the hand and finger gestures, the physical interaction between Marton and Milnes are gracefully articulated and add so much meaning and depth to the performance, unlike more recent videos with some of the new generation of "stars" indulging in exaggerated affectations. The costume design in this production is splendid.
This duet , beautifully sung by Milnes and Marton reminded me of Trovatore sung by Warren and Milanov. in the distanat past. Milnes ainda was in voice.at the time of this performance. His interpretation in the film version of Otelo is memorable, one of the best that I have ever heard.
Due grandi interpreti con un Milnes strepitoso!!! Scandisce le parole e gli da un senso interpretativo difficilmente ascoltabile da cantanti non Italiani!!! Grazie
Marton clearly demonstrates here that the minimum requirement for a soprano singing this role, or actually any Verdi role, is a spinto voice [or dramatic] with good rhythmic sense and the ability to maintain a coloratura line with finesse.
I spent most of this production having laughing fits at the costumes. Manrico and di Luna both have a thing for flowery tabards. Terrible fashion sense must run in the family XD And then there's Ferrando and the chorus, sporting some really cool Grey Warden armour (they even have griffons).
Actually this production was quite accurate in its costuming. The late Middle Ages [the time period of Trovatore} was one in which noble males wore highly decorated clothing to demonstrate their wealth and ability to spend on luxury as an indication of power and status. It would have been considered weak to wear less decorated tabards and neither Manrico nor his brother would have been willing to appear weak to their followers. Too bad that Caius does not understand the history of men's fashion as a power tool.
What a shame that you cannot see that these costumes directly quote from medieval tapestries in the Louvre and the British museum and are historically accurate. Perhaps you wanted them to wear boxing shors and bathing suits????
In the late '80s Marton has already sung Turandot , Salome, Brünhilde...her voice was heavier than in the '70s... she made her debut at La Scala with Leonora in Il Trovatore in 1975.
@Barone Vitellio Scarpia I would not say that, but she sounds so metallic, very intense. Lyricism in voice-all gone, but it is her unique amazing voice!
@Barone Vitellio Scarpia I wouldn’t call it constricted at all. Tebaldi had a much lighter, lyric soprano voice. Marton sounds more like a dramatic soprano. Completely different voice types.
Bravissimi gli interpreti ma devo sottolineare la direzione di JIMMI LEVINE con accordatura che rispetta il LA VERDIANO!!!! È l unico al mondo che l ha fatta rispettare alla Sua Orchestra!!!
I agree this is not the best performance of Marton, and also I can't discuss if you are a fan or not... but she don't sings horrible... she has been a great great singer with memorable performances
@Sherrill Milnes Fan I´m not agree, exist memorable videos of Marton after that. In Barcelona we listened astonishing performances: Elektra, Turandot, Lohengrin, Salome or the last one Jenufa...
This is not her cup of tea. She is a dramatic soprano and Leonora requires a coloratura that she doesn't have. Her voice type does not fit well this role. Even so, she stands head and shouders above most modern Leonoras.
@@ESilva-gw9ig she is great in her own way, but i prefer Leonora as a lyric spitno, not as a too dark metallic voice. She has amazing coloraturas, but her colour of voice is for different roles.
I wouldn't say she sings terrible, but her timbre and color run too uneven and stressed for my taste. She never caught fire with me like say Ileana Cotrubas, Katia Ricciarelli, Callas and a number of others. A better than average actress but a little too tall for most roles. IMHO. Paz.
the hand and finger gestures, the physical interaction between Marton and Milnes are gracefully articulated and add so much meaning and depth to the performance, unlike more recent videos with some of the new generation of "stars" indulging in exaggerated affectations.
The costume design in this production is splendid.
Love Milnes. Saw him in concert before he went to the Met. Fantastic voice and expression. And Trovatore is one of my favorite operas.
This duet , beautifully sung by Milnes and Marton reminded me of Trovatore sung by Warren and Milanov. in the distanat past. Milnes ainda was in voice.at the time of this performance. His interpretation in the film version of Otelo is memorable, one of the best that I have ever heard.
I agree, two greatest singers 💕
¡Fabuloso dúo!
Geniale Aufnahme! Kenne ich noch aus meiner Jugend!
You can cut both they faces and get all the scene from Milnes's Hands, so expressive
I grew up on this videorecording
Great Performance !!!!
Milnes!! Great!!
Milnes superb!
Due grandi interpreti con un Milnes strepitoso!!! Scandisce le parole e gli da un senso interpretativo difficilmente ascoltabile da cantanti non Italiani!!! Grazie
Concordo con te.
