Seeing and hearing him sing in these videos it is hard to believe that he is dead. That vitality, that expressiveness, the way he uses his voice, his face, his whole body to convey the music.
One of the greatest cavatina-cabalettas Verdi ever wrote, along with Lady Macbeth’s double aria. And what a perfomance. As an aspiring operatic baritone, I look up to the late Hvorostovsky so much.
.A tecnica da respiração perfeita, obtida através da excelente instrução que teve e de incessantes exercícios. Estupendo. Nunca esqueça de observar o pianista, o maestro. Foi muito bem acompanhado. Saudades sem fim.
Decidedly superior to his commercial recording of this aria. The recitative is full of shifting colors as Count Stankar struggles with conflicting feelings of shame and anger. Hvorostovsky's performance of the lovely cavatina (among Verdi's two or three best arias for baritone) is marvelous. Listen to how broadly he phrases, floating the first and second lines on a single breath and then doing the same with the third and fourth (3:02 - 3:16 and 3:17 - 3:31), followed by a wonderful subito piano at 3:43 - 3:46. Throughout the aria, he carries the music forward on a stream of virile, perfectly poised tone. For example, see how he "phrases over" into the repetition of the A section at 4:02, where any other baritone in the world would take a breath. Hvorostovsky shows how Battistini would have done it, with an unbroken line that leads naturally and seamlessly back to the initial melody, this time, with perfectly executed turns sung with just the right rubato and lightness (4:04 - 4:08). If there is a fault in this performance, it is a momentary awkwardness in the cadenza (5:13 - 5:15), but, for me, that is inconsequential in the context of this great rendition.
Wish Mr. Hvorostovsky had done this role at the MET. RIP Dmitri. Taken from us too soon. I like Stiffelio (1850) and one sees elements of Ballo (1859) in it, especially in this aria and the 3rd act of Ballo. Stiffelio, dramatically, in my opinion, is a bit better than Verdi's re-write, Aroldo (1857) The last act -in Scotland is a bit farfetched. But there you see elements of Forza (1862) and the Leonore/Alvaro scene. So everything seems to build on each other. Verdi was terrific !
c'est beau mais aprés avoir entendu gregoryy yursich dans stiffelio avec José carreras et Catherine malfitano,que je préfère je n'ai pas entendu mieux pour le moment,il faut dire que Grégory Yursich a un timbre trés spècial qui plait ou pas c'est toujours une question de choix,
Ongetwijfeld een groot zanger die de Russische School eer aandeed. Een minpuntje: hij zong alles in dezelfde sfeer, op dezelfde manier, zodat je er moe van kon worden als je veel aria's na elkaar van hem beluisterde. Dat heb je bijvoorbeeld niet bij Thomas Hampson.
This is my very least favorite Verdi baritone aria/cabaletta & my very least favorite Verdi opera. Hvor appears to be artificially darkening his voice here & just does not sound right.
Verdi and Dmitri Hvorostovsky--a brilliant musical delight!! ❤
Seeing and hearing him sing in these videos it is hard to believe that he is dead. That vitality, that expressiveness, the way he uses his voice, his face, his whole body to convey the music.
una meraviglia della vita!!! bravissimo in tutto !!! voce bellissima uomo splendido!!!
splendido nell'Opera! formidabile nella musica classica! fantastico baritono!
Great reading of one of Verdi's finest baritone scenes. Bravo, Dmitri! The pianist, by the way, was fantastic.
The pianist plays a major role in a recital. This pianist is magnificent.
Ивари Илья. Он еще аккомпанировал Архиповой.
favoloso e unico sia nell, Opera che nella musica classica! straordinario baritono! 🌟 sfavillante del bel canto! da ascoltare sempre! bellissimo!
Bravo Dima ,bravo Mr Iija
гениально! Лучше не может быть! Светлая память замечательному человеку и великому баритону!
One of the greatest cavatina-cabalettas Verdi ever wrote, along with Lady Macbeth’s double aria. And what a perfomance. As an aspiring operatic baritone, I look up to the late Hvorostovsky so much.
