De la musique avant toute chose. I spent a great deal of my adult life studying this opera, its composer and its source (Antonio García Gutiérrez). It is the subject of my doctoral dissertation. This live performance is the reason I used their commercial recording for my thesis. Luciano Pavarotti (1935 - 2007).
I was given a copy of this in 1977. I played it so many times in my car and at home and was totally devastated whe it finally gave up the ghost! Luciano is nothing short of STUNNING and Joanie is superb and without peer, Verdi must have sighed with joy when he heard this, i know I did!!!!!
Wonderful! Brought back memories of seeing Joan and Franco Bonisolli in Trovatore at the Royal Opera House in 1981. We will never see or hear the like of any of them again in our life time.
I really get electrified every time when i listen to the first 50 seconds of this "Ah si ben mio", this was Pavarotto on the top, using his tools like a bigbig master. My full respect is for the actual elite of tenors who have to be those afterwards ...
This 7:28 minutes offers the variability of this voice and it's expression, for me the first 20 seconds belongs to the best i have ever heard from this maestro. All 7:28 are mastercraft - whether he have stayed the high c at the end or not is simply only an issue for peanutcounters.!
oh yes i remember that one, in B major, very very fast tempo and also very very good performance. i listened to that like a thousand times when I first found it... lol
Bravo maestro.grande proffesion whit bergonzi most profesionll of all...perfection in this aria that day his voice was not 100% but he was strong and awsome bravo luciano bravo forever
I agree! The orchestra is stunning here. Bonynge was guilty of some boring conducting at times, but this is perfection. There's a really effective sound used in the orchestra, I can't work out what instrument plays it, it's very subtle, and is audible around 6:30 and again around 6:48. Kind of like a bell ringing on top of the glorious orchestra, lol.
btw, I agree Mooorhe, I think the slight hiccup on the end of that mighty High C is no problem at all, I kinda like it lol. Makes him seem more brash and fierce, in a role that deserves it. >-D and I have to pat my hometown on the back a bit; this might be the best-conducted (kudos to Bonynge) and best-organized orchestra (kudos to the SF opera orchestra) I've ever heard! A lot of Piras get sloppy at the end; this one held together PERFECTLY! Almost studio-like perfection and refinement.
The vowel change from open to closed is very, very difficult, and not really required. In the studio recording, he retained the open vowel throughout. In this case, he probably went back stage and consulted with Dame Joan to avoid any future crack there.
When he changed vocal from (a) to (ee) he got a little thin and that caused the joddle on the last note the high C but an outstanding performance anyway. He was phenomenal.
i keep yodelling like this on the high A, makes me terribly depressed. I thought I had a vocal issue, but its obviously technical now that I hear him do the same crack, except its a high C, not a measly A.
All of you says that pavarotti cracked at the end... you need to listn right the tone was not a flat thaaaan he sung 2 hours until he gets to this aria and than such a performance? comon and go on stage and try this?;)
That is not the point! No performance is perfect - none! And the task of the audience is to hear what is good, and shrug the shoulders at minor imperfections. The problem for Sutherland was Pavarotti's partiality to garlic - which on occation could bleach even the most colourfull costume - this seems to be one of them - where resurrection kit was kept at the ready for the soprano.
If you want to be considered as the greatest, don't make excuses when you fall short. He was the greatest as far as I'm concerned, but he did crack at the end.
Bosie Wilder he was not the greatest. Everyone thinks he's the best tenor because he was popular because he took advantage of pop culture and media to elevate his fame. There were many superior tenors
oh boohoo...this was one of the few performances. He was human and its a high note, give him a break. He cracked and he wasnt making any excuses he doesnt need to, because is one of the greatest tenor that ever lived. All HAIL THEE.
I don't even know how to describe Luciano's voice here! It is absolutely sublime! My favorite version of Ah si ben mio and Di Quella pira I have heard! Bravo! Anyone know who the soprano is? And by the way, the otchestration is wonderful, and the hickup at the end is no problem at all!
Oh the last high note was a little flat to my ear and he cracked at the very end. This really makes me admire his free technique all the more honestly.
If true, it is the conductor's fault, not the singer's. In opera, it is the job of the conductor, the accompanist as he is rightly considered, to follow the singers. Period.
there was a project? :-P i have one dueling tenor video... i think it is a great match might I add, caters to all fans (as long as you like spinto tenors lol)
Take a listen to the version that GermanOperaSinger has posted sung by Tucker, the orchestration there is perfect too, and at a faster speed than Bonynge does here. I've no idea who conducted that performance, or what orchestra was playing unfortunately.