Devi averne ascoltati pochi..
Sherril Milnes l'ultimo grande baritono, 653 recite al met.
@@Tkimba2 certo,se parliamo di vocalità,hai ragione,in quanto Milnes ha la voce di un tenore comprimario...
@@giampierone010 anche secondo me!
Che voce farinosa. Che meraviglia
I found it! It's Il Trovatore.
Sublime 💞👑
I love Sherrill!
I adore I'll Trovatore.
Из великих опер мира
Bravo Milnes! Manrico - Pavarotti, Azucena - Dolora Zajick, conductor James Levine.
Fuoco ragazzi! Due leoni
Marton clearly demonstrates here that the minimum requirement for a soprano singing this role, or actually any Verdi role, is a spinto voice [or dramatic] with good rhythmic sense and the ability to maintain a coloratura line with finesse.
Which she doesn’t show here of course
@@draganvidic2039 She is neither a real spinto neither does she have coloratura neither does she possess anything to sing Verdi.
Ehhhh!
Dimitrij Hvorosztovszkij!!!!!!❤❤❤❤😔👏💔💔💔💔
Entrant a l’història...
Milnes is Luna. Great.
Голос очень жёсткий, на грани драмы, с повелительными ноками! Прекрасный ди Луна!
I spent most of this production having laughing fits at the costumes. Manrico and di Luna both have a thing for flowery tabards. Terrible fashion sense must run in the family XD And then there's Ferrando and the chorus, sporting some really cool Grey Warden armour (they even have griffons).
Actually this production was quite accurate in its costuming. The late Middle Ages [the time period of Trovatore} was one in which noble males wore highly decorated clothing to demonstrate their wealth and ability to spend on luxury as an indication of power and status. It would have been considered weak to wear less decorated tabards and neither Manrico nor his brother would have been willing to appear weak to their followers. Too bad that Caius does not understand the history of men's fashion as a power tool.
What a shame that you cannot see that these costumes directly quote from medieval tapestries in the Louvre and the British museum and are historically accurate. Perhaps you wanted them to wear boxing shors and bathing suits????
@@wilsonwatt9283 yes, he likes German stage directors who place Trovatore in the 80s in the Bronx
What. Ever.
Uno si chiede perché non ci sono più voci così di questi tempi.... Molto bravi perché non sono di madrelingua italiana.
Not the most beautiful Soprano Voice to sing Verdi
In the late '80s Marton has already sung Turandot , Salome, Brünhilde...her voice was heavier than in the '70s... she made her debut at La Scala with Leonora in Il Trovatore in 1975.
Gergely Csallo
She is a great Singer,just not a beautiful voice,for my taste thx
@Barone Vitellio Scarpia I would not say that, but she sounds so metallic, very intense. Lyricism in voice-all gone, but it is her unique amazing voice!
@Barone Vitellio Scarpia I wouldn’t call it constricted at all. Tebaldi had a much lighter, lyric soprano voice. Marton sounds more like a dramatic soprano. Completely different voice types.
What opera is this from?
Il trovatore by Verdi
MET 1988!
Millo is much better than Marton. And Milnes sounded better in the Millo version too.
Bravissimi gli interpreti ma devo sottolineare la direzione di JIMMI LEVINE con accordatura che rispetta il LA VERDIANO!!!!
È l unico al mondo che l ha fatta rispettare alla Sua Orchestra!!!
I am not a fan of Marton. She sings horrible......
I agree this is not the best performance of Marton, and also I can't discuss if you are a fan or not... but she don't sings horrible... she has been a great great singer with memorable performances
@Sherrill Milnes Fan I´m not agree, exist memorable videos of Marton after that. In Barcelona we listened astonishing performances: Elektra, Turandot, Lohengrin, Salome or the last one Jenufa...
This is not her cup of tea. She is a dramatic soprano and Leonora requires a coloratura that she doesn't have. Her voice type does not fit well this role. Even so, she stands head and shouders above most modern Leonoras.
@@ESilva-gw9ig she is great in her own way, but i prefer Leonora as a lyric spitno, not as a too dark metallic voice. She has amazing coloraturas, but her colour of voice is for different roles.
I wouldn't say she sings terrible, but her timbre and color run too uneven and stressed for my taste. She never caught fire with me like say Ileana Cotrubas, Katia Ricciarelli, Callas and a number of others. A better than average actress but a little too tall for most roles. IMHO. Paz.
Due vocalità poco adatte a questo capolavoro.
Non mi piace affatto.
il vecchio
Не нравится