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- เผยแพร่เมื่อ 7 ต.ค. 2024
- PRIVATE RECORDING, REMASTERED SOUND
If you think the performance from Verona 1963 was good, listen to this one. Here you can hear the great Giangiacomo Guelfi at his best. He receives deserved applause after his outburst, but then, the audience wants them to repeat the entire scene. The conductor Gabriele Santini refuses - the cheering turns into massive booing.
This is a remastered version of a private tape. Copying/uploading the video/sound recording/pictures on another channel is a copyright violation and will be reported.
Aida - Anita Cerquetti
Amonasro - Giangiacomo Guelfi
Coro ed orchestra del Teatro di San Carlo
Gabriele Santini
Arena Flegrea, 1954
It is shocking how there are no dramatic baritones any more. I was listening to Guelfi, Warren and Lisitsian lately and if you took 2 of the current baritones singing together, they would still be blown off the stage by any one of these - may God grant us the return of this type of voice! This was absolutely stupendous! How I love it when the audience goes crazy- I wonder if this happens anymore, even in Italy- real music is losing its importance to the general public. Thank you for this!
When this type of voice appears all is made in order to prevent them from making a carrier... I speak from experience
WOW! The persistent audience! Opera was not for sissies in those days. I would have wanted a repeat too. But Santini wouldn't go for it so the war was on. This wouldn't happen today, there is nothing worth repeating. You just want them to hurry up and be done with it. Guelfi and Cerquetti remind us of what once was and is no more.
Perfectly splendid singing and a thrilling conclusion to this famed duet.
Giangiacomo Guelfi e Anita Cerquetti
grandi voci immortali in
- Aida
Capisco l'entusiasmo del pubblico, la voce di Guelfi é impressionante, ed uno dei miei più grandi rimpianti é di non averlo mai sentito dal vivo.
Grazie per questa magnifica testimonianza
I wonder if Hamspson has heard this. Jus to show him how a real baritone SHOULD sound.
If would be good for Placido to hear it also.
What a pity! They have deformed this art so much!!
It would be great for Placido to hear great tenors too
hampson ist ein kavalierbariton u.hat im dramatischen nichts zutun,(sollte)
I would have liked to comment on your comment, but unfortunately I don’t understand well the meaning of what your write.
Would you write in English, Spanish, Italian or French? For the sake of the discussion. Thank so much.
@@bokewilhelm1452 Ein Kavalierbariton ist ein Spinto
@@bokewilhelm1452 er ist kein Bariton, sondern ein "tenore corto"
It is so unfortunate that Guelfi, with his huge and commanding voice and superb vocal acting was ignored by the major commercial recording companies. He is certainly at least the equal of the very best Verdi baritones of his day.
Of All day
He recorded a cavalleria with vo karajan. impressing
This is a simply amazing recording with Gg Guelfi and Cerquetti both singing at their very best .
Let's not forget that this scene involves a baritone AND a soprano. In this case, she is the wonderful Anita Cerquetti, who possessed one of the greatest voices of the century. Unfortunately, her career was so short. Let's give her her due, with all respect to Guelfi.
With this kind of baritone voice nobody cares for a soprano in the duett. Not her fault
@@jimmychoo1857 It’s called a duet for a reason. And she’s great
She's amazing also!!
Come Guelfi canta =Non sei mia figlia ,dei Faraoni tu sei la schiava , si esprime con perfetta DIZIONE e un fresaggio convinciente ,Che voce sembra una caverna ! Grazie per il ricordo del che FU',peccato , non credo che queste voci e dedicazioni torneranno mai piu' ! grazie A. Poli Saluti GINO
Guelfi come Amonasro era semplicemente meraviglioso !
Grazie per questa bellissima testimonianza !
@Albert B. Evans
la vecchia caro .
👍
A Napoli sapevano che queste voci e queste emmissioni vocali non le avrebbero sentito per decenni.....
Il pubblico aveva ragione.....
1954 ragazzi....!!!
"TIRIAMO AVANTI VERSO IL ...passato!"
Fantastic!
la scelta di questi due artisti è sconvolgente per la grandezza delle voci e per le loro fenomenali interpretazioni
I’d have demanded an encore as well. Who knew we’d never hear its like again.
