The Three Tenors is a name given to collaborative concerts of the three ope… Read Full Bio ↴The Three Tenors is a name given to collaborative concerts of the three operatic tenors Plácido Domingo, José Carreras and Luciano Pavarotti. The trio began their collaboration with a debut concert at the ancient Baths of Caracalla in Rome held on the eve of the 1990 FIFA World Cup final in Italy, on July 7, 1990, with Zubin Mehta conducting the Orchestra del Maggio Musicale Fiorentino and the Orchestra del Teatro dell'Opera di Roma. The idea of the concert was originally conceived by the Italian manager/producer Mario Dradi. The first concert was held to raise money for Carreras's foundation and also as a way for his contemporaries, Domingo and Pavarotti, to welcome their friend and colleague back to the world of opera after his successful treatment for leukemia.

The three subsequently sang together, in concerts produced by Hungarian Tibor Rudas and others, at Dodger Stadium in Los Angeles for the 1994 World Cup finals, at the Champs de Mars, below the Eiffel Tower in Paris during France '98 and in Yokohama during the 2002 tournament. They have also played in other cities around the world, usually performing in stadiums or other large outdoor venues.

Credasi misera!
The Three Tenors Lyrics

We have lyrics for these tracks by The Three Tenors:

"Nessun dorma" Così comanda Turandot Questa notte nessun dorma in Pekino! …
"Una furtiva lagrima" Una furtiva lagrima Negli occhi suoi spunto Quelle festose…
'O Sole Mio Che bella cosa na jurnata 'e sole N'aria serena doppo na…
Adeste Fideles Adeste fideles laeti, triumphantes Venite, venite in Bethleh…
adeste fidèles Adeste, fideles, laeti triumphantes; Venite, venite in Bethl…
An American Hymn I have seen a summer day That slowly opens like a…
Autumn Leaves The falling leaves drift by the window The autumn leaves of…
Ave Maria Ave Maria Gratia plena Maria Gratia plena Maria Gratia plena…
Ave Maria Dolce Maria Sesame Street Miscellaneous The Three Pretty Kitties In a pr…

