I heard these two ladies sing Semiramide four times in San Francisco in the late seventies. Jean-Pierre Ponnelle did the production. It was sensational. It was a dreamcast. Samuel ramey was the bass. Luis Lima was the magnificent lyric tenor. I thought I had died and gone to heaven
Their great friendship was a rarity between two female opera singers. Horne said in an interview that she retired the role of Arsace several years before this, but Caballe asked her to return to the role for her (for Cablalle) So what did Horne do? She did what any great friend would do. She returned to it for Caballe. And thank god she did !!! This is one of the great recorded Soprano, Mezzo-Soprano duets that so many of us get to enjoy over and over. Every time I watch this I am blown away at the perfection and stunning precision. And the applause while they hug and bow never ceases to make my tear up. The look on Caballe's face when she looks at Horne and holds back her own tears, then kisses Horne's hand is truly priceless. The other priceless reaction to the audience's applause is of course after Leontyne Price's aria O Patria Mia at her Met farewell performance of Aida. 💖💖💖
Thanks to Montserrat's gracious collaboration with the love of my current days, Freddie Mercury, I now enjoy learning how to appreciate opera. I am grateful. This is beautiful to my novice ears and eyes!
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I think the opera world owns a great debt to Mercury & Caballe. They broke walls between both styles and opened the most elitist to the general public. Some could learn from their humility and sincere mutual respect - both thought at first that they weren't good enough to sing with the other. That tells a lot.
I was in the audience for this performance. The Deco neo classical costumes were by Pier Luigi Pizzi...and really wonderful. Horne had lifts in her boots, and got a kick out of stomping around! You simply couldn't ask for greater interpretations than from these two stars!
@@phedrob3735 I don't know where this video is from but I saw this production in San Francisco. I think the production was done in several opera houses.
Due colossi della storia della musica! Si percepisce la loro grande amicizia nel canto ancorché nell’abbraccio finale. Insieme danno vita ad un’eufonia davvero magica......
Pues, esta es una de las óperas que no se encuentran en el repertorio actual. Y mejor, porque no hay quien cante esto como debe ser y honre la memoria del maravilloso Rossini. Fantástica Caballe, quizás la última de las cantantes belcantista. Bella esta porción de esta ópera que es de una música hermosa. Muchas gracias
This performance will remain in the istory of the melodramma. Three gigants, Caballe, Horne and Rossini. How could Rossini compose such a music how these two singers could sing like that? I have not word.
@@giovanniarioli3021 no, è il Festival di Aix en Provence e il "Théâtre des Champs Élysées" nel 1980 credo. Potrebbe essere in produzione anche la Rai? ??? Vorrei trovare la registrazione completa. Qualcuno può aiutarmi.
J'ai assisté à cet incroyable Semiramide à Aix et à Paris.. Je ne pourrais jamais oublier. La distribution entière était remarquable. J'en ai encore des frissons.
RESPECT, First: you have to work so HARD to reach this level of singing. Second: I bet these wonderful amazing diva's have been laughing so HARD the first time they saw each other in these costumes that it took half an hour before they could sing a note again. A blonde Caballé and Mrs Horne never has been so grandly armored in whatever Semiramide she appeared in. Third: The applause is the respect for their HARD working throughout the years and when they hug ........dude, I cried. ♥
Agree. But it is one butt ugly fucking production that looks more like crap Vivaldi than an opera set in ancient Babylon by Rossini. The only value to the ‘blond’ wigs is to prove a biological connection? Who knows?
@@lyndasleep4838 But the paradox is that those costumes are so extreme that they participate to fix the legend of those mythic representations in the collective memory.
XxSaruman82xX: NOT JOAN SUTHERLAND. Caballe was an irresponsible singer who never took recording her greatest roles very seriously and was often careless with those she did.
Are there any mezzos around today that have the incredible sound of Marilyn Horne? Nope, none come to mind... sad... her high notes are just as amazing as her fabulous low notes!
@@dennisdeemii It's the music, idiots. They are perfect. (I'm not calling you an idiot, Dennis. It's the critics of these divas who are the targets of my disapproval).