Very fine!! Nice "Londa de suoni mistici" too, always one of my favorite parts. I agree also, the orchestra and chorus here sounds remarkably taut and vibrant, great recording quality too. I still have yet to hear a "Di Quella Pira" with the same impact as Corelli's though, I have to be honest. But I'm just judging by recordings naturally. BTW Mooorhe what happened to your "dueling tenor" project? :D
I always like to see apples to apples in dueling videos. I've seen too many studio recording vs. live recording, and too many "while he/she was fresh on the scene vs. while he/she was on the verge of retiring." I've heard a lot of excellent tenors recorded in a studio. Ideal conditions. Live, not always as good as he/she was in studio. Then, there is very old, remastered recording vs. more recent recording. It's best to try to get as many apples to apples factors as possible. Otherwise, differences may not necessarily be due to the voice of one vs. the voice of the other.
Naahrr ... it wasn't that: It was that he never really thought about his breathing technique - untill the master-breather (Joan Sutherland) made it necessary. It is not a slip: He is out of air.
Sorry but I'm relatively new to the topic: by saying he got "thin" you mean that his throat was not as open as it should be (the sound was too open and not covered enough?)? I loved the sound of his last C but your words seem to suggest that it was technically flawed.
I was and always will be a Luciano fanatic. However, I also pride myself on always being objective. To me, this was not one of his finest recordings, because the Ah si ben mio was too rushed, and not sung with the tender feeling one would expect in this type of aria. In his later commercialized years, this type of singing unfortunately became more prevalent, esp. in concerts. However, in opera, and especially back in the 70's, he generally sang with tremendous feeling and tender care of the legato line (hear his '69 recording for a taste of what I mean: th-cam.com/video/oOJZkjHM-ek/w-d-xo.html). His voice is so beautiful, so it is still enjoyable, but I expected more from Luciano. Perhaps this was one of his first performances of this heavier role and he was nervous about it.
You are right. The Ah si ben mio in the 69 recording is a masterpiece! Some think Bonynge's conducting was quite good here, in this recording, but Oliver Soltan said the orchestra was lagging behind Pavarotti. I think he is correct. I may be prejudiced because I think Bonynge was not gracious when he gave a rather long interview about Pavarotti several years after the maestro's death. RIP please! I read Bonynge was very upset when Pavarotti began to venture outside the bel canto repertoire.
well Corelli had a particular style, and style is purely taste. i wouldn't call it awful. for example, I love a tenor that trills at the "la morte a me parrà" near the 2 min. mark. Pavarotti did a bit of a trill here, so would other tenors. Corelli didn't because he couldn't trill worth a damn. so here I would agree Corelli's style wasn't as it perhaps could have been. but the brute, action-hero force he showed in the rest of the role EASILY make up for it, in my opinion.
Its a heavy role, uncoloured tenor will struggling. Most baries were fine in that aria, but only who got a forza, baritone like stefano didnt has a forza in his voice
Che nervi sbagliare proprio all'ultimo centesimo di secondo... Tra l'altro l'interpretazione non era per nulla male, sebbene qui Pav sia fuori ruolo e un pò impreciso in qualche occasione (strano per lui). Certamente apprezzabili i virtuosismi da tenore lirico sull' "A me parrà" ecc... tuttavia in questi pezzi preferisco voci più scure, pur mancanti dell'agilità necessaria per certi fronzoli, a mio avviso superflui in Verdi.
Dico la mia in due parole. Non sono un professionista, ma un umile appassionato. Mai stato in un teatro, ascolto opera da dieci anni. Pavarotti, a mio parere, non è adatto a questo tipo di interpretazioni. Un saluto.
Eugenio, enough that copypasting with list of baritones. What they forget in tenors repertoire!? tuker is so disaster, he was one of the worsest tenors imitators
Monaco is the trash of the trash. That barker with his sandwiched voice can able to do a screams, not more, his Otello is the worsest ever! He forced everything! He is a disaster
He had to take this down to B. 6:54 is where that HI - C is about to have some difficulties. I love him and he is my singing hero but sometimes he may have to fix his voice a bit.
What on earth are you talking about? He didn't 'Take it down to B' You can't just decide to take a note one semitone lower. It would be completely out of tune. The High C that he sings at the end is bang in tune. He does crack at the very end, but what the hell, it's a huge, long top C at the end of Act 3!