Be My Love Be my love, for no one else can end this…
Brazil Ô, abre a cortina do passado Tira a mãe preta do…
Carreras O come, all ye faithful, Joyful and triumphant, O come ye,…
Caruso Qui dove il mare luccica E tira forte il vento Sulla vecchia…
Chitarra Romana Sotto un mondo di stelle Roma bella mi appare Solitario è …
Core 'Ngrato Catari, Catari, pecche me dice sti parole amare, Pecche me…
Di Quella Pira Di quella pira l'orrendo foco Tutte le fibre m'arse avvampò!…
E lucevan le stelle E lucevan le stelle... ed olezzava la terra... stridea l'us…
Easy To Love I know too well that I'm just wasting precious time In…
Encore: 'O Sole Mio Che bella cosa na jurnata 'e sole N'aria serena doppo na…
Encore: Nessun Dorma (Nessun dorma Nessun dorma) Nessun dorma Nessun dorma …
Encores: La Donna E Mobile La donna è mobile, qual piuma al vento Muta d'accento, e…
Feliz Navidad Feliz Navidad. Feliz Navidad. Feliz Navidad, próspero año y …
Granada Granada, tierra soñada por mi Mi cantar, se vuelve gitano c…
La Dona E Mobile La donna è mobile, qual piUma al vento Muta d'accento, e…
La Donna E Moblie La donna è mobile, qual piuma al vento Muta d'accento, e…
La donna č mobile La donna è mobile, qual piùma al vento, Woman is…
La donna è mobile La donna è mobile, qual piuma al vento Muta d'accento, e…
Libiamo ne' lieti calici LIBIAMO NE' LIETI CALICI (aka BRINDISI) From the Opera "…
Mamma MAMMA SON' TANTO FELICE PERCHE RITORNO DA TE LA MIA CANZONE…
Marechiare Quanno spónta la luna a Marechiare pure li pisce nce fanno…
Maria Ave Maria Gratia plena Maria Gratia plena Maria Gratia plena…
Maria/Tonight I'm wearing second hand shoes Second hand hose All the gir…
My Way And now, the end is near and so I got to…
Nessun Dorma Così comanda Turandot Questa notte nessun dorma in Pekino! …
Non ti scordar di me Partirono le rondini dal mio paese freddo E senza sole Cerca…
O Come O Come Emmanuel O come, all ye faithful, Joyful and triumphant, O come ye,…
O Little Town of Bethlehem Oh little town of Bethlehem, how still we see thee…
O sole mio Che bella cosa na jurnata 'e sole N'aria serena doppo na…
Oh Tannenbaum O Tannenbaum, o Tannenbaum, wie treu sind deine Blätter! Du …
Passione CchiÃ¹ luntana mme staje CchiÃ¹ vicina te sento ChisÃ¡ a chi…
Santa Lucia Luntana Partono ′e bastimente Pe' terre assaje luntane... Cántano a …
Silent Night Silent night! holy night! All is calm, all is bright, Round …
Singin' In the Rain I'm singin' in the rain, just singin' in the rain What…
Sleigh Ride Just hear those sleigh bells jingle-ing, ring-ting tingle-in…
Te Quiero Dijiste Te quiero, dijiste tomando mis manos Entre tus manitas de bl…
Those Were the Days yekhali na troike s bubentsami a vdali melkali aganki ... …
Torna a Surriento Vide 'o mare quant?è bello, Spira tantu sentimento, Comme …
Una Furtiva Lagrima Una furtiva lagrima Negli occhi suoi spunto Quelle festose…
Vesti La Giubba Recitar, mentre preso dal delirio non so piu quel che dico e…
White Christmas I'm dreaming of a white Christmas Just like the ones I…

You'll Never Walk Alone When you walk through a storm, hold your head up high, and…

The lyrics are frequently found in the comments by searching or by filtering for lyric videos

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Comments from YouTube:

Harry Castle

11y↑19

I love his falsetto F! With incredible singers like Pavarotti, there isn't the usual break in the voice at around G/A above middle C - they are able to completely eliminate it. Therefore you don't notice the "gear change" between chest and head voice. His/their voice(s) are so great that their head voice is often just as powerful as their chest voice, so you really do notice it when they use falsetto.

Harry Castle

@brendant19 lol I wrote this comment 7 years ago when I was 16. thankfully my understanding of the human voice has progressed somewhat since!

brendant19

Everyone has a passaggio. The greats have managed to blend it and sing through it without everyone noticing or changing the timbre or legato phrase, but it's still there. I think singing in the passaggio amazingly well with a lot of dynamic control is what makes Pavarotti great (not his high notes which are sometimes thrilling (like the D in this piece) but generally just very good, not amazing). Not sure what that has to do with this high F in falsetto though? He goes straight to it and sings the entire phrase in falsetto. There is no need to blend registers.

I agree with you that it's beautiful however. I have heard maybe two singers do a credible job of singing this note in the normal M2 register. Most screech it out. I think the right call is to repeat the D and ignore the F entirely or do what Pavarotti did and sing a beautifully sweet and well produced falsetto. Ultimately I think sounding pleasant and delivering the meaning of the piece matters more than some kind of making it through the gauntlet of this ridiculous not in M2.

Joshua 윤호 Han

6y↑1

Unfortunately for us high tenors opera or not we have sort of a break because our loudest part of our voice is between our two passages notes. Anything higher or lower is not as loud. Our high notes sometimes seem loud because our voices have a high resonance to the sound

Sella Holding

8y↑19

March 2016... I am a fan of Pavarotti will always be a fan! I hav tried listening to other tenors but to my untrained ear Pavarotti has heart and soul to his voice!! I don't care about high C or high F or falsetto just his beautiful voice that can make me cry!!

perig79

12y↑4

Falsetto or not..it doesn't matter to me. This high Fa is simply wonderful. :) Bravissimo maestro !

