"Wonderful"? Only 1. Other just doing his freak activity. What a terrible voice! That squeaks are do awful snd straight, can't listen that prick. He is the answer of your question. Mosquito brings commercial, like him there are a lot of freaks today
Magnificent... 3:51 ... 5:05 ... 7:09 ... 7:58 ... Cappuccilli, the greatest Verdian Baritone of later half of the pervious century... Pavarrotti forced to perform at the very edge of his vocal capabilities... 'Squillo voice' on the very edge - towards a vocal crack... such a wonderful moment of musical history...
I was lucky enough to see Pavarotti twice, 1991 and 2001 at Hyde Park, London. First heard him on the Nicky Campbelll radio 1 show at 1.20 A.M , 1989when I was a taxi drive aged 21r. He played Pavarotti singing Nessun Dorma. after finding out about the 1990 three tenors concert, I pulled over and had one of those moments when you fall in love with a voice. Luciano was gifted with a body that was built to sing, and boy did he use it to perfection. Personally, after watching footage of the great tenors of the 20th century, I can hand n heart say He WAS the best, I'm just glad RU-vid is here to keep these Alfa performers alive. Pavarotti , we miss you. Thanks for your stupendous career'
Wonderful performance. Tragic, when you think in the same year 1992, the great Piero Cappuccilli had a serious car accident on the autostrada which technically ended his career. RIP Luciano e Piero.
Un discreto baritono, ce.ne sono stati di migliori tipo Granforte Ruffo Warren Danise MacNeill Bastianini Maffeo Bechi Stracciari Tibbett Merrill Capecchi Bacquier Milnes De Luca Ancona Galeffi e tanti altri.
This is the best duet I heard for months. Piero Cappuccilli is probably the best Verdian baritone. The intensity of the drama, as written by Verdi, is exceptionally rendered by these two giants that are Pavarotti and Cappuccilli.
Coppia straordinaria!!!Piero Cappuccilli nonostante una carriera smisurata da l ennesima lezione nel ruolo.Luciano Pavarotti poi é... Luciano Pavarotti!!!Meravigliosi
@@valasina2015 Tucker walked back like a baby, jumping around, he asked Merill to make sure a thrilling night, he thought they got it. Funny, look at the very end.
SHICOFF1 1972 Teatro Colon M. Arroyo, P. Domingo, GP Mastromei, B. Giaiotti, dir. F. Previtali A wonder. The Colón acclaimed to Domingo ;at that time he was almost unknown and at that time the best singers came to the Colon
@@valasina2015 of course, you are a fancy boy from freak opera. pavaroti is a pafetic screamer, too tiny, shitty disaster. No balance, only a straight notes, no any middle, even a low notes, just a pop singing.
Io non credo che Don Alvaro sia appannaggio delle sole voci bronzee dei tenori drammatici, come Corelli o del Monaco. Mi pare che anche il lirico puro possa renderlo molto bene, e per certi versi persino meglio. Così, il Pavarotti adulto mi pare che non sia fuori ruolo, e certe frasi sono davvero belle; meglio ancora Carreras, specie nelle recite del 1978. Grande, davvero grande Piero Cappuccilli.
Grande in questo duetto il nostro Cappuccilli che mostra di essere fortemente coivolto quindi fortemente espressivo . Egli mostra rara grinta e voce poderosa dal colore unico e fantastico. Pavarotti per me non è l'esempio di un buon Don Alvaro anche se accetto comunque la sua voce che ha come sempre una buona dizione . Tuttavia ritengo che da importanti artisti non ci si debba assolutamente adattare a sentire errori di parole . Pavarotti ha cantato quest' opera in teatro e poi non so quante volte . nel corso della sua carriera, abbia registrato proprio il duetto di cui si parla ma, purtroppo, ogni volta sbaglia le parole anzi una sola importante parola che cambia il senso a quanto dice - dovrebbe dire infatti -Ah segnasti la TUA sorte- mentre invece lui dice, e lo dice in ogni sua registrazione, - ah segnasti la MIA sorte- . Questa frase dovrebbe farci capire che Don Alvaro cede dopo le ripetute provocazioni di Don Carlo alla tentazione di duellare con lui e che desidera di ucciderlo. ma Pavarotti canta - ah segnasti la mia sorte- come se pensasse che è la sua sorte ad essere segnata e che Don Carlo ucciderà lui. Una volta si può sbagliare certo ma ripetere lo stesso errore per decine di volta mi fa pensare che chi lo aiutava a studiare gli spartiti non fosse molto attento e che sorvolasse su qualcosa che per me stravolge il senso della frase di cui parlo. Aggiungo ancora una nota che mi pare importante ovvero che Carreras ha sempre avuto una voce più drammatica di quella di Pavarotti . ciao. e auguri
Cancellare la frase corretta "ah, segnasti la tua sorte" dal mio commento non serve a nulla. Quella frase dovrebbe cantarla Pavarotti ma lui preferisce dire " ah segnarti la mia sorte".
