Browse content similar to What Makes a Great Tenor?. Check below for episodes and series from the same categories and more!
Line | From | To | |
---|---|---|---|
My name is Rolando Villazon. I'm an opera singer, | 0:00:12 | 0:00:16 | |
and I'm a tenor. | 0:00:16 | 0:00:17 | |
HE SINGS LA DONNA E MOBILE FROM VERDI'S RIGOLETTO | 0:00:17 | 0:00:23 | |
'Being a tenor can provide the ultimate in job satisfaction.' | 0:00:23 | 0:00:26 | |
You get to sing some of the most beautiful music ever written, | 0:00:26 | 0:00:29 | |
in the world's greatest opera houses. | 0:00:29 | 0:00:32 | |
Some people see the tenor's voice as the most captivating and demanding, | 0:00:32 | 0:00:37 | |
but believe me, it takes dedication and a lot of hard work. | 0:00:37 | 0:00:41 | |
This is the empty stage of the Royal Opera House, Covent Garden. | 0:00:47 | 0:00:52 | |
Huge, isn't it? | 0:00:52 | 0:00:53 | |
Walking onto it with the lights shining on you, knowing that you | 0:00:53 | 0:00:57 | |
have to give absolutely your best is a daunting prospect. | 0:00:57 | 0:01:01 | |
Most of the greatest tenors in history have performed here. | 0:01:01 | 0:01:05 | |
They have all received deafening applause | 0:01:05 | 0:01:08 | |
from the audience out there. | 0:01:08 | 0:01:10 | |
The tenor voice can move audiences and fill opera houses, | 0:01:15 | 0:01:19 | |
and the great ones have become global superstars | 0:01:19 | 0:01:22 | |
way beyond the confines of the theatre. | 0:01:22 | 0:01:25 | |
In this programme, I want to explore | 0:01:25 | 0:01:28 | |
the phenomenon of the tenor in all its facets. | 0:01:28 | 0:01:30 | |
I'll be looking back at some of the legendary voices of the past, | 0:01:30 | 0:01:34 | |
as well as at some of the amazing singers performing today. | 0:01:34 | 0:01:39 | |
From Caruso, Wunderlich and Pavarotti, | 0:01:39 | 0:01:43 | |
to Domingo, Florez, and Kaufmann. | 0:01:43 | 0:01:48 | |
But what is it that made them stand out from ordinary singers? | 0:01:50 | 0:01:54 | |
What is it that gave these extraordinary tenors | 0:01:54 | 0:01:58 | |
that star quality? | 0:01:58 | 0:02:00 | |
Let's start with the basics. | 0:02:08 | 0:02:09 | |
At the two extremes of the singing voice, we have the bass, | 0:02:09 | 0:02:13 | |
all the way down there, and then up, we have the soprano. | 0:02:13 | 0:02:19 | |
This is the highest note of the soprano, | 0:02:19 | 0:02:21 | |
this is the lowest note of the bass. | 0:02:21 | 0:02:23 | |
In between, we have baritones, altos and tenors. | 0:02:23 | 0:02:26 | |
So, what it the range of the tenor? | 0:02:26 | 0:02:29 | |
Here I go. Starting with that C. | 0:02:29 | 0:02:32 | |
HE SINGS A SCALE | 0:02:32 | 0:02:35 | |
And that was the famous high C. | 0:02:44 | 0:02:47 | |
In order to sing those high notes, | 0:02:47 | 0:02:49 | |
the tenor needs to be in total control of his instrument. | 0:02:49 | 0:02:53 | |
The high C, for most of us, is our highest note. | 0:02:53 | 0:02:56 | |
The image of any tenor is more often than not | 0:03:02 | 0:03:05 | |
associated with the quality of his high notes. | 0:03:05 | 0:03:07 | |
For better or for worse, it's almost like a measure of his greatness. | 0:03:07 | 0:03:11 | |
Tenor has to come and deliver the good top high note, | 0:03:16 | 0:03:19 | |
then everybody's going crazy. | 0:03:19 | 0:03:20 | |
Our high notes, if they're bad, are possibly screechy and possibly | 0:03:25 | 0:03:31 | |
unattractive, but a tenor's high notes if they're bad | 0:03:31 | 0:03:35 | |
are usually cracking or non-existent. | 0:03:35 | 0:03:38 | |
I mean, the pressure, they have to sing under pressure | 0:03:38 | 0:03:42 | |
and they have to perform under pressure all the time. | 0:03:42 | 0:03:45 | |
Without high notes, it's very difficult to be a tenor. | 0:03:52 | 0:03:56 | |
Many people even don't care about the rest, they just want that note, | 0:03:56 | 0:03:59 | |
and if that note doesn't come right, they could even boo you, | 0:03:59 | 0:04:05 | |
even though the rest was beautiful. | 0:04:05 | 0:04:07 | |
You need to have good nerves | 0:04:08 | 0:04:10 | |
to be able to sustain a career made of pressure. | 0:04:10 | 0:04:13 | |
One opera that really piles on the pressure for any tenor | 0:04:16 | 0:04:19 | |
is Donizetti's comic masterpiece La Fille du Regiment, | 0:04:19 | 0:04:22 | |
The Daughter of the Regiment. | 0:04:22 | 0:04:25 | |
If you don't have those high notes secure, | 0:04:28 | 0:04:32 | |
you will be crazy to sing that opera. | 0:04:32 | 0:04:34 | |
You will be really, you know, | 0:04:34 | 0:04:37 | |
committing psychological suicide. | 0:04:37 | 0:04:39 | |
This aria, Ah! Mes Amis, | 0:04:48 | 0:04:49 | |
sung by the character Tonio, is known for its many high notes. | 0:04:49 | 0:04:54 | |
Ah! Mes Amis is an aria that requires very bright, very shiny, | 0:05:01 | 0:05:07 | |
very luminous high notes. | 0:05:07 | 0:05:09 | |
Where do you put that note? You don't know. | 0:05:16 | 0:05:18 | |
In a piano, you know where the notes are. | 0:05:18 | 0:05:20 | |
In the voice, | 0:05:20 | 0:05:22 | |
it's somewhere there, but there's a space for that high note | 0:05:22 | 0:05:26 | |
where it comes shiny, loud, bright. | 0:05:26 | 0:05:29 | |
You have to put it in that position, and a little higher is wrong, | 0:05:35 | 0:05:40 | |
a little lower is wrong, a little to the side is wrong. | 0:05:40 | 0:05:43 | |
