I was at CoventGarden on two of those nights and can well remember the audience, there was a sort of astonished silence at the first high C and then it was as though they couldn’t wait for the end, the whole house erupted, cheering and shouting , stamping their feet, just like Joan’s first Lucia.. You must remember that not many people knew La Fille du Regiment then, and Pavarotti was not yet the superstar he became, and not everyone knew of him.
Le roi du belcanto! Malgré tous les superbes et magnifiques ténors d’hier et d’aujourd’hui, il les surpasse tous, sans effort, sans orgueil, avec sa simplicité, sa facilité, sa virtuosité vocale et ce don de nous remplir de joie et d’émerveillement lorsqu’on l’écoute. Merci, encore et toujours Luciano!!!!
As I've mentioned to friends and opera virgins that I try to convert using this song- there is something SO infectious and absolutely astounding about hearing him flip out these high "C's" with such abandon and clarity. It gives me chills every time. I was lucky enough to meet the maestro back in 1985 after Tosca at the MET and it will live in my memory as one of the best moments I've ever experienced. Luckily, his voice will never be silenced. :)
You've gotta totally abandon throat as a voice placement and push the voice forward to hard palate. It's a totally different worldmand totally different type of the voice emission, so if you've started singing from the throat, you'll never make it to spinto. Sorry.
I for one actually saw the opera at the Met with Luciano and Sutherland. I really felt like she was goosing him for each of the 9 high C's which he managed with style and excellence. He definitely set the standard for all tenors to follow and attempt excellence! Pavarotti was the absolute king of the high C's and hankerchief... We've lost a giant!!!.
You are so right in your praise of Pavarotti. He looked so cute without the facial hair. I wonder how his career would have fared without it. Well, unlike Samson he probably didn't need it for his power. (I still say he was cuter without it).
Souvenir émouvant ! J'entendais Luciano Pavarotti pour la première fois, en 1969, dans cette version. J'étais à Rouen et je me rendais au Théâtre des Arts pour préparer une représentation dont mes Amis Paulette Merval et Marcel Merkès étaient les vedettes; ce dimanche matin, j'allume mon auto radio et ce fut le choc !!! Le timbre de sa voix est resté gravé à jamais dans ma mémoire. Quel que soit le répertoire, c'est toujours un régal !
Entusiasmante interprete, suono bellissimo e perfetto. Nel suo repertorio era una stella luminosissima. Non ricordo una voce così ricca di armonici, sonora, squillante e gioiosa, allegra e amorosa. Qui era il numero 1, grande Luciano!!!!
By sheer dumb luck a couple of years ago, I stumbled across a recording of a Met auditions finalists. One young man - from a cold start, no less! - sang "Ah mes amis!" perfectly nailing every one of those high Cs! Perhaps you can imagine the reaction of the audience!!
I remember so well the first time I heard Pav singing this in a Met broadcast. Nothing like it had ever been heard before... all those high C's one after the other, each perfectly placed and astoundingly brilliant,... I kept thinking, OMG he's going to shatter his voice...Well here we are, and it's still as exciting as ever after all these years.
Many years since I have heard this. I’d forgotten how astonishingly brilliant and literally breathtaking he was. He and Sutherland were a tremendous pair. The tragedy is our present technology arrived to record for all time the mediocrity and sloppiness of all the arts. The perfection and magnificence of live performances and the genius of those between 1940’s - 1970’s is lost for all time other than poor quality video clips and pirate recordings. How tragic for culture and younger generations who only know, accept and believe what they hear and see the past decades and today is the best there is.
This video confirms my views that he was THE greatest Lyrical tenor. Needless to say that this video is going straight onto my favourites. Words can't describe how great he was. My body tingles as he sings those high C's, I can hardly move. On the last high C, tingles went up and down my body and tears come to my eyes. BRAVO PAVAROTTI!
Una excepcional interpretación de Pavarotti que lo consagró como uno de los mas grandes tenores de todas las épocas. Para escuchar una y otra vez; La magistral interpretación de Alfredo Kraus y ésta revalorizan aquello de que la voz humana es el instrumento musical más perfecto
Amazing! Simply (albeit complicatedly!) amazing! An amazing man! How fortunate we are that those gems of Bel Canto were pulled out of the archives, dusted off and put on stage . . . AND, that there were singers who were (and still are) up to the task!
Truly glorious.His infectious joy in singing( as mentioned by puccinislarondine) was always a joy to the heart. I was privileged to heav heard him March 4, 1978 in recital at the Fox Theater in Atlanta, just Luciano and a piano. It was absolute magic and never to be forgotten. The voice was in great shape stil, and his Nessum Dorma, at the end, left me and many others weeping for the sheer beauty of the most beautiful voice we had ever hear live. It is memory I always treasure.
