Luciano Pavarottis voice gives me goosebumps, absolutely amazing. I have severe epilepsy and will have clusters of seizures, sometimes 3 or 4 in a day, they make me feel HORRIBLE, but I put on Luciano Pavarotti and lay down and always feel a little better
HARUKALIONCOURT YOU ARE SO BEAUTIFUL ADORABLE SEDUCTIVE RAVISHING SENSUAL SEXY CAPTIVATING AND PASSIONATE IF PAVAROTTI WERE ALIVE TODAY YOU WOULD BE HIS MUSE
Luciano is here clearly an Army commander so this rendition si so imposing thundering & ,smashing ......he well knew the contex and his voice is perfec for this scenario ;arena. I cannot say Luciano is the best for I feel Andrea is the most tender one , Palcido is so lordy, Jose C is so romantic. and Roberto Alagna is so manly
Best Celeste Aida what I've ever heard. Exact and intelligent phrasing, bright tone and effortless singing. I think Pavarotti was rather than an extraordinary musician than an opera actor. But with his outstanding musicality he can express the most difficult and deep feelings needed to opera playing
The song is about an Egyptian warrior wanting to win the heart of an Ethiopian girl called Aida. Here is some lyrics - If only I were that warrior! If only my dream might come true! An army of brave men with me as their leader And victory and the applause of all Memphis! And to you, my sweet Aida, To return crowned with laurels, To tell you: for you I have fought, For you I have won! Heavenly Aida, divine form, Mystical garland of light and flowers, You are queen of my thoughts, You are the splendour of my life. I want to give you back your beautiful sky, The sweet breezes of your native land, To place a royal garland on your hair, To raise you a throne next to the sun.
Me too, at Covent Garden. Elsewhere in RU-vid, I commented on meeting Luciano Pavarotti at his dressing room there, his energy and outgivingness undinted by having sung one of the most demanding parts in opera.
please do not tell me that the last 13 seconds are not coming out from the mouth of a human being .... What an astonishing performance. Thank you marvellous angel !
Ça a été et ça restera encore pour toujours- le plus grand ténor de tous temps. Tout en lui est unique des arias incroyable inégalé et inégalable . J’ai eu le privilège d’aller l’entendre chanté à Paris dans le Bal Masqué ce moment est grave en moi à tout jamais Merci merci merci Maestro chante pour les étoiles maintenant
@@giovannifassari6971 ogni tenore ovviamente ha il suo repertorio, pavarotti resta probabilmente quello con la voce più "bella". Certo, come tutti gli altri grandi, si muoveva tra tante arie, dove in alcune eccelleva e in altre faceva il compito. Che abbia riportato la lirica al grande pubblico e perciò sia percepito come il più grande è normale.
non credo proprio, penso di poterle fare più di dieci nomi di cantanti che superano Pavarotti, partendo dai più famosi Caruso (il migliore in assoluto per me), MDM, Corelli, Lauri Volpi, Merli, De lucia, Bonci e molti altri
2 things here are unmistakable: 1- Pavarotti unequaled brilliance 2- the reaction of the Scala. You’d think you were listening to a hockey or soccer match by their cheers!
This was unmistakably Bel Canto singing. The resonance and the blade in the voice was why it could carry to the back of any opera house, despite him not having a powerful voice. The open throat; the focus in the voice; no tension whatsoever in the neck muscles; no dropped larynx; no forcing the sound; superb breath control and correct abdominal support. This is the correct way to sing. Also, there was never any scooping up to the high notes. He heard Gigli and recalled him singing about a dozen arias after a full operatic performance, just for his public. He also was a Bel Canto singer. Any tension in the neck and the voice would tire easily. You would certainly not get through a performance if that happened. Singers, these days, have rather throaty voices and some of them have a wide vibrato at the top which will develop into a wobble. I studied the Bel Canto technique.
Furthermore, present day tenors do not posses the technique of the great singers of the past. Their voices sound forced and will not have the same longevity. Someone said thst Gigli's speaking voice was that of an old man, but his singing voice was that of a young man. Although a lyric tenor regarded as the most beautiful of all, he had power when needed and sounded magnificent. There is superb film of him singing in part of " Cavalleriia Rusticano". He was 38 and in his vocal prime. The sound quality for 1928 is superb.
