La última Lucia de Lily y el primer Edgardo de Placido, Lily fue la mejor intérprete de Lucia como Ángela Peralta lo fue en su época (debutó en Europa con este papel y el hijo de Donizetti entre lágrimas subió al proscenio mientras recibía la ovación y dijo: “Es una pena que mi padre haya muerto antes de ver a la mejor intérprete de su Ópera”, se derrumbó a besar su mano y fue llamada “El Ruiseñor Mexicano”), Lily Pons cantaba esta Ópera en la clave original para acabar con un Fa6 Sobreagudo en las escenas de la muerte de Lucia, en lo personal la considero la voz idónea y la mejor grabación de esta Ópera fue hecha en 1947 en México con ella en el titular, el publico la amo, su talento no murió con ella, su voz prevalece y así seguirá por los siglos de los siglos, gracias Lily por tanto que diste en escena... ❤️
I'm listening to this again today and enjoy it anew for Placido Domingo's "black stallion charging up the mountain" epoch of his vocal quality. Of course, his approach and technique evolved as time went on, becoming more polished, sophisticated and in firmer command. Yes, Ms Pons' voice has a tremulous fragility to it due to age, which is to be expected. But her essential coloratura soprano voice is still evident and in her control. If this was her last performance before retiring, it is a lovely page to close the chapter on. As for Domingo, well, we all know how gloriously his career continued to go from here. I thank God for it!
No dueto ainda jovem Plácido Domingo já tinha a voz formada. Impressionante. Devo lembrar que a melhor gravação desta ópera é com Callas e Ferrúcio Tagliavini.
Yo tengo LUCIA DI LAMMERMOOR completa en Cds. donde Lily Pons canta junto a Jamen Melton y Leonar Warren. Grabado en el MET 8.1.1944 . En pleno apogeo de la Pons. Excelente. Se escucha perfecto.
My two favorite Opera singers. They have a beautiful and pure tone in their voices, and their voices blend so well together. I had not heard them sing together. Thank you for sharing this.
“A woman singer”? What a strange comment to design Lily Pons, one of the greatest soprano coloratura of the 20th century!!! Lily Pons was an extraordinary artist, a huge star, happily married, and who was generous enough to give his chance to a young unknown tenor at the time.
Do not get me wrong!!i like. Lily. Pons very much,she is one of my favorites sopranos of all time. I have records of Her. Maybe i shouldn't used the term woman. But i was refering to a singer retiring and another young singer starting his career. I just want to make this clear,it was not offensive of my part.
Brava Lily Pons! It was exciting listening to her sing with such musicianship and expression. Was the voice the same as it was 20 years prior? No, but that is to be expected. Nevertheless her final high Eb's were spectacular! As for Domingo, his young voice was a revelation. As one of the commenters said below, his voice was in his "black stallion charging up the mountain" phase. BTW, I think the final scene of Lucia is the greatest of all scenes for solo tenor.
Pons was always remarkable. This and the concert in ‘74 make a lovely coda to career. She wasn’t a great actress, but she had style and presence. Star quality.
He never was a true lyric tenor!!not even at 20!! His voice was always heavy. Here of course he is young and the voice is lighter. Edgardo is a lyric tenor,he has beautiful music to sing. I don't know if you know about voices very much. You Like to contradict anything I said. I know what am talking about. I don't know about you.
Is not the size of the voice,is the timber of the voice. But you have your valid opinion about the subject and i have my valid opinion about the subject too. Have a nice day.
the contraat of lily pons lucia and maria callas dramatic colo ratura lucia full of drama and pathos. but at this point,i enjoy both of them,to each his own!!am still like pons and am still like callas,two completely differents singers,differents voices and approch to the role of the tragic lucia!!
Mme. Pons was 64 (or 63) in this performance. Mr. Domingo was supposedly only 21, which is difficult to credit. Among other things he is already a first-class musician.
Lily Pons was THE Lucia in the 30s and 40s carrying on a long tradition of a lighter coloratura soprano singing it. Callas revolutionized the role with her dramatic voice and superior acting, but vocal challenges with her upper register forced her to relinquish it in 1959. This is the same year that Dame Joan took on the role and would essentially own it until the late 1980s. Here Pons demonstrates her interpretation is still formidable even though she's in her mid 60s here.
