Bergonzi tratta la sua voce dolce e dolce con naturalezza e intelligenza come se stesse parlando con te . Nessuna esagerazione, i suoni sono semplici e tuttavia il suono elementare è meraviglioso...
He was a spiritual singer. I was fortunate to hear him many times at the Metropolitan Opera, where he was beloved and sang there for many years. He was my favorite. When I watch this-and he did it at the Met many times-I have tears in my eyes remembering this phenomenal tenor. He was unique.
so much in love with this rendition, among many others, Mr. Bergonzi's voice is closer to heart! Full of subtle details, and phrasing, and everything, from start to the end. So fit to the role for this aria, Love, Bravo, and Bravos...
@@bodiloto I direttori, i cantanti colleghi di Bergongli, gli amanti del bel canto , i critici in tutto il mondo hanno riconosciuto la grande e perfetta arte di Bergonzi. Secondo lei, i piani, i pianissimi, le mezze voci sempre sonore, le zone di passaggio coperte, i si bem. Presi pianissimo e morenti, acuti mai forzati secondo lei che cosa sono? Non faccia copia con i detrattori per diletto. Se Bergonzi non gli piace, non lo ascolti. Però non si inventi fandonie. Bergonzi non è unico come grande artista, ce ne sono tanti bravi , apprezziamo tutti. AMEN
Dal lirico spinto (verdiano e non), all' Eliser. Non ci sono parole, anzi sì, tutti gli amanti del bel canto ti porteranno nel cuore per sempre. Grazie che sei esistito!.
Er war der größte Verdi-Tenor des 20. Jahrhunderts und wird unvergessen bleiben. Ich habe ihn das erste mal als Manrico im Troubadour gehört, da war ich 12 Jahre alt. Seit dem war er für mich der beste Tenor aller Zeiten. Seine Gesangstechnik und die Wärme in seiner Stimme waren einmalig. Dieser große Sänger wird immer in meinem Herzen sein.
Unica interpretazione che mi ha commosso... grazie a YT è oggi possibile confrontare in tempo reale le varie versioni e, per quanto mi riguarda, questa di Bergonzi non è seconda a nessuna, in tutti i sensi: perfetta.
....die Arie als vollendetes Meisterwerk eines Jahrhundert-Tenors! Von Gott beschenkt und durch die Engel gelehrt...Man hört mit beinah ehrfürchtigem Staunen. Eine perfekt geführte, in allen Registern makellose Stimme, Wort und Musik ein Ganzes. Welch ein Unterschied zu den heutigen Nachfolgern! Da werden höchst mittelmäßige Stimmen zu Ereignissen stilisiert, die Maßstäbe darstellen sollen....
This happens when you compare him only with today singers, and even compared to them he isn't anything special, certainly not worth all this exalted praise.
@@rationalsceptic7634 have to disagree, he is not as popular as 3 tenors, his voice and his techniques are way better than them...if one is looking for voice and operatic singing,
OMG, I have been listening to him for years. In an obscure interview, Pavarotti is saying the Carlo, Franco Corelli, and Jussi Bjorling was the best at this excellence. Bjorling being my fav.
Qui que vous soyez, j'espère que vous pouvez encore l'écouter et y puiser le courage d'affronter cette triste vie. Pensées d'une lectrice et admiratrice fervente de Tolstoï, de Dostoïevski, de Gogol, de Tourgueniev, de Tchekhov et bien d'autres auteurs russes qui au même titre que la musique m'ont apporté des heures de grande joie.
El diminuendo del final es increíble...la técnica , el timbre de voz y la ternura de Bergonzi eran inigualables....esta versión de Nemorino que hizo con la Scotto debe ser la mejor que existe de esta ópera.. Bravo Maestro!!!
Signor Bodiloto, tutti parlano di questa interpretazione come inarrivabile per tecnica magistrale, gusto e bel canto. Solo lei dice "Non mi piace". Si faccia una domanda, chi non capisce nulla di canto? Penso che la risposta sia una sola "A buon intenditor.......". Comunque non si ammali per la gelosia. La vita è bella proprio per la differenza di opinioni.
+Ricardo Gigante la dizione perfetta..i fiati non si discutono..l arte del bel canto...personalmente preferisco SCHIPA e Tagliavini...Carlo lo vedo più nei ruoli VERDIANI..rimane comunque un grande
Exactly... that was the true great Italian art of singing opera of the past now long gone I am afraid... The audiance of today has comfortably settled in accepting much less quality and is mistaking it for an epic achievement... - See the frantic following of the likes of Netrebko and Kaufmann. In the 50s and 60s you could find better singers than those two so-called "stars" on every provincial theatre in Italy - Sad.
A tutti i grandi pseudo-professori di canto che pontificano su RU-vid, criticando ora una consonante , ora una vocale , ora un suono di Bergonzi, oppure più genericamente la sua voce, proprio a loro vorrei far cantare un aria qualsiasi, registrarla, pubblicarla su You Tube e poi.....divertirmi a leggere le recensioni che ne sortirebbero. Per favore NON perdiamo mai il senso delle proporzioni e portiamo ALMENO rispetto a chi come Bergonzi per quasi 50 anni di carriera e’ stato OVUNQUE riconosciuto come semplicemente IMMENSO.
The argument is childish in the extreme. Appreciation of an art form has nothing to do with our own ability to practice that art form, we have ears and an education. If only former singers would be allowed to attend opera performances, theaters would be empty.
Well, it's not that it died, more like it has evolved over time. If you look around, you will notice comments like "Garcia school has ruined belcanto", "After Bergonzi belcanto died", "After Callas belcanto died", "After Pavarotti belcanto died" etc. It's because our aesthetic perception changes over time, so certain ways of singing and certain interpretations become partially outdated. It doesn't mean you can't enjoy Bergonzi's singing and it certainly doesn't mean there are no (and never will be) good singers around =)
Stylistically this is far from what we can hear on old recordings done by singers who lived much closer to the original period. I know people who are of the opinion that the "yokel" aspect of the character suits him. That might be, but I have never subscribed to the notion Nemorino is a yokel. Donizetti didn't write music for a pedestrian Nemorino, the tenor should sing with vocal nobility and all the bel canto graces he can think of, and this is exactly what's missing here. Not completely missing, but mostly missing. My preference is also for a tenor who should not sound constricted as soon as he approaches passagio. This being said, he's by no means bad, but he is also by no means anything extraordinary. Solid, respectable average, doing his best, I'm sure.
@@carlnuernberg3273 Tn somma... In you we have someone who is so full of himself he presumes to dictate unknown people what should move them and what not. At least I UNDERSTAND something about opera. UNDERSTANDING is objective, FEELING is subjective. I don't tell anyone they should feel what I feel. If ridicule could hurt, you would be dead.
Falló al final???? En qué???....el oído creo que te falló. Escichalo otra vez, es una interpretación perfecta, limpia , ..sin fallas. Hasta le sobró paño.
Obojaiu tenora kak Fleta,Caruso,Merli,Pertile,Enzo de Muro Lomanto,De Muro,De Lucia, Lauri-Volpi,Schipa,Del Monaco,Corelli,Masini,Gigli i t.d. i t.d. tam ih bol'she chem 100 tenora. Bergonzi mne nikak ne nravitsia. I gusti sono solo dei gusti niente di più. A ognuno il suo…
