We should strive not for perfection but rather excellence. Aragall's voice has a deep resonance with rich tones which gives his voice a clear expression.
La mia parte preferita dell'opera sono le arie del Duca di Mantova..Peccato che qui manchi la cabaletta " possente amor mi chiama..." la mia parte preferita in assoluto. Aragall è perfetto per il ruolo : i tenori leggeri secondo me non sono adatti. 🌹⚡🔥🔥
Absolutely thrilling. Milnes was criticized then--and is criticized still, it seems--for somehow "wantonly" wasting his gifts, or being too commercial, or too loud, or too vulgar. I wish the armchair critics would simply chill and take him for what he was: One of the greatest baritones of the ages. If you want to call it "vulgar" that he could--and DID--insert random high "B"'s and "C"s--you're entitled to your opinion, of course. As am I. And I can state categorically that listening to his splendid, manly, pitch-perfect intonations in this nearly uncharted baritone territory--I am positively transported. Hands down: My favorite baritone, always and forever. Thanks SO much for posting this! A great performance, indeed!
We can probably excuse Henry on the "High C" comment. It's a Cb. The piece is notated in Ab minor (!), so Cb is the third of the scale/chord. It's still quite high, and unbelievably well sung. Aragall is great here as well.
Nice cast, good audio quality, thanks for posting. I like Milnes' Rigoletto very much. They held the end of the "vendetta" duet ridiculously long lol. Wow; I had heard the Milnes B interpolation in one other live recording and of course the Decca studio one but this I believe is the best. Impressive. I wonder how many Ridgoletto performances he did in which he sang the b in the finale.
M. Aragall n'a pas ici le rôle titre de Rigoletto (qui est un baryton) mais le rôle du Duc rendu célèbre par l'air "la dona e mobile" . On entend cependant Rigoletto (Sherill Milnes) et Gilda (Isabella Nave) si vous prenez la peine de lire ce que Henry Moore a pris la peine de développer et que je remercie personnellement car j'ai un attachement particulier à cet opéra
Milnes often has such forward energy to his singing that I forget he does not have the most beautiful timbre ever and in taped performances, he always creates real dramatic interest--just reviewed again his Tonio in the early 70's "Pagliacci" with Domingo and Stratas. The Nedda-Tonio confrontation was electrifying and his "Prologo" very nuanced.
Incidentally I would be curious to know in what ways you feel Cappuccilli was greater than Warren. Both are vocal talents which I admire and respect more than I really love; I don't want to argue, just curious. I know you don't like Warrens acting(?)/ characterizations but then I've never really considered Cappuccilli a great actor either so, just wondering. ;)
I'm so sorry for this, but I've been listening to all the rigoletto finales sung by Milnes LIVE and hearing him breaking on the last high note from a high B to a high C flat, for later recuperating the high B. Was he doing that on purpose or did he break anytime he sung it live due to tiring of his vocal chords?
Y gracias, Bergonzi ni deberia ser metido en el cómputo de los que compiten. Estamos hablando de uno de los mas grandes tenores que hayan pisado un escenario. Dicho esto, Aragall era simplemente esplendido. Hoy no se me ocurre nadie que le pueda pisar los talones - quizas Spyres.
There are 2 great stars here who faded early. In an interview, Pavarotti said that he, Domingo and Aragall were the 3 young superstars together, and "Aragall probably had the best voice of all." See also rave reviews on Wikipedia. So why did he never fulfill his potential? As for Milnes, is it possible that his incredible interpolations here and elsewhere contributed to the early decline of his voice? I know a lot of young promising cantors who "screamed too much" early on & lost their voices.
One slight quibble with Aragall now that I listened to the whole thing. He sharped on the ending B# in La Donna etc. He was on the nose when he hit it. But as he held it and crescendoed (sp?), the pitch rose with the volume. I'm sure that was unusual for him.
Nave , Aragall , Milnes - tutti e tre gusto interpretativo molto discutibile… 1 la soprano - bella voce, come attrice la trovo poco convincente. 2 Aragall - bellissima voce, purtroppo anche lui non sta rispettando la partitura … 3 Milnes - vocalità poco adatta a questo personaggio estremamente drammatico e molto complesso . Figaro - si . Rigoletto - non . Sono molto sorpreso del fatto che il direttore d’orchestra prima la recita durante le ripetizioni non aveva pensato molto ai finali / tipo giochi olimpici per esempio come è in questo caso/ e della diversità interpretativa dei personaggi … Alla fine dei conti la scelta artistica è nelle mani del direttore d’orchestra… Questa è la mia modesta opinione. il vecchio
Grande,grandísimo Aragall. En primera línea de la historia de la Ópera en su voz de tenor.
Ideal Duke! How much I have been enjoying his gorgeous singing!
We should strive not for perfection but rather excellence. Aragall's voice has a deep resonance with rich tones which gives his voice a clear expression.
Semplicemente stratosferico. "Sembra" che le note alte gli vengano naturali , senza alcuno sforzo. 💐
The sublime Aragall, singing the role supremely well, no wonder it became his calling card.
V
Simply superb Verdi was a great composer and these guys have performed as intended by Giuseppe excellent, thanks for sharing
Hermoso grandes Arias grandísimos cantantes !!
The ultimate tenor.
