Enrico Caruso & Geraldine Farrar - O Soave Fanciulla (1912)
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- เผยแพร่เมื่อ 4 ก.ย. 2009
- Puccini: La bohème, Act II: O soave fanciulla (Oh, sweet little lady).
Recorded 30th of December 1912, but for some reason only released to the public in 1942 by the International Record Collector's Club (IRCC-61).
I uploaded this on request from transformingArt ( / transformingart )
RODOLFO (Caruso)
O soave fanciulla, o dolce viso
di mite circonfuso alba lunar,
in te ravviso il sogno
ch'io vorrei sempre sognar!
MIMI (Farrar)
(Ah, tu sol comandi, amor!)
Fremon nell'anima dolcezze estreme,
ecc Nel baccio freme amor!
(oh come dolci scendono le sue
lusinghe al cor...Tu sol comandi, amor!)
No, per pieta! Sei mia! V'aspettan gli amici...
Gia mi mandi via? Vorrei dir...ma non osso,
Di. Se venissi con voi? Che? Mimi!
Sarebbe cosi dolce restar qui. C'e freddo fuori.v
Vi staro vicina! E al ritorno? Curioso!
Dammi il braccio, o mia piccina...
Obbedisco, signor! Che m'ami...di'...lo t'amo.
RODOLFO e MIMI
Amor! Amor! Amor!
SYNOPSES
Mimi and Rodolfo are getting acquainted fast. Outside, Rodolfos' friends call him to join them. He would rather stay with Mimi, but she shyly suggests they all go out together. "Tell me you love me," he pleads. She holds back, at first, but as this duet ends, they sing together for the first time, and their first word is "Love."
ENGLISH TRANSLATION
RODOLFO
Oh! sweet little lady! Oh, sweetest vision,
with moonlight bathing your pretty face!
The dream that I see in you is the dream I'll always dream!
MIMI
(Oh, you rule alone, Love!)
Deep in my soul trembles the deepest of passions, etc.
Our kisses shudder with love!
(How gently now his words of praise make their way
into my heart...You rule alone, oh love!)
No, I beg you! You're mine now! Your friends are still waiting.
So soon must I leave you? I would like...I can't say it...
Speak! What if I went along? What? Mimi!
How sweet instead to stay behind here. It's freezing outside.
I'd be right beside you! What about later? Who knows, sir?
Take my arm, my dear young lady...As you say, my dear sir...
Do you love me, say! I certainly do.
RODOLFO and MIMI
Love! Love! Love! - เพลง
Sheer class, and how lovely to hear the tenor sing the lower note and the soprano the ‘C’, beautifully tasteful !
E´bellissimo ascoltare queste vecchie registrazioni. Grazie
My favorite duet of all time! As JenyLogan said, it is so beautiful to hear Carso sing the lower note and Farrar sing the "C". How elegant!
Sí!
As written in the original score.
Two people with the greatest voices ever recorded, and they sound even greater together.
Geraldine Farrar is from my hometown - Melrose, MA.!
Una verdadera joya esta interpretacion , siendo una grabacion de tantos años.
Tom he is irreplaceable,we must be thankful for what we have,I listen to the stars of to day& say what a blessing Ti have these Rene
Yes....
I am lucky to have the special edition pressing of this recording. One of my favorites.
Чудесные,волнующие,великие голоса из далекого прошлого!!! Спасибо каналу за возможность прикоснутся к сокровищнице!
It is indeed miraculous that, after 108 years, these beautiful ghosts can still sing to us through recordings. Thank you for posting this and so many other wonderful sides.
Listening to some of my late mother's opera collection it dawned on me that most of those remarkable singers are dead and gone. Yet we can still hear their voices. Ghosts indeed!
wonderful upload - I had never heard this before - thank you very much for sharing this - we are indeed blessed to be able to still hear this outstanding duo a hundred years later.
NAB :-)
I think Farrar recorded very well for that era. Her voice is less screechy and tinny than many. A good partner for Caruso--at least recording-wise.
Geraldine Farrar de las mas bellas del Bel canto.
La mas bella de su época.
Oh my...!
SUPERB
I've loved this recording since I was a little boy. I think the ending is a recording flaw, not Ms. Farrar's; notice how you can hear, intermittently, the c an octave below the one she sings? Something - perhaps the pair's beautiful tuned 6th - made the recording horn, or some part of the recording mechanism, vibrate sympathetically to that lower partial, and produce that clapping sound. Add to that the knocking sound you hear at "da mi il braccio...", and I think the inspector said, "nope". Thank goodness the master wasn't destroyed. I still love this performance.
Tom sono sempre piu' convinto, che per il lavoro che hai fatto ed il tempo che hai speso per fare questo grandioso regalo all'umanita',dovresti avere 7 miliardi di iscritti al tuo canale YT,con 1 miliardo di visualizzazioni al giorno.
Non ho bisogno di lodi per quello che ho fatto. L'ho fatto solo per condividere con gli altri e la mia ricompensa sono commenti come questo da parte tua 😃
@@tomfroekjaer Sei grande TOM.