Lily Pons commença sa carrière lyrique dans les années '30, puisque dans la décennie précédente elle tourna des films aux Etats-Unis. Dans certains films elle chantait, d'après la mode de l'époque, ce qui lui ouvrit le chemin pour réaliser pleinement sa vocation lyrique. Son activité artistique se déploya en Amérique, du Nord et du Sud, étant méconnue en Europe. Ses grands tremplins par rapport à sa renommée furent le Met, à New York, et le Théâtre Colon de Buenos Aires. Une soirée d'environ 1935, Lucia di Lammermoor était annoncée au Théâtre Colon de la capitale argentine. Personne n'était au courant des antécédents de la Prima Donna Lily Pons. Je tiens l'anecdote de mon père, présent à cette soirée au premier Colisée argentin. L'indifférence est la réponse naturelle à la méconnaissance. La salle du Théâtre Colon était à peu près vide ce soir-là. Mais quel coup de foudre engendra Lily Pons! Les assistants restèrent ébahis d'écouter un tel phénomène vocal! Deux soirs plus tard, pour la seconde représentation de l'opéra, la nouvelle ayant filé comme un éclair dans le tout-Buenos Aires, la salle du Colon était archi-comble par un public avide de l'entendre! Et puis les mélomanes argentins s'éprirent d'elle. Etablie aux Etats-Unis, elle devint la Collorature-Etoile du Met, poste qu'avait occupé auparavant Frieda Hempel. On peut comprendre le secret du succès de Lily Pons: un beau timbre mélodieux, et une facilité innée pour émettre sans aucun effort les sons aïgus et suraïgus. Sur le plan dramatique, elle avait un certain ton d'ingénuité et de douceur passionnée, à l'exacte mesure de Lucia. Sa carrière s'étendit bien longtemps. En 1948, à l'âge de cinquante ans, elle enregistra Lucia intégrale, avec la même fraîcheur d'antan. Deux ans plus tard, entre 1950 et 51, elle enregistra un Fledermaus intégral, tenant le rôle d'une Adele espiègle et avertie, qui est un régal. La voici à présent dans une version tardive de Lucia, dattant de 1962. Dès le début, on remarque le maintien de la voix. Déjà dans Regnava nel silenzio, quanto rapito in estasi, on s'aperçoit bien que sa voix conserve la beauté de toujours. Elle envisage avec naturalité les variations d'usage dans le Da Capo. Dans le sublime Sextour elle est merveilleuse. Dans la Scène de la Folie, la justesse de l'accent met d'aplomb et rend croyable le personnage, enjolivant d'élégance et charme le gala lyrique. Et puis, le chef d'oeuvre de Donizetti n'est que merveille: un opéra aux plans sonores équilibrés, dont l'évolution dramatique si touchante réussit toujours à nous émouvoir. Les mélodies, soient-elles epanouïes dans les voix, ou soufflées par le fond tragique de Pathos soutenu par le choeur, font de Lucia di Lammermoor quelque chose de très spécial dans l'univers de l'opéra. Et Lily Pons l'a été aussi. Pedro Miguel, Mar del Plata, Argentine
creo que placido domingo en este live performance,que fue el retiro de la opera de la gran soprano francesa lily pons tenia como unos 20 anos!! el nacio en el 1941 y creo que esta grabacion es de 1961!! placido no estaba formado aun como cantante de opera o como tenor operatico,eso vendria despues el tenia el coraje de la juventud!!
Alex Daniel According to Wikipedia, Lily Pons' farewell operatic performance was this exact one, which was at Fort Worth Opera in 1962. Since Domingo was born in 1941, the dating of this performance would indeed have made him 21 years old. If he had been 28 as claimed, this would have been in 1969. This would have put Ms. Pons at 71. I would believe a 21 year old Domingo over a 71 year old Pons any day.
Well...considering that at age 21 I sang the role of Enrico, at 18 I did Almaviva (Mozart), and at 16 I did Leporello, and also at 18 my wife to be (girlfriend at the time) did the Queen of the Night, yes...I would say Enrico would have been very possible at 21. Especially for a man with the kind of talent Domingo has always had. I've known many young singers with phenomenal voices. Sadly, they usually overshoot themselves at a young age, and have an early end to their career. Domingo was one of the rare talents that could handle it.
