Que tierno y inmenso realizacion de este dueto... el voz del Gran Domingo lleno de platino y chocolate y emociones complexo y sencio... y Freni... tan sympatico y bella de voz y forma... y mira la visage de James Levine... explica tanto... un performacion memorable... Mil gracias por compartir este documento historica con nosotros.
Yes his voice is warm and his acting first rate,definitely one of the better otellos,but not the very best,it is a dramatic role and likes of ramon vinay and del monaco were better otellos especially in an entire performance,but i would agree there has been no one better since domingo,kaufman is not great as the mooor,michael spyres sings this with a 66 yr old elizabeth o connell and he is very good.we could wait a life time to hear another great otello
A mi el canto de Domingo nunca me entusiasmo. Canto gutural, verismo indiscriminado en todo lo que cantaba, monocorde, bajador de arias, obsesionado por querer cantarlo todo, incapaz de hacer medias voces en vivo. Freni técnicamente si ha sido una grande.
Domingo did not have a HUGE voice but it was large enough and did resonate well. Freni had a huge voice for such a tiny woman. They were both tremendous artists
My favorite duet in all opera and I have prepared choruses for nearly 100 productions of nearly 60 opera.You cannot beat Tebaldi and del Monaco in their prime. Chorus Master- Indianapolis opera
One of my favourite operatic scenes . Domingo may not be quite as exciting and mad as del Monaco , but his acting is very consistent and he really give a musical performance . I have a Gala video with Mirella Freni and a complete opera performance with Barbara Fritoli . Graham Vick's direction of this love scene is superb . Mirella Freni performs and sings so well in so many roles . Lovely !!! Thank You .
you all love domingo soooo much. it´s ok. i love freni. she´s a real primadonna, doing all technical things, that are possible. sorry my english is not so good. but she is really great and for sure the best mimi of all the times
Look how YOUNG they are! I just heard PD doing Simon Boccanegra on the Saturday Met broadcast?! A baritone role? Oh, Placi, just retire, and let a BARITONE sing this wonderful role. You made your debut at this house in 1968; You'd think forty years would be enough for ANYONE. And I agree Freni is astounding for longevity, care of the voice,and musicianship.
Mario del Monaco el mas grande Otello de todos los tiempos. Yo aprendí a escuchar Opera con Plácido Domingo y le tengo en un lugar especial, pero hoy por hoy mi gusto se inclina a Mario del Mónaco. Corelli lo hace bien pero como es sabido solo en grabaciones, ya que nunca se sintió cómodo para llevarlo al escenario. Muy pocos lo han cantado bien, Extraordinariamente solo el último Mounstruo Sagrado de la Lírica MARIO DEL MONACO.
I heard Domingo many times over the years it was always a good sized voice even in his younger more lyrical days, and later when I heard him as Siegmund Parsifal, it was even larger and more dramatic obviously it was a big sound to do Otello so often so I have no idea where you get limited size It was volume wise on the Tucker/Corelli level probably a bit smaller but later darker bigger than Bergonzi It was not on the scale of MDM or a true dramatic like Vickers and never had a free top
Freni was 48 at the time and had been performing Desdemona since 1970 to great acclaim. She returned to the MET in 1983 in new roles for NY in Don Carlo, Manon Lescaut, Onegin, Mistress Ford, Adrianna and Fedora. She also returned to Boheme and Micaela in Carmen. Unfortunately the MET and she never scheduled complete performances of her Desdemona. In NY, we didn’t get to hear her Aida, a role she sang frequently in Europe. We did get a tease of her Butterfly from Act III which she performed in a gala celebrating her 25th anniversary. Kraus and Ghiaurov were also celebrated. She was a treasured artist.
E 'molto difficile capire chi è il migliore per Domenica, non certo, ha alcune buone prestazioni e anche la voce sia ascoltata, quando era giovane ma non in questo todas.pero non sta bene. In queste pagine è questo duetto con il M Grand, Corelli, è veramente molto più alti, il soprano è molto buono, come Frenni, ammiro molto, lei lo interpreta in duetto con J. Vickers, è grande, ascolta, è sublime
Es muy dificil entender a quienes encuentra lo mejor a Domingo, Ciertamente no lo es, Tiene unas buenas interpretaciones y la voz se escucha bién, de cuando era joven pero no son todas.pero en ésta no está bién . En estas páginas está éste dueto con el Gran M, Corelli, verdaderamente es muy superior,la soprano es muy buena,lo mismo que Frenni,que la admiro mucho; ella interpreta este dueto con J. Vickers,es magnifico,escuchénlo, es sublime.
my dear, you're right, am boring that'd why I need someone who can move me, anyway, it's my personal opinion, luckyly, arts in general and opera in particular are not subject to reasoning it's a matter of emotions. In fact even the most radical scientific theory is not based upon rational roots but on emotional ones, since you always have to make a choice upon what is most suitable for you. best regards,
"55patri""dice "Ha habido grandesOtelos pero ninguno como Placido, es¿por lo mediocre o mejor?.En esta misma página esta la interpretación de Ramón Vinay, el mejor "Otello" de la historia operática mundial. Es bueno escuchar, también el de Del Monaco, Gicomini, y de esta misma aria esta la de Franco Corelli. Naturalmente en gustos no hay nada escrito pero en opera sí Cordialmente..pieri
You can read my reactions to McCracken on RU-vid selections of him The irony is that in other settings I defend him but I reacted to the silly hyperbole I've seen particulary about the size of voice but now only recordings count Some of the names above are titans of tenordom others historic but debated by some-MDM, Domingo I saw McC many times a fine Otello maybe even historic but IMO not in the same category beyond that earnest gave his all but who listens to him in spinto roles?
Así nasalisey engole jamas podrás cantar así. Entiende senil. Si vas a criticar a Domingo hazlo con respeto a la carrera q tiene. Los 3 tenores, si miran tu comentario se reirían de ti y de tus colegas. Pobre PAYASO.
@@robertotorres9945 Robertito eres patético, yo te puedo dar razonamientos técnicos y enviar artículos de críticos sobre la técnica poco ortodoxa de Domingo, tu lo único que haces es escribir sin decir nada, solo sandeces. Tú no decías que eras tenor? JAJAJAJA
@@robertotorres9945 Te vuelvo a repetir "Tenor" dame tu correo electrónico y te voy a mandar también estudios sobre la técnica vocal de muchos cantantes por prestigiosos críticos, entre ellas la de Domingo y podrás observar que su técnica es poco ortodoxa además de inadecuada. Ha sido un cantante con resistencia vocal pero con una técnica gutural. Cuando tu quieras, todavía estoy esperando que me demuestres que eres tenor de verdad como dijistes ayer y no un payaso que no sabes ni lo que hablas.
Yes, at the Met and it's big space to fill over a W orchestra His voice would sound quite large compared to tenors today I found it a large voice even yrs ago There is a lot of misuse of these terms most were spintos Vickers was a true dramatic a heldentenor the rest mentioned were big voiced spintos-there is certainly some over lapping or MDM somewhat freakish but limited the best term for Corelli was tenore robusto IMO McCracken does not belong in this group
I've heard Domingo live several times and his voice wasn't that big comparing to other Dramatic Tenors ala Mario Del Monaco, Tucker ,Franco Bonisolli and James McCracken their voices dwarfed Domingo's. Placido is more of a spinto than a Dramatic and he always struggled with the High C... almost always having the C transposed down to a B or even Bb. A beautiful voice though no doubt.
