When I was a young voice student I had the pleasure of seeing Milnes in Mozart's "Don Giovanni", and was able to meet him backstage after the performance. He autographed a picture of himself, and asked me if I was a singer. I told him, that I was and that I had just sung the role of Zerlina. He smiled warmly and replied, "Ah! Yes...you're the PERFECT Zerlina." Can't tell you how that made my day! :)
Just really to good to even be human. Those face melting high notes and big rolling middle notes are unbelievable, and the diction and phrasing impecable. There isn’t singing better than this.
@@rosemaryallen2128 I know it’s sacrilege, but I’ve never been a Gobbi fan, and his histrionic acting may have passed in his time, looks more a historical curiosity than convincing. Bastianini is one of the greatest singers who ever lived. But still, nothing he ever recorded beats this here, Milnes at his absolute prime doing the role he did better than just about anybody (except maybe Ruffo, or Big Mac.) At this level of artistry, it’s meaningless to talk about “better.” There are only differences of experience and expression. This is peak.
@@rosemaryallen2128 Right, I said “no one sings better.” Milnes, like London, had an injury caused by a medical issue. In Milnes’ case, it was scarring from a burst blood vessel. Miles had amazing technique and was well-known as an extremely consistent singer who sang one of the busiest schedules in Opera for decades at the highest houses in the world, and almost never canceled. All while interpolating in high notes well above the scores and singing louder than anybody else on stage ini many cases. A few of my teachers were regular costars with Milnes, and marveled that he would go to parties after performances of big heavy roles, and continue to sing into the night until the neighbors called the cops! Then get up and sing big Verdi roles the next day. My teacher said “he had an iron larynx!” Right up until his medical issue. Misuse results quickly in nodes and injuries that cause frequent cancelations and time off, which never happened with Milnes. Even after his injury, he continued to sing very well at the great houses! Which was only possible because with a magnificent technique.
@@rosemaryallen2128 The top notes are scrappy for Gobbi and Bastianini, they can't sustain them with as much Squillo as what Milnes can muster here. Bastianini is not as expressive, has less dynamics, his voice more round. Gobbi has great characterization but his voice is not a Bel Canto kind of voice, which I personally prefer. He does sing with a verismo sound, which is stylistically more accurate but not as pleasing to when you are after total vocal mastery.
His declamatory style (ability to make the text flow like speech), his usage of a wide variety of vocal colors, his stage presence, and the force/passion with which his sings are all superb!
I had seen this many times. I think I even commented on it. But it's still easily the most thrilling rendition I've ever heard. Gives me chills. No more Milnes, Luciano, Domingo, Freni, Ghiaurov, Caballe. No wonder I hardly ever go anymore. I wonder if Thomas Hampson ever saw this?
@@eugeniogentili1048 Concordo Eugenio, nella mia pochezza ho ascoltato diversi interpreti su questa aria che amo particolarmente (Bastianini a mio avviso la più bella in assoluto ma purtroppo non ci sono immagini) e devo dire che questa viene subito dopo, bellissima voce ma come hai sottolineato tu una interpretazione e presenza fantastica, anche il modo in cui esce di scena è bellissimo, il pubblico va in delirio, penso che in questo periodo Milnes fosse particolarmente in forma, non l'ho più sentito a questo livello, che ribadisco, Altissimo.
He is still actively teaching and mentoring and running programs for young singers. Vigorous and charming and passing it on to the next generation. Extraordinary human being.
This is hyper-awesome! Hearing him live at that time would have probably caused death by wonder overload and over exposure to greatness. I absolutely adore this performance! Great music, great singer and overall performer.
Stunning man. Such mastery of control. Best scarpia ever. Nothing short of enthralling. I dont think i breath watching him. Even as a senior hes still hot !!!back stage he takes up a whole door. Truly manly
My piano tutor at college was a noted accompanist. He recalled standing behind Milnes when he was singing an aria and that his shoulders and upper back looked like he was doing a workout in a gym:)
Not so early Milnes. He debuted at the Met in 1965 and was 43 here 13 years later in 1978. Many people are prejudices against Milnes because of his physical problems later with his vocal cords. But Merrill was amazed at Milnes voice and declared him his successor. Milnes, Warren, Merrill, Cappuccilli--all wonderful. Milnes is my favorite for his smooth voice and ringing high notes--the Pavarotti of baritones!
@@jefolson6989 i heard him live in the late 80's and his voice was huge! That's probably why he had vocal problems later on... using too much voice all the time. He sang Wagner on the program.
@jimbuxton2187 it was big but for sheer volume he didnt approach McNeil. I didnt hear Warren, but my friends who did said it was like a pipe organ. Love Milnes. He was almost overexposed in the late 70s early 80s. He was everywhere. I think he was the last baritone in that line of American baritones. There have been good ones, but lighter more lyric than our Traditional Verdi baritones.
I think this performance became the benchmark of this aria!!no 1 has even came close to this...milnes is indeed one of the best baritones ever to walk the earth..
Milnes succeeded Merrill at the Met. He was quite different in many ways. First of all he was much taller. Merrill however was more lighthearted. He used to appear on Jack Paar often. And of course he sang the National Anthem at the ballpark. Merrill's voice got darker and heavier each year he sang - and he sang a long, long time. He was on the Saturday Met broadcast every week but toward the end he was just heaving that rich dark voice up to the high notes. Then Milnes showed up. It was a true high baritone voice that got better the higher it went. And Mines was a very good musician which Merrill had never been. So when Milnes became the first baritone at the Met it was exciting and refreshing. This is an excellent showcase for his talents. He looks good and moves well. He sings the aria very sensitively and knocks the ball out of the park on the High A Flat.
