I haven’t listened to him as a baritone. While Del Monaco is my favorite for ‘Opera Noir,’ esp. My favorite in I Lombardi. 8. The “Agree Completely” comment below should be my response to sly. Domingo was a wonderful tenor in every respect except one,he did not possess a clear sounding confident high C,..compare him to say Tucker or Corelli,…that’s the difference,…so although he was great no top ten post on my list for Placido. He starred in almost twenty movies and performed sixty two different opera roles. About seven or eight years after his debut (1945) at the Met he morphed into a full fledged spinto. 10 Pavarotti,….I agree,..he desrves the no 10 spot. I agree with the switch plan if Lanza had built an opera career. Eisenstein, (Die Fledermaus) 1.3. O paradis from Meyerbeer’s L’Africaine was recorded in 1972 in performance at the San Francisco Opera. Here are my comments followed by my own list. Listen to O Sole Mio! One of his breakout roles occurred with the 2003 Salzburg Festival for the role of Belmonte in … Jonas Kaufmann — born July 10, 1969, a German tenor, particularly known for his spinto roles. Put up your list of ten. A lyric tenor voice is defined by the smooth, bright and warm timbre of it’s voice. Within the tenor voice-type category are seven generally recognized subcategories: leggero tenor, lyric tenor, spinto tenor, dramatic tenor, heldentenor, Mozart tenor, and tenor buffo or spieltenor. Di Stefano I love for his lyric voice prior to 1953, but he was musically lazy & blew his voice out trying to be a Spinto. I don’t think anyone else reading and listening to this post/video would think so either. Many find they must develop their acting and movement skills in order to stand out from the competition and earn a living as an opera singer. A metallic voice with noble, tenoral quality, that can sing both lyric and dramatic passages. But I do believe Mario Lanza deserves a higher ranking. Jussi Björling (1911- 1960) According to the great Dietrich Ficher Dieskau, Mr. Björling “was not a … These are my favourites: Di Stefano was known for the extraordinary beauty of his sound and the emotional content he uniquely added to the music he sang. For 50 years I have now studied and enjoyed the great tenors of opera. Few, if any, would ever put Domingo in front of Pavarotti. Va prononcer ma mort, Rachel quand du seigneur from the last act of Halevy La Juive recorded at a concert performance of the opera in London in 1971 shows the 58 year old tenor still in possession of his big sound. Notify me of follow-up comments by email. Fritz Wunderlich?? Giving the show away at the end….Placido is agricultural compared to most of the others….’dropping’ Pavarotti, come on, don’t be silly. Carlo Bergonzi is an Italian Tenor, he is mainly connected with the Verdian roles. His masterful vocal technique allowed him to sing spinto roles with success and without damage to his voice. Tenor Roles in Operetta: All of the Gilbert and Sullivan comic operettashave at least one lead lyric tenor character; other notable roles are: 1. His legato phrasing is of outstanding beauty, his 3 top-Cs in "Vittoria" in act 2 are splendid and his diminuendi in "E lucevan le stella" as well as in the "O dolci mani"-arioso, are indeed outstanding even compared to those of Giuseppe di Stefano in the legendary 1953-production with Callas and Gobbi. He had a fine lyric tenor voice in his early career, but later he began to sing nasal. One singer always seems to be missing. Anders is amazing tho singing in German, the style is Italian. Donizetti - Pour mon âme. For German lyric tenors I would put him & Joseph Schmidt, who you also mentioned, as having the most beautiful voices from all the German lyric tenors I have heard. 3. This enables the singer to cut through the wall of sound produced by a full Romantic orchestra in a wide variety of roles, excluding only the most taxing ones written by the likes of Richard Wagner (such as Brünhilde, Isolde, Tristan and Siegfried), Giacomo Meyerbeer (John of Leyden), Verdi (Otello), Puccini (Turandot, Calaf) and Richard Strauss (Elektra). Before he retired, by his own admission, his voice was not reliable. For the heavier tenor voices on your list, I am for the most part in agreement although I would add Jon Vickers for his unique artistry & timbre. Their roles are often given to the heavier spinto tenor voice. For what it’s worth, here is my top ten list in this order. https://www.youtube.com/watch?v=9nrDfqoYzNo. He just finished selling out a 50,000 seat venue in Spain last year! No one else has that beautiful, clear, rounded, gorgeous, golden, Italian bel canto sound. Spinto tenors have a darker timbre than a lyric tenor, without having a vocal color as dark as many (not all) dramatic tenors. 