It was in this production of L'Elisir d'amore (on DVD) that I first saw Roberto Alagna. It is one of those perfect performances after which you simply don't want to watch anyone else in that role.
He does some things ok... but for example the "lo vedo lo vedo" should be in a nice woofy falsetto. It aint. And other problems too. However, the main problem is the thin sound. I am not sure is it about recording or actual voice quality. If you look at his throat during the cadence you will see how the Adam's apple moves. It looks like that the problem is the lack of the larynx control. The singing doesn't work with low larynx due the inadequate technic so he goes to "pop" and raises the larynx. In my opinion the thin and uninteresting sound is due a lack of technique.
VERY NICE Lyrics Una furtiva lagrima Negli occhi suoi spuntò Quelle festose giovani Invidiar sembrò Che più cercando io vo? Che più cercando io vo? M'ama, si m'ama, lo vedo Lo vedo! Un solo istante i palpiti Del suo bel cor sentir I miei sospir confondere Per poco a suoi sospir I palpiti, i palpiti sentir Confondere i miei co'suoi sospir Cielo, si può morir di più non chiedo Non chiedo Ah cielo, si può si puo morir di più non chiedo Non chiedo si puo morir, si puo morir d'amor
Evelino Pidó used a recently discovered revised version of "Una furtive lagrima" made by Donizetti many years after the original production, not in the staged version of the opera, but just for this video version...
People are saying they like this "new interpretation" (as I understand it, written by Donizetti himself at a later date) and that opera should not be stale and always sing exactly the same thing. That is true, of course. This view is very well represented. People are also complaining that it's not the aria they know and love. They get replies affirming what is said above. Although they are saying a very true and important thing, their point of view is not properly represented, because it is, quite simply, not respected. I'd like to present a firm point of view representing the disappointment of not hearing the original (yes, original; this is a second version Donizzetti wrote, so it's not the original) aria that everyone is used it. When you hear an aria, or go to the opera, either you know it already or you don't know it at all. Assuming you have some passing knowledge, you will hear things that are familiar. You may never have seen Rigoletto, but you will know the intro of La Donna è Mobile instantly. Turandot or Pagliacci may mean nothing to you, but you will certainly be familiar with certain moments of Nessun Dorma or Vesti la Giubba. And if you know these operas better than just in passing, you will probably enjoy these arias. You know how the notes go; in fact, you may well love them. And what you get to hear is how that singer in particular does it, how they frase, how they sound, how they emote. Let's be quite clear, just because they all sing the same notes it does not mean they all sing the same thing, or the same way. Only lesser singers do that. The great ones are absolutely individual and characteristic in their performances - always without changing a thing that the composer wrote. And you get to expect those sounds. You expect that aria, that phrase. You expect to be thrilled by certain high notes, and to be enamoured by certain pianos. Where do your expectations come from? Probably from other singers; if you expect a beautiful pianissimo at the end of "Io son l'umille ancella", because you heard some sopranos do it extraordinarily, other singers will defy your expectations by doing it differently. Not wrong, differently. Now, these other sopranos are not doing anything wrong, but it is true that you will feel somewhat, if not cheated, then diminished. You loved that pianissimo when you heard it before, and you look forward to it during the aria. LIke you look forward to the cadenza of La Donna è Mobile, or the thrilling B in Nessun Dorma. You are the audience. You have certain expectations. These expectations are not random, and they have to do with how much you love what you're watching. You have come to watch "L'Elisir d'amore", and to hear those arias, which include "Una furtiva lagrima", a much, much loved aria, very well known. You want to hear that beautiful legato, those long notes, that elegance, you want to be lulled by its (now so familiar) melody. It is wrong to say that opera, or anything, should always be the same. Agreed. That way lies staleness. Still, if the audience reacts less positively to a change, it's always best to take it into account, and not just dismiss it. It should be respected that the audience has paid to watch a certain opera and, knowing the music, has certain expectations. For instance, they may have wanted to hear how Alagna would sing those very familiar lines of Lagrima. Upon realising that it is not the aria they expected, it is understandable for them to feel, maybe, somewhat cheated. To feel like "I came to hear this opera, with this aria, and instead I listened to something else. It was good and all, but I really, really loved the aria as I know it and am disappointed I didn't get to hear it". I applaud the sheer courage and audacity to have a production of such a famous opera with such an unknown version of an extremely famous and well-loved aria. As a member of the audience, however (even if remotely, through the wonders of DVD), I am disappointed I didn't get to hear Alagna sing what I was really looking forward to hear him sing. And this feeling that I have is a point of view that should be respected and understood, too. Ultimately, opera will be kept alive because people want to go see it. So it's worth listening to all opinions. Not cater to everyone, no; but respect dissenting opinions, and allow that they have a place. And when you change an aria this famous, you will polarise. Still, it's naïve to imagine they didn't know they would polarise. I imagine they are very glad they got people talking about it. I prefer it when they get people talking about it for other reasons, but to each their own. It's been years, and it's still talked about, hasn't been forgotten. So, in a sense, mission accomplished. Finally, defying expectations is of course vital in art. I have seen two "Madama Butterfly"s which defied my expectations. I loved the first one, because I felt it made sense; I loathed the second, because I felt it didn't and actually went against the work. Clearly, however, the artistic production of this second one didn't agree with me. And that's fine. My point is, yes, defy expectations. You must. Simply, don't - and many directors are guilty of this - minimise the feelings of audience members who feel cheated when you not only counfound their expectations but also give them something they feel to be a poor substitute. Unless you want opera to be the domain of elitists. I'm glad some people like it, and I understand (full well) the people who don't. Both groups are correct in feeling as they do.