So, there's a lot of control going on, | 0:05:43 | 0:05:45 | |
but you have to sound and look like you're having fun. | 0:05:45 | 0:05:48 | |
But let me tell you, it can't all be fun, | 0:05:55 | 0:05:57 | |
because this part of the aria has an incredible nine top Cs. | 0:05:57 | 0:06:01 | |
Tonio is from Tyrol. That music is a yodel. | 0:06:17 | 0:06:22 | |
So it's supposed to be... | 0:06:22 | 0:06:23 | |
This is music from his country. | 0:06:28 | 0:06:30 | |
Nowadays we have turned it into a... | 0:06:43 | 0:06:45 | |
Laser beams, which people like. | 0:06:47 | 0:06:50 | |
I don't think they will like any more... HE YODELS | 0:06:50 | 0:06:53 | |
They would, "Come on, man, sing!" | 0:06:53 | 0:06:54 | |
APPLAUSE | 0:07:10 | 0:07:12 | |
That shows what amazing things the human voice can do. | 0:07:12 | 0:07:16 | |
But to be able to sing with this power and control, we need to use | 0:07:16 | 0:07:20 | |
more than just our vocal chords. All singing voices have different | 0:07:20 | 0:07:23 | |
zones, and it is the job of the professional opera singer | 0:07:23 | 0:07:27 | |
to make the transition from one zone to the other seamless | 0:07:27 | 0:07:31 | |
so that we keep the same colour of voice from bottom to top. | 0:07:31 | 0:07:34 | |
Let me demonstrate. | 0:07:34 | 0:07:36 | |
In the tenor voice, there are three recognisable zones, the low zone... | 0:07:36 | 0:07:41 | |
There I am mostly using my chest resonance. The middle zone... | 0:07:44 | 0:07:49 | |
I am using a combination of head resonance and chest resonance. | 0:07:53 | 0:07:57 | |
And then we go to the famous passaggio. | 0:07:57 | 0:08:00 | |
200 years ago, tenors used to sing his high notes with falsetto. | 0:08:00 | 0:08:04 | |
Today we use our full voice, we bring the chest voice | 0:08:07 | 0:08:11 | |
and we help it with the resonance of the head voice. | 0:08:11 | 0:08:14 | |
The passaggio is an Italian term used to describe the notes | 0:08:26 | 0:08:30 | |
which act as a bridge between the chest voice and the head voice. | 0:08:30 | 0:08:34 | |
Much of a tenor's training is to make this transition | 0:08:34 | 0:08:37 | |
as smooth as possible. | 0:08:37 | 0:08:40 | |
This famous aria by Donizetti presents a challenge for any tenor. | 0:08:40 | 0:08:44 | |
It starts on an F, the beginning of the passaggio. | 0:08:44 | 0:08:47 | |
And then it moves up, where I use my head resonance. | 0:09:07 | 0:09:11 | |
The full-throated tenor voice as we know it today | 0:10:16 | 0:10:19 | |
is a relatively modern phenomenon, | 0:10:19 | 0:10:22 | |
synonymous with the hero or the great lover. | 0:10:22 | 0:10:25 | |
It didn't quite start that way. | 0:10:25 | 0:10:27 | |
To trace the evolution of the tenor voice, | 0:10:27 | 0:10:29 | |
we need to go back all the way to the 18th century. | 0:10:29 | 0:10:33 | |
It's an interesting period for the tenor voice. | 0:10:36 | 0:10:39 | |
In opera, one has to say that the tenor voice is relatively unimportant. | 0:10:39 | 0:10:43 | |
The tenor often has a more subsidiary role, | 0:10:43 | 0:10:45 | |
often the baddie is the tenor | 0:10:45 | 0:10:47 | |
not the romantic lover, as one might expect in modern opera. | 0:10:47 | 0:10:50 | |
'In this aria by Handel, you can hear that | 0:11:17 | 0:11:20 | |
'he has written music that sits quite low in the voice, | 0:11:20 | 0:11:23 | |
'and the colours are darker than what we're used to. | 0:11:23 | 0:11:27 | |
'This was a typical use of the tenor in operas of the period.' | 0:11:27 | 0:11:30 | |
The heroic male singers of the time were castratos, men who had been | 0:11:48 | 0:11:53 | |
castrated before puberty to preserve the purity of their high notes. | 0:11:53 | 0:11:58 | |
These castrato singers had tremendous power. | 0:12:02 | 0:12:06 | |
They were, in a sense, singing the tenor type of role one octave higher, | 0:12:06 | 0:12:10 | |
and this is quite interesting, so these male voices had all | 0:12:10 | 0:12:15 | |
the thrill of the high notes of the soprano but the physique of a man. | 0:12:15 | 0:12:19 | |
It was capable of singing very florid, virtuosic music | 0:12:19 | 0:12:23 | |
and, of course, these singers were the great superstars of their day. | 0:12:23 | 0:12:27 | |
HE SINGS FALSETTO | 0:12:30 | 0:12:33 | |
Well, there are no castrati that we know of singing nowadays, | 0:12:37 | 0:12:41 | |
but the closest we get to what they might have sounded like | 0:12:41 | 0:12:44 | |
is when a man sings falsetto, known as a countertenor. | 0:12:44 | 0:12:48 | |
Listen to the extraordinary voice of Christophe Dumaux | 0:12:48 | 0:12:52 | |
in this production of Handel's opera Giulio Cesare. | 0:12:52 | 0:12:55 | |
But after Handel, composers such as Donizetti, Bellini and Rossini | 0:13:14 | 0:13:19 | |
did begin to incorporate high notes for tenors in their operas. | 0:13:19 | 0:13:23 | |
To tackle these, the tenors would use a falsetto voice. | 0:13:23 | 0:13:27 | |
When was the modern tenor born? | 0:13:31 | 0:13:33 | |
When was that moment when he started to use all the parts of his body | 0:13:33 | 0:13:37 | |
to sing the way we tenors sing today? | 0:13:37 | 0:13:40 | |
Well, the origins of it are a little bit mysterious, | 0:13:40 | 0:13:44 | |
but in the early 1830s, you get Gilbert-Louis Duprez, | 0:13:44 | 0:13:49 | |
the great French tenor, coming to Italy, | 0:13:49 | 0:13:52 | |
studying with Donizetti and so on, | 0:13:52 | 0:13:53 | |
