With all my respect to the conductor, applause for an aria like nessun dorma, specially when sung beautifully by a great singer like Placido Domingo should not be ignored. Why not pausing for a few seconds to let the audience express their admiration. In my opinion, an explosion of applause should follow this aria whenever sun by one of the three great tenors, even by others.
The least i could say about this production is that it is a spectacular landmark in the history of making of Turandot. Just marvelous. Thanks for sharing with us :D
Soy mitómano de Domingo, pero he de reconocer que el último vincerò, además de cortísimo, termina calándolo. No sé qué pudo pasarle, porque su actuación fue, en lo demás, legendaria.
Lo que le sucede es que a domingo le cuesta en exceso el Si natural y el do de pecho simplemente no existe . Por lo demás es un timbre y una voz a mí parecer muy bella.
Come ci si può sentire con uno strumento musicale tanto potente dentro di sé ? Doveva chiamarsi Fortunato non Placido. Una carriera lunga , una bellezza fuori dal comune, una presenza istrionica, tutti aspettavano si logorassero le sue corde vocali per averle sfruttate troppo con tanto lavoro. Ma non è accaduto. Riaverlo un tale talento ? Speriamo, anche se il mondo è più fiacco e logoro e i grandi talenti sempre meno agguerriti.
Turandot è un'opera bellissima. Non piangere Liu' nell'insieme è davvero maestosa. Il pezzo finale in cui si trovano tutte le voci insieme è spettacolare, Puccini è il mio preferito come autore , Domingo forse il piu' grande tenore della storia, anche per la personalità con cui tiene la scena.
che Domingo sia un ottimo interprete sono d'accordo....ma lasciamo perdere la storia....c'è uno stuolo di tenori non microfonati e non sponsorizzati fino alla spudorazione che stanno ben davanti a lui..,,diamo un limite a ciò che ci piace
mi dispiace contraddirla ma per gli addetti ai lavori è una piccola steccata(non è un SI bemolle..ma solo un urlo) il Vincerò finale..rimane comunque un grandissimo interprete...
Domingo's final high notes were dubbed from the Von Karajan recording. I sat through the performances used for this taping at the Met and he never made the notes once. That's why they appear to be slightly out of sync. Marton's high notes in the finale were also dubbed and dropped in, since she missed them during the actual performance.
+DavidAsset78 when you said: "he never made the notes once." Do you mean THIS performance? /watch?v=Om58sUyCmH4 There is a slight variation from that one to this one. I don't know if it's dubbing or they just cleaned the sound so that the high note sounded more diffused. But it's quite a thing to say that he never made it. He clearly did, just not the best quality, it was a little bit cracked but not like in "In Questa Reggia" where the cracked note broke its continuity. But unless you are saying that the high note from the KQED televised version is also dubbed from Von Karajan, then you are obviously speaking out of your ass as the two notes don't sound anything alike.
First of all, the KQED televised version you mentioned did not air live. It was edited from two MET performances and broadcast later. Domingo's high note from Nessun Dorma was taken off the Von Karajan recording because he didn't make his note to any degree of satisfaction on any of the performances that the Met recorded to be edited for the final video. Marton's high notes for the final aria were also dubbed by her singing them in isolation in a recording studio. The recording session was supervised by the same producer/director who supervised Gweneth Jones' dubbing for the Patrice Chereau Ring Cycle. This is not hearsay. I was there.
DavidAsset78 "It was edited from two MET performances and broadcast later." So what you are saying here is that the KQED performances are also tempered with? How is that one edited pray tell? Are you suggesting that they also did dubbing for the KQED version as well? My question was WAS the high note in the KQED version what he originally sang? You claimed that you sat through the performance so you should know. "because he didn't make his note to any degree of satisfaction on any of the performances that the Met recorded to be edited for the final video." Which is not what you said before. What you said was, and I quote: "He never made the note once." You are giving people the impression that somehow Domingo was flat on that note or that he couldn't even sing it out at all. If you want to go around and exposing the dubbing, why not just say that his note was not the quality of the DVD that you hear? You would do everybody a bigger favor by pointing to the KQED version, assuming that there was no dubbing involved in that high note, so people would make up their own mind about how "satisfactory" the note was. Instead, what you are doing is exaggerating to the point of defaming a famous singer. No it's not heresy to say that there was technology involved to make things better, and actually, that's quite common. But it is mean-spirited to go around defaming anyone by inaccurate or exaggerated information.
This is from an opera critics article dated March 13th 1987 who attended the opening night of this production. The principal roles were cast about as strongly as may be possible today, with Eva Marton as a convincingly icy Turandot and Placido Domingo as her importunate Calaf. Miss Marton made a somewhat tremulous and metallic sound at first, but firmed up quickly and gave a powerful account of such stentorian moments as ''In questa Reggia.'' Mr. Domingo, though less heroic of tone, held his own vocally and struck plausible dramatic attitudes, even if he did not persuade one at any time that this was a princess he could not live without. Most of the time, Mr. Zeffirelli had the stage seething with mobs of people, as if trying to depict China's overpopulation problem. However, he let Mr. Domingo have it all to himself for ''Nessun dorma'' and that proved to be the tenor's finest moment. "
I might be committing heresy by my comment but I really think I prefer Placido Domingo to Jusse Bjorling in terms of this role. My mom would have been most upset at this - she thought the sun rose and set on Bjorling. What do you all think?
La voce di Bjussi era miele piu facile sugli acuti. Un angelo. Placido negli anni d' oro , aveva , estremi acuti a parte la capacita ' di incantare il pubblico.
@@massimocassano2545 grazie! Sto cercando di informarmie sulle differenzie tra Bjorling, Domingo e Jose Carrera che cantato Nessun Dorma. Non ho un orecchio abbastanza bueno per riuscere a riconoscere le differenze?