Adoro ALAGNA, ma è la prima volta che ascolto questo genere di variazioni, sinceramente mi suona un po' strano. Resta il fatto della bellissima voce!!!!!
Alagna is excellent like Corelli dmitri hvorovski & pavoratti but una furtiva lagrima? it's mario lanza you could ask roberto himself, but che ali mania? Alagna 1995 nailed it 100%
Merveilleux découverte une voix d'or qui joue tout en interprétant le rôle d'une façon magnifique. le plus grand de tous les temps Merci Monsieur Alagna. Cécile Buekens. Avec toute mon admiration.
Podria ser que el personaje en su introspección se pregunte, porque, parece ser, que no me quieres, lloro de dolor pero espero me conozcas mejor para poder quererme.
He never sings with original melody I hate this melody I don’t understand why he choose This melody Original melody is much much more Beautiful and impressive
I'm disappointed in this interpretation of this piece. It is written in a much more simple manner than what you hear for most of this song...and that is on purpose. The whole background of the song really REALLY doesn't play into those lines that were added.... I felt like it took away from the power of the piece to me.
Actually this is an alternate version of the aria. There were notes in the program that came with the video and cd that talked about this version of the aria
Even if it was not written like this, who cares ? This is called creativity. If opera is getting some renewed popularity, it is because soem people are willing to be creative . A conductor changing the tempo a bit, a singer straying from the beaten path, a director like Robert Lepage willing to take risks... If there is no risk taking, opera will die
It is so easy to pass judgment on others without checking the facts first. What is the likelihood of a singer making such radical changes to an aria versus the likelihood of a piece of music originally having different versions? Composers sometimes experiment with their own work, and why wouldn't they do it? Conductors, on the other hand, may decide to show us lesser-known versions of famous pieces of music sometimes. It is a way of exploring the music better and a way of educating the audience. Besides, it can be fascinating to compare the two versions.
Plus que superbe, il n'y a pas de mot, il touche le ciel, Roberto UNIQUE
Звучание вашего голоса -лучше всякого лекарства лечит и успокаивает!
Спасибо за то, что Вы есть!❤❤❤❤❤❤🎉🎉🎉🎉🎉🌹🌹🌹🌹🌹🌹🌹🌹🌹🌹🌹🌹👏👏👏👏👏
Офигенное поёшь эту Арию, Дружище...❤️
It was in this production of L'Elisir d'amore (on DVD) that I first saw Roberto Alagna. It is one of those perfect performances after which you simply don't want to watch anyone else in that role.
Yeah, i truly understand - I must say that where he’s concerned, for me, there have gotten to be several roles like that!
He does some things ok... but for example the "lo vedo lo vedo" should be in a nice woofy falsetto. It aint. And other problems too. However, the main problem is the thin sound. I am not sure is it about recording or actual voice quality. If you look at his throat during the cadence you will see how the Adam's apple moves. It looks like that the problem is the lack of the larynx control. The singing doesn't work with low larynx due the inadequate technic so he goes to "pop" and raises the larynx. In my opinion the thin and uninteresting sound is due a lack of technique.
Grande Alagna
VERY NICE
Lyrics
Una furtiva lagrima
Negli occhi suoi spuntò
Quelle festose giovani
Invidiar sembrò
Che più cercando io vo?
Che più cercando io vo?
M'ama, si m'ama, lo vedo
Lo vedo!
Un solo istante i palpiti
Del suo bel cor sentir
I miei sospir confondere
Per poco a suoi sospir
I palpiti, i palpiti sentir
Confondere i miei co'suoi sospir
Cielo, si può morir di più non chiedo
Non chiedo
Ah cielo, si può si puo morir di più non chiedo
Non chiedo si puo morir, si puo morir d'amor
Seen it on stage in Lyon's opera. It made me cry. I am really happy to hear it again.