65attila

12y↑4

This is a stunning performance - what a sweet sound. Of course the "F" is going to be discussed but the beauty of tone and line of Pav here are special.

Peg Chandler

7y↑12

Fabulous! What a gift he was given and he was a good steward of his talent.

Andre de Kock

11y↑3

Pavarotti WAS a master indeed and I was a great fan of his always and so in no way am I putting him down, but simply stating facts. If you want to hear a full head voice high F and NOT a falsetto one, then there are actually many other tenors that have that in their arsenal, but Mr Pavarotti is not one of them. And that is NOT a bad thing, lowering him as a performer and elevating those who CAN sing the high F in full head voice, but simply stating facts as they are/were.

ghostofyeats

10y↑5

This is such a sublime performance. Listen to his clear diction and shading, and his careful differentiation between the two verses. Even Sutherland, who, at this stage, sounds irremediably droopy, is affecting.

deutekomefran

14y↑3

C'est sublime. Quel merveilleux tenor!

inchiave dido

13y↑6

magnifico, voce sontuosa, splendida interpretazione, grande fraseggio, espressività raffinata. il falsetto... vabbè, non diminuisce la stupenda performance

Marie DEBEAUVAIS

4y↑1

Magnifique interprétation par Luciano, chanteur à la voix sublime

chaiter1

11y↑1

This is the most elegant rendition of this difficult piece. And the voice is so true and the line clean and ringing. And the F is head voice, that is no falsetto.

Tom S

9y↑12

Stunning! I love it. The end of this aria is a killer! High F, High D#, Two High C#'s, and a high C in two lines of notes.
His first high C# is stunning! Many others could not do even this, as high C is consider the tennor highest note! Or they made the first C# and totaly fumbled the rest as they run out of steam. He does the F and D# in falsetto which is how the composer actually intended it! It goes smoothly and pleasantly, follows the text and notes perfectly!
I just do not understand why some purist are deadly set against it! The few tennors I heard who can do modal high F usually extend themselves soo badly that the F and the aria becomes chopped and unpleasant! I did survey on the Tube and this is the best to my liking. Definitelly the closest to the composer intentions! I believe in singing the way it was composed. The tweaks are not acceptable to me! So I am purist in this way. Those tweaks are nonsensical excusses, which taken in extreme are like, if Star Spangled Banner is too hard for me, I will replace it with God Save the Queen! Try it for superbowl! Who cares if you do it very well?! :-)

Zubair Hossain

Also, try out William Mateuzzi....

Zubair Hossain

7y↑2

As far as I know, Bellini wrote the role for his friend Rubini, who could hit a 'ringing' high F, so that's definitely in his modal voice, and not in falsetto. Also, Lawrence Brownlee does a tremendous job of this aria, imho, but I don't expect to hear Pavarotti's tone or size from him, given he's a bright tenore di grazia, and actually has a nice, very lyric modal F.

luca200177

6y↑1

Maestro Pavarotti: talento, studio e vera dedizione al canto. Sublime!

4444marla

12y↑6

Pavarotti is a master. Ridiculous comparisons! Why do some people have a need to put someone down in order to bring another up? It doesn't work.

Harmony Bade

7y↑3

I just love this man. What a champ.

ASMR Story Time!

14y↑1

definitely an excellent rendition and the first Db was excellent especially for Pavarotti! But the F in falsetto should have another Db cause he's not especially well-equipped to do that. With two D-flats (which sound great by the way) this could have EXTRA EXTRAORDINARY. But its just extraordinary. :)

Alex Seeman

7y↑3

Simply brilliant !!!

astroboy royale

8y↑6

Oh my heart stand still at the cello @ 1:38 !!

Staffan lingärde

11y↑1

Yes, it is Joan Sutherland. A Beautiful recording.

