Superba interpretazione...di MIRELLA FRENI..dove il suo canto...scorre sulle note in maniera cristallina...dove nelle asperità che questa grande aria presenta...questa somma cantante le affronta...e le cavalca dando l'impressione di una facilità tale ..che il suono è magnifico ed unico...l'interpretazione che dà..MIRELLA FRENI..con la sua arte in DON CARLO...è il top di tutta la storia sopranile di questa Opera...👑👏👏👏💖
E godi nell'avel il riposo profondo, Mirella Freni. RIP Another true artist lost this year. This was the first aria I thought to listen to when I heard the news. One of her great roles, to which she brought so much sorrow, maturity, and warmth
Uno dei pezzi più verdi che abbia mai scritto Verdi. Interpretato benissimo dalla Freni, con fraseggio eccellente. Anche Levine (che non mi è mai piaciuto molto in Verdi) ha levigato certe sue asperità e saputo giocare coi fiati in modo eccezionale.
When I sang this I was made aware that the lyrics are LE vanità, not LA. I took a master class for the marvelous Freni in 2004. Still treasure it in my heart ❤
Freni did an outstanding job here. She was always considered more lyrical soprano, but she sure pulled out some chest voice here and kept her vocal line impeccable. And she looks very cute in that costume.
Note: The Italian version of this grandious Opera is Don Carlo, while the French version is Don Carlos. I have seen this opus on DVD. 🤩☀️😍This incipient is from the Italian version in Five Acts.
SHE IS NO PRINCESS.........SHE IS A QUEEN!!!!! WHEN I WAS STUDYING VOICE WITH TATIANA MENOTTI AND JUAN ONCINA AND CAMPOGALLIANI IN BARCELONA DURING THE MID EIGHTIES.....I INFESTED THE LICEO........AND CAN ATTEST THAT FRENI WAS THE GREATEST SINGER I HEARD THERE. THE WAY THE UPPER REGISTER OF HER VOICE FLOODED THE THEATRE GAVE YOU GOOSEBUMPS ALL OVER. HER AMELLIA GRIMALDI WAS STUPENDOUS.AS WAS HER ADRIANNA LECOUVREUR.....I WENT TO MULTIPLE PERFORMANCES.AND CAN ATTEST THAT SHE CONSTANTLY BROUGHT THE HOUSE DOWN. IT WAS DURING THIS PERIOD THE EARTHQUAKE IN MEXICO HAPPENED AND A CONCERT HAD BEEN QUICKLY ORGANISED TO BENIFIT THE VICTIMS OF THE QUAKE.THIS CONCERT PIGGY BACKED ONTO THE SIMON BOCANEGRA...SO THAT NIGHT WAS VERY LONG ESPECCIALLY FOR FRENI WHO PARTICIPATED EXTENSIVELY IN BOTH.......SO EVERYONE WAS WAITING ATVTHE STAGE DOOR PEN IN HAND......WHEN FRENI APPEARED SHE LOOKED VERY TIRED AND WAS CLEARLY DAUNTED AT THE HUNDREDS OF FANS WAITING TO GREET HER AT THE STAGE DOOR ....ME...FIRST IN THE QUEUE........I TOOK ONE LOOK AT HER AND LET HER PASS UNMOLESTED BUT DEFINATLY ADORED.......THE NEXT AFTERNOON I WENT FOR MY LESSON ANDBWHO WAS COMING OUT OF THE ONCINAS WAS MIRELLA FRENI WHO RECOGNISED ME FROM THE NIGHT BEFORE.........MR ONCINA TOOK HER BACK TO HER HOTEL....AND ON HIS RETURN HE DELIVERED TO ME FROM FRENI A BEAUTIFUL COLOURED PHOTO WITH DEDICATION AND SIGNATURE WHICH I CHERISH.
