I PURITANI - VINCENZO BELLINI - 1985 ( BREGENZ ) GRUBEROVA,FISICHELLA,ZANCANARO,MASINI 

Tutti bravi , Gruberova , Zancanaro ma su tutti primeggia FISICHELLA veramente grande ' e' un grande cantante e un grande maestro per i giovani

I was listening to this once again and had almost forgotten how astonishing Salvatore Fisichella's voice was, simply breathtaking. Add Zancanaro and Gruberova and this cast is something that we will never see or hear the likes of again. Love it!

magnifique distribution Zancanaro sublime

zancanaro super!!

Love Fisichella and Zancanaro!

Thank you for introducing me to Giorgio Zancanaro - a wonderful baritone!

Giorgio Zancanaro - great singer and artist!

One of the best casts ever!!

GRANDE OPERA BRAVISSIMI TUTTI UNA ECCELLENTE ELVIRA BELLI I SUOI FILATI VOCE CONTROLLATA : ZANCANARO E' NELLE SUA PARTE PERSONAGGIO E VOCE DEGNA DEL SUO NOME , IL BRAVO MAESTRO FISICHELLA LA SUA VOCE LIMPIDA E CHIARA BRAVISSIMO. CONCLUDENDO UN CAST. ECCEZIONALE BRAVI TUTTI.

Fabulous-one of the best I Puritani's I have seen.

❤️❤️❤️ Bravísimo, es una de las mejores versiones que he visto, por sus voces e interpretación tan BARBARA Y ESCANDALOSA , de estos Cantantes Soberbios todos, sin distinciones ni comparaciones. Bravísimo.

Superb sets, costumes, voices...BRAVO!

Dear Paolo Ferraro, I am afraid that Salvatore Fisichella was also the very last of the great Italian Belcanto legends. How I miss these beautiful voices! I could not find them anywhere, nowadays everybody tries to shout in the attempt to become a Heldentenor... If only I had some milions to spare... I would bring this fabulous singing technique back to its glorious mother country by creating a specialized academy of singing in Sicily or Naples. Then I would search up and down the countryside to find these great natural voices yet again and have them trained for free. And Maestro Fisicella would be my first choice for director of this academy! :-)))))))

Asi se canta y no busqueis comparaciones Grandes Voces un lujo poder escucharlos graciad

Ok folks.. let’s pretend we have no idea what Bel Canto means...partly because no singer gets there !!! Well.. let’s all listen to this opera.. now we know. When baritones do it it’s really awesome. Thank you again Edita plus !!!

Best Puritani Ever Bravi

Wonderful virile voice , perfect style. Bravissimo Maestro !!

Bellissima esecuzione!!!

Zeer mooie uitvoering zonder moderne poespas maar met klasseartisten !

Beautiful cast. Bravo! Thank You.

Gracias por los maravillosos vídeos que nos dejáis compartr.i

Giorgio Zancanaro era un ottimo baritono, in grado di eseguire la difficilissima coloratura belliniana, nonostante fosse prevalentemente verdiano. Fisichella era un tenore dagli acuti effervescenti e spumeggianti grande belcantista, poco considerato come purtroppo tanti altri. Gruberova è qui al suo massimo livello: una Elvira credibile e vocalmente perfetta.Pregevole basso D.Kavrakos. È la prima versione dell'opera che ho visto e rimane la mia preferita. 🙏💯🌹

My favorite Opera.

Und ein sehr guter bariton

Феноменальная Эдита Груберова!!!👏♥️💐

I think she is in pretty good company. To me Fisichella, and Zancanaro are, at least, equally great.

Lord Arturo Talbot: Salvatore Fisichella, tenor Elvira, betrothed to Arturo: Edita Gruberova, soprano Sir Riccardo Forth, Puritan leader in love with Elvira: Giorgio Zancanaro Sir Giorgio Valton, Elvira's Uncle: Dimitri Kavrakos, bass Lord Gualtiero Valton, Elvira's father and Giorgio's brother: Carlo Del Bosco, bass Enrichetta di Francia, Widow of Charles I: Mariana Cioromila, mezzo soprano Sir Bruno Robertson: Yordy Ramiro, tenor

Une des rares productions avec Grubi reconnue par les critiques dans le bel canto (cette production étant même citée dans la dernière édition du Kobbé !)

