Bravisimo CRA, absolutely fabulous. As I say wherever it may be of encouragement to all such as you, possessors of home recordings of the Golden Age of Opera I & II, it is essential to the health of Western Civilization (aka Christendom) -- not hyperbole -- for the documentation of artistry such as this be preserved, curated, and made readily accessible to humanity in perpetuity. Man does not live by bread alone, his soul seeks nourishment, and this is a feast. The Great Domingo here, in what I call his black stallion charging up the mountain days, is well on his way to earning the Living Legend status he enjoys to this day. La Superba is still in quite fine voice, and she soars. And the splendid Cossotto in one of her signature and most unforgettable roles as Amneris. Mil gracias! Paz y salud. Liked, playlisted, subd.
So pleased you have enjoyed it. I'm just happy I've been able to share and bring some enjoyment to yourself and others. Your thanks are really appreciated and make the effort worthwhile.
(BTW, due to the age of the recording/performance, highly unlikely any copyright exists, as home recordings organically occurred. Then greedy entertainment media distributors lobbied for laws to claw to themselves "lost" earnings by switching from analog to digital broadcast signals making over-the-air/cable home recordings now much more difficult. Had they attacked actual pirates making bank, that'd be one thing, but as usual they bribed our electeds to pass overly broad laws that made innocent home use recording impossible--while allowing determined fraudsters to operate pretty much unbothered. Mini-rant over. lol Paz.)
Glad you enjoyed. Alas not from the 70s or 80s come to that. Recording long operas at 7.5 IPS back then was a bit of an extravagance for me given my salary at the time and the price of 10.5 inch tapes. I do have a fair bit from the 90s onwards however but not sure if that period will be as interesting for people 🤔
¿Qué pasó con los clarines en la fanfarria triunfal? Imagino que el maestro Muti los mataría tras bambalinas jajaja. Error aparte, gran interpretación. También tengo la célebre grabación de estudio para EMI del 74: mismos director y trío protagónico.
I'm terribly sorry but I'm afraid I don't, although I wish I did. I was very limited in the number of opera recordings I could undertake back then because of the price of reel to reel tape and my meagre salary at the time. Sorry to disappoint you. Andrew
Domingo in difficoltà sugli acuti esegue poche note sul finire secondo...già nel 1977 aveva problemi...peccato,perché il colore della voce è bello...e ce lo troviamo ancora in teatro...buona l'Aida di Caballe...esegue benissimo i piani con grande sicurezza...brava nei "cieli azzurri",dove spesso qualcuno ci lascia le penne...!!! di Amonasro ne ho ascoltato migliori a livello vocale...però è una "vociaccia" che esegue molto bene la caratterizzazione del personaggio...Cossotto bravissima...Amneris di grande tradizione.....il re e Ramfis, fanno un buon lavoro...in questa edizione la direzione di Muti mi piace,prima che diventi il "MAESTRO" della Scala! dopodiché eseguirà solo per sé stesso lasciando in secondo piano i cantanti...grazie
All your comments about Caballé not convincing as Aïda make me laugh… Her official recording with Muti is one of the best Aïda… just read what Rodolfo Celletti wrote… Leontyne Price is THE only one alternative
As much as I love her, I never found Caballe very convincing in mid and late-period Verdi except for Don Carlos and I Vespri Siciliani. Something about her Aida never really worked for me, even on the studio recording and it's unfortunate that she started singing Aida in the theater after the bloom was off the rose, but I think she was smart to wait. It's fascinating that she had to break the climactic phrase in O Patria Mia after she sang the similar passage going to A-flat in one breath. From what I hear, she was never fully comfortable with the role and happy to lay it down after these performances.
caballe only was an ambitious soprano. She was a good soprano only and she was never among the best sopranos of the 20th century....of course. Callas, De Los Ángeles, Tebaldi, Sutherland, Leontine Price, Nilsson Varnay, Flagstad....YES. Caballé....: NEVER.
By this time Caballe had become Aballe. Nilsson’s little joke. The high C is there in “O patria Mia,” but it is not beautiful, and certainly not dolce.
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Bravisimo CRA, absolutely fabulous. As I say wherever it may be of encouragement to all such as you, possessors of home recordings of the Golden Age of Opera I & II, it is essential to the health of Western Civilization (aka Christendom) -- not hyperbole -- for the documentation of artistry such as this be preserved, curated, and made readily accessible to humanity in perpetuity. Man does not live by bread alone, his soul seeks nourishment, and this is a feast. The Great Domingo here, in what I call his black stallion charging up the mountain days, is well on his way to earning the Living Legend status he enjoys to this day. La Superba is still in quite fine voice, and she soars. And the splendid Cossotto in one of her signature and most unforgettable roles as Amneris. Mil gracias! Paz y salud. Liked, playlisted, subd.
