I’d be interested to see it. But Lanza would make if not movie career ,and not Corelli? Frequently lacking correct breath support, he sings with a remarkable sweetnessof tone. Alfredo Kraus has a much finer voice than Domingo, by far. Fritz Wunderlich probably has the sweetest and most lyric voice in all the tenors. Virtually all his roles were sung in German. only Jonas Kaufmann? I like him most in arias of The Queen of Spades, Prince Igor and Rimsky-Korsakov’s Maynight. Not a bad list. That he uses it now to interpret baritone roles appears to not bother those who attend his performances to this day. The next two tenors were born on that day. Delmonaco did not have the best technique. Mario could sing through all three … I’m not a Wagnerite but I found Siegfried Jerusalem quite exceptional vocally and physically in the Met video of Siegfried. 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). While this interpretation is certainly not what Wagner had in mind, as an athletic feat it is on an Olympian level. 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. How about Leo Slezak?? He had a great voice. I heard all the roles he sang at the Met between 1956 and 1959, when he last appeared at the old house. I don’t care about Kaufmann. His voice was not only clarion clear and bright, with excellent diction in several languages, as well as outstanding control, but he excelled in the warhorses like Otello, as well as Siegmund and more offbeat stuff like Peter Grimes. Their roles are often given to the heavier spinto tenor voice. Shame, shame shame! (I know, I hear someone saying “Domingo”, but he wasn’t taking on Tristan for the first time forty years into his career. Can’t remember, but I think there is a recording on YouTube. 4. To hear him at his peak you have to go back to the sixties and seventies. I’m not a member of the Church of Caruso Immortal Ascended to 19th Century Heaven. Regards But listen to Helge Roswaenge’s version of that aria (and many others). I saw the marvelous Corelli in this role. Giving the show away at the end….Placido is agricultural compared to most of the others….’dropping’ Pavarotti, come on, don’t be silly. I wish I could find a recording of Gedda and Mary Costa in Fra Diavolo. How would any of us walk away from that kind of adoration? Not to mention that he squeaks like a mouse as well. 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 have vinyls of Caruso, Bjorling (No.1 ), Gigli, Corelli and Lanza, but I wouldn’t be replacing Pavarotti with him on a list. However In my view one celestial voice with supreme musicianship belongs not only in the top 10 but perhaps even in the top 5. I call Miguel Fleta ‘restrained Spanish elegance’. I’ve written several time about Giacomini. Put his name in the search bar to see some of the posts that mention him. Tucker’s chanting is also remarkable. Honestly, I would have struggled with including either one of them on a top ten list, along with Richard Tucker as well. These sub-categories include: Leggiero tenor or Tenore di grazia, Lyric tenor, Spinto tenor, Dramatic tenor, and Heldentenor. 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). With links to: the scene itself (with movie, libretto and more information), the roles, the composer and the opera. You definitely don’t appreciate the best! His is a voice uniquely suited for singing Italian lyric tenor roles. 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. Gold Supporting Member. – from Act 1 scene 3 of Siegfried. Lyrischer Tenor roles and arias. Spinto. ‘Nessun dorma’ is a great case of this, used in many … 5 Franco Corelli, since my youth he was my first favorite tenor and it hurts me to put him at no 5. Interestingly, a third tenor born in 1921. Spinto Soprano . Alas, marriage and family came along, a decision I do not regret. He recorded Des Grieux in Manon as well as Werther in integral recordings of reference status. Listen to some of his later performances. Before he retired, by his own admission, his voice was not reliable. A unique vocal wonder. Last edited: Dec 20, 2011. Beniamino Gigli (1890-1957) was the leading lyric Italian tenor of his era. Carlo Bergonzi is an Italian Tenor, he is mainly connected with the Verdian roles. My list would be different. /// As far as Jonas Kaufmann with his bad technique of depressing his larynx for some sort of fake darkness or “bassy” effect…it’s a miracle he’s still singing at all. It’s as impossible to rank the top tenors as it is to rank the top poets or ballet dancers. You are absolutely right. One of his breakout roles occurred with the 2003 Salzburg Festival for the role of Belmonte in Mozart’s “Die Entführung aus dem Serail.” I am being polite. Editor’s note: It’s time to update this list of best male opera singers. No tricks. I presume you are asking what made Luciano Pavarotti so special among opera singers. There is no tenor on your list with Simoneau’s singular gifts. November 11, 2013 at 9:16 pm. I just have a few video clips where they both sound fantastic. Whenever I am learning a new Neapolitan canzone, Lanza is one of the first people I look for on YouTube. His masterful vocal technique allowed him to sing spinto roles with success and without damage to his voice. 1 Jussi Bjorling. I agree with your comment about Mario Lanza. About seven or eight years after his debut (1945) at the Met he morphed into a full fledged spinto. 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!!! He’s now 77–and still selling tickets. 1.Jussi Björling. March 20, 1890 was a good day for tenors. I agree completely, unlike other lists that leave out greats like Mario Del Monaco and Franco Corelli. Unanimously, the experts agree that he was the world’s leading tenor from 1935 until his death in 1960. Here’s a special case. (Sometimes the terms lirico-spinto or jugendlich-dramatisch are used to denote this category of voice.) Readers are invited to submit their own lists in the comments section. His “Di Quella Pira” left nothing to be desired. Helge Rosvaenge (1897-1972) was a Danish tenor who made most of his career in Germany and Austria. The greatest I ever heard in person was Nikolai Gedda In the 1970s. 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. Vis a vis Placido Domingo, again, agree. JUGENDLICHER HELDENTENOR [‘ju:.gənt.lɪ.çɐ ‘hɛl.dən.te.’no:ʁ] (c’ to c”) Nicolai Gedda 1959 Heavy Spinto Tenor. He just finished selling out a 50,000 seat venue in Spain last year! I had always heard and accepted the line on him–big eater, robotic voice. It never fails to stop me still, to make me close my eyes, to make me use all my senses just on his music. Margaret. For some people, the “best” is the “coolest” and “latest”. He is the only LIGHT lyric tenor that I would include: Leopold Simoneau. To hear him at his peak you have to go back to the sixties and seventies. ... Renata Tebaldi was and is surely one of the best Spinto soprano voices that any century has ever heard. 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