English captions. Conducted by Lamberto Gardelli, Bregenz, Austria 1982. This performance also stars Katia Ricciarelli and Leo Nucci, and is available for purchase on DVD by Bel Canto Society.
Hands down, one of the most beautiful voices ever. I remember myself, as a young tenor listening to all his early recording my dad had. Luckily for me, I have them all..in mint condition!!
les années où il avait tout: jeunesse, beauté, ardent romantisme, conviction dramatique, timbre viril et tendre, voix ample et contrôlée. Les années d'or ont été brèves, mais QUELLE SPLENDEUR!!
grazie Carreras per quello che hai donato al mondo con la tua voce ,anche se tante persone non sono degne di questo grande dono, e grazie anche per quello che fai per la ricerca contro la leucemia.
I love some árias from lucia di lamemor, but in the Voice of Carreras. He is extraordinary! Incredible Voice, great tenor! YO amo algunas árias de Lucia di lamemor, Pero solo en la voce de Carreras. El es increible! Tiene una increible voce, es un gran tenor!
Certamente è difficile adattare alla propria vocalita lo studio del "..bel canto...". Adattando a se stessi la tecnica vocale impartita oggi da ....così detti maestri di canto che non hanno la benché minima preparazione professionale professionale per poterlo fare con serietà e profonda conoscenza dello strumento vocale!!! Lo studio del ",,,bel canto .." Non ha mai termine.." personalmente dopo aver festeggiato i 57 anni di carriera ancora oggi continuò a studiare Insegnando quotidianamente a giovani e anche non molto giovani artisti la tecnica vocale appropriata ed adeguata alla propria vocalità nonostante la mia nobile età di 84 primavere .!!!!! Studiare continuamente non solo con il cuore è lo strumento vocale ma con il cervello !!! Affidandosi sempre ai suggerimenti e i consigli di un vero autentico ed incorruttibile MAESTRO DI CANTO!!!!
This is a live performance! Incredible quality of singing! I have only listened to him in concert, he was out of this earth. But I imagine what it must have been in full opera
Un intérprete supremo, y qué importa si su do no es el más espectacular, tiene sin embargo una de las líneas de canto más bellas de la historia de la lírica.
These were the type of roles that ideally suited Carreras‘ full lyric instrument. By this time 1982 he was gradually, because of other heavier repertoire, losing much of the freshness one could hear in the mid 1970s. The studio LUCIA recording from that period represents him a bit better. Still in 1982 in roles like Edgardo, Carreras had more to offer than in operas such as LUCIA than in his expanding full spinto efforts. L‘ ELISIR D‘AMORE live from Covent Garden around 1976 is especially memorable.
It's just wonderful! A moment when he falls in love with his own tone at about 4 mins can be forgiven! (there is a smile as I write this - we have all done it!) and a little vulgarity at the end - well he is a tenor! But heavens! As the old hymn said "Oh that we were there!"
Que fraseo, por Dios. La linea y el legato de su canto ha sido de los mejor de todos los tiempos. Sin contar con la calidad de lavoz que fue extraordinaria. Grande entre los grandes.
Legato? Has escuchado a kraus y a tono? Una voz bella pero nunca fue el mejor en ningún papel. Su declive comenzó cuando tenía 40 años, con esa edad ya tenia problemas de emisión y su canto era forzado.
@@waynewilliams4706 Disfrute de la Navidad. Que solo tiene que estar buscándome por todo RU-vid. Póngase en cuatro con vaselina para que Domingo lo relaje un poco.
This performance is available even today when no one has CDs or DVDs anymore. This is a keeper. My very good buddy Ross the tenor once sang this at an event and was crucified by a newspaper critic. It's not an impossible aria but it's hard enough to do properly. I like Carreras best. I've listened to my LPs and CDs with Di Stefano, Pavarotti and Carreras. Di Stefano of course had a gorgeous sound but so does Carreras and he has better technique and he had magic. Some singers are simply sympathetic. Tebaldi was like that. She walks out and you are immediately on her side, Jose too. Pavarotti, whom I saw in many productions, just wasn't like that for me. Pavarotti of course had super good vocal technique but Carreras IMHO was a better singer - at least early on before he got sick. Carreras was especially good on recitative. He had a way with simple narratives that precede the aria. Pavarotti OTOH made his points more in the following cabaletta. Pavarotti although not a true "High Note Tenor" interpolated top notes whenever he could. When all three of the Three Tenors made a recital record. They all included "Angelo Casto et bel" attributed to Donizetti. Pavarotti ends it with an easy and very fine high note. Probably a B Flat. Carreras and Domingo end it "con scritto". Domingo sings it with full tone, body and musicianship. Pavarotti has his easy gleaming sound. Carreras has poetry.
