I was listening to this once again and had almost forgotten how astonishing Salvatore Fisichella's voice was, simply breathtaking. Add Zancanaro and Gruberova and this cast is something that we will never see or hear the likes of again. Love it!
❤️❤️❤️ Bravísimo, es una de las mejores versiones que he visto, por sus voces e interpretación tan BARBARA Y ESCANDALOSA , de estos Cantantes Soberbios todos, sin distinciones ni comparaciones. Bravísimo.
@Barone Vitellio Scarpia It is true, so unfortunate. What a baritone, and the high notes of Fisichella, and the great legendary NY Phil director. 95% beautiful.
@Barone Vitellio Scarpia Fisichella is fantastic, he refused to shave and was annoyed by Met, under appreciated, maybe Domingo kicked him out too, he is a threat to D. Fisichella has his own style. Sills is good on this, Sutherland is always machine like, no problem at all. Not perfect show. See how old Sutherland here, while Pavarotti is totally handsome then. Much better than the movie he made later, yes with your favorite lady!!!! th-cam.com/video/l6S_kx0gDzc/w-d-xo.html th-cam.com/video/i25kqjCn4uQ/w-d-xo.html th-cam.com/video/CnabxcCq088/w-d-xo.html
@Barone Vitellio Scarpia How much I love Gianni and Leyla, first class, super singers. Under appreciated, Beverly Sills is not bad. She really gained her ground through her own work, against the bias and arrogance. At that time there is a strong hold of only using Italian sopranos, and she is from that poor less respected neighborhood of Brooklyn, ny. She is the kindest down to earth person. Big plus and contribution to operatic movement toward open to more people. She did it without Met and money support, her met debut came way after her prime, mid 40's. 3 years after Bing was out, all of her season tickets of any shows at Met was total sold out, she also got 18 minutes longest ovation at Met. Unlike Sutherland, Sills is not robot like, extremely vivid, to sing is to escape the unkind reality of real life, her late recording showed many tears and not perfect, cause she was tempted to do too much too heavy. She should not had touched 3 queens.
@Barone Vitellio Scarpia Gencer is grand, I love her timbre and style. I do not know who be better. Listen to them all, Sills throws all kinds of variation with great controls.
@Barone Vitellio Scarpia True and it is unique, Lucia and I puritani, those long mad scenes. Imagine to see that live performance, not only singing. I used to be so mad there are not videos of those performance, there are on Sutherland and Sills. That are great test both singing /acting. Callas be A+.
GRANDE OPERA BRAVISSIMI TUTTI UNA ECCELLENTE ELVIRA BELLI I SUOI FILATI VOCE CONTROLLATA : ZANCANARO E' NELLE SUA PARTE PERSONAGGIO E VOCE DEGNA DEL SUO NOME , IL BRAVO MAESTRO FISICHELLA LA SUA VOCE LIMPIDA E CHIARA BRAVISSIMO. CONCLUDENDO UN CAST. ECCEZIONALE BRAVI TUTTI.
Dear Paolo Ferraro, I am afraid that Salvatore Fisichella was also the very last of the great Italian Belcanto legends. How I miss these beautiful voices! I could not find them anywhere, nowadays everybody tries to shout in the attempt to become a Heldentenor... If only I had some milions to spare... I would bring this fabulous singing technique back to its glorious mother country by creating a specialized academy of singing in Sicily or Naples. Then I would search up and down the countryside to find these great natural voices yet again and have them trained for free. And Maestro Fisicella would be my first choice for director of this academy! :-)))))))
Ok folks.. let’s pretend we have no idea what Bel Canto means...partly because no singer gets there !!! Well.. let’s all listen to this opera.. now we know. When baritones do it it’s really awesome. Thank you again Edita plus !!!
Une des rares productions avec Grubi reconnue par les critiques dans le bel canto (cette production étant même citée dans la dernière édition du Kobbé !)
Giorgio Zancanaro era un ottimo baritono, in grado di eseguire la difficilissima coloratura belliniana, nonostante fosse prevalentemente verdiano. Fisichella era un tenore dagli acuti effervescenti e spumeggianti grande belcantista, poco considerato come purtroppo tanti altri. Gruberova è qui al suo massimo livello: una Elvira credibile e vocalmente perfetta.Pregevole basso D.Kavrakos. È la prima versione dell'opera che ho visto e rimane la mia preferita. 🙏💯🌹
Gruberova Splendide , Fisichela Unique de Bout en Bout !!!!! Gruberova je peut faire un Reproche qu'Elle ne fait pas les Notes Aigues , mais je Pense que ça Vient pas d'Elle car Elle est tres Genereuse d'Habitude à ce sujet là !!!! Merci TH-cam !!!
