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It’s an introspective song. His interpretation is a manifestation of his mental and emotional state in character. Absolutely amazing blend of stage movement and musicality. And his voice is of course like steel velvet.
I commenti negativi non possono interessare Vittorio!Vittorio ha un successo straordinario in tutto il mondo perche' ha un grande talento! E' tutta invidia! Vittorio e' unico.❤❤❤❤❤
i do not understand why people criticize him so much..he is a young man with so much potential and such a beautiful and melodic voice....i have been listing to him since the beginning of his Carrier and he is versatile and his voice is getting better and better..i love his voice and i applaud him...bravo Vittorio
It feels like a lot of the people commenting on this video are unaware of the concept of interpretation! Yes, he decided to give this aria a melancholy tone, but why does that make his interpretation any less valid? It’s time to stop holding performers up to the likes of Pavarotti and just enjoy opera. As for the acting, he has to project to the very top of the amphitheatre so it didn’t bother me at all. What I just watched was a beautifully sung, fresh take on one of my favourite arias, why not just leave it at that and stop with the frankly pointless criticisms!
I agree! I also always thought of this aria as a little bit melancholic as well. Like he cannot believe that it is actually true, or that it finally happened!
This is very good. Sometimes I think he over does it, but here the phrasing is perfect. There is enough ham as to not over shadow the vocal line so it works.
These comments are incredibly harsh, I have to say. His melisma is some of the best in the biz! And you can really hear that in the final 'non chiedo'.
This rendition is alot more clear and precise as opposed to newyork studio, full of noise and echoes Tutto Bene clarity and melancholic perfect for the Times
@@ngwee1 No, Grigolo is too way over the top to be crooning, nothing cool or classy about his way of singing. It's more like overly hammed up musical theatre style singing, but I take your point.
Non è male, ma lavora troppo. Questo repertorio implica un'emissione più naturale, quieta. Da qui nasce l'eccessiva corporalità e il dispendio energetico, che lo costringono ad allungare le pause per scaricare le tensioni.
I just read about Grigolo being fired from two mahor opera houses due to his sexual activities while onstage. I wanted to hear him in performance and indeed the world is losing an exceptional performing artist. Here is hoping he seeks the appropriate help for his issues which are now ruining his life.
Il problema di Grigolo non e capacita vocale, ma capacite mentale. Ama se stesso molto, e si mette sopra l'autore, sopra la partitura! Muti lo darebbe un calciaculo!
@@rickysword3945 , non conosci le rockstar. Le rockstar sono un'altra cosa, hanno delle qualita' e un grande carisma, Grigolo no, e' uno qualunque, cosi ce ne sono a migliaia nel mondo, e' solo fortuna e canali giusti.
@@francescaboffelli5539 piccolina. Grigolo e lontano di essere unico. Un buffone senza rispeto del donno che il buon dio l'avevo dato. Questo e la mia modesta opinione
Notice that the upward run on the word "chiedo" (3:26) in the next to the last line does not sound like just a vocal exercise as it sometimes does by other tenors.
very good acting for an opera singer, does the song justice. Just a tad too slow for my taste but thats personal, the difficult cadenza in the end is very well peformed congrats
"Една скрита сълза се появи в очите и. Тези млади момичета, изглежда, че ме ревнува. Какво повече може да искам? Какво повече може да искам? Тя ме обича! Да, тя ме обича , аз го виждам. Аз го виждам.
It ain't Otello, bro. 🤣 Grigolo is always on 11, and most of the time that's good. But this should be lighter. The voice, however, should be darker as it is at 2:52. That's a beautiful tone he should be encouraged to use more often.
Matteo Gasparri Permettimi di dire che Grigolo ha un suo carattere e non necessariamente deve conformarsi a stili sempre uguali.. Ricordiamoci poi che è l'orchestra a seguire il tenore e non viceversa. Può non piacerti, e questo riguarda solo un tuo personale giudizio ma non una sentenza condivisibile. Ricordiamoci che la strafamosa Gioconda conosciuta in tutto il mondo, al Louvre nessuno la guarda con tanto interesse perché è un piccolo quadro. Bisogna aprire le nostre menti e godere di cose proposte da diverse angolazioni, bisogna leggerne il sottotesto, cosa che pochi sanno fare. In questo caso il sottotesto è messo a disposizione dall'esecutore per il suo pubblico. Se non riuscissimo ad apprezzare e godere della personale e unica interpretazione di un esecutore, resteremmo per sempre dei pessimi e inutili critici.
@@erosg91 , guarda che siamo cresciuti dentro il Louvre e ti faccio notare, se non l'hai mai visitato, che tutto il pubblico sta davanti alla Gioconda e che non e' un piccolo quadro e che le altre opere capitali sono quasi prive di spettatori. Grigolo e' invece piuttosto piccolo e non se n'e' accorto ancora nessuno...o pochi...