Sounds to me like the REAL issue behind the so called "age discrepancy" is the idea that "he should have retired years ago". Although, seriously, this is the first I've ever even HEARD of the 1934 theory (I've been following his career since 1972, and even back then I knew his birth was in 41), so I've been looking up this rumour online ever since I read your post last night. In every case, the people who were pushing this notion were those who thought he should have retired, instead of switching to a baritone repertoire! While I don't disagree that retirement would have been a viable option, I imagine that if I had still had the energy, strength, ambition and talent that he does...I would have made the same choice he did. Granted...his baritone repertoire is not of the excitement that he was as a tenor. But he still sings it extremely well. It just sounds like a very good tenor who no longer has the high notes, so chose to sing a lower repertoire, rather than stop all together. I applaud him for his choice. I DO think he should re-think the TYPES of baritone roles he's doing, though. His tenor timbre does not lend itself to Verdian baritone roles. (I saw him in MacBeth last year. His voice really was not suited for the role. I'm used to the Leonard Warren type voices. But he still did a magnificent job for a tenor Macbeth.) I would rather see him do more lyric roles. But your arguments about his age have no bearing. As I have said, there just simply ARE a number of young singers that are able of doing really advanced singing. He was obviously one of yhem, and has been able to continue in that path, way up to his old age (whether it or 83).
Es fácil denostrar a un cantante que recién comenzaba... La diferencia de edad no se nota en escena... pero sí en algunas notitas ...hmmm en ambos. Pero es una grabación histórica, no es perfecta,,,,
I frankly never understood Ms. Pons fame and successful career! Granted, here she is 64 years old, so its understood why this isn't too great. But really, even when you listen to her much younger voice, when she was at the height of her career, there just wasn't really nothing real great about her voice or the way she sang. For that particular style of chirping song-bird that was so popular back then, there were several in that genre that far outsang her. And even in the following generation, Roberta Peters was far superior!
Die folgenden Generationen haben immer schwere Stimmen besetzt-eine Rosina, von einem Nilpferd wie Marylin Horne gesungen! Vielleicht hat sie die Technik, aber wo bleibt der weibliche Charme, Grazie und Eleganz einer Lily Pons? Viele Leute haben einfach einen schlechten oder gar keinen Geschmack!
Dragoslav Aleksic - out of pitch, yes. Almost every recording of Pons I ever heard, she always sings about a quarter tone flat. Especially in the upper register. When Maria Callas was still a child, and would listen to Pons on the radio, she would say "She sings off key!" And sadly, in this performance, because of her advanced age, she had developed a wobble that pulled her down even more.
![Donizetti: Lucia di Lammermoor - Callas, Tagliavini, Cappuccilli, Serafin (1959) [Subtitles]](http://i.ytimg.com/vi/5YJD3VHolRE/mqdefault.jpg)
![[TH] VCT Pacific Stage 2 - Playoffs Day 3 // DRX vs GEN | PRX vs TLN](http://i.ytimg.com/vi/CWM1Q-2-o3M/mqdefault.jpg)
Qué dúo!!!!Maravilloso!
The mythical recording!!! The early days of one career intersect with the final days of another ... WOW!!!!!
La última Lucia de Lily y el primer Edgardo de Placido, Lily fue la mejor intérprete de Lucia como Ángela Peralta lo fue en su época (debutó en Europa con este papel y el hijo de Donizetti entre lágrimas subió al proscenio mientras recibía la ovación y dijo: “Es una pena que mi padre haya muerto antes de ver a la mejor intérprete de su Ópera”, se derrumbó a besar su mano y fue llamada “El Ruiseñor Mexicano”), Lily Pons cantaba esta Ópera en la clave original para acabar con un Fa6 Sobreagudo en las escenas de la muerte de Lucia, en lo personal la considero la voz idónea y la mejor grabación de esta Ópera fue hecha en 1947 en México con ella en el titular, el publico la amo, su talento no murió con ella, su voz prevalece y así seguirá por los siglos de los siglos, gracias Lily por tanto que diste en escena... ❤️
7
I'm listening to this again today and enjoy it anew for Placido Domingo's "black stallion charging up the mountain" epoch of his vocal quality. Of course, his approach and technique evolved as time went on, becoming more polished, sophisticated and in firmer command. Yes, Ms Pons' voice has a tremulous fragility to it due to age, which is to be expected. But her essential coloratura soprano voice is still evident and in her control. If this was her last performance before retiring, it is a lovely page to close the chapter on. As for Domingo, well, we all know how gloriously his career continued to go from here. I thank God for it!
