@@Tadpoletofrogs I was told there are two types of microphones in classic singing. One if the venue is just too large for the human voice, used so that those in the far reaches can hear, not for smaller classic opera houses. The other type of microphone is for recording for posterity and doesn't amplify the voice for the audience. This performance was (obviously :)) recorded.
This took me totally by surprise. I was in tears and screamed BRAVO! to a computer screen!!!!! I've NEVER heard this aria done with such passion. Totally overwhelming.
I agree, only judging him against his previous work. Corelli was great , loud and thrilling, but was a vulgar and tasteless musician . I love how Pavarotti sang everything as close to classical style as possible and always with beautiful diction ( apart from occasionally adding a vowel at the end of a phrase . " vien-uh" . I can overlook it
@@jefolson6989 vulgar and tasteless, you mean Domingo and Carerras together with the contemporary tenors of this era? I doubt your statement against Corelli goes against Callas, Nilsson, Pryce, Bergonzi and Pavarotti himself praising the passion that Corelli possessed.
@PotuSuman Bibingka I didn't mention Domingo or Carrerras, but they are 2 of the 3 tenors. All 3 are guilty . Pavarotti could bring it when he wanted. Cant imagine the other too in Idomeneo. Or he could hold a giant hankie.
I'm so happy to find this post. This was the first time I saw Pavarotti in the theater. I was very young, and thought that his reputation was all hype. But sitting in the Met and hearing this aria from that extraordinary voice: I'll never forget the feeling of his voice going THROUGH me. His sound was so gorgeous, so resonant. The hairs on my arm stood up and I felt as though my head would explode. Pav made a number of questionable artistic choices in late career, but the musicality, the phrasing and especially, the voice are all iconic.
I would rather hear a loud lyric tenor sing this role than a supposed dramatic tenor with his tongue crammed down his throat not projecting and coming up flat on everything with the dreaded tremolo. Pavarotti did wonderful here. And that open throat technique of his projects beautifully. I agree, its not the darkest tone but it's beautiful.
Goosebumps watching this, the focus in his face, the depth of emotion never overacted but profoundly expressed and how, so subtlely, the voice gets a liitle darker towards the end and then pours out that unique Pavarotti ring in the last top note before coming back down for the finale. I thought this was mesmerising.
He was totally the character Andrea Chenier here. Totally committed and passionate. Exactly what he tried to teach in his master classes. This performance made it irrelevant as to weather his voice was right for this role or not. Anyone can debate that. At 60 years old who cares. Amazing in my opinion anyway.
His diction was beautiful despite his habit of adding a vowel at the end ("amor-uh"). For me this was the pinnacle of his opera career. Technique and artistry perfectly in balance. Wonderfully covered and connected. He was a great singer, which was sometimes forgotten with the 3 tenor silliness and the arena concerts with the giant hankie. I hope he will be remembered for things like this, that prove he was the greatest tenor of his time, and the last of the Caruso type of Italian tenor . There will be no more I'm afraid. The direct line to the Golden age is broken
@@jefolson6989 the late 70's to 80's was the pinnacle of his career. This starts the dusk of his voice. When Corelli, Bergonzi, and Tucker left the limelight, Pavarotti was among those who replace them.
@Emil EF be was barely getting started at 40. Young Pavarotti was not pleasant to hear. Only famous for high notes. Much more beautiful during the later period.
Luciano is absolutely on fire, he transmits the energy of a man enraged by the injustice in this world. This injustice requires action by committed patriots in every age, in every country. This aria is magnificent because LP. understood how to place his voice correctly in order to produce a fully resonant sound. He fully utilised his natural gifts by a deep study of the vocal craft.
Words of truth there. I miss him so much, he was one of the kind. The voice with its glory, beauty and technique, obviously - but also the soul and the personality - which made the difference for many. That’s the reason for his popularity, and why he’s so loved and missed. Not the marketing like some claim. It helped, but what actually made people love him was his loving and sunny personality. And the passion he sang with. He truly meant every word of every aria and genuinely appreciated his fans, loved even. We were lucky to have him, but that doesn’t ease the sorrow much. Luckily his voice is here and he will live in our hearts, but still… it stings. Bless his heart, may him rest in heaven if there indeed is one. ❤️ If there is, I pray God will forgive my suspicions - the science can do that. I’m a Christian, but only a human. My faith is not the strongest, I’ll admit that. But I’ll gladly go down if my beloved go to heaven instead. Edit: I’m sorry, got deep in thinking and completely off the topic. I don’t want to delete it though because then the time would get even more wasted than now. If anyone reads this, thank you, sorry again and have a nice day, wherever you are. Stay safe! 💛
Pavarotti gives a great representation of this aria. As a lyric tenor, Pavarotti is excellent here guided by his steady vocal line, impeccable diction and beauty of voice. R.I.P.
