Sad to say, but I don't think we will see the likes of Verrett anytime soon -- her immense talent, conviction, and versatility are simply not valued anymore. If this type of singing is considered old-fashioned then get me a time machine!!!
This was my first performance ever at the MET, standing room, with this incredible cast in this incredible opera, in the most incredible opera house. Pavarotti was in his prime, as was Verrett and Scotto. Renata Scotto was truly amazing....her "D'amor sull'ali rosee" was amazing. I remember Verrett singing with her face in the floor in the last scene for the final trio, and the walls reverberated. The sound was completely surrounding me, coming up from the floor, down from the ceiling, from behind....I will never forget it. Thanks for this! What a wonderful memory revisited!
I am not the only one who is greatly in your debt for posting snippets of this extraordinary performance. I already had it in audio, but there's nothing like the thrill of seeing what was happening on the stage. Your effort was worth it!
What can one say this is the Crew of Crews everyone on Top of there Art. I come to this film when I need a Boost its like a drug my vocabulary is limited when it come to my Verrett Bravo Bravo Bravi .
I saw this production on the Spring tours in Atlanta. This production was a little hard to comprehend, but in retrospect in captured the atmosphere of the opera. Thank you for posting. Brings back incredible memories. PLEASE, I implore you post any other videos you might have like this one. I would love to see the controversial 82 Macbeth again, which I loved, also the 89-90 Faust, or the beautiful Onegin that dated back to the 50's. Thank you, again. What a treasure this is. 💛
These Trovatore clips are immensely precious to me. Rare and beauteous. Pav unusally committed emotionally. Verrett as always splendid mezzo and my beloved Scotto. StuartLou I treasure this web(in)site . Thank you
that is absolutely the truth, this strange new way of staging things with a ton of movement as they do today in opera in order to achieve a "picture" instead of focusing on the singing and drama is whats going to make this kinda of singing die and much sooner than later. I hope that people will start to teach singers in the old ways again for opera's sake.
This is fabulous! Thanks so much! Pavarotti's voice sounds very very fresh and his high notes seem resonant. Verrett was a fabulous Azucena; I can't say I love Scotto's Leonora, but depending on the performance date, this is either Gavazenni's last or penultimate Met performance, and his conducting is great here.
I know where it came from- little 'ol me! And, I AM old. Wasn't easy schlepping all that video stuff into "that place". Remember, those days the camera was huge. The lens was bigger than the camera. Battery pack around my waist. 20 minute REEL to REEL tapes. Yes, reel to reel tapes. Ah, the good old days when there were singers worth going thru that for.
Can I ask you, one can hear Pavarotti's voice is really pinging - particularly those Bbs in Ah si ben mio - In your Werther '78 video, one can barely hear Domingo's top (hard to believe that he was singing Otello in 76). Is that a fair observation of how it appeared to you listening in the house?
Boy, you got that right! In those days the voices were worth it. Nowadays comprimari sing title roles and have digital recordings of them on the market. Yet there was never a commercial recording of Verrett singing Azucena, or the great Louis Quilico singing anything.
@Tevyev13 Live, Domingo had a medium-sized voice which actually sounded quite lyrical. His Otello, live, was more mind over matter than anything else, and Otello's great outbursts never had the impact they should have, because right from the get-go he was giving 110%, so there was no room for more expansion.
@@assindiastignani can't wait to hear the "GREAT" Paul Potts sing his Tristan at Beyreuth and the "great" Netrebko sing Turandot . Then after that they'll be so popular they can be on America's got Talent". And then be like...ya know..like..like..ya know...popular and stuff.🤐🤐🤐🤐
many thanks for this. precious! happy to have been there at the time too. there probably won't be anything like this again... that's why this is so precious.
SHIRLEY VERRETT WAS A FAVOURITE OF LUCIANO; Not only a Super Star Soprano she was Smart.. Only sung six -eight months per year; Took care of Her voice and "Must have Time with MY Family' She would Decree and it paid off.
She made a mistake switching from mezzo to soprano at least after about 1980 or so (she was of course a spectacular Lady Macbeth but that was then a role sung by both sopranos and mezzos). Later she switched back but it was not the same. Her 1960s and 70s performances, however, are unmatched especially in roles like Eboli, Azucena, LADY Macbeth etc.
Saw one of these performances, but a night when Di Luna was Manuguerra. I recall Verrett and Manuguerra triggering the greatest excitement. On this video, Verrett is transcendent. She had the gift of making one momentarily forget everyone else whenever she performed. I'm so grateful I saw her in this. Pavarotti was beautiful for "Deserto", "Ah, si, ben mio", "Ah se la morta ognora", etc. But his singing was somewhat small-scale, though lovely, for much of the rest of the role. Still, I thought at the time that small-scale was preferable to endangering the voice. There was not an iota of fatigue in his singing from beginning to end. Still, the difference was that Verrett and Manuguerra truly inhabited their roles, while Pavarotti simply made for an elegant musical interlude. By 1976, all the visceral spintos for this part had checked out. But Bergonzi at the time had somewhat more vocal presence in this role than Pavarotti. Scotto was ying to Pavarotti's yang: thrillingly interpreted but with occasional vocal strain throughout. I am glad I saw the ravishing Teresa Zylis-Gara in this a couple of seasons later. Unforgettable (and with a number of the standard cuts opened up -- exciting). I feel that Manrico and Leonora could probably be cast just as effectively today. But now that Zajick has retired, I'm not sure that Verrett could ever be equaled today. I feel we're still waiting for a true successor to Zajick (or Verrett, Cossotto, Simionato, etc.).
ambiente acustico truffato. Pavarotti dal vivo e senza microfono aveva la voce del tenore lirico leggero. in questo video sentiamo la voce del tenore lirico pieno! dove cantano,in un bagno turco?... no comment
@@bodiloto "ambiente acustico truffato" HAHAHAHA la vita non ti ha insegnato che la rabbia costante può causare problemi di salute? Se Mario del Monaco stesse cantando nel video invece di Pavarotti, non avresti detto nulla sull'ambiente acustico. Sei sordo, patetico, ipocrita e un completo idiota. Niente giustifica il tuo odio per lui. Niente!
@@williammaddox3339 Incorrect. She is Azucena and Scotto is Leonora. In fact I don't believe even in her later soprano career that Verrett ever sang Leonora.
Uncle Louie: Thank you for disturbing the rest of the audience “in that place” who paying royalties to the performers but yes, Shirley Verrett recorded the role commercially with Pavarotti on Decca with Leo Nucci conducted by Zubin Mehta (who also conducted the RCA recording with Milnes.)
I recorded 'many' performances and never 'once' disturbed anyone. Camera was silent. Not one person ever complained- if anything- curious about the camera. I'm very aware that would be the least annoying. Today I'd never go with subtitles and phone screen lighting up. You can keep your 'overdubbed' commercial recordings. Thank you.
@@unclelouie3828 So you recorded many performances. Did you the singers any royalties? The Metropolitan opera? How the hell do you know that you never disturbed anyone? You’re one selfish prick to even try and justify what you were doing.
Rien à faire , le di quella pira ne correspond pas à sa vocalita, ni le rôle de Manrico d'ailleurs.... C'est pas mal mais ce n'est pas cela. ----------> F.CORELLI, G.CECCHELE, F.BONISOLLI (fantastique , vu à CG en 1981!!)...
I saw one of these performances (only with Ingvar Wixell as di Luna), and it's true: Ms. Verrett was hands down the best thing on stage that night. The firt and last time I ever heard the trill which Verdi wrote for Azucena in "Stride la vampa."
