Dueto del acto I de esta histórica Tosca, sobran palabras. 13 de noviembre, 1974 - New York City Opera - Conductor: Julius Rudel Tosca - Birgit Nilsson Cavaradossi - Jose Carreras Scarpia - Richard Fredricks Angelotti - SAMUEL RAMEY
Carreras... here shows the best qualities of Di Stefano and Bjorling in one tenor, voice in full bloom, rich smalto, chiaroscuro colouring, solid acuti, a tender and passionate interpretation.
I Never understand why some knocked Josep Carreras -- he was pure magic on stage -- he had all the emotions and passion in his singing that all the others sadly lacked-- that voice is beyond doubt the best of tenors.
It wasn't easy to sing against Birgit Nilsson, perhaps the most fantastic dramatic soprano ever, beautiful voice of steal ,queen of the high notes and a wonderful actress ! Just one tenor had a voice to match her : Corelli ! But Carreras sings well ! Birgit helped him a lot to get engagements in the beginning of his carreer , also Domingo !
I am so pleased this excerpt has been posted. For years, whenever I told people that Birgit Nilsson had sung Tosca with the New York City Opera they refused to believe me. It actually happened on November 13, 1974 when the City Opera was on tour in Los Angeles. When Beverly Sills had to cancel a sold-out Lucia di Lammermoor because of surgery Nilsson graciously stepped in to save the situation. Of course, the opera had to be changed; La Nilsson did not have a coloratura role like Lucia in her repertoire. Joining her in this Tosca were José Carreras and Richard Fredericks, conducted by Julius Rudel. Fortunately someone recorded it.
Basically Carreras was a young prodigy and wunderkind.! The vocal gifts he was given by nature were immense. But what’s the best about him in my opinion..? His soul shines through his voice always.
People knock Carreras but I think he had the most beautiful natural lyric voice. Such a shame he was pushed in all sorts of silly directions too early.
Kevin Rainey He sounded spinto from the beginning, but with an amazing beauty of the young voice indeed. I loved that a lot and felt sorry because of the fact he started to force his voice after a few years, in the early 80’s.
The problem wasnt only the heavier roles, Carreras (and Ricciarelli) sang way too many performances per year. They used to pump themselves with cortisone to get over their vocal tiredness
Yes! He was a marvel, a miracle, extraordinary. To hear this legendary performance of La Nilsson with her Baby Cavaradossi - I thank God for RU-vid. What an exciting pairing!
The voices of TWO angels. "La Nilsson" and her "Baby Cavaradossi!" Heart-melting, historic performance. Thank you so much for posting this of my two favorite artists performing together both at their prime!
These earlier performances of Jose Carreras are so unbelievably beautiful, my eyes fill with tears every time I listen to one of them, the purity of each note and phrase are overwhelming. It is no wonder that he is so loved as a singer and a man. Thankyou Jose Carreras for many years of your beautiful voice. J
beautiful these two together: dispite their different age they match vocally wonderfully. Birgit sounds like a young woman in love with 56, today they all sound like old women, no matter how old they are.
gran respecto a la gran Birgit Nilson a los 56 años. un jovencisimo Carreas de 27años con voz 100% lirica con un timbre fascinante y un fraseo ya insuperable!!
I don't have enough words to thank you for sharing this incredible recording. P.S. People coughing out loudly during such magnificent performances will burn in hell forever. .
@@brblum Lol. I am already in hell as I am surrounded by lame and ignorant people, who have no idea of figurative language, which refers to words or expressions that mean something different from their literal definition, not to mention their belief in hell. Cheer! 🥂
In the 1960s and 1970s the audiences in Los Angeles were quite ignorant of opera (Tinsel Town). Kudos to NYCO during those years for beginning to raise consciousness.
It wasn't just for DG. Irmgard Seefried, a Susanna/Pamina/Zerlina by nature and vocal endowment, has related how Karajan, during his early years as Intendant at Aachen, pushed her into taking on the dramatic soprano role of Donna Anna. She was afraid to refuse, but after the run of performances never sang the part again. Many singers were afraid to say no to Karajan.
The problem wasnt only the heavier roles, Carreras (and Ricciarelli) sang way too many performances per year. They used to pump themselves with cortisone to get over their vocal tiredness
