SongStudio 2019: Piotr Beczała Master Class: De Curtis’s "Tu ca nun chiagne"
Acclaimed tenor Piotr Beczała coaches tenor Jose Simerilla Romero and pianist Andrew King on Ernesto De Curtis’s "Tu ca nun chiagne."
To watch more master class videos, visit: • SongStudio 2019
SongStudio is a program for young vocalists under the leadership of world-renowned soprano Renée Fleming. Designed to renew and refresh the presentation and experience of the vocal recital, SongStudio brings leading musicians and other performing artists together to mentor emerging vocalists and collaborative pianists, exploring innovative approaches to both classic and current song repertoire, and inviting new audiences to engage with the art form. SongStudio builds on the remarkable legacy of supporting young vocalists and the art of the vocal recital that Marilyn Horne sustained over the past two decades through The Song Continues. To learn more about workshops and master classes at Carnegie Hall, visit carnegiehall.org/workshops.
Beczała did a very nice job with this student. Bardzo dobrze.
FINALLY some good teaching! Good teqnique Common sense, constructive but straight to the point Best masterclass of SO many
No one worked harder on his voice than Corelli. And how can he not say something about the fact that it is all FLAT.
The Corelli thing annoys me too. Totally promotes the super talent/no work myth. The singer isn't always flat. It may not ring the same way throughout, but he isn't universally flat. Even if he were, there isn't much a someone can do in a masterclass to address pitch problems. These silly things really aren't very useful as much as they are for entertainment.
Benjamin Werth Having attended many of them I think you are no doubt right in your conclusion.
His caprino vibrato is very wide with the tonal centre slightly too low, so he touches the notes with the top of the vibrato, but he is flat.
Yes, Corelli worked very hard, but look what he had to work with. Maybe the point was more that all the work in the world would not make you sound like Corelli-but you try to learn how to sing effectively with what you have. I don't know if there was more to this when the student is trying to sound like Corelli which would be a mistake.
@@labienus9968 But telling somebody what they aren't or what they DON'T have, is a questionable tactic to employ if you want somebody to sing well in a masterclass.
Gratamente sorprendido por la calidad humana y gran conocimiento mostrado por Piotr Beczala. Gracias 🤗
I AM A TENOR FOR MY SELF, AND I LIKE VERY MUCH YOUR TECHNIQUE VERY GOOD, BRAVO MAESTRO.
Let you vocal cords work, don't disturb them. Best advice for tenor.
I absolutely agree. Speak from the diaphragm and don't think about placement or any of that rubbish.
@@peteradaniel I actually think the opposite was happening here. I agree that the vocal chords should be left alone and not to place the voice, 100%!!! The student here however, was being very lazy with his phonation which resulted in a throaty sound that had not much ping or squillo and was very woofy. When he was made to sing down the octave, his pronunciation of the words was much clearer and much more precise, because it needs to be for a tenor to sing down there at that register. You almost have to work a little harder so as not swallow the sound. Then we he sang back up in the correct register his voice was more (and i hate to use this term) in the mask. This is why Italian is such a perfect language for opera. When it is pronounced like the Italians do, with clarity and precision, then half the work is already done. The sound is already somewhat in the right position for singing and you just have to combine that with the air from the diaphragm.
Love Piotr' personality, and I think the tenor is very good
Piotr is so funny😅 love it❤️
einfach köstlich...mit so viel Temperament und Engagement, lieber Piotr Beczala ..es ist ein Genuss, das anzuhören und anzuschauen...ein herrlicher Lehrer, von dem die Sänger vieles lernen können...Brawo Maestro
The end - Bravo for Piotr for the coaching!
Long way to go 🇺🇸
Let your vocal chord work, do not disturbe them. So true.
Beautifful👍👍👍👏👏👏
Thank you for watching!
Super vidéo thanks a lot
Oh I am good! Only a tenor could say that!
Um boi tenor.nada mais que icido.bravo Del Mônaco!!!
Perfect student
Piotr du bist einfach wunderbar!
Très bien jeune homme 👨
Interesting, when he told him not to make music the vowels were great and the line was smooth. Something to consider.
Many singers during the singing think only how to keep the proper position of the voice and project round vowels and not what they're singing about. The technique is an instrument and not the goal for itself.
Swietny glos...
La canzone napoletana non si canta Impostata Si canta con il cuore Solo così puoi davvero superarti e anche l'opera Se ci fate caso i tenori dell'anno 1900 A salire fanno emozionare ( apparte che la tecnica della vecchia scuola e molto meglio) i cantanti lirici di oggi cantano senza anima pochi ce ne sono che cantano davvero con l'anima
Del Monaco diceva che la canzone Napolitana richiedeva uno sforzo superiore a quello di un aria d opera. Come dice Lei, giustamente, va cantata con i tre C (cervello, cuore e co......) Qui abbiamo una versione da camera di una delle più belle melodie partenopea. Che schifo!
