E' una cosa fantastica e straziante allo stesso tempo...E' riuscito a mettere in scena l'amore puro, la tenerezza assoluta, non solo con la sua stupenda voce ma con quel sorriso emozionato e con gli occhi trasognati. Piango ogni volta che lo vedo e lo sento, pochi mi toccano il cuore così. Grazie Puccini e Grazie Domingo.
I think beauty takes different forms, and Placido Domingo is an instrument of great beauty. I am an aging pianist, and when I was young, I listened to other pianists with a very critical ear. Now I can appreciate each individual for his/her unique contribution and am extremely grateful for being here this long to have heard them all.
So young, so committed, so powerful. I love finding these videos of him throughout his career, but most especially very early, because I am certain so much of the video record available is decaying to dust because of the poor medium. The amount of heart and soul he pours into every performance is gargantuan... this important opera artist needs to honored and studied.
Yo nunca Dude de tu DO papi, sin lugar a dudas eres uno de mis cantantes preferidos por no decir el preferido (el mas completo). Larga vida a Placido Domingo
A miracle. My God... just a miracle... of commitment... expression... you name it. Everything is left out there on stage. He gives us absolutely everything that he has, and it's more than we have a right to expect or even ask. Thank you, Placido. Thank you so much.
This Boheme is a Vocal Feast Sabine Tomzig, Hamburger Abendblatt, 27th December 1967 Intendant Rolf Liebermann assembled an imposing ensemble of soloists for the Christmas premiere - Puccini's La Bohčme. First and foremost a new star for Hamburg: Placido Domingo. Belcanto of the most generous ease, of burning sentiment, but also of moving tendernesss was heard from Placido Domingo as the poet Rodolfo. [...] He sang his big arias fervently, and the audience was extremely appreciative.
1984 Vienna 80 minutes of standing ovation after la Boheme. 1986 105 minutes standing ovation in 1986 Vienna after Otello. You wonder who is the best? There is no best singer. They are there to enjoy.
thank you soo so much for putting this on youtube - this man is a genius and his voice in this performance is beyond awesome - thank you so so much for enabling us all to hear and see him Guy
Sensational Debut in La Bohčme Heuwell Tircuit, San Francisco Chronicle, 17th November 1969 Still, it was Domingo's performance which made the evening so memorable. It was his debut, his opera, his night. One hopes he will return often, and the sooner the better.
Superb "La Boheme" Will Become Opera Colorado Legend Glenn Giffin, Denver Post, April 6, 1983 Rodolfo's "Che gelida manina" (How cold your small hand) displays the elements of Placido Domingo's tenor which makes him one of the highest paid and most in demand singers. This is a big voice with something of a baritone's dark quality. In a lean frame, with dark hair and warm eyes, he is a romantic figure.
Pučini ir Domingo, abu labai panašūs savo vidumi. Aš manau Pučini išsirinktų tik Domingo kaip ir dauguma klausytojų,kurie jaučia muziką širdimi ir mažiau linkę analizuoti. Analizuoja kritikai,kuriems muzika mažiau rūpi.
Domingo should give Master Classes on operatic acting. I've sung three roles in Boheme and my ex wife sang Mimi in lots of productions. I have seen it in small opera houses and in the very biggest. I know how it goes. He is by far the most believable Rodolpho ever. I don't care that he transposes it down. What a performance.
Sensational Debut in La Bohčme Heuwell Tircuit, San Francisco Chronicle, 17th November 1969 A splendid musician, a gracious figure on stage for all his height (six-two), subtle in vocal details and stage deportment, Domingo sang a heroic yet affable Rodolfo with secure pitch and the timbre of 20 platinum trumpets. Even amid a season particularly rich in fine tenors, Domingo was very special.
I presume that this remark is in response to my statement - "Pavarotti was a better vocalist, but Domingo was and is a better singer." My point was that those others and you should consider the other aspects to singing other than just vocalism. There is also muscianship of course. No one thinks Pavarotti was as good a muscian as Domingo. That's not just my opinion.
La Bohčme 12/23/1967 Amusing Boheme as Christmas Premiere Heinz Joachim ,Die Welt, 27th December 1967 The casting of the two protagonists is exceptional: Arlene Saunders (Mimě) and the young Spanish tenor Plácido Domingo (Rodolfo): a heroic tenor voice who filled his lyrical part with admirable intensity, and who appears, moreover, to be destined to grow into the heroic role of a Siegmund, even a Siegfried. The two singers' piani were exquisite.
This will be my last comment on this video. Domingo doesn't need me to defend him. Just listen to the aria! There are only a few tenors alive at any one time who can sing this piece this well. Pavarotti was one, Aragal was another. Richard Leech was also super in this role. So was our local tenor Richard Lyszt. I prefer warmer voiced tenors like Aragal or Domingo but I can still appreciate more silvery voices like Pavarotti. Tastes vary.
different people have different ranges, so it's common practice to transpose arias and art songs to fit various vocal ranges. I am a staff accompanist at a music school, and I have had to play some pieces in as many as 5 different keys.
Sensational Debut in La Bohčme Heuwell Tircuit, San Francisco Chronicle, 17th November 1969 History repeated itself Saturday evening in the Opera House when the stupendous Mexican tenor, Plácido Domingo, made his San Francisco Opera debut on a fluke. Just as with his Metropolitan Opera debut (September 28, 1968) Domingo stepped in to replace an ailing colleague, and just as with the Met debut, created a sensation.