Lord Arturo Talbot: Salvatore Fisichella, tenor Elvira, betrothed to Arturo: Edita Gruberova, soprano Sir Riccardo Forth, Puritan leader in love with Elvira: Giorgio Zancanaro Sir Giorgio Valton, Elvira's Uncle: Dimitri Kavrakos, bass Lord Gualtiero Valton, Elvira's father and Giorgio's brother: Carlo Del Bosco, bass Enrichetta di Francia, Widow of Charles I: Mariana Cioromila, mezzo soprano Sir Bruno Robertson: Yordy Ramiro, tenor
Salvatore Fisichella was one of the greatest bel canto tenors of the 1980's & 90's. He substituted for Pav, who could no longer cut it, at the Met in I Puritani & was very well received. But the (supposed) "Big" 3 could not face the stiff competition & made certain that he was not re-hired. A damned shame!
Paolo Ferraro A real shame!!!I agree Salvatore Fisichella is one of thr best (also a great maestro and person...I personally asure his kindness.He is a wonderful person).Bravissimo!!!
Is this true??! What happened?? It was always a great mystery to me why Fisichella never reached much greater fame, because I always thought he was at least as good as Pavarotti! Everybody knows Pavarotti but no one seems to recognize Fisichella - even in specialized shops for classical music you rarely find recordings of him, even in Vienna or Milano! Did he not produce any DVDs or CDs??! - His timbre and technique reminds me so much of legendary tenor Lauri-Volpi here ! Bellissimoooooo
John Schofield - do you know if there was any intrigue against this wonderful singer? From your remarks I take it that you know him in person - Do you perhaps know were I can buy DVDs and CDs with him? I tried everywere - in Vienna and Milano I could not find anything. I even wrote to the Teatro Massimo Bellini in Catania and to the maestro's website - but I never received any answer from there...
@@ursuladietze2094 I will try to write him on facebook where he is quite often and you can add him as friend as well. facebook.com/salvatore.fisichella.3
I see the Barone and his ,ahem ,friend are very busy . The Club of Collapsed Chest living in Cloud Cockoo County of endless hyperbole and a vocabulary consisting of half a dozen words only , showing up in full force ;-) For hyperbole one has to read the comment "Callas is 500,000,000 times better" .Vocabulary-wise we get only 2/3 of it "awful" , "terrible" , "overrated" , and "great" Their ideal of Elvira is probably Tebaldi , with Mdm as Arturo ... Gotta love them . So funny ;-)
SE PUEDE DESTACAR:Acto I.RECITATIVO ARIA Y CABALETTA. DE RICARDO.--ESCENA DUO Y CABALETTA DE ELVIRA Y GIORGIO---CAVATINA ,A TE ,O CARA,AMOR..---ARIA DE ELVIRA.---FINALE PRIMO.
DESTACADO:"o di Cromwell...,cavatina varios "a te ,o cara...ver aria son vergin vezzoza...ver "oh,vieni al tempio...ver "Ma, tu gia mi fuggi?¿ ver duo vieni, vieni fra...ver "credeasi,misera...con un bonito sobreagudo.
Act 1 Scene 1: A fortress near Plymouth, commanded by Lord Gualtiero Valton At daybreak, the Puritan soldiers gather in anticipation of victory over the Royalists. Prayers are heard from within, and then shouts of joy as the ladies and gentlemen of the castle come out announcing news of Elvira's wedding. Left alone, Riccardo shares with Bruno his plight: Riccardo had been promised Elvira's hand in marriage by her father Lord Valton but, returning to Plymouth the previous evening, he has found that she is in love with Arturo (a Royalist), and will marry him instead. He confides in Bruno. (Aria: Ah! Per sempre ...Bel sogno beato / "Ah! Forever have I lost you, flower of love, oh my hope; ah! life from now on will be full of sorrow".) As he pours out his sorrows to Bruno, Riccardo is called upon by his soldiers to lead them but he declares "I am aflame, but the flame is love, not glory". Scene 2: Elvira's apartments Elvira welcomes Giorgio, her uncle, warmly, but when he tells her that she will soon be married, she is horror-struck. (Aria, then extended duet: Sai com'arde in petto mio / bella fiamma onnipossente / "You know that my breast burns with overwhelming passion".) She continues, stating a determination never to be married. But when Giorgio tells her that her cavalier, Arturo, will be coming, he reveals that it was he who persuaded her father, Lord Valton, to grant Elvira's wish. She is overjoyed. Then the sound of trumpets is heard announcing Arturo's arrival; he is welcomed by all. Scene 3: The Hall of Arms Arturo and his squires come into the hall and are joined by Elvira, Valton, Giorgio and the ladies and gentlemen of the castle. After a general welcome from all assembled, Arturo expresses his new-found happiness. (Aria, Arturo; then Giorgio and Walton; then all assembled: A te, o cara / amore talora / "In you beloved, love led me in secrecy and tears, now it guides me to your side".) Valton tells everyone that he will not be able to attend the wedding ceremony and he provides Arturo with a safe conduct pass. A mysterious lady appears, and Valton tells her that he will be escorting her to London to appear before Parliament. Arturo is curious. Giorgio tells him that she is suspected of being a Royalist spy. As Elvira leaves to prepare herself for the wedding and the others depart in various directions, Arturo hangs back and finds the mysterious lady alone. He discovers that she is Enrichetta (Henrietta Maria), widow of the executed King Charles I. Insisting that she not be concerned about Elvira, Arturo vows to save her: (Aria, Riccardo; then Enrichetta; then together: Non parlar di lei che adoro, / di valor non mi spogliar / "Do not speak of her whom I adore; do not take away my courage. You shall be saved, oh unhappy woman.") Observed by Arturo and Enrichetta, Elvira appears singing a joyful polonaise (Son