That ending is crazy. I love the way the music pulls away leaving just the singers and then it comes back louder and louder, completely drowning out the singers and leaving you with this huge echo in your ears once it abruptly stops. Very cool.
Really? He's a coward who watched without saying a word while poor Liù was tortured to death, and Turandot, herself, is a viscious bitch. No two characters in Opera more deserved UNhappy endings. That said, the music is so gorgeous we forget the plot.
I find a comment by you on almost all of the really good quality versions of operas. And I recall seeing you comment on many other videos too, Symphonies and such. It is nice seeing someone who enjoys similar music. I hope all is well for you at the moment, best of wishes! I saw the bio on your profile, I see it changed from before, and I do relate with the message.
@@Dylonely_9274 Yes I was definitely curious. Very neat, I had no idea Gershwin was also a painter. I myself like to draw pictures and have always been artistic. This lead me to want to learn music so I can learn how to express my artistic perspective in music.
Commençons par le meilleur: la direction de Karajan, lente, majestueuse, attentive aux moindres détails et aux milles couleurs de cette partition. L’orchestre Philharmonique de Vienne, absolument somptueux, luxe suprême mais nécessaire pour rendre justice à cette œuvre exceptionnelle. Les petits rôles, Ping, Pang, Pong, Timur, Altoum: excellents. Le chœur, malgré quelques décalages, aussi merveilleux qu’on pourrait le souhaiter. Hendricks a une petite et très mignonne voix: ici on dirait que Liù a 13 ans ! Le miracle du studio lui permet de chanter ce rôle sans paraître ridicule. Domingo est comme d’habitude très charismatique et se donne à fond, mais passe loin des meilleurs Calafs. À lui aussi le studio prête la main forte - écoutez à 1:20:31 la nette coupure avant le contré-do, qui n’est même pas beau…Certainement un rôle limite pour ce lyrique aux aigus difficiles. Ricciarelli était en fin de carrière et cet enregistrement a sonné le glas de sa voix. Horrible diction, voix poussée aux dernières limites, heureusement aussi aidée par le studio. Très mauvais choix de HERR Karajan pour le rôle principal, qui plombe les ailes de cet enregistrement et le place très bas dans la discographie. Les vrais bons enregistrements de Turandot sont à chercher dans les années 50, 60, 70. Après cela, c’est rarissime.
Ricciarelli en fin de carrière ? En 1981 ? Ô secours. Vous n'avez certainement jamais vu et entendu la bellissime sur scène... après 1981 ! Le grand n'importe quoi en roue libre.
Great recording IMHO! I have CD issue of it and I enjoyed it many times. Understandably people point out Ricciarelli as a miscast for the role Turandot as they opt for heavier and greater sounds or again understandably they point out, as a pro, the magnificent ending and other gorgeous moments from act 2. Mostly agreeing with all comments, for me the real miracle of this recording, however, is the spellbinding beginning of the final act 1:25:50. Karajan's signature pp's on the chorus is mesmerizing. Vienna Philharmonic shines by all means. Nessun Dorma is also sung in a great way if not perfect (last words are my security valve for opera fans and Domingo detractors). A similar moment, if not as touching, is the moonshine scene from the first act 8:50. Thanks for the upload.
Maravillosa versión. Domingo impresionante, en su mejor momento vocal, y Ricciarelli como siempre una voz bellísima, pese a carecer de la potencia turbadora de Nilsson u otras grandes intérpretes de esta obra. Y de Karajan..., qué se puede decir de tal maestro de la dirección orquestal. Para mí es una de las mejores grabaciones de Turandot de todos los tiempos, absolutamente maravillosa y emocionante.
Even if she has never been a dramatic soprano, Ricciarelli presents a beautiful Turandot. and in my opinion this is the best Nessun Dorma ever. Intimate and not sung as a cavalry charge as usual happens...
1981, Vienna. Marvellous performances from the entire cast, Domingo in particular. He embodies Calaf vocally, physically, dramatically, the whole package. I'm not sure that Turandot was right for Ricciarelli's ethereal, crystalline soprano. It's such a dramatic role, even spinto. Her forte was in the more delicate, romantic, lyrical repertoire. Be that as it may, a fine production and worthy for inclusion to anyone's collection.
