# Favorite Spinto Tenor Singers & Operas/Roles



## Jordan Workman (May 9, 2016)

Who are some of your favorite Spinto tenor singers and what are some of your favorite Spinto tenor roles/songs? (You can answer as broadly or narrowly as you like. There are no strict criteria for answering the question. Answer however you like.)


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## The Conte (May 31, 2015)

This all depends on how you define "Spinto tenor" singers. There is a risk that this could end up as another discussion of the dreaded fach debate.

However, since you say answer how you like, I will take spinto to mean somewhere between a light tenor and a heavyweight tenor. In which case Pavarotti would be my favourite, but I would give a nod to Caruso as possibly the greatest tenor who was neither particularly light in voice or a real 'dramatic tenor' (no, I don't mean he didn't sing _dramtically_, dramatic tenor is a jargonistic term for a tenor with a weighty voice). Di Stefano and Bjorling were very good too.

Gustavo in Ballo is my favourite tenor role that needs some welly, but doesn't require the same heroic heft as Manrico or Otello. I also like Federico's lament from L'arlesiana. Des Grieux has his moments as well.

N.


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## MAS (Apr 15, 2015)

*FRANCO CORELLI* is my favorite tenor, _spinto _ extraordinaire in all his roles in no particular order, though he excelled as _Calaf, Manrico_ and _Cavaradossi_

_Manrico _in *Il Trovatore*

_Calaf_ in *Turandot*

_Andrea Chénier _ in *Andrea Chénier *

_Maurizio_ in *Adriana Lecouvreur *

_Radames_ in *Aida*

_Carlo_ in *Don Carlo*

_Ernani_ in *Ernani*

_Alvaro_ in *La Forza Del Destino*

_Enzo_ in *La Gioconda *

_Pollione _in *Norma*

_Poliuto _ in *Poliuto*

_Cavaradossi_ in *Tosca*

_Raoul_ in *Gli Ugonotti*

_Licinio_ in *La Vestale*

_Werther_ in *Werther*

_Don Jose_ in *Carmen*

_Roméo _ in *Roméo et Juliette*

Note: not all of his roles could be considered as _spinto _roles, but benefited from his vocal largesse.


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## BalalaikaBoy (Sep 25, 2014)

Anatoly Solovyanenko


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## The Conte (May 31, 2015)

MAS said:


> *FRANCO CORELLI* is my favorite tenor, _spinto _ extraordinaire in all his roles in no particular order, though he excelled as _Calaf, Manrico_ and _Cavaradossi_
> 
> _Manrico _in *Il Trovatore*
> 
> ...


Corelli is my favourite tenor as well, with Manrico being my favourite of his roles and of the heavyweight tenor (aka dramatic tenor) rep. Cavaradossi is another favourite of that type of role.

N.


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## Revitalized Classics (Oct 31, 2018)

I think my favourite spinto tenor would be Giacomo Lauri-Volpi. I'm thinking Radames in Aida, Manrico in Il Trovatore and this recording of Raoul in Les Huguenots


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## nina foresti (Mar 11, 2014)

Tucker(Boheme)
Gigli(Cav-Pag)
Corelli(Parma Tosca - Adriana Lecouvreur-Andrea Chenier-Norma)
di Stefano(Lucia - Traviata)
Bjorling(Boheme-Don Carlo)
Shicoff (Boheme with Cotrubas - Eugene Onegin- La Juive)


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## ScottK (Dec 23, 2021)

Everyone is staying smack on your question and showing no hint of starting "the dreaded fach debate" so it sounds like The Conte's opening has set the tone well!

My favorite spinto tenor is Carlo Bergonzi! He is almost always thought of as being most successful in roles which placed a greater emphasis on lyric beauty than dramatic force. And even in dramatic material, Bergonzi's will always be a more lyrical approach to the role. He had a darker hued tenor sound which most found beautiful. In his prime, his top was strong but never had a ring to it like Corelli and Delmonaco and he had nothing like their power. But he could get an audience going!






He has been strongly associated with Verdi. On the heavier side of his repertoire Radames and Manrico have been important roles.






On the lighter side of his repertoire Donizetti shows up strongly as his Edgardo in Lucia and Nemorino in L'Elisir have been equally important.

He has been praised throughout his career for the sensitivity and refinement of his phrasing.






If you find any any of his stuff on the internet, know that he had a long career. A Bergonzi aficionado may (or may not ) find the late career stuff enjoyable, but a first time listener may have a different opinion. Around the mid 70's his top started to go. Song material can be great throughout his career because he kept the beautiful middle voice intact into his 70's. But for the entire range and music with operatic demands, the late 50's to the early 70's are best.

There you go...Carlo Bergonzi 101!:lol: I hope you find something to enjoy!


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## nina foresti (Mar 11, 2014)

ScottK said:


> Everyone is staying smack on your question and showing no hint of starting "the dreaded fach debate" so it sounds like The Conte's opening has set the tone well!
> 
> My favorite spinto tenor is Carlo Bergonzi! He is almost always thought of as being most successful in roles which placed a greater emphasis on lyric beauty than dramatic force. And even in dramatic material, Bergonzi's will always be a more lyrical approach to the role. He had a darker hued tenor sound which most found beautiful. In his prime, his top was strong but never had a ring to it like Corelli and Delmonaco and he had nothing like their power. But he could get an audience going!
> 
> ...


