Mejor interpretacion, nó creo posible. Grandioso Francisco Araiza. Un tenor hoy yá leyenda de la ópera de todos los tiempos. Perfección en todo lo que interpretó. Siempre cuidadoso e impecable.
I love the moment (3:12) when he revs up to the closing notes. Carreras is so elegant and smooth; you don't see him labor, you just hear him make love to the notes.
Es tan emocionante escuchar a Alfredo Kraus que me traen en segundos la memoria de mi padre que para el que estudio canto lírico era su tenor preferido. Y en mi humilde opinión que escucho lirica desde los 7 años es el tenor ligero más grande de todos los tiempos. Eterno Alfredo Kraus.
He is my idol! I had the honor to meet him a few weeks ago in Vienna as he is still giving masterclasses every. Whenever I feel down, one remedy is to listen to him in I Capuleti e i Montecchi in the role of Romeo (with an equally young Pavarotti as Tebaldo).
Ya le gustaria a muchos spinto/dramaticos cantar esto como Kraus. Muchos no le llrgan al forro...del abrigo. Y ademas cantaba Puritani y la fille du regiment, entre otras.
Finalmente ho trovato una versione decente è originale del matrimonio segreto di Cimarosa bellissima la regia scene e costumi del settecento napoletano bellissimo anche questo palazzo semibuio settecentesco molto bello complimenti al regista bravo non ha Tintinnato complimenti al regista
One of the most boring opera ever. I've never understood how people can put themselves through three hours of that. 😅 (And here Caballe had begun her looong decline, with those shrill cackles of cartoonish diva caricature, already far too present.)
Sensationell gesungen! Mir fehlen die Worte. Das ist der reine Wahsinn. Und wir hören eine der schönsten und großartigsten Tenorstimmen, die es jemals geben hat. H i n r ei s s e n d!
Si nadie de los que viven actualmente ha escuchado a Caruso en vivo y las grabaciones, dada su mala calidad, no le hacen justicia, por que a menudo se nombra a Caruso, se hable de quien se hable?. Paoli fue un tenor portorriqueño de la misma epoca que Caruso y, en sus grabaciones, se nota que es mejor. Yo no encuentri en Caruso ni la cuarta parte de lo que se le atribuye, pero Caruso hizo su carrera en el Met, es decir, en Yankilandia, sus discos invadierin el mundo y, ademas, se hizo una pelicula sobre su vida. Fue Caruso tan bueno como dicen o fue un producti de Marketing ?. No lo se, pero si se que en Napoles le pitaron y en Barcelona no triunfo. Si hablamos de canto, Caruso no le llega a Kraus a la suela del zapato. El marketing logra muchas cosas, por ejemplo, cuando Elvis canta Surrender (plagio de torna a Surriento) o Is now or never (plagio de o sole mio) al final de ambas canciones e intentando simular unos agudos, "pega" dos berridos horribles. Nadie dice nada, primero porque no saben y los pocos que saben porque ni se atreven. Cuando Nino Bravo canta Noelia, la nota sale nitida y bien colocada, pero no era yanki...Para concluir y con la evidencia disoonible, Caruso no sirve para atarle los zaoatos a Kraus, dios del canto.
In 1974, NODO. Franco alive. Interview in Catalan. Wasn't that language banned and persecuted under the dictatorship? Somebody is trying to deceive us, it seems.
Her's was the only soprano voice that really blended with his. He had such a unique voice. I'd love to have heard him sing Chenier before he got leucemia. What a voice he had! ❤
L'amour, l'amour! Oui, son ardeur a troublé tout mon être! Mais quelle soudaine clarté resplendit à cette fenêtre? C'est là que dans la nuit rayonne sa beauté! Ah, lève-toi, soleil! Fait pâlir les étoiles Qui, dans l'azur sans voiles Brillent au firmament Ah, lève-toi! Ah, lève-toi! Parais! Parais! Astre pur et charmant! Elle rêve, elle dénoue Une boucle de cheveux Qui vient caresser sa joue Amour, amour, porte-lui mes voeux! Elle parle! Qu'elle est belle! Ah, je n'ai rien entendu! Mais ses yeux parlent pour elle! Et mon coeur a répondu! Ah, lève-toi, soleil! Fait pâlir les étoiles Qui, dans l'azur sans voiles Brillent au firmament Ah, lève-toi! Ah, lève-toi! Parais! Parais! Astre pur et charmant! Vient, Parais! Astre pur et charmant! Vient, Parais! Vient, Parais!
I heard Nesterenko live twice in Hamburg during what I had thought were the later (?) years of his career. The first time was in 1990 where he sang a splendid King Philip & the next year when he was in somewhat lesser form in the same role. Doing a little research I learned that Nesterenko sang for more than 10 years after I saw & heard him. The second time I saw him he might have had just an off night for whatever reason. The depth of his instrument was really extraordinary & only Mark Reizen surpasses him among Russian bass voices of his era. Boris Christoff remains, for me, the definitive artist but was Bulgarian & had a less depth to his sound than Nesterenko & more of a bass/baritone in range although having a dark timbre that one recognizes immediately. Mark Reizen’s career in its length was absolutely amazing & still having a splendid & solid sound when singing Gremin in EUGENE ONEGIN - televised even, on his 90th birthday. You Tube has this I think .
Me encanta todo esto, comparar, criticar, etc. Es lo que hoy no existe en la opera y por eso es una mierda. Os recuerdo que a callas la buchearon muchas veces y a Caballé y otras. Hoy se aplaude la mediocridad.
Verdi said once, opera is the voice and made for the voice. You don't need to be an actress, you just need to express with your voice what is happening. Callas sometimes overact, but it was Callas, she was very dramatic, but first of all....she knows how to sing. Callas and Caballé were unique, not only because of their voices, but the contribution that they did to opera was unique.
