I saw Scotto once live. In Minneapolis when the MET was on tour. She did all three roles in Il Trittico. When she came out for bows after Suor Angelica I swear she was in tears as was much of the audience. Truly moving.
you know you are a very lucky person to have seen her in that. i was fortunate to have seen/heard her return to the Met in Verspri Siciliani in 74. fabulous. she, sadly, made some real errors in role choices over the coming years but when she was ON, there was little to complete with the totality of what she gave. I was visiting family in Minneapolis somewhere in the late 70s and witnessed the Trovatore of my life there... Scotto, Cossotto, Bergonzi and Mac Neal. i forget who was conducting but everyone was on fire - with the music AND the drama.
She was a very emotional and totally committed singer. Its the reason she was still beloved even after the voice was worn . Live, her faults weren't as bothersome because you were held in her emotional grip. Something that doesn't come across on video. I saw some performances that were thrilling and left everyone quivering and drained. Then Ive seen the same performance on TV . Can't believe its the same performance. I didn't hear the pronounced wobble and frayed high notes. She one that you really had to experience in person or you haven't heard her. (BTW I don't think I own a Scotto record. I'd never listen. The whole package worked together, in the theatre, but the individual parts dont. Her voice alone doesn't define her artisty.
I saw Kraus many times and believe that he is one of the greatest lyric tenors of the 20th Century. He knew the roles he could sing best and he refrained from pushing one of the most beautiful lyric voices of all time beyond its capacity. He also was a fine operatic actor and his voice always reflected emotional content as well as musical perfection.
Already dazed and condemned to the guillotine, in a fit of rare lucidity, true faith and courage, Marguerite does the unthinkable- she stands up to Mefistofeles (the Devil) and chooses God, just when the Devil is about to take her and Faust to eternal damnation. She gains redemption. Surreal. I love how Scotto raises her arms in defiance to the Devil. The music is just divine.
Maestra Scotto creates so much space, and the men still sound with the urgency they need. a lovely, thoughtful interpretation. many thanks for posting.
Several companies shared this production of Faust in the early to mid-70s. I saw it at the Chicago Lyric with the same two male singers but with Freni singing Marguerite. Although Scotto is fine here, Freni brought a sense of mixed frailty strength to this finale that was incredibly touching and her French was better.
I saw the 2 men in these roles in Chicago. First time I had heard Kraus live, and was amazed at the way his voice carried! Ghiaurov had a big voice which blanketed the house, while Kraus seemed to go "up and over".
All three singers give their best particularly "La Scotto" who sings her heart out. Tempo too slow for my taste but overall a great finale. De los Angeles and Freni were also legendary Magheritas.
The voices are excellent but I like this supplication to be more urgent to reflect Marguerite's desperation. The splendor could be saved for the choir. Nonetheless, I thoroughly enjoyed it.
I'm sure you are trying to be respectful, but while maestro is used in Itlian mostly for conductors, and occasionally for venerable old artists, maestra is only used for ladies who teach in primary school... so this could be read as an insult!
You scribing :la scotto is inascoltabile and kraus is male ????--I think, you understandig rare by opera voices.The terzett at the end by margarete is" meravigliosa" Bravissimi renata,alfredo and nicolai !!!!!!
One of the most glorious operatic finales ever written.
Sublime to the nth degree
Miss Scotto was one of the greatest sopranos of the 20th century. Also a real actress.
Scotto sings this famous final with greater emotional conviction than I have ever heard before or since. Krase and Ghiaurov, both superb...
eoselan7 * Kraus
@luismanueltena6790 que pena más grande yo la quería y admiraba mucho.
R. I. P Dear Ms Scotto. You will be missed.
I saw Scotto once live. In Minneapolis when the MET was on tour. She did all three roles in Il Trittico. When she came out for bows after Suor Angelica I swear she was in tears as was much of the audience. Truly moving.
you know you are a very lucky person to have seen her in that.
i was fortunate to have seen/heard her return to the Met in Verspri Siciliani in 74.
fabulous. she, sadly, made some real errors in role choices over the coming years but when she was ON, there was little to complete with the totality of what she gave.
I was visiting family in Minneapolis somewhere in the late 70s and witnessed the Trovatore of my life there... Scotto, Cossotto, Bergonzi and Mac Neal. i forget who was conducting but everyone was on fire - with the music AND the drama.
She was a very emotional and totally committed singer. Its the reason she was still beloved even after the voice was worn . Live, her faults weren't as bothersome because you were held in her emotional grip. Something that doesn't come across on video. I saw some performances that were thrilling and left everyone quivering and drained. Then Ive seen the same performance on TV . Can't believe its the same performance. I didn't hear the pronounced wobble and frayed high notes. She one that you really had to experience in person or you haven't heard her. (BTW I don't think I own a Scotto record. I'd never listen. The whole package worked together, in the theatre, but the individual parts dont. Her voice alone doesn't define her artisty.
That's very interesting. I read in Beverly Sills' book that she performed Suor Angelica once and it broke her heart. She never performed it again.
She DID feel salvation in her heart....That face!!!!!!!!!!!!!!!
