I wish I could find a recording of Gedda and Mary Costa in Fra Diavolo. Who does that? Si pel ciel. https://www.youtube.com/watch?v=9nrDfqoYzNo. I would have chosen Pavarotti second. Lyric tenors possess a smooth vocal quality and a range of approximately C3 to C5. Last edited: Dec 20, 2011. 1.Jussi Björling. 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. One of his breakout roles occurred with the 2003 Salzburg Festival for the role of Belmonte in Mozart’s “Die Entführung aus dem Serail.” Thank you so much. Dec 20, 2011 #12 Wow, no Roy Orbison yet? The warm, pleasant lyric voice can be used for a variety of roles and lacks the edge of a spinto or the upper extension of a leggiero. What Is Whistle Register? Tenor Fächer: What Kind of Operatic Tenor Are You? The lyric tenor is a tenor with a well timbered voice, such as "The Three Tenors" (Luciano Pavarotti, Jose Carreras and Plácido Domingo). https://www.classicfm.com/discover-music/latest/best-sopranos You also need to know what the mixed voice is within tenors. I have tried to pick a selection for each tenor that shows him at his best and which also presents at least one of his unique characteristics. A lyric tenor voice is defined by the smooth, bright and warm timbre of it’s voice. Young Domingo had a fine lyric tenor voice. I’d be interested to see it. Of course it is not, unfortunate that Pavarotti, “kept singing way past his best years.” Deny millions a chance to hear him live beyond the seventies? Alfredo Kraus has a much finer voice than Domingo, by far. mes amis, quel jour de fête!' Del Monaco and Di Stefano would not make my top ten list ever. Unbelievable!! The German equivalent of the Spinto fach is the Jugendlicher Heldentenor and encompasses many of the Dramatic tenor roles as well as some … Got all his recordings, listened over and over……..doesn’t connect to me at all. As I’ve said here earlier, if you wanted to make the perfect tenor – you’d make Bjorling. Here are my comments followed by my own list. Here’s a special case. But if we’re going to get into “niche” singers, how ’bout Alfredo Kraus? 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. I’ve posted this piece before, but it’s so good that it deserves repetition. They are presented in the order of their birth. 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. According to his contemporaries, Leonid Sobinov was a person blessed with rare charm. 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, … Listen to some of his later performances. what is the reason of the TENOR-crisis at time, generally? You are absolutely right. 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. Notung! Listen to him in his prime. He also does not quite equal Corelli’s absolutely superb O SOLE MIO in my opinion. I fully agree with your comments regarding Tucker, Corelli and Caruso, what wonderful tenors they were and they will always be on my top ten 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. He can be heard from the sixties and seventies on the Internet. I’m not a Wagnerite but I found Siegfried Jerusalem quite exceptional vocally and physically in the Met video of Siegfried. I never heard Bjorling in a smaller house than the cavernous old Met. There were many fine lyric tenors and its a matter of what one I like in what role more than liking one over another. March 20, 1890 was a good day for tenors. Milnes, if he turned away from you, was hard to hear. 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. Carreras in the 70’s, wonderful. It never fails to stop me still, to make me close my eyes, to make me use all my senses just on his music. Gedda is fantastic, You might try Peter Anders here. Jonathan Antione is missing. 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. All of these singers had major careers at New York’s Metropolitan Opera. Luciano Pavarotti (1935-2007) was the most famous opera singer after the era of Maria Callas. The spinto voice type is recognisable by its tonal "slice" or squillo. Tucker’s chanting is also remarkable. Agree totally about Del Monaco. I like Max Lorenz much better than Melchior. As for me, I would have replaced Pavarotti, Domingo And Lanza by Wunderlich (Die Bildnis), the young Lauri Volpi (A te o cara) and Bergonzi (Celeste Aida) – just my suggestions of the arias, of course. His “Il Mio Tesoro” is right up there with John McCormack’s (who, by the way, deserves mention as well, especially if you know of that story about Caruso meeting on him on the street one day and asking him how the ‘Greatest tenor in the world’ was doing that day). As in our discussion of spinto sopranos, "spinto" means pushed. November 11, 2013 at 9:16 pm. 