Unbeatable cast, incredible dame Joan, Tito and Nicolai, mezzo is unknown to me, but she is also very good. Where is the problem in the Gedda´s Italian repertoire?
What strikes me the most is how Verdi could compose and write down this incredible moving music without tape recording, computer etc. Such a beautiful and complicated quartet. Rigoletto is, to me, marvellous from the beginning till the end. My favourite opera, goose pimples from head till toe. Love the singers. Thank you, Verdi.
2) This is from one forum: Years ago I followed Gedda into a rehearsal of Dalibor with the Opera Orchestra of NY under Eve Queler. I met him in the street, wearing his Russian-style hat, walked in with him and sat a few chairs away from him. He was sucking on a candy until Eve called him up to sing. The first half of the first syllable of the first word was a little husky, but from that point onwards, he sang full voice, gloriously, for the rest of rehearsal time-slow to warm up indeed!
That final note by Dame Joan always sends chillls down my spine. I've never heard Gedda before but he is so masterful in this role, very sexy and lecherous! His voice is exciting. And of course Gobbi is his usual strong voice. And Joan is very young and beautiful in this, although even with age the beauty of her voice and expression brought true beauty to her face and her gestures. Thank you for this enjoyable and exciting treasure!
I couldn't have put it better. I have listened to this aria over 300 times, and I can't get over its beauty and depth. Each singer singing above the other, to have their voice, their emotion, their story heard: the Duke's cajoling, Maddalena's coyness, Gilda's sorrow, and Rigoletto's consoling vengeance.
Verdi didn't write the high notes for Gilda at the end. They are quite out of place, as she is expressing sadness. Pity Sutherland or whoever was conducting didn't have more artistic integrity.
@@GRANITEDAME Drama and acting in opera be damned, the music falls flat without the high notes, and maybe Verdi was writing for a soprano who didn't have it!
Oh! It`s unmissable too! Just imagine such a legendary, wonderful trio you mentioned! I couldn' t agree more! But here, besides the complete dream casting, I think Gobbi is the best Rigolleto I' ve watched/istened in YT. But thx to our friends cotributors here, all these marvels are treasures, and I think all of them are true kepeers. It is as good as it can get isn`t it? Plenty of choice! Thx for your purposeful comment ! KRs ! Luiz
I hear Gedda's technique - unlike say Pavarotti who makes it seem seamless and easy. Gedda has a LOT of voice and his style is well thoughout and in the "Grand Tradition". Joan looks truly beautiful here...what a treat to add to her opulent voice.
Could Verdi have dreamt of a better Gilda?! The voice is perfect here in 1967 (I think), right between the 1961 (the purest voice, perhaps too much Bellini style sometime) and the 1971 (the strongest voice, perhaps to warm/old for Gilda) great recordings.
Thank you very much for the information, I will never cite it incorrectly again. It's of course not a negative if a singer takes a long time to warm up, provided they warm up properly for each performance.
3) If you know that A te,o cara is the first thing Arturo sings in the I Puritani, you can get the idea what are the foundations of such truths. Of course he had to warm up like everybody else and he wrote that he was always careful to arrive early enough to warm up before the make-up.
1) I'd like to know who and why is advertising such things, which have no foundations at all. Of course he needed some warming up before the performances and he was always doing that. He mentions in his autobiography how Strauss wrote the very difficult aria Di rigori armato il seno in Rosenkavalier to make it difficult for the tenors and how he (Gedda) never has any difficulty at all singing it, although it is the first thing the tenor sings there.
3) Here is another example from one forum: "Fundamentally, he warmed up only after singing a while. So Pritani was great for him - easy stuff in the beginning, the A te o cara later, and the final act gets Vieni fra queste braccia and Credeasi misera." If you know that A te,o cara is the first thing Arturo sings in the I Puritani, you can get the idea what are the foundations of such truths.
1) We discussed this with Tonyantony1. I believe he also read that in one of the forums. He agreed that he might be wrong. Of course, I can go only by what I read in Gedda's biography and I cited what one witness wrote in one forum. I have a number of Gedda's live performances and recitals and I can't say that I heard a significant difference. Of course one performance might be better than another - no one is always at his best.
I love it when people write things in forums with NO knowledge at all. Except for the very short offstage quartet in the first scene, Arturo begins his night's work with A Te, o Cara, one of the cruelest, most difficult entrances for tenor! I heard Gedda dozens of times live and he NEVER took any time to warm up, and that includes the Italian Tenor in Rosenkavalier, where he sings his only aria with no chance to warm up.
2) Personally I am inclined to think that this is a sort of things that one invents and is the being repeated around . Here is another example from one forum: "Fundamentally, he warmed up only after singing a while. So Puritani was great for him - easy stuff in the beginning, the A te o cara later, and the final act gets Vieni fra queste braccia and Credeasi misera."