No dueto ainda jovem Plácido Domingo já tinha a voz formada.
Impressionante. Devo lembrar que a melhor gravação desta ópera é com Callas e Ferrúcio Tagliavini.
Plácido Domingo tinha apenas 21 anos e já cantava com Lily Pons.
Yo tengo LUCIA DI LAMMERMOOR completa en Cds. donde Lily Pons canta junto a Jamen Melton y Leonar Warren. Grabado en el MET 8.1.1944 . En pleno apogeo de la Pons. Excelente. Se escucha perfecto.
brava lily!!brava diva!!
My two favorite Opera singers. They have a beautiful and pure tone in their voices, and their voices blend so well together. I had not heard them sing together. Thank you for sharing this.
BRAVO the wonderful Joshua Hecht!
a woman singer in her early 60s
and a young,passionate spanish
tenor in his early 20s!!what a
contrast in life and in art!!
“A woman singer”? What a strange comment to design Lily Pons, one of the greatest soprano coloratura of the 20th century!!! Lily Pons was an extraordinary artist, a huge star, happily married, and who was generous enough to give his chance to a young unknown tenor at the time.
Do not get me wrong!!i like. Lily. Pons very much,she is one of my favorites sopranos of all time. I have records of
Her. Maybe i shouldn't used the term woman. But i was refering to a singer retiring and another young singer starting his career. I just want to make this clear,it was not offensive of my part.
Brava Lily Pons! It was exciting listening to her sing with such musicianship and expression. Was the voice the same as it was 20 years prior? No, but that is to be expected. Nevertheless her final high Eb's were spectacular! As for Domingo, his young voice was a revelation. As one of the commenters said below, his voice was in his "black stallion charging up the mountain" phase. BTW, I think the final scene of Lucia is the greatest of all scenes for solo tenor.
Pons was always remarkable. This and the concert in ‘74 make a lovely coda to career. She wasn’t a great actress, but she had style and presence. Star quality.
placido domingo an spinto tenor
from the beggining.
He never was a true lyric tenor!!not even at 20!! His voice was always heavy. Here of course he is young and the voice is lighter. Edgardo is a lyric tenor,he has beautiful music to sing. I don't know if you know about voices very much. You
Like to contradict anything I said. I know what am talking about. I don't know about you.
Is not the size of the voice,is the timber of the voice. But you have your valid opinion about the subject and i have my valid opinion about the subject too. Have a nice day.
Mais uma excelente postagem!!! Valeu, Marcos!!! :)
the contraat of lily pons lucia
and maria callas dramatic colo
ratura lucia full of drama and
pathos. but at this point,i
enjoy both of them,to each his
own!!am still like pons and am
still like callas,two completely
differents singers,differents
voices and approch to the role
of the tragic lucia!!
Mme. Pons was 64 (or 63) in this performance. Mr. Domingo was supposedly only 21, which is difficult to credit. Among other things he is already a first-class musician.
Lily Pons was THE Lucia in the 30s and 40s carrying on a long tradition of a lighter coloratura soprano singing it. Callas revolutionized the role with her dramatic voice and superior acting, but vocal challenges with her upper register forced her to relinquish it in 1959. This is the same year that Dame Joan took on the role and would essentially own it until the late 1980s. Here Pons demonstrates her interpretation is still formidable even though she's in her mid 60s here.
i would like to know the rest of
the cast,the baritone sounds
fabulous!!a great voice!!
Benjamin Rayson. They are listed at the top of the page.
💙💙💙💙💙!!!!
Fosse depender das Emissoras oficiais a cultura já estaria sepultada por completo.