Tú, que la vanidad del mundo conociste y gozas, en tu sepulcro, del reposo profundo, si aún se llora en el cielo, llora por mi dolor, y lleva mi llanto al trono del Señor. ¡Sí! ¡Carlos vendrá! ¡Que se vaya y me olvide para siempre! A Posa, que velaría por su futuro, le juré, que siga, pues, su destino. La gloria alcanzará; para mí, la vida ya se ha terminado... ¡Francia, noble tierra, tan querida en mi infancia! ¡Fontainebleau! Hacia ti vuelan mis pensamientos. Allí escuchó Dios de mí, eterno juramento de amor, y esa eternidad sólo duró un día. Entre vosotros, dulces jardines de esta tierra ibera, si Carlos aún detiene sus pasos al anochecer, que los prados y los arroyos, las fuentes, los bosques y las flores, con su armonía, le canten nuestro amor. ¡Adiós, bellos sueños de oro, ilusión perdida! ¡El lazo se rompió; la luz se apagó! ¡Adiós, juventud que cedes a este cruel dolor! El corazón sólo tiene un deseo: ¡la paz de la tumba! Tú, que la vanidad conociste del mundo y gozas, en tu sepulcro, del reposo profundo, si aún se llora en el cielo, llora por mi dolor, y el tuyo, con el llanto mío, ofrece a los pies del Señor.
Who cares if the voice was not heavy enough for this role. Listen to the nuances of her interpretation, the character portrayed through one of the most beautiful soprano voices ever, supreme musicality. Tebaldi NEVER sang the role on stage only recorded it for the London/DECCA label near the end of her glorious career. Callas sang this with Corelli on stage at La Scala and there are rumors that the tenor's wife recorded the whole opera but never released it because "il divo" was not in perfect voice that night. Caballé, which I admired a lot, sang Elisabetta many times perhaps with a more appropriate voice and colors but never close to Freni's refined and dramatic expressiveness.
@@fabriziogarzi9892 diciamo che se la altre avessero avuta la sua tecnica....sarebbero durate molto di più e in vice. Poi sia chiaro non era una voce di timbro bellissimo. Tuttavia guardiamo una Caballe', timbro magico ma carriera spezzettata da un canto ad un certo punto sbrigativo quando non penoso.
@@numetutelare si, la Caballe' ha avuto un percorso un tantino "troppo allegro" ed e' durata intonsa si è no una dozzina di anni ma comunque un pezzetto di storia della musica, in alcune cose, l'ha scritta.
Concordo ma appunto è durata poco e si dura poco quando si pensa che la tecnica sia un fatto acquisito e non si debba esercitarla in modo continuo. Comunque essere esigente è sempre consigliabile, e di questi tempi direi necessario...
Role is for a dramatic soprano or a spinto, nevertheless even lyrics sing it nowadays. Freni is one great lyric who started this habit since she was asked to do it. She also did Manon Lescaut and Aida...
Karajan started this trend. He did not like the big sopranos who often overpowered his orchestra. He hated Nilsson for example even though he worked with her because he had to given her standing in Wagner. He wanted all singers to be secondary to his orchestra, as though opera was some sort of concert rather than a dramatic performance where the singers are more important. The only vocal artist he ever really respected was Callas.
@@wilsonwatt9283 Nilsson's riotous sense of humor was the perfect foil to the ego of Karajan, or Herbie, as she called him. Per Nilsson, he wrote her with a list of roles he demanded to conduct her in. To which she laconicly replied "Busy. Birgit." There's also the famous story where she wore a miners hat to rehearsal to protest his dimly-lit staging
Wilson Watt I read yesterday he wanted her to sing Turandot which she wisely refused, and that was the end of them working together. They never spoke again.
R.I.P. Freni -Mirella did very well with the lirico-spinto roles and is near perfection in this role as her voice which was always plump really expanded a bit larger by the 1980’s. However : “Il pianto mio , o porto altrono del Signor” was only half effective as she became inaudible on the second of low part before leap. It’s a notorious interval that only a few recorded sopranos seem to manage and even live it can get fudged. Freni seems more preoccupied with gunning to the Bb quickly in an outer hinge technique versus an inner glottal space. The latter would have made room for both the lower proceeding chest note and the top note. Callas certainly made the most of this tortured system of text in this arias composition [1958 live perf -NOT the studio where it’s lightened) and it’s completely a highlight of the entire aria in many ways. Others like : Zeani 1971 Bucharest, Tebaldi earlier recording nail it .....However it’s often run over.