@@napoleonisthegreatest.2448 Domingo became nasal in his 40s and honestly it was a just a fact nothing else It never disturb me and his millions of fan too As for the high notes , he has some , there just much more intense and dramatic. And yes he doesn’t have Pavarotti or Corelli’s ones but who cares ! His timbre is absolutely magnificent, unique among tenors
Esta versión de Plácido Domingo es fantástica, de otro mundo, qué pena que no haya una grabación mejor de este hermosísimo video. Gracias por compartirlo !
Hai ragione bodiloto.... Questo non è il Rodolfo tradizionale. Il Rodolfo tradizione potrebbe essere quello di Di Stefano o quello di Pavarotti. Ma credo che Puccini, da quell'uomo intelligente che era, avrebbe apprezzato moltissimo questa rilettura... Anche perchè magari chissà, non ci aveva pensato che Rodolfo poteva essere anche COSI', appassionato e ardente... E Puccini era un uomo che amava mettersi in discussione.
It's true, Domingo's voice lacked the heights but his musicianship and vocal power, to say nothing of his magnetism as the lover, made for many of opera's 'deathless moments', of the last 30 years.
Puccini actually didn't mid at all his arias being taken down a half step. He also didn't mind people holding onto notes longer than he wrote them. Most composers didn't mind these things as long as it made the audience happy.
I always said i hate opera... until i saw placido domingo's performance at "Echo der Klassik" yesterday. great to see an old piece of this master of art. thank you for upload
For me, if I had to choose between Pavarotti and Domingo, it was always Domingo - SO much more colour to his voice, even if he didn't have those incredible 'floaty' top notes.
For who problem lack of top C Domingo's.Just for you Thelnquisite4ever!!! Why you listen Domingo? I don't like "big Pava", and I don't listen! Domingo realy musician, not only singer, he learn music from his little childhood, and this is what to sound! He not only stand and sing shrilly high-pitched,like italian tenors, he live and play on the stage, and his voice soft and velvety! Domingo is authentic Cavaradossi, Rodolphe, Manrico, Kalaf, etc, with his B, for me it's more important!
Lets be clear about it Inquisition, Conductors such as Solti, Giulini or Karajan did not simply take whoever was imposed on them by the record companies. NOBODY told Karajan what to do.
.......Still there is much beauty to be found in Domingo's mid to low register, and he phrases like a great cellist. Even though Domingo never had that trumpet-like clarion high register ala Mario del Monaco or Franco Corelli, I still love him......
Which part of my question did you not understand? are you telling Karajan, for example, to get a clue? I mean, since you are not an expert Should I believe you or Giulini who actually chose to have Domingo for his recordings of Il Trovatore and Rigoletto, despite the fact that he did not have a high C! maybe Giulini (who only made recordings when he felt he had a valid interpretative point to make) needs to get a clue. What do you think? Should Solti get a clue?
@jd1906sf It's wonderful that you are a Domingo fan&that you enjoy hiim.But to state that he's a dramatic tenor is certainly stretching the imagination.The dramatic category belongs to tenors like DelMonaco,Merli,Vinay,Zenatello,Paoli,Tamagno.Even Spinto tenors like Corelli,Tucker&Martinelli all had larger voices than Domingo.Domingo is a lyric spinto voice,but that should not diminish your enjoyment for him.Tenors like Gigli&DiStefano achieved greatness without being classifed asdramatic tenors
It was sung by Jose Carreras many times. You should youtube his name if you want to hear his version which is also great. This video is for Placido though, not Jose.
bravo Placido!!! una romanza tan lírica para un tenor spinto no es nada fácil cantarla, pone entrega, carácter, voz y.. que importa si no hay el DO??? siempre hay operas que a uno le van mejor que otras. ya sabemos que aquí lucen mas otros tenores por su timbre lirico y fácil agudo.
No, Domingo en un principio era barítono, en Monterrey México inició sus primeras clases y sus maestros decian que El era un Barítono naturál, es por eso que sus notas agudas son inciertas, pero eso no le quita LO GRANDE.
@@carlosmbacaicoahualde8752 Un Tenor debe cubrir un rango vocal especifico, DO sobreagudo, y el Passagio debe estar minimo en un La'.....Placido nunca pudo emitir un DO de Pecho en sus inicios, claro que esto no quita la belleza de su voz y la interpretación inigualable. Pero esto solo lo pudo lograr a mediados de los 70's....El Rango vocal define tu tesitura.
@@chaguino Yo he escuchado a Plácido emitir, con cuarenta años muy cumplidos, agudos trompeteros. No entro en las notas que podía o no alcanzar, no me importa. Plácido transmite emociones como nadie e interpreta, actúa, como nadie. Si no fuese así, no sería una leyenda desde hace 45 años, Santiago. Le voy a poner un ejemplo pedestre. Mesi no tiene un gran remate de cabeza. ?Deja por eso de ser el mejor futbolista? Perdone el ejemplo, pero creo que me entenderá. Cantar ópera no es un ejercicio físico consistente en lanzar agudos estratosféricos, como si de una competición de jabalina se tratase. A los aficionados no nos importa si podía dar el si bemol o el la natural. Como a los futboleros no les importa que Mesi no sea un gran rematador de cabeza.