One question to all those who watch and then add other names and write all kind of things about Pavarotti and others. Why do you bother to watch this? This is an anniversary concert. The artists are entitled to add whatever they desire to such events. Why this bothers you so much??
Only appearing once at the MET he was never as well known in America as the great American baritones Warren, Merrill, MacNeil and Milnes. But he certainly deserves to be mentioned among the greats.
Pavarotti should never have sung this duet. Does not fit his lyric voice in any way. Capuccilli fares much better, as an authentic Verdian baritone. Still he never really thrills me. Listen to Tucker and Merrill in this piece for some real unadulterated testosterone and thrills.
@@sw5114 Yes Tucker did throw himself into performing this duet and Merrill was a great singing partner for him. Another classic performance is the one from Naples with Corelli and Bastianini in prime voice.
@@sw5114 Almost all of Corelli's recordings were made when he was past his prime which ended in 1963. His voice and his singing were at their best 1957-1962. His singing in the Solenne in quest'ora duet is perfection in its pianissimo and legato.
@@bobturnley2787 I’d disagree that Corelli was past his prime after 1963. His work at the Met throughout the 60’s was stunningly virile, and in full control of his tremendous talent. He was still completely capable going into the 70’s but difficulties were more apparent.The Forza with Bastianini still had a bit of that thinner bleat in the upper passages, which he eventually pretty well ironed out in the 60’s. It’s a matter of taste, and I respect yours. I’d still rather listen to Tucker in Forza, even with his signature cries. Perhaps it’s the partnering with Merrill. Appreciate the conversation.
no es para la voz lirica de Pavarotti pero la canta muy bien.....pero lo de Cappuccilli es d otro mundo...q voz.....tan poderosa..solo comparable a la de Bastianini, Gobbi, Merrill y actualmente a la de Alvarez( con otro tipo de emisión pero poderosa tmb).
karloz ToRRes , adoro il primo Pavarotti. Per Cappuccilli, amore incomparabile, secondo solo a Ettore Bastianini, anche se sempre difficile comparare. Pavarotti lo conoscono tutti, lo conoscevano e lo conoceranno tutti. La su voce è riconoscibile, non bisogna essere esperti. In più ha portato l'Opera negli stadi,quindi per tutti.poi nella sua carriera cazzate ne ha fatte. Il suo percorso artistico perché è sociologico. Ascoltare la appena passata generazione di cantanti,, direi trascuriamo. Di sri fenomeni, ora ci tirano fuori 3 cantanti
@@jmahlon Pavarotti era lirico ligero, que haya tomado repertorio pesado al final de su carrera no lo hace dramatico, ni spinto (que son las grandes voces liricas que te refieres). Este no es repertorio para Pavarotti. Pero vamos, Pavarotti era tan bueno, pero tan bueno, que todo lo que hace le queda bien, en este caso, ''Aceptable''.
@@Darksaga28 Amo a Pavarotti, pero debo decirte, que su voz fue, era y será la de un TENOR LIRICO PURO. que tuviese facilidad a los agudos y en momentos al sobreagudo como en G.Tell o Stab Matter de Rossini, o IL Puritani. Pero su voz fue el ejemplo perfecto de tenor lírico... Por hacer roles que no eran para su registro, después del año 1995 comenzó un poco su declive vocal, pero no su magia... Recordá el Fallido Don Carlo, Tonio en la Fille, o Aída y otello.... Su magia lo hacía único...y los que lo amamos tratamos de no ver muchas veces esas cosas, por que duelen reconocer, como es mi caso...pero creo que es así...va a ser siempre mi mentor y mi inspiración para que yo hoy sea cantante lirico...abrazo gigante
At 7:59, Pavarotti sings "Ah segnasti la mia sorte" (which would not make sense) while he had to say "Ah segnasti la tua sorte". It is a forgivable mistake. Really two great artists. To remain in this piece, in my opinion, Del Monaco and Bastianini remain unsurpassed
Dai, non esageriamo ! Che dire allora dello "stato dell'arte ?" ru-vid.com/video/%D0%B2%D0%B8%D0%B4%D0%B5%D0%BE-Rf_4Nxd6Nv4.html O... dell'eccellenza ? ru-vid.com/video/%D0%B2%D0%B8%D0%B4%D0%B5%D0%BE-MozEFBSXGzA.html
Did you know the the part of Alvaro and the opera La Forza... is regarded as cursed/bad luck, and Pavarotti generally avoided the piece because of this.
