i dont mean to be off topic but does any of you know a way to log back into an instagram account? I was dumb forgot the account password. I would love any assistance you can offer me.
@@tyjude7594 it should have an option for “Forgot password” if you put in the wrong one. In that case, it would send a link to the e-mail you used when you created your account, and you can create a new one.
First time I heard this was on my first Don Carlo recording with Karajan, Freni & Baltsa. Will never forget how impressed I was with Agnes Baltsa then. And this live performance is way more exciting still! Thank you & all having to do with, Baltsa first 💝.
Superb!!! Karajan's conducting willful though. She was stunning in this role at Covent Garden in the later 1980s and brought the house down at this point. If only we had singers like this today!
She stole the show when she sang this in Covent Garden in the legendary Visconti production with Ricciarelli, Ramey and Quilico. Carreras was supposed to sing Don Carlo but he was being treated for lymphoma and Dennis O Niell took over. Unfortunately in the preparations for one of the performances, a stage hand Mr Greg Bellamy perished due to a piece of falling scenery. The performance was cancelled and the company replaced it with Verdi's Requiem with Ricciarelli, O'Niell, Baltsa and Ramey in his memory. May his family always be blessed.
I saw this as well and Baltsa did indeed steal the show as Eboli. I also went to the Verdi Requiem, but I believe the tenor on that occasion was Arthur Davies as O'Neil was not available. It didn't replace the cancelled show but was hastily put together and performed on a Sunday. I believe it was Ricciarelli and Baltsa who suggested it. Everyone gave their services free and the proceeds were donated to Greg Bellamy's widow. It was a very moving performance.
@@Tsaraslondon thanks, mea culpa! After an interval of more than 32 years since those heady student days in London, my memory has become a little foggy. Yes, you are right - Davies from the Coli was the tenor and the performance was on a Sunday night when the House was available. The performance was very moving and I remembered the singers and the audience left quietly at the end without applause in view of the occasion. Mr Bellamy left behind his widow and young children and I hope they are all doing well now.
I also went to this production. I was sitting in the very last row of the amphitheatre and Baltsa's performance was so powerful it shook the roof off. It remains one of the highlights of many years of opera-going.
@@karldelavigne8134 Baltsa was one of the most exciting singers in Covent Garden and although slim of physique, her voice was powerful, rich and spine tingling. I have so many vivid memories of her in the 80s - Romeo, Dalila, Carmen, Octavian, Italiana, Cenerentola, Rosina - I wish the performances have been taped and will be released by Covent Garden.
Yes, but you need to go back to school and learn how to place an apostrophe. The plural is Ebolis: No apostrophe for the plural form. And it's spelled Baltsa's for the possessive.
This is a fantastic all out O Don fatale with a singer I’ve loved forever. I can just imagine if she had shared the stage with another great Greek singer: Callas! Can you imagine Aïda’s or Norma’s with both of them.
I never thought of that! You are so right! They would have torn up the stage! Singers like them totally feed off of each other and bring out the best in each other.
Incroyable ! Monstrueuse! Magnifique ! Voilà comment l'opéra doit être chanté. Si on veut que le public revienne, que l'opéra redevienne un art populaire alors il faut une grande révolution dans l'art du chant, dans l'enseignement. Qu'on arrête de tout intellectualiser : il faut faire de l'opéra avec ses tripes! Ça suffit les petits chanteurs qui prennent soin de leur instrument comme une chose fragile! Si vous avez une solide technique alors vous pouvez envoyer du bois! Où sont passés les Corelli, Tebaldi, Baltsa, Cerquetti?
Bravo ! Les chanteurs d'aujourd'hui ne sont pas seulement très mauvais lorsqu'ils chantent, mais aussi insupportables quand ils parlent. Notamment les français, hélas !
Eboli is such a difficult role. Truly between the soprano and mezzo soprano - a falcon. Those who have top notes often struggle with the lower , legato middle section. Baltsa is an incredible artist on stage. She was always totally invested in what she sang . Occasionally as here she would seem to take her voice to breaking point with the drama , but then she would still be able to come back in the next phrase with a flowing , legato line. She has been a unique artiste and we are lucky to have seen and heard her. Bumbry , Verrett and Stignani also sang great Ebolis. I was very impressed with Giovanna Casolla in the role in the late 1990s early 2000s.