There's always a lot of nonsense written on TH-cam about Domingo. There's someone who pompously declares that Domingo was never a spinto just a lyric who pushed - not realizing that the term 'spinto' means pushed. Rodolpho's C is a bit to high for Domingo as it was for Caruso. It's a bit too lyric for him too as it was for Corelli and Del Monaco. Carreras, Bjoerling, and Pavarotti are all better suited for Rodolpho. Pavarotti was a better vocalist, but Domingo was and is a better singer.
can control it. To a certain extent all notes after the passagio have to be covered to protect the voice..if you dont like someones "bright tone" or "choked tone", You said that you never were a singer, so I am telling you, because I am a singer and AM studying vocal technique: this is a conscious decision the singer makes.. "choking" means putting the sound more back, overcovering the vowel, its simple.. its not CHOKING or HURTING THE VOICE ITSELF. Again, the singer chooses the vowel..
Well, he is quite good in this rendition. He transposed it but I don't care. His high notes are his weakness. But he had guts to sing it .Again for dramatic tenor to sing lyric repertoire - very good job.
C5s can be dropped to B4s. I've heard him sing C5s, but his uppermost register isn't as natural as others. His A4 at 1:13 is glorious - I don't think anyone had/has a better A4.
this don't mean nothing i am baritone but i sing as tenor cz i can sing this tessitura anyway yes he started as baritone but for only fews years and when he was to young for the right tecnic at 21 yrold he sung the lucia di lammermoor as tenor so he was tenor from the beginner just he didn't know this... :D
Oh, but if he did. As he aged, his voice got lower and heavier. His musicality is unmatched and his vocal agility is great. Alas... that upper register.
I believe the highest note Domingo ever hit was a High D... same as Pavarotti. Out of the three tenors I think Jose Carreras could sing the highest, but I like his tone quality less than the other two...
Give me, everyone else, and Domingo a break. There is a big difference on how he delivers his As vs. his Bs which lead many to say he's a baritone and not a tenor (incorrect) but most of his Bs are fine and he takes great care to make them so. Granted, not all were great. The man never feared the B and delivered some brief, taut C5s in his career. All this from a quite heavy voice! No one can touch his musicality and acting.
Ah, un'ultima cosa, bodiloto... Posso essere d'accordo sul fatto che la voce di Domingo non sia esattamente quel che si richiederebbe per Rodolfo, ma mi permetta di dissentire sul fatto che la voce di Domingo non sia "pucciniana"... Perchè ci sono almeno DUE personaggi del Maestro che Domingo sa rendere come nessuno... Des Graix della Manon e Cavaradossi. E aggiungerei anche, per mio gusto, il brigante della Fanciulla del West. Le assicuro che questi personaggi SONO di Domingo, punto.
Scusa l'intromissione, ma per voce pucciniana, voce verdiana in realtà che si intende?penso che all'interno di Puccini e Verdi esistano mille vocalitò diverse,si va da Rodolfo a Dick Johnson, da Alfredo a Otello...qui non credo si tratti molto dell'autore, ma più di un fatto che Domingo aveva un limite oggettivo nel settore estremo acuto e quello che poteva fare era semplicemente arrangiarsi con la sua grande professionalità e qualità vocale, visto che volente o nolente il si o il do c'è sempre!
Domingo is my favourite singer. In my opinion, the better "che gelida manina" is the Karajan-Pavarotti version. This performance is perhaps equally beauty. Pavarotti voice is melodic and sentimental, Domingo rather is very a powerful and passionate Rodolfo. (Sorry, my english is bad)
Pavarotti had the highest voice of all the three tenors, he frequently sang the D flat above high C live. In contrast, I don't think I've heard that note sung live by either.
El timbre de Domingo,puramente y bellamente tenoril,y en vivo lo era mas. El si bemol de Domingo en teatro era sencillamente maravilloso,y hasta le escuche en Fanciulla del West un si natural increible.Fraseo,legato,musicalidad,actuacion,,,a quien le importa que no tenia el do mus y facil y o despues lo perdio.
Esta claro que no estoy hablando de Che gelida manina,si no,y esta bien claro en lo que escribi en las funciones que le escuche a Domingo en el Colon,desde 1972,79,1981,1997,1998, Para opinar de ciertas cosas y retrucar con sarcasmo hay que leer bien,y haber escuchado mucho y en vivo a un cantante.
He escuchado a Domingo mas de lo que usted y su arrogancia imagina. Le puedo decir que si acaso un Si natural es la nota mas alta. Se le han atribuido medios falsetes muy desagradables para un timbre tan bello como DO de pecho, por ejemplo en pourquoi me revellier, lo puedes buscar en youtube. Puccini es tajante y muy exigente, mas que el mismo Verdi. Puccini pide un do agudo a la speraaaaaanza!!!!, esa parte cuando es un do bien dado y brillante tipo carreras, pavarotti o Kraus es para ponerse de pie. Cuanto a interpretación escénica puedo decir que Domingo es el mejor actor cantante de ópera, NO QUIERE DECIR QUE SEA EL MAS GRANDE DE LA HISTORIA. Sin embargo logra cautivar su especial actuación y asi tapar algunos agudos algo huecos en la escena. El mejor actor, el mas creible y una voz si bien baritonal en todo aspecto, la pudo colocar en la tesitura de tenor y cantar como tal. Su timbre es muy bello pero siempre le reclamare los agudos de los cuales sí necesito para cerrar en deleite de nuestros oidos. Bendiciones...