vergin vezzosa / "I am a pretty maiden dressed for her wedding"), but she engages the Queen in conversation asking for help with the ringlets of her hair. To allow that to happen, she removes her wedding veil and places it over Enrichetta's head. Both Arturo and Enrichetta realise that this may allow them to escape, and as they proceed, they are challenged by Riccardo who believes the woman to be Elvira. He almost provokes a fight with Arturo until he discovers that she is not Elvira; then, he is content to allow them to pass, swearing not to reveal any information. When the wedding party enters, they ask for Arturo, then learn, largely from Riccardo, that he has fled with Enrichetta. Pursuit is organised. Becoming increasingly distraught, Elvira believes that she sees Arturo: (Aria; then ensemble: Oh, vieni al tempio, fedele Arturo / "Ah! come, ah! come! Oh! come to the church, faithful Arturo".) It is increasingly clear that she has gone mad. Act 2 A room in the fortress As the ladies and gentlemen of the castle are mournful for Elvira's totally downcast state of mind, Giorgio describes her madness: (Aria: Cinta di fiori / "Garlanded with flowers and with her lovely hair disheveled, sometimes the beloved maiden wanders about...") and he describes her flights into madness and her pleas for Arturo to return. Riccardo brings the news that Arturo is now a fugitive who has been condemned to death by Parliament for allowing Enrichetta to escape. Giorgio states that the only hope for Elvira will be a sudden joyous experience. Elvira is heard outside, still deranged but longing for Arturo: "Either give me back hope, let me die" she cries. As she enters, she expresses all her longing: Elvira, aria: Qui la voce ... Vien, diletto / "Here his sweet voice called me...and then vanished. Here he swore to be true, here he swore it, and then, cruel man, he fled!". Entering, she confronts her uncle and Riccardo, whom she fails to recognise, even in her moments of lucidity. She addresses him as if he were Arturo: (Elvira, cabaletta: Vien, diletto, è in ciel la luna / "Come, beloved, the moon is in the sky, Everything is silent, until the dawn breaks in the sky"). The two men encourage Elvira to return to her room. For Elvira's sake, Giorgio encourages Riccardo to help save his rival, advising that he will forever be pursued by their phantoms. Riccardo rejects the request: (Giorgio, then Riccardo, then duet: Il rival salvar tu déi, / il rival salvar tu puoi / "You must save your rival, you can save your rival"), but gradually Riccardo comes around to accept that idea. However, he states that if in the following day's battle, Arturo appears, he will perish at his hand. The two men now have an agreement: (Finale: Giorgio, then Riccardo, then together: Suoni la tromba / "Let the battle-cry be: country, victory, victory and honour. Let the trumpets sound, and I shall fight strongly, fearlessly." Act 3 A wooded area near the fortress, three months later Arturo is still on the run. He is exhausted and has returned seeking Elvira. Suddenly he hears the sounds of singing coming through the woods: (Elvira, aria: A una fonte afflitto e solo / s'assideva un trovator / "A troubadour sat sad and lonely by a fountain"). He calls out, but gets no response and, recalling how the couple used to sing together in the woods, he also sings the troubadour melody until the sound of drumbeats and the shouting of soldiers silences him. He covers himself and hides as a group of soldiers passes, then emerges and decides to continue singing to the same melody: (Arturo, aria: Corre a valle, corre a monte / l'esiliato pellegrin / "Through the valleys, over the mountains, hastens the exiled pilgrim") Unseen, Elvira emerges from the trees and stops to listen. She is saddened when the singing stops, and she sorrowfully wonders where Arturo is. Suddenly, he is standing before her and they are reunited in a spirited duet in which they declare that they will always be together after the long months of being apart. Still a little confused, Elvira believes that Arturo has married the woman whom he escorted from the fortress; he assures Elvira that he has always loved her, that the lady who was in great danger was the queen: (Arturo; then Elvira; then together). Having determined that they love each other and that they will always remain together, they enter into an ecstatic duet. (Arturo: Vieni fra queste braccia / "Come, come to my arms"; Elvira: Caro, caro, non ho parole / "Dearest, dearest, I cannot find the words to express my happiness"; then together). At the sound of drums being heard, Elvira appears to be returning to a state of madness, fearing that they will again be parted. Then soldiers' voices are heard close by and Riccardo, Giorgio, and the ladies and gentlemen of the fortress enter announcing Arturo's death sentence. With that, she finally comes to her senses. An ensemble, beginning with Arturo (Credeasi, misera / "Unhappy girl, she believed that I had betrayed her") extends to all assembled, each expressing his or her anguish, with even Riccardo being moved by the plight of the lovers. For this extended piece, Bellini wrote a high F-natural above C5 for Arturo's ... crudeli, crudeli! / Ella è tremante, / ella è spirante; / anime perfide, / sorde a pietà! / "cruel men, cruel men! She is trembling, she is fainting, perfidious souls, deaf to pity!" The soldiers continue to demand Arturo's execution, but the sounds of a herald arriving are heard. He brings letters which are opened by Riccardo and Giorgio. They announce that although the Royalists have been defeated, Oliver Cromwell has pardoned all prisoners. The ensemble expresses its general and its personal joy.