@@larmunwell...I get the idea that he is not your favourite nor is he Corelli. But 'crap' is a tad too much. Imo, he sounds really good! Maybe ypu need to shave off those hairs growing from your ears...
Part of womanizer HvK's legacy is that he sweet-talked beautiful women into taking on roles unsuited to them. (Remember Helga Dernesch?) Luckily, it worked for only a minute with Christa Ludwig.
Ricciarelli is undoubtedly a good singer, but a complete miscast as Turandot. Much too gentle, too lyrical, too harmless for this role. I miss the bitter coldness and selfish arrogance of this Turandot, and therefore Ricciarelli is at best a stubborn bed bunny. Karajan's conducting is also far too sluggish. All in all really no good recording. Listen to Birgit Nilsson in the reference-recording from 1966. There you can hear what I mean.
Stuff and nonsense. Ricciarelli is badly miscast here. She is a lyric soprano; the voice is for delicate Mimi, not the icy monolithic Turandot. Some passages she manages well but oh how she strains her instrument to achieve the necessary heft, even under Karajan's delicate (and often too slow) conducting, how flat she strays on the fearsome, fortissimo high Cs! Her lower register is inaudible. Forget it. The 1972 recording with Sutherland (who never sang the role on stage and admittedly benefits from the microphone for her chest notes), Pavarotti and Caballé under Zubin Mehta is widely regarded as the best by far. The 1966 Nilsson recording comes a close second. For a terrific live performance please refer to the immense Ghena Dimitrova at the Arena di Verona in 1983.
What recent Turandots? They don't make them anymore. This is still a woefully miscast recording with a great conductor, which doesn't mean much in an opera!
This was the first Turandot recording I bought in 1982 and loved it, … mainly because o Hendricks. Now, I have a hard time listening to Ernie recording again, despite Hendricks and Domingo. Puccini wrote en opera and not a symphony in slow motion with singers. Almost all other recordings are better. My favorite: Ghione with Cigna, Oliveo, Merli 1938
Un tormento continuo ascoltare quest' edizione, Domingo e Ricciarelli non hanno voci adatte a questi ruoli così epici, nonostante tutte le buone intenzioni. Voci fiacche e allo stremo negli acti
Il peggior, e insieme il più bello, errore della Ricciarelli. Totalmente fuori parte, ma, al tempo stesso, la più tormentata Turandot incisa, benché non sia uscita indenne da questo cimento. Karajan e i Wiener sono superlativi.
i don't know, maybe it's just more immediate for them even if it isn't correct, but i don't know. I just don't correct people anymore on this, too much energy out. And this isn't even properly an aria, it's just an intermezzo...so you see, even worse😅
I always think it's miraculous that they manage to get this many talented people in a room at one time, we don't know how lucky we are most of the time!
Am I the only one to hear two different recordings? Hear carefully he sings: no no principessa altera, voglio] now is the cut[ardente d'amor. 1:20:20 Suis-je le seul à entendre duex enregistrements différents ? Écoutez bien, il chante:no, no, principessa altera, voglio] la coupure est ici[ardente d'amor. 1:20:20 Bin ich allein zwei Tonaufnahmen zu hören? Hören Sie zu, er singt : no no principessa altera, voglio] here ist das Ende der ersten Teils [ardente d'amor. 1:20:20
Nope, no splice. The Little Bitter Domingo Haters Club loves to hallucinate that he's a fabrication of everyone in the opera and music recording business, constantly being helped along by everyone else, because, why? It's not like there aren't plenty of opera singers to record who you fervently imagine are better, they simply are, it can't be true that Domingo is any good, it just can't be. Let me call you a waambulance. lol Give it a rest, go outside and play.
Turandot is not the role for Ricciarelli. She is a lyric soprano, not a dramatic soprano. She just sounds out of her depth here. The role of Turandot is better suited to Nilsson and Dimitrova. Domingo isn't the best prince. That role is better suited to Bjorling and Corelli.