and he discovers that he can extend this chest sound | 0:13:53 | 0:13:58 | |
much higher than was previously done. | 0:13:58 | 0:14:01 | |
We mark it with his performance in 1837 of William Tell in Paris. | 0:14:01 | 0:14:05 | |
The performance was a sensation, as the tenor Roberto Alagna explains. | 0:14:05 | 0:14:10 | |
Obviously there were no recordings at the time, | 0:14:52 | 0:14:55 | |
but from this performance by Chris Merritt, | 0:14:55 | 0:14:57 | |
you get an idea of just how startling it must have been. | 0:14:57 | 0:15:01 | |
# Oggi fatal... | 0:15:01 | 0:15:06 | |
# Oggi fatal... | 0:15:06 | 0:15:13 | |
# Oggi fatal... | 0:15:16 | 0:15:19 | |
# Fatal cosi! | 0:15:19 | 0:15:27 | |
# Oggi fatal... | 0:15:29 | 0:15:35 | |
# Cosi! | 0:15:35 | 0:15:42 | |
Bravo! | 0:15:49 | 0:15:50 | |
In 1837, nobody had heard a tenor ever sing like this before, | 0:15:50 | 0:15:55 | |
but not everyone was convinced. | 0:15:55 | 0:15:59 | |
Rossini hated it. | 0:15:59 | 0:16:01 | |
He thought it was like a capon having his throat cut. | 0:16:01 | 0:16:04 | |
But certainly after the late 1830s, once tenors had sung up there, | 0:16:04 | 0:16:09 | |
there was no going back because it was such a sexy thing, that they all had to do it. | 0:16:09 | 0:16:14 | |
Tenors enjoy, I would say, the greatest success. There's a reason why when you go to restaurants | 0:16:21 | 0:16:26 | |
nobody ever plays a soprano voice, they don't play lower voices either. They play the tenor voice. | 0:16:26 | 0:16:31 | |
# Libiamo, libiamo ne'lieti calici | 0:16:31 | 0:16:37 | |
# Che la belleza infiora | 0:16:37 | 0:16:41 | |
Does repertoire play a role here? | 0:16:49 | 0:16:51 | |
Does the music written for the tenor voice | 0:16:51 | 0:16:55 | |
make that voice stand out from the other voices? | 0:16:55 | 0:16:59 | |
It certainly does. Tenors have the most fantastic tunes. | 0:16:59 | 0:17:04 | |
I mean 200 years ago, people would come to the opera, | 0:17:04 | 0:17:07 | |
listen to the tunes and have a cup of tea during the boring bits. | 0:17:07 | 0:17:11 | |
People would leave the opera house humming, whistling the tunes. | 0:17:11 | 0:17:14 | |
The tenors had all the best tunes because they had the best roles. | 0:17:14 | 0:17:18 | |
So, tenors were now the heroes but the roles on offer suited some voices better than others | 0:17:39 | 0:17:44 | |
and three main types of tenor voice emerged. | 0:17:44 | 0:17:47 | |
The first is the lyric tenor. | 0:17:55 | 0:17:57 | |
As the name suggests it describes a clean, elegant and beautiful sound. | 0:17:57 | 0:18:03 | |
This is the impreccable Fritz Wunderlich, singing Mozart. | 0:18:03 | 0:18:06 | |
# Ich fuhl' es | 0:18:06 | 0:18:10 | |
# Wie dies Gotterbild mein Herz... # | 0:18:10 | 0:18:18 | |
Wunderlich was one of the great lyric tenors and by that I mean that his voice had a charm, | 0:18:18 | 0:18:25 | |
a sweetness, a masculinity, that was completely natural and unforced. | 0:18:25 | 0:18:31 | |
He sang so beautifully and so well that there was no separation between the charm of the man | 0:18:31 | 0:18:39 | |
and the charm of the singing, the personality was allied to the voice, nothing got in the way. | 0:18:39 | 0:18:44 | |
# O, wenn ich sie nur finden konnte! | 0:18:44 | 0:18:51 | |
# O, wenn sie doch schon vor mir stande! | 0:18:52 | 0:18:58 | |
A great Mozart tenor, or a great lyric tenor if you like, will always have beauty of line. | 0:19:00 | 0:19:05 | |
Imagine if you were to press all the toothpaste out of a toothpaste tube | 0:19:05 | 0:19:10 | |
and it just went on coming out and it never stopped. | 0:19:10 | 0:19:14 | |
Or you were icing a cake and you pressed the icing thing down onto the cake. | 0:19:14 | 0:19:18 | |
A singer must think of their voice like that, not like little chipolatas. | 0:19:18 | 0:19:24 | |
And the greatest lyric singers have this flow of sound. | 0:19:24 | 0:19:29 | |
The notes are joined together in the most elegant and beautiful way. | 0:19:29 | 0:19:32 | |
# Un'aura amorosa | 0:19:34 | 0:19:39 | |
# Del nostro tesoro | 0:19:40 | 0:19:45 | |
# Un dolce ristoro | 0:19:47 | 0:19:52 | |
# Al cor porgera | 0:19:53 | 0:19:58 | |
The timeless story of Romeo and Juliet, as set here by the French | 0:20:21 | 0:20:26 | |
composer Charles Gounod, is a lovely example of the lyric tenor's art. | 0:20:26 | 0:20:31 | |
In the aria, Ah, Leve-toi Soleil, Romeo is waiting impatiently for the sun to rise | 0:20:31 | 0:20:37 | |
so that he can see his beloved again. | 0:20:37 | 0:20:40 | |
# Ah, leve-toi, soleil! | 0:21:10 | 0:21:15 | |
# Fais palir les etoiles | 0:21:17 | 0:21:21 | |
# Qui, dans l'azur sans voiles | 0:21:24 | 0:21:29 | |
# Brillent aux firmament... # | 0:21:31 | 0:21:37 | |
# Astre pur et charmant! # | 0:22:10 | 0:22:15 | |
Bravo! | 0:22:40 | 0:22:41 | |
APPLAUSE | 0:22:41 | 0:22:43 | |
The voice is really, in a sense, like a horse. | 0:22:43 | 0:22:45 | |
You have certain types of horse race and you need certain horses for those races. | 0:22:45 | 0:22:50 | |
A horse that is huge and has the strength and stamina to jump | 0:22:55 | 0:22:59 | |
the puissance, well that has a tenor equivalent - the dramatic tenor. | 0:22:59 | 0:23:03 | |
# Empi, spegnetela | 0:23:05 | 0:23:08 | |
# O ch'io fra poco | 0:23:08 | 0:23:11 | |
# Col sangue vostro | 0:23:11 | 0:23:14 | |
# La spegnero! # | 0:23:14 | 0:23:17 | |
Franco Corelli is one of the 20th century's great dramatic tenors. | 0:23:17 | 0:23:21 | |