Gruberova tiene una voz muy adecuada y agradable.

magnificent gruberova excellent legato

Gruberova Splendide , Fisichela Unique de Bout en Bout !!!!! Gruberova je peut faire un Reproche qu'Elle ne fait pas les Notes Aigues , mais je Pense que ça Vient pas d'Elle car Elle est tres Genereuse d'Habitude à ce sujet là !!!! Merci RU-vid !!!

Просто шикарно!

Gruberova and Fischella are very good .

Thank !!!

Gruberova was the best best in that role. Thank you for sharing!

Salvatore Fisichella was one of the greatest bel canto tenors of the 1980's & 90's. He substituted for Pav, who could no longer cut it, at the Met in I Puritani & was very well received. But the (supposed) "Big" 3 could not face the stiff competition & made certain that he was not re-hired. A damned shame!

Thanks

Salvatore Fisichella Always a fight with the conductor

Gruberova is unique !

grandissimo Maestro Fischella!!!!

Edita is wonderful

1:44:00 "Vien Diletto in Ciel La Luna."

Gutes video gute sopranistin guter tenor dirigent

Grande représentation, que j'ai vue en 1985. Le Festpielhaus n'est pas glamour, mais cette distribution l'était !

Act 1 Scene 1: A fortress near Plymouth, commanded by Lord Gualtiero Valton At daybreak, the Puritan soldiers gather in anticipation of victory over the Royalists. Prayers are heard from within, and then shouts of joy as the ladies and gentlemen of the castle come out announcing news of Elvira's wedding. Left alone, Riccardo shares with Bruno his plight: Riccardo had been promised Elvira's hand in marriage by her father Lord Valton but, returning to Plymouth the previous evening, he has found that she is in love with Arturo (a Royalist), and will marry him instead. He confides in Bruno. (Aria: Ah! Per sempre ...Bel sogno beato / "Ah! Forever have I lost you, flower of love, oh my hope; ah! life from now on will be full of sorrow".) As he pours out his sorrows to Bruno, Riccardo is called upon by his soldiers to lead them but he declares "I am aflame, but the flame is love, not glory". Scene 2: Elvira's apartments Elvira welcomes Giorgio, her uncle, warmly, but when he tells her that she will soon be married, she is horror-struck. (Aria, then extended duet: Sai com'arde in petto mio / bella fiamma onnipossente / "You know that my breast burns with overwhelming passion".) She continues, stating a determination never to be married. But when Giorgio tells her that her cavalier, Arturo, will be coming, he reveals that it was he who persuaded her father, Lord Valton, to grant Elvira's wish. She is overjoyed. Then the sound of trumpets is heard announcing Arturo's arrival; he is welcomed by all. Scene 3: The Hall of Arms Arturo and his squires come into the hall and are joined by Elvira, Valton, Giorgio and the ladies and gentlemen of the castle. After a general welcome from all assembled, Arturo expresses his new-found happiness. (Aria, Arturo; then Giorgio and Walton; then all assembled: A te, o cara / amore talora / "In you beloved, love led me in secrecy and tears, now it guides me to your side".) Valton tells everyone that he will not be able to attend the wedding ceremony and he provides Arturo with a safe conduct pass. A mysterious lady appears, and Valton tells her that he will be escorting her to London to appear before Parliament. Arturo is curious. Giorgio tells him that she is suspected of being a Royalist spy. As Elvira leaves to prepare herself for the wedding and the others depart in various directions, Arturo hangs back and finds the mysterious lady alone. He discovers that she is Enrichetta (Henrietta Maria), widow of the executed King Charles I. Insisting that she not be concerned about Elvira, Arturo vows to save her: (Aria, Riccardo; then Enrichetta; then together: Non parlar di lei che adoro, / di valor non mi spogliar / "Do not speak of her whom I adore; do not take away my courage. You shall be saved, oh unhappy woman.") Observed by Arturo and Enrichetta, Elvira appears singing a joyful polonaise (Son vergin vezzosa / "I am a pretty maiden dressed for her wedding"), but she engages the Queen in conversation asking for help with the ringlets of her hair. To allow that to happen, she removes her wedding veil and places it over Enrichetta's head. Both Arturo and Enrichetta realise that this may allow them to escape, and as they proceed, they are challenged by Riccardo who believes the woman to be Elvira. He almost provokes a fight with Arturo until he discovers that she is not Elvira; then, he is content to allow them to pass, swearing not to reveal any information. When the wedding party enters, they ask for Arturo, then learn, largely from Riccardo, that he has fled with Enrichetta. Pursuit is organised. Becoming increasingly distraught, Elvira believes that she sees Arturo: (Aria; then ensemble: Oh, vieni al tempio, fedele Arturo / "Ah! come, ah! come! Oh! come