I hate to tell other people how to do their jobs but this Von Karajan really needs to learn how to pick it up. Starting at "Padre Augusto..." my coffee got cold waiting for the end. And yes, I noticed the splice at ~1:21. I wonder whose voice they used? Know what? I still think it's a lousy High C.
Musikalisch die beste aller Turandot Aufnahmen, jedoch ist Katia Ricciarelli stimmlich dieser Partie nicht gewachsen. Karajans Hang, kleine Stimmen in hochdramatischen Partien einzusetzen, wirkt sich auch hier negativ in der Titelpartie aus. Ricciarelli ist auch als Tosca in der Karajan Aufnahme überfordert. Ich hätte mir eine Gwyneth Jones oder Eva Marton gewünscht. Die restlichen Partien sind überragend besetzt und Karajan spielt eine seiner besten Aufnahmen ein.
Domingo is the best Calaf on CD better than Pavarotti who only sings beautifully. Katia Ricciarelli sings Turandot in a human way and the ending is bombastic, no one sings the ending as expressively as Katia, and musically she beats all other recordings A short commentary on Nilsson. She is a great Turandot, but I miss Turandot's warmth towards the end, she sings the part consistently coolly. The recording that can keep up is that of Inge Bork, she is even more expressive than Nilsson, also warmer in expression, and with a very good Del Monaco.Another sentence from me everyone should hear the recording that sends him to the land of dreams.
@xxsaruman82xx87 Pavarotti is a great singer but he is not Calaf by any stretch. Domingo a bit closer but still not at the level of Corelli or D Monaco, neither vocally not as an actor. IMHO, obviously
In questa produzione un Do che e' un Do, intonato, non lo piglia nessuno nessuno. Karajan, per carita', bravo, troppo lento...Puccini pero' non e' Berlioz.
Eduardo Hernan Medrano, infatti, la Callas ha eseguito ala perfezione perché aveva i fiati e le mezzevoci...un'altra cantante avrebbe lasciato tutto. Le ultime esecuzioni in disco di Karajan sono lentissime. L'Aida e' terribile.
Ridicola la Ricciarelli con la sua voce angelicata, la Hendricks sembra interpretare Mozart! Ma che scelta fu questa? Ma Domingo è magnifico, splendido von Karajan ed ovviamente, tutto l'insieme del Wiener Philarmoniker. Peccato, perché VERE Turandot non mancavano!
La Ricciarelli fue una buena Liù en vivo en Vienna y una PESIMA Turandot en estudio: en que cabeza cabe asignarle a una soprano lirica de voz chica y blanca el rol de la princesa sanguinaria Turandot? Razon? los fanaticos de la Ricciarelli dicen que "las sopranos dramaticas GRITAN, y por que no una Turandot por Katia Ricciarelli?" el argumento me hace descostillar de risa. Pudieron haber llamado a Dimitrova, a Marton o hasta a Anna Tomowa-Sintow en vez de Ricciarelli...tengo muchas Turandot como coleccionista y JAMAS tendria esta version ni regalada...
operabilia, hai perfettamente ragione. La Hendricks poi sembra un'orfanella sempre qualunque cosa canti. Certo che Karajan e' splendido anche se certi momenti pare che il coro, ad esempio, canti dallo studio accanto tanto e' distante dai microfoni.
Si, è vero. Ma lei sa che nello studio, certi "arrangiamenti" tecnici sono sempre possibili ... Peccato, perché si tratta di una registrazione molto valevole. Io sogno di una nuovaJeritza, Raisa o Cigna nei panni della Turandot, ma è un sogno! Molti venerano la Nilsson, che a me non piace per nulla.