Paulo Leitão De Gregorio

12y↑6

Penso que sea la mejor interpretación que yo he escuchado de crediasi misera,

Harald Bohn

5y↑1

Why does everybody write about the falsetto? The note at 4:33 is amazing! Wonderful! Devine! So beautiful!

muatlas

14y

Beautiful. Pavarotti takes your breath away. Only Gedda sings this aria as well.

deutekomefran

14y

C'est sublime!

Delilah Harris

Holy moly f… just listened again, and in total shock to hear this beautiful sound from The Pav!

Tatyana Sapronenko

8y↑2

Pavarotti do not destroy the common line of aria!!! He is talant!!! For me (not a musicant) it is the better variant from modern singers...not before 1920....

Alex Carranza

13y↑1

Increible, transmite mucho su canto Francamente no comprendo como desprecian su forma de cantar, quizas es que algunos de los que comentan son capaces de hacerlo mejor que Luciano. Pues estoy seguro que el señor hace lo mejor puede, quien no quisiera ser un nuevo Rubinni para deslumbrar al publico con un Fa sobreagudo como lo hacia él con Bellini y para quien fue hecha este aria.

ruth finucci

6y↑1

USTED TIENE PLENA RAZÓN.

Ettoredipugnar

12y↑1

Yes but is it a beautiful note ? Pavarotti did it with style and class. The 6th side of the lp set is a lesson in singing from both Pavarotti and Sutherland

Patrick Perrier

7y↑1

Une des meilleures interprétation de Pavarotti ( si ce n'est la meilleure !) Pourquoi l'intégrale n' est elle jamais sortie en série économique ???(contrairement à Lucia par exemple )

ruth finucci

IL Y A UNE INTERPRETAT ION COMPLETE DE CETTE OPERA AVEC PAVAROTTI,JOAN SUTHERLAND ET LE DIRIGENT RICHARD BONINGER.C'EST DE LA LONDON.DANS CETTE GRAVATION LE MAETRO A INTRODUITE DIVERSE ARIA QUE LES THEATRES NE REDPRODUISENT PAS.

Vincenzo Azzarello

Pavarotti, il grande Pavarotti! Anche lui si è esibito più volte con i personaggi maschili delle opere belliniane e con le varie ariette, che amava prediligere.

Dawon Washington

9y↑9

Sounds like a light head voice, not a pure falsetto tone Pavarotti is singing; when he hit the high F. I think the quality of the tone is quite beautiful. It is my hope that individuals who love opera, in the future, will focus on the dedication and commitment singers like Pavarotti have put forward, in the art of operatic singing.

brendant19

That's definitely just pure falsetto. It's well supported. You might call it a "reinforced falsetto" though even that usually has more of a blend in it. Usually with "light head voice", which is usually called a voixe mixte, or sometimes just "head voice" (the latter also being used to refer to the M2 register, which isn't the same thing since it's not really mixed) you actually can't sing way up into the stratosphere and add any blend, at least not for more than brief moment. It's very hard to control the blend in the passaggio and then harder again in the very top of the voice. There are a few tenors that could sing longer phrases in a really good mix. Simoneau, Gedda, Di Stefano, but most use it more briefly in a diminuendo or crecendo between the M2 and a reinforced falsetto. I strongly doubt anyone can add any sort of blend on an F, and this just sounds like falsetto to me. Falsetto doesn't have to be breathy and terrible. It's the same positioning female vocalists use in their upper register. You can definitely get a nice, ringy, rounded sound.

Shinobi Vocals

SharkBearAgator Phipps falsettone is a very likely possibility also!

Ruben Wojcicki

12y↑1

Ese falsete que hace me encanta!!!!!

Jesus Muñoz

En vivo no solia cantar a tono esta pieza.

Jesus Muñoz

Pues es horrible.

Gerrie de Harder

Beautiful!!!

