I like most classic rock, and this hits the right spot. 7/10
Italian baritone Giorgio Zancanaro sings Gerard's aria "Nemico della patria?" from Umberto Giordano's opera "Andrea Chenier", recorded in 1985. Read below the video for more information
There were three reasons I picked this version over my favorite version by Gino Bechi (which can be found here btw (click that ---> [URL]http://www.youtube.com/watch?v=LjQY0z90Z_0[/URL] ))
Firstly this one is an actual video with some nifty subtitles, so it's easier to grasp the emotion and pathos of the character. Additionally, for a little background, this opera takes place during the french revolution, and Gerard is Andrea Chenier's servant, and Gerard is now in the process of condemning Chenier ([URL="http://www.aria-database.com/search.php?sid=2f394a2b229b43913ade319e2f110446&X=2&individualAria=54"]other nifty background stuffs here[/URL])
Secondly, this is a display of a lyric baritone singing a part that many would think only suitable for a dramatic baritone ( a heavier "voice classification" than a lyric baritone), but Zancanaro sings the part rather fittingly and gloriously here, voice type be damned.
Thirdly, in response to a comment earlier in the thread about orchestration, its true alot of operatic orchestration, especially during the arias, is more focused on supporting the soloist, but the voice is also an instrument, albeit a very complex one. You still have great orchestration in opera in the overtures, scene settings and all over the place really, Rossini's "William Tell" and Mozart's "Le Nozze di Figaro" come to mind. Much later on, when you get into mid-late Verdi, then subsequently Wagner, and the verismo movement epitomized by the likes of Puccini, Mascagni, Leoncavallo, Giordano, and so on, you start to get richer orchestration even under those parts where the singers are doin their thing, which forced a much simpler melodic line that emphasized the text rather than florid bravura singing, which shifted the register focus from the very high notes, usually C5 and above, to the high-middle still-impressive-but-still-in-normal-range register, which in turn facilitated a change from the old bel canto style of singing to a more chest oriented voice that could be more clearly heard over these impressive orchestrations. Here is [URL="http://greatoperasingers.blogspot.com/2011/11/bel-canto-and-verismo-matter-of-style.html"]a very good article on the subject[/URL] for anyone interested in further reading, since I've already taken up way too much space on the topic in a thread dedicated to simply rating a song and moving on.
Hot damn son, you sure know your shit.
I hate to say it because you clearly put a lot of work into the song, but I hate opera/classical.
1/10 because I would never listen to it.
This is the first song I've heard in this thread that I actually hate.
I don't like any of the melodies, I absolutely hate the lyrics and its ridiculously short.
Good song, 8/10
Really nice song, to be honest I actually though it was going to be some typical mainstream song filled with excessive amounts of autotune, still not much into the genre though. 6/10
Nice lyrics and keyboard, and a pretty nice solo. 7/10
Saw them live last night.
Skipping the above post because he didn't rate.
[QUOTE=rider695;34860890]Nice lyrics and keyboard, and a pretty nice solo. 7/10
Saw them live last night.[/QUOTE]
It's ok. A bit too heavy for my tastes, especially the singing.
9/10 Great song, great album. My favorite is Baker Street Muse
nice, very basic 7/10
not my kind of music but i can see the appeal
they should get a better singer though (7.5/10)
Classic song, love the beat. MORE COWBELL.
that was so terrible -100/10
10/10 You can never wrong with Johnny Cash. Excellent song.
You asked, and shall receive:
Can't help but feel like I've heard this song a million times before (like every rock song ever made), cowbell was surprisingly nice though 5/10.
Completely beautiful. 10/10 I have the say, the video worked really well with it too.
4/10. It was exactly what I expected from an OST with that picture.
I can definitely tell that it's supposed to play in the background while something is happening.
Its ok, nothing too special but it does its job fine.
The only video where I could find both the intro and the song.
Start from the beginning and stop (unless you want to continue) at around 6:14.
Weird intro, beat got decent though. Going to be honest and say I didn't spend 48 minutes and listen to the whole thing.
Since we're on this whole cowbell theme.
Nice beat and somewhat generic rap lyrics but the song gets ruined for me because of that picture.
He looks like some spoiled brat kid that wanna be black. 6/10
A pretty basic metal song. Does it's job and does it well. 6/10
[QUOTE=Hakita;34891529]A pretty basic metal song. Does it's job and does it well. 6/10
Not my style, but still kinda meh even for me, so 6.5/10
Can't stop listening to it .
The music was good on its own but that video is the best thing to happen to my life in recent memory. 10/10
Italian baritone Mattia Battistini sings the cavatina "Deh vieni alla finestra" from Mozart's "Don Giovanni", recorded in 1902. More info below the video
[url=http://www.aria-database.com/search.php?individualAria=90]Text/translation and synopsis here[/url]
Continuing on a similar vein from my last post, I wanted to give y'all an example of a true bel canto trained voice. Old recording technology aside, you can notice the distinct difference in sound quality from the more modern baritones. This role was intended for a bass-baritone or a bass, but the tessitura lies high enough throughout the role that baritones regularly sing the part. Where the true bel canto voice just flows and floats allowing for easier access to that higher register, the more modern voice would be richer while allowing the upper register to be more chesty. This is not to say there were two distinct training methods, in fact alot of vocalism is based off of bel canto training, but the emphasis in training was shifted. Another problem presenting itself by trying to showcase this style of vocalism is that it has all but died out in modern times and, in alot of cases, it didn't record as well. Notable examples of this kind of vocalism that left significant recordings include Mattia Battistini, Alessandro Bonci, Leon Escalais, Mario Ancona, Giuseppe De Luca, Francesco Tamagno, John McCormack, Carlo Galeffi, Pol Plançon, Victor Maurel, and Fernando De Lucia, amongst others. I'll provide some examples of this piece [url=http://www.youtube.com/playlist?list=PL78A8149EB4ABF14B]here in this playlist[/url] to showcase some of the differences. I would include my recording but I don't think it sounds that great in comparison :D
Note: Battistini changes the ending. In the score, after "bell'a-" he jumps up to an f#4 on "mo" as opposed to going down to the written d3. He also indulges in some stylistic things throughout the piece that, to many, would seem a tad excessive for Mozart. However, with his international status as the "King of Baritones" and as a very frequent house guest of the Russian Imperial family, he did whatever he wanted to, and most of the time it was in excellent musical taste with exquisite phrasing and breath control.
5/10 I feel bad giving it a mediocre rating because you're so enhusiastic about it, but I prefer not to listen to opera if I can help it, and unsurprisingly the sound quality, whilst decent for 1902, doesn't help.
Version you posted was blocked for me.
Not a fan of the singing, or the beat. 2/10
Holy shit I got a lot more than I expected, that was great and [B]very[/B] smooth.
Ignore the picture.
7/10 It was a little repetitive