Mi contestacion fue en el mismo tono en el cual usted escribio su comentario. Domingo en teatro,en su epoca de esplendor por supuesto,tenia unos si bemoles estupendos,y para nada huecos,timbrados con una voz puramente tenoril,que llenaban el teatro,,El si natural,evidentemente su utima nota en gran parte de su carrera,,,si bien no tenia la facilidad del si bemol,recuerdo especialmente uno en fanciulla del west(amo la vita e ancor bella mappar) que levanto la cupula del Colon..Lo mismo los agudos del famoso Otelo. Pourquoi me reveille no tiene ningun Do,son si bemoles...En cuanto a Che gelida manina,salvo Kraus y Pavarotti( en la primera parte de su carrera), la han cantado como Domingo,bajada medio tono,,Y realmente poner a Carreras como ejemplo de un tenor con do agudo,no creo que sea el caso.Nadie dijo,por otro lado que sea,el mas grande de la historia,lo que quize significar es que en teatro la voz sonaba mejor que en grabaciones, y sus agudos sobre todo hasta el si bemol en teatro eran bellisimos.Tener o no tener un do,no hace a un tenor mas grande que a otro.
omar CARRION primero que nad el do d pecho es la nota que identifica a un tenor. Segundo Pavarotti, kraus y carreras si daban los agudos que pedia Puccini por ejemplo. Tercero: pido disculpascpues el aria a la cual me referia es je crois entendre encore. Siempre se me confunden ambas arias.
Saying that Domingo never had a high C... is not only ignorant... but just plain stupid. I mean.. again I dont like to take sides, but a high C for a lead tenor a problem? Not for any tenor, period. If you know about vowel modification, some people depending on their voice sing high notes (tenor C), more or less covered than others... it all depends on their instrument. Not everyone needs to cover completely to make a beautiful sound.. if someone WANTS to cover, they can.. at that level you
Un maestro en inteligencia de canto, musica, legato y de como enmascarar su cortedad de agudos. El timbre es excitante y fantastico. Si tuviera, ademas, buenos agudos seria repugnante
I know that the great Opera Heritage goes far beyond a few popular tenor arias, which is where your petty interest appears to stops. So instead of being a public nuisance, why don't you broaden your horizons? There's a universe out there waiting to be discovered.
this is SO true, von Karajan was a bull to work with, I heard, and a pompous piece of work on top of it. therefore his very pro-Domingo opinion is noteworthy. More so than our Inquisitive internet pest. HE needs to get a clue.
Ok Mr. "get a clue" Inquisition, since you are not an expert, can you explain how it came to be that during the apex of his career Domingo (who never had a high C and whose technique was unquestionably inferior to Pavarotti's - on this I agree with you fully) sang (with various transpositions) under illustrious conductors such as Karajan, Giulini, Kliber, Jochum, Gavazzeni, Levine, Solti and many others... How did this happen? Do you want to tell these great maestri to "get a clue" too?
bodiloto, mi perdoni... Ma faccio molta, molta fatica a credere che Domingo dal vivo pensasse continuamente al Do di petto... Da quel poco che so e da come l'ho sentito cantare ( ahimè, solo in registrazione...) mi pare un tipo che canta d'impeto e NON pensa alla nota... Pensa a quello che sta cantando, non a COME lo deve cantare. E questo per me, se permette, vale mille volte di più di un Do di petto.Domingo non avrà il Do... Ma ha L'ANIMA nella voce.
![[LIVE] : ONE ลุมพินี 85 | คู่เอก "ยอดเหล็กเพชร vs ผึ้งหลวง"](http://i.ytimg.com/vi/Qq_19bnnxEo/mqdefault.jpg)
E' una cosa fantastica e straziante allo stesso tempo...E' riuscito a mettere in scena l'amore puro, la tenerezza assoluta, non solo con la sua stupenda voce ma con quel sorriso emozionato e con gli occhi trasognati.
Piango ogni volta che lo vedo e lo sento, pochi mi toccano il cuore così.
Grazie Puccini e Grazie Domingo.
I think beauty takes different forms, and Placido Domingo is an instrument of great beauty. I am an aging pianist, and when I was young, I listened to other pianists with a very critical ear. Now I can appreciate each individual for his/her unique contribution and am extremely grateful for being here this long to have heard them all.
Che Maestro!!!! Meraviglioso...Un esempio per chi studia lirica...Si deve ascoltare in ginocchio...Fantastico :D
So young, so committed, so powerful. I love finding these videos of him throughout his career, but most especially very early, because I am certain so much of the video record available is decaying to dust because of the poor medium. The amount of heart and soul he pours into every performance is gargantuan... this important opera artist needs to honored and studied.
Yo nunca Dude de tu DO papi, sin lugar a dudas eres uno de mis cantantes preferidos por no decir el preferido (el mas completo). Larga vida a Placido Domingo
El agudo final es un Si
Y así debe ser
@@bernatriera5437estás mal. No tienes buen oído es un Do sino que en la voz de Plácido ese Do Agudo se le escucha robusto .
@@RecepcionFloraTristan275 😂😂😂😂🤣
A miracle. My God... just a miracle... of commitment... expression... you name it. Everything is left out there on stage. He gives us absolutely everything that he has, and it's more than we have a right to expect or even ask. Thank you, Placido. Thank you so much.
Was für eine wunderschöne Stimme einmaliges Timbre u gefühlvolles Singen🙏Er ist ein Wunder der Natur❤️
Outstanding performance! A younger Domingo.....what a treat for the senses. Magnifico.
This Boheme is a Vocal Feast
Sabine Tomzig, Hamburger Abendblatt, 27th December 1967
Intendant Rolf Liebermann assembled an imposing ensemble of soloists for the Christmas premiere - Puccini's La Bohčme. First and foremost a new star for Hamburg: Placido Domingo.