There are always those people who think they will look important if they say there are "defects" in the performances of great artists. For them, there's always going to be something.
there seem to be people that don't realise that there are different kinds of tenors... and Pavarotti well he's no del Monaco and Corelli, and for sure no florez haha
Thank you for sharing this. That even and full-bodied sound, wow. So pleasant to the ears. Wish I had been there to have heard and seen this live. Bless you, Maestro Pavarotti.
Actually he always credited Sutherland for mentoring him in the art of bel canto. However, if you want to hear the MOST sensational, I suggest you find his live performance recording from 1972. The MET was on tour and of all places, toured and performed in Louisiana, USA. The most perfect "Pour mon ame" I have ever heard.
He credited her with helping him with his breathing. As for bel canto he was already quite proficient since he was from the old Italian school. None of that inaudible 'modern bel canto' propagated by Bonygnge and his ilk.
Thats the way!!!!!!!!! Technick perfection!!!!!!! THE Tonio!!!! Thank you Big P for giving all of us sooo many beautiful things to remember!!!! If there is at least half a person that thinks that this is throaty then what should i say? That Earth is not round anymore???
Quel periodo… direi dalla fine degli anni Sessanta fino alla fine degli anni 80... almeno un ventennio in cui è stato inarrivabile. Poi è stato "soltanto" fenomenale… ma purtroppo tutti invecchiamo
Jesus......this is even better than the Met 1972 Fille. He sounded unbelievable here. The voice was so fresh, unrestricted, trumpet-like. Not fair to dump on Domingo, though. He had roles no one in his generation could touch him in. Otello, Hoffmann, Don Carlo. But the young Lucianissimo was almost a freak of nature. RIP, Maestro.
Luciano Pavarotti 9 Do s incomparable peu si sont essayés surtout le contre UT poussé plus longtemps que tout autres Ténors, une tessiture dans l'aigu admirable inégalée nous avons perdus un très grand Ténor salut l'artiste magistral Adios Maestro vailla con dios
Yes, you are right! This is a much better performance than that one of the Met ´72. The high notes are perfect here!!! The best "Ah mes amis!" I´ve ever heard... Thank you for sharing this!
Una meraviglia, uno squillo argenteo ed una estensione in tono spettacolare... per intenderci non strillava, saliva agli acuti e non li sparava ....conosceva la tecnica del falsettone mentre oggi al massimo arrivano al falsetto....
What also strikes me about this recording apart from the in-comparable singing is the pictures. Both Joan and Pavarotti look absolutely gorgeous. Pavarotti was stunningly handsome before he became even larger and abused his body. La Stupenda, she was stunning. They both look the part and fit beautifully together and their voices fit even better together, the world was blessed with those voices. Wonderful.
Thanks for the memory! I was there (if not the performance in this cut, then another in that 1967 CG series), and the memory of his spine-chilling ping--the incredible focus of that sound--stayed with me during his whole career, no matter how off course things got.
Estimado amigo jorge, ¿sabes por que en el año 62 le apodaron a Pavarotti el Rey del DO de pecho,? fue por esta pieza la cual fue unica e irrepetible en el Coven Garden. Alfredo fue muy bueno sobre todo cuando canto a sus 92 años Turandot, reo que jamas se volvera a repetir esa interpretacion, pero me quedo con Luciano, Placido y Mario Lanza...
+Jesús Roberto Guerra G. Cuando dices "Alfredo fue muy bueno sobre todo cuando canto a sus 92 años Turandot", y tras leer el post de Jorge, que menciona que sigue prefiriendo a Alfredo Kraus... ¿No te referirás al mismo Alfredo, no? No por nada, sino porque creía que Kraus falleció a los 72 años...
LA SOLIDEZ DE PAVAROTTI Y SU INCISIVA VOZ MASCULINA Y POTENTE EST APOR ENCIMA DE TODO......TIENE UNA BELLEZA UNICA....Y UNA TESITURA INCOMPARABLE......QUE ABARCA VARIOS TONOS......
+Yolanda Sanchez mejor no lo podias haber expresado......................perfecto...........como me gustan estas expresiones....que definen en dos palabras.......el mundo que nos rodea...................