Jacob Cortes

15y

There are those who can produce a very well developed and beautiful sounding high F. Maybe not in this song, but is non the less sung greatly. Gregory Kunde, from Illinois, and Eduardo Ayes, from Argentinian who sings this song, in my opinion, beautifully.

brendant19

I think the only one's I've heard sing it well in the M2 register are Kunde and Matteuzi. I see a lot of people suggesting Gedda sang it in M2, but he hits it falsetto and then blends back into M2 on the way down. You can hear the transition. Kunde and Matteuzi don't, it's M2 from the start and there is no transition from the F to D or on down.

I don't however think there is any shame in singing this however you can to get it to sound good. Pavarotti just does the whole phrase in an unreinforced falsetto, Gedda hits the F in reinforced falsetto and blends it. Whatever works so long as it's not a screech. Even just omitting it and doing the D twice is also fine.

karifrid

12y

"Do di petto" was not in many tenors "arsenal" when Bellini wrote I Puritani. It IS WRITTEN for tenor singing "a falsetto".1831 Gilbert Louis Duprez sang "the first High C from the chest ".I puritani was on stage 1835,only four years later.I think it was written for normal tenors at that time singing in "falsetto" A and higher,perhaps starting lower.The tenors that CAN sing natural HIGH F are many with very small voices.But NOT all of them.IS IT WRONG to sing Che gelida manina semitone lower ?

Gerrie de Harder

7y↑2

Incredibel!!!!!!

Ettoredipugnar

11y↑3

The f sung with dignity and beauty .

bigus

13y↑1

amazing!

Delilah Harris

I have been listing to Pavarotti many years now but never have heard this falsetto voice, it doesn’t surprise me but wonder why it never was heard before. Is it because opera singers are frowned upon if they use a falsetto voice?

ferociousgumby

6y↑1

It actually sounds like singing, not a coyote howling. I like it

Oksana Lewyckyj

With a high F held by Luciano !

Andre de Kock

13y

Bravo Pavarotti for actually trying it! Although he had to sing the high F falsetto, at least Pavarotti attempted the piece in this recording the way Bellini composed it. BUT listen to the Sills/Gedda Puritani and you will hear Nicolai Gedda singing a perfect high F in the tenor register NOT falsetto!

brendant19

100% Gedda is singing in a reinforced falsetto on the F. He slides back into M2 on the D on the way back down and kudos to his blending of that phrase, but the F is without question falsetto. He's just adding extra air and support to give it more of a blend and likely to set himself up for the transition to M2 register on the D which needs more support than a pure falsetto.

Also I wouldn't personally call it a "perfect" high F. It's passable compared to the other 99% of singers that try it, but it doesn't sound great, because it's a man singing an F5.

Rodo Lomelí

13y↑1

the whole interpretation is far better than Gedda's now, high F, I don't care, is only a note, but Gedda made it properly.

Virgilio Miranda

Pavarotti, o mais honrado tenor fazendo o mais desonroso falsete de todas as gravações desta aria...

Vítor Lacerda

7y↑1

Virgilio Miranda A razão é simples, ele não trabalhou falsetto, mas poucos podem se igualar a sua potência em voz de peito

Mrrossj01

Wonderful.

Restless

So Pavarotti could also make a career as a lyric mezzo?

Gustavo Grande

Sutherland: no go with her lachrymose voice. Pavarotti great!

Gekkoo

14y↑1

4:50 is pavarotti?wooow its my first time that i heared this BRAVO BIG LUCIANO!

notsobluebear

12y

For the F5, I'd give it up for Brownlee. Next up, Kudrya - I see a lot of potential in this guy. I would have loved to hear Pavarotti in his really early years when his voice mighta been more on the leggiero side.

bellini verdi

ESTA ARIA LA HACE REDONDA LA GRAN JOAN SUTHERLAND...................RESPETANDO LA CADENCIA DE TENOR..........SABE ESTAR EN SU ESTATUS.............DE SOPRANO SUBLIME............ES POR ESO QUE ES LA MAS GRANDE CANTANTE DE TODOS LOS TIEMPOS.............SIN RENUNCIAR A SU PODERIO ES CAPAZ DE DEJAR LOS HUECOS VOCALES A A SUS SIMILARES...........................