Belcanto of the most generous ease, of burning sentiment, but also of moving tendernesss was heard from Placido Domingo as the poet Rodolfo. [...] He sang his big arias fervently, and the audience was extremely appreciative.
I LOVE MR. DOMINGO ACTING AS WELL AS SINGING THE PART
Always made full use of his gifts which were exceptional.
Meraviglioso 💕💕💕
Plácido es único ... y qué actor además ! Gracias por compartir
1984 Vienna 80 minutes of standing ovation after la Boheme. 1986 105 minutes standing ovation in 1986 Vienna after Otello. You wonder who is the best? There is no best singer. They are there to enjoy.
Oh My GOD, you can never stop learning and loving all of what this Superb Singer does!
He is just out of this world!
thank you soo so much for putting this on youtube - this man is a genius and his voice in this performance is beyond awesome - thank you so so much for enabling us all to hear and see him Guy
Sensational Debut in La Bohčme
Heuwell Tircuit, San Francisco Chronicle, 17th November 1969
Still, it was Domingo's performance which made the evening so memorable. It was his debut, his opera, his night. One hopes he will return often, and the sooner the better.
Superb "La Boheme" Will Become Opera Colorado Legend
Glenn Giffin, Denver Post, April 6, 1983
Rodolfo's "Che gelida manina" (How cold your small hand) displays the elements of Placido Domingo's tenor which makes him one of the highest paid and most in demand singers. This is a big voice with something of a baritone's dark quality. In a lean frame, with dark hair and warm eyes, he is a romantic figure.
I will never get enough of this aria
Pučini ir Domingo, abu labai panašūs savo vidumi.
Aš manau Pučini išsirinktų tik Domingo kaip ir dauguma klausytojų,kurie jaučia muziką širdimi ir mažiau linkę analizuoti.
Analizuoja kritikai,kuriems muzika mažiau rūpi.
Domingo should give Master Classes on operatic acting. I've sung three roles in Boheme and my ex wife sang Mimi in lots of productions. I have seen it in small opera houses and in the very biggest. I know how it goes.
He is by far the most believable Rodolpho ever. I don't care that he transposes it down. What a performance.
Sensational Debut in La Bohčme
Heuwell Tircuit, San Francisco Chronicle, 17th November 1969
A splendid musician, a gracious figure on stage for all his height (six-two), subtle in vocal details and stage deportment, Domingo sang a heroic yet affable Rodolfo with secure pitch and the timbre of 20 platinum trumpets. Even amid a season particularly rich in fine tenors, Domingo was very special.
I presume that this remark is in response to my statement - "Pavarotti was a better vocalist, but Domingo was and is a better singer."
My point was that those others and you should consider the other aspects to singing other than just vocalism. There is also muscianship of course. No one thinks Pavarotti was as good a muscian as Domingo. That's not just my opinion.
Gorgeous singing. And look st his face. He is Rodolfo. If I were Mimi I would not let this one get away!
La Bohčme 12/23/1967
Amusing Boheme as Christmas Premiere
Heinz Joachim ,Die Welt, 27th December 1967
The casting of the two protagonists is exceptional: Arlene Saunders (Mimě) and the young Spanish tenor Plácido Domingo (Rodolfo): a heroic tenor voice who filled his lyrical part with admirable intensity, and who appears, moreover, to be destined to grow into the heroic role of a Siegmund, even a Siegfried. The two singers' piani were exquisite.
This will be my last comment on this video. Domingo doesn't need me to defend him. Just listen to the aria! There are only a few tenors alive at any one time who can sing this piece this well. Pavarotti was one, Aragal was another. Richard Leech was also super in this role. So was our local tenor Richard Lyszt.
I prefer warmer voiced tenors like Aragal or Domingo but I can still appreciate more silvery voices like Pavarotti. Tastes vary.
Sensacional Placido
different people have different ranges, so it's common practice to transpose arias and art songs to fit various vocal ranges. I am a staff accompanist at a music school, and I have had to play some pieces in as many as 5 different keys.
Sensational Debut in La Bohčme
Heuwell Tircuit, San Francisco Chronicle, 17th November 1969
History repeated itself Saturday evening in the Opera House when the stupendous Mexican tenor, Plácido Domingo, made his San Francisco Opera debut on a fluke. Just as with his Metropolitan Opera debut (September 28, 1968) Domingo stepped in to replace an ailing colleague, and just as with the Met debut, created a sensation.
OMG that squillo , the best I ever heard by far , Placido Domingo is the king 👑 of tenors
For me he’s really the best to sing this 👌
Hello! I adore Placido Domingo very much too. But what can you say about his "nasal" sound and basically not having any high notes?
@@napoleonisthegreatest.2448 Domingo became nasal in his 40s and honestly it was a just a fact nothing else
It never disturb me and his millions of fan too
As for the high notes , he has some , there just much more intense and dramatic.
And yes he doesn’t have Pavarotti or Corelli’s ones but who cares ! His timbre is absolutely magnificent, unique among tenors
Y todavía hay gente que dice que no tenía agudos. Creo que en lugar de oídos tienen submarinos.
Esta versión de Plácido Domingo es fantástica, de otro mundo, qué pena que no haya una grabación mejor de este hermosísimo video. Gracias por compartirlo !
Magnifique plus rien à ajouter.
Hai ragione bodiloto.... Questo non è il Rodolfo tradizionale. Il Rodolfo tradizione potrebbe essere quello di Di Stefano o quello di Pavarotti.