Un ténor hors pair, une grande justesse de ton et une PUISSANCE incomparable! Merci pour vos souvenirs émouvants et vécus de l'intérieur! MERCI BEAUCOUP.
iTube22100 questo non era il suo repertorio per questo motivo lo ha cantato per poco tempo e ha seguito la sua naturale vocalità, ascolta molte incisioni degli anni 80....... ti ricrederai...... alcuni concerti live impressionano.....
secondo me invece era proprio questo il suo repertorio e secondo me la figlia del reggimento la poteva cantare fino al 79 80 quando poteva ancora dare tantissimo parlo almeno per il registro acuto non so perchè abbia smesso di cantare nel 72 73 e poi nel 95 dove a cantato benissimo tutta l'opera steccando i do
Dang I wish the audio was cleaned up on this. I could just eat him up !! It's so hard to get an audio that fully picks up the beauty of a operatic style singer, especially Pavarotti. There have been a few that I've found but I'm still looking! Remigio Perrera has a quality like Pavrotti, but only a handful of times has the audio actually caught the true quality of his. Voice
Ese do con esa obscuridad, suena realmente BRUTAL!!!!!!!!!!!!!, un legitimo C de pecho obscuro y hermoso algo que no se escuchaba desde el Gran Caruso!!!
Opening at the Met in 72, the conductor raced the tempo which made this already difficult piece near impossible. Paravotti pulled it off, but I prefer this version.
@@philiphirtes6784 Thanks for that info. Just goes to show, conductors can change their approach, be in a different mood, set the pace for the new production...etc.
Could you please upload the whole perfomance??I Have the 1966 Covent Garden,Met 1972 & 1973 perfomances and are Great!!!Also I have the Atlanta 1972 Met on Tour perfomance which is also amazing!!But this perfomance is GREAT!!
Perfection he gives me goose bumps when he sings those high notes.my mother sang opera a mezzo soprano who also gives goosebumps she passed on last aug. And i just know she ix singing ave maria with luciano pavarotti he was her favorite tenor. She use to sing arias from carmen and la traviata two of my favorites. I will miis pavarotti and my mother rest their souls.
ingrid englitsch Bravissima!!!;molta gente non capice bene il vero canto delle tenori dell'passato.Un vero piacere il leggere gli sue parole...Auguri!!!
GermanOperaSinger, you are correct -- this performance is definitely more brilliant than the one you posted from the Met in '72. This is tight, well-paced, vibrant, and Pavarotti sounds in perfect voice. Again, thank you for posting.
Pavarotti didn’t know exactly the difference between Donizetti (especially, like in this case, a “French” Donizetti) and Puccini. His high Cs are all there, they are amazing, but…it’s not Donizetti
@@lorenzob206 With all due respect, as a professional Opera singer whose particular interest is performing the vocalises from Bel Canto teaching texts from the 15th century through the turn of the 20th century , I am quite familiar with this highly discredited line of reasoning and I believe it it to be utterly lacking in historical validity, yet passed down for generations. I was taught this nonsense in college by a non-singer, too. This analysis is a misguided 20th century "scholarship" based upon changes in sound from recordings made in wax, published by people without a background in high performance singing. For those who are uninitiated, here is the line of the argument being laid out. The early 19th century was dominated by a school known as "Bel Canto (Beautiful Singing)." Bel Canto is characterized by the EMPHASIS on agility and legato line. Compositionally, Bel Canto opera typically used a type of singing speech called "Recitative" which lays out the plot elements until an emotional point is reached, where the plot elements are frozen, allowing the character to step forward to explore the emotional nature of that moment in what is termed an "Aria." However, although Donizetti is recognized as one of the foremost composers of Italian Bel Canto opera, La Fille du Regiment is not actually an example of Bel Canto Opera. Written on the accepted border between Bel Canto and Verismo ("Realism") in 1840. The French and Germans grew tired of both recitative and arias about feelings that froze the plot instead of advancing it. They also objected to embellishments that didn't advance it, either. Verismo opera uses a play instead of a novel with a narrator in its place. In this respect, Le Fille du Regiment is simply not a Bel Canto opera, at least not the way I think thoughtful people who disagree with me would define it. Verismo arias advance the plot. At the same time, technology innovations made it possible for more instruments to join the orchestra, swelling its size. The size of the voice was EMPHASIZED in Verismo opera in place of artifice. There is the unfuriating misconception that Bel Canto called for a smaller voice on top with little to no vibrato for the sake of agility, which is a self-defeating strategy. There is also a misconception that voices capable of singing over entire brass sections without amplification would be unwelcome in Bel Canto opera. His voice was optimal, but not actually loud in any location. My father heard him in our local 10K basketball arena and full orchestra without any microphones. But the most infuriating implication is that Pavarotti himself was not a true Bel Canto singer. Those are fighting words, but I'll give grace because I was told this by others who were supposed to know better, too. Pavarotti ,along with female counterpart Joan Sutherland, happens to be the greatest expression of Bel Canto technique ever captured during the recording era. If you think Donizetti would object to a Pavarotti recording of a piece that ate the tenor at the premiere, I would question your sanity, let alone his whole portfolio of Donizetti's early works. There are so few who can do this in an acoustical setting over an orchestra at all. With all due respect, I have grave doubts you actually speak for Donizetti.
