Carreras' performances balance the music, the libretto, and the drama. His star quality is amazing yet doesn't eclipse the music itself. Whenever I listen to him, I want to listen more; his voice is an unending invitation.
Perhaps Carreras had not quite yet developed the entirely equal technique of his other two tenor super tenors or the sensible career advice of some his conductors but for me he had the most beautiful natural vocal timbre of the 3. Two early live performances that I have of his (circa. 1976) L‘ELISIR D‘AMORE & I LOMBARDI from Covent Garden demonstrate the singular beauty of his instrument but beginning a year or so later he was starting to add a heavier repertoire & although the effects of this weren’t apparent immediately he might have waited a bit for his instrument to adapt to heavier roles. Pavarotti, who was, IMO, also a pure lyric tenor, was able to handle more strenuous roles somewhat more easily & longer perhaps having a slightly more polished technique but even his instrument suffered in the long run. Pavarotti‘s early studio recording of L‘AMICO FRITZ is of comparable beauty with Carreras‘ early work & hearing these 2 LYRIC voices in their earlier years is a unique experience & unsurpassed to this day for their particular type of operatic tenors, IMO. But regarding Domingo, Pavarotti, & Carreras, the latters instrument has generally moved me the most emotionally & even in some of his later recordings & performances, where Carreras‘ range & lyric sonority are compromised, the magic of his interpretations sometimes still comes across.
Buon Tenore ma non un fenomeno. Niente paragonabile a Pavarotti , Corelli , Bergonzoni o Del Monaco. Buona tecnica , ma apriva troppo i suoni , lui Tenore Lirico voleva fare lo Spinto /Drammatico. Affossando una voce di media potenza e carezzevole Timbro. Comunque qui la Canta Bene.
El placidin es el que tiene más refinamiento qué carreras en cuanto a estilística intérpretativa pero el que se lleva los adeptos por su belleza vocal exclusiva propia es este último
Questa rappresentazione in particolare ha dato il miglior Chenier finora cantato; come in tutti i ruoli romantici Carreras ha mostrato le sue incredibili qualità ma in questa serata con Eva Marton e l'immenso Piero Cappuccilli mi sento tranquillamente di dire che sono e rimangono ( oggi in particolare) fra le edizioni di riferimento.
OK, MDM was in great voice in 1954 , later when I saw him in house in the opera house in 1959 he still was excellent and a great Otello ( no matter what his haters say) He had his place as a great tenor in opera history. @@grouchomarx5609
Tenía una voz bellísima pero no era una referencia en Verdi, aquí estaba estupendo pero al igual que Pippo la mala elección de repertorio y su canto forzado, desembocaron en un declive rápido, antes de la enfermedad