6:53 pav shouldnt do that role. So stressed, struggling, but its a tenors top. He ruined his voice for some "glory"? What audience know about vocal? They will apploud to anybody. 7:00 its painful to listen this
@@nthdegree1269 Don't think this happened. Voice does not sound pushed. Pavarotti had developed a technique which enabled him to sing spinto roles quite successfully.
Greatness. Not perfection, but greatness. Bravi Pavarotti and Sutherland.
he is beyond perfection.
De la musique avant toute chose. I spent a great deal of my adult life studying this opera, its composer and its source (Antonio García Gutiérrez). It is the subject of my doctoral dissertation. This live performance is the reason I used their commercial recording for my thesis. Luciano Pavarotti (1935 - 2007).
I can't believe this is a live rendition. Truly great!
This aria always gives me chills. God, what a voice!
It' s incredible such a squillo like this never heard in "Ah si ben mio". Exceptionally great talent to sing!
+Peter Koska Pavarotti was the Best!
@@KarstenKriwat You have my vote, too!
I was given a copy of this in 1977. I played it so many times in my car and at home and was totally devastated whe it finally gave up the ghost! Luciano is nothing short of STUNNING and Joanie is superb and without peer, Verdi must have sighed with joy when he heard this, i know I did!!!!!
Am I the only one, who likes Pavarotti's crack at the very end?... such balls-out fearlessness!
From 1969 to 1978, few tenors were ever in his league.
LA MÁS HERMOSA VOZ DE TENOR QUE HE ESCUCHADO JAMÁS! IRREMPLAZABLE
Wonderful! Brought back memories of seeing Joan and Franco Bonisolli in Trovatore at the Royal Opera House in 1981. We will never see or hear the like of any of them again in our life time.
I really get electrified every time when i listen to the first 50 seconds of this "Ah si ben mio", this was Pavarotto on the top, using his tools like a bigbig master. My full respect is for the actual elite of tenors who have to be those afterwards ...
and just preemptively mooorhe, yes, this Di quella pira is in beautiful C major :-) simply splendid!
Unforgettable! La Stupenda and Pavarotti!
I don´t care if he was ahead of the music sometimes. This was FANTASTIC!
Great art. Balm to the ears, and the mind.
Bravo 👏 lucciano 👍💕
This 7:28 minutes offers the variability of this voice and it's expression, for me the first 20 seconds belongs to the best i have ever heard from this maestro. All 7:28 are mastercraft - whether he have stayed the high c at the end or not is simply only an issue for peanutcounters.!
The first time I saw this opera on TV I was floored. Wow!!! 👏
The greatest tenor by far.
Lol.
He was the only one from operatic trash a tenor!
oh yes i remember that one, in B major, very very fast tempo and also very very good performance. i listened to that like a thousand times when I first found it... lol
Perfect!!
I do adore Pavarotti!
Una obra de arte Luciano incomparable
GREAT!!!
Really superb. Even the hiccup.
Bravo maestro.grande proffesion whit bergonzi most profesionll of all...perfection in this aria that day his voice was not 100% but he was strong and awsome bravo luciano bravo forever
This is just overwhelming. What a voice!
Excellent Mooorhe! Thanks again!
I agree! The orchestra is stunning here. Bonynge was guilty of some boring conducting at times, but this is perfection. There's a really effective sound used in the orchestra, I can't work out what instrument plays it, it's very subtle, and is audible around 6:30 and again around 6:48. Kind of like a bell ringing on top of the glorious orchestra, lol.
Bravo Pavarotti!
Mirabile
Its good that the audience didn't punish him for it though, cuz it was otherwise really great.
Best di quella pira!!!
No.
@@toivonencresto Yes
@@alanrodrigues2829 no
@@leonardogrimaldi8933 Yes
More better franco corelli
Increíble
btw, I agree Mooorhe, I think the slight hiccup on the end of that mighty High C is no problem at all, I kinda like it lol. Makes him seem more brash and fierce, in a role that deserves it. >-D
and I have to pat my hometown on the back a bit; this might be the best-conducted (kudos to Bonynge) and best-organized orchestra (kudos to the SF opera orchestra) I've ever heard! A lot of Piras get sloppy at the end; this one held together PERFECTLY! Almost studio-like perfection and refinement.
The vowel change from open to closed is very, very difficult, and not really required. In the studio recording, he retained the open vowel throughout. In this case, he probably went back stage and consulted with Dame Joan to avoid any future crack there.