Personally, i'm interested in the maltese tenor Joseph Calleja. The Questa o Quella of his on TH-cam is simply sensational. A real tenor with great technique, i've a ticket to see him sing Rigoletto at the Opera house in Hamburg this September, can't wait.
La ópera escrita para con el tiempo, hubiera,un tenor con las facultades de Pavarotti.hubo un tenor ruso con voz muy joven, más dócil el manejo de sus facultades y nó tuve la suerte de volver a encontrarlo péro, Pavarotti es único. Luca canonici hace gala de facultades y da 9 b moll y en otra 9 C pero Pavarotti es el mejor tenor lírico de todos los tiempos.
Luciano was really unique singing this role, because it wasn`t his province. For other tenors like Kraus, Florez, Kunde, Blake the high c is a note that for other tenors is an "a" or a "b-flat". And Luciano was not typical high tenor, but he had enough courage to sing this role.
Young Florez was good in this, produced beautiful high notes... but in comparison to t h i s performance you cannot help but noticing that he lacked one thing: VOLUME!!!!!
Opera di Donizetti che amo particolarmente.questo è' un brano dove bisogna dare il Massimo dell'abilità' canora del tenore per gli11 do di petto presenti, una cosa semplice per il grande Pavarotti.
Yes that sounds real. I was there. Wonderful!!
I was at CoventGarden on two of those nights and can well remember the audience, there was a sort of astonished silence at the first high C and then it was as though they couldn’t wait for the end, the whole house erupted, cheering and shouting , stamping their feet, just like Joan’s first Lucia.. You must remember that not many people knew La Fille du Regiment then, and Pavarotti was not yet the superstar he became, and not everyone knew of him.
Thank you Barry for that insight on an incredible night in opera history.
Le roi du belcanto! Malgré tous les superbes et magnifiques ténors d’hier et d’aujourd’hui, il les surpasse tous, sans effort, sans orgueil, avec sa simplicité, sa facilité, sa virtuosité vocale et ce don de nous remplir de joie et d’émerveillement lorsqu’on l’écoute. Merci, encore et toujours Luciano!!!!
That is what I love so much about Pav's voice... the urgency of it. Listening to him is the ultimate thrill. He is perfection.
Pavarotti in the years 1966/1978 ...: the best of the best !!!!
As I've mentioned to friends and opera virgins that I try to convert using this song- there is something SO infectious and absolutely astounding about hearing him flip out these high "C's" with such abandon and clarity. It gives me chills every time. I was lucky enough to meet the maestro back in 1985 after Tosca at the MET and it will live in my memory as one of the best moments I've ever experienced. Luckily, his voice will never be silenced. :)
How thrilling it must have been to hear him as Cavaradossi. Do you remember who was Tosca and who was Scarpia? I truly wish I had been there.
You've gotta totally abandon throat as a voice placement and push the voice forward to hard palate. It's a totally different worldmand totally different type of the voice emission, so if you've started singing from the throat, you'll never make it to spinto. Sorry.
I for one actually saw the opera at the Met with Luciano and Sutherland. I really felt like she was goosing him for each of the 9 high C's which he managed with style and excellence. He definitely set the standard for all tenors to follow and attempt excellence! Pavarotti was the absolute king of the high C's and hankerchief... We've lost a giant!!!.
I agree with you
Frederick Lasker You are quite lucky to have been there.
I am agree too!!! Pavarotti is giant!!! Only he made in "Crudere" of "Puritani" what nobody did not make else now...
Goosing? What do you mean? Thanks. 😃
You are so right in your praise of Pavarotti. He looked so cute without the facial hair. I wonder how his career would have fared without it. Well, unlike Samson he probably didn't need it for his power. (I still say he was cuter without it).
Souvenir émouvant ! J'entendais Luciano Pavarotti pour la première fois, en 1969, dans cette version. J'étais à Rouen et je me rendais au Théâtre des Arts pour préparer une représentation dont mes Amis Paulette Merval et Marcel Merkès étaient les vedettes; ce dimanche matin, j'allume mon auto radio et ce fut le choc !!! Le timbre de sa voix est resté gravé à jamais dans ma mémoire. Quel que soit le répertoire, c'est toujours un régal !
Mamma mia, what a voice! Pure gold! How can you not love him❤
To take such big sound up high is incredible. And with perfect ping!