Ito b.

8y↑2

Splendido..

Staffan lingärde

11y↑1

miss you luciano!

dblair1258

13y

Very pretty falsetto F at the end. The D was VERY nicely done as well. I personally don't care for full-voiced Fs by tenors in the piece. Sounds too shrill to my ear. Transposing the F down to another D is probably the better thing to do in our day and age when softer, falsetto-esque sounds are not terribly appreciated.

Yamir Zúñiga

13y

sounds like a heavy metal Pavarotti

Max Shine

4:31 is waayy better than 4:52 it just sounds bizarre, otherwise masterpiece

brendant19

That's a matter of opinion. It's different for sure. We're not used to hearing male voices sing in falsetto without any effort to blend the quality with the rest of the voice (which you can't do that high up), but I think this is great singing either way. That was a clean, pleasant, supported falsetto and it is much better than a shitty, screechy F in "head" voice.

muatlas

13y↑1

@MrAndredekock Pavarotti's falsetto is substantial and beautiful none-the-less.

ytamy

16y

Thank you so much for posting this. one Q, is this from the Richard Bonynge Decca recording?

Sandra Curran

11y↑2

That F! OMG! INCREDIBLE!

karifrid

12y

Please ,listen to both Gedda and Pavarotti and be happy they are on many recordings. When I try to advertise and say " I am the best high C tenor in Iceland" many say to me. "High notes are not so important". I have listened to both of them to LEARN, I must say I think Pavarotti has more beauty in his voice,but Gedda has a lot to offer...For a tenor who wants to sing great high notes it is IMPORTANT to listen to them.I can NOT sing an F.My best hig note on youtube is in Rigoletto duett,D flat.

Philip Fairweather

14y

It was probably more stylistically correct for the time of Bellini, when people weren't so hung up about the use "falsetto"...

ytamy

15y

here's an abridged version, there's a lot of background singing but these are Arturo & Elvira's words: ARTURO Credeasi, misera! Da me tradita, Traea sua vita In tal martir! Or sfido i fulmini, Disprezzo il fato, Se teco allato Potrò morir!

ytamy

15y

ARTURO Arrestatevi, scostate, Crudeli, crudeli! Ella è tremante, Ella è spirante, Anime perfide, Sorde a pietà. Un solo istante, Ah, l'ira frenate Poi vi straziate Di crudeltà.

Bravo Joe

12y

@ MrAndredekock and @ karifrid: Let's be clear: The Metropolitan Opera has allowed tenors to transpose at least a semi-tone the Puccini's aria from La Boheme: Che gelida manina going back to when Caruso sang there. There is proof of this in the broadcasts with Jussi Bjoerling. Bjoerling also used a clever method for avoiding the high C at the end of the Faust aria. Check the broadcast. Check the broadcasts for "Di quella pira".

Potter Ender Gaming

I don't care that the f is in falsetto it is still beautiful

Cesar Antonio Davila

15y

i love pavarotti.....but you gotta laugh at 1:20:)

ytamy

15y

ELVIRA Qual mai funerea Voce funesta Mi scuote e desta Dal mio martir! Se fui sì barbara Nel trarlo a morte M'avrà consorte Nel suo morir! (chorus,etc)

Andre de Kock

13y

@doctorcaligarissss Just type in Nicolai Gedda Credeasi and you will find it. That is a High F, PERFECTLY on pitch!

