…another forgotten treasure learned in my New England Conservatory days, from my wonderful repertoire coach Felix Wolfes, circa 1959….this recording is from a recital during the CASALS FESTIVAL…1984 ,accompanied by Elias Lopez Sobá.
Grande voix certes, mais cela manque de douceur. Il est vrai cependant que le timbre s'est élargi dans le grave depuis ses débuts mais est resté parfois un peu tenorisant ce qui nuit au velours dans l''interprétation .Ce n'est pas mal chanté toutefois. Une belle interprétation de cet air et selon mon avis est probablement la référence estcelle de giuseppe Taddeî .salut à vous tous.
Salminen is my favorite Sarastro--his voice is rich yet supple --so many basses in this roll have a very limited dynamic range and lose their phrasing and tone color in as they hit the bottom of their range. Salminen is a fine musician with the technique that allows him to vary his tonal color to emphasize both the text and the subtleties of Mozart's melodic phrasing.
Yes, that is Sam Hollingsworth, without a doubt. I would recognize him and his flowing gray hair anywhere. Sam was Principal Bass in the Pittsburgh Symphony. He succeed Tony Bianco when he stepped down from the post. Sam had a wonderful Busan bass that I got to play a few times, although this bass does not appear to be his Busan. I grew up in Pittsburgh and saw Hollingsworth often. It's Hollingsworth.
Chenier is a favorite of mine. As a teen I saw the fantastic Franco Corelli in it as well as Tosca and Fanciulla. If only Diaz could have been the baritone Gerard, Scarpia and Rance. I don't even remember those baritones. Loved Diaz since I first heard him.
listen to the way he sings "del suo sorriso"... that "del" makes all the difference.... there is panerai and then there's everybody else.... in this role at least....
Sigh... one of the most accomplished and beautiful Iago's... a great actor with a stupendous voice. I was happy to see him memorialized on film in Zeffirelli's Otello with Domingo, though the film itself is deeply flawed. Thank you for sharing!
My heart belongs to Sherrill Milnes but Justino is absolutely magnificent. His voice is spectacular and his acting--hello--his acting is brilliant. I'm so glad I have DVDs of him working with the greatest tenor ever, Placido Domingo. Not one but two soaring exemplars in voice and pulchritude on stage made the magic grand. I regret I didn't get a chance to see him perform live. Finally, RU-vid serves a higher purpose that can enrich We The People, for a change.
ivanjuarezmex 1La mia lunghissima esperienza nella materia . 2 Questa è una voce bellissima, tecnica poco convincente . 3 Gusto interpretativo molto personale ... 4 Jago è un personaggio molto complesso per questa ragione il cantante deve fare molta attenzione che la sua vocalità e la sua interpretazione saranno fedeli allo stile verdiano quello autentico. 5 Nel mio mestiere non basta di avere solo una voce bella .... il vecchio
Bravo Justino Diaz - this is how I envision Iago ever since seeing and hearing this. I first heard of him when I was in college, in the 70s, from his recordings of Mozart Requiem, the Messiah, the C minor Mass. Only later did I realize he was an opera singer. Always loved the color of that voice, but even more that he creates a character with his voice, not just singing notes but putting a meaning in them. Gobbi, Bastianini and a few others could do it too. Today's singers, not so much.
Diaz is a PROPER bass-baritone. People nowadays forget what that used to mean, but back when, it literally meant you sing segments of both fachs. This aria is in the handful of so-called Verdi Baritone arias that a good bass-baritone should be able to sing well. This, Si Puo (if you have an Ab), maybe Di Provenza, Pieta, Rispetto, Amore from Macbeth, maybe a couple others. Do i think he could sing a respectable Cortigianni? Unlikely. It's in the same boat as aria's like Il Balen or Eri Tu, HIGH aria's with tessitura's to test a proper baritone. Nowadays most bass-baritone's are just guys who don't excel at either voice type, and are relegated to the middle. That's not how the fach is supposed to be.
@@ivanjuarezmex I've heard it, good recording. I'll only note that I can't think of any other bass-baritone on record to sing both Sparafucile and Rigoletto professionally, the way Diaz did. Remarkable to say the least, and definitely not the norm. I'm hoping to match the achievement, as I've already done Sparafucile, and am hoping to land a Rigoletto in a decade or so. Not tons of hope for that though lol.
Here’s the Cortigianni sung by him at 17:40. ru-vid.com/video/%D0%B2%D0%B8%D0%B4%D0%B5%D0%BE-PA--XI-mte4.htmlsi=i2T3Ryz8lCijhLOh and here’s the Prologo (Si puo): ru-vid.com/video/%D0%B2%D0%B8%D0%B4%D0%B5%D0%BE-1wgvo65XQ1o.htmlsi=LG6EhU5Ch3JneMIO Both high baritone arias and he sings them splendidly
He's legit one of thebest Iagos. Regardless of range thepoint of Iago is to deliver greatly and colour his voice and Diaz just NAILS that better than anyone iveheard ...his going from piano to forte, from lyrical to harsh colouring it's brilliant.. Esp in the lyrical parts where Iago mocks others.... Excellent.