@@verafalanga1396 Non sono stato io ma Shawn Melon a fornire le voci. Trovo solo sinossi e posto un commento che li contiene, per mia informazione, poi li lascio ad altri.
Bien Parler , je suis Entierrement d'Accord avec Vous , pas plus tard que Hier TH-cam à Publier un Manon Lescaut de Puccini , Regarder la Mise en Scene , et meme si les Chanteurs sont Bons Vous n'avais pas Envie d'Ecouter !!!!
I think of young Sills and Gruby as having an almost ideal timbre for Elvira , written for the young Grisi .Unfortunately in both cases it's only the timbre and the agility , the rest is in short supply .Here however Gruby was still in her vocal prime and could at least sing the notes , though her voice ca 1980 was , timbre-wise ,more fitting . Fisichella can handle the tessitura , but not the markings ,and the style escapes him . He reminds me of Filippeschi in this respect .Not a sweet voice but not hard either ,almost brilliant, trying his best to sound lyrical , and succeeding but rarely . Not a bel canto tenor but not his fault alone ,more the fault of modern times , conductors enamored of come scritto did their best to kill it . This happens when your role model is Toscanini . Why Elvira has to sing Qui la voce in a dress dropping off the shoulder is anybody's guess .Probably just the stage director's wish to sell naked flesh , and this being 1985 he didn't dare to go further than that . Today we would get her in her underwear and sneakers , there is still much to be grateful for the ole good times ... If one wants to know how far have the Bregenzer Festpiele come since then , one has only to watch their Rigoletto abomination .
Great in the German roles (Adele, Zerbinetta, etc.) - but she yodelled her way through the bel canto repertoire without any sense of style or appropriate technique! A shame, because the vocal material was evident!
OHHhh,she can hardly sing the strongest parts of the opera.Pianos,crescendos and diminuendos are not nice at all not talk of weird legato.My opinion,an overrated soprano.
you do not know what you are talking about. Have you ever heard her live? I have heard many greats... Gruberova is a legend and I cries many times at her concerts...
Tutti bravi , Gruberova , Zancanaro ma su tutti primeggia FISICHELLA veramente grande ' e' un grande cantante e un grande maestro per i giovani
magnifique distribution Zancanaro sublime
I was listening to this once again and had almost forgotten how astonishing Salvatore Fisichella's voice was, simply breathtaking. Add Zancanaro and Gruberova and this cast is something that we will never see or hear the likes of again. Love it!
He is the pure bronze, shining, yet so underrated,
Zancanaro and Fisichella are great. Gruberova is terrible.
One of the best casts ever!!
Fabulous-one of the best I Puritani's I have seen.
Callas, 1953. Like caviar compared to this canned tuna (though, canned tuna is still alright!). :-)
Superb sets, costumes, voices...BRAVO!
Love Fisichella and Zancanaro!
❤️❤️❤️ Bravísimo, es una de las mejores versiones que he visto, por sus voces e interpretación tan BARBARA Y ESCANDALOSA , de estos Cantantes Soberbios todos, sin distinciones ni comparaciones. Bravísimo.
Thank you for introducing me to Giorgio Zancanaro - a wonderful baritone!
He is amazing indeed. One of the most underrated baritons, my second favourite beside Bastianini
Giorgio Zancanaro - great singer and artist!
Beautiful cast. Bravo! Thank You.
@Barone Vitellio Scarpia It is true, so unfortunate. What a baritone, and the high notes of Fisichella, and the great legendary NY Phil director. 95% beautiful.
@Barone Vitellio Scarpia Fisichella is fantastic, he refused to shave and was annoyed by Met, under appreciated, maybe Domingo kicked him out too, he is a threat to D. Fisichella has his own style.
Sills is good on this, Sutherland is always machine like, no problem at all.
Not perfect show.
See how old Sutherland here, while Pavarotti is totally handsome then. Much better than the movie he made later, yes with your favorite lady!!!!
th-cam.com/video/l6S_kx0gDzc/w-d-xo.html
th-cam.com/video/i25kqjCn4uQ/w-d-xo.html
th-cam.com/video/CnabxcCq088/w-d-xo.html
@Barone Vitellio Scarpia How much I love Gianni and Leyla, first class, super singers. Under appreciated,
Beverly Sills is not bad. She really gained her ground through her own work, against the bias and arrogance. At that time there is a strong hold of only using Italian sopranos, and she is from that poor less respected neighborhood of Brooklyn, ny. She is the kindest down to earth person. Big plus and contribution to operatic movement toward open to more people. She did it without Met and money support, her met debut came way after her prime, mid 40's. 3 years after Bing was out, all of her season tickets of any shows at Met was total sold out, she also got 18 minutes longest ovation at Met. Unlike Sutherland, Sills is not robot like, extremely vivid, to sing is to escape the unkind reality of real life, her late recording showed many tears and not perfect, cause she was tempted to do too much too heavy. She should not had touched 3 queens.