It says soprano lirico here (about Freni) which is true. Role is for a dramatic soprano. It still sounded reasonably good though she pushed her voice beyond its natural limitations...
Leonora de la Gardie Of course since she was a lyric... She nevertheless managed to push it into the spinto roles. Listen to her live Nanetta from 1963 where she still sang naturally.
Le vanità, no „la vanità”. Tu che le vanità conoscesti del mondo E godi nell'avel il riposo profondo, Se ancor si piange in cielo, piangi sul mio dolor, E porta il pianto mio al trono del Signor.
Bravissima però la signora Scotto pur con i sui difettucci ha un fraseggio e una postura regale come il personaggio richiede... la signora Freni è sempre un po' casalinga.
Why don't you go and say something nice about Scotto on a page where Scotto sings? Don't know why people feel so important saying nasty things about singers and comparing them to others when they really don't know what they're talking about.
La linea di canto, il fraseggio, l’interpretazione sono veramente belle in questa performance di Mirella Freni. ❤🎵
Superba interpretazione...di MIRELLA FRENI..dove il suo canto...scorre sulle note in maniera cristallina...dove nelle asperità che questa grande aria presenta...questa somma cantante le affronta...e le cavalca dando l'impressione di una facilità tale ..che il suono è magnifico ed unico...l'interpretazione che dà..MIRELLA FRENI..con la sua arte in DON CARLO...è il top di tutta la storia sopranile di questa Opera...👑👏👏👏💖
One of the greatest sopranos of all times.
Absolutely!!!
A heavier soprano will always be missed in this aria, but Freni's line of singing and vocal wisdom here is amazing.
If ever there was a masterclass in singing and opera... this is it...brava mirella!
E godi nell'avel il riposo profondo, Mirella Freni. RIP
Another true artist lost this year. This was the first aria I thought to listen to when I heard the news. One of her great roles, to which she brought so much sorrow, maturity, and warmth
Dios, para mi la mejor ópera de Verdi. Los climas que crea con la música son magistrales al igual que los personajes.
Verdi to write Don Carlos, has written before la Forza, Ballo in maschera...then the top of Opera. Here Supreme Elisabetta of ever. I love both
Un. believable. A complete and ultimate SLAYING of the music, and the audience. Wow...
Une, parmi les meilleures versions de Don Carlo ( en 5 actes) que du plaisir, encore merci Madame!!
I.que. estilo.del. director. Que. Magnífica orquesta. Filarmónica. Sín.música. no.podría. existir. La ópera.
Freni is lovely and a wonderful Elisabetta. A very heavy role for a soprano. Mirella Freni's performance is majestically sublime.😍☀️🤩
Merci Mirella pour tous ces magnifiques moments, pour l'émotion....... repose en paix auprès de ton époux Nicolaï Ghiaurov
Uno dei pezzi più verdi che abbia mai scritto Verdi. Interpretato benissimo dalla Freni, con fraseggio eccellente. Anche Levine (che non mi è mai piaciuto molto in Verdi) ha levigato certe sue asperità e saputo giocare coi fiati in modo eccezionale.
Bravo pour la vidéo avec la partition pour les chanteurs c’est merveilleux merci encore
Bravissima Mirella. Now you're singing with the angels.RIP.
I saw that production and cast in 1983 and it was the greatest performance I've ever seen at the opera. I was totally transported.
the first time and, unfortunately, the only time I saw Freni at the Met, I was surprised at the size of her voice. Yes, still a lyric, but big.
I was there as well
I heard her at the Met in 1993. Her voice is much larger live and POWERFUL!
I am falling in love with this aria.
When I sang this I was made aware that the lyrics are LE vanità, not LA.
I took a master class for the marvelous Freni in 2004. Still treasure it in my heart ❤
Maravillosa como siempre! 🥰
One of the loveliest voices
There is NO OTHER Elisabetta for me! There are NOT enough superlatives to describe this performance! BRAVISSIMA Mme Freni!