@@operabilia è vero. La Nilsson con la sua voce fredda, squillante ma senza "pathos", senza emozione; preferisco la Borkh, la Dimitrova e La Marton anche!
operabiliasi, in studio tutto si fa e si faceva. Io ho partecipato all'incisione della Turandot della Nilsson nel '65 e me la ricordo bene (mi cantava a 6 metri di distanza..), dal vivo era un'altra cosa come la Caballe' era un'altra cosa. Certo, l'interprete non era eccelsa ma il suono si. La Jeritza e la Cigna ce le dobbiamo togliere dalla testa come pure la Callas. La Leontyne Price per me ha cantato la piu' bella Liu'. La Caballe' con Pavarotti fece una bellissima Turandot e ci era andata vicino. La Dimitrova, osannata manco fosse la Malibran, era una cantante dalla voce molto ordinaria e totalmente priva di finezza e Turandot non e' una "cafona" ma una principessa cinese di sangue reale, l'esatto opposto di quanto la Ghena ci ha ammannito e ci ha fatto credere per anni. La Maria Dragoni a Parma fece una Turandot stupenda. Non penso pero' che sentiremo presto qualche cosa di decente...con i tempi che corrono, prevedo solo vacche "magrissime".
Thsi recording overall is a bloated pile of shit and nothing that should at all be imitated, such as the Met earlier this evening, or for the whole opera, earlier this season. The Alfano finale, especially the Toscanini-cannabalized version of itself a long time ago reached its sell-by date. Time to move on.
cet enregistrement est une aberration, Riciciarelli chante (mal) la bohème, on a l'impression qu'il lui faut un poumon d'acier, hendricks n'a jamais chanté, raimondi chante faux, et Karajan se plante comme pour tout ce qu'il a fait en fin de carrière. C'est insupportable. Et tout le monde dort dans la salle. Circulez il n'y a rien à entendre et encore moins à écouter.
That ending is crazy. I love the way the music pulls away leaving just the singers and then it comes back louder and louder, completely drowning out the singers and leaving you with this huge echo in your ears once it abruptly stops. Very cool.
Love it!!!! All of the music was so masterfully done. Madam Hendricks was absolutely sublime.
Herbert Von Karajan e la filarmonica di Vienna hanno eseguito quest'opera in modo magistrale.
One of the best performence of this opéra
Karajan, Hendricks, Domingo WOOOOW
I need to buy this album
Barbara Hendricks has the most beautiful voice!
… because she did not sing this repertoire on stage
Herbert Von Karajan: un artista senza eguali!
2:10:41 THAT'S ONE OF THE GREATEST ENDINGS IN THE OPERA HISTORY. From other World!
Try not to cry.
Yes !!!!!! AMAZING ! With the hand of ALFANO and the genial Puccini , this ending is the best one !!! The love always win !!!
I must agree.
And also one of the cheesiest. If Puccini had completed it, it would been undoubtedly better.
Really? He's a coward who watched without saying a word while poor Liù was tortured to death, and Turandot, herself, is a viscious bitch. No two characters in Opera more deserved UNhappy endings. That said, the music is so gorgeous we forget the plot.
Wow what an outstanding performance! With an incredible ending, as others mentioned.
What an outstanding opera. The ending can not let you indifferent.
I find a comment by you on almost all of the really good quality versions of operas. And I recall seeing you comment on many other videos too, Symphonies and such. It is nice seeing someone who enjoys similar music. I hope all is well for you at the moment, best of wishes!
I saw the bio on your profile, I see it changed from before, and I do relate with the message.
@@jarodvmusicThank you, it is a pleasure. In case if you were wondering, my profile picture is a painting from my favorite composer (G. Gershwin).
@@Dylonely_9274 Yes I was definitely curious. Very neat, I had no idea Gershwin was also a painter. I myself like to draw pictures and have always been artistic. This lead me to want to learn music so I can learn how to express my artistic perspective in music.
Muchas gracias por compartir esta versión y en mi opinión con una magistral Dirección Orqiestal.
Commençons par le meilleur: la direction de Karajan, lente, majestueuse, attentive aux moindres détails et aux milles couleurs de cette partition. L’orchestre Philharmonique de Vienne, absolument somptueux, luxe suprême mais nécessaire pour rendre justice à cette œuvre exceptionnelle.
Les petits rôles, Ping, Pang, Pong, Timur, Altoum: excellents. Le chœur, malgré quelques décalages, aussi merveilleux qu’on pourrait le souhaiter.