I got FLOORED by these enormously potent voices…
Guelfi's voice was huge enough to cut through the orchestra AND the loud booing!!!
A gorgeous thunderous sound.
Anita Cerquetti grande artista scomparsa troppo presto dalle scene Aida Gioconda Abigaille Norma sono solo alcuni gioielli rari rimasti in disco
Guelfi come Amonastro (era la sua beneficiata) resterà sempre nella memoria di tanti ora dobbiamo contentarci
Bravo! Guelfi! Amazing! Thanks!
Fantastici
can't stop hearing this, Guelfi is just too much!
Magnificent flamboyant voices!
raccontava Franco Corelli che Giangiacomo Guelfi possedeva la voce più potente che lui avesse mai sentito in teatro, ma si trattava di una voce unica non solo nel volume; il suono era pastoso, il fraseggio rotondo, ben scandito ed incisivo, il colore scuro ma non inchiostrato. A mio giudizio era una voce che per bellezza non ha eguali, anche per espressività. Chi ha avuto pure la fortuna di vedere in scena questo grande artista, lo ricorda sempre assoluto padrone del personaggio, in forza di una personalità straordinaria. Era alto quasi 1,90 e coordinava i suoi movimenti con le grandi note che emetteva; elegante nel canto e nelle movenze. Ho visto e sentito tanti grandi baritoni, ma di lui ho il miglior ricordo.
Jamais esquecerei das fantásticas interpretações do barítono Giangiacomo Guelfi como Scarpia, que assisti quatro vezes no Theatro Municipal de São Paulo no final da década de 1960!
Também estive lá. E os outros intérpretes eram Souliotis e Cecchele.
@@yglofmi Um fato interessante. Guelfi teve azar nas apresentações aos domingos. Na primeira vez apareceu um senhor no palco dizendo que Guelfi iria economizar a voz porque estava adoentado; depois eu soube que no sábado ele tinha se empaturrado de feijoada e cantou usando fralda. Na segunda vez ele tinha voltado para a Itália porque seu pai tinha falecido. Receba meu abraço.
@@joseluizdelorenzo2538 Obrigado. Eu assisti uma récita noturna. Correu tudo bem. Mas num Otello, não sei mais em que ano, James McCracken perdeu a voz e terminou a récita quase recitando. Abraço.
@@yglofmi Sim, estava muito rouco.
Que coisa maravilhosa! José Luiz, você tem algum contato seu que poderia me passar? Adoraria conversar com você. Que outros cantores você ouviu?
Bravo Maestro Guelfi!
The audience at "Non sei mia figlia..." Wow!!! This is a real Amonasros, a real king of a region that remained Egypt's rival for centuries. The Aida is also incredible. I wonder if she ever sang Gounod's Marguerite.
Senza parole !!!
Impressionante!!!
Gotta love old school opera fans.
Impresionante!!
Artisti straordinari!!!Fortunatamente sono riuscito ad ammirare diverse volte all Arena di Verona Guagiacomo Guelfi!!Un vero leone del palcoscenico!!!Purtroppo mi è mancata Anita Cerquetti...
❤👍❤👍👏👏👏
Guelfi e meraviglioso ! I have never been a fan of Cerquetti but she sounds good here.I agree with you AfroPoli, there was no better Amonasro than Guelfi.These are great clips you are posting.I have not heard many of them previously.Please keep them coming.Grazie mille amico.
Mr AfroPoli, as usual, a great post! Thanl you so much!
@trem0lo Thank you for your insights - I have often wondered what has gone wrong- I have also noticed how voices with distinct and even vibrato (like Cerquetti) in all types is gone- Rita Gorr may be the last example- a voice type that I love, but I suspect that record companies and the blandness of American tastes - may have moved singing in the direction of less vibrato, more"Creamy" sound- and ultimately less individual.
Superb! TY Afropoli for posting.
MAGNÍFICOS ARTISTAS, ANITA CERQUETTI Y GIANGIÀCOMO GUELFI, LAMENTABLEMENTE EL ENTUSIAMO Y LA POCA DELICADEZA DEL PÚBLICO, ARRUINÓ EN PARTE LA ESCENA. Armando Cerutti - Barítono
Por que arruino? Es algo épico. Ver un público de opera llegar tanto al éxtasis como para interrumpir durante casi 3 minutos de aplausos una escena que no termina.