Maestro, fantastico....bellissima interpretazione! Complimenti!
Max Jota thethemesoflaura.blogspot.com/2018/04/pourquoi-me-reveiller.html
Meravigliosa interpretazione!!!
incredible breath support!!!
Лучшее исполнение этой арии во все времена!!! Бесподобно!
Superb! I've enjoyed every Alagna video I've ever viewed.
Une production merveilleuse que je possède en DVD et ne m'en lasse pas !
О, если бы все мужчины так пели женщинам... мы бы жили в другом мире...)
This is (IMHO) the greatest aria in opera
Fabuloso!.…...
Que gran voz bravo maestro
Lovely interpretation!
Meraviglioso, ma la bellezza dell'aria aiuta certamente! Il più bravo è Donizetti!
👍 да .
Evelino Pidó used a recently discovered revised version of "Una furtive lagrima" made by Donizetti many years after the original production, not in the staged version of the opera, but just for this video version...
Alagna also sang it at the Met when he sang this role with Kathleen Battle as Adina.
@@DavidAsset78 Alagna never sang L’Elisir with Battle at the Met. He sang it with Barbara Bonney in 1996 and with Angela Gheorghiu in 1999 :)
Bravissimo maestro!!!!!
Beautiful 😊💝
1:14 Sublime
Прекрасно
Amazing
🌷🌹🌷🌹🌷🌹🌷🌹🌷🌹🌷
Hermoso :)
Trop fan de M. Alagna !
bel fraseggio!
A wonderful comment. Bravo!
People are saying they like this "new interpretation" (as I understand it, written by Donizetti himself at a later date) and that opera should not be stale and always sing exactly the same thing. That is true, of course. This view is very well represented.
People are also complaining that it's not the aria they know and love. They get replies affirming what is said above. Although they are saying a very true and important thing, their point of view is not properly represented, because it is, quite simply, not respected.
I'd like to present a firm point of view representing the disappointment of not hearing the original (yes, original; this is a second version Donizzetti wrote, so it's not the original) aria that everyone is used it.
When you hear an aria, or go to the opera, either you know it already or you don't know it at all. Assuming you have some passing knowledge, you will hear things that are familiar. You may never have seen Rigoletto, but you will know the intro of La Donna è Mobile instantly. Turandot or Pagliacci may mean nothing to you, but you will certainly be familiar with certain moments of Nessun Dorma or Vesti la Giubba. And if you know these operas better than just in passing, you will probably enjoy these arias. You know how the notes go; in fact, you may well love them. And what you get to hear is how that singer in particular does it, how they frase, how they sound, how they emote.
Let's be quite clear, just because they all sing the same notes it does not mean they all sing the same thing, or the same way. Only lesser singers do that. The great ones are absolutely individual and characteristic in their performances - always without changing a thing that the composer wrote.
And you get to expect those sounds. You expect that aria, that phrase. You expect to be thrilled by certain high notes, and to be enamoured by certain pianos. Where do your expectations come from? Probably from other singers; if you expect a beautiful pianissimo at the end of "Io son l'umille ancella", because you heard some sopranos do it extraordinarily, other singers will defy your expectations by doing it differently. Not wrong, differently. Now, these other sopranos are not doing anything wrong, but it is true that you will feel somewhat, if not cheated, then diminished. You loved that pianissimo when you heard it before, and you look forward to it during the aria. LIke you look forward to the cadenza of La Donna è Mobile, or the thrilling B in Nessun Dorma.
You are the audience. You have certain expectations. These expectations are not random, and they have to do with how much you love what you're watching. You have come to watch "L'Elisir d'amore", and to hear those arias, which include "Una furtiva lagrima", a much, much loved aria, very well known. You want to hear that beautiful legato, those long notes, that elegance, you want to be lulled by its (now so familiar) melody.
It is wrong to say that opera, or anything, should always be the same. Agreed. That way lies staleness. Still, if the audience reacts less positively to a change, it's always best to take it into account, and not just dismiss it. It should be respected that the audience has paid to watch a certain opera and, knowing the music, has certain expectations. For instance, they may have wanted to hear how Alagna would sing those very familiar lines of Lagrima. Upon realising that it is not the aria they expected, it is understandable for them to feel, maybe, somewhat cheated. To feel like "I came to hear this opera, with this aria, and instead I listened to something else. It was good and all, but I really, really loved the aria as I know it and am disappointed I didn't get to hear it".