Cerca di sopperire con la recitazione la voce piccola e chiara per questo ruolo. Comunque grande artista. È la dimostrazione che con una buona tecnica e un ottimo gesto artistico una voce può fare tutti i ruoli come diceva la Callas. Bravissima!
This is raw and perfect out of technical imperfections... but who cares !!!! She is Eboli. She has always something to say ... what a great artist she was and always will be. Brava Baltsa .... my idol.
Omg what vulnerability and sensitivity she had. If only singer could feel the music, instead of this conceptual singing method acting nonsense most singer do today. This is TRUE presence.
This is what good opera singing used to be. And who cares one or two false notes when a singer has Baltsa´s technical abilities and dedication to a role?
Altonahh10 too bad there isn’t any video recording of her Amneris in Karajan’s Salzburg production of Aida in the 70s. Her recording with maestro Karajan, Freni, Carreras is for me the best Aida recording of all time.
@@peterming Sorry the Erede recording is the best Aida of all time. Freni, Carreras are no match for Tebaldi and Del Monaco. Carreras, especially is sorely overparted.
I always disliked the way Karajan stretched the music. It was not always fitting when it came to conducting opera and it was often difficult for singers to sing in his tempo. Sometimes it would hurt the music too. Baltsa had tremendous energy on stage but even for her this was obviously difficult. Nevertheless, this is still an amazing performance!!!
A great version, at points a bit too melodramatic, but still great. I can't help feeling the role is a bit too big for her voice. I always feel like the introduction should be faster than what we usually hear.
I prefer Verrett who gave the same intensity but acted and sang the part better. I was watching this thinking get up off your knees at the start of the aria! It's all wrong. Pick the letter up toward the end and acknowledge that you have one more day to save your love. Baltsa forgot various stage cues this character should be doing. This is also the fault of the director. The actions while singing are JUST as important as the singing itself. Watch Callas's videos to see what I'm saying. Being intense is fine but dont let it get in the way of a full characterization.
Baltsa was a wonderful and exciting singer, but I have to agree with others who have a problem with Karajan’s conducting. He de-energises the music and prevents the singer from phrasing naturally. Compare Bruna Baglioni in the same aria (also on RU-vid) conducted by Haitink at Covent Garden. A much under-rated Verdi conductor, imho. I was there, and she too brought the house down in this wonderful aria! By the way, I’m NOT a Karajan basher. I know of no greater recording of ANY Verdi opera than his Falstaff (although Abbado’s Boccanegra with Cappuccilli comes close...).
Baltsa is a good singer indeed but not my favourite one . For example I found the young Fiorenza Cossotto on another level for vocal power and compliance to verdian style. Of course this is just my opinion.
The is one of THE WORSt conductings of Don Fatale I have ever heard, which is absolutely surprising given the fact it is Karajan. The tempi are ridiculously slow and the ending note is drawn out to a cheap bravado effect. Having said that, Baltsa is on fire here!
@@DiomedesDioscuro #1 - having an opinion does not Make it correct #2 - You have a tremendous command of the subtleties and nuance of the English language 😎😎😎
She's very intense and powerful, beautiful voice.... but she has a little problems with some italian words. For example she sings "Ti MALLEDICO" instead of "Ti maledico" and that's a bit uncomfortable to hear. Made no mistakes, I think she's a great singer.
Una delle più brutte esecuzioni della Eboli..La Baltsa completamente fuori ...ha rischiato di rompere la voce e non continuare la recita...davvero scandalosa. Karajan ha commesso con questa edizione un altro passo falso...INASCOLTABILE
That wasn't so "legendary" tbh . Lol. I mean... so many technical issues. Very distracting. Tati Troyanos had technical issues too (even Obraztsova) but they're minor and at least she's delivers so much intensity that we simply forget/forgive them. Here, she seems to emphasize them. It's quite bad... 🤔
Terrific. Technically perfect? No. There are a couple of strained high notes here and there, harsh intakes of breath. Passionate and spine-tingling? Hell yes. Worthy of Bumbry, Troyanos and Verrett? Yes Sir!
..... purtroppo quando esapera il temperamento la voce si sgrana e si rompe. Molto meglio nel canto più mite e misurato dove la voce risponde ed è meglio governata. Questa è una brutta interpretazione.