@@davidwhyberd7612 Pavarotti: That beautiful, clear, rounded, gorgeous, golden, ringing, Italian Bel Canto voice! So full of emotion, so deep, so loving. Engaging the soul! Oh, how I wish I could have heard him sing this aria in the opera house. I know I would have been overwhelmed! Though a lay person with some music background, I am very interested in opera and in Bel Canto singing. I believe you are a performer. Forgive my ignorance, but is Bel Canto actually taught to performers anywhere today, or when you say you studied Bel Canto, do you mean you have done so on your own? A very nice gentleman I met on one of these videos has been gracious enough to explain some basics of operatic singing to me. I also try to do some reading, but the workings of the vocal apparatus are not easy to understand, especially if you are not studying voice. I do have a question, if I might ask. You mentioned "no dropped larynx." That, I believe, is the technique advocated by Melocchi, is it not? MDM and Corelli (to a lesser extent, I think) adopted this technique. I find it interesting that both saw what seems to have been an early decline in their voices. Do you think the "lowered larynx" technique might have been a factor? Since Pavarotti did not use this method, would it have been the "open throat" that accounted for the production of his incredibly beautiful voice? That, and the other things you mention? Not meaning to discount, by any means, the years and years of hard work he devoted to developing that voice, and then practicing every day. Just trying to understand what probably can't be put into words at all. . . . If you have a little time, I would be glad to hear back from you. As for today's singers? Oh, please, don't get me started on those paper thin, weak-voiced, body-mic ghosts we see on stage. See them we do. They look good. That's it!
Extraordinaire!!! Malgré tous les magnifiques et superbes ténors qui ont existés et qui existent aujourd’hui, il est et reste, pour moi, le meilleur car jamais encore égalé !!! Vous nous nous manquez Monsieur Luciano !!!
As far as i'm concerned... Pavarotti could sing me the phone book and it would be beautiful. Not an actor, even when he tried... but the voice... Ah, the voice!
Rien à dire de plus que tout ce qui a été écris Écouter admirer acclamer cet artiste ce chanteur unique qui a su nous émouvoir durant des années et encore des siècles avec des les CD et Vidéo Merci maître tu me manque
It never ceases to amaze me to actually hear Pava "change gears" on that last high note! To hit it round and full, then "squeeze" the note for resonance and length is mind boggling! Once again, Bravo, ll Maestro, you are much missed!
Once, in art class we had to do set design for this opera. I came up with the idea that during this song, two actors should approach from either side and dress him in his armor as he's singing.
Please note the high priest; perfectly performed by Nicolaï Ghiaurov. Two best voices of the last century. What a match. Luciano as always unbelievable. Thanks for posting.
per rinfrescarti la memoria 1 anno fa tu avevi scritto cito: - The bess Tenor ever! fine citazione. Allora una domanda sola con molto rispetto naturalmente cosa facciamo con i tenori tipo Enrico Caruso,Fernando de Lucia,Miguel Fleta,Galliano Masini, Pertile,Gigli,Piccaliga,Marconi, Paoli,Schipa,Enzo de Muro Lomanto,De Muro, Lauri-Volpi,Björling,Gigli,Franco Corelli,Mario del Monaco etc.etc.etc... più di 100 Tenori tutti con voci meravigliose liriche vere?... se ho capito bene dal tuo commento tu credi che Pavarotti è migliore di loro? beato tu!
Carissimo , non avevo dimenticato Lauri Volpi 1 mese fa avevo scritto alla fine dei nomi da me citati etc.etc.etc... più di 100 Tenori tutti con voci meravigliose liriche vere. Lauri Volpi è una icona,era il nostro idolo negli anni 60,la sua vocalità era il nostro ideale. Lauri Volpi era un fenomeno. ps. alla fine dei conti adesso vedo che avevo dimenticato fra i primi 10 nomi dei tenori il nome del Grande Lauri Volpi ! hai ragione ! la vecchia amico,la vecchia ! vado à scriverlo subito ! grazie ! con stima !
RAMFIS (con intenzione, fissando Radamès) Giovane e prode è desso. Ora del nume Reco i decreti al Re. (Esce.) RADAMÈS (solo) Se quel guerriero lo fossi! se il mio sogno Si avverasse! Un esercito di prodi Da me guidato, e la vittoria e il plauso Di Menfi tutta! E a te, mia dolce Aida, Tornar di lauri cinto... Dirti: per te ho pugnato e per te ho vinto! Celeste Aida, forma divina, Mistico serto di luce e fior, Del mio pensiero tu sei regina, Tu di mia vita sei lo splendor. Il tuo bel cielo vorrei ridarti, Le dolci brezze del patrio suol, Un regal serto sul crin posarti, Ergerti un trono vicino al sol. Oh! Celeste Aida, forma divina, Mistico raggio di luce e fior, Del mio pensiero ecc. (Entra Amneris.)