Es algo bello y glorioso de presenciar. Algo único que solo en una ciudad como Nápoles puede suceder.
Prefiero mil veces estos vulgares a esos que tienen "delicadeza" y aplauden a medias fingiendo un estatus que la ópera nunca tuvo. (ver los inicios de los teatros en la aristocracia europea)
@@emmanuelfullertonmartinez9596 El respeto por " La Música del Maestro Giuseppe Verdi ", está por encima del entusiasmo que susciten los artistas con sus interpretaciones. Se lo afirmo, yo que no soy tibio para aplaudir y vivar a los grandes artistas . Pero "TODO A SU DEBIDO TIEMPO " Este tiempo musical se llama "CALDERÓN" Saludos Armando Cerutti , Barítono
The current training system and the current opera establishment will not allow for dramatic voices any longer.
Do you think dramatic voices will be heard again? Hopefully...
Problem is only in teachers, that don't know, how to teach! And in fucking directors and managers, Who don't understand Opera.. I say this as an opera singer. But good voice appear from time to time. I've heard one cool american Don Jose in Bolshoi theatre!
@@jimmychoo1857 А что тут говорить, если всё чаще на сцене драмтеатров и даже в оперетте и опере(!!) видишь микрофоны, когда сценическая речь и пение производит впечатление студийной сессии: "Не форсируй, микрофоны перегрузишь, "тоньше, мягше, деликатнее!" Не могу вспомнить, когда в последний раз слышал в театре речь, обращённую к залу, а не к партнёру на сцене! Единичные случаи появления настоящих сценических голосов общей картины не меняют, их обладателей объединёнными усилиями режиссёров, партнёров, дирижёров, критиков, эстетствующей публики быстро приучают "не высовываться" (даже на профильных форумах артистов типа Гуэльфи, Дель Монако, даже Канилью (!!) обзывают "крикунами"!).
Choo.. you're wrong imo. ..the talent pool Especially with men is very small.i.e. the best natural tenors go into pop music
@@Michael-mh4vr Nothing you said means I am wrong. Not a thing.
Best faraooooooooooooooni ever
This kind of singing and audience reaction used to be routine, at least in Italian houses and even at the Met and San Francisco, a demanding and discerning audience (frequently comprising large groups of people in their 20s) went to the opera as if something were at stake. Now both audience and performance have become tedious and bland in part due to the blandness of suburban north american tastes. Opera may be everywhere in the U.S. but it is almost always a disappointment.
Jansci That is so true. It is the me first, x box, reality show era. Culture is not being appreciated.
Blaming the audience is like blaming the victim instead of the child abuser. Throughout the world of opera [definitely not just in America] we have directors who have no respect for the music of the opera and often stage the singers in ways that ignore the physical demands of singing in order to carry out strange stage images that seem totally immune from the influence of the music. Then we have the opera house managers who think that if they find a pretty soprano with a nice voice they can have her sing anything, primarily because that is what the directors want. Then there are the overweaning maestri who want to be the one to produce the next "Callas" or the nest "Sutherland" forgetting that neither Tullio Serafin nor Richard Bonynge created those two magisterial singers of the 20th Century. There voices were always there and Seraafin was a superb conductor who recognized the potential of the instrument which the great musician brought to him. Sutherland need the confidence that Bonynge brought to her as a repetiteur; however, his less than optimal conducting abilities really interfered with her being completely who she might have been [listen to her first recordings of music with other, better conductors and you will hear this]. Finally, there are the recording companies, TV producers, and other media controllers who no longer provide the access needed for the young to become true fans. I first heard an opera singer on TV [Sutherland when I was 12 in 1960 on Ed Sullivan] and was hooked. I went to the best record [no CDs or DVDs yet] and bought two Sutherland albums and the salesperson also told me to buy one of Callas' albums. I have now attended opera for almost 60 years; seen most of the great and good singers during that time in opera houses on 4 continents. Now and then the excitement is still there but always it only occurs when conductor, singers, director, designer, and producer [opera management] listen to the music so that the audience can hear the greatness that is opera. If all of those others would return to opera in full we would again hear great voices because they would not find a rejecting environment as they attempt a career.