Niente di più vero. Io canto tutte e 2 le cose. E posso confermare che è più difficile cantare le napoletane (davanti a napoletani ancor di più) proprio perche sono cariche di sentimento, sentimento vero. Mentre l'opera e comunque una finzione. Anche se puoi tranquillamente cercare uno stratagemma per entrare nel personaggio, ma non sarà mai lo stesso. Ti faccio un esempio: se io devo cantare questa canzone, basta che penso per tutta la canzone, di star seduto in una panchina a Napoli, mentre guardo il tramonto, o l'alba. Mentre guardo il mare, con un senso di malinconia. Mettendomi nei panni di un napoletano che deve abbandonare la sua terra. Solo così puoi cantare le canzoni napoletane. Naturalmente bisogna conoscere Napoli, ed i napoletani, proprio per capire quanto loro amino la propria terra, per capire quanto sentimento hanno dentro. Se salti questo passaggio non potrai mai cantarle bene. Qui è il cuore di Napoli che bisogna cantare, non solo una canzone. Napoli è cuore forte, è amore, forza, malinconia. Non è 2 note messe su un pentagramma. Ecco perche sentite pochi cantarle bene. Perche pensano ai soldi mentre cantano, pensano a sistemare la giacca, pensano a fare la sfida della voce grossa. Tutto il contrario, praticamente. Napoli non si può cantare come in questo video. E la cosa preoccupante è che non lo sa nemmeno il maestro. Anche se nessun maestro nelle canzoni napoletane, è migliore della stessa Napoli. E lo dice un cantante sardo, che nutre un amore smisurato per la Campania.
@@gianninov2613 grazie di cuore per questa bella risposta che conferma l importanza della canzone partenopea nel mondo. Aggiungerei solo che, che sia cantata in modo lirico o no, la canzone di Napoli deve venire « da o core» per essere ricevuta dal cuore dell ascoltatore. Basta sentire il grande Merola che ti fa tanto chiagnere quando lo ascolti. In campo lirico, Caruso, Di Stefano, Del Monaco, Poggi e anche....Schipa che diceva che il napolitano non è un dialetto ma una lingua. Per questo siamo d'accordo che la canzone partenopea è la più bella espressione popolare Italiana. Anche i gondolieri le cantano. Cordialemente.
@@zs1968 si si assolutamente giusto. Sono 2 interpretazioni diverse, tutte e 2 stupende, lirica e leggera. Nella lirica, proprio come da significato della parola è un recitar cantando, la voce recita il testo, come l'autore lo ha scritto. Mentre la leggera non ha vincoli, e può tranquillamente farla a modo suo. E Merola, sapeva il fatto suo, in una canzone napoletana, ci metteva il cuore napoletano, unione perfetta, con risultati perfetti. La canzone napoletana È la canzone italiana. Non esiste altro tipo di canzone italiana. Esiste il folk, che varia da regione a regione, esiste la musica americana cantata in italiano, che è la musica contemporanea. Ma la musica italiana, quella vera e originale è la canzone napoletana, e la musica operistica. Da li non si scappa. Il resto, ripeto, è tradizione statunitense, cantata in italiano. E nel mondo si, piacciono tantissimo. Le persone di tutto il mondo restano estasiate da quelle melodie. E come dar torto.
@@gianninov2613 Molto giusto e condivido pienamente questo Suo parere. Nella sua ultima intervista il grande Mario Del Monaco diceva che il Napolitano che sentiamo in quelle belle canzone è «italianizzato» perché il Napolutano DOC non si esporta. Infatti quando sento Gigi d Alessio non capisco quasi niente. Sono Siculo e in Sicilia è la stessa cosa con i vari dialetti che troviamo e che poi i giovani non sanno più parlare. Vivendo all estero ho ricevuto dalla nascita questo dialetto DOC da mia madre e mia nonna. In Sicilia usano una specie di slang ... Mi fa piacere condividere questo pensierino con un altro isolano come me. Molto cordialemente😊😊🙏🙏
WELL........ THE MOST MUSICAL PHRASE WAS THE ONE THAT THE TENOR SANG "ANTI-MUSICALLY".....THAT TELLS ALL.