Hendricks a une petite et très mignonne voix: ici on dirait que Liù a 13 ans ! Le miracle du studio lui permet de chanter ce rôle sans paraître ridicule.
Domingo est comme d’habitude très charismatique et se donne à fond, mais passe loin des meilleurs Calafs. À lui aussi le studio prête la main forte - écoutez à 1:20:31 la nette coupure avant le contré-do, qui n’est même pas beau…Certainement un rôle limite pour ce lyrique aux aigus difficiles.
Ricciarelli était en fin de carrière et cet enregistrement a sonné le glas de sa voix. Horrible diction, voix poussée aux dernières limites, heureusement aussi aidée par le studio. Très mauvais choix de HERR Karajan pour le rôle principal, qui plombe les ailes de cet enregistrement et le place très bas dans la discographie.
Les vrais bons enregistrements de Turandot sont à chercher dans les années 50, 60, 70. Après cela, c’est rarissime.
Ricciarelli en fin de carrière ? En 1981 ? Ô secours. Vous n'avez certainement jamais vu et entendu la bellissime sur scène... après 1981 ! Le grand n'importe quoi en roue libre.
@@marioj34 Pas en fin de carrière mais affligeante dans cet enregistrement.
Si vous le dites @@arnaud3946
Great recording IMHO! I have CD issue of it and I enjoyed it many times. Understandably people point out Ricciarelli as a miscast for the role Turandot as they opt for heavier and greater sounds or again understandably they point out, as a pro, the magnificent ending and other gorgeous moments from act 2.
Mostly agreeing with all comments, for me the real miracle of this recording, however, is the spellbinding beginning of the final act 1:25:50. Karajan's signature pp's on the chorus is mesmerizing. Vienna Philharmonic shines by all means. Nessun Dorma is also sung in a great way if not perfect (last words are my security valve for opera fans and Domingo detractors). A similar moment, if not as touching, is the moonshine scene from the first act 8:50.
Thanks for the upload.
Maravillosa versión. Domingo impresionante, en su mejor momento vocal, y Ricciarelli como siempre una voz bellísima, pese a carecer de la potencia turbadora de Nilsson u otras grandes intérpretes de esta obra. Y de Karajan..., qué se puede decir de tal maestro de la dirección orquestal. Para mí es una de las mejores grabaciones de Turandot de todos los tiempos, absolutamente maravillosa y emocionante.
Even if she has never been a dramatic soprano, Ricciarelli presents a beautiful Turandot. and in my opinion this is the best Nessun Dorma ever. Intimate and not sung as a cavalry charge as usual happens...
Entièrement d'accord avec vous
Foarte frumos!
Rybki pływają z różyczką w zębach w Akwarium.Szczególnie. Karpik pewien 1945-1995.❤
An undisputed masterpiece.
Without a doubt.
1981, Vienna. Marvellous performances from the entire cast, Domingo in particular. He embodies Calaf vocally, physically, dramatically, the whole package. I'm not sure that Turandot was right for Ricciarelli's ethereal, crystalline soprano. It's such a dramatic role, even spinto. Her forte was in the more delicate, romantic, lyrical repertoire. Be that as it may, a fine production and worthy for inclusion to anyone's collection.
Domingo sounds like crap!
@@larmun The Walgreens drive-thru is over there sir.
@@larmunwell...I get the idea that he is not your favourite nor is he Corelli. But 'crap' is a tad too much. Imo, he sounds really good! Maybe ypu need to shave off those hairs growing from your ears...
Like I said he sounds crap.
Part of womanizer HvK's legacy is that he sweet-talked beautiful women into taking on roles unsuited to them. (Remember Helga Dernesch?) Luckily, it worked for only a minute with Christa Ludwig.
Ricciarelli is the finest and most expressive Turandot on CD... Overall, this is Turandot's best recording!
