Who was the first singer in the world?

the first singer who achieved world fame by recording was Italian tenor Enrique? 6? Caruso, at that time, the old record time was very short. It took five minutes to change its face. In five minutes, it was necessary to show bel canto and be popular with the public. Polly and Italian songs were undoubtedly the best choice. Caruso left many recordings of Napoli and Italian ballads. Most of these songs were created by signed authors in the second half of the 19th century. However, because they were widely sung among the people, especially the Poles consciously took these songs as brands and used various singing competitions and song contests to promote them, they formed a model, so that these songs with strong local characteristics were often regarded as folk songs. There will always be a few Napoli songs in the repertoire list of later Bel Canto singers, at least when they return to the stage. After caruso, recording and distributing Napoli's songs is probably the best way to promote a tenor's popularity.

if we only consider promoting popularity, what about Spanish tenor placido? 6? ? 1 Domingo certainly doesn't need to do that. Now, it seems that he is undoubtedly one of the "three tenors" joint brands with the most vigorous artistic life. In 26 alone, he recorded three operas, namely Puccini's early opera Edgar, Albeni's opera Pepita, and Wagner's opera Tristan and isolde, which frightened tenors. Even at the peak of Domingo's career, there was no record of recording three operas in one year. The 65-year-old tenor seems to be trying his best to mark the end of his singing career with a huge exclamation mark. At the same time, he took the time to record his first album "Italia, ti amo" for Universal Records, which seems to be an album 4 years late. Domingo was familiar with these songs when he was very young. In his generation, that is, a generation of singers born in the 194s, Napoli songs were compared with American tenor Mario? 6? Lanza is associated with Lanza. Lanza's bright, indulgent and slightly wild voice conquered a generation. It was only after listening to his singing that carreras decided to become a tenor.

Domingo's album is divided into two parts, Napoli songs and Italian songs. The biggest feature of Napoli songs lies in its Napoli dialect, which is far from the pronunciation of standard Italian. The syllables have very different colors and sound more sonorous than Italian. It is difficult for people who are not in this dialect area to sing authentic. However, Domingo hired a great language coach to help him pass the dialect barrier. On the other hand, apart from pronunciation, Napoli's songs have their own special temperament. There is always an indescribable sadness and desolation hidden in the depths. If you can't sing this flavor, I am afraid that the pronunciation is authentic.

From this, we can compare the sound quality of Domingo in this album with that in his heyday. His original features-his upper and lower vocal ranges are connected, his voice is rich and full, and his pronunciation is very solid. These features are well preserved when the singer is 65 years old, but we can hear that this is a performance by an elderly singer, and his high notes are a little more tense than in his heyday. However, these changes have brought some special feelings to his singing, just like the calligrapher's pursuit of dry ink, which can't be sung by a beautiful young voice. Therefore, artists of Domingo's level are certainly good at taking advantage of this change to make up for their age deficiency.

When it comes to Napoli songs, people will naturally hum "Return to Solento" and "My Sun", two signature works of Napoli songs. I am afraid that fans who want to relive these two songs on Domingo's Napoli album will be disappointed. Singers deliberately avoid singing these two works. According to Domingo himself in an interview, he felt that most of the audience would not be satisfied with the sameness in the selection of songs. In fact, I guess it's because there are too many people singing those two signature songs, and there are no more mineral deposits to dig deep, just showing their voices. Domingo, out of the artist's instinct, developed his strengths and avoided his weaknesses. Instead, he used his voice when he entered old age to explore the deep and vicissitudes of his songs. For example, he still chose Cadurau's equally popular Catari, which is more in line with his artistic pursuit because of his bitter obsession.

Another feature of Domingo's "Love Italy" album is its editing vision, which shows Italian songs in different periods from 19th century to 21st century. The earliest one was Tosti, who was born in 1846, and the youngest one was Tassinari, who was born in 197. Domingo thinks that after more than a hundred years, these songs have not changed much in essence, and they are all known for their simple, sincere and moving melodies, among which there is an opera-like passion, which is not found in German songs, such as Schubert and Brahms. This extroverted and unrestrained feature is interpreted by bel canto tenor and accompanied by a big band. Domingo even thinks that a sad song like Tosti's "Not t 'amopi ù" can be treated with brighter colors. Italy's sadness is by no means gloomy.