Giuseppe Danise Vídeos
cantante italiano
- barítono
- Italia, Reino de Italia
- cantante de ópera
Última actualización
2024-04-27
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Danise Rossini Verdi Leoncavallo Gounod Massenet Maschera 1657
0:00 Largo al factotum (Il barbiere di Siviglia, Figaro) 4:02 Gran Dio - O de verd anni miei (Ernani, Carlo V) 8:38 Pari siamo (Rigoletto, Rigoletto) 12:34 Cortigiani vil razza dannata (Rigoletto, Rigoletto) 16:57 Di Provenza il mar (La Traviata, Germont) 20:52 Eri tu (Un ballo in maschera, Renato) 24:48 Urna fatale (La forza del destino, Carlo) 28:01 Credo in un dio crudel (Otello, Iago) 31:58 Nemico della patria (Andrea Chenier, Carlo Gerard) 35:57 Si puo (Pagliacci, Tonio) 40:09 Buona Zaza (Zaza, Cascart) 42:33 Zaza piccola zingara (Zaza, Cascart) 44:51 Avant de quitter ces lieux (Faust, Valentin) 48:33 Vision fugitive (Herodiade, Herodes) 51:57 Promesse de mon avenir (Le roi de Lahore, Scindia)
My favorite baritone here, continuing our week of lil Spanish canciones. (Thanks to Gianluigi Cortecci for catching the incorrect pitch of my previous upload of this track.) #Baritones #BelCanto #Opera ..................................... This channel is primarily about vocal emission—aural examples of basically correct singing, correct impostazione—chiaroscuro, vowel clarity, firm and centered pitch, correct vibrato action, absence of throatiness or thickness, sounds free from constriction and from the acoustic noise that accompanies it—with occasional video examples that demonstrate what the body, face, mouth, jaw, and tongue look like when used with correct impostazione—the vocal emission of the one and only Italian school. Caveat: I'm biased in favor of baritones and baritone literature, but if you want to learn about and listen to all the greatest singers in the old-school tradition, explore this spreadsheet (voice parts are separated by tabs): (http•••)
Giuseppe Danise Giuseppe Valdengo Salerno Colonnese Girolamo Crescentini Petillo 1949 1950
- Valdengo : "senta una cosa Signor Danise sulle note acute, che Lei vuole così nel petto aperte, io le chiamo aperte perché sono ignorante, ma le vuole sempre con O?" - Danise : "Sì, certo, quello è il coperto, non l'ingolato, tu confondi tra coperto e ingolato!" Per approfondimenti, leggere "Breve analisi della Lezione di canto di Giuseppe Danise a Giuseppe Valdengo. New York, 1949-1950" al seguente link web : (http•••) Danise, nato a Salerno, aveva frequentato il Conservatorio di San Pietro a Majella di Napoli, ove si formò vocalmente studiando canto prima con Luigi Colonnese, un baritono della generazione precedente la cui discendenza pedagogica includeva Alessandro Busti ed il castrato Girolamo Crescentini. Si pensi che, secondo lo stesso Danise, per il primo anno gli fu concesso di cantare solo suoni - niente scale e niente arie. Seguirono gli studi con Abramo Petillo. Per chi vuole visionare il metodo didattico di Busti (dal quale deriva Danise), ecco un articolo di presentazione del manuale : (http•••)
Giuseppe Danise Alfio Gigli Bidu Sayão Scala
With his virtually perfect English and direct and erudite manner, the great Italian baritone Giuseppe Danise recalls his career from debut to retirement and touches on a number of subjects regarding the operatic life and art form. 00:00 Debut as Alfio in Naples 00:33 Touring company in Balkans and Russia (I've now determined with 100% certainty that this was the Gonsalez Opera Company discussed by German Di Giulio in Rasponi's book The Last Prima Donnas) 01:06 Beginning of Italian career in Trieste 02:37 La Scala debut 02:56 WWI service 03:53 First performance w/ Gigli 04:12 South American "vagabondage" 05:00 Letter from the Met 05:40 Gerard in Met premiere of Andrea Chenier 06:00 William Tell, decadence in popularizing opera w/ vulgar updates 07:00 Preparation of singers now vs. in Danise's younger years 08:35 There are two kinds of singers: artists and "hams" 10:00 New school singers (promotion of emotion) vs. old school virtuosos (promotion of admiration) 10:30 Bidu Sayão and retirement ..................................... This channel is primarily about vocal emission—aural examples of basically correct singing, correct impostazione—chiaroscuro, vowel clarity, firm and centered pitch, correct vibrato action, absence of throatiness or thickness, sounds free from constriction and from the acoustic noise that accompanies it—with occasional video examples that demonstrate what the body, face, mouth, jaw, and tongue look like when used with correct impostazione—the vocal emission of the one and only Italian school. Caveat: I'm biased in favor of baritones and baritone literature, but if you want to learn about and listen to all the greatest singers in the old-school tradition, explore this spreadsheet (voice parts are separated by tabs): (http•••)
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- cronología: Cantantes líricos (Europa).
- Índices (por orden alfabético): D...