i dont mean to be off topic but does any of you know a way to log back into an instagram account? I was dumb forgot the account password. I would love any assistance you can offer me.
@@tyjude7594 it should have an option for “Forgot password” if you put in the wrong one. In that case, it would send a link to the e-mail you used when you created your account, and you can create a new one.
First time I heard this was on my first Don Carlo recording with Karajan, Freni & Baltsa. Will never forget how impressed I was with Agnes Baltsa then. And this live performance is way more exciting still! Thank you & all having to do with, Baltsa first 💝.
Yes, but you need to go back to school and learn how to place an apostrophe. The plural is Ebolis: No apostrophe for the plural form. And it's spelled Baltsa's for the possessive.
Incroyable ! Monstrueuse! Magnifique ! Voilà comment l'opéra doit être chanté. Si on veut que le public revienne, que l'opéra redevienne un art populaire alors il faut une grande révolution dans l'art du chant, dans l'enseignement. Qu'on arrête de tout intellectualiser : il faut faire de l'opéra avec ses tripes! Ça suffit les petits chanteurs qui prennent soin de leur instrument comme une chose fragile! Si vous avez une solide technique alors vous pouvez envoyer du bois! Où sont passés les Corelli, Tebaldi, Baltsa, Cerquetti?
Bravo ! Les chanteurs d'aujourd'hui ne sont pas seulement très mauvais lorsqu'ils chantent, mais aussi insupportables quand ils parlent. Notamment les français, hélas !
Superb!!! Karajan's conducting willful though. She was stunning in this role at Covent Garden in the later 1980s and brought the house down at this point. If only we had singers like this today!
Cerca di sopperire con la recitazione la voce piccola e chiara per questo ruolo. Comunque grande artista. È la dimostrazione che con una buona tecnica e un ottimo gesto artistico una voce può fare tutti i ruoli come diceva la Callas. Bravissima!
This is a fantastic all out O Don fatale with a singer I’ve loved forever. I can just imagine if she had shared the stage with another great Greek singer: Callas! Can you imagine Aïda’s or Norma’s with both of them.
I never thought of that! You are so right! They would have torn up the stage! Singers like them totally feed off of each other and bring out the best in each other.
This is raw and perfect out of technical imperfections... but who cares !!!! She is Eboli. She has always something to say ... what a great artist she was and always will be. Brava Baltsa .... my idol.
She stole the show when she sang this in Covent Garden in the legendary Visconti production with Ricciarelli, Ramey and Quilico. Carreras was supposed to sing Don Carlo but he was being treated for lymphoma and Dennis O Niell took over. Unfortunately in the preparations for one of the performances, a stage hand Mr Greg Bellamy perished due to a piece of falling scenery. The performance was cancelled and the company replaced it with Verdi's Requiem with Ricciarelli, O'Niell, Baltsa and Ramey in his memory. May his family always be blessed.
I saw this as well and Baltsa did indeed steal the show as Eboli. I also went to the Verdi Requiem, but I believe the tenor on that occasion was Arthur Davies as O'Neil was not available. It didn't replace the cancelled show but was hastily put together and performed on a Sunday. I believe it was Ricciarelli and Baltsa who suggested it. Everyone gave their services free and the proceeds were donated to Greg Bellamy's widow. It was a very moving performance.
@@Tsaraslondon thanks, mea culpa! After an interval of more than 32 years since those heady student days in London, my memory has become a little foggy. Yes, you are right - Davies from the Coli was the tenor and the performance was on a Sunday night when the House was available. The performance was very moving and I remembered the singers and the audience left quietly at the end without applause in view of the occasion. Mr Bellamy left behind his widow and young children and I hope they are all doing well now.
I also went to this production. I was sitting in the very last row of the amphitheatre and Baltsa's performance was so powerful it shook the roof off. It remains one of the highlights of many years of opera-going.
@@karldelavigne8134 Baltsa was one of the most exciting singers in Covent Garden and although slim of physique, her voice was powerful, rich and spine tingling. I have so many vivid memories of her in the 80s - Romeo, Dalila, Carmen, Octavian, Italiana, Cenerentola, Rosina - I wish the performances have been taped and will be released by Covent Garden.
Eboli is such a difficult role. Truly between the soprano and mezzo soprano - a falcon. Those who have top notes often struggle with the lower , legato middle section. Baltsa is an incredible artist on stage. She was always totally invested in what she sang . Occasionally as here she would seem to take her voice to breaking point with the drama , but then she would still be able to come back in the next phrase with a flowing , legato line. She has been a unique artiste and we are lucky to have seen and heard her. Bumbry , Verrett and Stignani also sang great Ebolis. I was very impressed with Giovanna Casolla in the role in the late 1990s early 2000s.
