Toolpathing The Front of The Neck And Headstock

It's a very gemutlich interpretation, and if you like to hear the first movement taken by the scruff of the neck and shaken, you won't get it here. There's an underlying melancholy that both Leinsdorf and Berman seem attuned to, and as a result the mood carries into the second movement, which is played with great delicacy, Leinsdorf relishing the almost chamber-music quality of some of the writing. The Chicago winds are splendid here, giving an almost nocturne-like feel to this movement.

Chenier was the role with which Del Monaco changed singing by introducing a technique taught by Arturo Melocchi, based on singing with the larynx kept low, at the bottom of the neck. It gave Del Monaco a powerful, brassy, thick, muscular, penetrating sound.
In March 1949 Del Monaco sang Chenier at La Scala. His performances excited the public and marked a changing of the guard. Gigli sang his final Scala performances in 1947, as Chenier. His object and that of the tenors he influenced was, above all, to caress you. Del Monaco's was to excite you.