1.1. Notung! But before we get to the main list there are a couple of singers that are worth mentioning who did not make this year’s top 11. It was first published *gasp* eight years ago in 2011. Menu. A late bloomer who was much better in the second half of his career than in the first. Not a bad list. Francais (French) On the 150 th anniversary of Confederation, it is fitting to pay tribute to the great artists Canada has promoted throughout history. List of the most notable and famous tenors in the world, with photos when available. He was sent from heaven. No other heldentenor is close to the great Dane. or more to be precisely, if you split in lyric, in spinto and in dramatic tenors, each maybe ten, I would say it would be more force, because the tenors are so much different in the roles. Spinto (from Italian, "pushed") is a vocal term used to characterize a soprano or tenor voice of a weight between lyric and dramatic that is capable of handling large musical climaxes in opera at moderate intervals. A role fitting for a spinto tenor, the music written for Calaf needs a tenor with a bright timbre and high range, whilst retaining the support of lower registers, so that the voice might be pushed to dramatic climaxes. Best Tenors – Top 10 Greatest Tenors Enrico Caruso (1873-1921) Candide, (Candide) 1.2. Nice to see that there is some love for Wunderlich, as there should be. Medicine and Opera is a blog by Neil Kurtzman MD about just that, medicine and opera. After all, they are on your top 10 list. He is a lirico-spinto tenor of a melancholic and elegiac timbre. Unbelievable!! To those who think he should go away, I say if the sight and sound of him bothers you so much, then pick someone else to entertain you, ok? and what palce would be for you Jose Carreras? He was empowered with a spinto tenor voice and an enveloping and velvety timbre quality. I do love the reference to Del Monaco as an “Opera Noir” singer. Sir,..Thank you for your list. In all this time I have never gotten used to Lauritz Melchior’s voice. But he’s definitely one of the first artists I go to when studying a canzone. Early in his career, Jan Peerce’s voice was truly remarkable. Lanza’s voice was a perfectly placed lirico spinto of extended range (low A to high D) with a luscious baritone quality, which made him sound oh, so masculine (unlike most modern tenors whose voices are shrill, weak, or strained). I limited myself to 10. What distinguishes Pavarotti from other opera singers? November 11, 2013 at 9:16 pm. Martinelli not only had an amazing instrument (he recorded into his 80s) but an incredible repertoire. Possessing a beautiful tenor with baritonal qualities, he successfully portrayed many of the main Verdi and Puccini roles, until making his mark promoting lesser known Verdi operas such as I due Foscari, Giovanna d’Arco and Luisa Miller. Young Domingo had a fine lyric tenor voice. Add that he was tall and looked like a fifties movie star and you have a matchless package. I am being polite. who ? He sang nice lyric and actually hit a high C. But he lost me when he started forcing the higher notes, shaking like a leaf. 1.Jussi Björling. I call Miguel Fleta ‘restrained Spanish elegance’. (They are also known as "lyric-dramatic" tenors.) However In my view one celestial voice with supreme musicianship belongs not only in the top 10 but perhaps even in the top 5. The excerpt is from a 1940 performance at the Met. As with many of his contemporaries, the Second World War gave him the opportunity to establish himself in this country, and for the next quarter of a century, no one surpassed this native son in terms of voice, commitment, integrity, and devotion to the lyric art. 5 Franco Corelli, since my youth he was my first favorite tenor and it hurts me to put him at no 5. Frequently lacking correct breath support, he sings with a remarkable sweetnessof tone. This Mexican tenor has become the ‘encore’ man of the opera world. The German equivalent of the Spinto fach is the Jugendlicher Heldentenor and encompasses many of the Dramatic tenor roles as well as some … The beauty and power of the sound the young Domingo produces is overwhelming. Their roles are often given to the heavier spinto tenor voice. sung like no one else ever performed it. According to his contemporaries, Leonid Sobinov was a person blessed with rare charm. Although primarily a lirico-spinto tenor for most of his career, especially popular for his Cavaradossi, Hoffmann, Don José, and Canio, he quickly moved into more dramatic roles, becoming the most acclaimed Otello of … Your list , your preferences. But it’s not so great