La presente partitura (de las muy pocas de esta opera) parece muy austera sin mayores MELODÍAS impactantes... me da la ligera impresión que el GENIAL lírico Pavarotti se desperdicia con estas presentaciones pobres de Música...Pareciera que Aida, solo se refugia en la popular y espectacular interpretación; "la marcha triunfal" .... Solo como ejemplos, las Operas "la traviata", "carmen" o "elixir de amor" y tantas otras tan excelentes, son extraordinariamente riquísimas en melodías...
Si j'étais ce soldat! O sort auquel j'aspire! Si je pouvais conduire Au combat nos guerriers! Être vainqueur! Entrer à Memphis dans ma gloire, A toi, chère Aïda, consacrer mes lauriers… Disant: «Tu m'inspiras! je te dois la victoire!» O céleste Aïda! toi dont la grâce Que rien n'efface Sait tout charmer, A toi mon âme est enchaînée, Ma destinée Est de t'aimer Qu'Isis m'entende, Que je te rende Ton beau pays, tes jours heureux. Que je te donne Une couronne, Un sceptre d'or digne des dieux!
That's why they booed Alagna after this aria i think, Once you get used to this kind of perfect performances you dont want to hear alagna singing it i guess.
Serendip /watch?v=AxyBxbGF-Qg i only see him shaking his fist and walking off the stage, he definitely got booed, it is not a big deal though, Pavarotti has also been booed.
Ouvia quando criança uma coleção de meu avô Joaquim de óperas. Esse trecho Celeste Aida é um dos meus preferidos. Aqui com magistral Luciano Pavarotti.
I'll be the dissenting voice here. I think his interpretation was unsubtle. LP was not an outstanding musician. I find no fault with his vocalism, but I don't think heavier arias such as this one showcased his voice to best effect. He was better in the lyric repertoire.
Pavarotti quiso hacer de todo. Nadie niega su excelente técnica y su buena voz, pero no se puede abarcar todo el universo en un mano. Cada quien en su lugar. Él era ideal para roles como Rodolfo, Nemorino, Alfredo o Tonio, pero no para repertorio más pesado como Manrico en el Trovador, Turiddu, Calaf o Canio de Pagliacci. En mi opinión fue muy osado y no es de mi gusto. Hay que respetar el carácter de cada rol, por algo los compositores escriben para voces específicas. Pavarotti wanted to do everything. No one denies his excellent technique and good voice, but can not cover the entire universe in a hand. Everyone in place. He was ideal for roles as Rodolfo, Nemorino, Alfredo and Tonio, but not to heavier repertoire as Manrico in Trovatore, Turiddu, Canio in Pagliacci or Calaf. In my opinion it was very daring and is not to my taste. The character of each role, must be respected.
Johan Botha demonstrates how it should be sung. The light, shade and attention to dynamics Verdi asked for. Pavarotti belts it out forte from beginning to end.
Bravoo!!!, he really was perfect as "zura iashvii" said!!!, I don't like to compare or to relate to another tenors while regarding real maestry as Luciano Pavarotti sang that nigth (but he is mostly rigth, sorry). What I am amazed is how full and rounded is his singing!!!, he really could work well with diferent repertoires, while still mantaining his wonderful vocal level. Bravo maestro Pavarotti, for always in our hearts!!!
+bodiloto TERRIBILE!!!...e una desepzione ma si penso un po,Pavarotti ch'era un tenore di tosto piu lirico,non spinto o eroico.Ma sempre fu bella la sua voce.Grazie tanti per pensare e leggere le mie opinione.Buon Natale!!!
Mitico Luciano! Aida fu la "Prima" del 7 dicembre 1985, la mia seconda "Prima" alla Scala. Direttore il grande maestro Maazel. L'opera fu poi registrata con lo stesso cast (alla sala prove Albanella a Milano) ed edita su CD. Fantastici ricordi di Musica e Persone, vissuti dall'interno del più grande Teatro del mondo, ormai una vita fa... Grazie a tutti.
@fabriou Yes, of course, that opera is not only perfect singing... But I don't agree with what you think about his acting... The word "worst" and the name of Maestro Pavarotti in the same sentence is much more than hurtless...
The costumes look like they are "hand me downs" from a Wieland Wagner production of Rheingold! He doesn't have the right vocal weight for this role. But,.. he is still better than 90% of the modern "dramatic" tenors making a painful attempt (for us) to sing Radames in these times of rampant mediocrity!
