Singing right, acting well, being what they sing, respecting the composer, making thé show that was Opéra !!! Such a wonderfull exemple of what WE had. Thank you my god for these Amazing years and thank you to all these huge singers and their commitment to the music.
Long time I haven't heard Eva, another good voice. And the scenic set up has nothing to do with the actual crap, with scenic directors that are destroying what opera is all about...I don't want to say nothing else. Thanks for posting this, it was nice to see Eva again, it's been long.
I absolutely love this performance. This production. I've been watching on Met On Demand and I just keep watching it over and over. I'm new to opera and this is the most exciting one I've seen so far. I love opera critics/fans too lol. You guys are picky as can be. No matter how good you think somebody is somebody dislikes them. But I love it!
Welcome to the club. Opera fans are probably the most extreme fandom that exists. Purists everywhere. Some insist Pavarotti couldn’t actually sing but was shouting, Domingo is a charlatan etc. only Corelli was good enough it’s never ending. Anyway, I’m happy that you discovered opera, we need the art from to survive.
no one can come close to Maestro Domingo in acting... Honestly...Remember seeing this for the first time at my music school in Potchefstroom ....I was completely blown away...Everything is lovely...setting, singing, acting... Maestro Domingo is a force to be reckoned with...GOAT in this scene...tempted to even say he is the goat in this role
Una de las escenas más impresionantes jamás producida de la opera Turandot tuvo lugar en 1988 en el Teatro Metropolitano de la Ópera de Nueva York, con la soprano Eva Marton en el altivo papel de la Princesa Turandot, y el tenor Plácido Domingo como El Príncipe Calaf, que confronta los enigmas que la fría princesa le pronuncia, con impresionante frialdad y dramatismo resuelve uno tras otro, pero al querer pronunciar el último enigma vacila, se sobrecoge de terror, se paraliza, y la princesa lo aguijonea con frialdad, parece que Calaf no podrá contestarlo, pero después de un momento, él se levanta soberbio y exclama : "TURANDOT", era el último enigma después de "LA ESPERANZA" y "LA SANGRE", el pueblo lo aclama jubiloso, y Turandot suplica a su padre que no la entregue, pero el Emperador le recuerda: el juramento es sagrado, y el pueblo se rinde a los pies del príncipe por su valor. El príncipe modera su arrogancia, y con dulzura le dice a Turandot: tres enigmas me propusiste y los tres los resolví, pero solamente uno a ti te propondré: no sabes mi nombre, dímelo antes del amanecer, y al amanecer moriré. El pueblo canta con júbilo: Diez mil años tú vivirás, oh glorioso emperador, a ti heredero de Hien Wang te gritamos: Diez mil años tú vivirás, oh glorioso emperador, levantemos las banderas, Gloria a Ti, Gloria a Ti, Gloria a Ti, y así finaliza majestuosamente el Segundo Acto de la Ópera Turandot, en este maravilloso escenario.
Je ne regarde plus jamais un opéra filmé. Voir la pauvre Angela Gheorghiu devoir se rouler par terre pour rendre sensible blah blah blah non merci. Je suis sans aucun doute un vieux con mais Zefirelli est un maître jamais surpassé. Quant au fait que lorsque vous lisez un programme c'est tout juste si le nom du "metteur en scène" apparaît en 20 comparé au nom de "mecs" qui a composé l'opéra genre Verdi écrit en 12... alors les artistes c'est quand on y pense et qu'il reste de la place.
@@PierreAelred Je ne sais pas pourquoi vous parlez d'Angela Gheorghiu qui ne figure pas dans cette distribution ! Pour le reste je suis d'accord, le compositeur reste le seul génie de son œuvre; le metteur en scène, les chanteurs, le Chef d'orchestre ne sont là que pour le servir au mieux ce qui n'est malheureusement pas le cas en ce moment !!!
@@rosy3385 J'en parle de manière générale parce qu'elle m'est venue à l'esprit quand je pense aux réactions contre cette manie actuelle de "réécrire" les opéras. Le tristan à venir à Lille se déroule dans un décor de (je ne sais vraiment pas trop) ? papier recyclé ? grisâtre dans lequel le metteur en scène a intégré des phrases en français dignes de l'almanach Vermot... à côté de cela un atelier porte sur l'amour courtois... Cela n'aurait pas été plus simple de s'en tenir à une belle mise en scène mettant l'amour courtois en images ? Plutôt que d'envoyer les auditeurs apprendre ce qu'est l'amour courtois... après les avoir déprimé devant un décor indigeste ?