@@dennisdeemii There was a soprano, Deborah Vaught, I think, who was large. I believe she was a Wagnerian soprano. She was warned that if she did not lose weight she would lose the role for which she was hired. She couldn't or wouldn't and the powers that be fired her and hired someone else. I always thought that it was a great injustice. Mmes Horne and Caballe did not seem to endure the same fate and the opera world did not seem to suffer because of it.
pellets excuse me I use the microphone when I make a comment.CABALLE was incredible. her and Marilyn Horne sang very well together. at one point Maria Callas if she had a successor and she waited a while and thought deeply and she said well perhaps only CABALLE. on many occasions Maria or tell her what not to sing nabucco was one roll cuz she told her never too soon it would ruin her voice. after CABALLE perform Norma Maria Callas the great diva gave her a pair of diamond earrings to where every time she saying Norma.CABALLE never wore the earrings when she's singing or not she felt that she was not worthy because there was only one Maria Callas they loved each other dearly. excuse any typos. you're Opera listening friend take care.
Think you'll find that they weren't diamonds but the ones she herself wore to sing Norma. I've seen a photo of them somewhere. She was effectively 'passing on the baton'. Caballe treasured them but could never bring herself to wear them.
SEMIRAMIDE E un guerrier qual tu sei di quest'impero È il più nobil sostegno... e tu... già sei... (Freno, per poco ancora, affetti miei.) (Marcata) Serbami ognor sì fido Il cor, gli affetti tuoi, E tutto sperar puoi, E tutto avrai da me. ARSACE (con entusiasmo) A te sacrai, Regina, La fede, il cuore, il brando: Vinsi per te pugnando; Saprò morir per te. SEMIRAMIDE (con tenerezza) No: tu per me vivrai... ARSACE (con foco) Ah! se mi leggi in core... SEMIRAMIDE Tu dunque!.. ARSACE Ah! sappi omai... M'arde il più vivo amore... SEMIRAMIDE (con espressione) Spera, sì bell'ardore Oggi otterrà mercé. SEMIRAMIDE e ARSACE Alle più care immagini Di pace e di contento Già s'abbandona l'anima In così bel momento: E fra i più dolci palpiti Ritorna a respirar.
no, è il Festival di Aix en Provence e il "Théâtre des Champs Élysées" nel 1980 credo. Potrebbe essere in produzione anche la Rai? ??? Vorrei trovare la registrazione completa. Qualcuno può aiutarmi.
Existe una grabación de esta representación en Aix en Provence en 1980. El año siguiente con la misma distribución se representó en el Théâtre des Champs Elysées en Paris (tuve la suerte de asistir a este evento memorable). La grabación completa se puede comprar en : www.houseofopera.com. El precio es de 3,98 $, y 16$ gastos de envío. Yo tengo la grabación. La imagen no es muy buena pero se trata de una grabación histórica. Saludos - Manuel Navarro
Seems like somebody decided to design it like a Baroque opera. Caballe does look lovely but yeah, the Red Big Bird thing... This is an impossible opera to stage. Basically nothing happens onstage unless you count the temple shaking and Nino's ghost appearing (Chorus 'Trema il tempio, O infausto oggetto...') and the music is pretty formulaic bravura stuff, little of Rossini's more introspective potential. There's not a lot to work with, just stand and sing - hopefully not hampered by absurd costumes...
It was under the auspices of “Minority Designs in Opera” and someone with great hearing but blind designed them. It was an experiment that only lasted once.
O dueto é estupendo, maravilhoso de ouvir mas não de ver. O figurino é horrendo! Não sei o que é mais feio a peruca da Semiramide ou o penacho do Arsace...
Yes, horrible costumes. Why? Why frizz Caballe's blonde wig? And what the heck was Horne wearing? I would have protested. Ye gods. I think I thought Semiramide was a baroque opera by its sound, and then I saw it was by Rossini. Sometimes he sounds baroque to me. Anyway despite that weirdness both Horne and Caballe sounded heavebly.
@@johnpickford4222 ru-vid.com/video/%D0%B2%D0%B8%D0%B4%D0%B5%D0%BE-vBhCLRATwqw.html If you can't hear the difference, then more fool you. At least I can be civilized about it, whereas you have to resort to vulgarities.
@@xxsaruman82xx87 - It's kind of amusing that some opera lovers get so emotional they have to resort to vulgarities but at least they are interesting vulgarities.
ian 1856: I agree: neither would I say catastrophic. But instead of saying that she is not at her best, I would say that the best Years are already gone in 1980 (beginning of the step down: 1977). In any case, still fascinating Voice, RIP Montsy!