Ma credo che Puccini, da quell'uomo intelligente che era, avrebbe apprezzato moltissimo questa rilettura... Anche perchè magari chissà, non ci aveva pensato che Rodolfo poteva essere anche COSI', appassionato e ardente... E Puccini era un uomo che amava mettersi in discussione.
It's true, Domingo's voice lacked the heights but his musicianship and vocal power, to say nothing of his magnetism as the lover, made for many of opera's 'deathless moments', of the last 30 years.
Breath taking! I love Placido Domingo.
Thank you for this, I have searched around but cannot find Domingo on video singing La Boheme.
E questa non è una cosa che si studia... L'anima o ce l'hai o non ce l'hai. Domingo ce l'ha, e questo credo sia assolutamente fuori discussione.
the A flat at 1:15 is STUPENDOUS, and of course the B at the end is great too.
but i really liked that A flat, it was thrilling! great vibrato.
Puccini actually didn't mid at all his arias being taken down a half step. He also didn't mind people holding onto notes longer than he wrote them. Most composers didn't mind these things as long as it made the audience happy.
You can argue about a singers career, but from a vocal technique standpoint, I am telling you that there is nothing wrong with the voice.
Ma chi l'ha detto che il romanticismo dev'essere dolce e melenso??? Io Placido lo trovo... drammaticamente e passionalmente romantico! XD
I always said i hate opera... until i saw placido domingo's performance at "Echo der Klassik" yesterday. great to see an old piece of this master of art. thank you for upload
exelente musical, actoral y vocalmente.
For me, if I had to choose between Pavarotti and Domingo, it was always Domingo - SO much more colour to his voice, even if he didn't have those incredible 'floaty' top notes.
Marian Clarke
That's because Pavarotti was essentially the greatest Bel Canto Tenor...did you ever hear Domingo sing Bellini?
+
Marian Clarke 👍🏻👍🏻👍🏻👍🏻👍🏻
Same for me!
@@rationalsceptic7634 bien sûr que Domingo chante du
For who problem lack of top C Domingo's.Just for you Thelnquisite4ever!!! Why you listen Domingo?
I don't like "big Pava", and I don't listen! Domingo realy musician, not only singer, he learn music from his little childhood, and this is what to sound! He not only stand and sing shrilly high-pitched,like italian tenors, he live and play on the stage, and his voice soft and velvety! Domingo is authentic Cavaradossi, Rodolphe, Manrico, Kalaf, etc, with his B, for me it's more important!
The greatest without a doubt!
Oh, GREATH DOMINGO!!!
Thanks for share.
how one could give me a thumbs down for such a positive comment, i have no idea at all.
Lets be clear about it Inquisition, Conductors such as Solti, Giulini or Karajan did not simply take whoever was imposed on them by the record companies. NOBODY told Karajan what to do.
Oh mon dieu! How could Mimi resist?
grande interpretazione,
.......Still there is much beauty to be found in Domingo's mid to low register, and he phrases like a great cellist. Even though Domingo never had that trumpet-like clarion high register ala Mario del Monaco or Franco Corelli, I still love him......
Which part of my question did you not understand? are you telling Karajan, for example, to get a clue? I mean, since you are not an expert Should I believe you or Giulini who actually chose to have Domingo for his recordings of Il Trovatore and Rigoletto, despite the fact that he did not have a high C! maybe Giulini (who only made recordings when he felt he had a valid interpretative point to make) needs to get a clue. What do you think? Should Solti get a clue?
exelente, gran actuación, voz perfecta, todo un musico.....gracias por esta interpretación
amazing
thank you
@jd1906sf It's wonderful that you are a Domingo fan&that you enjoy hiim.But to state that he's a dramatic tenor is certainly stretching the imagination.The dramatic category belongs to tenors like DelMonaco,Merli,Vinay,Zenatello,Paoli,Tamagno.Even Spinto tenors like Corelli,Tucker&Martinelli all had larger voices than Domingo.Domingo is a lyric spinto voice,but that should not diminish your enjoyment for him.Tenors like Gigli&DiStefano achieved greatness without being classifed asdramatic tenors
Tucker did NOT have a larger voice than Domingo.
Superb! a true lyric tenor.
It was sung by Jose Carreras many times. You should youtube his name if you want to hear his version which is also great. This video is for Placido though, not Jose.
bravo Placido!!! una romanza tan lírica para un tenor spinto no es nada fácil cantarla, pone entrega, carácter, voz y.. que importa si no hay el DO??? siempre hay operas que a uno le van mejor que otras. ya sabemos que aquí lucen mas otros tenores por su timbre lirico y fácil agudo.
preciosa Boheme de Domingo-Te Kanawa, una pena no la comercialicen en un DVD de calidad
No, Domingo en un principio era barítono, en Monterrey México inició sus primeras clases y sus maestros decian que El era un Barítono naturál, es por eso que sus notas agudas son inciertas, pero eso no le quita LO GRANDE.
No, Santiago, él creía que era barítono. Pero siempre ha sido tenor.
@@carlosmbacaicoahualde8752 Un Tenor debe cubrir un rango vocal especifico, DO sobreagudo, y el Passagio debe estar minimo en un La'.....Placido nunca pudo emitir un DO de Pecho en sus inicios, claro que esto no quita la belleza de su voz y la interpretación inigualable. Pero esto solo lo pudo lograr a mediados de los 70's....El Rango vocal define tu tesitura.
@@chaguino
Yo he escuchado a Plácido emitir, con cuarenta años muy cumplidos, agudos trompeteros. No entro en las notas que podía o no alcanzar, no me importa.
