Agreed. If Carreras had not ventured into the heavier repertoire, his voice would have lasted longer, particularly without the beat that developed around 1980. We can blame Karajan for this.
Puisqu'on ne peut fléchir ces jalouses gardiennes, ah, laissez-moi conter mes peines et mon émoi. Vainement, ma bien-aimée, on croit me désespérer ; près de ta porte fermée je veux encore demeurer. Les soleils pourront s'éteindre, les nuits remplacer les jours, sans t'accuser et sans me plaindre, là… je resterai toujours, toujours. Je le sais, ton âme est douce, et l'heure bientôt viendra où la main qui me repousse vers la mienne se tendra. Ne sois pas trop tardive à te laisser attendrir, si Rozenn bientôt n'arrive, je vais... hélas, mourir, hélas, mourir.
@@eberardo6750 Este mafioso de la ópera, lo hizo durante toda su vida, en las notas de paso y en muchos agudos, como por ejemplo el aria de la flor de Carmen.
@@margybickerton1016 You are so right. Mrs Emily Greene writes shallow and rash. Maybe she should listen to about 100 versions of this aria on RU-vid (I am making my way through them this weekend!!!) and so far the interpretation of Carreras is at least in the top 10 of those 100. It is extremely interesting to see so many different flowers in this field. Ranging from Gedda, Kraus, di Stefano, Gigli, Legay, Carreras to the lighter Tino Rossi and more recent singers like Alagna or the last one I heard, the young Ronan Caillat. Some with very tempered high notes, almost whispering, some with (far) more volume, some with (a bit too much) vibrato, others totally without . Then with full orchestra or piano only (making it impossible to compare anyhow) , some 100 years old, some last year, some with unique camerawork (noting every bite of air) and some to dream by on vinyl only. Don't even start to compare, just enjoy them all. Let's be happy that they are different!! Imagine they would all be the same..... And mrs Emily Greene, introvert interpretations can be more moving then acted extrovert ones. Emotions come in many shades. Maybe Emily needs time to registrate and appreciate them. And now: on to the next one.
And the next example was not 100 years old, but 4 weeks only and the singer maybe 20, the young Chinese tenor Yutao Gu. Normally I am quite reserved with the very young, but for such a young lad he did surprisingly well, including the high notes. Quoting an old Scottish folksong: The Bonny Boy is young, but daily a-growing!