Back when he rode that bucking bronco with two hands tied behind his back 🥰. Bravo Jaume 🩵
La mia parte preferita dell'opera sono le arie del Duca di Mantova..Peccato che qui manchi la cabaletta " possente amor mi chiama..." la mia parte preferita in assoluto. Aragall è perfetto per il ruolo : i tenori leggeri secondo me non sono adatti. 🌹⚡🔥🔥
Absolutely thrilling. Milnes was criticized then--and is criticized still, it seems--for somehow "wantonly" wasting his gifts, or being too commercial, or too loud, or too vulgar. I wish the armchair critics would simply chill and take him for what he was: One of the greatest baritones of the ages. If you want to call it "vulgar" that he could--and DID--insert random high "B"'s and "C"s--you're entitled to your opinion, of course. As am I. And I can state categorically that listening to his splendid, manly, pitch-perfect intonations in this nearly uncharted baritone territory--I am positively transported. Hands down: My favorite baritone, always and forever. Thanks SO much for posting this! A great performance, indeed!
Full opera: ua-cam.com/video/jeAeIq2es_4/v-deo.html
Thank you for uploading this and may I ask lovers of this incredible voice to join Aragall Appreciation Association Group on Facebook.
veramente super!
The best!
wonderful stuff....
Sublime Aragall. Thank you for posting this and is it possible to buy?
(Sorry for comment no. 3 but I would like to hear more from this definitely)
We can probably excuse Henry on the "High C" comment. It's a Cb. The piece is notated in Ab minor (!), so Cb is the third of the scale/chord. It's still quite high, and unbelievably well sung.
Aragall is great here as well.
Nice cast, good audio quality, thanks for posting. I like Milnes' Rigoletto very much. They held the end of the "vendetta" duet ridiculously long lol.
Wow; I had heard the Milnes B interpolation in one other live recording and of course the Decca studio one but this I believe is the best. Impressive. I wonder how many Ridgoletto performances he did in which he sang the b in the finale.
shortened his career?
M. Aragall n'a pas ici le rôle titre de Rigoletto (qui est un baryton) mais le rôle du Duc rendu célèbre par l'air "la dona e mobile" . On entend cependant Rigoletto (Sherill Milnes) et Gilda (Isabella Nave) si vous prenez la peine de lire ce que Henry Moore a pris la peine de développer et que je remercie personnellement car j'ai un attachement particulier à cet opéra
Milnes often has such forward energy to his singing that I forget he does not have the most beautiful timbre ever and in taped performances, he always creates real dramatic interest--just reviewed again his Tonio in the early 70's "Pagliacci" with Domingo and Stratas. The Nedda-Tonio confrontation was electrifying and his "Prologo" very nuanced.
It's not a C it's a High B still
very impressive though!
Piero Cappuccilli was NOT greater than Leonard Warren. Please.
Incidentally I would be curious to know in what ways you feel Cappuccilli was greater than Warren. Both are vocal talents which I admire and respect more than I really love; I don't want to argue, just curious. I know you don't like Warrens acting(?)/ characterizations but then I've never really considered Cappuccilli a great actor either so, just wondering. ;)
Falto el gran Renató Cioni
I'm so sorry for this, but I've been listening to all the rigoletto finales sung by Milnes LIVE and hearing him breaking on the last high note from a high B to a high C flat, for later recuperating the high B. Was he doing that on purpose or did he break anytime he sung it live due to tiring of his vocal chords?
Look for Jerry Hadley singing rigoletto,i think you'll like it.
It's pretty good but i still prefer the live version of Bergonzi - Macneil or Bastianini - Kraus.
Y gracias, Bergonzi ni deberia ser metido en el cómputo de los que compiten. Estamos hablando de uno de los mas grandes tenores que hayan pisado un escenario. Dicho esto, Aragall era simplemente esplendido. Hoy no se me ocurre nadie que le pueda pisar los talones - quizas Spyres.
There are 2 great stars here who faded early. In an interview, Pavarotti said that he, Domingo and Aragall were the 3 young superstars together, and "Aragall probably had the best voice of all." See also rave reviews on Wikipedia. So why did he never fulfill his potential? As for Milnes, is it possible that his incredible interpolations here and elsewhere contributed to the early decline of his voice? I know a lot of young promising cantors who "screamed too much" early on & lost their voices.
Leo Smart
Leo Smart .
Leo Smart .
Read SM's book. In it he talks about his vocal problems
One slight quibble with Aragall now that I listened to the whole thing. He sharped on the ending B# in La Donna etc. He was on the nose when he hit it. But as he held it and crescendoed (sp?), the pitch rose with the volume. I'm sure that was unusual for him.
Nave , Aragall , Milnes - tutti e tre gusto interpretativo molto discutibile…
1 la soprano - bella voce, come attrice la trovo poco convincente.
2 Aragall - bellissima voce, purtroppo anche lui non sta rispettando la partitura …
3 Milnes - vocalità poco adatta a questo personaggio estremamente drammatico e molto complesso .
Figaro - si .
Rigoletto - non .
Sono molto sorpreso del fatto che il direttore d’orchestra prima la recita durante le ripetizioni non aveva pensato molto ai finali / tipo giochi olimpici per esempio come è in questo caso/ e della diversità interpretativa dei personaggi …
Alla fine dei conti la scelta artistica è nelle mani del direttore d’orchestra…
Questa è la mia modesta opinione.
il vecchio