Omg what vulnerability and sensitivity she had. If only singer could feel the music, instead of this conceptual singing method acting nonsense most singer do today. This is TRUE presence.
This is what good opera singing used to be. And who cares one or two false notes when a singer has Baltsa´s technical abilities and dedication to a role?
Altonahh10 too bad there isn’t any video recording of her Amneris in Karajan’s Salzburg production of Aida in the 70s. Her recording with maestro Karajan, Freni, Carreras is for me the best Aida recording of all time.
@@peterming Sorry the Erede recording is the best Aida of all time. Freni, Carreras are no match for Tebaldi and Del Monaco. Carreras, especially is sorely overparted.
A great version, at points a bit too melodramatic, but still great. I can't help feeling the role is a bit too big for her voice. I always feel like the introduction should be faster than what we usually hear.
I always disliked the way Karajan stretched the music. It was not always fitting when it came to conducting opera and it was often difficult for singers to sing in his tempo. Sometimes it would hurt the music too. Baltsa had tremendous energy on stage but even for her this was obviously difficult. Nevertheless, this is still an amazing performance!!!
I prefer Verrett who gave the same intensity but acted and sang the part better. I was watching this thinking get up off your knees at the start of the aria! It's all wrong. Pick the letter up toward the end and acknowledge that you have one more day to save your love. Baltsa forgot various stage cues this character should be doing. This is also the fault of the director. The actions while singing are JUST as important as the singing itself. Watch Callas's videos to see what I'm saying. Being intense is fine but dont let it get in the way of a full characterization.
Baltsa is a good singer indeed but not my favourite one . For example I found the young Fiorenza Cossotto on another level for vocal power and compliance to verdian style. Of course this is just my opinion.
Baltsa was a wonderful and exciting singer, but I have to agree with others who have a problem with Karajan’s conducting. He de-energises the music and prevents the singer from phrasing naturally. Compare Bruna Baglioni in the same aria (also on TH-cam) conducted by Haitink at Covent Garden. A much under-rated Verdi conductor, imho. I was there, and she too brought the house down in this wonderful aria! By the way, I’m NOT a Karajan basher. I know of no greater recording of ANY Verdi opera than his Falstaff (although Abbado’s Boccanegra with Cappuccilli comes close...).
She's very intense and powerful, beautiful voice.... but she has a little problems with some italian words. For example she sings "Ti MALLEDICO" instead of "Ti maledico" and that's a bit uncomfortable to hear. Made no mistakes, I think she's a great singer.
The is one of THE WORSt conductings of Don Fatale I have ever heard, which is absolutely surprising given the fact it is Karajan. The tempi are ridiculously slow and the ending note is drawn out to a cheap bravado effect. Having said that, Baltsa is on fire here!
@@DiomedesDioscuro #1 - having an opinion does not Make it correct #2 - You have a tremendous command of the subtleties and nuance of the English language 😎😎😎
Una delle più brutte esecuzioni della Eboli..La Baltsa completamente fuori ...ha rischiato di rompere la voce e non continuare la recita...davvero scandalosa. Karajan ha commesso con questa edizione un altro passo falso...INASCOLTABILE
That wasn't so "legendary" tbh . Lol. I mean... so many technical issues. Very distracting. Tati Troyanos had technical issues too (even Obraztsova) but they're minor and at least she's delivers so much intensity that we simply forget/forgive them. Here, she seems to emphasize them. It's quite bad... 🤔
Terrific. Technically perfect? No. There are a couple of strained high notes here and there, harsh intakes of breath. Passionate and spine-tingling? Hell yes. Worthy of Bumbry, Troyanos and Verrett? Yes Sir!
..... purtroppo quando esapera il temperamento la voce si sgrana e si rompe. Molto meglio nel canto più mite e misurato dove la voce risponde ed è meglio governata. Questa è una brutta interpretazione.
Anybody having a great time with Agnes in 2024?
son io! agnes e il mio mezzosoprano preferito!
yep! this remains one of my favorites
Me! November 2024, greetings from Greece!
Me, Greengs aus Germany
@ enjoy it ;)
Agnes Baltsa has cost me a fortune in the last 30 years. I've travelled the world hoping to hear a version of O Don Fatale as good as hers.
Quelle interprétation ! J'avais vu l'opéra en entier à la tv, j'avais été époustouflée par son Eboli !
She's a Beast in this role! OMG!!!! she gives me everything I need. Oh, to find this type of performance today!