@Barone Vitellio Scarpia Gencer is grand, I love her timbre and style. I do not know who be better. Listen to them all, Sills throws all kinds of variation with great controls.
@Barone Vitellio Scarpia True and it is unique, Lucia and I puritani, those long mad scenes. Imagine to see that live performance, not only singing.
I used to be so mad there are not videos of those performance, there are on Sutherland and Sills. That are great test both singing /acting. Callas be A+.
Asi se canta y no busqueis comparaciones Grandes Voces un lujo poder escucharlos graciad
Wonderful virile voice , perfect style. Bravissimo Maestro !!
GRANDE OPERA BRAVISSIMI TUTTI UNA ECCELLENTE ELVIRA BELLI I SUOI FILATI VOCE CONTROLLATA : ZANCANARO E' NELLE SUA PARTE PERSONAGGIO E VOCE DEGNA DEL SUO NOME , IL BRAVO MAESTRO FISICHELLA LA SUA VOCE LIMPIDA E CHIARA BRAVISSIMO. CONCLUDENDO UN CAST. ECCEZIONALE BRAVI TUTTI.
Gracias por los maravillosos vídeos que nos dejáis compartr.i
zancanaro super!!
Dear Paolo Ferraro, I am afraid that Salvatore Fisichella was also the very last of the great Italian Belcanto legends. How I miss these beautiful voices! I could not find them anywhere, nowadays everybody tries to shout in the attempt to become a Heldentenor... If only I had some milions to spare... I would bring this fabulous singing technique back to its glorious mother country by creating a specialized academy of singing in Sicily or Naples. Then I would search up and down the countryside to find these great natural voices yet again and have them trained for free. And Maestro Fisicella would be my first choice for director of this academy! :-)))))))
Ok folks.. let’s pretend we have no idea what Bel Canto means...partly because no singer gets there !!! Well.. let’s all listen to this opera.. now we know. When baritones do it it’s really awesome. Thank you again Edita plus !!!
Феноменальная Эдита Груберова!!!👏♥️💐
Bellissima esecuzione!!!
Gruberaova canta como nunca! Qué maravilla !
Zeer mooie uitvoering zonder moderne poespas maar met klasseartisten !
My favorite Opera.
Просто шикарно!
Une des rares productions avec Grubi reconnue par les critiques dans le bel canto (cette production étant même citée dans la dernière édition du Kobbé !)
Gruberova and Fischella are very good .
Thanks
Gruberova tiene una voz muy adecuada y agradable.
Best Puritani Ever
Bravi
Gruberova was the best best in that role. Thank you for sharing!
vous voulez rire!!!!
@@ininacsot Joan Sutherland
Not even close. Callas is 500,000,000 times better.
magnificent gruberova excellent legato
non, casse pieds
Gutes video gute sopranistin guter tenor dirigent
Giorgio Zancanaro era un ottimo baritono, in grado di eseguire la difficilissima coloratura belliniana, nonostante fosse prevalentemente verdiano. Fisichella era un tenore dagli acuti effervescenti e spumeggianti grande belcantista, poco considerato come purtroppo tanti altri. Gruberova è qui al suo massimo livello: una Elvira credibile e vocalmente perfetta.Pregevole basso D.Kavrakos.
È la prima versione dell'opera che ho visto e rimane la mia preferita. 🙏💯🌹
I think she is in pretty good company. To me Fisichella, and Zancanaro are, at least, equally great.
Equally great? They are infinitely better!
Und ein sehr guter bariton
Gruberova Splendide , Fisichela Unique de Bout en Bout !!!!!
Gruberova je peut faire un Reproche qu'Elle ne fait pas les Notes Aigues , mais je Pense que ça Vient pas d'Elle car Elle est tres Genereuse d'Habitude à ce sujet là !!!!
Merci TH-cam !!!
Lord Arturo Talbot: Salvatore Fisichella, tenor
Elvira, betrothed to Arturo: Edita Gruberova, soprano
Sir Riccardo Forth, Puritan leader in love with Elvira: Giorgio Zancanaro
Sir Giorgio Valton, Elvira's Uncle: Dimitri Kavrakos, bass
Lord Gualtiero Valton, Elvira's father and Giorgio's brother: Carlo Del Bosco, bass
Enrichetta di Francia, Widow of Charles I: Mariana Cioromila, mezzo soprano
Sir Bruno Robertson: Yordy Ramiro, tenor
Thank !!!