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). So does Lauri-Volpi. His voice is sheer magic. If you have a gun to your head forcing you to watch him, let me know, I’ll send a posse. Richard Tucker (1913-1975) is the only American on my list. Besides the orchestral music, acting, stage presence and interpretation of the music are what separates a diva from a group of singers. For what it’s worth, here is my top ten list in this order. Your list , your preferences. To hear him at his peak you have to go back to the sixties and seventies. The Greatest Tenor of the 20th Century title belongs to him (and these experts have already said Greatest Ever (link to BBC 2008): http://www.bbc.co.uk/pressoffice/bbcworldwide/worldwidestories/pressreleases/2008/03_march/music_magazine_domingo.shtml). Editor’s note: It’s time to update this list of best male opera singers. Shocking. Mario Lanza. Di Stefano was known for the extraordinary beauty of his sound and the emotional content he uniquely added to the music he sang. 1 Jussi Bjorling. At last, Mateus, someone mentions the great Giacomo Lauri-Volpi. After hearing Melchior in Wagner everyone else seems lilliputian. He was known for his appetites, insecurities and little boy charm. Lauritz Melchior (1890-1973) was the preeminent Wager tenor since the advent of sound recordings. https://www.youtube.com/watch?v=iAWzX2WVi8Q. I remember reading a quote from Björling who, in answer to a question about why he didn’t do “Lohengrin” on stage, said, “Who would believe that I could ever win a battle with broadswords”. (I know, I hear someone saying “Domingo”, but he wasn’t taking on Tristan for the first time forty years into his career. Don’t know why it went elsewhere. Il Tabarro, I find Richard Leech delightful in youthful, ardent characters. (Sometimes the terms lirico-spinto or jugendlich-dramatisch are used to denote this category of voice.) He had a fine lyric tenor voice in his early career, but later he began to sing nasal. Certainly, O Sole Mio is sung with the greatest intensity and passion by Mario Lanza. If you’re interested in pre-1950 tenors, (not to mention sopranos, mezzos, baritones, basses and even a castrato), you might enjoy checking. I agree completely, unlike other lists that leave out greats like Mario Del Monaco and Franco Corelli. I wish HE had come to the US instead of Caruso, to me a droning bore. I’ve read in more than one place that HE should have retired many years ago. I limited myself to 10. Jussi Björling (1911-1960) was as close to perfection as a singer could get. Again, try YouTube. Lyric tenors are probably the most common fach of tenors found in nature. For 50 years I have now studied and enjoyed the great tenors of opera. A word about Bjorling. ... a best-selling classical singer and humanitarian known for his most original and popular performances with the 'Three Tenors' and 'Pavarotti & Friends'. Verrano a te from the first act of Lucia di Lammermoor shows both Pavarotti and Renata Scotto in prime form. Then I saw him on youtube in the Bayreuthe Festspiele version and the voice was far better. Not a bad list. and what palce would be for you Jose Carreras? And is credited with keeping Verdi,s lesser known works alive, Essentially a lyric tenor with spinto capabilities, Bergonzi was loved during the peak of his career for his beautiful diction, smooth legato, warm timbre and … Then, he took it for granted. ‘Plus blanche que la blanche’ From Meyerbeer’s Les Huguenots  sung in Italian as  Bianca al par di neve alpina  shows all of Corelli’s strengths – powerful tone, matchless breath control, and thrilling high notes. Spinto tenors have a darker timbre than a lyric tenor, without having a vocal color as dark as many (not all) dramatic tenors. To hear him at his peak you have to go back to the sixties and seventies. I do love the reference to Del Monaco as an “Opera Noir” singer. Their roles are often given to the heavier spinto tenor voice. Can’t remember, but I think there is a recording on YouTube. Jussi Björling (1911- 1960) According to the great Dietrich Ficher Dieskau, Mr. Björling “was not a … This Mexican tenor has become the ‘encore’ man of the opera world. Obviously, this list is entirely subjective and reflects nothing more than my tastes and opinions. Like Domingo, though, it became nasal with time. Then he had vocal troubles he never got over. Delmonaco did not have the best technique. ... Renata Tebaldi was and is surely one of the best Spinto soprano voices that any century has ever heard. The tornado of a voice possessed by Vickers is a wonder of nature, even in Otello I choose him over MDM,..especially in the middle register, the voice has weight and a deep sound required for Otello, and no voice has ever had these qualities. ... Renata Tebaldi was and is surely one of the best Spinto soprano voices that any century has ever ... a best-selling classical singer and humanitarian known for his most original and popular performances with the 'Three Tenors' and 'Pavarotti & Friends'. 