Giovanni Martinelli - Che Gelida Manina (1926) descargar videos gratis

Felix73able

I much prefer Fleta and Pertile, I never liked Martinelli's Otello...the voice was so dry, and lacking in vibrato 

hector mendoza

Grandes voces del pasado, recuerdos faustos hoy.

Henry Webb

If only lanza was able to sing like Martinelli , he may, possibly MAY be entitled to guyGiovanniHenry Webb

76alexantonio

@Agorante your comments here are among the dumbest I've ever read on Youtube, the exact opposite is true: none of today's singers would have been hired back in the Golden Era of operatic singing, as a matter of fact there has been a dramatic decline of singing technique after the 1960s: singers like gigli studied for many years before their debut (and kept on studying throughout their careers) + so were able to fill large theaters with their voices, whereas today,singers (like Florez or Grigolo, also Beczala, whom I saw on stage) need microphones in order to be audible at all. Yours comparison between opera and sport is absurd, too: there's no doping in opera ... 

Patrick Boyle

There is a very interesting recording on YouTube somewhere of Mario Lanza making fun of Martinelli. It's pretty funny. Lanza IMHO had a much better voice than Martinelli. It's appropriate for a young irreverent tenor to ridicule older over rated tenors. Gigli had left the Met because he wouldn't accept the pay cut. Martinelli would. No one would hire Martinelli today.

hazelssister

Neil Shicoff sings Che Gelida the best ever in my opinion

SHICOFF1

I wish I could have heard Slezak sing Otello at the Met. He did in Nov. 1909 and had amazing reviews for it all! His Phrasing and his language etc. It was in Italian. He was a big and tall man of Czech decent according to the review I read and seeing him.

SHICOFF1

Yes later he seemed to use less vibrato, almost none. He did last though and early in the more lyric roles that later would have been not possible they way it was earlier but I heard in Milan at La Scala in house in 1959 MDM sing Otello and for me he was the best one for the role in my time anyhow. His voice did not record well as with some other big voices.

SHICOFF1

Interesting about Lanza and if he could have become polished. I don't know if he was told too ham it up in those arias in the films or not,cause he sang the Bowl straighter and better in 1947 then most of his later stuff in films. How much better could he have done? I think as you say the faster money and fame. He didn't have Jussi's cadenza's or diminuendo, nor Di Dtefano's but he sure had a warm sounding voice flor itself and he could have been on top had he gone that way and worked at it.

SHICOFF1

I like the way Martinelli took the ending live of Otello as far as the blood in his throat etc. I read the Vinay reviews at the Met.not too good in the early 1950's. Slezak before him also must have been another good one for the role. Melchior was in German as Otello but not at the Met. ever in it. Martinelli rolled his R's a lot but then so did Tucker and that didn't bother me too much but later his voice became wooden, not much Vibrato. I did not hear him in house though so I don't really know

SHICOFF1

I do hear that but some bad habits don't bother me, others do as with anyone. Corelli's lisping especially later and sometimes scooping does. Bergonzi I heard and Bjorling, both in the house. Bjorling was perfection but not really as warm a voice nor as large a sound as on records or what many fans believe-- Some think he was cool and in Italy he was not a huge favorite. Jussi early didn't have great Italian but it was very good later--- depends on what you find offensive or not. Yes I agree.

Maddalena Arena

Out of curiosity what do you think of his over exaggerated pronunciation of the R, and a slight sour E at the end of the word ? This has nothing to do with his singing but after a while to an a Italian this can be irritating,Bergonzi also had a similar problem but with the S , Sill they gave us the best singing they could ! can anybody ask for more than that ? Always a pleasure to exchange points of view with you. Regards e Saluti GINO

SHICOFF1

Yes and some tenors I've hard in house just don't record that well on LP's, especially big voices like MDM and also Tucker. I heard both in house, also Bergonzi and Jussi who recorded better and sounded larger on recordings but they where big enough!

SHICOFF1

Yes! whatever you like best is best. I have heard other big Spinto's and Dramatic's on Rec. that sang at the Met. during his time that I didn't really prefer as Otello.or Boheme. He was basically a Spinto but I never heard him in the house and that's the way to really judge best. I never heard Lauri Volpi, Vinay or Melchior. In this aria I like the young more lyric sounding GM here and it impressed me on this, also Later as Otello. Even some Italians called him the lion at the Met

Maddalena Arena

Usually i like and respect your comments,here I think you have gone overboard with the comparisons .He was called the LION at the Met ,because maybe there were no TIGERS at that time at the Met ,but plenty around the world ,as usual of course what one hear and interprets what he or she likes at the end that is the best Singer of them all . Buon Ascolto e saluti GINO

Jose Turco

I agree with SHICOFFabout Martinelli whom I happened to meet at the Old Met in 1950 when I was 15 years old. His very long career and the unacccountable number of roles, most of which he performed as good or better than the other wonderful tenors of two generations are a historic evidence of his greatness as a tenor as, thanks to RCA and VITAPHONE mainly. is recorded forever...God Bless the great Giovanni Martinelli, JRT

Paul Ostroff

Lovely singing TY ffor posting

MrLuiscastellanos

Grandioso Martinelli , Una Voz Unica !!!!

Arthur Diggs

@Agorante Martinelli did not have the most beautiful voice of his day and he did have problems with tightness,squeezing notes and too forceful a projection in later years, but he remained able to sing some of the most difficult roles in the tenor repertoire, Radames, Othello, etc till the end of his career and his top C due to exceptional breath control remained brilliant and powerful. He is one of the most revered tenors in Opera history and his records and films still are treasured.

Arthur Diggs

@Agorante A comparison of Gigli and Martinelli's recordings could be made because they were around at the same time.Though comparing that honeyed, sweet ,lyric voice and Martinelli's bigger, darker instrument is a stretch. Martinelli debuted in 1910, Bjorling debuted in 1930 they were not contemporaries, Martinelli had been singing a long time by the time Bjorling started. Bjorling's records are far more representative of the actual sound he made than Gigli or Martinelli records.

Giovanni Martinelli

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