When he changed vocal from (a) to (ee) he got a little thin and that caused the joddle on the last note the high C but an outstanding performance anyway. He was phenomenal.
i keep yodelling like this on the high A, makes me terribly depressed. I thought I had a vocal issue, but its obviously technical now that I hear him do the same crack, except its a high C, not a measly A.
All of you says that pavarotti cracked at the end... you need to listn right the tone was not a flat thaaaan he sung 2 hours until he gets to this aria and than such a performance? comon and go on stage and try this?;)
That is not the point! No performance is perfect - none! And the task of the audience is to hear what is good, and shrug the shoulders at minor imperfections. The problem for Sutherland was Pavarotti's partiality to garlic - which on occation could bleach even the most colourfull costume - this seems to be one of them - where resurrection kit was kept at the ready for the soprano.
If you want to be considered as the greatest, don't make excuses when you fall short. He was the greatest as far as I'm concerned, but he did crack at the end.
Bosie Wilder he was not the greatest. Everyone thinks he's the best tenor because he was popular because he took advantage of pop culture and media to elevate his fame. There were many superior tenors
bahaha.. wait WHAT?!
oh boohoo...this was one of the few performances. He was human and its a high note, give him a break. He cracked and he wasnt making any excuses he doesnt need to, because is one of the greatest tenor that ever lived. All HAIL THEE.
I don't even know how to describe Luciano's voice here! It is absolutely sublime! My favorite version of Ah si ben mio and Di Quella pira I have heard! Bravo! Anyone know who the soprano is? And by the way, the otchestration is wonderful, and the hickup at the end is no problem at all!
Daniel Parker the soprano is Joan Sutherland
Wow! Its a real soprano!
Not a mezzo like callas, nilsen, tebaldi....
Ha! Funny joke!@@Monnarchmonnarchy
@@MonnarchmonnarchyI admire your dedication to troll
Yes there was :P. I said I might have a go at one of them... I have a rather short attention span unfortunately.
Oh the last high note was a little flat to my ear and he cracked at the very end.
This really makes me admire his free technique all the more honestly.
It bothers me how, until the Stretto, Pavarotti is always ahead of the music.
If true, it is the conductor's fault, not the singer's. In opera, it is the job of the conductor, the accompanist as he is rightly considered, to follow the singers. Period.
there was a project? :-P
i have one dueling tenor video... i think it is a great match might I add, caters to all fans (as long as you like spinto tenors lol)
Very very last moment the voice betrays
Take a listen to the version that GermanOperaSinger has posted sung by Tucker, the orchestration there is perfect too, and at a faster speed than Bonynge does here. I've no idea who conducted that performance, or what orchestra was playing unfortunately.
More better franco corelli
Jusqu'au milieu des années 1985, Pavarotti avait la voix du Bon Dieu.
Vero. Grazie!
On peut tirer jusqu'à 1995 dans certains cas
Very fine!! Nice "Londa de suoni mistici" too, always one of my favorite parts. I agree also, the orchestra and chorus here sounds remarkably taut and vibrant, great recording quality too.
I still have yet to hear a "Di Quella Pira" with the same impact as Corelli's though, I have to be honest. But I'm just judging by recordings naturally. BTW Mooorhe what happened to your "dueling tenor" project? :D
I always like to see apples to apples in dueling videos. I've seen too many studio recording vs. live recording, and too many "while he/she was fresh on the scene vs. while he/she was on the verge of retiring." I've heard a lot of excellent tenors recorded in a studio. Ideal conditions. Live, not always as good as he/she was in studio. Then, there is very old, remastered recording vs. more recent recording. It's best to try to get as many apples to apples factors as possible. Otherwise, differences may not necessarily be due to the voice of one vs. the voice of the other.
yes a little tightness in the throat caused the slip. He was human after all!
Naahrr ... it wasn't that: It was that he never really thought about his breathing technique - untill the master-breather (Joan Sutherland) made it necessary. It is not a slip: He is out of air.
@@thomasborgsmidt9801No. it’s the sheer power. It’s all about control. He got excited. It happens.
Sorry but I'm relatively new to the topic: by saying he got "thin" you mean that his throat was not as open as it should be (the sound was too open and not covered enough?)? I loved the sound of his last C but your words seem to suggest that it was technically flawed.
un gigante anche se con la stecca alla fine
@PianistRonaldChow more like a hiccup. when a god hiccups we jsut say excuse me. :)
Эх
I was and always will be a Luciano fanatic. However, I also pride myself on always being objective. To me, this was not one of his finest recordings, because the Ah si ben mio was too rushed, and not sung with the tender feeling one would expect in this type of aria. In his later commercialized years, this type of singing unfortunately became more prevalent, esp. in concerts. However, in opera, and especially back in the 70's, he generally sang with tremendous feeling and tender care of the legato line (hear his '69 recording for a taste of what I mean: th-cam.com/video/oOJZkjHM-ek/w-d-xo.html). His voice is so beautiful, so it is still enjoyable, but I expected more from Luciano. Perhaps this was one of his first performances of this heavier role and he was nervous about it.