@@wilsonwatt9283 A very accurate and perceptive view of opera today. Interesting that Maria Callas in a recorded interview not long before she died, when asked if she thought opera was a dying art replied - yes of course! It took some years to materialize but now it's mainly on the junk heap, mostly (but by no means all) 2nd rate singers, 3rd rate directors/designers who think they know more than the composer and only a handful of 1st rate opera conductors. Luckily for us we have amazing recordings from the major companies emanating from the golden age - circa 1945 to 1975
whatever456 true.
It’s true. I was looking at the next Met season. So many operas I want to see, so many singers I don’t want to hear. I can’t.
Commento giusto..grazie Signor CarloQuinto
Anita Cerquetti, venuta a mancare esattamente 7 anni fa, ha qui appena 23 anni, essendo nata nel 1931! E non è la sua prima Aida: fu addirittura l'opera del suo debutto a 20 anni (!) allo Sperimentale di Spoleto (credo fosse stata "promossa" da Sacerdotessa a protagonista). Adesso come adesso affidare il ruolo di Aida a un soprano così giovane parrebbe una follia destinata a rovinarle la voce, ma la Cerquetti doveva anzi dare ancora il meglio di sè: agli inizi del 1958 ci fu la "storica" sostituzione di Maria Callas che aveva interrotto le recite della Norma al Teatro dell'Opera di Roma. La Callas aveva all'epoca 35 anni, da 11 era in Italia ove aveva vissuto il suo periodo più fulgido e già da molto prima aveva affrontato ruoli impegnativi... ora i cantanti 35enni vengono spesso chiamati ancora promesse, emergenti... D'altronde come sappiamo la Cerquetti abbandonò i palcoscenici a 29 anni. Non mancarono le supposizioni che la troppa precocità l'avesse "bruciata", ma non pare che così fosse e in effetti non è mai stato chiaro il vero motivo del suo ritiro, comunque probabilmente questioni personali e familiari. Ma nella storia del canto non sono certo pochi gli interpreti affermatisi in ruoli di primo piano ancora "in their twenties" (non parliamo poi dei "creatori" di ruoli nel primo Ottocento, un nome per tutti la Malibran). Dunque l'opinione che sia colpa della troppa fretta nel cantare parti impegnative il fatto delle carriere "bruciate" o che vanno avanti con un successo "montato" è giusta o no? C'è un'età "giusta" per i ruoli di primo piano, almeno alcuni?
After this Aida doesn't need any other death!
Nice.
Voleva dire se qualcuno puó trovare oggi una voce di baritono simile.Ma no,cercate anche una di basso con quell suono fondo,pieno,rotondo.Non troverete neanche un basso con quell colore vocale!.I miracoli vocali non essistono piú perche non si domandano,non si cercano.Fra altro perche molti non hanno idea della sua essistenza passata,
Luis sanches roma
si,leo nucci ...
o ancora meglio il nuovo vecchio baritono Placido Domingo ...
Siepi, Giaiotti..
Золото. Чистеє золото.
Yeah, love that ball-busting singing. Doesn't happen much in this sanitized, overly politically age. And also these singers didn't have to kowtow to directors deconstructing everything to suit their own narcissistic view of the world.
Face reality friend, voices like this simply do not exist today. Period.
@@photo161 not really
Titanic voices.
Like Scarpia this was an ideal role for Guelfi’s voice in his best period. Check out his Scarpia at Covent Garden with Milanov & Corelli from 1957. Some other higher lying Verdi roles like RIGOLETTO, DI LUNA, & NABUCCO (especially in the late 1960‘s) we’re not really for him. The TESSITURA seemed a bit TOO tremendous! But in these wonderful ˋsnarling’ parts like AMONASRO Guelfi was in a class all his own. He was also well suited to the role of ALFIO & although I never heard him as JACK RANCE, the critics I read were quite favorable.
@trem0lo I couldn't agree more.
5:20 😱😱😱😱
But it is probably closer to the Verdi tuning that Verdi himself asked for.