Plácido transmite emociones como nadie e interpreta, actúa, como nadie. Si no fuese así, no sería una leyenda desde hace 45 años, Santiago.
Le voy a poner un ejemplo pedestre. Mesi no tiene un gran remate de cabeza. ?Deja por eso de ser el mejor futbolista?
Perdone el ejemplo, pero creo que me entenderá.
Cantar ópera no es un ejercicio físico consistente en lanzar agudos estratosféricos, como si de una competición de jabalina se tratase.
A los aficionados no nos importa si podía dar el si bemol o el la natural. Como a los futboleros no les importa que Mesi no sea un gran rematador
de cabeza.
@@chaguino
Sí Ud. cree que Lauri Volpi, Corella o Del Mónaco, por ejemplo, emocionaba o transmitían como Domingo, está muy equivocado, me temo.
Corelli, quiero decir.
Ma quant'è appassionato questo Rodolfo... Oh, come vorrei essere la sua Mimì, mi accontenterei anche di una soffittuccia... T___T
There's always a lot of nonsense written on TH-cam about Domingo. There's someone who pompously declares that Domingo was never a spinto just a lyric who pushed - not realizing that the term 'spinto' means pushed.
Rodolpho's C is a bit to high for Domingo as it was for Caruso. It's a bit too lyric for him too as it was for Corelli and Del Monaco. Carreras, Bjoerling, and Pavarotti are all better suited for Rodolpho.
Pavarotti was a better vocalist, but Domingo was and is a better singer.
can control it. To a certain extent all notes after the passagio have to be covered to protect the voice..if you dont like someones "bright tone" or "choked tone", You said that you never were a singer, so I am telling you, because I am a singer and AM studying vocal technique: this is a conscious decision the singer makes.. "choking" means putting the sound more back, overcovering the vowel, its simple.. its not CHOKING or HURTING THE VOICE ITSELF. Again, the singer chooses the vowel..
Well, he is quite good in this rendition. He transposed it but I don't care. His high notes are his weakness. But he had guts to sing it .Again for dramatic tenor to sing lyric repertoire - very good job.
Domingo has no problems..his voice is perfect!!!
C5s can be dropped to B4s. I've heard him sing C5s, but his uppermost register isn't as natural as others. His A4 at 1:13 is glorious - I don't think anyone had/has a better A4.
No hay palabras para definir un tenor tan grandioso.
Dame Eva Turner was right: He is unique.
Menos mal que Domingo canta fuerte porque la orquesta va a toda ostia.
this don't mean nothing i am baritone but i sing as tenor cz i can sing this tessitura anyway yes he started as baritone but for only fews years and when he was to young for the right tecnic at 21 yrold he sung the lucia di lammermoor as tenor so he was tenor from the beginner just he didn't know this... :D
Oh, but if he did. As he aged, his voice got lower and heavier. His musicality is unmatched and his vocal agility is great. Alas... that upper register.
I believe the highest note Domingo ever hit was a High D... same as Pavarotti. Out of the three tenors I think Jose Carreras could sing the highest, but I like his tone quality less than the other two...
No i think your right, Domingo actually started off as a baritone... glad he switched though lol
Una gran versión de la bohemia y una bellísima.interpretación. grande Plácido Domingo
ドミンゴの「冷たい手を」珍しい。
I'm not a Domingo fan, but he was excellent in the 1970S
Beautiful! 3:40
Give me, everyone else, and Domingo a break. There is a big difference on how he delivers his As vs. his Bs which lead many to say he's a baritone and not a tenor (incorrect) but most of his Bs are fine and he takes great care to make them so. Granted, not all were great. The man never feared the B and delivered some brief, taut C5s in his career. All this from a quite heavy voice! No one can touch his musicality and acting.
Ah, un'ultima cosa, bodiloto... Posso essere d'accordo sul fatto che la voce di Domingo non sia esattamente quel che si richiederebbe per Rodolfo, ma mi permetta di dissentire sul fatto che la voce di Domingo non sia "pucciniana"...
Perchè ci sono almeno DUE personaggi del Maestro che Domingo sa rendere come nessuno... Des Graix della Manon e Cavaradossi. E aggiungerei anche, per mio gusto, il brigante della Fanciulla del West. Le assicuro che questi personaggi SONO di Domingo, punto.
Scusa l'intromissione, ma per voce pucciniana, voce verdiana in realtà che si intende?penso che all'interno di Puccini e Verdi esistano mille vocalitò diverse,si va da Rodolfo a Dick Johnson, da Alfredo a Otello...qui non credo si tratti molto dell'autore, ma più di un fatto che Domingo aveva un limite oggettivo nel settore estremo acuto e quello che poteva fare era semplicemente arrangiarsi con la sua grande professionalità e qualità vocale, visto che volente o nolente il si o il do c'è sempre!
Es el mejor... No me cabe duda!
Brutal,!!! Impresionante!
Domingo is my favourite singer. In my opinion, the better "che gelida manina" is the Karajan-Pavarotti version. This performance is perhaps equally beauty. Pavarotti voice is melodic and sentimental, Domingo rather is very a powerful and passionate Rodolfo. (Sorry, my english is bad)
Pavarotti had the highest voice of all the three tenors, he frequently sang the D flat above high C live. In contrast, I don't think I've heard that note sung live by either.
Of course, you are right. I stand corrected. (although it's a lyric tenor aria :-))
El timbre de Domingo,puramente y bellamente tenoril,y en vivo lo era mas.