I simply adore Bergonzi's voice but never did I ever consider him a spinto tenor. I think he is missing that important "ping" quality in his voice that signifies spinto to me.


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## nina foresti (Mar 11, 2014)

The Conte said:


> *This all depends on how you define "Spinto tenor" singers. *There is a risk that this could end up as another discussion of the dreaded fach debate.
> 
> However, since you say answer how you like, I will take spinto to mean somewhere between a light tenor and a heavyweight tenor. In which case Pavarotti would be my favourite, but I would give a nod to Caruso as possibly the greatest tenor who was neither particularly light in voice or a real 'dramatic tenor' (no, I don't mean he didn't sing _dramtically_, dramatic tenor is a jargonistic term for a tenor with a weighty voice). Di Stefano and Bjorling were very good too.
> 
> ...


To me the defining ingredient of a spinto tenor is that "ping" sound that others with superb tenor voices lack 
(Ex: Kaufmann/Bergonzi/Vickers)
Pavarotti has "ping" Lanza has "ping"


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## ScottK (Dec 23, 2021)

nina foresti said:


> I simply adore Bergonzi's voice but never did I ever consider him a spinto tenor. I think he is missing that important "ping" quality in his voice that signifies spinto to me.


I agree about the ping not being part of Bergonzi's make-up, and I'm thrilled to hear you say you love him! And I am NOT going to be the one to bring up the "dreaded debate":lol::lol:!!! But, for better or worse, he sang Radames, Manrico and Alvaro over the span of his career and many have found much to praise in his versions of those roles.

But again, I love hearing that you adore his voice!


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## The Conte (May 31, 2015)

nina foresti said:


> To me the defining ingredient of a spinto tenor is that "ping" sound that others with superb tenor voices lack
> (Ex: Kaufmann/Bergonzi/Vickers)
> Pavarotti has "ping"


That's an interesting definition as it sets the term apart from fach. (And nothing necessarily wrong with that.) When you say 'ping' would that be the same as 'squillo'?

N.


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## nina foresti (Mar 11, 2014)

The Conte said:


> That's an interesting definition as it sets the term apart from fach. (And nothing necessarily wrong with that.) When you say 'ping' would that be the same as 'squillo'?
> 
> N.


Good question to which I tend to answer "no" with the difference being the loudness of the note -- which is different from the tone sound.
IMO, Squillo can be attributed to del Monaco, Corelli, Melchior, Gigli, Giordani, Lanza, Peerce


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## Seattleoperafan (Mar 24, 2013)

nina foresti said:


> To me the defining ingredient of a spinto tenor is that "ping" sound that others with superb tenor voices lack
> (Ex: Kaufmann/Bergonzi/Vickers)
> Pavarotti has "ping" Lanza has "ping"


Are you saying Vickers has no ping? I am trying to learn. Corelli sure had it.


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## The Conte (May 31, 2015)

nina foresti said:


> Good question to which I tend to answer "no" with the difference being the loudness of the note -- which is different from the tone sound.
> IMO, Squillo can be attributed to del Monaco, Corelli, Melchior, Gigli, Giordani, Lanza, Peerce


So squillo = loud ping?

N.


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## nina foresti (Mar 11, 2014)

The Conte said:


> So squillo = loud ping?
> 
> N.


Not to me it doesn't, Conte. This is only my personal opinion from things I have heard in the past and not the gospel, but I do believe they are two separate things. 
A tenor can have both but certain tenors might only have a very loud sound without the "ping". 
I am assuming from your questions that you've never heard the word "ping" in conjunction with tenors' voices -- is that correct? I think there are people who think that squillo and ping are the same thing. I personally see a decided difference in the two, but that's just me.


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## ScottK (Dec 23, 2021)

nina foresti said:


> Not to me it doesn't, Conte. This is only my personal opinion from things I have heard in the past and not the gospel, but I do believe they are two separate things.
> A tenor can have both but certain tenors might only have a very loud sound without the "ping".
> I am assuming from your questions that you've never heard the word "ping" in conjunction with tenors' voices -- is that correct? I think there are people who think that squillo and ping are the same thing. I personally see a decided difference in the two, but that's just me.


I love listening to any squillo/ring/ping discussion. I bring NOTHING to the table! My favorites are Bergonzi and Vickers and NO ONE in my experience ever said that either one had squillo. Something about the way I hear must make it less important to me. But I am curious about it and enjoy listening to peoples takes on it, always hoping for conversations like the one you are having as opposed to Stefan Zucker proclaiming that vocal excitement is impossible without ring. My experience - and the response of the Verona Arena crowd to the end of the Di Quella Pira cut I put into this thread - tell me that it is not as essential for excitement as some say. My experience also tells me that the man who is spoken of as having had the most ringing tenor voice in the second half of the 20th century is by most people's account, the most exciting tenor in that time. I think he's the most exciting tenor in that time. It obviously matters!