Please note that my comment was not derogatory in any way. I heard it quite a while ago from a Gedda admirer and this was confirmed by the Gedda fanatic (whom I'm sure you remember), tonyantony1, who stated that this was why his Questa o quella was not as good as his La donna e mobile. I don't possess sufficient knowledge on Gedda to make comments which is why I used one from someone I assumed more informed as a reason to perhaps explain why Gedda isn't as his best here.
I saw his Duke 3 times at the Met. Never any problem at all with Questa o quella. For him, it was an easy aria. Please understand, opera people are loony!!! They have highly personal views (fine) which they attempt to justify by simply making up "facts"!
Unbeatable cast, incredible dame Joan, Tito and Nicolai, mezzo is unknown to me, but she is also very good. Where is the problem in the Gedda´s Italian repertoire?
RIP GEDDA 2017 :(
La Stupenda Joan foverer
The best Rigoletto I ever
heard Toptop singers on
all parts!!!!
What strikes me the most is how Verdi could compose and write down this incredible moving music without tape recording, computer etc. Such a beautiful and complicated quartet.
Rigoletto is, to me, marvellous from the beginning till the end. My favourite opera, goose pimples from head till toe.
Love the singers. Thank you, Verdi.
Good point. When Verdi heard this in rehearsal he said he would never write anything better.
2) This is from one forum:
Years ago I followed Gedda into a rehearsal of Dalibor with the Opera Orchestra of NY under Eve Queler. I met him in the street, wearing his Russian-style hat, walked in with him and sat a
few chairs away from him. He was sucking on a candy until Eve called him up to sing. The first half of the first syllable of the first word was a little husky, but from that point onwards, he sang full voice, gloriously, for the rest of rehearsal time-slow to warm up indeed!
That final note by Dame Joan always sends chillls down my spine. I've never heard Gedda before but he is so masterful in this role, very sexy and lecherous! His voice is exciting. And of course Gobbi is his usual strong voice. And Joan is very young and beautiful in this, although even with age the beauty of her voice and expression brought true beauty to her face and her gestures. Thank you for this enjoyable and exciting treasure!
La Stupenda. OMG. Brava.
Sutherland...Glorious. Outsings the lot, as always.
I couldn't have put it better. I have listened to this aria over 300 times, and I can't get over its beauty and depth. Each singer singing above the other, to have their voice, their emotion, their story heard: the Duke's cajoling, Maddalena's coyness, Gilda's sorrow, and Rigoletto's consoling vengeance.
This is wonderful. Gedda is wonderful as usual (such a great artist) and this was Sutherland's best vocal period (and that's saying something).
Bravi tutti.
GEdda = perfect Technique
... rare record!
It's a record of "Bell Telephone Hour" (USA, 1968).
WOWWWWWWWWW maestro GOBBI Y SHUTERLAND!! me costo encontrar esto GRACIAS
Deluxe cast!!!!, how brigth and clear is the interpretation of all this great singers!!!...BRAVOOOO!!!!
This is WONDERFUL INTERPRETATION OF THE QUARTET FROM RIGOLETTO. THANK YOU SO MUCH FOR ALLOWING US TO ENJOY IT. BEAUTIFUL..
AWESOME CAST!
Possibly best Rigoletto quartet ever! In YT w/o doubt! THx for the posting! KRs ! --- Luiz
GOBBI, di stefano, callas , is the best,
Gedda, the most lecherous Duke - Pavarotti is merely roguish.
JS is really beautiful....
FULL VIDEO PLS!!!!!! inmenso rigoletto, uno de los mejores sin duda, uno de los ultimos shows del dios gobbi q maravilloso..
beautifully acted and exquisitely sung -- and versa vise
La Stupenda indeed. Loved this recording. Thank you for posting.
I wish this cast had recorded the full opera.
If you think Dame Joan is just ok, you better tell us who can sing Gilda's high notes with utter ease. That final D was flawless.
Verdi didn't write the high notes for Gilda at the end. They are quite out of place, as she is expressing sadness. Pity Sutherland or whoever was conducting didn't have more artistic integrity.
Verdi didn't write those high notes.........
@@GRANITEDAME who cares, every soprano has sung it
@@Tkimba2 correct
@@GRANITEDAME Drama and acting in opera be damned, the music falls flat without the high notes, and maybe Verdi was writing for a soprano who didn't have it!
Oh! It`s unmissable too! Just imagine such a legendary, wonderful trio you mentioned! I couldn' t agree more! But here, besides the complete dream casting, I think Gobbi is the best Rigolleto I' ve watched/istened in YT. But thx to our friends cotributors here, all these marvels are treasures, and I think all of them are true kepeers. It is as good as it can get isn`t it? Plenty of choice! Thx for your purposeful comment ! KRs ! Luiz
I hear Gedda's technique - unlike say Pavarotti who makes it seem seamless and easy.