I am glad I still have my DVD I brought this on DVD last year amazing. I enjoy your comments Patrick I think you give honest and fair appraisals of what you listen to.
Patrick Boyle, to your last point about the three great tenors, I agree. I've long seen their voices as colors and textures: Domingo's voice is red and meaty; Pavarotti's is lemony and metallic; and Carreras' voice is lush green, with milk and honey.
È ineguagliabile al pari di Di DISTEFANO la bellezza vocale ed il nobile fraseggio del grande CARRERAS .Voi giovani artisti , che avete la fortuna di ascoltarli 0nelle edizioni discografiche00
@@fernandopasqualetti1845 bellissimo consiglio ... studiare ?! con chi ?! un dilema Enorme per i giovani cantanti ... Carreras non sapeva cosa fare nel passaggio ,cantava tutto in modo ''aperto'' ... e non aveva acuti .
voce drammatica qualla di Carreras ed è insolito sentire questo ruolo interpretato da un tenore che possiede questo tipo di voce. tuttavia, egli sa ottenere dalla sua voce delle colorature che rendono il suo personaggio convincente.. bravo
alessandro merlotti ti sbagli , Carreras è stato fin dagli inizi della sua carriera un tenore lirico tendente al repertorio di tenore lirico spinto. e nel giro di poco tempo( è stato nel frattempo colpito da leucemia da cui è riuscito ad uscire) ha fatto l'errore che fanno quasi tutti i tenori , errore che i tenori fanno però più tardi e che consiste nel lasciarsi trascinare da ruoli non consoni al timbro della propria voce. non era un tenore lirico ma un possente lirico tendente al genere spinto. in questa aria egli è senza dubbio fuori ruolo perchè oramai ha la colonna vocale di un tenore drammatico. ciao
@@brunaazzurra dire che qui Carreras è fuori ruolo mi sembra un'assurdità enorme. Aveva una meravigliosa voce da LIRICO che ha usurato cantando repertori troppo pesanti. Il timbro e la portata della voce sono inequivocabilmente da tenore lirico, altro che drammatico o spinto.
inappuntabile tecnica e valenza canora insuperabile. La malattia, la malattia, la malattia. Maledetta malattia. Che cantante!!!!!!! ogni commento è perfettamente inutile se non favorevole. Un vero dono dal cielo.
Ferdinando Musumeci Carreras dal vivo non arrivava di cantare un do naturale sovracuto in modo decente . questo era dal vivo il tuo idolo José Carreras . ahahahahahahahahahahahahah !
He pushed the voice mercilessly from the very start of his career. His idol and obvious object of imitation di Stefano at least had ten or so spectacular years at the beginning.
Carreras was still getting fabulous reviews up until his leukaemia - take his Don Jose at the Met 4months before it was diagnosed it was very well received. This aria he is singing is spectacular and it is 82 and he started in 1970. If there is a problem with Jose he was too good too young and so opera houses and conductors wanted to work him. So naturally he was singing roles long before others did. In fact he was age appropriate these tenor roles are usually for young men and often the singers are middle aged when they are performing them. At 29 he had reached what is considered to be the pinnacle of an opera singer’s career and sang at Salzburg. To give you an idea how early this was, Pavarotti debuted at Salzburg when he was forty-one and Domingo when he was thirty-four.
@@katef6154 It is forced and strained, and it has been a long time since 'professional' critics had the foggiest idea about what is good singing and what is not.
@@ransomcoates546 That is your opinion - I don't agree. He was a brilliant tenor in the seventies and into the early eighties. You don't win a prestigious competition like the Parma Verde competition if you are poor. You do not sing at Salzburg if you are poor. He was hugely respected by his peers, Domingo, Pavarotti. Yes he liked DeStefano - many opera singers say how brilliant he was and awful lot say that Carreras was his natural heir. Opera houses did clamour for him from the word go as did all the great conductors. Even Kraus who fell out with the three tenors said he had a beautiful voice. I would say that the end of 86 and into 1987 he may have sounded tired leading up to his cancer diagnoses. Any way I'm not a professional I just like his singing.
