BOITO - MEFISTOFELE Soprano: Montserrat Caballé San Francisco Opera Orchestra Direttore d’Orchestra: Kurt Herbert Adler SAN FRANCISCO 1982 COLLEZIONE PASSIONEOPERA operalyrique@hotmail.com
'I am but a humble servant of the great creator...timid, joy, terror.' Montserrat Caballe was having such an overwhelming moment but adorably engaged to the love of the massive S.F. audience, I am amazed how she still does not fail to perform two of her very famed aria roles. How she was a unique muse unto herself. Her fame never was without her humble surprise to being suchly appreciated and always playful into the most unexpected timings. I often wondered, if she ever really knew of her appealing charisma. Beside her uncomparable command of an incredible voice that set her apart as Diva, she never failed to disappoint who she genuinely could only be, a woman, who happens to sing with WOW, named Montserrat Caballe. How she is truly missed. 🌹♥️
There is obviously something wrong with the dynamic of the volume. Caballe is known for her pianissimi, but here, the unrealistic and sudden difference between her forte and her pianissimi is not credible and very annoying. Someone has been playing with the volume. Please leave well alone, Caballe's voice does not need any unnecessary technical manipulation.
Sie fehlt auf der Oper Bühne. Sie wat eine Bereicherung. Stimmlich, menschlich und in ihrem Humor und ihrer Selbstironie. Sie erhelte jede Bühne und brachte Sie zum strahlen❤🙏
No there is no manipulation in this recording of her vocals in here - She usually rendered pianissimo at the end of this aria but I WAS THERE that day and remember very well she placed drastic crescendo from pianissimo and audience went wild - she knew what she was doing.
Nobody manipulated anything, Caballe is using a microphone to sing, her voice never had core, but by 1982 her voice was even more diminished, high notes were always unpleasant in the forte, her voice always lost quality in the forte and in 1982 worse due to the passing of the years that they charged a toll on her voice, here in this version of L'altra notte she is marking instead of singing, very poor version and inert interpretation
Her hight notes were not always unpleasant at all. It's true, her forte hight notes started to sound too pushed and tense since 1976, more markedly during the eighties, but in this recording her forte sounds firm and in general terms she does a wonderful job.