Hope, Blood, and Princess Turandot are the answers but she still reneges on her promise to marry the person that solves the riddles!?! 😵💫 Prince Calef then gives her a riddle! If she can guess his name before sunrise then he will die and she obviously won’t have to marry him but if she can’t find out his name then she will have to marry him..! Here’s where Nissun Dorma is sung meaning “No one Sleeps” until the riddle is solved..👍 Puccini’s last opera , he died not too long after in 1924…😵💫
I attended one of these Met performances. Of course, we all know the genius Domingo. But Eva Marton (I had seen her already in Frau ohne Schatten) put out such a tsunami of sound, I never heard such a thing before; not even from Gwyneth Jones or Birgit Nilsson. But her peak didn’t last long. Within a few years, she could only sing triple-forte. The production itself is an incredible fantasy, an orgy for the eyes!
Does anyone else love how the Emperor's voice sounds? The costumes look fantastic. It may not be 100 percent accurate but effort wins me over ❤❤ Along with the music :) I wonder if anyone who loves Turandot has seen the Curse Of Turandot because i always listen to the music while watching it ^^
The Emperor is delightful Hugues Cuenod. Not sure how old he was here, but he was around 109 years old when he died. I took part in some song Masterclasses with him. He had worked with some of the greatest singers of the 20th century including Lotte Lehmann whom he was very fond of, Germaine Lubin and many more. He had plenty of stories to tell and a twinkle in his eye. He was very honest , admitting he never had a great voice , but he was a unique interpreter of the music he sang.
Thanks so much information on this singer, Mr. Cuenod. Wikipedia says he was born in 1902 which means he’d be around 85 when this was filmed. I really appreciate your tribute to him.
Vocally Domingo and Marton could do better than they do here, but the acting is beyond perfect, and the splendor of the sets, costumes and staging is breathtaking.
@@MorIsilWëindal There was a some project "Three Tenors". You've heard something about this? Did Pavarotti, Domingo and Carreras get there by mistake or was the project named incorrectly? Maybe it should have been called "Three Baritones"? 😉
@@arxmusic it was during Domingo's era when opera focused on marketing whilst sort of departed from focusing on true talents. Remember this baritone singing Trovatore? He marketed himself through the New York Times that he'll be singing Trovatore without high notes and it was a disaster. Marketing just bolstered his confidence in singing repertoires which are out of his range. Perhaps a "good" example is this production itself. In gli'enigmi SOoooono tre uno la vita, it was loud and clear that this baritone cracks. A characteristic he maintained right from the beginning of his career even from his audition as a "tenor". Shame.
Singing right, acting well, being what they sing, respecting the composer, making thé show that was Opéra !!! Such a wonderfull exemple of what WE had. Thank you my god for these Amazing years and thank you to all these huge singers and their commitment to the music.
EVA MARTON s color of voice is so distinct and beautiful. especially for a dramatic soprano. one of my fave voices of all time.
Long time I haven't heard Eva, another good voice. And the scenic set up has nothing to do with the actual crap, with scenic directors that are destroying what opera is all about...I don't want to say nothing else. Thanks for posting this, it was nice to see Eva again, it's been long.
Ottima...meravigliosa...stupenda bravissimi tutti...coro fantastico
Wonderful! incredibly moving, and true.
a favorite opera of mine.
I absolutely love this performance. This production. I've been watching on Met On Demand and I just keep watching it over and over. I'm new to opera and this is the most exciting one I've seen so far. I love opera critics/fans too lol. You guys are picky as can be. No matter how good you think somebody is somebody dislikes them. But I love it!
Welcome to the club. Opera fans are probably the most extreme fandom that exists. Purists everywhere. Some insist Pavarotti couldn’t actually sing but was shouting, Domingo is a charlatan etc. only Corelli was good enough it’s never ending. Anyway, I’m happy that you discovered opera, we need the art from to survive.
no one can come close to Maestro Domingo in acting... Honestly...Remember seeing this for the first time at my music school in Potchefstroom ....I was completely blown away...Everything is lovely...setting, singing, acting... Maestro Domingo is a force to be reckoned with...GOAT in this scene...tempted to even say he is the goat in this role
Eva Marton, great Turandot. A powerful and pleasant voice.