For what it’s worth, he told me in 1978 that he could not sing a complete “Forza” because of the relentless demands of “O tu che in seno,” the “Invano Alvaro ... Le minaccie” and other scenes. Three singers he admired and respected, Ponselle, Tucker, and Di Stefano, advised him to avoid “Forza” altogether.
@@RubyRosaRudyHow very fortunate you are to have known him! I have read elsewhere the comment you made here about Ponselle, Tucker, and Di Stefano. Singing one aria with Piero Cappuccilli was wonderful. Both sounded electric, exciting. They sang so well together here, as they had done in the past. Singing one "Forza" aria in the 30th Anniversary Gala is one thing, and a fine thing, indeed. Singing the entire opera? Not wise. Pavarotti was smart. He also had good friends!
@@@valasina2015: Thank you for your generous comment. When I first met him in 1973, he was having an exceptional run in "Rigoletto" but said he wouldn't sing other weightier Verdi operas, and would instead stay with the lyric roles that fit his voice. He did, but he also took on bigger roles, sometimes prematurely. He was a fan of Richard Tucker, and after one of Tucker's many "Forza" performances he asked Tucker for advice about taking on Alvaro. Tucker's succinct reply was a polite way of telling not to try it: "Keep studying. Keep studying, that's all." As for Piero Cappuccilli, he was one of the truly aristocratic artists of his generation. And what a voice!
Jim Drake. Wasn't Pavarotti superstitious about "Forza" for quite some time? This would not be a good way to approach learning this opera. I also imagine it would have been not only frustrating, but also exhausting to try to master arias he, himself, deemed too demanding.
Ok, controversial statement incoming: Piero Capucilli is basically Leo Nucci with a slightly rounder sound. They even kind of look like each other (ducking for cover now).
Pavarotti era lirico ligero, que haya tomado repertorio pesado al final de su carrera no lo hace dramatico, ni spinto. Este no es repertorio para Pavarotti. Pero vamos, Pavarotti era tan bueno, pero tan bueno, que todo lo que hace le queda bien, en este caso, ''Aceptable''.
"Segnasti la TUA sorte" Ma Pavarotti dice " ah segnasti la MIA sorte" in tutte le sue registrazione di questo importante duetto dove dicendo "mia sorte" al posto di "tua sorte" si stravolge assolutamente il significato della frase.
Tutti questi Grandi mostrano la loro voce ma non spiegano come sono.arrivati a trovarla io lo faccio ma non.sono un Grande e per ciò non vengono qui posti i miei insegnamenti pubblicati su RU-vid
@@Monnarchmonnarchy Dear Monarch, you seem to be the most hateful fan against Pavarotti. Is there something you are not telling us, or is it just your opinion, which is fine?
@@sugarbist not "hateful", but just trying to remark your naivy mark on that disaster. No middle, no low notes only pafetic squeaks and screams with forcing at the end of note. How can you missed that? Totally out of musicality, non operatic, as always. So bad and awful singer, i can not understand how you guys listening bests and still keep promoting that trash. And yes, your last "argument" or words are not so constructive. As you remember, i tald about many others, loving bests, i am writing not only about that freak of pop modern opera, so you just trying make conversation in silly way, dialogue in other way, like i am just annoying diletante. I just can not understand WHY? Why you still believe what that crap was not even operatic singer, but with bests???
Pavorotti is in great shape vocally. But his dramatic interpretation leaves so very much to be desired. There are so many almost violently abrupt changes in the character's situation and yet his reaction is simply far too generic, His involvement is just too generalized and the scene doesn't come to life.
