Cornell MacNeil - Di Provenza il mar + Cabaletta #RARE

I didn't know this till the other day, but late in his career, MacNeil sang the almost-always-cut cabaletta "No, non udrai rimpoveri"!

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This channel is primarily about vocal emission—aural examples of basically correct singing, correct impostazione—chiaroscuro, vowel clarity, firm and centered pitch, correct vibrato action, absence of throatiness or thickness, sounds free from constriction and from the acoustic noise that accompanies it—with occasional video examples that demonstrate what the body, face, mouth, jaw, and tongue look like when used with correct impostazione—the vocal emission of the one and only Italian school.

[holborne]

I saw this production at the Met when I was a teenager, with Ileana Cortrubas as Violetta. It was one of the first operas I’d ever seen and I’ve never forgotten it. Thanks for posting this.

[GiannisS]

Amazing singing position by MacNeil, it helped me a lot!!

[michaeldale]

Ah. A true baritone. There are some generous comments here and one at least as far as I have read ungenerous one complete with a rather bizarre analysis of his technique from the point of view of a technique much in favour some decades ago in Germany but not used in Italy. You know, no one wants to sing badly do they. As one hears from the applause this singer brought great pleasure to hundreds of people that night. He possibly lifted their spirits and even MOVED a few. THAT, by which I mean moving the listener, is the highest achievement of any singer. That is the singer’s REAL job, not to belt out high notes (although this world abounds with high note fanciers) nor to show off a bigger range than anyone else. No, the singer’s real job is to move his listener to a place, perhaps, harder to reach in the hum drum hurly burly of our daily lives. If the music is appropriate a well used voice in the hands of an honest singer can bring us closer to God.This level of singing defies analysis nor does it invite it. It simply stands alone, the testament to this ephemeral art lies in the heart and soul of the listener at the live occasion. Recordings, no matter how fancy or technically advanced, cannot capture this.Only the live performance. Here we can only glimpse a shred of what this did on that night way back. This is very fine singing, live, honest singing, an unfettered flow from the heart. Frankly, the odd note not meeting a particular listener’s taste doesn’t matter. Who has not been stirred by bird song, or had a new puppy gaze at one with that melting expression in the eye that puppies do so well. Would the experience be improved by analysing the structure of the iris, or dissecting a bird to see how it sings. I think not. I believe this urge to dismember someone’s art is destructive and I suspect it springs from the increasing dominance of the left hemisphere of the brain in our modern Western lives. It is in the right hemisphere that art, spirituality, love and joy are found. It is the singers job to take us from one side of the brain to the other. If even one listener achieves that then the true job is done. I doubt the baritone here was attempting to show perfect technique with flawlessly balanced registration (yes, I can quote modish jargon too). No, his job was to tell the story as honestly as he is able and move his listener. I for one, found he achieved this.
So sorry everyone to bellyache on but as a singer myself I have become so fed up with the geniuses who dissect every note of every singers’ work, usually to find them wanting. This straw broke the camel’s back. I note these people never attach a link to their own technically perfect performances of the work in question to demonstrate how it ought to be done. No, they sit at a desk and carp-online. If a management and an audience want to hear a singer whom some consider past their prime that surely is up to them. I’ve heard audiences scream at the entrance of a fine singer, and cheer for the solitary ho-jo-to-ho of a leading Wagnerian brought out of retirement to join in a celebration of music. Remember, if a singer moves even one person, his duty is fulfilled and his appearance justified. Now, PLEASE, if you disagree with me and think everyone should be able to express negative opinions, you’re absolutely correct, which is why I didn’t reply directly to the negative comment. EQUALLY I have the right to my opinion, so if you disagree please keep it to yourself or post a fresh comment. Of course, if you are moved to agree I’d appreciate knowing that.

[MultiHeXs]

Such a open beautifull tone! A dream to sing like that! I mean like Corneil

[AreteSr]

What a treat to hear this! I grew up hearing recordings of opera and concerts featuring MacNeil, but never before heard this delicious cabaletta. Thanks.

[kennethwayne]

Placido sang his very first opera performance with Cornell MacNeil. In the 1959 Rigoletto in which Domingo sang Borsa, MacNeil played the title role.

[francobianco]

Ottimo Baritono Fraseggi è Grante Qualita vera lirica e Ottimo Padre

[asterflamm]

Impressionante come MacNeil riesca a piegare il suo organo vocale possente per fare le mezze voci. Riesce a rendere piacevole addirittura quella orrenda cabaleta di Germont

[joserobertocursod]

Línea d canto perfectac Neil barítono verdiano extraocon el, ,,1964rdinario yo cante en el colon

[ERCwC]

Macneil must have hated his life when he was compelled to sing the cabaletta. This is a direct quote from an interview with Bruce Duffie:

BD: Is it note-complete? I always miss Germont’s Cabaletta. They never do it in the theater. Did you sing that for the film?

CMacN: No, we did not sing that, but I’ve done it in the theater. It’s a God-awful drag, and that causes the whole end of the act to fall right on its ass. It is terrible, dreadful, unbelievable what it does to the audience response.

BD: Oh I disagree. Of course, you’re talking about what it does to the audience response, but the only times I’ve listened to it I think is makes much more cohesion for the end of that act. Otherwise Alfredo goes up too much like a fire cracker.

CMacN: That’s what he is!

BD: I know but he should have a little longer fuse with his father.

CMacN: How many children have you got?

BD: None yet.

CMacN: I have five! [Both laugh] Your fuse is going to shorten with each one.

[jesusmunoz]

Cornell magnífico, Domingo totalmente fuera de estilo. Vociferante y verista.