Verdi: Ella Giammai m'amò - Tancredi...

kgus123 Says:

May 23, 2008 - He's so mythical I never heard of him -- and now I have to revise my favorites list because of him. Thank you, again.

CzarDodon Says:

May 23, 2008 - My pleasure! try him in the Forza finale. There's also a complete forza with him conducted by Gino Marinuzzi with Caniglia Stignani and Tagliabue. The tenor Masini is good too though a bit nasal at times.

hobo197 Says:

Jun 27, 2008 - aida with gigli stignani too

CzarDodon Says:

Jun 27, 2008 - Yes! you're right, in 1946 also with Caniglia and Bechi in the cast, Serafin conducts. And there is another!!!! just checked this one: 1930 Aida with Arangi-Lombardi, Maria Capuana and Armando Borgioli (baritone, not Dino B the tenor) Molajoli conducting. There are a number of complete operas with Pasero including the first ever complete Norma with Gina Cigna.

Pertile23 Says:

Jun 30, 2008 - That SOUND!!!! Thank you Pasero! Please send the greats back to Earth! NOBODY SINGS EVEN CLOSE TO THIS NOW!!!!

BorisGodunov Says:

Jul 3, 2008 - I always loved Pasero. And he was, by all accounts, a superb actor in addition to being an excellent singer. I'd rate him right up there with Siepi, Pinza, Giaiotti, etc.

796824 Says:

Aug 11, 2008 - No one can match this today because they cover the voice and remain ingolata

CzarDodon Says:

Aug 14, 2008 - What do you mean 'cover' the voice? I'm familiar with the expression 'voce coperto' a synonym for 'voce immascherato' (covered or masked voice) of which Pasero gives numerous examples here (note the covered vowel on the second 'amOr per me non ha' where he keeps the dark colour of the voice by closing the O somewhat but keeping its resonance and outward flow, with solid breath support of course), ingolata is when the voice goes backwards, the opposite direction entirely (a dead choked sound).

hiyadroogs Says:

Jan 28, 2009 - I notice that Tancredo never allows the voice to spread & boom as he nears the bridging notes E, F. Although a bass voice could sing his entire range in chest register, the very finest voices never do. Pinza, Chaliapin, Pasero, Reizen, all rein in the strength of the lower register & close the vowel slightly as they ascend toward the bridge, preparatory to the head register taking over for the upper voice. This is why their voices ring while modern bass voices don't. Marvelous singing!

francescobi Says:

Feb 25, 2009 - I think there is a frequent misunderstanding of what coperto is by many male singers, barytones and basses, who give a darker color in the acute by a "trick" that sounds "ingolato" somehow. I guess this word is used with different meanings by different people. Pasero does (good example at 2:03, or 2:55), I think, what Pavarotti recommends. It may correspond to what german singers sometimes call "abschlanken" nera the passaggio (what you describe here, I guess.

hiyadroogs Says:

Feb 25, 2009 - Agreed. Notice that because of a lack of head register in the tone, most modern basses have a rather slow dogged form of vibrato, - almost a wobble - rather than the quick, & ringing vibrato of the previous generations. When you listen to Pinza, or Pasero, or Chaliapin, you understand what the Italians mean by filar il tuono, - spinning the tone.

zoiadeida Says:

Jul 14, 2009 - it's fantastic!!!!the greatest interpratation i've heared!!!!bravo maestro pasero!!!

mrantiquedealer Says:

Oct 31, 2009 - Isn't that the truth???!!!

egymagyar1111111 Says:

Nov 22, 2009 - there is an understanding in this greqat interpretation, great voice, sublime interpretation, my personal note he has a voice too sweet for this tragic role, nothing less for him, it had to be by the angry lost and overpowering interpretation of Christoff who surely learned of this I am really amazed by Paseros's grandieur to prostrate in front of him thanks for the posting, is there any Oroveso by him?

CzarDodon Says:

Nov 22, 2009 - There is an Oroveso with Pasero, with Gina Cigna and Stignani recorded in the thirties. I have it on an old audio casette, naturally he gives a truly fine performance.

wattever333 Says:

Jun 11, 2010 - why did they do the slow part so fast? They had lots of space left on the second side.

CzarDodon Says:

Jun 11, 2010 - The slow part? which part would that be? too fast and too slow is often only compared to what we are used to hearing. In the age of early recording ther were no such established standards.... most of the music people heard was live, today it is exactly the opposite

wattever333 Says:

Jun 11, 2010 - the one that is marked "slower" in the score.

CzarDodon Says:

Jun 11, 2010 - do you mean the part marked Andante mosso cantabile? it should, according to the metronome marking on the Ricordi score, only be a little slower than the opening andante sostenuto, most performers speed up later at "se il serto regal" here they keep the same tempo and only speed up where Verdi has written stringendo, personally I don't find anything to object in the choice of tempo here.

outtaker Says:

Aug 28, 2010 - stunning, artistically brilliant, and demonstrative of an earlier era of singing. How I long for those days, where every singer had a distinct quality that identified them-now, the singer's particular "distinction" is lost; the schools of singing are homogenized, and one hears singer after singer sounding the same-in other words, boring. Golden Age of Singing indeed!

Cantormatis Says:

Nov 24, 2010 - Bravo and bravo. The opening section is impassioned, really impassioned- thrilling, actually. His "dove son?" has incredible dramatic truth. I like the tempi, by the way- he seems to be almost looking forward to his end as a sweet release from the difficulties of the world.

VictorStarita Says:

Jan 17, 2011 - Grazie molte per questa storica registrazione!!!! Victor Starita

cyberwolf100 Says:

Feb 8, 2011 - very, very interesting --- but unbelievingly out of time. how quickly taste is changing! if a singer sang this aria this way today, the audience would take it as a parody, as a cabaret. amazing! nevertheless, everyone still knows the name of tancredi pasero - i regret to have heard this aria - wish i would not!

mayflash67 Says:

Sep 18, 2011 - You can try to hear the same aria by Mark Reizen.

MaiLeeb Says:

Jan 15, 2012 - My teacher was a friend of Tancredi, back in 1952, in Milan. My teacher Jesus Quinones Ledesma was studying with Apollo Granforte then, in Milan. They were great friends and he has so many stories to tell about that time. I send you a video response with my teacher's Di quella pira. Another example of Bel Canto, as great as it can be. Please visit my channel, there are lots of his videos.