Perfect diction, no scooping, not the right voice for Rhadames of course, but near perfect vocalism. It seems to be unfair to point out when Domingo or Corelli sing it they stride around the stage. Pavarotti stands rooted in place wearing some kind of ornate parka. Domingo sings it wearing a tutu. Even worse. We know what Egyptian beard's looked like. They don't look like Pavarotti's. Why are these big expensive productions so inauthentic?
I've always loved this song even as a child, and I've heard many sing it, but none can touch the heavenly perfection of Luciano singing it. His is the voice of angels and he is also a beautifully manly figure of a man! RIP, dear one.
This role is sung extremely well by Luciano. There is plenty of squillo and expressivity in the voice. The clarity of sound its beauty and the crystal clear pronunciation make for a memorable portrait. All of those who are looking for MDM, Corelli. Vinay, McCracken, Giacomini etc, please leave. Go to the pages of your favorites, I am fed up and sick with your incompetent remarks and comparing "whose p***s is larger". You are stuck in high school gym. I am not going to waste a letter to argue with you. Because there is no point. Let me enjoy the liquid beautiful bel canto line instead.
+chaiter1 i love this-a preemptive comment-I'll make mine, but don't disagree.... I'm a great admirer of Pav-just think this role is too heavy for him-no matter what the miked sound is It was a great lyric voice, a large voiced lyric, but so many of the great tenor roles require more heft-it's not your primitive gymnasium analogy-it's about vocal color-a voice that can be pushed more
You see, I like the lyrical quality in a voice. And I like to listen to a whole role how one handles it. And I don't like the roughness of those stentorian voices going for dark sound and pushing the voice. Radames is a warrior, but he is also a lover, a human being in conflict and he is vulnerable. All these are usually overlooked by the dramatic tenors. And I prefer a free top not a pushed one. This is no Wagnerian God, it is a role conceived by Ghislanzoni and Verdi. Therefore you guessed I also like Gigli and Bjorling. As to the myth about miking... I have seen myths on RU-vid about the earth being flat and hollow... Show me the microphone, don't tell me stories.
Talking about a delayed response...OK Yes, singing the aria does not a role make, and whereas some essentially lyric voices can sing the aria, the final scene, etc. they just don't have the weight for the entire role-to successfully create a believable character-a warrior can be a lover, a wimp can't be a warrior. The requirements for the role are for a spinto voice (even heavier) have sometimes been successful in it, and that's itr-if you don't have the heft, you'll always sound underpowered. You use the word dramatic. even Wagnerian (what "wagnerian tenors,what are yout alkign about-other than the unique Vickers even sang it-it has such a high tessitura and so many B and B flats)-no not at all and the great Radames have been classic spintos form Caruso, Martinelli, L-Volpi, MDM, Corelli, Tucker, Bergonzi, etc.didn't have to push, had high notes with ease, and coudl be heard in the Triumphal scene in live performances Also for the artsy more sensitive tenor-supposedly here-the di riguer blasting of the B flat-Pavarotti is a real bad offender (great voice but he could not sing softy-without sounding breathy) a few do it (Vickers) or modify it, and of course Corelli's ability to pull off a diminuendo-I understand a tneor has to hit it-but to drag it out here is tasteless You misunderstood totally my reference to microphones-I was referring to recordings, radio broadcasts where the voice sounds much larger than it was-not in house amplification By the way I heard Pav many times live at the Met-a big lyric, but not a spinto-why I find many of the classic later roles less successful
So many critics witout any feeling.Pavaroti,like Callas,swallowed the pArt/music and BECAME the music!Wonderful feeling and expression.Verdi's music cries out for that treatment!
Compared to Pav's early renditions of this, his strong support of the starting phrases is now very pronounced and superb. He is now in total control of his powers here. Superb.
@@Jack_Sparrow17 How is he not perfect ?! He owns the aria, the power the squillo and the unparalleled diminuendo, Pavarotti lacks the power and was never good at diminuendos.
@@abcdefgh-db1to Pavarotti is very powetful, balanced and perfect , just listen the phrase "Celeste Aida". Corelli sing it like upstart "Celeste aiDDAAA". It sounds very vulgarly. Oh man you are not a musician, just shut up, you know nothing about that.
