Wow! Thank you for sharing this and reminding us all of how far operatic singing has fallen! What an electryfing performance. We can hear and feel the energy and how all of the principals are feeding off of it and each other. Leontyne is simply Leontyne! So enjoyable to hear her when the voice was at its freshest and strongest, allowing her to perform with complete abandon. That last descending "o patria mia" in the cadenza is a singing lesson in style and legato for the ages. Surprisingly, Rudel proves a very fine conductor and only slightly disappoints in the Nile scene duet with Aida and Rhadames, which is too slow. I cannot recall a finer performance of Aida! All of the principals are simply magnificent! Thank you, again, for sharing this!!!!
Well put! And I agree. Leontyne is sovereign here. Areas in the score that would give her difficulty later are so easy for her here. (Verdi’s “ugly” cabaletta in Act III, for example.) And let’s say a word about her Italian diction.
When are you going to release your next recordings video? They are wonderfully informative and also pleasant to hear! I would love to hear your thoughts on Faust recordings mainly, although Rigoletto would also be a great choice for the next episode.
@@Tenore1921 I haven't been doing those for years and I will only be getting busier as I start college this year. But we'll see if life gets too boring I might get back to it lol.
@@BestOperaMoments Glad to hear it! In the meantime, may I recommend a new opera for you to hear? It’s called “A Noite do Castelo” (The Night at the Castle in english); it was the first opera composed by Carlos Gomes, who later went on to write the famous (but nowadays rather obscure) Il Guarany. I have always been familiar with Gomes, as he is one of the most legendary composers of Latin America, but I had yet to hear his “debut piece”. So I looked it up, and what I heard was one of the most beautiful operatic masterpieces in history! It’s like a mix of Donizetti with Verdi and a few touches of Wagner! Truly remarkable. Unfortunately, there aren’t many recordings of it available; only two. One made in 1978 with a bad conductor (drags too much) and a lead soprano past her prime, and the other made in 2011 with a lot of cuts (including most of act 2 except for Leonor’s mad scene), an amateurish sounding orchestra but an amazing lead soprano. I know the choices don’t sound too enticing, but I guarantee it is worth it for the music alone! I recommend listening to the 1978 first so you can hear the full work, and then go to the 2011 one for Leonor’s arias and scenes (seriously, the soprano is really good there). I’m sorry for the long text, but I just needed to share this work with someone I know appreciates true art (seriously, your content is wonderful). Best regards!
Хочу выразить большую благодарность Вашему каналу за сохранение оперных шедевров!
INCREDIBLE!!!
Wow, those were the days! Can you imagine hearing such a cast today?
🙏🙏👍💯
Wow! Thank you for sharing this and reminding us all of how far operatic singing has fallen! What an electryfing performance. We can hear and feel the energy and how all of the principals are feeding off of it and each other. Leontyne is simply Leontyne! So enjoyable to hear her when the voice was at its freshest and strongest, allowing her to perform with complete abandon. That last descending "o patria mia" in the cadenza is a singing lesson in style and legato for the ages. Surprisingly, Rudel proves a very fine conductor and only slightly disappoints in the Nile scene duet with Aida and Rhadames, which is too slow. I cannot recall a finer performance of Aida! All of the principals are simply magnificent! Thank you, again, for sharing this!!!!
Well put! And I agree. Leontyne is sovereign here. Areas in the score that would give her difficulty later are so easy for her here. (Verdi’s “ugly” cabaletta in Act III, for example.) And let’s say a word about her Italian diction.
Bravo, Treigle.
😮😮😮😮😮❤❤❤❤
When are you going to release your next recordings video? They are wonderfully informative and also pleasant to hear! I would love to hear your thoughts on Faust recordings mainly, although Rigoletto would also be a great choice for the next episode.
@@Tenore1921 I haven't been doing those for years and I will only be getting busier as I start college this year. But we'll see if life gets too boring I might get back to it lol.
@@BestOperaMoments Glad to hear it! In the meantime, may I recommend a new opera for you to hear? It’s called “A Noite do Castelo” (The Night at the Castle in english); it was the first opera composed by Carlos Gomes, who later went on to write the famous (but nowadays rather obscure) Il Guarany. I have always been familiar with Gomes, as he is one of the most legendary composers of Latin America, but I had yet to hear his “debut piece”. So I looked it up, and what I heard was one of the most beautiful operatic masterpieces in history! It’s like a mix of Donizetti with Verdi and a few touches of Wagner! Truly remarkable. Unfortunately, there aren’t many recordings of it available; only two. One made in 1978 with a bad conductor (drags too much) and a lead soprano past her prime, and the other made in 2011 with a lot of cuts (including most of act 2 except for Leonor’s mad scene), an amateurish sounding orchestra but an amazing lead soprano. I know the choices don’t sound too enticing, but I guarantee it is worth it for the music alone! I recommend listening to the 1978 first so you can hear the full work, and then go to the 2011 one for Leonor’s arias and scenes (seriously, the soprano is really good there). I’m sorry for the long text, but I just needed to share this work with someone I know appreciates true art (seriously, your content is wonderful). Best regards!
Intro to Qui Radames verrà 1:15:06