Quando vedo e soprattutto sento i master qua sul YT mi sto chiedendo ma dove sono sparite le bellissime giovani voci degli anni 50-70?!… A cosa stanno insegnando i giovani alla scuola media e al Conservatorio?!… no comment il vecchio
Salve ho letto vari suoi commenti e ho capito che lei è un esperto di canto, volevo chiederle se le andava di ascoltarmi, sul mio canale ho un video soltanto e non dura molto. SALUTI!
5:14 suddenly MAGIC
¿ Porqué estos grandes cantantes, no cantan con los alumnos en las clases, por las que seguramente cobran un "dineral" ?.
porque no son grande3s cantantes y no pueden mostra con voz -el dineral ---hay que "CUIDARLO" VERGUENZA LES DEBERIA DAR! a los organiszadores -en primer lugar!" LO RETO! SI! BLO RETO!
Отлично!!!Все понятно.Спасибо,Петр!!!👏👏👏
Thank you for listening to this master class excerpt.
svinstvo!
@@Radiobestia1 Это Вы кому написали?
4:18 whaaaatttt????
Прикольно. Ничего не понимаю в английском, но Пётр в принципе толково объяснил ему не задираться и петь в позиции, что нет высокой ноты, а нужно петь в позиции говорения, интонация сама добавиться.
I really like this feedback
❤️
In an interview with the great Mario del Monaco, they were talking about how to sing Neapolitan songs, and I remember that Mario said: Neapolitan songs sung as they should be, would be almost like an opera aria, sung a gola piena! It is unfortunate to have to accept the loss of vocal qualities because of some who call themselves masters and singers, I totally disagree with this masterclass, it seems to me an insult to the Italian lyric art, that's why today nemorino sings nessun dorma (Turandot).
Voice masterclasses are always interesting. Voice is SO VERY difficult to work with....it is invisible.
Kent St Giustissimo, soprattutto quando il giovane non ha una voce bella … il vecchio
As for Corelli there is lots of exaggeration done by Beczala here. According to Wikipedia his height was 185 cm a far cry from being a giant. Sportsman yes,as he was referred to as a former rower. Moving the grand piano with one finger......I mean, come on 😂😂 Question: Does Beczala believe that himself or did he use that exaggeration as a motivational means for the student?
Well Corelli worked too 😄😄😄
he teaches good
😄
Para mi, sucesor de Nicolai Gedda
Hardest thing to do sing in front in front another singer
nachdem beczela richtig singt müsste er auch ein guter lehrer sein-schade dass ich ihn nicht kennenlernte, wichtig aber ist dass man ein schöne stimme und das talent
Con questo Canto fai Piangere a noi Napoletani proprio brutto
I’m sorry. This is the sexiest thing I have ever seen or heard in my life!!!
How about the language? That sounded nothing like Neapolitan.
Established singers are often horrible teachers. He can't explain things correctly (English fluency aside). The kid is choking on the higher notes because his larynx is rising up. Also all his vowels are muddy which creates extra noise in the sound. BUT! When he sang an octave lower, his larynx dropped, he dipped down into his chest voice and the vowels opened up more. He should then bring up the chest to the right octave and watch the voice bloom.
Nothing to do with his larynx and everything to do with his breath. Which is why Beczala is asking him to go to the same he finished the previous phrase. His breath is rising which then chokes the throat. He just needs to put the voice back on the breath and speak from the diaphragm as well as more breathing exercises to strengthen the diaphragm.
@@peteradaniel Thats hogwash. Years of that bullshit has produced the inferior singing we have today. Everything is dependant on the adduction of the cords and the position of the larynx. The higher you sing, the higher the larynx naturally rises and begins to choke the sound. There is not enough room for the cords to adduct a higher frequencies. Same as when you the larynx is depressed too far and the sound is swallowed, or ingolato. The diaphragm is an indepedent function, related to sustaining a note but not integral to the quality of the tone produced. Breathing exercises are akin to meditating on your navel. The only way for him not to choke on the higher notes is to lower the larynx, not depressed it, depressing is causes the voice to be ingolata. Once you lower the larynx a little create more acoustical space for the cords to adduct.
@@St.Garoosh you sir are 100% right. The only established singers that I've seen giving good advice to young tenors is maestro Salvatore Fisichella. He ALWAYS mentions your larynx position, which is the key to opera singing.
@@St.Garoosh you have the correct idea. 👍👍
@@downfromkentuckeh thank you
Non raconta niente per questo non functiona la voce Parlare mentre cantare non pensare a sue stesso Solo DIRE il canto prego
To much like a SHEEP beeee
I also didn't like particularly his vibrato... but in a masterclass, it's not easy to focus on everything I guess. Generally, that guy has a very nice voice
Ridicoli entrambi,l'allievo ingolato dovrebbe prima fare due anni di vocalizzi e poi forse cimentarsi in altro.