to the church, faithful Arturo".) It is increasingly clear that she has gone mad. Act 2 A room in the fortress As the ladies and gentlemen of the castle are mournful for Elvira's totally downcast state of mind, Giorgio describes her madness: (Aria: Cinta di fiori / "Garlanded with flowers and with her lovely hair disheveled, sometimes the beloved maiden wanders about...") and he describes her flights into madness and her pleas for Arturo to return. Riccardo brings the news that Arturo is now a fugitive who has been condemned to death by Parliament for allowing Enrichetta to escape. Giorgio states that the only hope for Elvira will be a sudden joyous experience. Elvira is heard outside, still deranged but longing for Arturo: "Either give me back hope, let me die" she cries. As she enters, she expresses all her longing: Elvira, aria: Qui la voce ... Vien, diletto / "Here his sweet voice called me...and then vanished. Here he swore to be true, here he swore it, and then, cruel man, he fled!". Entering, she confronts her uncle and Riccardo, whom she fails to recognise, even in her moments of lucidity. She addresses him as if he were Arturo: (Elvira, cabaletta: Vien, diletto, è in ciel la luna / "Come, beloved, the moon is in the sky, Everything is silent, until the dawn breaks in the sky"). The two men encourage Elvira to return to her room. For Elvira's sake, Giorgio encourages Riccardo to help save his rival, advising that he will forever be pursued by their phantoms. Riccardo rejects the request: (Giorgio, then Riccardo, then duet: Il rival salvar tu déi, / il rival salvar tu puoi / "You must save your rival, you can save your rival"), but gradually Riccardo comes around to accept that idea. However, he states that if in the following day's battle, Arturo appears, he will perish at his hand. The two men now have an agreement: (Finale: Giorgio, then Riccardo, then together: Suoni la tromba / "Let the battle-cry be: country, victory, victory and honour. Let the trumpets sound, and I shall fight strongly, fearlessly." Act 3 A wooded area near the fortress, three months later Arturo is still on the run. He is exhausted and has returned seeking Elvira. Suddenly he hears the sounds of singing coming through the woods: (Elvira, aria: A una fonte afflitto e solo / s'assideva un trovator / "A troubadour sat sad and lonely by a fountain"). He calls out, but gets no response and, recalling how the couple used to sing together in the woods, he also sings the troubadour melody until the sound of drumbeats and the shouting of soldiers silences him. He covers himself and hides as a group of soldiers passes, then emerges and decides to continue singing to the same melody: (Arturo, aria: Corre a valle, corre a monte / l'esiliato pellegrin / "Through the valleys, over the mountains, hastens the exiled pilgrim") Unseen, Elvira emerges from the trees and stops to listen. She is saddened when the singing stops, and she sorrowfully wonders where Arturo is. Suddenly, he is standing before her and they are reunited in a spirited duet in which they declare that they will always be together after the long months of being apart. Still a little confused, Elvira believes that Arturo has married the woman whom he escorted from the fortress; he assures Elvira that he has always loved her, that the lady who was in great danger was the queen: (Arturo; then Elvira; then together). Having determined that they love each other and that they will always remain together, they enter into an ecstatic duet. (Arturo: Vieni fra queste braccia / "Come, come to my arms"; Elvira: Caro, caro, non ho parole / "Dearest, dearest, I cannot find the words to express my happiness"; then together). At the sound of drums being heard, Elvira appears to be returning to a state of madness, fearing that they will again be parted. Then soldiers' voices are heard close by and Riccardo, Giorgio, and the ladies and gentlemen of the fortress enter announcing Arturo's death sentence. With that, she finally comes to her senses. An ensemble, beginning with Arturo (Credeasi, misera / "Unhappy girl, she believed that I had betrayed her") extends to all assembled, each expressing his or her anguish, with even Riccardo being moved by the plight of the lovers. For this extended piece, Bellini wrote a high F-natural above C5 for Arturo's ... crudeli, crudeli! / Ella è tremante, / ella è spirante; / anime perfide, / sorde a pietà! / "cruel men, cruel men! She is trembling, she is fainting, perfidious souls, deaf to pity!" The soldiers continue to demand Arturo's execution, but the sounds of a herald arriving are heard. He brings letters which are opened by Riccardo and Giorgio. They announce that although the Royalists have been defeated, Oliver Cromwell has pardoned all prisoners. The ensemble expresses its general and its personal joy.