Tony Caruso

13y

WOW.....find me somebody today who can come close to this!!

brendant19

Pavarotti was great. But if you mean the high F, virtually all tenors can sing in falsetto quite well. I am glad he did it, and had the balls to put beauty over other concerns and try and screech out a high F in head voice, but I don't think it's particularly difficult to sing that note in a supported falsetto. The rest of the piece is much harder to do as well as he did and the high D is arguably one of his best high notes and a total killer in and of itself. I can sing high F's in falsetto all day and make them sound nice. I could not even come close to that amazing high D or sing the rest of this piece with anywhere near the quality Pavarotti does.

ytamy

15y

ELVIRA Il tuo perdono! Per me a morte, o Arturo mio! ARTURO Ah un amplesso! ELVIRA Sì, mio bene. ARTURO Ah, un addio! ELVIRA Un addio!

ganekelioque

13y

even pavrottis falsetto is rediculous

Alan Herrera

12y

pavarotti also as a soprano :D jajaja

Colin Gudgeon

12y

@TheInquisitive4Ever Absolutely! All this dumb talk about falsetto high F! As I think you (or someone else mentioned), it was well after this was written that any tenor sang a C5 in 'full head' voice. The style has changed.

Daniele Oliveira

11y↑1

is this Joan Sutherland's voice with 'Pava'?

Crazy organist

Yes. 1975 recording

Rawr

8y↑28

I don't care of it's in falsetto, it sounded beautifully..

Oksana Lewyckyj

Avec un contre-fa tenu par Luciano !

Andre de Kock

12y

ABSOLUTELY it is wrong and NO House of any repute would allow a tenor to do that! The Garden, the Met, Scala, Berlin etc ..... not ONE of these Houses would employ a tenor for their productions who had to transpose Boheme even by a semi-tone. I would LOVE to have sung Rigoletto, the arias of which I did in concert, but the tessitura lay too high for me to get through a production of it and so I declined and never sang the role in a production.

Andre de Kock

12y

@iwbljd490 IF I was a tenor and had the range I would sing Puritani. My point is simply that any opera singer of integrity says, "I can't sing that role". So all the tenors who do NOT have an effortless high F should steer clear and NOT transpose it or sing falsetto. How would you feel about some tenor singing every high C falsetto? Should he be singing roles he can't manage? Your attempt at humor doesn't fit the scenario. But please don't take this as an insult, it's just my opinion.

Jesus Muñoz

El fa está escrito pero para hacerlo en ese falsete ridículo mejor no hacerlo. Por cierto, en vivo casi nunca cantaba esta parte a tono, como por ejemplo A te o cara. Le falta la elegancia y la adecuación vocal en este rol de Kraus.

sarolta101

8y↑4

Tha best NICOLAI GEDDA !! Forerver.

Andre de Kock

11y↑1

The cords aren't connected?! Lol! What NONSENSE is that?! Do the vocal cords DISCONNECT when you sing falsetto? Simply listen to the difference between Mr Pavarotti's high D and high F and you will hear a full HEAD voice high D and a FALSETTO high F. I sang 32 years before retiring and now give vocal training in my spare time (because I enjoy it) and so I suspect YOU are the DISCONNECTED one, not knowing WHAT you are talking about. LOL! God bless you.

Andre de Kock

13y

@muatlas Gedda sings it MUCH better! His high F is NOT falsetto as Pavarotti's is here. But at least Pavarotti tried.

Ale SC

15y

i feel stupid asking for this... but would yo have these lyrics?

Harry Castle

11y↑1

Usually, of course, arias/songs don't require such a high note as this F, so nobody ever notices the difference when they go into falsetto (because they never really use it). And actually, Pavarotti is a really bad example of a typical tenor voice since I'm almost certain that they discovered posthumously that he had "cheated" by belting all the top notes anyway! Let's just enjoy his incredible voice here!

Oozporkins

4y↑6

4:52 when I stub my toe

Andre de Kock

13y

Dear friends, I have always respected Pavarotti although he is by no means my favorite tenor. However, in interpretation of a role I have found Nicolai Gedda to be far superior to Pavarotti in my opinion. In all the roles Gedda recorded with Sills he way outshines anything Pavarotti ever produced. In the Puritani he does with Sills the Credeasi is a full head voice High F and NOT falsetto and does not sound like a stuck pig squealing! Bravissimo Gedda!