I think this earned him lyrico spinto status. It is a spinto role, even though ive heard Vicker, Giacomini and MDM sing it. It loses the poetry if the voice is too heavy or not beautiful.
...so true...A magnificent performance in every way. Certainly the most dramatically compelling edition of this great aria I have ever heard, including numerous from the likes of Corelli and MDM.
Non sono mai stato il suo più grande ammiratore, ma a questa interpretazione non si può dire nulla. Aveva una dizione pressoché perfetta. Con lui il libretto non serviva! Bravo.
FOR ME this is the pinnacle of his career. Everything is right where it should be. The depth of interpretation , maturity and just before the inevitable vocal decline. Thrilling!
When are we going to stop pretending that Delmonico, Pippo, or any of the Bel Canto stars could hold a candle to Pavarotti? He is in his 60s here, and I challenge anyone to find a better performance of this Aria. Mario’s is great, but not nearly as stirring or beautiful as this. Yeah, he did some commercial things that the hard-core opera nerds loathe, but it was because only he could do that. And he opened the ears of hundreds of millions of people who otherwise would never hear classical music. He was in his own category. Period.
@@oliverdelica2289 that cinematic showed a mobsters, a some reality. That bandits become a natural heroes. Iam talking on that film. Besides, its about violent. Vito was a cruelty, but they showed that he was a "good" bandit. Hypocrates
En esta aria prefiero mil veces a pavaroti que al petardo de jonas kaufman asi pavarotti no tenga la voz para este rol lo hace mejor pero el rey de esta opera es de coreli el mejor cantante de esta opera nadie lo superara o pasara mucho tiempo para que lo igualen
Luciano era l'unico motivo di interesse di questa produzione. Siamo negli anni della sua fase calante, ed è molto teso in scena. Però aveva ancora molte frecce al suo arco, non so quanti altri tenori a 61 anni possono permettersi di cantare così Chenier. Qualche prudenziale pausa un po' più lunga, qualche portamento un po' antiquato e un fraseggio un po' buttato la... forse avrebbe dovuto preparare l'opera meglio e con più calma, ma la dizione è superba, le note ci sono tutte, la comunicativa accattivante. Uno Chenier apprezzabile e più che buono vocalmente.
Ho scritto che pochi possono permettersi di cantare Chenier a 61 anni con la facilità con cui lo canta Pavarotti (pur con le riserve che ho espresso). Che c'entrano Del Monaco e Corelli? Non mi permetto di mettere in discussione la loro eccezionalità in tale ruolo. Però non darei così facilmente patenti di superiorità a loro due: Pavarotti è stato un grande al pari di loro, nè più nè meno. Essendo Del Monaco e Corelli figli del loro tempo, Pavarotti risulta più moderno nel fraseggio. Viva del Monaco, Corelli e Pavarotti.
Sulla grandezza di Pavarotti..nessuno lo mette in dubbio..certo negli anni 60/70/80 Big Luciano è stato uno stupendo Rodolfo..Nemorino..il Duca di Mantova..poi nella figlia del reggimento strepitoso..ma non rientra nella sua partitura questo ruolo..Certo a 61 anni se la cava egregiamente...comunque viva la lirica e queste splendide icone ..bna serata
Pienamente d'accordo! Voce stupenda e fraseggio splendido. A 61 anni pochi si permettono ancora un simile "IMPROVVISO". Grazie ancora grande Luciano, sei sempre con noi!!!!
By this time he was a true lyrico spinto. In his 40s his voice grew in size ( as do most tenor voices). It was certainly not a small voice. I heard him sing this role in Vienna. Smaller house than the Met, but his sound was like a rifle, bright and ringing. I love the burnished quality that came in his late career. Check out his Pagliacci from around this time. Fantastic.