SE PUEDE DESTACAR:Acto I.RECITATIVO ARIA Y CABALETTA. DE RICARDO.--ESCENA DUO Y CABALETTA DE ELVIRA Y GIORGIO---CAVATINA ,A TE ,O CARA,AMOR..---ARIA DE ELVIRA.---FINALE PRIMO.

She can really sing this role.

I see the Barone and his ,ahem ,friend are very busy . The Club of Collapsed Chest living in Cloud Cockoo County of endless hyperbole and a vocabulary consisting of half a dozen words only , showing up in full force ;-) For hyperbole one has to read the comment "Callas is 500,000,000 times better" .Vocabulary-wise we get only 2/3 of it "awful" , "terrible" , "overrated" , and "great" Their ideal of Elvira is probably Tebaldi , with Mdm as Arturo ... Gotta love them . So funny ;-)

DESTACADO:"o di Cromwell...,cavatina varios "a te ,o cara...ver aria son vergin vezzoza...ver "oh,vieni al tempio...ver "Ma, tu gia mi fuggi?¿ ver duo vieni, vieni fra...ver "credeasi,misera...con un bonito sobreagudo.

Where's the high note from the end of the cabaletta "Bel sogno beato"? 26:13 :@

Bien Parler , je suis Entierrement d'Accord avec Vous , pas plus tard que Hier RU-vid à Publier un Manon Lescaut de Puccini , Regarder la Mise en Scene , et meme si les Chanteurs sont Bons Vous n'avais pas Envie d'Ecouter !!!!

12:44 O di Cronvel 43:08 A te, o Cara 2:02:33 Son salvo

I think of young Sills and Gruby as having an almost ideal timbre for Elvira , written for the young Grisi .Unfortunately in both cases it's only the timbre and the agility , the rest is in short supply .Here however Gruby was still in her vocal prime and could at least sing the notes , though her voice ca 1980 was , timbre-wise ,more fitting . Fisichella can handle the tessitura , but not the markings ,and the style escapes him . He reminds me of Filippeschi in this respect .Not a sweet voice but not hard either ,almost brilliant, trying his best to sound lyrical , and succeeding but rarely . Not a bel canto tenor but not his fault alone ,more the fault of modern times , conductors enamored of come scritto did their best to kill it . This happens when your role model is Toscanini . Why Elvira has to sing Qui la voce in a dress dropping off the shoulder is anybody's guess .Probably just the stage director's wish to sell naked flesh , and this being 1985 he didn't dare to go further than that . Today we would get her in her underwear and sneakers , there is still much to be grateful for the ole good times ... If one wants to know how far have the Bregenzer Festpiele come since then , one has only to watch their Rigoletto abomination .

Je cherche ce Manon Lescaut mais il a peut etre été retiré mais maintenant les gens sont habitués aux nouvelles mises en scène.........

1:32:46 elvira

che lagna!

Nicht aus Wien, dia Aufnahme kommt aus Bregenz!

Îs IT trei that Fischella was not hired because of Pav envied him ? I would have not belived envy in a great artist could exist .

Edita viva la madre que te pario!!!!

42:46

も

Odd sounding note from Zancanaro at 1:57:00... (during "Suoni la tromba") - did he crack, or just an artifact of the recording?

Listen to Nino Machaidze singing this!

Il direttore non puo sostenere un tempo?

Well, I have always enjoyed grubby in puritani. The other BEL canto roles she sing, like Norma and Anna Bolena are not for her.

acabo de ver a Olga Peretyatko en el Met...SUPERBA

Qué fantástica voz la de Fisichella, pero qué falta de sentido del tempo. Debió ser una pesadilla para los directores de orquesta.

Great in the German roles (Adele, Zerbinetta, etc.) - but she yodelled her way through the bel canto repertoire without any sense of style or appropriate technique! A shame, because the vocal material was evident!

Fisichella had a wonderful Voice but his phrasing is uneven,no match for Pavarotti!!

OHHhh,she can hardly sing the strongest parts of the opera.Pianos,crescendos and diminuendos are not nice at all not talk of weird legato.My opinion,an overrated soprano.

Kavrakos e terribile. Tremolo e voce troppo chiara...