Salvatore Fisichella was one of the greatest bel canto tenors of the 1980's & 90's. He substituted for Pav, who could no longer cut it, at the Met in I Puritani & was very well received. But the (supposed) "Big" 3 could not face the stiff competition & made certain that he was not re-hired. A damned shame!
Paolo Ferraro A real shame!!!I agree Salvatore Fisichella is one of thr best (also a great maestro and person...I personally asure his kindness.He is a wonderful person).Bravissimo!!!
Is this true??! What happened?? It was always a great mystery to me why Fisichella never reached much greater fame, because I always thought he was at least as good as Pavarotti! Everybody knows Pavarotti but no one seems to recognize Fisichella - even in specialized shops for classical music you rarely find recordings of him, even in Vienna or Milano! Did he not produce any DVDs or CDs??! - His timbre and technique reminds me so much of legendary tenor Lauri-Volpi here ! Bellissimoooooo
John Schofield - do you know if there was any intrigue against this wonderful singer? From your remarks I take it that you know him in person - Do you perhaps know were I can buy DVDs and CDs with him? I tried everywere - in Vienna and Milano I could not find anything. I even wrote to the Teatro Massimo Bellini in Catania and to the maestro's website - but I never received any answer from there...
Paolo Ferraro ::
Please tell us the details of the Big 3 acting that way as they all have such great reps. publicly & in the opera world.
@@ursuladietze2094 I will try to write him on facebook where he is quite often and you can add him as friend as well. facebook.com/salvatore.fisichella.3
Grande représentation, que j'ai vue en 1985. Le Festpielhaus n'est pas glamour, mais cette distribution l'était !
Edita is wonderful
Salvatore Fisichella Always a fight with the conductor
I see the Barone and his ,ahem ,friend are very busy . The Club of Collapsed Chest living in Cloud Cockoo County of endless hyperbole and a vocabulary consisting of half a dozen words only , showing up in full force ;-) For hyperbole one has to read the comment "Callas is 500,000,000 times better" .Vocabulary-wise we get only 2/3 of it "awful" , "terrible" , "overrated" , and "great" Their ideal of Elvira is probably Tebaldi , with Mdm as Arturo ... Gotta love them . So funny ;-)
grandissimo Maestro Fischella!!!!
canti militari
'
Gruberova is unique !
Uniquely awful!
SE PUEDE DESTACAR:Acto I.RECITATIVO ARIA Y CABALETTA. DE RICARDO.--ESCENA DUO Y CABALETTA DE ELVIRA Y GIORGIO---CAVATINA ,A TE ,O CARA,AMOR..---ARIA DE ELVIRA.---FINALE PRIMO.
DESTACADO:"o di Cromwell...,cavatina varios "a te ,o cara...ver aria son vergin vezzoza...ver "oh,vieni al tempio...ver "Ma, tu gia mi fuggi?¿ ver duo vieni, vieni fra...ver "credeasi,misera...con un bonito sobreagudo.
Act 1
Scene 1: A fortress near Plymouth, commanded by Lord Gualtiero Valton
At daybreak, the Puritan soldiers gather in anticipation of victory over the Royalists. Prayers are heard from within, and then shouts of joy as the ladies and gentlemen of the castle come out announcing news of Elvira's wedding. Left alone, Riccardo shares with Bruno his plight: Riccardo had been promised Elvira's hand in marriage by her father Lord Valton but, returning to Plymouth the previous evening, he has found that she is in love with Arturo (a Royalist), and will marry him instead. He confides in Bruno. (Aria: Ah! Per sempre ...Bel sogno beato / "Ah! Forever have I lost you, flower of love, oh my hope; ah! life from now on will be full of sorrow".) As he pours out his sorrows to Bruno, Riccardo is called upon by his soldiers to lead them but he declares "I am aflame, but the flame is love, not glory".
Scene 2: Elvira's apartments
Elvira welcomes Giorgio, her uncle, warmly, but when he tells her that she will soon be married, she is horror-struck. (Aria, then extended duet: Sai com'arde in petto mio / bella fiamma onnipossente / "You know that my breast burns with overwhelming passion".) She continues, stating a determination never to be married. But when Giorgio tells her that her cavalier, Arturo, will be coming, he reveals that it was he who persuaded her father, Lord Valton, to grant Elvira's wish. She is overjoyed. Then the sound of trumpets is heard announcing Arturo's arrival; he is welcomed by all.