Una de las escenas más impresionantes jamás producida de la opera Turandot tuvo lugar en 1988 en el Teatro Metropolitano de la Ópera de Nueva York, con la soprano Eva Marton en el altivo papel de la Princesa Turandot, y el tenor Plácido Domingo como El Príncipe Calaf, que confronta los enigmas que la fría princesa le pronuncia, con impresionante frialdad y dramatismo resuelve uno tras otro, pero al querer pronunciar el último enigma vacila, se sobrecoge de terror, se paraliza, y la princesa lo aguijonea con frialdad, parece que Calaf no podrá contestarlo, pero después de un momento, él se levanta soberbio y exclama : "TURANDOT", era el último enigma después de "LA ESPERANZA" y "LA SANGRE", el pueblo lo aclama jubiloso, y Turandot suplica a su padre que no la entregue, pero el Emperador le recuerda: el juramento es sagrado, y el pueblo se rinde a los pies del príncipe por su valor. El príncipe modera su arrogancia, y con dulzura le dice a Turandot: tres enigmas me propusiste y los tres los resolví, pero solamente uno a ti te propondré: no sabes mi nombre, dímelo antes del amanecer, y al amanecer moriré. El pueblo canta con júbilo: Diez mil años tú vivirás, oh glorioso emperador, a ti heredero de Hien Wang te gritamos: Diez mil años tú vivirás, oh glorioso emperador, levantemos las banderas, Gloria a Ti, Gloria a Ti, Gloria a Ti, y así finaliza majestuosamente el Segundo Acto de la Ópera Turandot, en este maravilloso escenario.
Many thanks for the subtitles! They really make a difference to the impact.
Maravillosos estan aqui los dos ,esta ópera es fascinante
Sublime distribution et la mise en scène de Mr Zeffirelli est à tout jamais splendide !!!
Je ne regarde plus jamais un opéra filmé. Voir la pauvre Angela Gheorghiu devoir se rouler par terre pour rendre sensible blah blah blah non merci. Je suis sans aucun doute un vieux con mais Zefirelli est un maître jamais surpassé. Quant au fait que lorsque vous lisez un programme c'est tout juste si le nom du "metteur en scène" apparaît en 20 comparé au nom de "mecs" qui a composé l'opéra genre Verdi écrit en 12... alors les artistes c'est quand on y pense et qu'il reste de la place.
@@PierreAelred Je ne sais pas pourquoi vous parlez d'Angela Gheorghiu qui ne figure pas dans cette distribution ! Pour le reste je suis d'accord, le compositeur reste le seul génie de son œuvre; le metteur en scène, les chanteurs, le Chef d'orchestre ne sont là que pour le servir au mieux ce qui n'est malheureusement pas le cas en ce moment !!!
@@rosy3385 J'en parle de manière générale parce qu'elle m'est venue à l'esprit quand je pense aux réactions contre cette manie actuelle de "réécrire" les opéras. Le tristan à venir à Lille se déroule dans un décor de (je ne sais vraiment pas trop) ? papier recyclé ? grisâtre dans lequel le metteur en scène a intégré des phrases en français dignes de l'almanach Vermot... à côté de cela un atelier porte sur l'amour courtois... Cela n'aurait pas été plus simple de s'en tenir à une belle mise en scène mettant l'amour courtois en images ? Plutôt que d'envoyer les auditeurs apprendre ce qu'est l'amour courtois... après les avoir déprimé devant un décor indigeste ?
@@PierreAelred je suis vraiment d'accord ! Belle soirée
Hope, Blood, and Princess Turandot are the answers but she still reneges on her promise to marry the person that solves the riddles!?! 😵💫 Prince Calef then gives her a riddle! If she can guess his name before sunrise then he will die and she obviously won’t have to marry him but if she can’t find out his name then she will have to marry him..! Here’s where Nissun Dorma is sung meaning “No one Sleeps” until the riddle is solved..👍 Puccini’s last opera , he died not too long after in 1924…😵💫
I attended one of these Met performances. Of course, we all know the genius Domingo. But Eva Marton (I had seen her already in Frau ohne Schatten) put out such a tsunami of sound, I never heard such a thing before; not even from Gwyneth Jones or Birgit Nilsson. But her peak didn’t last long. Within a few years, she could only sing triple-forte. The production itself is an incredible fantasy, an orgy for the eyes!