As you can hear, his voice is big and powerful, a rich sound suited for Verdi's great hero, Manrico. | 0:23:21 | 0:23:28 | |
# Madre infelice | 0:23:30 | 0:23:33 | |
# Corro a salvarti | 0:23:33 | 0:23:36 | |
# O teco almeno | 0:23:36 | 0:23:42 | |
# Corro a morir! # | 0:23:42 | 0:23:44 | |
The part really calls for some steel in the voice, and it's traditional | 0:23:44 | 0:23:49 | |
to refer to this category of tenor as a spinto. | 0:23:49 | 0:23:53 | |
Now the word spinto is just the Italian word for pushed. | 0:23:53 | 0:23:57 | |
There is a power, an athleticism in the voice. | 0:23:59 | 0:24:02 | |
# Madre infelice | 0:24:02 | 0:24:04 | |
# Corro a salvarti... # | 0:24:06 | 0:24:10 | |
You sense the risk, you can't hide. It's not all done with smoke and mirrors, you've got to do it | 0:24:10 | 0:24:16 | |
then and there, and the public are there to see if you bring it off. | 0:24:16 | 0:24:20 | |
Of course if you do, it's just thrilling. | 0:24:20 | 0:24:22 | |
The German equivalent of the dramatic tenor is the Heldon, or heroic tenor. | 0:24:33 | 0:24:38 | |
During the 19th Century, the size of the opera orchestra had been growing. | 0:24:38 | 0:24:42 | |
Verdi's numbered around 60 players, but Wagner in his epic music dramas was using around 100. | 0:24:42 | 0:24:49 | |
These vast orchestral forces needed a new breed of tenor to ride this wave of sound. | 0:24:56 | 0:25:01 | |
But it wasn't just about volume, it was also a matter of sheer stamina. | 0:25:18 | 0:25:23 | |
Wagner's Siegfried lasts for four and a half hours, and the tenor is on stage for most of it. | 0:25:23 | 0:25:30 | |
It would be impossible to perform this or any of the roles we've seen | 0:25:32 | 0:25:36 | |
without a rock-solid technique, and one extraordinary singer shines out for his immaculate skill... | 0:25:36 | 0:25:43 | |
Luciano Pavarotti. | 0:25:43 | 0:25:45 | |
And now, the lion. | 0:25:45 | 0:25:47 | |
We go on the stage every night with the same feeling. | 0:25:49 | 0:25:53 | |
We are afraid, and if somebody tell you this, | 0:25:53 | 0:25:57 | |
that he is not afraid, it means he is a liar. | 0:25:57 | 0:26:01 | |
Luciano Pavarotti was a global sensation and not without reason. | 0:26:01 | 0:26:06 | |
His voice was a ray of sunlight. He had an immaculate technique. | 0:26:06 | 0:26:11 | |
Here we are, ready to go. | 0:26:11 | 0:26:13 | |
When he performed, you could see his eyes looking inside of himself and exploring every part of his | 0:26:13 | 0:26:19 | |
instrument that needed to be under control in order to sing perfectly. | 0:26:19 | 0:26:24 | |
# E te, beltade ignota! | 0:26:24 | 0:26:31 | |
# Cinta de chiome e bionde | 0:26:34 | 0:26:39 | |
# Tu azzuro hai l'occhio | 0:26:40 | 0:26:46 | |
# Tosca ha l'occhio nero... # | 0:26:49 | 0:26:54 | |
I've always said that Luciano was the example of the greatest technique, | 0:26:54 | 0:26:58 | |
of anyone I've always known or heardand again, it was just completely natural. | 0:26:58 | 0:27:03 | |
He may have worked like crazy to find it but he gave the impression easy and natural. | 0:27:03 | 0:27:09 | |
# La costanza tiranna del core | 0:27:09 | 0:27:13 | |
# Detestiamo qual morbo crudele | 0:27:13 | 0:27:17 | |
# Sol chi vuole si serbi fedele | 0:27:19 | 0:27:22 | |
# Non v'e ha amor se non v'e liberta... # | 0:27:22 | 0:27:27 | |
I always say technique in singing is a very personal thing, it's what you make | 0:27:27 | 0:27:33 | |
of your technique, it's what you make of the way you sing. | 0:27:33 | 0:27:38 | |
And Pavarotti, well, understood very well how to sing with his voice. | 0:27:38 | 0:27:44 | |
# Ed il mio bacio sciogliera... # | 0:27:44 | 0:27:49 | |
He used a certain technique in the passaggio. | 0:27:50 | 0:27:53 | |
He did the piano in a certain way. | 0:27:53 | 0:27:55 | |
# ..Che ti fa mia! # | 0:27:55 | 0:28:01 | |
He for example, breathed on his vowel A. | 0:28:03 | 0:28:08 | |
He opened it very much... | 0:28:08 | 0:28:11 | |
"Aaaaa", it was a way of freeing himself. | 0:28:11 | 0:28:14 | |
# Dilegua, o notte! | 0:28:14 | 0:28:19 | |
# Tramontate, stelle! | 0:28:19 | 0:28:24 | |
# Tramontate, stelle! | 0:28:24 | 0:28:31 | |
# All'alba vincero! # | 0:28:31 | 0:28:36 | |
His voice was, "Aaaah!" Pure sun. | 0:28:36 | 0:28:39 | |
# Vincero! | 0:28:39 | 0:28:43 | |
# Vincero! # | 0:28:45 | 0:28:51 | |
Pavarotti's spellbinding stage presence was conveyed by the sheer communicative power of his voice, | 0:29:07 | 0:29:14 | |
but these days, the pressures on a singer's ability to act are bigger than ever. | 0:29:14 | 0:29:19 | |
We're under an almost cinematic scrutiny. | 0:29:19 | 0:29:22 | |
Many operas even make it to the big screen today. | 0:29:22 | 0:29:25 | |
There is a myth that pacing and expression is all done for you by the composer. | 0:29:32 | 0:29:37 | |
I think this is to way under-estimate the importance of the artist, | 0:29:37 | 0:29:42 | |
the importance of the interpreter, | 0:29:42 | 0:29:44 | |
and the extraordinary range of expression available | 0:29:44 | 0:29:49 | |
within what is notated on the page. | 0:29:49 | 0:29:52 | |
It's a world of expression that is vivid, powerful, intense, | 0:29:52 | 0:29:58 | |
and plunges profundities that the spoken word can't go near. | 0:29:58 | 0:30:02 | |
The opera repertoire places huge demands on the tenor. | 0:30:05 | 0:30:09 | |