You are right. The Ah si ben mio in the 69 recording is a masterpiece! Some think Bonynge's conducting was quite good here, in this recording, but Oliver Soltan said the orchestra was lagging behind Pavarotti. I think he is correct. I may be prejudiced because I think Bonynge was not gracious when he gave a rather long interview about Pavarotti several years after the maestro's death. RIP please! I read Bonynge was very upset when Pavarotti began to venture outside the bel canto repertoire.
@mgdoom "Nice"...that's all you've got?
well Corelli had a particular style, and style is purely taste. i wouldn't call it awful.
for example, I love a tenor that trills at the "la morte a me parrà" near the 2 min. mark. Pavarotti did a bit of a trill here, so would other tenors. Corelli didn't because he couldn't trill worth a damn. so here I would agree Corelli's style wasn't as it perhaps could have been.
but the brute, action-hero force he showed in the rest of the role EASILY make up for it, in my opinion.
And people didn't mind when his voice started to decline. They still went to see him, not caring when his voice became unsteady. He was still great.
Corelli more better the pavarotti
@@albertodiaz8070 If you believe this, then go and listen to Corelli.
Your corelli was a histerical baritone.
Dont touch a real tenor - pav
Very nice record, but Pavarotti cracked a little at the end!!
Its a heavy role, uncoloured tenor will struggling.
Most baries were fine in that aria, but only who got a forza, baritone like stefano didnt has a forza in his voice
Che nervi sbagliare proprio all'ultimo centesimo di secondo...
Tra l'altro l'interpretazione non era per nulla male, sebbene qui Pav sia fuori ruolo e un pò impreciso in qualche occasione (strano per lui).
Certamente apprezzabili i virtuosismi da tenore lirico sull' "A me parrà" ecc... tuttavia in questi pezzi preferisco voci più scure, pur mancanti dell'agilità necessaria per certi fronzoli, a mio avviso superflui in Verdi.
Nonsense, Pavarotti was not ahead of the music, the orchestra was simply lagging behind!
Dico la mia in due parole. Non sono un professionista, ma un umile appassionato. Mai stato in un teatro, ascolto opera da dieci anni. Pavarotti, a mio parere, non è adatto a questo tipo di interpretazioni. Un saluto.
E hai ragione.
Fuori repertorio, cantata da Corelli Prevedi Pertile Merli Gigli Del Monaco Tucker Masini Bonisolli Filippeschi e' tutta un altra storia.
Eugenio, enough that copypasting with list of baritones.
What they forget in tenors repertoire!?
tuker is so disaster, he was one of the worsest tenors imitators
Monaco is the trash of the trash.
That barker with his sandwiched voice can able to do a screams, not more, his Otello is the worsest ever! He forced everything! He is a disaster
Voz apretada, sin cuerpo, por eso al final se le sale un "gallo"; fuera de repertorio.
JEJEJEJEJE
He had to take this down to B. 6:54 is where that HI - C is about to have some difficulties. I love him and he is my singing hero but sometimes he may have to fix his voice a bit.
What on earth are you talking about? He didn't 'Take it down to B' You can't just decide to take a note one semitone lower. It would be completely out of tune. The High C that he sings at the end is bang in tune. He does crack at the very end, but what the hell, it's a huge, long top C at the end of Act 3!
도 ㅍㄴ
6:53 pav shouldnt do that role. So stressed, struggling, but its a tenors top.
He ruined his voice for some "glory"?
What audience know about vocal? They will apploud to anybody.
7:00 its painful to listen this
The King of Cracks
He had a mid sized voice. Not BIG. Tendency can be to over reach or push. Also depends on conductor.
domingo
@@xXFedericoChannel He sings nasal. Just listen. It is, though, very sad how his career ended.
XXFederico In case I wasn't clear, it is Domingo who sings nasal. NOT Pavarotti.
@@nthdegree1269 Don't think this happened. Voice does not sound pushed. Pavarotti had developed a technique which enabled him to sing spinto roles quite successfully.
SPLENDIDOOOOOOOOOOOOOOOOOO!!!!!!!!!!!!!