She is a beast in all of her roles. When I watch her, I’m always like DAYUM! But it’s uncouth to shout that in an opera house 😑
i dont mean to be off topic but does any of you know a way to log back into an instagram account?
I was dumb forgot the account password. I would love any assistance you can offer me.
@@tyjude7594 it should have an option for “Forgot password” if you put in the wrong one. In that case, it would send a link to the e-mail you used when you created your account, and you can create a new one.
@Ty Jude Instablaster ;)
You can only find them now in youtube lol... obtrastsova callas and the likes lol
Oh My God ! Agnes Rocked the house on that role…out of this world
What a voice, what an artistry and temperament!
Thank you.
I will never get tired of watching Agnes, she is magnificent.
First time I heard this was on my first Don Carlo recording with Karajan, Freni & Baltsa. Will never forget how impressed I was with Agnes Baltsa then. And this live performance is way more exciting still! Thank you & all having to do with, Baltsa first 💝.
So many Eboli´s ...... but i always come back to Baltsas´s. This is the ultimate one. Nr 1, SUPERB!
Yes, but you need to go back to school and learn how to place an apostrophe. The plural is Ebolis: No apostrophe for the plural form. And it's spelled Baltsa's for the possessive.
@@philipc67 Thank you for that info! Sad to hear you have a badly injured toe (toes?).
The GREATEST Eboli so far! Thank You, Agnes!
Incroyable ! Monstrueuse! Magnifique ! Voilà comment l'opéra doit être chanté. Si on veut que le public revienne, que l'opéra redevienne un art populaire alors il faut une grande révolution dans l'art du chant, dans l'enseignement. Qu'on arrête de tout intellectualiser : il faut faire de l'opéra avec ses tripes! Ça suffit les petits chanteurs qui prennent soin de leur instrument comme une chose fragile! Si vous avez une solide technique alors vous pouvez envoyer du bois! Où sont passés les Corelli, Tebaldi, Baltsa, Cerquetti?
Bravo ! Les chanteurs d'aujourd'hui ne sont pas seulement très mauvais lorsqu'ils chantent, mais aussi insupportables quand ils parlent. Notamment les français, hélas !
Obratsova, Cossotto, Milnes, Bastianini
VOUS AVEZ RAISON
Superb!!! Karajan's conducting willful though. She was stunning in this role at Covent Garden in the later 1980s and brought the house down at this point. If only we had singers like this today!
I heard her sing this at Covent Garden too. Absolutely thrilling. I wish there was someone as exciting around now.
Una vera artista, la prima parte possiede un anima che non posso descrivere
Cerca di sopperire con la recitazione la voce piccola e chiara per questo ruolo. Comunque grande artista. È la dimostrazione che con una buona tecnica e un ottimo gesto artistico una voce può fare tutti i ruoli come diceva la Callas. Bravissima!
io la trovo sopra le righe.. ..peccato perché la voce e' enorme
nn dimentichiamoci che sotto ce' Karajan
This is a fantastic all out O Don fatale with a singer I’ve loved forever. I can just imagine if she had shared the stage with another great Greek singer: Callas! Can you imagine Aïda’s or Norma’s with both of them.
That would've been a performance for the books, to great Greek singers, with fires in their throat.
I never thought of that! You are so right! They would have torn up the stage! Singers like them totally feed off of each other and bring out the best in each other.
Simionato? please go listen.
Unique!!!!!! ❤
This is raw and perfect out of technical imperfections... but who cares !!!! She is Eboli. She has always something to say ... what a great artist she was and always will be. Brava Baltsa .... my idol.
She stole the show when she sang this in Covent Garden in the legendary Visconti production with Ricciarelli, Ramey and Quilico. Carreras was supposed to sing Don Carlo but he was being treated for lymphoma and Dennis O Niell took over. Unfortunately in the preparations for one of the performances, a stage hand Mr Greg Bellamy perished due to a piece of falling scenery. The performance was cancelled and the company replaced it with Verdi's Requiem with Ricciarelli, O'Niell, Baltsa and Ramey in his memory. May his family always be blessed.
Thanks for sharing that story. Very moving.
I saw this as well and Baltsa did indeed steal the show as Eboli. I also went to the Verdi Requiem, but I believe the tenor on that occasion was Arthur Davies as O'Neil was not available. It didn't replace the cancelled show but was hastily put together and performed on a Sunday. I believe it was Ricciarelli and Baltsa who suggested it. Everyone gave their services free and the proceeds were donated to Greg Bellamy's widow. It was a very moving performance.