He has to explore a vast range of human emotion in a myriad of roles. | 0:30:09 | 0:30:14 | |
From jilted lovers to princes to angst ridden poets, | 0:30:14 | 0:30:19 | |
and everything in between. | 0:30:19 | 0:30:22 | |
Opera was invented because the spoken word was inadequate. | 0:30:22 | 0:30:26 | |
But with that sung word comes a whole new form of theatre. | 0:30:26 | 0:30:31 | |
The singing voice is like the mask in an Ancient Greek theatre, | 0:30:31 | 0:30:35 | |
it's an additional level. | 0:30:35 | 0:30:38 | |
For a tenor, one of the most interesting acting roles | 0:30:42 | 0:30:45 | |
is in Bizet's opera Carmen, that of Don Jose. | 0:30:45 | 0:30:49 | |
Here you have a respectable soldier who's bewitched by the sensual gypsy, Carmen. | 0:30:49 | 0:30:56 | |
The part of Don Jose is an emotional roller coaster | 0:30:56 | 0:30:59 | |
and tests your acting skills to the limit. | 0:30:59 | 0:31:01 | |
In this Royal Opera House production | 0:31:01 | 0:31:04 | |
he is played by my great colleague Jonas Kaufmann. | 0:31:04 | 0:31:08 | |
I always admire the French way of doing an opera. | 0:31:08 | 0:31:12 | |
They were much more driven by expressing the emotions, | 0:31:12 | 0:31:15 | |
the development of a character in different steps. | 0:31:15 | 0:31:20 | |
So in Carmen, | 0:31:20 | 0:31:21 | |
for instance, the Don Jose starts as a very smooth, handsome guy | 0:31:21 | 0:31:28 | |
who feels quite secure. | 0:31:28 | 0:31:29 | |
You can hear that in the duet with his girlfriend Michaela, | 0:31:30 | 0:31:35 | |
that he's typical lyrical tenor with smooth phrases. | 0:31:35 | 0:31:38 | |
And then as soon as he gets really involved with Carmen, | 0:31:48 | 0:31:53 | |
the emotions change. | 0:31:53 | 0:31:54 | |
He's not calm any more. | 0:31:54 | 0:31:56 | |
You already hear a different tenor. | 0:31:56 | 0:31:58 | |
He is a little bit stronger, a little bit heavier, shows emotions easier. | 0:31:58 | 0:32:03 | |
And then you go to the third act, where he's jealous | 0:32:18 | 0:32:21 | |
and the jealousy makes him really be even more aggressive, | 0:32:21 | 0:32:27 | |
and then you have the final scene | 0:32:27 | 0:32:29 | |
where he really, really sings the hell out of it. | 0:32:29 | 0:32:32 | |
If a character has a development, it's much more interesting as | 0:32:44 | 0:32:48 | |
an actor to interpret, | 0:32:48 | 0:32:49 | |
than one that ends the same as it started. | 0:32:49 | 0:32:54 | |
In Carmen, Bizet wrote an aria for Don Jose that highlights | 0:32:58 | 0:33:01 | |
the acting skills a tenor needs to inhabit a character. | 0:33:01 | 0:33:05 | |
Don Jose had been sent to prison because of his love for Carmen. | 0:33:05 | 0:33:09 | |
On his release the first thing he does is to find her | 0:33:09 | 0:33:12 | |
and declare his love, with this aria, known as the Flower Song. | 0:33:12 | 0:33:19 | |
When you look at this Flower Song from Jose, | 0:33:20 | 0:33:23 | |
I think it is not typical for a man | 0:33:23 | 0:33:27 | |
to describe so specifically his emotions. | 0:33:27 | 0:33:32 | |
For him this relationship with Carmen is his first moment where he feels real passion. | 0:33:38 | 0:33:45 | |
And so that makes him start to tell about his emotions. | 0:33:49 | 0:33:53 | |
Knowing this background, there's an enormous influence in how to interpret this aria. | 0:33:55 | 0:34:01 | |
It makes it not easier, | 0:34:01 | 0:34:03 | |
because it means that you start very softly, | 0:34:03 | 0:34:07 | |
that you have to first get used to that fact | 0:34:07 | 0:34:10 | |
that you're actually talking to a woman about your emotions. | 0:34:10 | 0:34:13 | |
And then he's growing and growing | 0:34:50 | 0:34:52 | |
and then he starts to tell how he feels, how he felt when she gave him the flower, | 0:34:52 | 0:34:56 | |
that the flower was with him all the time in prison. | 0:34:56 | 0:35:00 | |
That every time he took it out, the smell of the flower made him crazy. | 0:35:00 | 0:35:04 | |
And he realises that he really has to go for it and he tells her, | 0:35:27 | 0:35:30 | |
"I love you", | 0:35:30 | 0:35:32 | |
which is extremely hard for him to say, I'm sure. | 0:35:32 | 0:35:36 | |
So obviously, what you have to avoid is to be too loud at the end, | 0:35:36 | 0:35:41 | |
because that's what Carmen squeezes out. | 0:35:41 | 0:35:44 | |
That's all she wanted. | 0:35:44 | 0:35:47 | |
In this opera there are so many emotions involved. | 0:36:21 | 0:36:24 | |
You tend to lose a little bit | 0:36:24 | 0:36:28 | |
self control, which is good. | 0:36:28 | 0:36:31 | |
You have to, because otherwise it's not credible | 0:36:31 | 0:36:34 | |
if you only fake the whole thing, you lose the interest for the audience. | 0:36:34 | 0:36:38 | |
CHEERING AND APPLAUSE | 0:36:41 | 0:36:45 | |
To become a great tenor, you need a combination of everything we've seen. | 0:36:48 | 0:36:53 | |
A voice, obviously, but with a good technique, | 0:36:53 | 0:36:56 | |
acting skills, musicality, and never-ending hard work. | 0:36:56 | 0:37:00 | |
For me, the artist that possesses all these elements to the greatest degree is Placido Domingo. | 0:37:06 | 0:37:13 | |
He has sung more roles than anybody else, and his artistry is unsurpassed. | 0:37:13 | 0:37:18 | |
You are very much aware that you are working with a god! | 0:37:53 | 0:37:57 | |
The stage presence is quite extraordinary. | 0:37:57 | 0:37:59 | |