I just don't think he kept the beauty of tone when he sang heavier roles. The effort is obvious - - - nothing like Corelli, who effortlessly filled the role. Pavarotti is working very hard to produce an adequate sized sound
@@marksmith3947 he was in his 60s here. And even with the less-than-stellar sound of this video, the clarion quality of his voice still comes through like it does with no other singer in this role. And I think you’re misinterpreting his emotional investment in the part with struggle - I sense no struggle at all here. Corelli is great, but why does everyone insist on comparing the two. Corelli was one of the very few that had perhaps more power than Pavarotti, and looks, but wasn’t superior in any other way.
This is what I.show people who bash or dismiss him. Evidence of his true greatness- even if he chose a different path and lost respect towards the end.
This has surprised me. I saw Luciano at the Royal Opera in "Un Ballo in Maschera" in 1995. It was not great but it was known that he had vocal problems that summer. I did not know that he had performed this well after that. If only what I saw live in 1995 was this Andrea Chenier with him. Have just watched Jonas Kauffman in the recent Royal Opera production which was excellent but Pavarotti on this form was something special.
Thank God for these videos in You Tube. Now I have completely dispelled the LIES that Pavarotti cannot act. The Maestro is excellent and magnificent in singing and also a very good stage actor.
I am sorry, but this is absolutely awful. Pavarotti himself said many times that his voice was not capable of singing Verismo and he was absolutely right. Thank god his record company did not force to do Wagner like Netrebko. It would have been the same disaster.
Un dì all'azzurro spazio Guardai profondo E ai prati colmi di viole Pioveva loro il sole E folgorava d'oro il mondo Parea la terra un immane tesor E a lei serviva di scrigno il firmamento Su dalla terra a la mia fronte Veniva una carezza viva, un bacio Gridai vinto d'amor T'amo tu che mi baci Divinamente bella, o patria mia! E volli pien d'amore pregar! Varcai d'una chiesa la soglia Là un prete ne le nicchie Dei santi e della Vergine Accumulava doni E al sordo orecchio Un tremulo vegliardo Invano chiedeva pane E invano stendea la mano! Varcai degli abituri l'uscio Un uom vi calunniava Bestemmiando il suolo Che l'erario a pena sazia E contro a Dio scagliava E contro agli uomini Le lagrime dei figli In cotanta miseria La patrizia prole che fa? Sol l'occhio vostro Esprime umanamente qui Un guardo di pietà Ond'io guardato ho a voi Si come a un angelo E dissi: Ecco la bellezza della vita! Ma, poi, a le vostre parole Un novello dolor m'ha colto in pieno petto O giovinetta bella D'un poeta non disprezzate il detto Udite! Non conoscete amor Amor, divino dono, non lo schernir Del mondo anima e vita è l'Amor!
Es un aria para spinto le falta pasta en graves y medios no es lo mejor de su repertorio aunque como lírico es de los mejores en este aria le falta todo el carácter todo no se soluciona con dos agudos al cantar opera
@cornificius22vain No, I don't think so, frankly. Our world is overrun with pop princesses and boy bands. It's too bad a work of classical beauty can't capture the popular imagination. So no, I don't think I'm jumping to any conclusions. But thanks for playing.
Not bad. But his voice is too light for that repertoire and he is really fighting. Go listen to Franco Corelli's live performance and you know what I mean.
Of Course the spinto Corelli was more suitable for Chenier, just as Pavarotti was more suitable in Boheme than Corelli was. But just a reminder, Corelli retired at age 55 or 56
@@sugarbist Yes, Corelli was pretty much done by 50. Pavarotti sang well into his 60's, He's 61 in this video. So, I say Bravo, all things considered. Pavarotti's voice really did last a lifetime before his untimely death at 71 because his technique was so solid from the start. Who in opera today has a 40+ year career the way Pavarotti did? Basically, no one.
Pavarotti and Correli have entirely different vocal qualities. We also have to remember that it's important to compare singers while they are in the same phase of their career. This is hardly Pavarotti's most shining moment. He's 61 in this performance, about ten years before he passes away. All things considered, I say Bravo to him. No one has a 40+ year career in opera today the way Pavarotti did. That's because his technique was so solid from the start.
lcowles Fair to say that Corelli had a 25 year career, which is not considered short. Corelli was a spinto dramatic tenor singing many heavy verismo roles. The lyric voices seem to last longer with few exceptions of course.
