I don't care what these arm-chair voice teachers or wanna-be opera singers say, this was Carreras at his absolute zenith. He gave it his all and while his career was short-lived, his flame burned bright and intense. Bravo Jose.
Um dia Carreras deixará de fazer parte do mundo dos vivos. Esse dia ficará marcado como o dia em que morreu um génio da arte do canto lírico . VIVA CARRERAS!!!!!!
The most deeply felt and moving Improviso I’ve ever heard in my long lifetime. His beautiful, expressive face, that Italian language with its double consonants, especially the r’s! He draws me right into the heart of the drama, and I can picture the scenes that he draws not only with his voice and language, but with his hands and eyes. He’s just as remarkable in the wonderful video with Eva Marton. At the very end, as he’s climbing up the stairs to the cart that will carry him and Maddalena to the guillotine, he turns around and looks at her with such love and, yes, joy that I start choking up. Bravo, signore Carreras, e grazie! 🎉❤
I think if anyone rocked up at a concert and then heard a performance of that aria as good as that they would think.... Hell this was worth the admission price alone. Personally I thought that was a damn good performance. I am a huge fan of this aria and believe it or not I think the finest recordings of this aria, by a country mile, are by Mario Lanza. I am a huge fan of Luciano Pavarotti as well but I do not like his renditions of this aria at all,I do not think it suits his voice at all. Carreras however in this performance is pretty magnificent.
Agudos muy pero muy flojos. Siempre forzó su voz hasta más no poder. Buena interpretación pero esos agudos están fatales. Definitivamente destrozó su voz con el tiempo.
Gianluca Nerone First, all judgments about singers can never be definitive, because everybody hears differently. And before I explain my thoughts on the ‘acuti’ let me emphasize that Carreras was blessed with a very beautiful natural sound, which no longer seems to be necessary to make a career. I hear so many young people on TH-cam and think, ‘Who could have suggested to you that people would be pleased to hear the ugly sounds you make?’. As for Carreras, what I hear right from his early years is an issue basic to the Italian school, which taught that the tone must come on top of the breath and not in front of it, i.e., the sound must not be pushed. I think Carreras’s technique depended on pushing, which will cause some kind of problem when the singer is young, and as he/she gets older the problems become debilitating. Look at his face right before the first B flat. You can see him tense up, and the tone goes into a kind of forced overdrive. This one is not so bad, but when he does the same thing on the second one, the tone spreads and goes thin on him. It is a basic principle that healthy top notes do not come from more air pressure; if anything less (as Nilsson in her prime shows us). Now compared to the horrific singing we have today this is very good indeed, but as we know, even before his illness Carreras was in serious vocal difficulty. When people ask me what I consider the best example of this point about the tone on the breath is, I paradoxically turn to the Russian trained Armenian baritone Pavel Lisitsian. (The isolation of the Soviet Union had the benefit of preserving Italian bel canto style cultivated by teachers who came to Russia in the 19th century.) If you don’t know it look at a live performance by Lisitsian of the ‘Queen of Spades’ aria filmed when he was in his 50’s. It’s on TH-cam. This to me is the miraculous joining of a great natural sound to a perfect Italian vocal technique. Every time I listen to it I am stunned by how great this singing is.
@@ransomcoates546 thank you so much for the answer. I listened to pavel and it is very beautiful, i did not know him. I am a young opera singing student and i am a tenor. I don't like opera singers of nowadays as you.. Are you an opera singer or a teacher? Where do you come from? Sorry for my bad english, I am italian
@@gianlucanerone Caro Gianluca, Quando avevo quattordici anni ho ascoltato la grandissima Tebaldi in teatro, e da allora mi sono dedicato all’opera e dell’ arte del canto. Te auguro buona fortuna per la tua carriera. Abbiamo tanto bisogno di riascoltare grandi cantanti italiani nella musica del loro nobile paese. Ho avuto fortuna ascoltare non solo Tebaldi, ma anche Corelli, di Stefano, Bergonzi, Cossotto, e molti altri. Non si deve permettere che questa tradizione italiana perisca!
@@ransomcoates546 An astute answer. Thank your to sharing your knowledge. i am also an aspiring professional tenor from America and Carreras has always been a main source of inspiration and one I personally have compared to multiple times-but hope does our art have if we don’t learn and acknowledge from the flaws and faults of the legends before us!
I don't care what these arm-chair voice teachers or wanna-be opera singers say, this was Carreras at his absolute zenith. He gave it his all and while his career was short-lived, his flame burned bright and intense. Bravo Jose.
Only the great Carreras can put so much feeling and passion into his wonderful voice- fantastic.
Wow - beautiful, powerful, sensual. His voice, too.
Andrea Chenier fue el mejor personaje que le vi a Carreras en escena. Él sí parecía un poeta!
What a beautiful voice. Pity he took a breath before the last Bflat as it ruined his placement and lost his squillo
Um dia Carreras deixará de fazer parte do mundo dos vivos. Esse dia ficará marcado como o dia em que morreu um génio da arte do canto lírico . VIVA CARRERAS!!!!!!
Sim!