Scene 3: The Hall of Arms
Arturo and his squires come into the hall and are joined by Elvira, Valton, Giorgio and the ladies and gentlemen of the castle. After a general welcome from all assembled, Arturo expresses his new-found happiness. (Aria, Arturo; then Giorgio and Walton; then all assembled: A te, o cara / amore talora / "In you beloved, love led me in secrecy and tears, now it guides me to your side".) Valton tells everyone that he will not be able to attend the wedding ceremony and he provides Arturo with a safe conduct pass. A mysterious lady appears, and Valton tells her that he will be escorting her to London to appear before Parliament. Arturo is curious. Giorgio tells him that she is suspected of being a Royalist spy. As Elvira leaves to prepare herself for the wedding and the others depart in various directions, Arturo hangs back and finds the mysterious lady alone. He discovers that she is Enrichetta (Henrietta Maria), widow of the executed King Charles I. Insisting that she not be concerned about Elvira, Arturo vows to save her: (Aria, Riccardo; then Enrichetta; then together: Non parlar di lei che adoro, / di valor non mi spogliar / "Do not speak of her whom I adore; do not take away my courage. You shall be saved, oh unhappy woman.") Observed by Arturo and Enrichetta, Elvira appears singing a joyful polonaise (Son vergin vezzosa / "I am a pretty maiden dressed for her wedding"), but she engages the Queen in conversation asking for help with the ringlets of her hair. To allow that to happen, she removes her wedding veil and places it over Enrichetta's head. Both Arturo and Enrichetta realise that this may allow them to escape, and as they proceed, they are challenged by Riccardo who believes the woman to be Elvira. He almost provokes a fight with Arturo until he discovers that she is not Elvira; then, he is content to allow them to pass, swearing not to reveal any information. When the wedding party enters, they ask for Arturo, then learn, largely from Riccardo, that he has fled with Enrichetta. Pursuit is organised. Becoming increasingly distraught, Elvira believes that she sees Arturo: (Aria; then ensemble: Oh, vieni al tempio, fedele Arturo / "Ah! come, ah! come! Oh! come to the church, faithful Arturo".) It is increasingly clear that she has gone mad.
Act 2
A room in the fortress
As the ladies and gentlemen of the castle are mournful for Elvira's totally downcast state of mind, Giorgio describes her madness: (Aria: Cinta di fiori / "Garlanded with flowers and with her lovely hair disheveled, sometimes the beloved maiden wanders about...") and he describes her flights into madness and her pleas for Arturo to return. Riccardo brings the news that Arturo is now a fugitive who has been condemned to death by Parliament for allowing Enrichetta to escape. Giorgio states that the only hope for Elvira will be a sudden joyous experience. Elvira is heard outside, still deranged but longing for Arturo: "Either give me back hope, let me die" she cries. As she enters, she expresses all her longing: Elvira, aria: Qui la voce ... Vien, diletto / "Here his sweet voice called me...and then vanished. Here he swore to be true, here he swore it, and then, cruel man, he fled!". Entering, she confronts her uncle and Riccardo, whom she fails to recognise, even in her moments of lucidity. She addresses him as if he were Arturo: (Elvira, cabaletta: Vien, diletto, è in ciel la luna / "Come, beloved, the moon is in the sky, Everything is silent, until the dawn breaks in the sky"). The two men encourage Elvira to return to her room. For Elvira's sake, Giorgio encourages Riccardo to help save his rival, advising that he will forever be pursued by their phantoms. Riccardo rejects the request: (Giorgio, then Riccardo, then duet: Il rival salvar tu déi, / il rival salvar tu puoi / "You must save your rival, you can save your rival"), but gradually Riccardo comes around to accept that idea. However, he states that if in the following day's battle, Arturo appears, he will perish at his hand. The two men now have an agreement: (Finale: Giorgio, then Riccardo, then together: Suoni la tromba / "Let the battle-cry be: country, victory, victory and honour. Let the trumpets sound, and I shall fight strongly, fearlessly."
Act 3
A wooded area near the fortress, three months later
Arturo is still on the run. He is exhausted and has returned seeking Elvira. Suddenly he hears the sounds of singing coming through the woods: (Elvira, aria: A una fonte afflitto e solo / s'assideva un trovator / "A troubadour sat sad and lonely by a fountain"). He calls out, but gets no response and, recalling how the couple used to sing together in the woods, he also sings the troubadour melody until the sound of drumbeats and the shouting of soldiers silences him. He covers himself and hides as a group of soldiers passes, then emerges and decides to continue singing to the same melody: (Arturo, aria: Corre a valle, corre a monte / l'esiliato pellegrin / "Through the valleys, over the mountains, hastens the exiled pilgrim") Unseen, Elvira emerges from the trees and stops to listen. She is saddened when the singing stops, and she sorrowfully wonders where Arturo is. Suddenly, he is standing before her and they are reunited in a spirited duet in which they declare that they will always be together after the long months of being apart. Still a little confused, Elvira believes that Arturo has married the woman whom he escorted from the fortress; he assures Elvira that he has always loved her, that the lady who was in great danger was the queen: (Arturo; then Elvira; then together). Having determined that they love each other and that they will always remain together, they enter into an ecstatic duet. (Arturo: Vieni fra queste braccia / "Come, come to my arms"; Elvira: Caro, caro, non ho parole / "Dearest, dearest, I cannot find the words to express my happiness"; then together). At the sound of drums being heard, Elvira appears to be returning to a state of madness, fearing that they will again be parted. Then soldiers' voices are heard close by and Riccardo, Giorgio, and the ladies and gentlemen of the fortress enter announcing Arturo's death sentence. With that, she finally comes to her senses. An ensemble, beginning with Arturo (Credeasi, misera / "Unhappy girl, she believed that I had betrayed her") extends to all assembled, each expressing his or her anguish, with even Riccardo being moved by the plight of the lovers. For this extended piece, Bellini wrote a high F-natural above C5 for Arturo's ... crudeli, crudeli! / Ella è tremante, / ella è spirante; / anime perfide, / sorde a pietà! / "cruel men, cruel men! She is trembling, she is fainting, perfidious souls, deaf to pity!" The soldiers continue to demand Arturo's execution, but the sounds of a herald arriving are heard. He brings letters which are opened by Riccardo and Giorgio. They announce that although the Royalists have been defeated, Oliver Cromwell has pardoned all prisoners. The ensemble expresses its general and its personal joy.