Maud Hart Lovelace sent me here. 😊 My book club is currently reading the Betsy Ray series. So lovely to have a reference for all the things mentioned in the books!
A lovely record, and the one which started me collecting historical recordings back in 1964. I have the later Addison Foster purple HMV special pressing; I think the reason it wasn't issued at the time had nothing to do with Melba, and everything to do with the fact that the equipment didn't like Farrar's none-too-successful high note at the end.
Nathan if you like Historical Recordings can I Surgest that you buy all the Records Reissued under licence by His Master's Voice in the Golden Treasury of Immortal Performances:there is only 18 Recordings in the Serious as they are a RCA Serious and when RCA and His Master's Voice Broke off on Monday September 30th 1957 the Serious was stopped:you can buy the LP Records on E-bay;12 are Vocal and 6 are Orchestral
It is by a mile a better performance and recording than the Melba duet
101 years ago....
@UncleNathan: I really feel blessed that I get comments like yours on my uploads. Positive, constructive, historical. Thank you! Tom
The Caruso/Melba recording was in 1906, and despite opinions galore about
Melba......they were rather a fine couple of voices !!!
It is fundamentally wrong to cast somebody sounding this low as tenor in an opera featuring two baritones and a bass in principal roles , and another bass in a secondary role ,all singing together
What are you talking about? The Met brought Puccini to New York in 1907 in order to supervise the first production of Madame Butterfly. Puccini himself choose Caruso to sing the role of Pinkerton. Caruso's voice was certainly ideal for the role, as the composer's endorsement suggests. But to any musical person, the beauty and conviction with which Caruso clearly not merely sings the role but rather inhabits the role speak for themselves in recordings such as this; a most beautifully sung interpretation of this great love duet, if ever there was one.
Although I love Caruso, im not a huge fan of the balance either, but as someone else pointed out, Puccini himself is the one who endorsed that.
Puccini would have endorsed whomever Gatti would have told him to endorse . It happened to be EC because he was in the right place at the right time . He was coarse but it didn't matter to Gatti .What mattered was that he was putting bums in seats ,mostly bums of the Italian emigres. He was also selling plenty of recordings ,and that was that, in America all is about $$$, artistry ,if it happens,is nice but not a requirement
Emocionante
I heard the original record disk of this sound produced at around 1965. Trust me the note at 0:37 should be one of the very hest ever performed.
Fenonemo os dois
❣️❣️❣️
Geraldine and her Australian contemporary Frances Alda were two of Caruso’s favourite sopranos and he could be very demanding. In the end her voice gave out - as did that of another famous American contemporary Amelita Galli-Curci. However I think her high C on this recording is very exciting - and it is even better that Caruso followed the composer’s instructions and dropped down to a D. It is just horrible to hear modern tenors shrieking in unison with the soprano in what is a tender scene.
I believe this is the duet mentioned in the final chapter of Thomas Mann's The Magic Mountain.
wow
Sono emocionato
At about 20 secs Caruso sings 'all'alba lunar' but it comes out as 'al papa'. The disc must have jumped so that the sequence is shortened. I suspect that is why it wasn't issued
I can clearly hear 'all'alba lunar' on this record.
@@ilgattopardo3231 Good for you
Er singt genau was im Libretto steht "di mite circonfuso alba lunar"
@MrMaestranza: thanks for clearing this up for me. In those days "affairs or escapades" were taken very seriously... Not sure how one would judge her these days.... Probably not too harshly - at least not if you are Danish or Dutch?
They compliment each other well, I think?
Not sure huh?
@@manuelcampos3525
Meaning, I do not know enough about opera to be sure.
:)
I think you have to separate the singer from the role. Miss Farrar, herself, was not ill, and in fact lived for another 55 years. The score at that point calls for a "C" ... and she would have been the first to admit that the note was the absolute limit of the top of her range. Also, she was probably too close to the horn, as the groove, even in a mint pressing, shows signs of easily breaking down. The performance is great, but the recording is flawed.,
I doubt very much she would say that the C was the absolute limit of her range. Most sopranos can sing higher.
@@myknittingblog She may well have been able to vocalize to C-sharp, but a C really was the absolute limit of her working range.
@@UncleNathan Singers usually vocalise 3-4 notes above the highest note to be performed. Farrar recorded Manon (Massenet, with Caruso) which has a few high Ds. I believe her high notes were not an issue for her, noting the quality of the free timbre, not carrying any weight going up in my humble opinion.
I personally prefer Farrar to Melba - but that maybe colored by biographies/articles, etc I've read about them. Melba seemed to have been quite a bitch with an incredible voice and Farrar an angel ....
You got that right about Melba. If she were alive today (due to social media), she would no longer have a career. This is because people don't want to waste their time being with a shrew who thought the world revolved around her, and I really wouldn't blame them.
???
@@manuelcampos3525 www.encyclopedia.com/people/literature-and-arts/music-history-composers-and-performers-biographies/dame-nellie-melba
She did not like Caruso as a person. The considered him an uneducated peasant.