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## schigolch (Jun 26, 2011)

My favorite soprano for Belcanto roles is Maria Callas.


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## OffPitchNeb (Jun 6, 2016)

How do you guys classify Georges Thill?


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## Agamenon (Apr 22, 2019)

I agree with you. Bergonzi and Vickers are references that will shine forever. Squillo? No, they didn´t have squillo.


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## Seattleoperafan (Mar 24, 2013)

Here is a good quote on squillo:Robert T. Jones
Squillo is hard to explain, but you know it when you hear it, especially
"live" and in a big theater. It's the sharp, ringing quality that makes a
voice carry over, or through, the largest ensemble. You don't have to be a
tenor to have it. You don't even have to be a classical singer. Ethel Merman
probably had more squillo than any non-opera singer ever -- it wasn't that
she was loud, but that she had a voice that could pierce steel doors, and
her speaking voice was equally remarkable. . In opera, Ljuba Welitsch had
such a voice: it was a good-size lyric soprano, but it cut like a razor.
Pavarotti had it, and so did Corelli. Vickers did not have it. Kathleen
Battle has it, and so did Bidu Sayou -- both women had extremely small
voices, but with all that squillo they never had a problem being heard.
Renee Fleming has a lot of squillo, so does Sondra Radvanovsky

A lot of people don't like voices with squillo. Usually they describe such
voices as "shrill," "brassy," "harsh." People who DO like a lot of squillo
tend to describe such voices as "brilliant," "carrying," "soaring," and so


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## ScottK (Dec 23, 2021)

Seattleoperafan said:


> Here is a good quote on squillo:Robert T. Jones
> Squillo is hard to explain, but you know it when you hear it, especially
> "live" and in a big theater.* It's the sharp, ringing quality that makes a
> voice carry over, or through, the largest ensemble*. You don't have to be a
> ...


I listened to and read opinions about Jon Vickers for decades. He sang the heaviest material of all, NO ONE ever said he had squillo and I'm quite certain I NEVER heard it said that his inability to compete with the orchestra was a drawback.

Squillo is important but I sometimes think it's emotional affect on the listener is its primary worth.


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## OffPitchNeb (Jun 6, 2016)

Not to dismiss Vickers (a great singer and artist), I also find his voice does not ring well.

Just compare the "_O gioia!_" cry here. The sound Vickers made (4:38) didn't surge very distinctively above the orchestra, compared to a smaller voice, Gigli (3:28).

But to put things in perspective, it still seemed to "ring" better than any Otello's today.


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## ScottK (Dec 23, 2021)

Yes, I agree, we’re saying the same thing. His voice will not cut through the way a Delmonico will. But in a different way his power is sufficient close to 100% of the time. selected notes not cutting through on recordings?? That can be found for just about anyone. My experience of Corelli and Crespin finishing the love duet from ballo in maschera is that I could not hear Corelli on the final high note . If he could be drowned out anyone can but we are on the same page… Vickers equals no squillo


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## OffPitchNeb (Jun 6, 2016)

^Regards the quote above about the sopranos, I can't agree more about Sayao and Welitsch. Not sure about Battle though.


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## OffPitchNeb (Jun 6, 2016)

ScottK said:


> Yes, I agree, we're saying the same thing. His voice will not cut through the way a Delmonico will. But in a different way his power is sufficient close to 100% of the time.* selected notes not cutting through on recordings*?? That can be found for just about anyone. My experience of Corelli and Crespin finishing the love duet from ballo in maschera is that I could not hear Corelli on the final high note . If he could be drowned out anyone can but we are on the same page… Vickers equals no squillo


Not that I selected a bad note of Vickers on purpose. But I think it is an example where the voice should ring. It is at the climax of murderous rage.

I have a few of his live Otello's and they are kinda like that. But very exciting singing overall.


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## ScottK (Dec 23, 2021)

Seattleoperafan said:


> *Kathleen
> Battle* has it...... *never had a problem being heard*.


This is where I think squillo is thought to be something its not. I heard Battle sing Deh Vieni non Tardar from The Marriage of Figaro on the Saturday afternoon broadcast...for me, no one could sing it more beautifully! same production was on TV and I heard it...same response. Following season, as eager as could be, I heard her sing it in the house.......just too small! I did not hear enough -- the way I heard it on TV - for it to have impact. It was disappointing.

both women had extremely small voices, but with all that squillo they never had a problem being heard.

If he thinks the point is made because I could literally hear the sound, then we think about this stuff differently.

Here's what I think squillo does do....from the recent mezzo's contest. I'm not going back to check, just using my remembered impression. Forresters sound was full and rich but in a way, contained. Ferrier's sound was full and rich but had a buzz....squillo , ring (I've heard people make a distinction between the two) and I found that to be important - in that example - to Ferrier's sound contacting me in an important way. It's what OffPitchNeb is hanging in there with about Vickers Oh gioia and I'm sure he's right. It is what the moment asks for. And being heard is part of it but not all of it.


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