Entusiasmante interprete, suono bellissimo e perfetto. Nel suo repertorio era una stella luminosissima. Non ricordo una voce così ricca di armonici, sonora, squillante e gioiosa, allegra e amorosa. Qui era il numero 1, grande Luciano!!!!
By sheer dumb luck a couple of years ago, I stumbled across a recording of a Met auditions finalists. One young man - from a cold start, no less! - sang "Ah mes amis!" perfectly nailing every one of those high Cs! Perhaps you can imagine the reaction of the audience!!
Woah the last one sets my scalp tingling. Miss you Pav - thank God for recordings
I remember so well the first time I heard Pav singing this in a Met broadcast. Nothing like it had ever been heard before... all those high C's one after the other, each perfectly placed and astoundingly brilliant,... I kept thinking, OMG he's going to shatter his voice...Well here we are, and it's still as exciting as ever after all these years.
For the thumbs down all I can say is where is your culture? It must be seriously lacking!This is superb!,,🇩🇪🎼🎶🎵🎭🤗🌹❤️👍❗
Never in this system of things will we hear a voice like his. Only in the new system we all will!
Impresionante técnica, gran manejo de los tiempos... sin duda de los mejores tenores de todos los tiempos. Bravo... bravisimo.
Wonderful photos of Luciano Pavarotti and Joan Sutherland. They really sang wonderfully together.
Class, pure class. Power, tone...everything.
Many years since I have heard this. I’d forgotten how astonishingly brilliant and literally breathtaking he was. He and Sutherland were a tremendous pair.
The tragedy is our present technology arrived to record for all time the mediocrity and sloppiness of all the arts.
The perfection and magnificence of live performances and the genius of those between 1940’s - 1970’s is lost for all time other than poor quality video clips and pirate recordings. How tragic for culture and younger generations who only know, accept and believe what they hear and see the past decades and today is the best there is.
For Ever Maestro Luciano Pavarotti... Único e incomparable! Voz de voces, ojalá pueda conocerte en alguna otra vida!!
This video confirms my views that he was THE greatest Lyrical tenor.
Needless to say that this video is going straight onto my favourites.
Words can't describe how great he was. My body tingles as he sings those high C's, I can hardly move. On the last high C, tingles went up and down my body and tears come to my eyes.
BRAVO PAVAROTTI!
Personally I can’t say Pavarotti was the greatest lyric tenor Bjorling exists after all but he certainly was good
i can almost picture sunshine beaming out of his mouth everytime he belts out high c's. just brilliant!
Una excepcional interpretación de Pavarotti que lo consagró como uno de los mas grandes tenores de todas las épocas. Para escuchar una y otra vez; La magistral interpretación de Alfredo Kraus y ésta revalorizan aquello de que la voz humana es el instrumento musical más perfecto
Amazing! Simply (albeit complicatedly!) amazing! An amazing man! How fortunate we are that those gems of Bel Canto were pulled out of the archives, dusted off and put on stage . . . AND, that there were singers who were (and still are) up to the task!
The golden duo...La Stupenda! and Pavarotti.
Truly glorious.His infectious joy in singing( as mentioned by puccinislarondine) was always a joy to the heart. I was privileged to heav heard him March 4, 1978 in recital at the Fox Theater in Atlanta, just Luciano and a piano. It was absolute magic and never to be forgotten. The voice was in great shape stil, and his Nessum Dorma, at the end, left me and many others weeping for the sheer beauty of the most beautiful voice we had ever hear live. It is memory I always treasure.
Four dislikes? This is perfection!!! WHAT IS WRONG WITH THEM?????
They are Jussi Björling fans.
There are always those people who think they will look important if they say there are "defects" in the performances of great artists. For them, there's always going to be something.
there seem to be people that don't realise that there are different kinds of tenors... and Pavarotti well he's no del Monaco and Corelli, and for sure no florez haha
@@tenor001 Pavarotti: King of the High Cs; Tenor of the Line!
It could be a little bit more legato, but the colour is amazing. Unlike Florez, the voice sounds full and round and big. Really amazing.
Thank you for sharing this. That even and full-bodied sound, wow. So pleasant to the ears. Wish I had been there to have heard and seen this live. Bless you, Maestro Pavarotti.
Una voz balsámicas como pocas y que se dan una vez cada cien años. Un verdadero Inmortal
I wish to clarify my earlier comment. When I said "I was there" I really was. I attended a performance of that production in Covent Garden. Electric!
Thank you for everything Meastro Pavarotti!!! Your voice have a medic power. Long Live King of High C!!!
Brilliant in every way!!
Actually he always credited Sutherland for mentoring him in the art of bel canto. However, if you want to hear the MOST sensational, I suggest you find his live performance recording from 1972. The MET was on tour and of all places, toured and performed in Louisiana, USA. The most perfect "Pour mon ame" I have ever heard.