Sad. A video of one of the greatest tenors of the past century singing one of the great tenor arias and, as of today, it has 168 views. We live in an artistically demented world.
Pavarotti had a good voice but his success was due to the power of marketing. More or less like Andrea Bocelli. Placido Domingo is the greatest of the last 2 decades.
Certo che CORELLI e DEL MONACO ikn questa romanza interpretano la partitura con un pathos più incisivo..Big Luciano negli anni 60/70/80 in Boheme..La Figlia del Reggimento..Elisir..Rigoletto è stato un interprete stupendo..Non doveva cimentarsi in AIDA CHENIER TURANDOT..opere che vanno aldila delle sue indubbie qualità vocali..rimane sempre un grande TENORE LIRICO.
@@cosimoguarrera4965 Tutti e due sono i migliori Chenier della loro epoca. Ma non dimentichemo Lauri Volpi, Martinelli, Caruso, Tamagno, Merli, Pertile, ecc. Un saluto.
Corelli wasn't a lyric tenor singing out of repertoire and Corelli retired at age 55. Pavarotti is 60 here and doing quite well singing out of repertoire. Corelli sang Lucia in 1971 at age 50, singing out of repertoire and didn't come out for the 2nd act and got poor reviews in his 1st performance, so what's your point?
Unlike Carreras, when he sang parts too big for his voice he never pushed, but like Bjoerling as Radamès, his prodigious technique allowed him to find a way to penetrate the orchestration on his own terms. I’m glad he did it, since this aria never makes its full effective unless sung by a native Italian tenor.
Dear Ransom, In a 1959 Aida performance in Chicago, Brigit Nilsson stated that when she sang Aida with Bjorling in Stockholm capacity 1180 he was wonderful, but Bjorling's voice is a little small for the Chicago opera house capacity 3563.
Un Pavarotti già in età difficile per le corde vocali, ancora in grado di controllare la piena e armoniosa voce, su tutta l'estensione, in un'aria non facile da eseguire. Solo una piccola flessione nella parte acuta del finale.
JE REMERCIE DIEU DE M'AVOIR FAIT LA GRÂCE DE LE VOIR, DE L'ÉCOUTER, DE L'ADMIRER... J'ÉTAIS À BERCY LORS DE SON CONCERT D'ADIEU... TU NOUS MANQUES BEAUCOUP, LUCIANO.🙏
Grande prova di Pavarotti. Oltre a sfoggiare una voce sana e sorprendente per un sessantenne, qui ciò che colpisce di più è il fraseggio così pertinente.
Это надо смотреть всем русским концертмейстерам и дирижерам с их ложными представлениями о фразировке: декламационная манера пения, безударные слоги артикулируются мощно, каждый слог поется по максимуму, как будто по слогам, короткие ноты без вибрато и тд и тп. И конечно здесь нет никакого сраного метронома, Левайн ждет Паваротти, пока он вздохнет столько, сколько нужно.
Ливайн к сожалению из за раскрученного Паваротти очень многим драм тенорам перерезал дорожку и ограничивал выступлениях в драматический партиях. Бонисоллли, Джакомини, которые были как минимум не хуже по уровню, мягко говоря. Тот же Радамес и т. Д.
The only Tenor in the 20th century that truely had a gift given to him by God, to sing with that much passion, I have not heard the aria of Andrea Chenier in years, it was a favorite of my father. When Pavarotti sings it, chills go up my spine! Sad that he committed adultery, and was womanizing even after he married his wife, years and years, she put up with it,till he met the 24 year old and the child they had together was another little girl, she should be around 15 yrs old now. I saw a picture of her recently and she looks JUST LIKE HER mother, there is no resemblance of her father in her. Only his 3 other daughters have a resemblance to the father and their mother. This world lost the great tenor every. And has to this day, there is not one tenor that matches him with the high C's.
Pumpup Jam The only tenor in the 20th century that had a gift given to him by God? Really? Gigli Lanza Del Monaco DiStefano Lauri Volpi Tucker Cortis, Corelli, wunderlich were gifts from who? What’s all that talk about his private life which has nothing to do with his singing?