Lily Pons commença sa carrière lyrique dans les années '30, puisque dans la décennie précédente elle tourna des films aux Etats-Unis. Dans certains films elle chantait, d'après la mode de l'époque, ce qui lui ouvrit le chemin pour réaliser pleinement sa vocation lyrique. Son activité artistique se déploya en Amérique, du Nord et du Sud, étant méconnue en Europe. Ses grands tremplins par rapport à sa renommée furent le Met, à New York, et le Théâtre Colon de Buenos Aires. Une soirée d'environ 1935, Lucia di Lammermoor était annoncée au Théâtre Colon de la capitale argentine. Personne n'était au courant des antécédents de la Prima Donna Lily Pons. Je tiens l'anecdote de mon père, présent à cette soirée au premier Colisée argentin. L'indifférence est la réponse naturelle à la méconnaissance. La salle du Théâtre Colon était à peu près vide ce soir-là. Mais quel coup de foudre engendra Lily Pons! Les assistants restèrent ébahis d'écouter un tel phénomène vocal! Deux soirs plus tard, pour la seconde représentation de l'opéra, la nouvelle ayant filé comme un éclair dans le tout-Buenos Aires, la salle du Colon était archi-comble par un public avide de l'entendre! Et puis les mélomanes argentins s'éprirent d'elle. Etablie aux Etats-Unis, elle devint la Collorature-Etoile du Met, poste qu'avait occupé auparavant Frieda Hempel.
On peut comprendre le secret du succès de Lily Pons: un beau timbre mélodieux, et une facilité innée pour émettre sans aucun effort les sons aïgus et suraïgus. Sur le plan dramatique, elle avait un certain ton d'ingénuité et de douceur passionnée, à l'exacte mesure de Lucia. Sa carrière s'étendit bien longtemps. En 1948, à l'âge de cinquante ans, elle enregistra Lucia intégrale, avec la même fraîcheur d'antan. Deux ans plus tard, entre 1950 et 51, elle enregistra un Fledermaus intégral, tenant le rôle d'une Adele espiègle et avertie, qui est un régal.
La voici à présent dans une version tardive de Lucia, dattant de 1962. Dès le début, on remarque le maintien de la voix. Déjà dans Regnava nel silenzio, quanto rapito in estasi, on s'aperçoit bien que sa voix conserve la beauté de toujours. Elle envisage avec naturalité les variations d'usage dans le Da Capo. Dans le sublime Sextour elle est merveilleuse. Dans la Scène de la Folie, la justesse de l'accent met d'aplomb et rend croyable le personnage, enjolivant d'élégance et charme le gala lyrique.
Et puis, le chef d'oeuvre de Donizetti n'est que merveille: un opéra aux plans sonores équilibrés, dont l'évolution dramatique si touchante réussit toujours à nous émouvoir. Les mélodies, soient-elles epanouïes dans les voix, ou soufflées par le fond tragique de Pathos soutenu par le choeur, font de Lucia di Lammermoor quelque chose de très spécial dans l'univers de l'opéra. Et Lily Pons l'a été aussi.
Pedro Miguel, Mar del Plata, Argentine
Merci pour ces précieuses informations. Lily Pons était incroyable sur tous les plans !
creo que placido domingo en
este live performance,que fue
el retiro de la opera de la gran
soprano francesa lily pons
tenia como unos 20 anos!!
el nacio en el 1941 y creo que
esta grabacion es de 1961!!
placido no estaba formado
aun como cantante de opera
o como tenor operatico,eso
vendria despues el tenia el
coraje de la juventud!!
Confío en que fueran 20 años!
Placido. Domingo nacio en 1941. Siempre se ha dicho la misma fecha. Si esta grabacion es de 1961,pues el tenia 20 anos!!no hay ningun misterio!!!
@@alfredoloyola921 Perdona, Alfredo, era una broma infantil.
Ok!!estas perdonado!!!!!!!!!!
@@alfredoloyola921 Gracias.
What key did Domingo actually sing the finale in? Another video is higher than this.
the bass had a good voice too!!
who was him?who was the bari
tone!!good sonorous voices!!
Alfredo Loyola the bass is Joshua Hecht. He’s my current voice teacher, as well
I think belcanto without very good acting gets boring with the time. Personally, I don't like too heavy voices singing coloratura
Ha ha. Placido Domingo is 21 here?!?! I call bullshit, just like Joseph Calleja is only 39.