+bravaLiz I attended three of those Met performances. He was excellent but I loved her.
You are wright 1972 super @
He credited her with helping him with his breathing. As for bel canto he was already quite proficient since he was from the old Italian school. None of that inaudible 'modern bel canto' propagated by Bonygnge and his ilk.
@@absdyna bonynge doesn't propagate inaudible singing... Wtf u talking about?
A imortalidade deveria ser o prémio por nos proporcionar tanta felicidade !
Thats the way!!!!!!!!!
Technick perfection!!!!!!!
THE Tonio!!!!
Thank you Big P for giving all of us sooo many beautiful things to remember!!!!
If there is at least half a person that thinks that this is throaty then what should i say? That Earth is not round anymore???
Bravissimo!!!
Singing at its absolute finest.
The best of the best. Only Pavarotti. That may be the only reason some don't like him.
Mind Blowing..just BRILLIANT.
stupendo luciano indimenticabile voce, dono del cielo a pochi concesso, sono commosso, grazie!
Er singt einfach fantastisch!!
Gracias. Muy bueno
Liquid gold.
why?
"Tutto il resto è noia..." in quel periodo veramente numero uno, insuperabile per agilità e timbro in questo repertorio.
Quel periodo… direi dalla fine degli anni Sessanta fino alla fine degli anni 80... almeno un ventennio in cui è stato inarrivabile. Poi è stato "soltanto" fenomenale… ma purtroppo tutti invecchiamo
Jesus......this is even better than the Met 1972 Fille. He sounded unbelievable here. The voice was so fresh, unrestricted, trumpet-like. Not fair to dump on Domingo, though. He had roles no one in his generation could touch him in. Otello, Hoffmann, Don Carlo. But the young Lucianissimo was almost a freak of nature. RIP, Maestro.
You are wright ...this is the best!!!
@GermanOperaSinger J'adore et Merci Beaucoup for sharing this! "AH...mon ami." This way too great.
His high notes are spectacular
Luciano Pavarotti 9 Do s incomparable peu si sont essayés surtout le contre UT poussé plus longtemps que tout autres Ténors, une tessiture dans l'aigu admirable inégalée nous avons perdus un très grand Ténor salut l'artiste magistral Adios Maestro vailla con dios
Yes, you are right! This is a much better performance than that one of the Met ´72. The high notes are perfect here!!! The best "Ah mes amis!" I´ve ever heard... Thank you for sharing this!
Una meraviglia, uno squillo argenteo ed una estensione in tono spettacolare... per intenderci non strillava, saliva agli acuti e non li sparava ....conosceva la tecnica del falsettone mentre oggi al massimo arrivano al falsetto....
What also strikes me about this recording apart from the in-comparable singing is the pictures. Both Joan and Pavarotti look absolutely gorgeous. Pavarotti was stunningly handsome before he became even larger and abused his body. La Stupenda, she was stunning. They both look the part and fit beautifully together and their voices fit even better together, the world was blessed with those voices. Wonderful.
Thanks for the memory! I was there (if not the performance in this cut, then another in that 1967 CG series), and the memory of his spine-chilling ping--the incredible focus of that sound--stayed with me during his whole career, no matter how off course things got.
no expertise necessary to judge the merits of that brilliance, just a pair of ears.
Der war ein Weltwunder. Besser gehts nicht. Echt nicht!!!
Bravo maestro
thrilling voice !
What a fabulous recollection, thank you for sharing, must have been incredible.
Estimado amigo jorge, ¿sabes por que en el año 62 le apodaron a Pavarotti el Rey del DO de pecho,? fue por esta pieza la cual fue unica e irrepetible en el Coven Garden. Alfredo fue muy bueno sobre todo cuando canto a sus 92 años Turandot, reo que jamas se volvera a repetir esa interpretacion, pero me quedo con Luciano, Placido y Mario Lanza...
+Jesús Roberto Guerra G. Cuando dices "Alfredo fue muy bueno sobre todo cuando canto a sus 92 años Turandot", y tras leer el post de Jorge, que menciona que sigue prefiriendo a Alfredo Kraus... ¿No te referirás al mismo Alfredo, no? No por nada, sino porque creía que Kraus falleció a los 72 años...