Grandissimo!
Que estupendo! Um delírio! Apaixonante! Não existe melhor! Grata por publicar.
Потрясающий концертмейстер
.A tecnica da respiração perfeita, obtida através da excelente instrução que teve e de incessantes exercícios. Estupendo. Nunca esqueça de observar o pianista, o maestro. Foi muito bem acompanhado. Saudades sem fim.
Все Идеально!
very beautiful!!!!!!
Гениальный мастер.
super bravo! posscari cente! incantevole!!fantastico!
formidabile! carismatico! magnifico! possente! voce bellissima! complimenti! un artista meraviglioso!
Decidedly superior to his commercial recording of this aria. The recitative is full of shifting colors as Count Stankar struggles with conflicting feelings of shame and anger. Hvorostovsky's performance of the lovely cavatina (among Verdi's two or three best arias for baritone) is marvelous. Listen to how broadly he phrases, floating the first and second lines on a single breath and then doing the same with the third and fourth (3:02 - 3:16 and 3:17 - 3:31), followed by a wonderful subito piano at 3:43 - 3:46. Throughout the aria, he carries the music forward on a stream of virile, perfectly poised tone. For example, see how he "phrases over" into the repetition of the A section at 4:02, where any other baritone in the world would take a breath. Hvorostovsky shows how Battistini would have done it, with an unbroken line that leads naturally and seamlessly back to the initial melody, this time, with perfectly executed turns sung with just the right rubato and lightness (4:04 - 4:08). If there is a fault in this performance, it is a momentary awkwardness in the cadenza (5:13 - 5:15), but, for me, that is inconsequential in the context of this great rendition.
I totally agree - excellent analysis - thanks!
8k
Fantastic singing. One of the best times of this singer.
Nothing to say but good things. I enjoyed it very much.
Fantastik!
Bravo
Wish Mr. Hvorostovsky had done this role at the MET. RIP Dmitri. Taken from us too soon. I like Stiffelio (1850) and one sees elements of Ballo (1859) in it, especially in this aria and the 3rd act of Ballo. Stiffelio, dramatically, in my opinion, is a bit better than Verdi's re-write, Aroldo (1857) The last act -in Scotland is a bit farfetched. But there you see elements of Forza (1862) and the Leonore/Alvaro scene. So everything seems to build on each other. Verdi was terrific !
Oh, dear J. it is an mzing video. Thank you so much!
See his CD -Verdi's arias
But piano version i like much more cause I heard better his legendary voice.
I agree with you.
@eurydike Yhank you a lot!
@po1212Po his verdi arias you can get on ebay, amazon, i presume :) i have it from (probably )ebay
❤Dmitri is.great.ad usual.The.opera.was called Aroldo before. It.has.a.wonderful.Overture,. by the way.❤❤
@eurydike Where can I get this CD?
!!!!
@po1212Po i have it , beautiful cd:)
c'est beau mais aprés avoir entendu gregoryy yursich dans stiffelio avec José carreras et Catherine malfitano,que je préfère je n'ai pas entendu mieux pour le moment,il faut dire que Grégory Yursich a un timbre trés spècial qui plait ou pas c'est toujours une question de choix,
Ongetwijfeld een groot zanger die de Russische School eer aandeed. Een minpuntje: hij zong alles in dezelfde sfeer, op dezelfde manier, zodat je er moe van kon worden als je veel aria's na elkaar van hem beluisterde. Dat heb je bijvoorbeeld niet bij Thomas Hampson.
Je wordt zijn stem nooit beu, hij raakt je. Hij laat je voelen....
I do not agree with you. There is great versatility in the way he sings arias as well as other genres of songs.
This is my very least favorite Verdi baritone aria/cabaletta & my very least favorite Verdi opera. Hvor appears to be artificially darkening his voice here & just does not sound right.
idiot
Блестящее исполнение, красивейший,
бархатный баритон...