Thank you
Ron Edwards
la
Grazie per queste bellissime voci
@@verafalanga1396 Non sono stato io ma Shawn Melon a fornire le voci. Trovo solo sinossi e posto un commento che li contiene, per mia informazione, poi li lascio ad altri.
Bien Parler , je suis Entierrement d'Accord avec Vous , pas plus tard que Hier TH-cam à Publier un Manon Lescaut de Puccini , Regarder la Mise en Scene , et meme si les Chanteurs sont Bons Vous n'avais pas Envie d'Ecouter !!!!
1:44:00 "Vien Diletto in Ciel La Luna."
Where's the high note from the end of the cabaletta "Bel sogno beato"? 26:13 :@
She can really sing this role.
Je cherche ce Manon Lescaut mais il a peut etre été retiré
mais maintenant les gens sont habitués aux nouvelles mises en scène.........
Îs IT trei that Fischella was not hired because of Pav envied him ? I would have not belived envy in a great artist could exist .
12:44 O di Cronvel
43:08 A te, o Cara
2:02:33 Son salvo
Edita viva la madre que te pario!!!!
I think of young Sills and Gruby as having an almost ideal timbre for Elvira , written for the young Grisi .Unfortunately in both cases it's only the timbre and the agility , the rest is in short supply .Here however Gruby was still in her vocal prime and could at least sing the notes , though her voice ca 1980 was , timbre-wise ,more fitting .
Fisichella can handle the tessitura , but not the markings ,and the style escapes him . He reminds me of Filippeschi in this respect .Not a sweet voice but not hard either ,almost brilliant, trying his best to sound lyrical , and succeeding but rarely . Not a bel canto tenor but not his fault alone ,more the fault of modern times , conductors enamored of come scritto did their best to kill it . This happens when your role model is Toscanini .
Why Elvira has to sing Qui la voce in a dress dropping off the shoulder is anybody's guess .Probably just the stage director's wish to sell naked flesh , and this being 1985 he didn't dare to go further than that . Today we would get her in her underwear and sneakers , there is still much to be grateful for the ole good times ... If one wants to know how far have the Bregenzer Festpiele come since then , one has only to watch their Rigoletto abomination .
che lagna!
Nicht aus Wien, dia Aufnahme kommt aus Bregenz!
Listen to Nino Machaidze singing this!
Aldo Carvalho: what do You mean? Machaidze has a very ordinary voice , cannot be compared to the other glorious Elviras!
42:46
1:32:46 elvira
Well, I have always enjoyed grubby in puritani. The other BEL canto roles she sing, like Norma and Anna Bolena are not for her.
Odd sounding note from Zancanaro at 1:57:00... (during "Suoni la tromba") - did he crack, or just an artifact of the recording?
I listened but couldnt find what you mean.. Can you be more specific? I thought it sounded as it should =)
acabo de ver a Olga Peretyatko en el Met...SUPERBA
Qué fantástica voz la de Fisichella, pero qué falta de sentido del tempo. Debió ser una pesadilla para los directores de orquesta.
Il direttore non puo sostenere un tempo?
も
Great in the German roles (Adele, Zerbinetta, etc.) - but she yodelled her way through the bel canto repertoire without any sense of style or appropriate technique! A shame, because the vocal material was evident!
Nonsense. If you ever heard her live, then you could never state that..
@@adeeo Nonsense, If you understand singing then you could they you could never state that. Gruberova is awful! Viva La Callas!
She wasn't great in anything. There is no vocal material.
@@xxsaruman82xx87 I am not a "Grubi" fanstic, but this is clear nonsense from somebody who has never heard her in her prime...
@@adeeo Nope. She never had a prime. The most overrated soprano ever. th-cam.com/video/xorbIdDBcpk/w-d-xo.html
OHHhh,she can hardly sing the strongest parts of the opera.Pianos,crescendos and diminuendos are not nice at all not talk of weird legato.My opinion,an overrated soprano.
you do not know what you are talking about. Have you ever heard her live? I have heard many greats... Gruberova is a legend and I cries many times at her concerts...
My opinion THE most overrated soprano.
@@adeeo Gruberova is terrible.
Fisichella had a wonderful Voice but his phrasing is uneven,no match for Pavarotti!!
Could you explain what you mean exactly
Kavrakos e terribile. Tremolo e voce troppo chiara...