@@Tsaraslondon thanks, mea culpa! After an interval of more than 32 years since those heady student days in London, my memory has become a little foggy. Yes, you are right - Davies from the Coli was the tenor and the performance was on a Sunday night when the House was available. The performance was very moving and I remembered the singers and the audience left quietly at the end without applause in view of the occasion. Mr Bellamy left behind his widow and young children and I hope they are all doing well now.
I also went to this production. I was sitting in the very last row of the amphitheatre and Baltsa's performance was so powerful it shook the roof off. It remains one of the highlights of many years of opera-going.
@@karldelavigne8134 Baltsa was one of the most exciting singers in Covent Garden and although slim of physique, her voice was powerful, rich and spine tingling. I have so many vivid memories of her in the 80s - Romeo, Dalila, Carmen, Octavian, Italiana, Cenerentola, Rosina - I wish the performances have been taped and will be released by Covent Garden.
Agnes is so wonderful here!!!
One of the greatest interpretations of Eboli!! Brava La Baltsa!!!
Verrett and Troyanos both own this role.
INTENSE PERFORMANCE
Eboli is such a difficult role. Truly between the soprano and mezzo soprano - a falcon. Those who have top notes often struggle with the lower , legato middle section. Baltsa is an incredible artist on stage. She was always totally invested in what she sang . Occasionally as here she would seem to take her voice to breaking point with the drama , but then she would still be able to come back in the next phrase with a flowing , legato line. She has been a unique artiste and we are lucky to have seen and heard her. Bumbry , Verrett and Stignani also sang great Ebolis. I was very impressed with Giovanna Casolla in the role in the late 1990s early 2000s.
Cossotto was a wonderful Eboli too
@@CarlosHernandez-vv6bx I agree. A great mezzo.
Breathtaking! Thanks for posting.
This is old school perfection 💓🔥🙌👏
Brava Diva!!!!!
Unmatchable.
Fantastica
November 19th is her birthday! Happy birthday!
Bravissima.🥰😍😍😍😍🤩😘☺💚🤍❤👍🎼🎵🎶
In Festspiele she was wanderfull and she still is! Commplimenti!
Baltsa's performance is miraculous (brava!) but the tempo is too slow.
Magnificent!
MARAVILLOSA!!!
Young Baltsa was a superb Eboli.
Omg what vulnerability and sensitivity she had. If only singer could feel the music, instead of this conceptual singing method acting nonsense most singer do today. This is TRUE presence.
no one better than Baltsa !!!!!!!!!!!!!!!
This is what good opera singing used to be. And who cares one or two false notes when a singer has Baltsa´s technical abilities and dedication to a role?
Could *Not* agree more!!!
😎😎😎
Altonahh10 too bad there isn’t any video recording of her Amneris in Karajan’s Salzburg production of Aida in the 70s. Her recording with maestro Karajan, Freni, Carreras is for me the best Aida recording of all time.
@@peterming Sorry the Erede recording is the best Aida of all time. Freni, Carreras are no match for Tebaldi and Del Monaco. Carreras, especially is sorely overparted.
Lololol
Totally agree!!! 💖
A great version, at points a bit too melodramatic, but still great. I can't help feeling the role is a bit too big for her voice. I always feel like the introduction should be faster than what we usually hear.
The best.
I always disliked the way Karajan stretched the music. It was not always fitting when it came to conducting opera and it was often difficult for singers to sing in his tempo. Sometimes it would hurt the music too. Baltsa had tremendous energy on stage but even for her this was obviously difficult. Nevertheless, this is still an amazing performance!!!
Spectacular interpretazione di Agnes Baltsa nel Eboli del D. Carlo.Oggi dove sono interpretei e canto come questo? Grazie.
this performance ,in my opinion, has never been equaled.
You never heard Cossotto then.
@@ransomcoates546 I've heard Cossotto... Many times. I think this performance is the best.
My absolute favorite Operasinger😍😍😍😍😍😍
Karajan is killing Baltsa here the way he did Tebaldi in the ‘Aida’ recording.
Indeed…the tempo is too slow
Dirigenten können Sängern das Leben auch echt schwer machen... Die Arme
Sie war ein Unikat, !!!!!!
Intergalattica mostruosa maestosa che altro dire!!! ( le perdoniamo anche il ti malledico😅)
BRAVISIMA
Tatiana Troyanos é mágica nesse papel!
Troyanos was the best
Another Greek Goddess La Troyanos!!
Agreed!
So often forgotten in this role and she really was superb. And the voice quality.......... absolute dream!
I prefer Verrett who gave the same intensity but acted and sang the part better. I was watching this thinking get up off your knees at the start of the aria! It's all wrong. Pick the letter up toward the end and acknowledge that you have one more day to save your love. Baltsa forgot various stage cues this character should be doing. This is also the fault of the director. The actions while singing are JUST as important as the singing itself. Watch Callas's videos to see what I'm saying. Being intense is fine but dont let it get in the way of a full characterization.