Божественно!!!! БРАВО!!!!!!!!!!!!!!
Wonderfully well sung!
Freni did an outstanding job here. She was always considered more lyrical soprano, but she sure pulled out some chest voice here and kept her vocal line impeccable. And she looks very cute in that costume.
Semplicemente meravigliosa. Grazie.
Qué técnica, Mirella!!!
Verdi is the father of perfect art
Her pronunciation is superb, love when artists sing their own languages such as Ludwig
Wonderful in every way. RIP diva!
Splendida interpretazione! Grandissima Elisabetta💟
Thank you for putting the music on the video!
Maravillosa, esplendida interpretación..¡¡
Freni es extraordinaria..igual que la orquesta y la dirección!
sarai sempre nei nostri cuori Mirella.....
Wow! Wow! Brava!!❤💕❤
MARAVILLA
Mirella sei fantastica
What a beautiful voice!
Magnífica!!!! Brava!!!
Note: The Italian version of this grandious Opera is Don Carlo, while the French version is Don Carlos. I have seen this opus on DVD. 🤩☀️😍This incipient is from the Italian version in Five Acts.
Brava Brava Brava! Niente da eccepire!
Mauro Torriani
niente da eccepire ?!?!
e la pronuncia ?!?!...
il vecchio
SUPERB!!!
Ti amo cara Maestra .
Восхитительно!
MERAVIGLIOSA !
No cabe. Duda. La ópera es. Mucho más. Bella. I.gran diosa. E en. Boca. De. Intérprete. Mujer.
SHE IS NO PRINCESS.........SHE IS A QUEEN!!!!!
WHEN I WAS STUDYING VOICE WITH TATIANA MENOTTI AND JUAN ONCINA AND CAMPOGALLIANI IN BARCELONA DURING THE MID EIGHTIES.....I INFESTED THE LICEO........AND CAN ATTEST THAT FRENI WAS THE GREATEST SINGER I HEARD THERE.
THE WAY THE UPPER REGISTER OF HER VOICE FLOODED THE THEATRE GAVE YOU GOOSEBUMPS ALL OVER.
HER AMELLIA GRIMALDI WAS STUPENDOUS.AS WAS HER ADRIANNA LECOUVREUR.....I WENT TO MULTIPLE PERFORMANCES.AND CAN ATTEST THAT SHE CONSTANTLY BROUGHT THE HOUSE DOWN. IT WAS DURING THIS PERIOD THE EARTHQUAKE IN MEXICO HAPPENED AND A CONCERT HAD BEEN QUICKLY ORGANISED TO BENIFIT THE VICTIMS OF THE QUAKE.THIS CONCERT PIGGY BACKED ONTO THE SIMON BOCANEGRA...SO THAT NIGHT WAS VERY LONG ESPECCIALLY FOR FRENI WHO PARTICIPATED EXTENSIVELY IN BOTH.......SO EVERYONE WAS WAITING ATVTHE STAGE DOOR PEN IN HAND......WHEN FRENI APPEARED SHE LOOKED VERY TIRED AND WAS CLEARLY DAUNTED AT THE HUNDREDS OF FANS WAITING TO GREET HER AT THE STAGE DOOR ....ME...FIRST IN THE QUEUE........I TOOK ONE LOOK AT HER AND LET HER PASS UNMOLESTED BUT DEFINATLY ADORED.......THE NEXT AFTERNOON I WENT FOR MY LESSON ANDBWHO WAS COMING OUT OF THE ONCINAS WAS MIRELLA FRENI WHO RECOGNISED ME FROM THE NIGHT BEFORE.........MR ONCINA TOOK HER BACK TO HER HOTEL....AND ON HIS RETURN HE DELIVERED TO ME FROM FRENI A BEAUTIFUL COLOURED PHOTO WITH DEDICATION AND SIGNATURE WHICH I CHERISH.
Meravigliosa
splendida
sublime
Tú, que la vanidad del mundo conociste
y gozas, en tu sepulcro, del reposo profundo,
si aún se llora en el cielo,
llora por mi dolor,
y lleva mi llanto al trono del Señor.