I remember one night forgetting to bring the orchestra in | 0:37:59 | 0:38:02 | |
for an aria because I couldn't take my eyes off him. | 0:38:02 | 0:38:05 | |
# Parigi, o cara | 0:38:07 | 0:38:11 | |
# Noi lasceremo | 0:38:11 | 0:38:16 | |
# La vita uniti | 0:38:16 | 0:38:21 | |
# Trascorreremo... # | 0:38:21 | 0:38:25 | |
Placido Domingo has sung over 130 roles | 0:38:25 | 0:38:29 | |
in almost 3,500 performances. | 0:38:29 | 0:38:34 | |
From the Italian repertoire of Verdi and Puccini... | 0:38:34 | 0:38:38 | |
..to Mozart and Wagner. | 0:38:42 | 0:38:44 | |
# ..Sange suss ertont | 0:38:44 | 0:38:48 | |
# Holde Dufte haucht er aus | 0:38:48 | 0:38:51 | |
# Seinem warmen Blut entbluhen wonnige Blumen | 0:38:51 | 0:38:56 | |
# Keim und Spross entspriesst seiner Kraft. # | 0:38:56 | 0:38:59 | |
He breaks all the rules of typecasting tenors. | 0:38:59 | 0:39:04 | |
When I started doing big mixed roles, people were telling me all the time | 0:39:04 | 0:39:08 | |
"It's impossible, you can't do it, you'll ruin your voice, it's wrong what you're doing." | 0:39:08 | 0:39:13 | |
Thank God there was Placido, we'd say, "You see, Domingo did it, | 0:39:13 | 0:39:16 | |
"he's still there, he's still singing, | 0:39:16 | 0:39:18 | |
"and he's still in good shape. What do you want?!" | 0:39:18 | 0:39:21 | |
It's hard to pick any one role from this great array that really shines for Domingo. | 0:39:25 | 0:39:30 | |
However, there's no doubt that his portrayal as Otello | 0:39:30 | 0:39:33 | |
in Verdi's opera is a highlight of this amazing career. | 0:39:33 | 0:39:37 | |
I have to say something, that it is amazing. | 0:39:41 | 0:39:45 | |
Yes, perhaps Otello is one of the most difficult operas | 0:39:45 | 0:39:48 | |
in the whole repertoire to sing. | 0:39:48 | 0:39:50 | |
But I have to say that there were many occasions | 0:39:50 | 0:39:55 | |
which I was so involved in the characters, | 0:39:55 | 0:40:00 | |
so involved in the acting, | 0:40:00 | 0:40:05 | |
that I forgot about the difficulty of the role singing. | 0:40:05 | 0:40:08 | |
Many people have told me, many other singers have said, it's one of the most remarkable things about Placido, | 0:40:21 | 0:40:26 | |
is the that when you stand next to him, you don't think it's a very big voice. | 0:40:26 | 0:40:30 | |
It doesn't sound much next to him, but he has what I call blade. | 0:40:30 | 0:40:34 | |
The voice travels like an Exocet, you know, like Halley's Comet. | 0:40:34 | 0:40:38 | |
It goes into the auditorium, and that's a great gift, a great skill. | 0:40:38 | 0:40:42 | |
In this scene, Iago has sown the first seeds of jealousy in Otello's heart. | 0:40:55 | 0:40:59 | |
See how Domingo totally inhabits Otello's character. | 0:40:59 | 0:41:02 | |
He is a most musical Otello you can imagine. | 0:41:20 | 0:41:23 | |
He is wonderful musician. | 0:41:23 | 0:41:26 | |
I love working with him, | 0:41:26 | 0:41:27 | |
because he's the most precise musician as I am, | 0:41:27 | 0:41:30 | |
and that makes life so easy, | 0:41:30 | 0:41:32 | |
and the personification of Otello is really wonderful. | 0:41:32 | 0:41:38 | |
Domingo's artistry is his innate ability to fuse the text, | 0:41:55 | 0:41:59 | |
the music and the acting into a complete performance. | 0:41:59 | 0:42:03 | |
This is what makes him great. | 0:42:03 | 0:42:06 | |
Throughout his long career, Placido Domingo has taken on new roles and challenges every year. | 0:42:56 | 0:43:02 | |
These days, he's an established conductor, | 0:43:02 | 0:43:04 | |
he encourages young musicians, | 0:43:04 | 0:43:07 | |
and is a champion of broadening the repertoire. | 0:43:07 | 0:43:10 | |
# Dame verguenza lo que he llorado | 0:43:19 | 0:43:23 | |
# Solo en mi alcoba | 0:43:23 | 0:43:25 | |
# Sabiendo lo mala | 0:43:25 | 0:43:28 | |
# Que es esa loba... # | 0:43:28 | 0:43:34 | |
It was a particular pleasure of mine to be able to collaborate with him | 0:43:34 | 0:43:37 | |
on an album of zarzuela music, Spanish folk opera. | 0:43:37 | 0:43:42 | |
# Y eso ya lo tenemos! # | 0:44:11 | 0:44:13 | |
Today we tenors sing not only for the few who can get to the opera house. | 0:44:17 | 0:44:22 | |
This extraordinary music we are lucky enough to perform | 0:44:22 | 0:44:26 | |
now reaches a far broader audience. | 0:44:26 | 0:44:28 | |
We have added to our repertoire folk songs, popular hits, modern music. | 0:44:28 | 0:44:34 | |
The tenor is now an established part of the entertainment world. | 0:44:34 | 0:44:38 | |
But how did we get here? | 0:44:38 | 0:44:40 | |
The wonderful Jose Carreras is a tenor with a legendary voice, | 0:44:41 | 0:44:45 | |
and a glittering career | 0:44:45 | 0:44:47 | |
covering a vast breadth of the opera repertoire. | 0:44:47 | 0:44:51 | |
When he recorded the musical West Side Story under the direction | 0:44:51 | 0:44:54 | |
of its composer Leonard Bernstein in 1984, | 0:44:54 | 0:44:58 | |
many people thought it was a bold move. | 0:44:58 | 0:45:01 | |
But the recording was a mainstream success and it captured the public imagination. | 0:45:01 | 0:45:06 | |
# Maria, Maria | 0:45:12 | 0:45:16 | |
# Say it loud and there's music playing | 0:45:16 | 0:45:20 | |
# Say it soft and it's almost like praying... # | 0:45:23 | 0:45:26 | |
But wasn't so unusual. It was just another step | 0:45:26 | 0:45:29 | |
in a revolution that started at the beginning of the century | 0:45:29 | 0:45:32 | |