A) La cadenza final es tradición, pero opcional al fin y al cabo B) Carreras la canta - cierto que ha bajado un semitono y un tenor en el pico de su carrera no debería hacerlo. Quizá una prueba de sus carencias técnicas C) el tono original del aria es ReM - el sobreagudo opcional es un Si natural. Un do natural sería poco acorde con el tono
He has the unique voice, so viberant and fresh, full of youth, his total artistry and stage presence is a gift to opera...maybe not technically most highest, like Jussi was, he is still way brighter than many famous ones.
He was in good voice here but had bad technique. One can already hear the beginning of his wobble and how hard he pushed what is fundamentally a small, lyric voice, which ruined him.
@@bullsantini Другие его слышали и говорили что голос сильный. В дуэтах с Кабалье он нормально звучал по громкости. Так что не надо сказок венского леса.
Why don't you listen to them then instead of watching Carreras whom you obviously dislike. Your Idol Kraus once said that Carreras had a far more beautiful voice than he did - I will take his recommendation over yours.
@@katef6154 En el canto no todo es tener una voz bonita, Kraus era técnicamente infinitamente mejor y le daba un color y unos matices únicos, carreras lo canta todo igual, no matiza nada, su declive fué temprano antes de la enfermedad por su canto gutural, además no canta a tono la partitura, kraus es una referencia en este papel, Carreras no.
Tu amado Kraus era un cantante con mucha técnica, lo que no pudo corregir fue esa emisión nasal que lo caracterizaba. Kraus fue un tenor frío falta de phatos como casi todos los cantantes con mucha técnica. Son tenores distintos Carreras un lírico puro, Kraus, lírico-ligero. Peto noto en tus comentarios un ligero tufo a que Carreras no te cae demasiado bien. No solo lo oigas, escucharlo también y disfruta del último romántico de lo0s tenores, así como yo escucho a otros grandes como Kraus, Bergonzo, Correlli, Di Stefano etc. Un salufo
Le corre la voz en el teatro una barbaridad.Su volumen duplica al de Kraus, s on dos tenores completamente distintos,kraus es un lirico ligero con voz en testa y masquera y carreras es más spinto con voz más grande y agudos más opacos.Es comparar una fabada con un cocido madrileño ,los dos son legumbres pero su sabor es totalmente diferente. (Que vaya por delante que Kraus me gusta mucho pero carreras también!
@@jesusmunoz2400 well you like Kraus and I am prepared to say he was brilliant but so was Careras and anybody who thinks that he has no nuance isn't hearing what I hear. I've said it before why listen if you dislike him so much
prefiero este tipo de canto que el canto de crooner que hacen todos los cantantes hoy en día, son voces sin carácter con una expresión muy introvertida que va en contra de lo que era la opera antes.
@@joseluissantamaria62 La ópera antes? Te refieres a cuando la compuso Donizetti o a cuando se puso de moda cantar el repertorio belcantista como si fuera verismo? Schipa, Kraus, Gigli, Pavarotti (aunque con un canto más anárquico). Esto no es Tosca es Belcanto.
Si, me refiero a como se cantaba en la época de Schipa, Gigli, etc. Incluso supongo antes de la existencia de las grabaciones, que es el canto del que aprendieron todos estos grandes cantantes. Ahora los cantantes tienen una emisión muy diferente, son voces sin claro oscuro. Creo que está nueva forma de cantar se ha generado en gran parte por la afinación cada vez más alta de las orquestas y esto afecta mucho al canto. Hay videos aquí en RU-vid donde Renata Tebaldi y Piero Cappuccilli hablan de lo malo que es esto para la voz.
@@joseluissantamaria62 En lo que comentas estoy totalmente de acuerdo. Con la llegada de Toscanini la orquesta se agrandó en demasía, por eso los cantantes con voces menos grandes podían cantar un repertorio más extenso sin dañar la voz ni forzarla. Aparte de que los cantantes de ahora salen en serie y en su mayoría carecen de personalidad.