Oksana Lewyckyj

Avec un contre-fa aigu tenu !!!

Henry Moore

15y

Yes it is.

杉田輝夫

F5の声がファルセットと皆言ってますがなんでわからないんでしょう!
ジョーンジーランドがその部分を歌っていますよ!

FlatTire

So 24 people don't like this?

Nater389

15y

That high F is falsetto correct?

Andre de Kock

12y

Lol. Thanks SuperDedara. I wonder what your qualifications are? Mine is a BMus in voice and a diploma in operatic performance and 32 years as a baritone. So yes, I probably am primitive and stupid as you claim.

judelko

13y↑1

the gedda version with stills is really horrible, wincingly ugly sound. stills with pavarotti is lovely. this version is absolutely beautiful. pavarotti indisputably had the voice of the century. the earlier recordings were as perfect as any could be.

Ettoredipugnar

12y

open vowel ...ah............. Italian school of singing. Bel Canto. No others need apply.

Andre de Kock

13y

@doctorcaligarissss I tried posting it here for you but it kept on saying: Error, try again. If you just type in the search window, "Nicolai Gedda Credeasi Misera" it will bring up the correct aria for you.

Ale SC

15y

I don't think a falsetto would do the trick either, but i understand your concern about modern performers. But i believe the best alternative to the the 'high F issue' is the mezza voce sound... Gedda, for example, uses it really well. His F does not sound like a pig squeal neither is it artificial-like, as a falsetto would be.

brendant19

Gedda is just singing in a reinforced falsetto. Basically just giving extra air to a falsetto position. The blend between his F and the rest of the singing is better, in part because he doesn't sing the whole phrase in falsetto and is able to blend back into m2 when he moves back down to the D in the phrase. But I don't think the note is actually very pleasant. It just doesn't stand out as much. Pavarotti's sound is much more pleasant, but it does definitely stand out, especially because he sings the entire phrase in falsetto. I think Gedda's is one of the nicer versions where the F is sung, but I think Pavarotti just said fuck it and decided that it's more important that it sound great than be blended. I think that's a reasonable choice. Certainly a better choice than to sound like shit but still sing the F is some screechy version of M2. It's not definite that he could have sung it as okay as Gedda. Most don't. Most sound way, way worse.

Dragomir Aurelia

4y↑4

4:51 when you step on lego

David

3y↑1

@Oozporkins Understandable

Oozporkins

3y↑2

@David I can’t let people just steal my funny jokes

David

3y↑1

@Oozporkins Incredible how you returned after a year just to say this lmao

Oozporkins

3y↑1

Bruh stole my comment

Brian Kirby

🤣🤣🤣🤣🤣🤣🤣

Yan Lee

The high F with falsetto is better than those by screaming.

brendant19

Agreed completely. I think there are 2 options for this phrase. Sing it in falsetto and do it beautifully, or repeat the D and ignore it altogether. Screeching out an F in the M2 register just to say you did it totally ruins the performance. And if Brownlee, who is a particularly high tenor can't do it, almost nobody can. And he can't, he screeches it out. I think I've seen 2 people do an okay job of it where it didn't sound terrible and neither were all that great in general.

Also I don't know why there is such a stigma against falsetto in this piece (or there seems to be, maybe I'm wrong). Tenors routinely sing pianissimo phrases in and above the passaggio in falsetto (a small few are able to sing in a controlled voix mixte instead) and add a bit of a blend or diminuendo from chest to keep a consistent sound. But a lot of listeners and fans will just deny this is the case for some reason like there is shame in it despite it being well blended and appropriate for the phrase. If you sing though you can generally tell. Some of the really big voices like Corelli are harder to spot and I think that's just because he had such a big round sound, his falsetto is also bigger and rounder compared to most.