Celeste Aida-How to sing: for professional opera tenors-vocal coaching advice from Franco Tenelli

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Advice how to sing the most difficult tenor aria from Franco Tenelli.

28 thoughts on “Celeste Aida-How to sing: for professional opera tenors-vocal coaching advice from Franco Tenelli

  1. Almost no tenors sing the last Bb with morendo effect. I’ve heard Caruso
    and Helge’s version but they sang it in falsetto. Only Corelli did it close
    to what Verdi had intended. Most tenors would choke trying to make this
    diminuendo. From my experience I found out it’s kind of unhealthy because
    you have to mess with your throat. Your throat has to be somewhat closed
    instead.

  2. @TenelliVoiceGuru C. with all due respect and admiration to Great Maestro
    Verdi, time proved he wasn’t too realistic about the knowledge and
    possibilities of the tenor voice and he wasn’t the only great composer who
    missed the point on that. Maestro Verdi was a genius and like any geniuses
    he wrote upon inspiration waiting for the right performers to come(still
    waiting for a perfect Otello :)

  3. @TenelliVoiceGuru I remember Del Monaco saying that this aria was the most
    difficult in the canon and it was the role that he most often feared. It
    was cruel that Verdi placed it in the first scene of the opera! As for your
    perfect Otello, many will claim MDM- I think that he is the closest we’ve
    gotten to, if we could find a singer with the authenticity of Vickers and
    voice of MDM, we will have seen the perfect Otello!

  4. @TenelliVoiceGuru Actually he did morendo in live, Cleveland, Ohio April
    28, 1967 and another in mid 60’s. You’ll find them here on youtube.
    Besides, even most singers didn’t have deep knowledge about singing at the
    beginning of the era not up until early 1900’s. This could be an argument
    =) My point is in order to make morendo or diminuendo tenor has to sing
    against his nature. It seems unconventional and unhealthy which Corelli
    made it seem effortless in many other arias as well.

  5. @steakopera sure on the Met tour, but never at la Scala,Met or Covent
    Garden. He knew perfectly the dangers of this passage and did it in less
    important venews, never attempting at important Theaters and as you know
    one sparrow doesn’t make a spring:)

  6. @TenelliVoiceGuru I couldn’t think of the best Otello even today. Out of
    most favorable one’s like MDM or Vicker or who ever. I would consider
    Placido Domingo. Verdi took his music to the different level in Otello.
    It’s musical characteristic has shift from Italian Romantic to Neo
    Wagnerianism. Domingo lacks the vocal excellence of this role but he has
    the ability to transform himself into most compelling and dramatic Otello.

  7. @steakopera In Clevelend Corelli uses sudden change to head voice and then
    brings it down to morendo, so it’s not exactly morendo: morendo should be a
    gradual diminuendo brought to silence. But he still shows great courrage
    and technique no doubt:)

  8. @TenelliVoiceGuru I’d listen again and Corelli did make a gradual change.
    It wasn’t his best but not a sudden change. Just wanted to bring it up.
    Your morendo is quite good. If you take another breath once before the
    final ….”vicino sol”, then you could hold the Bb ppp much longer. People
    will hold their breath to listen to that fine silvery threadlike undying
    celestiality. steak.

  9. If you have a moment, could you please answer some questions I have?
    Firstly, do you teach overtones? Secondly, I am curious where you are
    engaging your vibrato when you are singing here? Thank you.

  10. Maestro TENELLI sono un cantante di canzoni classiche napoletane ,le
    garantisco che non ho mai studiato lirica ma essendo laureato in scienze
    infermieristiche conosco bene l’anatomia non ho mai avuto difficolta a
    comprendere la tecnica dl canto lirico,cioe nel fatto che bisogna sollevare
    il palato molle facendo attenzione a non far cadere la lingua
    indietro,respirazione costodiaframmatica e vari peripezie,ma lo sa che
    adesso ascoltandola abbiamo la stessa timbrica.e sbalorditivo .

  11. arrivo alla domanda,qualche addetto ai mestieri mi ha profetizzato secondo
    me sbagliando che io ho una timbrica da baritono,se la invio un mio video
    dove ho cantato O’ SOLE MIO mi farebbe la gentilezza di darmi un suo
    AUTOREVOLE giudizio.io vivo a napoli dove anche lavoro,ho molti contatti se
    volesse fare qualche master a napoli le potrei essere di aiuto grazie
    anticipatamente,

  12. Grazie maestro,le ho inviato i miei video:o sole mio e amapola. Attendo con
    ansia un suo giudizio in merito,per capire se ho le carte in regole per
    studiare il bel canto lirico.

  13. l’unico maestro che oltre a spigare gratis le lezioni addirittura ti spiega
    come cantare un area,E’ INCREDIBILE SUBITO DIRETTORE DEL SAN CARLO DI
    NAPOLI. 

  14. this is a sham any good tenor can do it in stages the problem is to do it
    in all as required with no sectional bits so do not do this again to other
    arias that is why it is difficult and all Verdi roles are difficult 

  15. Generally I warn everyone to not pay any attention to voice teachers on
    YouTube. Tenelli is an exception.

    But as a bass I still think they complain too much about Celeste Aida. It
    seems to me the opening tenor aria of Chenier – ‘Un di all’azzurro spazio’
    is just as heavy and has as little preparation for the singer. Tell me if
    I’m wrong.

  16. Perhaps for the high Bb at the end, the composer still expected the tenor
    to use falsetto. I’m not entirely up on my history, but for a certain time,
    tenors used falsetto for their highest notes (mainly prior to DuPrez
    singing the high C from the chest). I also believe this is why “Ah, mes
    amis” uses the high C: the composer expected perhaps a yodel effect, as
    that would be appropriate to the character. Consequently, I think that
    DuPrez’s high C had something to do with the advent of the baritone class
    in the middle to late 1800s.

  17. But to teach anyone, professional, amateur or even shower singing ( lol ) these techniques are the very thing that produces a beautiful, rich, controlled singing voice.

  18. We teach children as young as 6 years old and adults who would rather us not say how old they are, so whether you want to just learn to sing for fun, surprise someone special with a powerful rendition of their favourite song, take vocal exams or hit the big time as a professional singer, the rare expertise of our fantastic vocal tutors will quickly guide you to reach your full potential.

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