EXQUISITA
in den rollen hörte ich sie
E sapere che Guelfi aveva appena 29 anni qui!!
Grazie for this audio, with a really impressing Guelfi, full, dark, powerful voice. I really don't like Cerquetti, and here also I'm disappointed, often out of tune, fast vibrato... Strange reaction of the audience, but maybe santini could stop the orchestra
I agree, Santini should stop the orchestra. Could You explain why You do not like Cerquetti? The voice is wonderful, the musician is highly professional, what do You want more? Out of tune? Please, do not offend. As far as the vibrato is concerned, as many specialists have pointed out, it adds a "strange power of fascination " to Cerquetti's voice, especially evident in theater. But perhaps You have never assist at life performances of the artist?
In no way do I want to be ignorant of The GRAND talent in this video but why was the audience whistling and booing?(though very exiting!)
Casey Franco They wanted them to repeat the entire scene which (understandingly) the conductor did not allow.
@@AfroPoli how exiting! A scene worthy having 2 of the greatest singers in such a scene! Nowadays we just want the conductor to shove his baton in our ears to keep us from hearing the modern interpretations😞
@@caseyfranco3959 Oh well, times, styles and tastes change. We should be happy to have these documents - even if they remind us of something that probably won't come back any time soon, it's very nice to have. Enjoy :)
In 1967, I attended a performance of Ernani in Rome. After a chorus, the choristers took out little Italian flags and the audience went berserk. Standing on their seats, shouting Viva l"Italia!!! for minutes. Perhaps it was an important anniversary. The audience behavior in this performance however is disgraceful, even by Italian standards of the day. I think something else is going on--rival claques?--than a demand for an encore. Santini would have done better to wait until the noise subsided, no matter how long it took, before continuing.
A bit hammy, but why not?
😱 LOL
Wow, ni que monstruo de Viña jajaaj!
Am I the only one who is a bit surprised by the audience’s reaction? Singing was superb, but those whistles and shouts interfering the act don’t sound much like an appreciation. As if the audience wanted to intercept the action when Aida entered with “ah, pieta, pieta...”
Mykyta Berezniak They aren’t happy because the conductor refuses to repeat the scene.
El público de la Ópera no ha sido siempre un público decente y culto, pues hay mucho deleitante de la Ópera que estarían mejor viendo las peleas de los luchadores; como es aquí el caso, que comienzan a abuchear y a silbar por quien sabe que razones de fanatismos estéticos...
No están abucheando, están pidiendo un bis.
Y los que silvan están tratando de silenciar a los que siguen aplaudiendo.
One realizes how little the audience cares for the singers, the music, the conductor, the composer, for art.... they bought a ticket, they want it their way....
Sorry, this entire scene is 1/2 tone slow, and greatly effects the voices and the excitement of the original and higher key.
Perche l’applauso ridicolo?
Anita is good but Guelfi is atrocious.
I don't know how you can say that. His voice is big, clear, and dark. No major pitch issues either. The high notes and the lows (and the middle) are all solid.
Guelfi has got one of the biggest voices EVER. He's not nasal, not constricted, not throaty, not woofy, not covered... So where's the problem? Is he nasal/constricted/throaty/woofy/covered and it's me that I didn't notice it, or maybe it's YOU that can't listen to singers who are not like Titta Ruffo or Carlo Galeffi?
And then... You said that Guelfi and Bastianini are "robots" so they are bad. And you judge them basing only on their acting? I'm sorry, but we are not in Broadway or in a Disney film. The acting is important, but the most important thing in Opera is THE VOICE. THE VOICE of a singer is the most important thing ever in OPERA.
So you cannot say that a singer is bad basing only on his acting or on the similarity with other baritones. This is totally wrong! Because every baritone is different, and if you hate every baritone that is not like your favorites one, then you hate everyone!
@@esterbruno8604 parole santissime. Non avrei potuto dire di meglio. Completamente d'accordo. E comunque Guelfi è immenso. Cerquetti anche. E non posso fare a meno di riascoltarli.
@@ritapapiri Esatto! Sono entrambi magnifici, due mostri sacri della lirica!
Splendidi