¡Sí! ¡Carlos vendrá!
¡Que se vaya y me olvide para siempre!
A Posa, que velaría por su futuro, le juré,
que siga, pues, su destino.
La gloria alcanzará;
para mí, la vida ya se ha terminado...
¡Francia, noble tierra,
tan querida en mi infancia!
¡Fontainebleau!
Hacia ti vuelan mis pensamientos.
Allí escuchó Dios de mí,
eterno juramento de amor,
y esa eternidad sólo duró un día.
Entre vosotros, dulces jardines
de esta tierra ibera,
si Carlos aún detiene sus pasos al anochecer,
que los prados y los arroyos,
las fuentes, los bosques y las flores,
con su armonía, le canten nuestro amor.
¡Adiós, bellos sueños de oro, ilusión perdida!
¡El lazo se rompió; la luz se apagó!
¡Adiós, juventud que cedes a este cruel dolor!
El corazón sólo tiene un deseo:
¡la paz de la tumba!
Tú, que la vanidad conociste del mundo
y gozas, en tu sepulcro, del reposo profundo,
si aún se llora en el cielo,
llora por mi dolor,
y el tuyo, con el llanto mío,
ofrece a los pies del Señor.
Mario Turati Gracias por la traducción :)
Gracias!
molto molto ben cantata il pubblico ha ragione|
Superb
ВЕЛИКОЛЕПНА ФРЕНИ!!!👏👏👏
Pierocappuccilli
Pierocappuccil
Pierocappuccilli
)(,08
Che voce...
Mirella ETERNA!
Brava 🥺
Who cares if the voice was not heavy enough for this role. Listen to the nuances of her interpretation, the character portrayed through one of the most beautiful soprano voices ever, supreme musicality. Tebaldi NEVER sang the role on stage only recorded it for the London/DECCA label near the end of her glorious career. Callas sang this with Corelli on stage at La Scala and there are rumors that the tenor's wife recorded the whole opera but never released it because "il divo" was not in perfect voice that night. Caballé, which I admired a lot, sang Elisabetta many times perhaps with a more appropriate voice and colors but never close to Freni's refined and dramatic expressiveness.
Freni. FRENI!!!! FfffRrrEeeeNnnIii!!!!!!!! 💞
ESPLENDIDA
conductor is Joseph Levine.
James not Joseph
In Italia la prima è stata il 27 ottobre 1867 al Teatro Comunale di Bologna
Talmente brava che sue colleghe coeve con un timbro magari più prezioso non hanno eguagliato la sua meravigliosa resa vocale...
Tu dici? Tutte quelle r arrotate...i portamenti...il timbro poco verdiano...poca nobilta'...forse sono io stupidamente esigente.
@@fabriziogarzi9892 diciamo che se la altre avessero avuta la sua tecnica....sarebbero durate molto di più e in vice. Poi sia chiaro non era una voce di timbro bellissimo. Tuttavia guardiamo una Caballe', timbro magico ma carriera spezzettata da un canto ad un certo punto sbrigativo quando non penoso.
@@numetutelare si, la Caballe' ha avuto un percorso un tantino "troppo allegro" ed e' durata intonsa si è no una dozzina di anni ma comunque un pezzetto di storia della musica, in alcune cose, l'ha scritta.
Concordo ma appunto è durata poco e si dura poco quando si pensa che la tecnica sia un fatto acquisito e non si debba esercitarla in modo continuo.
Comunque essere esigente è sempre consigliabile, e di questi tempi direi necessario...
Role is for a dramatic soprano or a spinto, nevertheless even lyrics sing it nowadays. Freni is one great lyric who started this habit since she was asked to do it. She also did Manon Lescaut and Aida...
Karajan started this trend. He did not like the big sopranos who often overpowered his orchestra. He hated Nilsson for example even though he worked with her because he had to given her standing in Wagner. He wanted all singers to be secondary to his orchestra, as though opera was some sort of concert rather than a dramatic performance where the singers are more important. The only vocal artist he ever really respected was Callas.
Wilson Watt
Yes, she was asked to do it I guess.