Masterclass, yes but this tenor almost got a caprino in his voice which have to go away before singing at a stage...
yes because his larynx isnt low enough
@@buhnedej you could be right about that.
Corelli exhibiting this same quality but trained as a baritone and was an Olympic level swimmer so he could sustain it and had the Colour in his voice for it to sound palatable. Then, he just worked it out brother!
Bješčala nije i nema kapacitet držati masterclass drugima...
Este Señ9r Bektzala.Gran Tenor!!! Pero tecnica??? Una manera muy poco clara de trabsmitir tecnica,un metodo.Cuabdo todos sabemos que el utiliza el metodo de inalar la voz.dicho por el. Ya sta ,eso se dice claramente si se quiere.Todo lo demas es querer mostrarce como el divo sinpatico y ya... Una Pena.🤔
Everything is in the nose, please!!!!!!! He is doing it good and the Tenor is not listening!
I wouldn't say it's in the nose, it sound more woofy than it does nasaly. To me, the sound is too low down in the throat and false mask. It is not lifting enough because his pronunciation is very lazy and droopy.
@@ssr6036 The sound comes from the throat there is the instrument, you shouldn't lift at all!!!!
@@familypondman Sure, but you don't want it to stay there, ultimately you want it to resonate in the head. You also most certainly don't want to pronounce the vowels in your throat. The voice "lifting" dosen't mean you necessarily lift it like you would an object. It is more that you are rebounding it so it goes higher, like an elastic or sling shot.
@@ssr6036 You can tell what you want, but you have to learn to make all the vocals in the throat by practice, listen to the great singers of the past and open the throat and stay there the sound comes forward by itself, you can find it on youtube, what Del Monaco has to say about that and also sows it!
@@familypondman No, that is not how it works. You leave the throat alone, yes it has to be open but you do not sing in your throat unless you don't mind strangling yourself and nobody being able to hear you. Del Monaco was talking about the larynx being in a low position. You achieve that through breathing and relaxing, which in turn creates an open throat. The "A" vowel which he used is the vowel that sits the lowest and furthest back, and creates the most tension in the diaphragm all the other vowels are pronounced much closer to the lips teeth and resonate higher. The pronunciation of the words, is created with the tongue and facial muscle, hard pallet such as when you speak. The voice needs to go in to the maks, the real one that is from the bottom of the eyes up in to the forehead, not false mask that is below that or nose. The air has to push it up in to these resonance and the pronunciation assists. The positioning will also help to create a more open throat. Put your thumb and index finger on either side of larynx and take a deep breath. Now do it with an exaggerated smile and feel how much more your throat expands.
Ma andate a casa e cambiate mestiere E lasciate stare franco corelli
Non ho capito se lo tributa o lo deride... Se fosse la seconda sarebbe da denunciare
Lo sta solamente idolatrando e stimando
Beczala is a terrible teacher and communicator. But almost everything he says is correct. The kid moves his diaphragm to hit the high and pushes up his breath. When he marks he doesn't move his breath at all, but he's afraid of the high notes so he moves his breath to compensate, which is a completely natural reaction but a terrible habit for an opera singer. This blocks the passaggio. Simply Sing every vowel in the same place and every consonant on the breath. Easy! LOL
Every vowel in the same place? Hmm...I might reconsider that notion.
Yeah, I would definitely always consider the strange vocal advice of a bare chested headless torso...
lmao "move the breath" okay
Lasciate cantare italiani queste canzoni, non riuscirete mai essere credibili
Beczala shouldn't be teaching at all.
He is a master of nothing. Poor student.
VERGOGNA! LA PAROLA ERA "level", MA CHE IMPORTA -E UN BLUFF CON LA COMPLICITA DEI ASSISTENTI "ridenti": quale era il prezzo per fargli ridere a costa dell studente! mostrare con voce ---non e troppo veccio; mi signor !sfacciato come tutti chi usano solo il Nome -NIENTE le savoire faire!
Every annoying Master Class has the same annoying sequence. It’s tied up in the fact the the “Master” himself has a need to perform (he’s being paid after all) as much as the singer. Remember these master are usually not skilled teachers nor do they know and understand their subjects’ voices, strengths, challenges. The sequence goes: 1) Singer sings. 2) “Master” scrambles for something (anything) to say. 3) Singer is confused and sings it again, exactly as before. 4) Repeat steps 2-3. 5)Master exclaims “AHH, so much better!” 6) Audience erupts in an expression of their approval. SMH, such a useless charade. It’s the emperor’s new clothes.