@Eros Grimaldi con tutto il rispetto, il fatto che il mio parere ( di moltissimi probabilmente troppi mi creda) non sia condivisibile è scontato, per cui questa dissertazione filosofica la trovo vuota, come vuoti sono i teatri in confronto a qualche decennio fa di voci e artisti seri seppur diversi tra loro
I saw this production and I thought he was just perfect . I have also seen him as Cavaradossi and Hoffman . Such a shame that there has been such a lot of negative traffic about him . The production of Faust , which I saw with Michael Fabiano was very raunchy and I know he was Faust with a different cast. . Having been a performer I can tell you that sometimes your role can slip into reality unless you are very guarded . Even in amateur theatre there is a deal of snogging in the wings
non ci siamo proprio, vibrato eccessivo, pause fuori tempo, voce piatta senza colore, recitazione claunesca. No , siamo evidentemente in crisi di tenori per farlo cantare a Londra
It's his interpretation. Not everyone is going to feel Nemorino's moment of transformation the same way. Personally I prefer Juan Diego Florez' interpretation, but Griggolo is entitled to play it as he feels it.
Ma come è possibile che canti al Royal Opera House, esistono tenori meno blasonati che sono nettamente superiori a Grigolo, mi ha impressionato ascoltare il tenore cinese Yijie Shi che ė ad un altro livello per tecnica, bellezza della voce e stile.
In tal caso mi viene di pensar male di Pavarotti, ha raccomandato qualcuno che è 'piombo' rispetto a lui che è 'platino'. Basta ascoltare la differenza in 'Angelo casto e bel' del duca d'Alba
@@waltermiccia4280 Io non stravedo nenche x Pavarotti, lei ha idea di quanti tenori sono stati superiori al tenore romagnolo pesarese?Basta ascoltare Bruno Prevedi e siamo gia' a un altro livello ru-vid.com/video/%D0%B2%D0%B8%D0%B4%D0%B5%D0%BE-jh6_4nthTAs.html my opinion
@@eugeniogentili1048 lei scherza vero? Ma sappiamo o no cosa è la tecnica? Mi avesse detto gigli, o lauri volpi o danise, avrei capito ma Prevedi..... mah....
UNA FURTIVA LACRIMA O pobre Nemorino vê a lágrima, de maneira incerta, No rosto da amada Adina e surge a ária Una furtiva Lacrima", da ópera 'L'elisir D'amore', de Donizetti, É, de certo modo, a nosso ver, arriscada assertiva. Nemorino delira de amor e, mui enternecido, sente: "Como se meus suspiros fossem dela, e seus suspiros fossem meus!" A impressão que se tem, na aparente Situação, ela pode também, numa época de vampiros. A Covid -19 começa a fazer mudança em quase tudo: Trabalho, lazer, passeios, viagens, relação de namorada, Onde tudo na vida sai da rotina e começa a ficar mudo. Há busca por novos rumos, mas dentro da roda girada É a densa consciência planetária indo pra longe embora Arrastando os valores que o dinheiro fez a arrancada. (*) (*) FERNANDO PINHEIRO, presidente da Academia de Letras dos Funcionários do Banco do Brasil. - UNA FURTIVA LACRIMA (poesia), de Fernando Pinheiro. - in O mundo de Morfeu, de Fernando Pinheiro.
Why are you hiding the fact that this is a co-production with the Opéra National de Paris in the description? You make it seem as though this is a ROH production ONLY but when you read the credits... costume, set and lighting, everything that you see all French artists.
constantly late,terrible pauses in order to regain strength and go through the phrase,the hands where apparently performing a different aria and this face,my god the agony in the eyes,i was afraid he wasn't gonna finish it a couple of times,seriously doubt if the applause is real... on another note,truly remarkable biceps i am sure he has a great set of abs to match them with,but what the hell is he doing on the main stage of ROH singing Donizetti?
Absolutely. That's a great singer ??? The public no longer appreciate what is sing well? The conductors of today consenting all? It is always late. And the technique is deplorable.
LETŚ ALL AGREE THAT YOU HAVE NO IDEA WHAT YOUŔE TALKING ABOUT MY FRIEND,THERE MUST BE A THOUSAND VERSION OF THIS ARIA ONLINE,DO A BIT OF A RESEARCH,CHECK THE TIMES STAMPS FOR STARTERS AND TAKE IT FROM THERE
wtf mate, there is a nemorino aria (with dulcamara on your channel) i saw it, and wtf .. You sing in a little room with a light voice, not a nice tone .. Please don't be jealous he was good at it in 2014 and now he's very good, i saw it at bastille general rehearsal and there was a lot of brava. He'll be a huge tenor no doubt on it
***** Exactly, exactly as the great of the past (Caruso, and Bergonzi also). And a conductor that doesn't know how to manage with singers' tempi is not an opera conductor.
Somehow I doubt that either one of you is a professional musician. If we arrive at a situation where a singer is above the music they are performing, we have truly killed art. Not only is that unprofessional but just plain bad musicianship.
Well, he studied with Pavarotti, who was notorious for coming in at the last second. Just watch some of his videos. :) You can see Grigolo looking at the conductor continually, and they are together quite well. This is the tenor's big number, and there's nothing wrong with taking some latitude. I've heard much more latitude than this. Opera composers of the bel canto era expected soloists to make arias their own. Listen how spare the accompaniment is on this. He has a beautiful voice and still growing and learning, so we have much to look forward to. He sang Hoffman in the Met broadcast last week and made it sound easy. I believe he could have sung it again. If you listened to his interview on the broadcast, he is well aware that he's criticized for the hands and the writhing and is hoping some French rep will help calm that down. He is high energy, to say the least. I mostly hear him on the radio so not a problem for me.
