Maestro Carreras...bisogna averla cantata quest’aria per capire la grandezza di questa Sua interpretazione al 100% ...uno dei più grandi tenori della storia!
This has to be THE best performance of all Carreras' great performances of THIS aria. I love his voice. I don't believe I have heard him have such comfort on every single note. This is spectacular.
Those top notes are supposed to be Bb but this orchestra tuning is SUPER SHARP. Makes this already very challenge Aria much more difficult... Carreras handled it well
mammamia, superbo e da brividi... passi per la tecnica personale e gli acuti sparati, ma qui ci sta bene, questo è un brano più di disperate che di ricordi melanconici...
Lovely clip! His Boheme with Theresa Stratas is one of the most heartbreaking performances, ever. The whole production is to blubber over, the third act especially. Thank you.
Carreras was a great singer. He had a very good technique. As well as Di Stefano, he could sing an excellent Forza del destino, but this is an opera written for spinto tenors, and Carreras and Di Stefano were not spinto tenors. Singing operas like this, Aida, Turandot, etc. were very important for the decline of their vocal qualities. Maybe if he could sing it at his fifties, we could listen still today the beauty of Jose's voice...
Nulla da dire un canto perfetto , ma manca quella nota drammatica , comunque bravo.Purtroppo la voce presto è declinata per scelte repertorio sbagliate , come questa.
It is my view that taking on roles like Don Alvaro (when he did) with his basic lyric instrument should not have been encouraged. Whether Carreras‘ voice would eventually become ideally suited to operas like LA FORZA is difficult to say. Carreras was considerably vocally better in this role than Di Stefano‘s effort was when the latter recorded it but soon the splendid freshness in Carreras‘ voice became gradually more stressful in roles like Don Alvaro as time went on. The relatively lighter Verdi roles like Alfredo in LA TRAVIATA along with Nemorino in L’ELISIR D‘AMORE were better suited to Carreras‘ instrument during the mid 1970s & I believe he should have stayed in this repertoire longer. I heard him in a Seattle recital as early as 1978 & his voice was, although not that noticeable yet, beginning to reveal some effortful production especially in his upper range. This part of his voice when singing lyrically was a pleasure to hear but the real glory of Carreras‘ timbre, IMO, lay in his middle range & eventually this became somewhat compromised along with the upper extension of his voice. Carreras’ high register often did not have the ease heard in Pavarotti‘s voice but I never was touched by his expression as I was with Carreras. Even after his Leukemia condition & come back with the 3 tenors, Carreras continued in singing a certain amount of full spinto repertoire that his body & technique found difficult to sustain. When I heard him recently in a much reduced vocal range though, Carreras still could frequently communicate his musical expression in the manner of his earlier years. For me, he affected me the most of the 3 tenors all things considered. 😊
che anno? dove??? è molto diverso il modo di cantare dalla dizione alla Scala del 1978 qui appoggia molto di più anche se ogni tanto perde la linea e stringe molto meno le pareti
we must just hear voice completely different, cause I disagree that he is singing with chest voice at all in the top. The High A for instance at 6:50 was perfection!
He sings here with great style and great comittments, but I fear his voice is too light for this repertoire... he's lunging at top notes and trying for sound that he simply doesn't have by nature. It's exciting to be sure, but . . .
Even though Carreras has a beautiful quality of voice, he does wobble and the voice is strained, even at this early age. His voice is not suited for this heavy role but the audience of rubberneckers seem to love it.