LA SOLIDEZ DE PAVAROTTI Y SU INCISIVA VOZ MASCULINA Y POTENTE EST APOR ENCIMA DE TODO......TIENE UNA BELLEZA UNICA....Y UNA TESITURA INCOMPARABLE......QUE ABARCA VARIOS TONOS......
una maravilla !!!!!
si pero la voz de andrea bocelli es mas dulce
es cien mil veces mas grandiosa y bella la voz de Pava, por favor no comparemos un monumento con un apartamento en la playa
+Yolanda Sanchez mejor no lo podias haber expresado......................perfecto...........como me gustan estas expresiones....que definen en dos palabras.......el mundo que nos rodea...................
las voces no son para ser comparadas, sino apreciadas, los dos son tenores pero distintos, y cada uno tiene su repertorio
This aria should only be sung by Pavarotti. Nothing else can or ever will compare.
Vielen Dank!
His language skills were rubbish, but everything else is total perfection. The quality of those high Cs belong in heaven. Ciao Maestro!!
Gmat1960 his language skills in every language BUT Italian. He was the Italian diction MASTER.
Un ténor hors pair, une grande justesse de ton et une PUISSANCE incomparable! Merci pour vos souvenirs émouvants et vécus de l'intérieur! MERCI BEAUCOUP.
Impressionante.
En México repitió la hazaña de estos agudos,Javier Camarena,un tenor muy Joven de Xalapa Veracruz y en Peru fue Juan Diego Flores.
My God, is THAT how it's supposed to sound? My neighbours must love me...
Prince of the tenor....
king
Te amo mucho ❤❤❤❤❤❤❤
Finalmente ho sentito un Pavarotti in voce, nel 1972 non è già più così
iTube22100 questo non era il suo repertorio per questo motivo lo ha cantato per poco tempo e ha seguito la sua naturale vocalità, ascolta molte incisioni degli anni 80....... ti ricrederai...... alcuni concerti live impressionano.....
secondo me invece era proprio questo il suo repertorio e secondo me la figlia del reggimento la poteva cantare fino al 79 80 quando poteva ancora dare tantissimo parlo almeno per il registro acuto non so perchè abbia smesso di cantare nel 72 73 e poi nel 95 dove a cantato benissimo tutta l'opera steccando i do
1:02 i can literally see in front of my inner eye the people moving in their seats because of disbelief of what they just heard^^
Definite buzz in the house.
April 2016..... OH BRAVO MAESTRO!!!
Ecco un Pavarotti il vero e isuperabile
The best Tonio EVER!!!
Dang I wish the audio was cleaned up on this. I could just eat him up !! It's so hard to get an audio that fully picks up the beauty of a operatic style singer, especially Pavarotti. There have been a few that I've found but I'm still looking! Remigio Perrera has a quality like Pavrotti, but only a handful of times has the audio actually caught the true quality of his. Voice
This was his aria !
Not only high C but also high E, in this peace.
Thanks for Posting this Ted. Regards! =)
Ese do con esa obscuridad, suena realmente BRUTAL!!!!!!!!!!!!!, un legitimo C de pecho obscuro y hermoso algo que no se escuchaba desde el Gran Caruso!!!
High fidelity ...
R.I.P. MAESTROOO :, (
Opening at the Met in 72, the conductor raced the tempo which made this already difficult piece near impossible. Paravotti pulled it off, but I prefer this version.
Love Music Same conductor
@@philiphirtes6784 Thanks for that info. Just goes to show, conductors can change their approach, be in a different mood, set the pace for the new production...etc.
@dirtbag719 Yeah don't rip others!! Thanks soo much for right on comment!! :)
He does sound exquisite here. Agree with the trumpet sounds!! Ciao !!
Could you please upload the whole perfomance??I Have the 1966 Covent Garden,Met 1972 & 1973 perfomances and are Great!!!Also I have the Atlanta 1972 Met on Tour perfomance which is also amazing!!But this perfomance is GREAT!!
OperaMyWorld 77
Perfection he gives me goose bumps when he sings those high notes.my mother sang opera a mezzo soprano who also gives goosebumps she passed on last aug. And i just know she ix singing ave maria with luciano pavarotti he was her favorite tenor. She use to sing arias from carmen and la traviata two of my favorites. I will miis pavarotti and my mother rest their souls.
Bravoooo!!!!
Hallo, wie gehts. Haben mal über Mc Cracken und Vinay geplaudert.
I don't speak well german,but I like very much Vinay and McCraken,both are great!!!
All best for you. My english is not good. But il love Vinay and Nc Cracken.
ingrid englitsch Bravissima!!!;molta gente non capice bene il vero canto delle tenori dell'passato.Un vero piacere il leggere gli sue parole...Auguri!!!
Auguri anche a voi.
Bravo
GermanOperaSinger, you are correct -- this performance is definitely more brilliant than the one you posted from the Met in '72. This is tight, well-paced, vibrant, and Pavarotti sounds in perfect voice. Again, thank you for posting.
Yeah! this is the sound of what I have in my CD's of Pavarotti. Thanks Ted!