WHAT? Please tell me you're joking
Ricciarelli is undoubtedly a good singer, but a complete miscast as Turandot. Much too gentle, too lyrical, too harmless for this role. I miss the bitter coldness and selfish arrogance of this Turandot, and therefore Ricciarelli is at best a stubborn bed bunny. Karajan's conducting is also far too sluggish. All in all really no good recording. Listen to Birgit Nilsson in the reference-recording from 1966. There you can hear what I mean.
Stuff and nonsense. Ricciarelli is badly miscast here. She is a lyric soprano; the voice is for delicate Mimi, not the icy monolithic Turandot. Some passages she manages well but oh how she strains her instrument to achieve the necessary heft, even under Karajan's delicate (and often too slow) conducting, how flat she strays on the fearsome, fortissimo high Cs! Her lower register is inaudible. Forget it. The 1972 recording with Sutherland (who never sang the role on stage and admittedly benefits from the microphone for her chest notes), Pavarotti and Caballé under Zubin Mehta is widely regarded as the best by far. The 1966 Nilsson recording comes a close second. For a terrific live performance please refer to the immense Ghena Dimitrova at the Arena di Verona in 1983.
@@philipc67 well... if Joan Sutherland sang the role, surely Ricciarelli could.
Those who criticized this recording when it first came out would *now* prefer it over any other recent _Turandot_ 🤓
What recent Turandots? They don't make them anymore. This is still a woefully miscast recording with a great conductor, which doesn't mean much in an opera!
@@xxsaruman82xx87 "the conductor doesn`t mean much in an opera" what kind of understandings do you have for operas?
Herbert von Karajan immenso
Finale primo atto da brividi
2:08:20 oh how the melody soars.
This was the first Turandot recording I bought in 1982 and loved it, … mainly because o Hendricks. Now, I have a hard time listening to Ernie recording again, despite Hendricks and Domingo. Puccini wrote en opera and not a symphony in slow motion with singers. Almost all other recordings are better. My favorite: Ghione with Cigna, Oliveo, Merli 1938
I first heard this song 1:23:14 from Mission impossible rouge nation opera scene
Haha. Same am here beacause of it
Why do the musical ignorati call every form of musical composition a "song"?
@@hrh4961 keep yourself safe
@@bryantellez5550 Is that a threat? A warning?
Una fantástica versión del Turandot!
Much of Act I is intolerably slow, like sitting through an opera directed by Celibedache.
Un tormento continuo ascoltare quest' edizione, Domingo e Ricciarelli non hanno voci adatte a questi ruoli così epici, nonostante tutte le buone intenzioni.
Voci fiacche e allo stremo negli acti
Concordo specie per la Ricciarelli, ma l'orchestra e Karajan sono insuperabili
vero ha detto bene
21:29 Fermo, che fai?
25:22 Notte senza lumicino
28:16 Signore, ascolta
33:30 Finale I
Il peggior, e insieme il più bello, errore della Ricciarelli. Totalmente fuori parte, ma, al tempo stesso, la più tormentata Turandot incisa, benché non sia uscita indenne da questo cimento. Karajan e i Wiener sono superlativi.
Best recording is with Nilsson / Corelli!
Entièrement d'accord avec vous
1:23:08 - Mission Impossible V
What is the song at 51:00 ish? I love it
I don’t know if it has a title, but they just sing about Ping, Pang and Pong getting ready to ask Calaf the questions in front of the emperor.
Why do the musical ignorati insist upon referring to every musical composition as a "song"?
i don't know, maybe it's just more immediate for them even if it isn't correct, but i don't know. I just don't correct people anymore on this, too much energy out. And this isn't even properly an aria, it's just an intermezzo...so you see, even worse😅
@@hrh4961It's not just a song. It's aria
It's pure art
Domingo suddenly on all audio recordings, sings high c, since 20019 '
"Suddenly"? -- What about his high D on his I vesperi back in 1974 with Arroyo and Milnes? Yeah, you're just making schitt up.
I love it when the critics come out and complain, I would like to see then get up on the stage and do better........... yeah, I thought so. All mouth
I always think it's miraculous that they manage to get this many talented people in a room at one time, we don't know how lucky we are most of the time!