I saw Kraus many times and believe that he is one of the greatest lyric tenors of the 20th Century. He knew the roles he could sing best and he refrained from pushing one of the most beautiful lyric voices of all time beyond its capacity. He also was a fine operatic actor and his voice always reflected emotional content as well as musical perfection.
Three all time greats. Scotto was one of a kind. She and Stratas were my favorite singing actresses of this period in opera history. Great stuff.
The best. When Scotto was on she is just the best. I love that they don't rush through it.
I had the pleasure of hearing Scotto and Kraus in Werther in Dallas many years ago. They were superb!
An amazing cast and one of Renata Scotto's greatest moments.
This is totally moving! I am in love with this scene! Maestra Scotto is brilliant and the gentlemen are incredible. What inspiration.
Already dazed and condemned to the guillotine, in a fit of rare lucidity, true faith and courage, Marguerite does the unthinkable- she stands up to Mefistofeles (the Devil) and chooses God, just when the Devil is about to take her and Faust to eternal damnation. She gains redemption. Surreal.
I love how Scotto raises her arms in defiance to the Devil. The music is just divine.
RIP Renata Scotto.
Scotto sounds great here! People forget her early, and middle career singing. Beautiful production and expression!
Un terzetto di fuoriclasse Con la SIGNORA che porta negli spazi siderali gli armonici di un anima in perenne vibrazione
The absolute best. I have been a fan since he made his debut at the old Met many years ago. I love his voice.
Scotto gives me goosebumps in this performance. I wish I could have seen her in person. Such passion and conviction. E davvero una meraviglia!
I'm used to skipping Scotto videos, but she is GREAT here. Must be just before the trouble started.
BRAVISSIMI !!!!!!!!! That´s a miraculous performance-Thank´s for the posting-
Maestra Scotto creates so much space, and the men still sound with the urgency they need. a lovely, thoughtful interpretation.
many thanks for posting.
Un reparto único en este Fausto maravilloso. ¡¡que lástima no poder ver la obra completa!! Gracias por compartir estas joyas.
Great performance. Kraus is always amazing.
ah ke meraviglia ke cast non si poteva avere di meglio la scotto e stupenda!!!!!!!!!
Great trio.
Trois dieu, trois idoles, gloire à ces merveilles d'un autre temps.
Reminds me to love Gounod. Ghiarov, too, is sensational.
This is indeed a wonderful cast!!! Thank you so much for posting this.
Kraus, Scotto e Ghiaurov...manca solo il Padreterno per fare poker!
100 stelle per voi!!!
beginner57 ahahahah in 2 parole hai detto tutto! Bava!
Several companies shared this production of Faust in the early to mid-70s. I saw it at the Chicago Lyric with the same two male singers but with Freni singing Marguerite. Although Scotto is fine here, Freni brought a sense of mixed frailty strength to this finale that was incredibly touching and her French was better.
So GREAT !
I saw the 2 men in these roles in Chicago. First time I had heard Kraus live, and was amazed at the way his voice carried! Ghiaurov had a big voice which blanketed the house, while Kraus seemed to go "up and over".
Kraus was good up to the end, saw him in Zurich in Werther, and as for Ghiarov - majestic!
Stupendi artisti
MAGNIFIC!!!!
Un trío de Leyenda!
All three singers give their best particularly "La Scotto" who sings her heart out. Tempo too slow for my taste but overall a great finale. De los Angeles and Freni were also legendary Magheritas.
All of them in superb form. Scotto is too often judged solely on her ill-advised late career choice of repertoire
Scotto es una Margarita fantástica
Ghiarov superb
第7回NHKイタリア歌劇公演
1973年9月9.12.15日
NHKホール
指揮ポール・エテゥアン
管弦楽NHK交響楽団
Rip Renata
I'm not a Scotto fan but everyone is on very good form here
MUSICA OPERA Y CINE
Oh... yes! YES! YES! YES!! YESSS!!!!
The voices are excellent but I like this supplication to be more urgent to reflect Marguerite's desperation. The splendor could be saved for the choir. Nonetheless, I thoroughly enjoyed it.
I wish ths Met would revive FAUST with Nadine Sierra as Marguerite!
Scotto was such a great actress, wow!
...meglio ascoltarli che vederli
I'm sure you are trying to be respectful, but while maestro is used in Itlian mostly for conductors, and occasionally for venerable old artists, maestra is only used for ladies who teach in primary school... so this could be read as an insult!
Does anyone know the year of this performance?
1973 in Japan invited from Italy, it says so in comment section.
Comprennent-ils ce qu’ils chantent ? Mais c’est fort bien chanté…
What language are the subtitles?
Japanese. Probably made by NHK which is like BBC, national tv here.
Did you get to see Cornell MacNeil as the jealous husband in "Il Tabarro"?
Renataaaaaaaaaaaaa
You scribing :la scotto is inascoltabile and kraus is male ????--I think, you understandig rare by opera voices.The terzett at the end by margarete is" meravigliosa" Bravissimi renata,alfredo and nicolai !!!!!!
Maestra, at least in Italian, is used for a primary school teacher.
Molto bello ma il trio finale con Kraus e la Ricciarelli etc... a Vienna è travolgente
Erste Klass.
3 cracks.
The only one to sing in french is Kraus. The two others say :"awaowoauw".