Pav had such awesome cut in his voice.
Performance insuperata di Pavarotti giovane:non per niente la Sutherland lo adorava e voleva lui per quest'opera!
This is why the word "maestro" was created.
Great!
WOW!!! I love you Pav!
Thanks for this new posting. We need to remind ourselves of the extraordinary qualities he had in the 1960's-70's.
Luciano , eri il piu grande, mi manca la tua voce dal vivo, e mi manchi tu come amico. Renata
In my opinion, this ends all arguments about the greatest tenor of the recording era.
Pavarotti didn’t know exactly the difference between Donizetti (especially, like in this case, a “French” Donizetti) and Puccini. His high Cs are all there, they are amazing, but…it’s not Donizetti
@@lorenzob206 With all due respect, as a professional Opera singer whose particular interest is performing the vocalises from Bel Canto teaching texts from the 15th century through the turn of the 20th century , I am quite familiar with this highly discredited line of reasoning and I believe it it to be utterly lacking in historical validity, yet passed down for generations. I was taught this nonsense in college by a non-singer, too. This analysis is a misguided 20th century "scholarship" based upon changes in sound from recordings made in wax, published by people without a background in high performance singing. For those who are uninitiated, here is the line of the argument being laid out. The early 19th century was dominated by a school known as "Bel Canto (Beautiful Singing)." Bel Canto is characterized by the EMPHASIS on agility and legato line. Compositionally, Bel Canto opera typically used a type of singing speech called "Recitative" which lays out the plot elements until an emotional point is reached, where the plot elements are frozen, allowing the character to step forward to explore the emotional nature of that moment in what is termed an "Aria." However, although Donizetti is recognized as one of the foremost composers of Italian Bel Canto opera, La Fille du Regiment is not actually an example of Bel Canto Opera. Written on the accepted border between Bel Canto and Verismo ("Realism") in 1840. The French and Germans grew tired of both recitative and arias about feelings that froze the plot instead of advancing it. They also objected to embellishments that didn't advance it, either. Verismo opera uses a play instead of a novel with a narrator in its place. In this respect, Le Fille du Regiment is simply not a Bel Canto opera, at least not the way I think thoughtful people who disagree with me would define it. Verismo arias advance the plot. At the same time, technology innovations made it possible for more instruments to join the orchestra, swelling its size. The size of the voice was EMPHASIZED in Verismo opera in place of artifice. There is the unfuriating misconception that Bel Canto called for a smaller voice on top with little to no vibrato for the sake of agility, which is a self-defeating strategy. There is also a misconception that voices capable of singing over entire brass sections without amplification would be unwelcome in Bel Canto opera. His voice was optimal, but not actually loud in any location. My father heard him in our local 10K basketball arena and full orchestra without any microphones. But the most infuriating implication is that Pavarotti himself was not a true Bel Canto singer. Those are fighting words, but I'll give grace because I was told this by others who were supposed to know better, too. Pavarotti ,along with female counterpart Joan Sutherland, happens to be the greatest expression of Bel Canto technique ever captured during the recording era. If you think Donizetti would object to a Pavarotti recording of a piece that ate the tenor at the premiere, I would question your sanity, let alone his whole portfolio of Donizetti's early works. There are so few who can do this in an acoustical setting over an orchestra at all. With all due respect, I have grave doubts you actually speak for Donizetti.
Personally, i'm interested in the maltese tenor Joseph Calleja. The Questa o Quella of his on TH-cam is simply sensational. A real tenor with great technique, i've a ticket to see him sing Rigoletto at the Opera house in Hamburg this September, can't wait.
La ópera escrita para con el tiempo, hubiera,un tenor con las facultades de Pavarotti.hubo un tenor ruso con voz muy joven, más dócil el manejo de sus facultades y nó tuve la suerte de volver a encontrarlo péro, Pavarotti es único. Luca canonici hace gala de facultades y da 9 b moll y en otra 9 C pero Pavarotti es el mejor tenor lírico de todos los tiempos.
Luciano was really unique singing this role, because it wasn`t his province. For other tenors like Kraus, Florez, Kunde, Blake the high c is a note that for other tenors is an "a" or a "b-flat". And Luciano was not typical high tenor, but he had enough courage to sing this role.
Young Florez was good in this, produced beautiful high notes... but in comparison to t h i s performance you cannot help but noticing that he lacked one thing: VOLUME!!!!!
Would like to hear more insightful comments on Florez. Seems people either like him or don't.
Opera di Donizetti che amo particolarmente.questo è' un brano dove bisogna dare il Massimo dell'abilità' canora del tenore per gli11 do di petto presenti, una cosa semplice per il grande Pavarotti.