La Ricciarelli qui è assolutamente fuori ruolo...e per il Calaf ci vuole un tenore tipo Corelli...
In my opinion, as an Inexpert, this version of the Turandot, is the best one
1:21:00
Am I the only one to hear two different recordings? Hear carefully he sings: no no principessa altera, voglio] now is the cut[ardente d'amor.
1:20:20
Suis-je le seul à entendre duex enregistrements différents ? Écoutez bien, il chante:no, no, principessa altera, voglio] la coupure est ici[ardente d'amor.
1:20:20
Bin ich allein zwei Tonaufnahmen zu hören? Hören Sie zu, er singt : no no principessa altera, voglio] here ist das Ende der ersten Teils [ardente d'amor.
1:20:20
You are hearing correctly.. its spliced. I noticed it as well.
badly spliced = VERY obvious
Nope, no splice. The Little Bitter Domingo Haters Club loves to hallucinate that he's a fabrication of everyone in the opera and music recording business, constantly being helped along by everyone else, because, why? It's not like there aren't plenty of opera singers to record who you fervently imagine are better, they simply are, it can't be true that Domingo is any good, it just can't be. Let me call you a waambulance. lol Give it a rest, go outside and play.
@@uppityglivestockianNothing to do with haters - just facts - sometimes hard for certain people to deal with
@@Yves_Ka You're entitled to your own opinion, but not your own facts. Deal with it, punk.
Super
Turandot is not the role for Ricciarelli. She is a lyric soprano, not a dramatic soprano. She just sounds out of her depth here. The role of Turandot is better suited to Nilsson and Dimitrova. Domingo isn't the best prince. That role is better suited to Bjorling and Corelli.
Minute 48 ff 😍
Ethan!
2:10:09
I hate to tell other people how to do their jobs but this Von Karajan really needs to learn how to pick it up. Starting at "Padre Augusto..." my coffee got cold waiting for the end. And yes, I noticed the splice at ~1:21. I wonder whose voice they used? Know what? I still think it's a lousy High C.
He always conducted slowly.
@@SymphonyBrahmsnot in his early recording.
Musikalisch die beste aller Turandot Aufnahmen, jedoch ist Katia Ricciarelli stimmlich dieser Partie nicht gewachsen. Karajans Hang, kleine Stimmen in hochdramatischen Partien einzusetzen, wirkt sich auch hier negativ in der Titelpartie aus. Ricciarelli ist auch als Tosca in der Karajan Aufnahme überfordert. Ich hätte mir eine Gwyneth Jones oder Eva Marton gewünscht. Die restlichen Partien sind überragend besetzt und Karajan spielt eine seiner besten Aufnahmen ein.
♡
48:59
1:29:09 dorma
Domingo is the best Calaf on CD better than Pavarotti who only sings beautifully. Katia Ricciarelli sings Turandot in a human way and the ending is bombastic, no one sings the ending as expressively as Katia, and musically she beats all other recordings A short commentary on Nilsson. She is a great Turandot, but I miss Turandot's warmth towards the end, she sings the part consistently coolly. The recording that can keep up is that of Inge Bork, she is even more expressive than Nilsson, also warmer in expression, and with a very good Del Monaco.Another sentence from me everyone should hear the recording that sends him to the land of dreams.
Corelli? Del Monaco? Bjorling? They're all better than Domingo
@xxsaruman82xx87 Pavarotti is a great singer but he is not Calaf by any stretch. Domingo a bit closer but still not at the level of Corelli or D Monaco, neither vocally not as an actor. IMHO, obviously
Ascolta Corelli in questo ruolo...
In questa produzione un Do che e' un Do, intonato, non lo piglia nessuno nessuno. Karajan, per carita', bravo, troppo lento...Puccini pero' non e' Berlioz.
Lo mismo hizo Karajan con la Madama Butterfly de Callas...esta tan lenta que toda la opera parece una marcha funebre...
Eduardo Hernan Medrano, infatti, la Callas ha eseguito ala perfezione perché aveva i fiati e le mezzevoci...un'altra cantante avrebbe lasciato tutto. Le ultime esecuzioni in disco di Karajan sono lentissime. L'Aida e' terribile.
