И всё же, никто не приблизился к пленительности мелодики этой арии Верди, никто кроме великого маэстро, у Лучано местами да, вырисовывается эта мелодичность, но лишь местами, музыкальной целостности у него нет, ибо, где сменой темпа, где резким звучанием он выбивается из целостной музыкальной канвы арии, у Карузо же всё, как на одном дыхании, мелодика исполнения просто завораживает, от первой до последней ноты это единае музыкальная ткань, полная гармония. Паваротти несомненно большой мастер, и он прекрасно понимал, где все сегодняшние тенора и где этот великий непревзойденный ваятель истино человеческих чувств.
This scene was taken from the Jean Pierre Ponelle's beautiful film of Rigoletto, no doubt the sound was recorded in the studio and likely enhanced, but no matter you would be hard pressed to hear better singing.
His chest voice is so light that his head voice blends almost perfectly with the chest making even tone across the scale. What a gift. Add his diction and intonation and you have a finished amazing instrument ready to be played. Amazing.
DUCA Ella mi fu rapita! E quando, o ciel?... ne' brevi Istanti, prima che il mio presagio interno Sull'orma corsa ancora mi spingesse! Schiuso era l'uscio! e la magion deserta! E dove ora sarà quell'angiol caro? Colei che prima poté in questo core Destar la fiamma di costanti affetti? Colei sì pura, al cui modesto sguardo Quasi spinto a virtù talor mi credo! Ella mi fu rapita! E chi l'ardiva?... ma ne avrò vendetta. Lo chiede il pianto della mia diletta. Parmi veder le lagrime Scorrenti da quel ciglio, Quando fra il dubbio e l'ansia Del subito periglio, Dell'amor nostro memore Il suo Gualtier chiamò. Ned ci potea soccorrerti, Cara fanciulla amata; Ei che vorria coll'anima Farti quaggiù beata; Ei che le sfere agli angeli Per te non invidiò.
Absolutely! I believe a big mistake people make is thinking there will ever be another Pava and "waiting", "comparing" all others to him instead of enjoying all the blessings of talent there are. Tho Pava owns my heart, I do enjoy listening to Brownlee, Victorio, Florez and others. You are so blessed to be close enough to attend the Met and see such talent live! Living in a rural area which has no Opera house is my life's regret at never being able to see Pava or any of the great talent live.
@sopranosd The concert was one with Sting and others( I forget whom) and Luciano was singing La donna e mobile together with them all. For some reason he opted for the recording he made with Bonynge and Sutherland. So, Luciano's part that was actually heard was the recording from the Seventies, while others sang live. He tried lip-synching silently. but it looked very unconvincing.He admitted it and wrote he accepted the criticism.
@sopranosd Folks--back in the day this was filmed the singers did "messo" or mark to a backup trac in order to get the phrasing and breathing down, but the actual singing on the film is done in the recording studio. Back then if the singing were to be recorded live, one would hear all the breathing of the crew, actors, and any external noises, ie, cars passing, planes going overhead, etc. That is why we get to hear the high D as Pava never used it live, Can you imagine the boos if he cracked?
@jewelmarkess Thank you for the info but my heart belongs to Pava, and tho, I enjoyed the Domingo version (I think Victorio is going to be a world class tenor!), I really prefer this Rigoletto version w/Pava! No one has, or ever will have again in my humble opinion, this voice from God.
No, that was my mistake referencing another singer that he had not and I recanted on the other thread. He did, indeed, sing the D5 live on a few occasions including the "Live from Lincoln Center" concert with Joan Sutherland. However, I do believe he did the E5, F5, and F# only in recording--or at least I've not been able to find a live performance with these---if you have, please share.
@sopranosd What do you think? Of course lip-synching. The recording was made in the studio. The film was filmed later During the film he could've sung mezza voce, or mark, just to add more realism to the whole.
@sopranosd I apologize if I sounded harsh.That was not intentional at all.His lip-synching in this film is very good indeed, partly because I think he marked or sang half voice along with the sound from the studio during the filming. Which is completely O.K.. However, if you remember, once in a live concert with pop singers, when he could not mark or sing along with the recording, there was an unpleasant incident he himself admitted was embarassing(he wrote about this in his memoirs)..
@appeace1 Yes, this was funny in this film with Domingo. BTW -- this movie with Domingo is available on the PBS website in its entirety, as a single video not in clips (in case you are interested, I know you've seen it but...) together with a quick tour of Mantua in the beginning as shown on tv.
@jewelmarkess Yes, he was booed for cracking the high "C" in Don Carlos, so can you imagine the boos if he had tried the "D" live and cracked--which would have been more likely? I can't fathom living under the pressure of fans and critics expecting a perfect performance every time he walked on stage! Perhaps that is a factor in his personal life being such a mess. The "new" film of Rigoletto with Domingo is recorded "live" and there are instances of coughing and dropping props in the background!
Ишь ты какой умник🙄🤔?!А ты считаешь,при таком пении,то бишь постоянно на пределе(форсаже!)голос не изнашивается?!?Сколько Пава надрывал свой уникальный ГОЛОС за эти,подумаешь,всего лишь каких-то 10 лет!!!Это тебе не струны на гитаре или скрипке,которые можно заменить или перенастроить на нужный лад!!!Нет,дружочек,здесь твоя критика или разочарование крайне неуместны!!!Я вообще не понимаю,зачем ты и подобные тебе критикуют и чего-то всё время сравнивают,вместо того,чтобы наслаждаться гениальностью подаренной всем нам этим величественным оперным тенором!!!
@@user-df2od4cz3b Ишь ты какой умник?! А ты считаешь, что профессионал должен петь на пределе возможностей и с постоянным форсажем? Послушай Карузо, Джильи, Бьорлинга, Крауса и других, у которых и в возрасте голос был свежим (кстати, в 1971-м Паваротти поёт без какого-либо форсажа). Так что ты и подобные тебе пусть на мои комментарии лучше вообще не отвечают, ибо не понимают ничего.
@@user-mw8ni4rh3v Дружок,у нас с тобой примерно такой диалог:"Я тебе сено - ты мне солома!И про упомянутых тобой товарищей...уж не надо мне вешать лапшу на уши,рассказывая про то,какие "свежие" у них были голоса в возрасте!!!Особливо Краус(да и другие!)в возрасте,старенький,плохенький певчишко у которого кроме чисто человеческого обаяния ничего не осталось!!!Пава единственный из всех тобой упомянутых,кто реально сохранил ГОЛОС на старости лет,естественно благодаря своей выдающейся технике!!!А то начал тут:"Послушай того,послушай этого"...Если ты НЕ в состоянии отличить острое от горького и солёное от кислого - о чём с тобой вообще тогда говорить,"знаток" блин...
@appeace1 I agree vocally this version is better. I do like Domingo but as a tenor. To me preferring one singer doesn't mean we can't enjoy others, especially those we can experience live. For example, last night I was at the Met listening to Nabucco and it was great. There is a young Korean tenor Yonghoon Lee - I heard him first last year in Don Carlo, and last night too, he is very impressive even though the tenor's role in Nabucco is not that prominent. Check out Fabiano too - promising.
@sopranosd Pava was never very good at lip synching-too obvious-wrong technique, but I feel he did an admirable job here since he was actually "marking", therefore, technique is correct as if he were actually full out singing. I, personally could not imagine the stress of having billions of people watching my every move--expecting a perfect performance every time and they just wait to "pick apart" anything not perfect! If one knows the voice is not answering well the temptation is to lip synch.