El si bemol de Domingo en teatro era sencillamente maravilloso,y hasta le escuche en Fanciulla del West un si natural increible.Fraseo,legato,musicalidad,actuacion,,,a quien le importa que no tenia el do mus y facil y o despues lo perdio.
Si bemol y Si natural? dónde que no lo escucho!!!
Esta claro que no estoy hablando de Che gelida manina,si no,y esta bien claro en lo que escribi en las funciones que le escuche a Domingo en el Colon,desde 1972,79,1981,1997,1998,
Para opinar de ciertas cosas y retrucar con sarcasmo hay que leer bien,y haber escuchado mucho y en vivo a un cantante.
He escuchado a Domingo mas de lo que usted y su arrogancia imagina. Le puedo decir que si acaso un Si natural es la nota mas alta. Se le han atribuido medios falsetes muy desagradables para un timbre tan bello como DO de pecho, por ejemplo en pourquoi me revellier, lo puedes buscar en youtube. Puccini es tajante y muy exigente, mas que el mismo Verdi. Puccini pide un do agudo a la speraaaaaanza!!!!, esa parte cuando es un do bien dado y brillante tipo carreras, pavarotti o Kraus es para ponerse de pie. Cuanto a interpretación escénica puedo decir que Domingo es el mejor actor cantante de ópera, NO QUIERE DECIR QUE SEA EL MAS GRANDE DE LA HISTORIA. Sin embargo logra cautivar su especial actuación y asi tapar algunos agudos algo huecos en la escena. El mejor actor, el mas creible y una voz si bien baritonal en todo aspecto, la pudo colocar en la tesitura de tenor y cantar como tal. Su timbre es muy bello pero siempre le reclamare los agudos de los cuales sí necesito para cerrar en deleite de nuestros oidos. Bendiciones...
Mi contestacion fue en el mismo tono en el cual usted escribio su comentario.
Domingo en teatro,en su epoca de esplendor por supuesto,tenia unos si bemoles estupendos,y para nada huecos,timbrados con una voz puramente tenoril,que llenaban el teatro,,El si natural,evidentemente su utima nota en gran parte de su carrera,,,si bien no tenia la facilidad del si bemol,recuerdo especialmente uno en fanciulla del west(amo la vita e ancor bella mappar) que levanto la cupula del Colon..Lo mismo los agudos del famoso Otelo. Pourquoi me reveille no tiene ningun Do,son si bemoles...En cuanto a Che gelida manina,salvo Kraus y Pavarotti( en la primera parte de su carrera), la han cantado como Domingo,bajada medio tono,,Y realmente poner a Carreras como ejemplo de un tenor con do agudo,no creo que sea el caso.Nadie dijo,por otro lado que sea,el mas grande de la historia,lo que quize significar es que en teatro la voz sonaba mejor que en grabaciones, y sus agudos sobre todo hasta el si bemol en teatro eran bellisimos.Tener o no tener un do,no hace a un tenor mas grande que a otro.
omar CARRION primero que nad el do d pecho es la nota que identifica a un tenor. Segundo Pavarotti, kraus y carreras si daban los agudos que pedia Puccini por ejemplo. Tercero: pido disculpascpues el aria a la cual me referia es je crois entendre encore. Siempre se me confunden ambas arias.
Saying that Domingo never had a high C... is not only ignorant... but just plain stupid. I mean.. again I dont like to take sides, but a high C for a lead tenor a problem? Not for any tenor, period. If you know about vowel modification, some people depending on their voice sing high notes (tenor C), more or less covered than others... it all depends on their instrument. Not everyone needs to cover completely to make a beautiful sound.. if someone WANTS to cover, they can.. at that level you
Un maestro en inteligencia de canto, musica, legato y de como enmascarar su cortedad de agudos.
El timbre es excitante y fantastico. Si tuviera, ademas, buenos agudos seria repugnante
I agree, I think carreras does this the best. This is of course very good. He makes it sound almost like a tragedy here though. :)
I know that the great Opera Heritage goes far beyond a few popular tenor arias, which is where your petty interest appears to stops. So instead of being a public nuisance, why don't you broaden your horizons? There's a universe out there waiting to be discovered.
this is SO true, von Karajan was a bull to work with, I heard, and a pompous piece of work on top of it. therefore his very pro-Domingo opinion is noteworthy. More so than our Inquisitive internet pest. HE needs to get a clue.
Ok Mr. "get a clue" Inquisition, since you are not an expert, can you explain how it came to be that during the apex of his career Domingo (who never had a high C and whose technique was unquestionably inferior to Pavarotti's - on this I agree with you fully) sang (with various transpositions) under illustrious conductors such as Karajan, Giulini, Kliber, Jochum, Gavazzeni, Levine, Solti and many others... How did this happen? Do you want to tell these great maestri to "get a clue" too?
fantástico plácido domingo!!!
Well, he is a different type of tenor, dramatic, than Pavarotti who was a lyrical tenor. I enjoy them both:)
That says a lot about you. If you were to ever do so, don't expect me to buy one from you.
The greatest! Viva Domingo!!
bodiloto, mi perdoni... Ma faccio molta, molta fatica a credere che Domingo dal vivo pensasse continuamente al Do di petto... Da quel poco che so e da come l'ho sentito cantare ( ahimè, solo in registrazione...) mi pare un tipo che canta d'impeto e NON pensa alla nota... Pensa a quello che sta cantando, non a COME lo deve cantare. E questo per me, se permette, vale mille volte di più di un Do di petto.Domingo non avrà il Do... Ma ha L'ANIMA nella voce.