Eccellente
It's impossible to thank you enough for this.
So pleased you have enjoyed it. I'm just happy I've been able to share and bring some enjoyment to yourself and others. Your thanks are really appreciated and make the effort worthwhile.
❤❤❤❤
(BTW, due to the age of the recording/performance, highly unlikely any copyright exists, as home recordings organically occurred. Then greedy entertainment media distributors lobbied for laws to claw to themselves "lost" earnings by switching from analog to digital broadcast signals making over-the-air/cable home recordings now much more difficult. Had they attacked actual pirates making bank, that'd be one thing, but as usual they bribed our electeds to pass overly broad laws that made innocent home use recording impossible--while allowing determined fraudsters to operate pretty much unbothered. Mini-rant over. lol Paz.)
This is wonderful thank you. Do you have any more from CG?
Glad you enjoyed. Alas not from the 70s or 80s come to that. Recording long operas at 7.5 IPS back then was a bit of an extravagance for me given my salary at the time and the price of 10.5 inch tapes. I do have a fair bit from the 90s onwards however but not sure if that period will be as interesting for people 🤔
Em pleno auge as vozes citadas.
¿Qué pasó con los clarines en la fanfarria triunfal? Imagino que el maestro Muti los mataría tras bambalinas jajaja. Error aparte, gran interpretación. También tengo la célebre grabación de estudio para EMI del 74: mismos director y trío protagónico.
Sir, Do you perhaps have recordings of either of Leontyne Price’s performances at Covent Garden, the Trovatore in 1970 and Aida in 1973?
I'm terribly sorry but I'm afraid I don't, although I wish I did. I was very limited in the number of opera recordings I could undertake back then because of the price of reel to reel tape and my meagre salary at the time. Sorry to disappoint you. Andrew
Domingo in difficoltà sugli acuti esegue poche note sul finire secondo...già nel 1977 aveva problemi...peccato,perché il colore della voce è bello...e ce lo troviamo ancora in teatro...buona l'Aida di Caballe...esegue benissimo i piani con grande sicurezza...brava nei "cieli azzurri",dove spesso qualcuno ci lascia le penne...!!! di Amonasro ne ho ascoltato migliori a livello vocale...però è una "vociaccia" che esegue molto bene la caratterizzazione del personaggio...Cossotto bravissima...Amneris di grande tradizione.....il re e Ramfis, fanno un buon lavoro...in questa edizione la direzione di Muti mi piace,prima che diventi il "MAESTRO" della Scala! dopodiché eseguirà solo per sé stesso lasciando in secondo piano i cantanti...grazie
Cossotto calante
@@walteranibal8425 si,ma c'è di peggio
I wonder if you saw the Leontyne Price Aida at Covent Garden a few years before in 1973?
No...ma Price è sicuramente una tra le più grandi Aida esistite...
All your comments about Caballé not convincing as Aïda make me laugh…
Her official recording with Muti is one of the best Aïda… just read what Rodolfo Celletti wrote…
Leontyne Price is THE only one alternative
No , not L Price.
@@thomasdahlen8533 Yes, Leontyne Price!
Caballé as Aída??jejeje: NO.
caballe isn't be Aída NEVER:
Leontine Price, Renata Tebaldi, Zinks Milanov, Aprille Millo and Callas, Gencer, Cerquetti...
As much as I love her, I never found Caballe very convincing in mid and late-period Verdi except for Don Carlos and I Vespri Siciliani. Something about her Aida never really worked for me, even on the studio recording and it's unfortunate that she started singing Aida in the theater after the bloom was off the rose, but I think she was smart to wait. It's fascinating that she had to break the climactic phrase in O Patria Mia after she sang the similar passage going to A-flat in one breath. From what I hear, she was never fully comfortable with the role and happy to lay it down after these performances.
And she cracks the high C in a Met performance a few years prior to this
caballe only was an ambitious soprano. She was a good soprano only and she was never among the best sopranos of the 20th century....of course.
Callas, De Los Ángeles, Tebaldi, Sutherland, Leontine Price, Nilsson Varnay, Flagstad....YES. Caballé....: NEVER.
By this time Caballe had become Aballe. Nilsson’s little joke. The high C is there in “O patria Mia,” but it is not beautiful, and certainly not dolce.
Caballe along with Price are one of the most beautiful sound but the problem for me is to understand the words while they sing.too bad