I applaud the sheer courage and audacity to have a production of such a famous opera with such an unknown version of an extremely famous and well-loved aria. As a member of the audience, however (even if remotely, through the wonders of DVD), I am disappointed I didn't get to hear Alagna sing what I was really looking forward to hear him sing. And this feeling that I have is a point of view that should be respected and understood, too.
Ultimately, opera will be kept alive because people want to go see it. So it's worth listening to all opinions. Not cater to everyone, no; but respect dissenting opinions, and allow that they have a place.
And when you change an aria this famous, you will polarise. Still, it's naïve to imagine they didn't know they would polarise. I imagine they are very glad they got people talking about it. I prefer it when they get people talking about it for other reasons, but to each their own. It's been years, and it's still talked about, hasn't been forgotten. So, in a sense, mission accomplished.
Finally, defying expectations is of course vital in art. I have seen two "Madama Butterfly"s which defied my expectations. I loved the first one, because I felt it made sense; I loathed the second, because I felt it didn't and actually went against the work. Clearly, however, the artistic production of this second one didn't agree with me. And that's fine. My point is, yes, defy expectations. You must. Simply, don't - and many directors are guilty of this - minimise the feelings of audience members who feel cheated when you not only counfound their expectations but also give them something they feel to be a poor substitute. Unless you want opera to be the domain of elitists.
I'm glad some people like it, and I understand (full well) the people who don't. Both groups are correct in feeling as they do.
Adoro ALAGNA, ma è la prima volta che ascolto questo genere di variazioni, sinceramente mi suona un po' strano. Resta il fatto della bellissima voce!!!!!
❤❤❤❤❤❤❤❤
he took away my favorite part at the end. What the heeck!?
SE PUEDE DESTACAR.qUANTO È BELLA ...-bENEDETTE QUESTE CARTE-oR SE M´AMI,COME IO T´AMO.-uDITE, UDITE, O RUSTICI.-aDINA CREDIMI.-qUANTO AMORE.-
Pop version?
Why pop version ? This version has been written by Donizetti in 1843.
Ok I ment never heard, sung this version so I wonder if its the original from the partitura of Mr Donizetti
I agree.
Alagna is excellent like Corelli dmitri hvorovski & pavoratti but una furtiva lagrima? it's mario lanza you could ask roberto himself, but che ali mania? Alagna 1995 nailed it 100%
Le ha scritte Donizetti... ;)
Merveilleux découverte une voix d'or qui joue tout en interprétant le rôle d'une façon magnifique. le plus grand de tous les temps Merci Monsieur Alagna. Cécile Buekens. Avec toute mon admiration.
Fast, tempo...a little rushed.. beautiful tenor.
queste variazioni davvero non le capisco non mi piacciono ma per niente!
Allez vous plaindre auprès de Donizetti🤭
Podria ser que el personaje en su introspección se pregunte, porque, parece ser, que no me quieres, lloro de dolor pero espero me conozcas mejor para poder quererme.
He never sings with original melody
I hate this melody
I don’t understand why he choose
This melody
Original melody is much much more
Beautiful and impressive
El señor Algna será bueno o no, pero el Nemorino, en toda su extension, es del señor Pavarotti, no solo por su voz, si no por su interpretación.
Не люблю Паваротти . И голос его мне не приятен .
@@SVETLANKA139totalmente respetable. El arte es subjetivo, y para gustos... colores.
T
Why is he changing the music ? He is taking too much freedom with Donizetti's aria
This is an alternate version of the aria. The program notes that come with the dvd and cd talk about the origin of this version of the aria
I'm disappointed in this interpretation of this piece. It is written in a much more simple manner than what you hear for most of this song...and that is on purpose. The whole background of the song really REALLY doesn't play into those lines that were added....
I felt like it took away from the power of the piece to me.
LE FALTA MAS DULZURA , QUE LA VIVA , LA VOS ES MUY RAPIDA
wtf? He s singing whatever he wants? This piece is not written like that.
Actually this is an alternate version of the aria. There were notes in the program that came with the video and cd that talked about this version of the aria
who cares, except for the medieval puritans??
Even if it was not written like this, who cares ? This is called creativity. If opera is getting some renewed popularity, it is because soem people are willing to be creative . A conductor changing the tempo a bit, a singer straying from the beaten path, a director like Robert Lepage willing to take risks... If there is no risk taking, opera will die
It is so easy to pass judgment on others without checking the facts first. What is the likelihood of a singer making such radical changes to an aria versus the likelihood of a piece of music originally having different versions? Composers sometimes experiment with their own work, and why wouldn't they do it? Conductors, on the other hand, may decide to show us lesser-known versions of famous pieces of music sometimes. It is a way of exploring the music better and a way of educating the audience. Besides, it can be fascinating to compare the two versions.
But it still beautiful
too fast.. dont like