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Katia a la voix de Liu et elle chante Turandot , n'importe quoi !
This is just wrong on every level!
Ricciarelli non adatta al ruolo. Karajan lento, troppo lento..
Ну, неплохо, чего уж там. Музыка немного устарела, конечно, по своему звучанию. Это не "Иисус Христос - суперзвезда". Но все равно неплохо. Спасибо.
you are an idiot
Karajan immenso; il cast no
Ridicola la Ricciarelli con la sua voce angelicata, la Hendricks sembra interpretare Mozart! Ma che scelta fu questa? Ma Domingo è magnifico, splendido von Karajan ed ovviamente, tutto l'insieme del Wiener Philarmoniker. Peccato, perché VERE Turandot non mancavano!
La Ricciarelli fue una buena Liù en vivo en Vienna y una PESIMA Turandot en estudio: en que cabeza cabe asignarle a una soprano lirica de voz chica y blanca el rol de la princesa sanguinaria Turandot? Razon? los fanaticos de la Ricciarelli dicen que "las sopranos dramaticas GRITAN, y por que no una Turandot por Katia Ricciarelli?" el argumento me hace descostillar de risa. Pudieron haber llamado a Dimitrova, a Marton o hasta a Anna Tomowa-Sintow en vez de Ricciarelli...tengo muchas Turandot como coleccionista y JAMAS tendria esta version ni regalada...
operabilia, hai perfettamente ragione. La Hendricks poi sembra un'orfanella sempre qualunque cosa canti. Certo che Karajan e' splendido anche se certi momenti pare che il coro, ad esempio, canti dallo studio accanto tanto e' distante dai microfoni.
Si, è vero. Ma lei sa che nello studio, certi "arrangiamenti" tecnici sono sempre possibili ... Peccato, perché si tratta di una registrazione molto valevole. Io sogno di una nuovaJeritza, Raisa o Cigna nei panni della Turandot, ma è un sogno! Molti venerano la Nilsson, che a me non piace per nulla.
@@operabilia è vero. La Nilsson con la sua voce fredda, squillante ma senza "pathos", senza emozione; preferisco la Borkh, la Dimitrova e La Marton anche!
operabiliasi, in studio tutto si fa e si faceva. Io ho partecipato all'incisione della Turandot della Nilsson nel '65 e me la ricordo bene (mi cantava a 6 metri di distanza..), dal vivo era un'altra cosa come la Caballe' era un'altra cosa. Certo, l'interprete non era eccelsa ma il suono si. La Jeritza e la Cigna ce le dobbiamo togliere dalla testa come pure la Callas. La Leontyne Price per me ha cantato la piu' bella Liu'. La Caballe' con Pavarotti fece una bellissima Turandot e ci era andata vicino. La Dimitrova, osannata manco fosse la Malibran, era una cantante dalla voce molto ordinaria e totalmente priva di finezza e Turandot non e' una "cafona" ma una principessa cinese di sangue reale, l'esatto opposto di quanto la Ghena ci ha ammannito e ci ha fatto credere per anni. La Maria Dragoni a Parma fece una Turandot stupenda. Non penso pero' che sentiremo presto qualche cosa di decente...con i tempi che corrono, prevedo solo vacche "magrissime".
Pessima Turandot la Ricciarelli.
Thsi recording overall is a bloated pile of shit and nothing that should at all be imitated, such as the Met earlier this evening, or for the whole opera, earlier this season. The Alfano finale, especially the Toscanini-cannabalized version of itself a long time ago reached its sell-by date. Time to move on.
In poche parole una Turandot vocalmente orribile
cet enregistrement est une aberration, Riciciarelli chante (mal) la bohème, on a l'impression qu'il lui faut un poumon d'acier, hendricks n'a jamais chanté, raimondi chante faux, et Karajan se plante comme pour tout ce qu'il a fait en fin de carrière. C'est insupportable. Et tout le monde dort dans la salle. Circulez il n'y a rien à entendre et encore moins à écouter.
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