Alex Daniel According to Wikipedia, Lily Pons' farewell operatic performance was this exact one, which was at Fort Worth Opera in 1962. Since Domingo was born in 1941, the dating of this performance would indeed have made him 21 years old.
If he had been 28 as claimed, this would have been in 1969. This would have put Ms. Pons at 71. I would believe a 21 year old Domingo over a 71 year old Pons any day.
bertrand simon. There's no way he's 83!
Well...considering that at age 21 I sang the role of Enrico, at 18 I did Almaviva (Mozart), and at 16 I did Leporello, and also at 18 my wife to be (girlfriend at the time) did the Queen of the Night, yes...I would say Enrico would have been very possible at 21. Especially for a man with the kind of talent Domingo has always had. I've known many young singers with phenomenal voices. Sadly, they usually overshoot themselves at a young age, and have an early end to their career. Domingo was one of the rare talents that could handle it.
Sounds to me like the REAL issue behind the so called "age discrepancy" is the idea that "he should have retired years ago". Although, seriously, this is the first I've ever even HEARD of the 1934 theory (I've been following his career since 1972, and even back then I knew his birth was in 41), so I've been looking up this rumour online ever since I read your post last night. In every case, the people who were pushing this notion were those who thought he should have retired, instead of switching to a baritone repertoire!
While I don't disagree that retirement would have been a viable option, I imagine that if I had still had the energy, strength, ambition and talent that he does...I would have made the same choice he did.
Granted...his baritone repertoire is not of the excitement that he was as a tenor. But he still sings it extremely well. It just sounds like a very good tenor who no longer has the high notes, so chose to sing a lower repertoire, rather than stop all together. I applaud him for his choice.
I DO think he should re-think the TYPES of baritone roles he's doing, though. His tenor timbre does not lend itself to Verdian baritone roles. (I saw him in MacBeth last year. His voice really was not suited for the role. I'm used to the Leonard Warren type voices. But he still did a magnificent job for a tenor Macbeth.) I would rather see him do more lyric roles.
But your arguments about his age have no bearing. As I have said, there just simply ARE a number of young singers that are able of doing really advanced singing. He was obviously one of yhem, and has been able to continue in that path, way up to his old age (whether it or 83).
listserv.bccls.org/cgi-bin/wa?A2=OPERA-L;xUvqzg;20060311143837%2B0000B
Domingo horrible en Edgardo. Este señor no sabe q esto no es puccini, es Donizetti. Además de cantar las partes principales bajada de tono.
Es fácil denostrar a un cantante que recién comenzaba... La diferencia de edad no se nota en escena... pero sí en algunas notitas ...hmmm en ambos. Pero es una grabación histórica, no es perfecta,,,,
@@Ileana5173 No pone atencion al trol Mariano, es muy amargado con envidia y solo opina pa ensenar su culo.
I frankly never understood Ms. Pons fame and successful career! Granted, here she is 64 years old, so its understood why this isn't too great. But really, even when you listen to her much younger voice, when she was at the height of her career, there just wasn't really nothing real great about her voice or the way she sang. For that particular style of chirping song-bird that was so popular back then, there were several in that genre that far outsang her. And even in the following generation, Roberta Peters was far superior!
Lily Pons sang that role MUCH BETTER than you could ever dream of singing it..... dear Mr. Art Danks...sir.....!!!
I agree with that!
Die folgenden Generationen haben immer schwere Stimmen besetzt-eine Rosina, von einem Nilpferd wie Marylin Horne gesungen! Vielleicht hat sie die Technik, aber wo bleibt der weibliche Charme, Grazie und Eleganz einer Lily Pons?
Viele Leute haben einfach einen schlechten oder gar keinen Geschmack!
out of pitch
Dragoslav Aleksic - out of pitch, yes. Almost every recording of Pons I ever heard, she always sings about a quarter tone flat. Especially in the upper register. When Maria Callas was still a child, and would listen to Pons on the radio, she would say "She sings off key!"
And sadly, in this performance, because of her advanced age, she had developed a wobble that pulled her down even more.