Chénier in persona! Grazie maestro! 💚
Canta meglio il italiano che cantanti italiani !!! La voz bellisima, el fraseo en otro nivel y apasionado cuando debe ser!!
💐💐🎶💐💐 Every time I listen to this, I like it more. His voice stays in my heart.
Maravilloso. Muchas gracias
Who was the idxxx yelling right before someone's singing?
solo grazie Carreras mi hai fatto avvicinare alla lirica grazie
Anche io gli debbo questa grande passione, così importante nella mia vita.
@paoloberti, grande interpretazione, priva, purtroppo, della suggestione del teatro e degli sguardi rivolti alla " giovinetta bella "!
Grazie Maestro❤
Bravo
Mia mamma ti adora
The most deeply felt and moving Improviso I’ve ever heard in my long lifetime. His beautiful, expressive face, that Italian language with its double consonants, especially the r’s! He draws me right into the heart of the drama, and I can picture the scenes that he draws not only with his voice and language, but with his hands and eyes.
He’s just as remarkable in the wonderful video with Eva Marton. At the very end, as he’s climbing up the stairs to the cart that will carry him and Maddalena to the guillotine, he turns around and looks at her with such love and, yes, joy that I start choking up.
Bravo, signore Carreras, e grazie! 🎉❤
Bravissimo José eccellente interpretazione❤👍
What year was this? Round 1981? (I am guessing)
I think if anyone rocked up at a concert and then heard a performance of that aria as good as that they would think.... Hell this was worth the admission price alone. Personally I thought that was a damn good performance.
I am a huge fan of this aria and believe it or not I think the finest recordings of this aria, by a country mile, are by Mario Lanza. I am a huge fan of Luciano Pavarotti as well but I do not like his renditions of this aria at all,I do not think it suits his voice at all. Carreras however in this performance is pretty magnificent.
Me recuerda mucho al autor de este canal . Es emocionante
Agudos muy pero muy flojos. Siempre forzó su voz hasta más no poder. Buena interpretación pero esos agudos están fatales. Definitivamente destrozó su voz con el tiempo.
We love you Carreras
L'interprétation est acceptable mais c'est trop léger, les aigus sont un peu tirés et manquent de tonus . Cela n'est qu'un avis et je peux me trompe..
Beautiful voice, but the B flats are not good.
Why? I only want to understand your opinion.
Gianluca Nerone First, all judgments about singers can never be definitive, because everybody hears differently. And before I explain my thoughts on the ‘acuti’ let me emphasize that Carreras was blessed with a very beautiful natural sound, which no longer seems to be necessary to make a career. I hear so many young people on TH-cam and think, ‘Who could have suggested to you that people would be pleased to hear the ugly sounds you make?’. As for Carreras, what I hear right from his early years is an issue basic to the Italian school, which taught that the tone must come on top of the breath and not in front of it, i.e., the sound must not be pushed. I think Carreras’s technique depended on pushing, which will cause some kind of problem when the singer is young, and as he/she gets older the problems become debilitating. Look at his face right before the first B flat. You can see him tense up, and the tone goes into a kind of forced overdrive. This one is not so bad, but when he does the same thing on the second one, the tone spreads and goes thin on him. It is a basic principle that healthy top notes do not come from more air pressure; if anything less (as Nilsson in her prime shows us). Now compared to the horrific singing we have today this is very good indeed, but as we know, even before his illness Carreras was in serious vocal difficulty. When people ask me what I consider the best example of this point about the tone on the breath is, I paradoxically turn to the Russian trained Armenian baritone Pavel Lisitsian. (The isolation of the Soviet Union had the benefit of preserving Italian bel canto style cultivated by teachers who came to Russia in the 19th century.) If you don’t know it look at a live performance by Lisitsian of the ‘Queen of Spades’ aria filmed when he was in his 50’s. It’s on TH-cam. This to me is the miraculous joining of a great natural sound to a perfect Italian vocal technique. Every time I listen to it I am stunned by how great this singing is.
@@ransomcoates546 thank you so much for the answer. I listened to pavel and it is very beautiful, i did not know him. I am a young opera singing student and i am a tenor. I don't like opera singers of nowadays as you..
Are you an opera singer or a teacher?
Where do you come from? Sorry for my bad english, I am italian
@@gianlucanerone Caro Gianluca, Quando avevo quattordici anni ho ascoltato la grandissima Tebaldi in teatro, e da allora mi sono dedicato all’opera e dell’ arte del canto. Te auguro buona fortuna per la tua carriera. Abbiamo tanto bisogno di riascoltare grandi cantanti italiani nella musica del loro nobile paese. Ho avuto fortuna ascoltare non solo Tebaldi, ma anche Corelli, di Stefano, Bergonzi, Cossotto, e molti altri. Non si deve permettere che questa tradizione italiana perisca!
@@ransomcoates546 An astute answer. Thank your to sharing your knowledge. i am also an aspiring professional tenor from America and Carreras has always been a main source of inspiration and one I personally have compared to multiple times-but hope does our art have if we don’t learn and acknowledge from the flaws and faults of the legends before us!