As I am sure you know, Del Monaco, like Corelli, was largely self-taught and did so by emulating Caruso, which is how they came to be the two pre-eminent, post-war Italian tenors. (I don't know how Bonisolli managed it, but he is in their company as a similar heroic voice-type.) They sang as the great opera composers and voice-teachers intended, in an open, pharyngeal fashion, almost like a highly trained and beautiful shout, to be heard by several thousand people without amplification rather than for the microphone; as such they make a mockery of what sometimes passes for operatic singing today.
I have a couple more opera surveys coming up, then I think I really shall have run out.
All the best,
Ralph
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