U didn't hear Verrett.
The Out-Of-This-World Intergalactic Spellbinding Spectacular Spine-Chilling Voice of Agnes Baltsa singing O Don Fatale...even better than Callas!
Perfect description! I totally agree! 💖
1986 , josep carreras - fiamma izzo -agnes balsta
Weird register changes good voice in various parts. Sounded 3 different singers. Emotion took over voice in one part
Dont forget Cossotto , Verrett , Elena Nicolai , Obratzova.Great voice and drama.Baltsa is good but a bit to small för Eboli.
Hhahahahaha!! She was the Greatest! And for sure not Small! I heard her live!!!
Baltsa is a good singer indeed but not my favourite one . For example I found the young Fiorenza Cossotto on another level for vocal power and compliance to verdian style. Of course this is just my opinion.
👏👏👏👏👏👏👏
Interessante ma, a mio avviso, un poco sopra le righe. Certo, vederla in teatro , forse, poteva convincere! Non so !
Electrifying, but I just cannot stand how she loses the high Cb and comes off it. It sounds like her cords are being split
Baltsa was a wonderful and exciting singer, but I have to agree with others who have a problem with Karajan’s conducting. He de-energises the music and prevents the singer from phrasing naturally. Compare Bruna Baglioni in the same aria (also on TH-cam) conducted by Haitink at Covent Garden. A much under-rated Verdi conductor, imho. I was there, and she too brought the house down in this wonderful aria! By the way, I’m NOT a Karajan basher. I know of no greater recording of ANY Verdi opera than his Falstaff (although Abbado’s Boccanegra with Cappuccilli comes close...).
Che in suo furor... mi feCCe 😅
Nah, the Best Eboli ever Is Oralia Domínguez!!!
Beste Aufnahme...
ELENA NICOLAI! ELENA NICOLAI!
와우
Ah (strozzato)... Ti maLLedico o mia beltà
Don Carlo Verret
She's very intense and powerful, beautiful voice.... but she has a little problems with some italian words. For example she sings "Ti MALLEDICO" instead of "Ti maledico" and that's a bit uncomfortable to hear. Made no mistakes, I think she's a great singer.
No coments!
the second Maria Callas
The is one of THE WORSt conductings of Don Fatale I have ever heard, which is absolutely surprising given the fact it is Karajan. The tempi are ridiculously slow and the ending note is drawn out to a cheap bravado effect.
Having said that, Baltsa is on fire here!
Karajan became more boring is his latter years. It´s terribly boring, I agree
*you* may be bored by it, it is Not boring!
....perhaps one of you two can post a recording of you conducting it for us to use as comparison?
@@rugby8-Philadelphia Shut up! One has to be a conductor to have an opinion, you silly man?
@@DiomedesDioscuro
#1 - having an opinion does not Make it correct
#2 - You have a tremendous command of the subtleties and nuance of the English language
😎😎😎
Bravissima ..Gigantic voice but here overperforming..Eboli needs an exorcist.
Una delle più brutte esecuzioni della Eboli..La Baltsa completamente fuori ...ha rischiato di rompere la voce e non continuare la recita...davvero scandalosa. Karajan ha commesso con questa edizione un altro passo falso...INASCOLTABILE
better to listen to than to watch.
E poi la produzindo? Oggi solo cativo gusto e mediocrita’
А Образцова лучше!
I don't like it.
kann mit Tatiana Troyanos nicht mithalten
Troyanos was my best
Not her best, honestly.
Very good singing. Bad orchestra, because of bad conducting
Es una cantante maravillosa, sin embargo, nunca tuvo una voz verdiana.
She is too much… to exaggerated
Cenerentola playing in Escorial
That wasn't so "legendary" tbh . Lol. I mean... so many technical issues. Very distracting. Tati Troyanos had technical issues too (even Obraztsova) but they're minor and at least she's delivers so much intensity that we simply forget/forgive them. Here, she seems to emphasize them. It's quite bad... 🤔
Can we say a bit of over acting and singing. Not very attractive. She looks crazed.
Terrific. Technically perfect? No. There are a couple of strained high notes here and there, harsh intakes of breath. Passionate and spine-tingling? Hell yes. Worthy of Bumbry, Troyanos and Verrett? Yes Sir!
..... purtroppo quando esapera il temperamento la voce si sgrana e si rompe. Molto meglio nel canto più mite e misurato dove la voce risponde ed è meglio governata. Questa è una brutta interpretazione.