La Paglughi es una maravilla por su musicalidad, la pureza de su timbre y el sobreagudo nítido que aun conserva intacto en este registro (veinte años después de su juvenil primer registro junto a Piazza y Folgar (pero luego perdió en su último registro con Taddei y Tagliavini. Por su parte, Lauri Volpi, da una lección trascendental de su fraseo y bel canto de alto vuelo y escuela.
This 'un di se ben rammentomi' is one of the best examples of acting with the voice I've ever heard. It gives us at once the cue both to the character of the volatile Duke and to the tenor's vocal qualities ;) Great mix of laughing licentiousness & jovial libertinism, pity only the second half had survived. 'Bella figlia' is less good, parts of it being drowned in Pagliughi's vocal production. I'm sure she didn't do it on purpose but it's nevertheless unfortunate. Hers is a voice impervious to dramatic nuances (as all very light sopranos' voices are) - there's little intimation about the character's distress, and it kind of ruins the quartet when it comes in strongly. Half of Pagliughi's voice and more of Gobbi's and it would have been perfectly balanced :) Thanks for uploading.
Inregistrarea e asa cum e,dar vocile sunt celeste.Lauri Volpi ,Pagliucghi,Gobbi sunt voci superbe.Pacat ca au fost uitate.Azi ascultam voci mult mai debile,dar asta e .
Ecco the aristocratic seducer. He does his best to charm the pants off Maddalena, isn't serious about it, isn't distressed should she refuse him, yet absolutely confident she won't refuse him despite the fact she doesn't believe one word. And he is right. In the rarefied top of great voices and great technique, it's the intellect, the taste, and the histrionic powers that make all the difference. Vocally he is a little past his prime in the first act but not here, and artistically as good as ever. Gobbi used to be a good Rigoletto but I can't hear him here. Pagliughi uniformly noisy and bland (she never realized that the half voice may be a pertinent expressive medium), the mezzo just bland.
Agree .This is what other tenors don't understand .The Duke of Mantua is an adult Duke ,not a lusty-approaching-the-rowdy hormonal teenager .He doesn't drool over the females of the cast but makes them drool over him instead .He is dashing,he has aplomb ,he is flippant yet aristocratic in his manner .The combination is irresistible ,and it saves his unworthy life .Without the irresistible combination Maddalena wouldn't have exerted herself to his behalf ,Gilda wouldn't have sacrificed herself willingly ,and without Maddalena and Gilda he would be dead . LV's Duke sounds a tiny bit long in the tooth in this performance but no more than mid-to-late 30's ,which isn't a big deal
@@alexingresss2420 The DUke 's age isn't mentioned in the libretto but Rigoletto calls him "giovin, giocondo, si possente, bello" . The women of the cast go even further , calling him fatally handsome and likening him to Apollo ,so he must be young and quite the looker .But there is young and young . I don't believe he is meant to be very young (
@@Nangis123 Thanks. I don't like dark voices in the role myself, or voices who sound like B-movie villains, and even less voices that can't act, singers who intone just one handsome abstract tone after another are very wrong for Verdi in my opinion, they don't develop any dramatic conflict at all. I also don't like singers who confuse vocal acting with indulging in melodramatic and sentimental distortions.
@@alexingresss2420 LOL .There's a lot you don't like but I find myself in agreement with you .There's little occasion for stylistic distortions here but one shouldn't underestimate certain singers ... .Conversely ,there's no shortage of singers who just sing their way prettily through the quartet,all their concern directed at the Bb's , hoping they won't come to grief with them . When you get a feeling of singers singing this (or any other Verdi terzet/quartet/quintet/etc) like a choral ,a feeling of them of singing TOGETHER , it's a sure sign they missed the point . They're NOT supposed to sing together ,they're supposed to struggle individually or in pairs with their own woes , with individual voices rising up at key moments . I agree Gobbi disappears in the ensemble and Pagliughi does her best to ruin the piece .
Pure voice was Gobbi's least interesting asset, and his is the only one inaudible in this quartet. Pagliughi is louder than is good for her, LV has no trouble to make himself heard including his pianissimi, the mezzo is mostly inaudible, and Gobbi is completely inaudible, regretfully so. I would have liked Pagliughi to tone down a bit and Gobbi to make more of an effort.