Gedda has a LOT of voice and his style is well thoughout and in the "Grand Tradition".
Joan looks truly beautiful here...what a treat to add to her opulent voice.
Люблю всегда.
I hope you will listen to the whole opera. It's full of beautiful aria's. You will love it. Enjoy!
Tito Gobbi stole the show.
Sutherland and Gobbi superb. Gedda ok and Miller adequate at best... But thank you. New to me
Gedda embodies the nature of the character beautifully to me. The others just sing.
Isn't the Duke supposed to a lecherous fellow? Well, Gedda certainly looks lecherous. It might be too hard to sound lecherous.
Люблю.
Да, ток парни трохи перегибают со звуком. Дамы match more музыкальнее.
wow
SI CONSEGUIS EL VIDEO ENTERO DE ESTA OBRA DE ARTE SUBLIME, SERIAS DIOS! O DIOSA. ALGUIEN LO TIENE QUE TENER, GOBBI ETERNO TODOS!
❤❤❤😊😊😊🎉🎉🎉
Could Verdi have dreamt of a better Gilda?! The voice is perfect here in 1967 (I think), right between the 1961 (the purest voice, perhaps too much Bellini style sometime) and the 1971 (the strongest voice, perhaps to warm/old for Gilda) great recordings.
Thank you very much for the information, I will never cite it incorrectly again.
It's of course not a negative if a singer takes a long time to warm up, provided they warm up properly for each performance.
3) If you know that A te,o cara is the first thing Arturo sings in the I Puritani, you can get the idea what are the foundations of such truths.
Of course he had to warm up like everybody else and he wrote that he was always careful to arrive early enough to warm up before the make-up.
1) I'd like to know who and why is advertising such things, which have no foundations at all. Of course he needed some warming up before the performances and he was always doing that. He mentions in his autobiography how Strauss wrote the very difficult aria Di rigori armato il seno in Rosenkavalier to make it difficult for the tenors and how he (Gedda) never has any difficulty at all singing it, although it is the first thing the tenor sings there.
I love her MaddaMullet.
3) Here is another example from one forum: "Fundamentally, he warmed up only after singing a while. So Pritani was great for him - easy stuff in the beginning, the A te o cara later, and the final act gets Vieni fra queste braccia and Credeasi misera." If you know that A te,o cara is the first thing Arturo sings in the I Puritani, you can get the idea what are the foundations of such truths.
When and where filmed?
1) We discussed this with Tonyantony1. I believe he also read that in one of the forums. He agreed that he might be wrong. Of course, I can go only by what I read in Gedda's biography and I cited what one witness wrote in one forum. I have a number of Gedda's live performances and recitals and I can't say that I heard a significant difference. Of course one performance might be better than another - no one is always at his best.
I love it when people write things in forums with NO knowledge at all. Except for the very short offstage quartet in the first scene, Arturo begins his night's work with A Te, o Cara, one of the cruelest, most difficult entrances for tenor! I heard Gedda dozens of times live and he NEVER took any time to warm up, and that includes the Italian Tenor in Rosenkavalier, where he sings his only aria with no chance to warm up.
what about the one with Pavarotti, Sutherland and Popp?
2) Personally I am inclined to think that this is a sort of things that one invents and is the being repeated around .
Here is another example from one forum:
"Fundamentally, he warmed up only after singing a while. So Puritani was great for him - easy stuff in the beginning, the A te o cara later, and the final act gets Vieni fra queste braccia and Credeasi misera."
Please note that my comment was not derogatory in any way.
I heard it quite a while ago from a Gedda admirer and this was confirmed by the Gedda fanatic (whom I'm sure you remember), tonyantony1, who stated that this was why his Questa o quella was not as good as his La donna e mobile.
I don't possess sufficient knowledge on Gedda to make comments which is why I used one from someone I assumed more informed as a reason to perhaps explain why Gedda isn't as his best here.
I saw his Duke 3 times at the Met. Never any problem at all with Questa o quella. For him, it was an easy aria. Please understand, opera people are loony!!! They have highly personal views (fine) which they attempt to justify by simply making up "facts"!
Potete dirmi di che anno è? E di quale teatro?
Well, people say Gedda took an incredibly long time to warm up. I guess he wasn't sufficiently warmed up for this TV show.
Where?
Класссс.
Gedda is magnificent here. The rest are just OK IMO. (In this video.)
So was tonyantony1 simply misinformed? Or did Gedda take a while to warm up?
As I've said, I personally have no idea.
Read my comment above, please.
Люблю Сазерленд і Гоббі.., хоч Джоан і не Джільда.
Gobbi isn't sounding great here either.