in the earliest days of recording. | 0:45:32 | 0:45:34 | |
And the tenor voice was to play a pivotal role. | 0:45:34 | 0:45:39 | |
# Maria... # | 0:45:39 | 0:45:41 | |
The walls of this part of Covent Garden are covered with the pictures | 0:45:44 | 0:45:49 | |
of some of the most important opera singers of the past. | 0:45:49 | 0:45:52 | |
Once of the greatest tenors of all time - | 0:45:52 | 0:45:54 | |
and certainly one of the loudest - is this man, Francesco Tamagno. | 0:45:54 | 0:45:59 | |
Verdi knew him and in fact Verdi wrote Othello for him, | 0:45:59 | 0:46:03 | |
and we're about to listen to one of the first recordings | 0:46:03 | 0:46:07 | |
ever made by an opera singer. | 0:46:07 | 0:46:08 | |
1903. And here it is, Tamagno's voice. | 0:46:08 | 0:46:12 | |
MUSIC: | 0:46:17 | 0:46:21 | |
This was probably not the darkest voice | 0:46:37 | 0:46:40 | |
we have ever heard in this role. | 0:46:40 | 0:46:43 | |
But his ringing sound was superb | 0:46:46 | 0:46:49 | |
and I'm sure that's what made this voice so loud, so present. | 0:46:49 | 0:46:53 | |
How they must have marvelled at hearing just the different styles of vocal. | 0:46:58 | 0:47:02 | |
Because you've got to remember the amount | 0:47:02 | 0:47:05 | |
of the population that were going to see an opera in the opera house | 0:47:05 | 0:47:08 | |
was probably 0.02% at the most, | 0:47:08 | 0:47:11 | |
so just hearing those voices must have been like an alien experience. | 0:47:11 | 0:47:14 | |
The earliest recordings were on wax cylinders, | 0:47:20 | 0:47:23 | |
and it was this technology that was to transform the status | 0:47:23 | 0:47:26 | |
of the operatic tenor. | 0:47:26 | 0:47:29 | |
I have the impression there were a lot of tenor recordings. | 0:47:29 | 0:47:32 | |
Is there a reason? | 0:47:32 | 0:47:33 | |
The range of frequencies that these machines can capture | 0:47:33 | 0:47:37 | |
sits quite well in that area. | 0:47:37 | 0:47:41 | |
-Right. -The harmonics, the overtones that give you that quality | 0:47:41 | 0:47:45 | |
and the emotion of the piece | 0:47:45 | 0:47:47 | |
sit well within the boundaries that this can record. | 0:47:47 | 0:47:50 | |
If you, for example, record a soprano, | 0:47:50 | 0:47:53 | |
those things disappear above the range that this can cope with. | 0:47:53 | 0:47:58 | |
And I suppose this obviously had an amazing effect on the celebrity | 0:47:58 | 0:48:02 | |
of the opera singers that did record? | 0:48:02 | 0:48:04 | |
Before this point the only way that you could | 0:48:04 | 0:48:07 | |
make more money out of your work was to perform more, | 0:48:07 | 0:48:10 | |
and there's a limited amount of times that you can perform a week. | 0:48:10 | 0:48:13 | |
The one tenor to really break out from the opera stage was undoubtedly | 0:48:18 | 0:48:22 | |
the great Enrico Caruso, whose fame spread, | 0:48:22 | 0:48:25 | |
thanks mainly to his numerous recordings | 0:48:25 | 0:48:28 | |
which made him a household name, and the first operatic superstar. | 0:48:28 | 0:48:32 | |
Caruso recorded time and time again. | 0:48:32 | 0:48:36 | |
By 1914, Caruso's royalties had added up to 1.8 million. | 0:48:36 | 0:48:44 | |
Wow! Can I have a go? | 0:48:44 | 0:48:46 | |
Certainly. | 0:48:46 | 0:48:48 | |
These phonographs had a dual function. | 0:48:48 | 0:48:50 | |
Not only did they play the music, | 0:48:50 | 0:48:52 | |
but by swopping the horn they could record it as well. | 0:48:52 | 0:48:56 | |
And we should be ready to record you. Right. | 0:49:01 | 0:49:03 | |
The technology was simple but revolutionary. | 0:49:26 | 0:49:29 | |
All sound is vibration. | 0:49:29 | 0:49:30 | |
The vibrations my voice makes in the air | 0:49:30 | 0:49:33 | |
are converted through a needle which etches a groove onto a wax cylinder. | 0:49:33 | 0:49:37 | |
The louder I sing, the wider the groove. | 0:49:37 | 0:49:41 | |
The softer I sing, the thinner the groove. | 0:49:41 | 0:49:45 | |
When played back the original vibrations of my voice are reproduced. | 0:49:45 | 0:49:49 | |
SINGING PLAYS BACK | 0:49:49 | 0:49:53 | |
I'm overwhelmed. | 0:50:05 | 0:50:07 | |
There is something melancholic, something nostalgic in the voice. | 0:50:07 | 0:50:11 | |
There is a dark sound in it, there is a special pathos in the music. | 0:50:11 | 0:50:16 | |
Probably because suddenly it sounds like an old recording. | 0:50:16 | 0:50:19 | |
Woah! This is great! | 0:50:38 | 0:50:40 | |
I can certainly recognise my voice there, | 0:50:40 | 0:50:44 | |
and yet it's not the same sound that people hear when they | 0:50:44 | 0:50:48 | |
hear me live, therefore we don't know exactly how Caruso sounded. | 0:50:48 | 0:50:53 | |
But thanks to his recordings, we know the kind of passionate performer he was, | 0:50:53 | 0:50:58 | |
his extraordinary musicality, | 0:50:58 | 0:51:00 | |
we can hear that beautiful, gorgeous dark sound. | 0:51:00 | 0:51:05 | |
He must have been an amazing, amazing live performer! | 0:51:05 | 0:51:10 | |
MUSIC: | 0:51:13 | 0:51:16 | |
The gramophone was also a way of marketing a singer, | 0:51:41 | 0:51:45 | |
and it's not by chance that Caruso was the first big recording star. | 0:51:45 | 0:51:48 | |
The tenor voice is dramatic, it's romantic, it's lush, | 0:51:48 | 0:51:52 | |
it has everything that can turn people's heads with music. | 0:51:52 | 0:51:55 | |
Caruso became the first real superstar of the recorded world. | 0:51:55 | 0:51:59 | |