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. Carlo Bergonzi is an Italian Tenor, he is mainly connected with the Verdian roles. here I agree with you,…what an outstanding voice, I choose him at no 7 because he sang enough opera to deserve this spot,..what an amazing voice Lanza was. I have to say, I still like listening to him. Not Raimondi. Unfortunately he kept singing way past his best years. 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. I agree with the switch plan if Lanza had built an opera career. He was buried in his Otello costume. I listened to the incredible Schmidt often in the 50s. Then, it became nasal. But it’s not so great that he gets to be treated like a dead god for another century. How about Leo Slezak?? (1927- ) Soprano (Spinto) Fritz Wunderlich an absolute pure beautiful lyric yet powerful tenor a voice of such great distinction. You did not mention Wunderlich. He starred in almost twenty movies and performed sixty two different opera roles. The leading tenors in some of the most famous operas are all lyric tenor roles. 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. The amazing thing is that three of them were born in 1921 and one died….Caruso, the day Lanza was born. A metallic voice with noble, tenoral quality, that can sing both lyric and dramatic passages. Certainly, George Thill, Fritz Wunderlich and Tito Schipa should have made this list over the above-mentioned three. 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!!! Be professional. 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. Virtually all his roles were sung in German. 8. An honorable mention should certainly be Fritz Wunderlich short as his career was. The high tenor range, sometimes referred to as countertenor or tenor 1, is the highest male range. The opera firmament has realigned itself as newer stars have emerged in the opera universe. Jonas Kaufmann seems a good bet for some unborn opera lover to include on a list of the best tenors of the 21st century. If you want sheer perfection, go to this on Best Tenors – Top 10 Greatest Tenors Enrico Caruso (1873-1921) You certainly weren’t being polite when you discussed Pavarotti’s voice. Then I heard him sing the song transcribed from Anton Rubenstein’s “Romance in Eb”–“If You Are But a Dream.” He inhabited the music and its text, utterly faithful to music and words. Juan Diego Flores is on the top. I realize these lists are hugely subjective, but I see only one mention of Il Vecchio, the old man, Martinelli. This Fach is the dividing line between the lyric and dramatic tenor voice. Again, thanks for a great post and inviting comment. Contralto. Tenor Roles in Operetta: All of the Gilbert and Sullivan comic operettashave at least one lead lyric tenor character; other notable roles are: 1. La fille du régiment (The Daughter of the Regiment) is an opéra comique in two acts by Gaetano Donizetti written in 1840. His light voice is a stark difference to the German tastes in music then; they preferred heavy Wagnerian voices. Honestly, I would have struggled with including either one of them on a top ten list, along with Richard Tucker as well. Even better than the Parma ‘Vittoria.’ His E lucevan le Stelle held you on a tight rope. These are my favourites: Sheikh Red Shadow, (The Desert Song) 1.6. The Top 40 Pop Artists of All Time. Helge Rosvaenge (1897-1972) was a Danish tenor who made most of his career in Germany and Austria. Carlo Bergonzi (1924-2014) was one of the most visible spinto tenors in the latter half of the 20th century. Margaret. 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. Yes, Herbert. 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. In all this time I have never gotten used to Lauritz Melchior’s voice. Whenever I am learning a new Neapolitan canzone, Lanza is one of the first people I look for on YouTube. The German equivalent of the Spinto fach is the Jugendlicher Heldentenor and encompasses many of the Dramatic tenor roles as well as some … It was his work that planted the ad slogan “King of the High C,” and spawned the bizarre notion that if you aren’t born with it, used in a copious dispensary style, then you’re just a commoner who should stop pretending the throne. In the duet that concludes the second act of Otello he’s paired with another vocal miracle, Leonard Warren. Unanimously, the experts agree that he was the world’s leading tenor from 1935 until his death in 1960. Richard Tucker. 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