that he gets to be treated like a dead god for another century. Di Stefano destroyed his voice early on as you pointed out and Del Monaco was great in Otello,..what else Otello,..that’s it! Certainly, George Thill, Fritz Wunderlich and Tito Schipa should have made this list over the above-mentioned three. Spinto tenors have a darker timbre than a lyric tenor, without having a vocal color as dark as many (not all) dramatic tenors. Greatest Opera Singers in History. Gedda is fantastic, You might try Peter Anders here. Honestly,..he always sounds like a sqeeling pig,. You’re obviously either very young or new to opera. The British audience goes crazy after this reading. What a great injustice you did to Pavarotti! Lyric tenors possess a smooth vocal quality and a range of approximately C3 to C5. Luciano Pavarotti (1935-2007) was the most famous opera singer after the era of Maria Callas. Another person has recognized the great Giacomo Lauri-Volpe. Bryan Hymel is the most exciting tenor I’ve heard in since the 70’s. Opera has long been mistaken to be purely singing. The Mime is Karl Laufkötter. Messages 13,474. Instead of retaliating they asked for more!! Nevertheless, his greatest moments arrived at a later date, especially with the appearance of Verismo operas. We should remember that their talents and distinguished careers, and those of other Canadian artists, have been overshadowed by major entities such as CBC/Radio-Canada. This Fach is the dividing line between the lyric and dramatic tenor voice. I was lucky enough to hear him sing Manrico at the tail end of his career and he was still kicking the doors out. Corelli was wonderful, And I think Mario Lanza is right up Sheikh Red Shadow, (The Desert Song) 1.6. Tucker carries with him what I like to call a “leprechaun timber, all the way from his lower register up to the C. In addition, his timber lacks a certain richness of overtone–it sounds somewhat shallow and washed out. But if we’re going to get into “niche” singers, how ’bout Alfredo Kraus? Fritz Wunderlich an absolute pure beautiful lyric yet powerful tenor a voice of such great distinction. The lyric tenor. His rendering of “una vergine” from La Favorita by Donizetti is totally mindblowing ending with a diminuendo on the high C. Incredible. But listen to Helge Roswaenge’s version of that aria (and many others). Anyway, here’s Lanza’s 1950 recording of the Improvviso from Andrea Chenier. Try to get ahold of Peerce chanting. He had an unusually beautiful voice, paired with huge volume and a perfect technique which allowed him to sing that rarest of tenor tones, the high C, … Though he’s recently been masquerading as a baritone and as a conductor, it’s as a tenor that he will be remembered. The one Luciano Pavarotti himself declared the greatest Tenor of the 20th century: Fritz Wunderlich. Types of ... Why You Should Sing the Way You Talk and How to Do It. No one gets to reign forever, I don’t care how Italian they are. Richard Tucker. Someone mentions the limitation of Del Monaco (great as Otello, but otherwise, meh), but I have to say his Don Jose was killer. ‘Nessun dorma’ is a great case of this, used in many … His is a voice uniquely suited for singing Italian lyric tenor roles. The leading tenors in some of the most famous operas are all lyric tenor roles. (Sometimes the terms lirico-spinto or jugendlich-dramatisch are used to denote this category of voice.). Margaret. The lyric tenor is a tenor with a well timbered voice, such as "The Three Tenors" (Luciano Pavarotti, Jose Carreras and Plácido Domingo). Tito Schipa., talk about foating soft notes and pure beauty of tone,…perfect techniqe,…some in the fifties called him the no 2 tenor behind Bjorling,… love his voice. In such a hall I’m sure his sound was bigger. Listen to him in his prime. Alfredo Kraus has a much finer voice than Domingo, by far. Many find they must develop their acting and movement skills in order to stand out from the competition and earn a living as an opera singer. Jussi Björling has it all. You could have chosen a fine recording of one of his beautiful arias easily available on YouTube. Despite a lack of solo arias (beyond one added by Puccini to satisfy a grumpy performer), the character is known as one of the great roles of Italianate tenors, attracting performers such as Plácido Domingo, Enrico Caruso and Luciano Pavarotti. The contralto voice is the lowest of the female voices and by far and … You can find him singing some roles besides Verdi as well. (Sometimes the terms lirico-spinto or jugendlich-dramatisch are used to denote this category of voice.) Do you think now in these days there is a tenor or tenors who (according to your guess) will