Wilson Watt I love Callas. That doesn‘t mean I don‘t have to miss others. And Freni was a great Elisabetta.
@@wilsonwatt9283 Nilsson's riotous sense of humor was the perfect foil to the ego of Karajan, or Herbie, as she called him. Per Nilsson, he wrote her with a list of roles he demanded to conduct her in. To which she laconicly replied "Busy. Birgit." There's also the famous story where she wore a miners hat to rehearsal to protest his dimly-lit staging
Wilson Watt
I read yesterday he wanted her to sing Turandot which she wisely refused, and that was the end of them working together. They never spoke again.
フレー二のエリザベッタ最高です。
ヴェルディでは「ドン・カルロ」が最も好きで随分多くの演奏を聴きましたが、カラス、テバルディと言えどもフレー二の右に出る者はいないと思います。
R.I.P. Freni -Mirella did very well with the lirico-spinto roles and is near perfection in this role as her voice which was always plump really expanded a bit larger by the 1980’s. However : “Il pianto mio , o porto altrono del Signor” was only half effective as she became inaudible on the second of low part before leap. It’s a notorious interval that only a few recorded sopranos seem to manage and even live it can get fudged. Freni seems more preoccupied with gunning to the Bb quickly in an outer hinge technique versus an inner glottal space. The latter would have made room for both the lower proceeding chest note and the top note. Callas certainly made the most of this tortured system of text in this arias composition [1958 live perf -NOT the studio where it’s lightened) and it’s completely a highlight of the entire aria in many ways. Others like : Zeani 1971 Bucharest, Tebaldi earlier recording nail it .....However it’s often run over.
Daniel Raphael hard to top tebaldi in this role
1:57
It says soprano lirico here (about Freni) which is true.
Role is for a dramatic soprano.
It still sounded reasonably good though she pushed her voice beyond its natural limitations...
Nessuno può cantarlo meglio.
A parte la divina
Gary N. Reese
non e' vero .
dal vivo vocalità piccolina ...
una registrazione sovente e' una registrazione dolce ...
e poi la pronuncia ...
il vecchio
@@francescopaterlini8520sopratutto la Divina.
may be a heavy role for her... but good enough
A bit, but intelligently sung.
Bravoooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooo..........................................
The great Freni is probably more at home with Mimi than with Elisabetta.
Leonora de la Gardie
Of course since she was a lyric...
She nevertheless managed to push it into the spinto roles.
Listen to her live Nanetta from 1963 where she still sang naturally.
And she is a very convincing Elisabeth!
Some more volume and warmth in the low passages would not go amiss. Beautiful diction, though.
Le vanità, no „la vanità”.
Tu che le vanità conoscesti del mondo
E godi nell'avel il riposo profondo,
Se ancor si piange in cielo, piangi sul mio dolor,
E porta il pianto mio al trono del Signor.
Quanto di piu' lontano dal rappresentare Elisabetta di Valois.
Nell 'insieme ok
in this aria only CALLAS
There is no complete recording of Callas in this role. Should we therefore never listen to this opera at all?
Totally agree with you. But unfortunately the full opera of her Don Carlo is not recorded...
Bastaaaaaa....
Freni sings beautifully here, but she is frightfully short of breath: "Il pianto - BREATH - mio, porta al trono - BREATH - del signor
valiant effort but her voice is too light.
babydrane
Correct, still sounding fresh here, despite not being her true voice fach.
La voce non ha forza sufficiente per questo ruolo.
Bravissima però la signora Scotto pur con i sui difettucci ha un fraseggio e una postura regale come il personaggio richiede... la signora Freni è sempre un po' casalinga.
Why don't you go and say something nice about Scotto on a page where Scotto sings? Don't know why people feel so important saying nasty things about singers and comparing them to others when they really don't know what they're talking about.
Giancarlo Paris
la Scotto aveva la voce del soprano lirico leggero ...
Gary N. Reese Gary , we can't change people minds , the only thing we can do is trying to educate them .. but the rest is diversity
@@GaryNReese sorry. i'm stupid. I was rude
@@giancarloparis1759no, no, hai perfettamente ragione.
Sublime