Does anyone else love how the Emperor's voice sounds?
The costumes look fantastic. It may not be 100 percent accurate but effort wins me over ❤❤ Along with the music :)
I wonder if anyone who loves Turandot has seen the Curse Of Turandot because i always listen to the music while watching it ^^
The Emperor is delightful Hugues Cuenod. Not sure how old he was here, but he was around 109 years old when he died. I took part in some song Masterclasses with him. He had worked with some of the greatest singers of the 20th century including Lotte Lehmann whom he was very fond of, Germaine Lubin and many more. He had plenty of stories to tell and a twinkle in his eye. He was very honest , admitting he never had a great voice , but he was a unique interpreter of the music he sang.
@Tenortalker thank you for telling me, I'm looking him up rn ^^
Thanks so much information on this singer, Mr. Cuenod. Wikipedia says he was born in 1902 which means he’d be around 85 when this was filmed. I really appreciate your tribute to him.
Beautiful!!
Vocally Domingo and Marton could do better than they do here, but the acting is beyond perfect, and the splendor of the sets, costumes and staging is breathtaking.
You have to keep in mind that sound recording was quite an issue... and it's still is.
@@PierreAelred And it's Live Recording!!! Not a studio, which was made in 1987
In agreement. R u a critic?.
And OMG The luscious costumes and costumes! Is it Zeferelis producting
@@johninman7545 Luxurious?
Феноменально!!!
So good!!!!!!
DOMINGO INTOCABLE
Martonissima!!!❤❤❤❤
Domigo qui è bravissimo! Indovina tutti gli enigmi!
Domingo..unrivalled! As Zubin Mehta said: "Even Caruso did not reach Domingo's heights".
Lei e Metha avete voglia di scherzare!!! Domingo meglio di Caruso😂😂😂😂😂😂😂😂😂😂😂😂😂che battuta !!!
@omarsomehow69 sono d'accordo! Grazie
Tell it to Zubin Mehta, Birgit Nilsson, James Levine, Gwyneth Jones and others.
Buona notteeeeee!!!
Come barzelletta non c'é male...O tempora,o mores!!!
It was very well done 👍🏽
SI ESTOY LOCA BENDITA LOCURA.
Marton is OK but Nilsson was TURANDOT!!
I was able to see Marton sing Turandot a few years later in San Francisco. Not quite as powerful vocally, but a presence on the stage.
❤❤❤
自分から「問題に答えられたら結婚したるわ」って言って何十人も殺してきたのにいざ正解者が現れると拒否するってどんなワガママ姫なん
ここまできたら悪女やん
リューの方が数千倍良い子！！！
Zefirelli ? Só pode ser bom. Aquela La Traviata, Aquela Cavalleria Rusticana, Pagliacci and severals others .
What year is this recording from please?
April 1987
Beautiful opera but who would blame her. Not me.
У Доминго все верхние ноты зажаты
Domingo is no Calaf
Who is he?
He should be Altoum. Shame to that baritone@@arxmusic
@@MorIsilWëindal There was a some project "Three Tenors". You've heard something about this? Did Pavarotti, Domingo and Carreras get there by mistake or was the project named incorrectly? Maybe it should have been called "Three Baritones"? 😉
@@arxmusic it was during Domingo's era when opera focused on marketing whilst sort of departed from focusing on true talents. Remember this baritone singing Trovatore? He marketed himself through the New York Times that he'll be singing Trovatore without high notes and it was a disaster. Marketing just bolstered his confidence in singing repertoires which are out of his range. Perhaps a "good" example is this production itself. In gli'enigmi SOoooono tre uno la vita, it was loud and clear that this baritone cracks. A characteristic he maintained right from the beginning of his career even from his audition as a "tenor". Shame.
@@MorIsilWëindal Albert Camus has a very interesting essay on this topic - “The Myth of Sisyphus”👍