make it into 21st centuries top tentenors list ? I heard Domingo before he went to the met. Many thanks also for your health tips. Both Giuseppe Di Stefano (1921-2008) and Franco Corelli (1921-2003) were born in the same year. You might well find our Web site of interest. Now please don’t get me wrong, he’s not hands down the best singer of every canzone. Spinto tenors have a darker timbre than a lyric tenor, without having a vocal color as dark as many (not all) dramatic tenors. As Anna Russell would say, “Screechenralph!! Sir, although Di Stefano certainly should be on this list, I disagree that his rendition of “O Sole Mio” is even arguably the best. Pavarotti was blessed. Rosalind Plowright defines a spinto voice as one that has a tonal colour one down from its range. roles, he certainly stands alone at least in the post electrical era. He is my Di Stefano,..ruined his own voice and carreer later on,..but OH my what a voice he had. Again, thanks for a great post and inviting comment. mes amis, quel jour de fête!' He blasted everyone off the stage even if his back was turned to the house. Though roles are abundant, competition is stiff for lyric tenors. They are presented in the order of their birth. Listen to some of his later performances. Jussi Björling (1911-1960) was as close to perfection as a singer could get. Many rank him with Bjorling and some prefer him as no 1 all time,..but oh my what a voice he had. And full agreement about Tucker. This Fach is the dividing line between the lyric and dramatic tenor voice. First is the outburst Wälse! Delmonaco did not have the best technique. Also, someone mentions Gedda’s “Postillon von Lonjumeau” and I’m sure they’re referring to his take on the aria “Mes amis, ecoutez l’histoire.” And yes, it’s very good. The idiosyncratic acoustics of the Met were such that if he was in a “dead” spot on the stage or you were placed in a “quiet” part of the auditorium, he was almost inaudible. Drop Pavarotti??? to the content on this blog: Comments and reviews of opera, music, and medicine, Written by Neil Kurtzman | 8th March 2016, Va prononcer ma mort, Rachel quand du seigneur, The 10 Best Tenors of the 20th century – Part 2, The 10 Best Mezzo-Sopranos of the 20th Century, https://medicine-opera.com/2012/06/leo-slezak/, https://medicine-opera.com/2010/10/two-that-got-away/, https://www.youtube.com/watch?v=HUkJVwMNeHM, https://www.youtube.com/watch?v=iAWzX2WVi8Q, https://www.youtube.com/watch?v=9nrDfqoYzNo, http://www.bbc.co.uk/pressoffice/bbcworldwide/worldwidestories/pressreleases/2008/03_march/music_magazine_domingo.shtml, How to Disable Yahoo’s Theft of Firefox’s Open a New Tab, Educational Thought of the Day – E Coli in Germany, Zinka Milanov – The Most Beautiful Voice in the World, Asymptomatic Subjects Do Not Transmit the Coronavirus, Texas Tech University Health Sciences Center, Archives: Older posts and additional material. Richard Tucker was unquestionably one of America’s greatest tenors. I wish I could include Pertile, Leo Slezak Jan Kiepura and probably Gedda also,…so here it is,…thank you for reading! Then, it became nasal. You dissapointed me about Bjorling, in my opinion and many others the finest tenor of them all,…and you say it but you could have said a little more about this vocal wonder from Sweden! He had perhaps the most complete technique of any tenor I’ve ever heard. Lyrischer Tenor roles and arias. I don’t have a quarrel with any other names, Melchior’s recording of the first act of Walkure with Lehmann, conducted by Bruno Walter with the Vienna is in the top five Wagnerian (and operatic) recordings ever made. The spinto voice type is recognisable by its tonal "slice" or squillo. He had a bright spinto tenor that was ideal for Wagner and flexible for Mozart. Besides the orchestral music, acting, stage presence and interpretation of the music are what separates a diva from a group of singers. Giovanni Martinelli Corelli “teacher”,.his top notes have the power and ring of Caruso,..the rest of the voice was awesome,…I include Marftinelli here at no 8. Or lousy gods that don’t know how to be immortal. (Sometimes the terms lirico-spinto or jugendlich-dramatisch are used to denote this category of voice.). And for Wunderlich go here—-> https://medicine-opera.com/2010/10/two-that-got-away/. Verrano a te from the first act of Lucia di Lammermoor shows both Pavarotti and Renata Scotto in prime form. There is no tenor on your list with Simoneau’s singular gifts. Not to mention that he squeaks like a mouse as well. The greatest I ever heard in person was Nikolai Gedda In the 1970s. His squillo and clarity are absolutely excellent! 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