@@Jack_Sparrow17 this "vulgar way of singing" is called open chest, whereas Pavarotti sings it in covered chest, it's two different way of singing the phrase, conveying different emotions, both being equally difficult to master, and both singers having mastered both. I'm not saying Pavarotti is a bad singer, not at all, I'm saying he is not suited for the role, which is a spinto role, just like Corelli, whereas Pavarotti is a leggero tenor. And no, Pavarotti isn't very powerful, listen to live performances where the mic is far away in the audience, then you will see the difference in power between Pavarotti and Corelli
Oh that voice! Rips my heart out EVERY time! Can't act?? PIFFLE! Just look at that face and into those eyes and listen to that voice--much harder to convey emotion while remaining still than to jump around and "act out" the part! However, whomever did the costuming and makeup for Pava here, in my humble opinion, needs be fired immediately! To dress a large man in a tent is ridiculous and lazy costuming. Pava had exquisitely natural good looks but the makeup hid all that.
Evidenment no te la veu del Mario del Monaco ni de Franco Corelli, pero amb aquesta técnica que tenia ho canta de maravella, fa el que vol i ben fet.Esta en el nostre record aquest genial TENOR i estic d'acord amb el comentari d'en Arbiter Veritatis
A parte lo splendore della voce di PAVAROTTI, continuo a chiedermi come si possa caricare dei cantanti con costumi del genere. Bravo Luciano ad accettare un simile ingombrante paludamento
Yes, I agree that in his own way, he sang these roles flawlessly. But the thing about the dramatic roles, they require both a powerful voice (which Pavarotti had more-so than a typical lyric tenor, but not as much as say, Corelli or del Monaco) and an ability to act (which, contrary to popular believe, Pavarotti DID have, just not on the level required of the roles). Don't mistake me, I'm glad that he performed this and the other dramatic roles. I just prefer other tenors in those roles.
From one college professor to another: you are a bit off here. I've said quite a bit on this page, so I won't repeat myself, but you seem to be suggesting here that all dramatic roles require a powerful voice and an ability to act. I think you should reconsider this position. This is a gorgeous, beautiful aria. It needs to be sung beautifully, more than powerfully. I know you will agree that Pavarotti was well known for acting with his voice. Such was definitely the case in this video. Also the case, however, are the wonderful facial expressions that convey the deep feelings he wishes to communicate. Together, they combine to make a very moving, exquisitely delivered aria. One more comment. All serious opera is drama. It would therefore be very limiting to require its tenors to have powerful voices, such as the voice of Corelli, a spinto, or the voice of Del Monaco, a dramatic. Such an insistence would kick a great number of singers, mostly the lyrics, out of the profession. Too often I read comments such as yours, with all due respect to a member of our profession from another Jaguar owner! Power does not equal better.
I will never understand how one can stand in front of thousands of people and have the confidence to KNOW that when one opens the mouth THAT sound will come forth! Of course, THAT voice, THAT sound, passed with Pava, never to be heard live on this earth again, I fear, but to dazzle his audiences time after time with that pure, Italian, natural, free tenor voice is amazing! Opera will, in my humble opinion, never be the same---God keep you, Pava!
So, some here think that Luciano had no voice for this.... Then, what about Gigli? Bjorling? DIStefano? You stubborn fanatics. Luciano had a true bel canto technique and not the can belto.He was great in lirico and spinto roles. And he made the move to more robust roles wisely. This was a clear voice with rock solid technique without scooping, without yelling. Those of you that think that opera and classical singing is all about belting and yelling, I really pity you.
Chaiter 1. You've said it all! Corelli and Mario Del Monico, for all the power their voices had, experienced a somewhat early vocal decline. Pavarotti, on the other hand, continued to have a very good career until sometime in the mid-1990s or so, though as time passed, like most other singers, the voice lost some of its freshness. Opera performers make strong demands on their voices, which are, we must not forget, living instruments. I wish this were once and for all, but it won't be: power does not equal quality!
This is a tenor. I was watching Aida (Met/2018) and I don't know what was happening with Aleksandrs Antonenko. He was a different vibrato, alyaws change the rhythm, the high notes were very fast and he doesn't sing some notes. Hw wasn't ready for this.
Exclusively smooth, shine, and legato singing as if he didn't need to take breath to sing. Although Pavarotti was known as the king of the high C, in my opinion he was the king of smooth legato singing voice like an organ or wind instrument.
I know that his voice (and physicality) wasn't really meant for a role like this, and also that this costume is mildly absurd. But he sings this aria so wonderfully. Such a glorious sound more than makes up for the down-sides.
Sorry mate, I am a great fan of Luciano and think he is the greatest tenor. But that doesn't say I can't say anything about the dresser and director. Take a look of the San Francisco production. There he is dressed in the right way for period and place of action. For me vocally there is no better voice than Luciano and it is definitely thumbs up. No thumbs up for the dress designer and director, though.