Actually, I feel that Milnes was more of Leonard Warren's successor at the Met, than he was Merrill's. Both Merrill and Cornell Macneil were never in Warren's league and it wasn't until Milnes arrived at the Met, 5 years after Warren's death that they had a baritone worthy to be called Warren's true successor.
A paragon of style and beauty. Many commercial recordings of this great artist failed, as in the case of Corelli, to capture the astonishing number of upper partials in his timbre, which could sometimes render them 'flat' (of all things!). Here we can appreciate the great virile spinning top. A unique voice and a unique artist.
Bravo maestro!!!!!, had the chance to assist to one of his Master Classes in Mannes School of Music at NY; he is not only a wonderful baritone and gentleman, but a great maestro!!!. I learned more with 3 hours with him, that months with other teachers. Bravooo!!!!!!!!
Phenomenal..truly one of the greats. I heard him do this 2 or 3 years earlier at the City Opera at Lincoln Center. He was so resonant you could feel the seats shake. I was in awe.
A special, important, rare, and historic moment caught on video, thank goodness, for generations to come who will see how it is done. Thanks so much for posting, and thank you to Milnes for a magical and musical interpretation.
He used to teach at NW full time and at Yale as guest artist presenting Master Classes for few weeks. Now he is retired in Florida working with Opera Tampa. A great person to work with and one of the most important opera singers of the post War era.
Wonderful performance of a standard baritone aria. Milnes had great stage presence, handsome appearance, decent actor, and in his prime, an extremely good voice. Particularly at the top. Not many baritones could match the high notes he produced. Perhaps not the greatest American baritone, but during the 1970's was one of the dominant Verdi baritones of his generation.
Even when there were vocal problems in the 80s and later in the 90s when some of those vocal issues were corrected, he still maintained his extreme top.
Thank you so much for posting. I saw him perform this at the Met and while we hear just how fantastic he was, the video does not show how effectively he came out and filled the vast auditorium with his presence.
I first heard Milnes back in 1983 in a production of Ernani along side Gilda Cruz-Romo, I was an extra at age 15. I later joined the chorus of the now Florida Grand. I've been a fan ever since.
Agree with most comments here.... One of the best Prologues of all times... Nothing to say... If perhaps.....perfection is the right word.... I keep with great pleasure the autograph of one of the great barítons of all times.... Thank you Mr Milnes for that wonderful moments....
Can you imagine being in the theater to experience Maestro Milnes at the height of his powers??? I'm welling up...😭 That was everything Opera is meant to be in one great performance.
gosh...I've loved Milnes for such a long time. i played his two disc album to death in the 80's and 90's....with the Attilla Bflat. also love Merrill and Warren. But for my money(Milnes high notes aside) give me Georgio Zancanero. To me, his tone and consistency are unreal.
Heard Milnes many times. Had a unique metallic tone and incredible high notes. But the first time I heard Zancanaro, I realized what I was missing. He far more fully satisfied what I had been looking for in a baritone.
People over analyze this shit. Totally doesn't matter what any psuedo-music scientist/wannabe expert says. This is one of the best performances of Si Puo ever. Regardless of his technique.
Beautiful performance. Safe,easy and with great focus. The moment he is taking off the wig is great and moving,maybe it was unnecessary to put it back again,but what the hell:Incominciate! This is the profound baritone sound that seems to vanish more and more. A pity!
From RU-vid : ajwolf (1 month ago) +3 This is hyper-awesome! Hearing him live at that time would have probably caused death by wonder overload and over exposure to greatness. I absolutely adore this performance! Great music, great singer and overall performer. Reply: In 1978, I was privileged to hear Mr. Milnes at the Met and thanks God I survived blessed to keep the memory of the magnificent greatness of his voice and his superb interpretation under Maestro Levine. Pedro
Vocalità lontano di quella vera italiana. Accanto ai Baritoni d’origine americana tipo Tibbett, Warren, MacNeil , Merrill questa voce appartiene al tenore drammatico... il vecchio
To the person who wondered where the usual Milnes bashers are: well, I see they're here, but I wouldn't worry too much, as they seem a pretty absurd bunch. "Sherrillfester," for instance. I mean, why on earth would you take a screenname that suggests you enjoy mocking a particular singer? That's what he wants his identity to be-- "the person who makes fun of Sherrill Milnes"? I don't much like Roberto Alagna, but do I call myself "Alagnabasher" and post criticisms on his videos? What a creep!
I agree with you; I met him three times and very gracious man. Anyone who bashes these great singers, has never really learned to sing and has no idea how difficult it is to sustain this quality through the decades.
After seeing my first-ever opera at the Met last March (L'ELISIR D'AMORE with Vittorio Grigolo), I've tended to discredit most "bashers" of established artists. I now think that much if not most of this bashing is simply bored people looking for something to talk about.
Thanks for the info. How do you know that covering is natural? I am a young baritone 20 of age to be exact. I study the Alexander technique; we discuss modifying the vowel, not covering. THANKS FOR YOUR HELP!