The fact is that those tenor arias and songs | 0:52:05 | 0:52:07 | |
were probably closest to what we call pop music now. | 0:52:07 | 0:52:10 | |
The format, they were three or four minute songs. | 0:52:10 | 0:52:13 | |
And I think that's how opera crossed over to a more mainstream public. | 0:52:13 | 0:52:17 | |
The Great Caruso became the image of the modern tenor for everyone - | 0:52:17 | 0:52:20 | |
strong, virile and romantic. | 0:52:20 | 0:52:22 | |
And his powerful voice upped the ante just as Gilbert Duprez had done | 0:52:22 | 0:52:27 | |
almost a century before. | 0:52:27 | 0:52:29 | |
However it wasn't long before a much more powerful medium | 0:52:38 | 0:52:42 | |
appeared on the horizon - the movies. | 0:52:42 | 0:52:45 | |
And a young tenor was to continue what Caruso had started. | 0:52:45 | 0:52:48 | |
He had the looks, he had the voice, | 0:52:48 | 0:52:50 | |
and Hollywood had a hot new property - Mario Lanza. | 0:52:50 | 0:52:54 | |
MUSIC: | 0:52:56 | 0:52:59 | |
Mario Lanza started training as a singer, | 0:53:12 | 0:53:15 | |
but once signed by Hollywood his operatic career was over. | 0:53:15 | 0:53:19 | |
His movie debut, The Midnight Kiss, | 0:53:19 | 0:53:21 | |
made a hit out of Verdi's Celeste Aida | 0:53:21 | 0:53:24 | |
and he became an overnight sensation. | 0:53:24 | 0:53:26 | |
The illustrious conductor Toscanini | 0:53:35 | 0:53:38 | |
called Mario Lanza the greatest voice of the 20th century. | 0:53:38 | 0:53:42 | |
Some praise for a film star! | 0:53:42 | 0:53:45 | |
But who better to play that undisputed legend of the opera world? | 0:53:45 | 0:53:49 | |
'The colourful life and times of the fabulous Caruso spring to life, | 0:53:53 | 0:53:58 | |
'sparkling with the songs you've never forgotten. | 0:53:58 | 0:54:02 | |
'Spangled with the whips and brilliance of a wonderful era.' | 0:54:02 | 0:54:06 | |
The film The Great Caruso was another huge success for Lanza. | 0:54:06 | 0:54:11 | |
Here was a great tenor playing another great tenor, | 0:54:11 | 0:54:14 | |
and Lanza's portrayal cemented this ideal. | 0:54:14 | 0:54:18 | |
MUSIC: | 0:54:18 | 0:54:21 | |
More than that, he inspired the next generation of opera singers. | 0:54:25 | 0:54:30 | |
Jose Carreras said, "If I'm an opera singer, it's thanks to Mario Lanza." | 0:54:30 | 0:54:35 | |
-But it wasn't only him. | 0:54:35 | 0:54:38 | |
When you became a tenor, did you study other great tenors? | 0:54:38 | 0:54:42 | |
I grew up with Mario Lanza. | 0:54:42 | 0:54:44 | |
I mean, my inspiration came from the recordings of Caruso, | 0:54:44 | 0:54:48 | |
and the Great Caruso, the film that he did. | 0:54:48 | 0:54:51 | |
Because when you hear it on the recordings and on the film, | 0:54:51 | 0:54:57 | |
it was such a powerful and the most incredible beautiful voice. | 0:54:57 | 0:55:01 | |
And I love his voice. | 0:55:01 | 0:55:02 | |
Mario Lanza was the first classical music artist | 0:55:05 | 0:55:08 | |
to sell over 2 million copies of a song. | 0:55:08 | 0:55:10 | |
A record none had achieved before. | 0:55:10 | 0:55:12 | |
But it wasn't with an opera aria, it was a musical number, Be My Love. | 0:55:14 | 0:55:19 | |
# Be my love | 0:55:21 | 0:55:25 | |
# For no-one else can end this yearning... # | 0:55:25 | 0:55:31 | |
The operatic tenor had crossed over into popular entertainment, | 0:55:33 | 0:55:37 | |
and these days it's not unusual | 0:55:37 | 0:55:39 | |
for a great tenor to be heard singing this sort of repertoire. | 0:55:39 | 0:55:42 | |
# Just fill my arms | 0:55:42 | 0:55:45 | |
# The way you've filled my dreams | 0:55:47 | 0:55:50 | |
# The dreams that you inspire | 0:55:51 | 0:55:54 | |
# With every sweet desire... # | 0:55:56 | 0:56:00 | |
I mean, a lot of people say that opera especially can't withstand the dilution of repertoire | 0:56:03 | 0:56:08 | |
coming from films or shows, but these voices are great voices | 0:56:08 | 0:56:11 | |
and there's no reason why they shouldn't sing the songs | 0:56:11 | 0:56:14 | |
that they sing in the shower or bath anyway. why shouldn't they sing on record? | 0:56:14 | 0:56:17 | |
# Walk on | 0:56:17 | 0:56:19 | |
# With hope in your heart | 0:56:19 | 0:56:22 | |
# And you'll never walk alone... # | 0:56:22 | 0:56:27 | |
When Placido Domingo, Luciano Pavarotti and Jose Carreras | 0:56:30 | 0:56:34 | |
came together to form the Three Tenors, | 0:56:34 | 0:56:37 | |
their album was a phenomenal success. | 0:56:37 | 0:56:39 | |
A mixture of opera, Spanish and Italian song, | 0:56:39 | 0:56:42 | |
and favourites from the musicals. | 0:56:42 | 0:56:44 | |
# You'll never walk alone. # | 0:56:44 | 0:56:51 | |
More than anything, it showed that a great tenor could sing to anyone, | 0:57:01 | 0:57:05 | |
and it cemented the voice as part of mainstream popular culture. | 0:57:05 | 0:57:08 | |
So, what makes a great tenor? | 0:57:11 | 0:57:12 | |
None of the artists we have seen would have achieved stardom | 0:57:12 | 0:57:17 | |
without one extra ingredient - charisma. | 0:57:17 | 0:57:20 | |
Or as the Greeks define it, "a gift from the gods". | 0:57:20 | 0:57:23 | |
To have a gift and not share it with the world is not good for the world. | 0:57:23 | 0:57:29 | |
Opera requires a combination of many aspects of human talent | 0:57:29 | 0:57:33 | |
and that is why it is such a fulfilling art form. | 0:57:33 | 0:57:37 | |
I just love it! | 0:58:08 | 0:58:10 |