I remember when Luciano took on the role of Idomeneo.To you all "purists" and all the "wise ", he sang the role with great success in Salzburg and at the Met. He made a recording with Mackerras. All performances and the recording were well received by public and critics as well. People here say "this is bad" " I rather not listen to Pavarotti in Mozart" etc. Well, nobody said it in 1982-3.
Not as ornate and flowery as other versions, but what he lacks in coloratura he makes up for with his facial expressions, the power, the feeling, and that marvelous golden tone that always makes me smile.
Sensational! Extraordinary! Divine! Words are not enough to express the pure wonder Pavarotti delivers here. There is simply no one coming even close, he is like Jupiter towering over some Nibelungen trying to crawl closer - those like Ramon Vargas, Kurt Streit, Richard Lewis, etc. While each of the latter singers contributes to this role, it is owned by Pavarotti. Similarly to Anja Harteros owning Elettra. Bravissimo!
En realidad si Pavarotti hubiera dedicado tiempo para practicar las agilidades lo hubiese hecho grandioso (adenas por naturaleza hubiera podido con suma facilidad). A mi personalmente me gusta mucho esta versión ya que no es aburrida ni patética como la de Florez(y eso que soy de Perú) y otros que se se hacen lamar tenores liricos/ligeros.
@@modestavicentefuertes2286 Sí, si se hubiera dedicado a ser un tenor mozartiano muy probablemente lo hubiera logrado, pero definitivamente no es la mejor interpretación de esta aria. Yo soy mexicano, y tal vez eso me sesga pero te sugiero que veas esta versión con Ramón Vargas: ru-vid.com/video/%D0%B2%D0%B8%D0%B4%D0%B5%D0%BE-NVatQ2eAv98.html
@@josemiguel95 Ramón Vargas no es tan bueno comparado con el gran Francisco Araiza. El si que sabe de coloratura. No solo cantaba bien Mozart sino también Rossini. Aunque yo personalmente para Mozart prefiero a un lirico ya que suena mucho más épico, Hadley por ejemplo, claro que el no tiene las agilidades del todo bien desarrolladas.
@@modestavicentefuertes2286 Bueno, si hablamos de Araiza estoy totalmente de acuerdo, aunque confieso que tengo dos sesgos: soy mexicano y tengo el privilegio de ser su amigo personal. No puedo imaginar la cara de los europeos cuando llegó Araiza y cantó Mozart como se debe cantar.
Forse è vero, ma abituati come siamo ad ascoltare tenorini di quarta serie, rimaniamo stupiti di un tenore italiano dalla voce d'oro italiana come quella di Pavarotti. Mozart voleva queste voci sonore, basta informarsi un poò. In più quello che esce da quella gola magica è oro purissimo.
Doesn't matter what singer you come across there's someone complaining. This is his style and was always his style of opera. Italian opera. Now I know mozart was not italian but he did write opera in the italian style.
Francesco Isidoro Gioia this version was also written by Mozart for a special performance of Idomeneo after it’s premiere. It was written to better suit the voice of the tenor that mozart had for the revival.
I didn't know, now I read about. It was written for a second cast that played Idomeneo in Vienna. Thank you for making me know that! However I sang this aria in the original version and I found it more and more interesting and beautiful. In the second version it loses it's richness.
It is bariton aria. It' s little bit low for Pavarotti. He would try to sing it in other tone where his beautiful high notes ringing and has squillo. Anyway it is wonderful rendition.
It is a tenor role. Arsace is also a tenor role, although it was sung by a baritone Leo Nucci in a recording of the opera. And Idamante is actually a trouser role sung most often by mezzos, although Luciano sang it in a tenor version in 1964.
Aria non congeniale alle sue corde con agilità tralasciate. Pavarotti resta grandissimo, ma quest' aria poteva anche non eseguirla, si vede che fa una fatica tremenda. Non a caso, eccetto il Guglielmo Tell, non ha mai cantato opere rossiniane. Questo valeanche per Mozart.
Quando lo debutto' giovanissimo fu spettacolare. Ci accontentiamo anche così, diciamo, che anche in minore, e' sempre spettacolare e certo Gedda, Blacke o simili comunque non gli puliscono neppure i tacchi. Anche se fuori repertorio e con qualche problema, e chi se ne frega dello stile ( che all'epoca di Mozart nessuno ha visto e sentito)
@@hamburgdp Yes I knew that of course. Mozart wrote several 'easy' versions of his music. "Dalla Sua Pace" is of course the easier version of "Il Mio Tesoro". Susanna's aria 'Deh Vieni Non Tardar' is also the easy version. The original became a Concert Aria. I expressed myself badly. I meant to draw attention to simplification not entirely separate versions. I don't have the sheet music for this aria but I think Pavarotti does both. He sings the easier version and he simplifies the fioratura too.
Patrick Boyle Dalla sua pace is NOT easier than il mio tesoro. They are both challenging arias that were written for two evidently very different tenor voices. Some tenors may effortlessly nail the coloratura in il mio tesoro but fail at navigating the high tessitura and legato phrases of dalla sua pace. Deh vieni is also the original aria and Mozart didn’t write Al desio until the revival when he had a different soprano.
@@AgoranteI have played both versions. Pav does not simplify this ossia version at all. In fact he interpolates a few high notes (like the A at the very end). This ossia version was written by Mozart because the orchestration of Idomeneo requires a heavier voice than his other tenor roles-thus he knew not every tenor of this weight could sing fast coloratura.
