DOMINGO is lucky to sing his high C beside Dimitrova, because her High C was so powerful to cancel the crash of Domingo !! DIMITROVA DIVINA !!! I remember her first TURANDOT at TEATRO alla SCALA : she was DIVINA !!! Never heard such a Voice . Nowadays young Opera Fans cannot imagine wat DIMITRIVA was and this is the reason they appreciate the Lady Macbeth of Netrebko and so on ..... Who listened Artists like DIMITROVA, COSSOTTO and CABALLÉ has no reasons anymore to go the an OPERA THEATER !!
Puccini would be proud of the great Ghena - magnificent, musically poised, genial artistry, superb use of the lavish vocal and dramatic gifts. Transfixing, just magnificent!
La grandissima e fenomenale Dimitrova con la sua potenza vocale offuscava tutto quello che vi era intorno. Ho avuto la fortuna di conoscerla un vero portento della natura!!!!💞💞💞💞💞💞💞💞
Questa registrazione dice la verita' sulla voce di Ghena Dimitrova, la piu' formidabile voce di soprano che ebbi la fortuna di sentire ( io li' ero il mandarino avevo 23 anni) e scherzando Gena mi diceva: facciamo mandarancio!,e da allora ebbi la fortuna di essere oltre che collega "amico" della voce piu' formidabile che ricordi
@@crazyorganist1609 Because of comments like this I had to dig the highest available quality of Turandot with Ghena and upload it here: ua-cam.com/video/NR-rAY7h3Pg/v-deo.html Sutherland never sung Turandot. I am a fan of Nilsson, but even she's blown away if we compare pure power of delivery.
So everybody has his/her favourite.Mine was Dimitrova.There was so much tension in her top that made it quite exciting.Sutherland was never a real Turandot.She didnt have the voice for it and she knew it.Just the recording!
Difatti da oltre 30 anni e soprattutto in alcuni casi tante star cantano con il microfono,visto da me personalmente al Met di New York gia' nel 1988 ! E poi leggo anche qui in internet critiche o apprezzamenti su certi cantanti senza che nessuno sappia la verita' !!!!!!! Le assicuro che Gena Dimitrova aveva la voce che Lei sente qui senza microfoni! In 40 anni di carriera io non ho mai sentito una voce cosi' straordinaria,le piu' grandi voci di tenore potevano solo evitare di fare brutta figura vicino a Lei.... Niente di piu', gli altri sparivano! Questa registrazione e' una delle poche che si sentono su internet abbastanza vicine alla realta',quando termino la Turandot alla scala il pubblico grido' : solo tu! A Gena,( volevano che a fine opera prendesse gli applausi solo lei!) Non credo sia mai successo alla Scala,questa e' la verita'
Domingo fa la solita figura che fece Di Stefano con la Nilsson! La signora Dimitrova è stata una grandissima Turandot! Domingo non è MAI stato un Calaf!
I so enjoy Dimitrova and all her crazy roles. Her voice became firmer and more secure by the 1990’s the vibrato at the top evening out. She always gave 💯. Her Turandot, Donna Macbetto, Tosca, Abagaille Aida, Amneris, 2 Leonora’s , Amelia, Manon, Maddelena, Gioconda and Norma were all thrilling. Domingo sounds difficult here this was always hit/miss role frankly. Corelli, Pavarotti, Bonisolli etc were far better at it.
This role was also not good for Pavarotti he only performed it live a handful of times, it requires a high spinto or dramatic voice. Both Turandot and Calaf are very difficult roles.
Una de la mejores Turandots. Técnicamente justa y perfecta. Excelente técnica y esto lo entenderán aquellos que sepan de técnica vocal aplicada a el canto, no de facultades y esto no quiere decir que la Dimitrova no las tenga, por el contrario, ella cuenta con grandes facultades, pero lo más importante es que cuenta con un grandísimo conocimiento sobre la técnica para cantar, además de cualidades histriónicas justas y no sobre actuadas. Como ya lo dije, una de las mejores Turandots de la historia de la lírica de todos los tiempos.
Turandot received its world premiere on 25 April 1926 exactly 94 years ago today at Teatro alla Scala. Happy Turandot Day! And April 25 is Italy's Liberation Day! #FestadellaLiberazione
When Ghena turns around to destroy the world with “Straniero Ascolta,” I was sure she’d have lasers in her fingers and fire coming out of her mouth.😂 She’s unbelievable. What a voice and the technique to match it.
Marton was pitchy on top, always... And too relentlessly loud. If you want to play that game, the great ones would be closer to Turner, Callas, Nilsson, and perhaps Caballé (in Paris, only)... Because, believe it or not, there is room for subtletly in this, the least subtle of Puccini's roles. Precisely because of that unsubtlety, light and shadow are more important here than in any other of his characters. The interpreter must step in, basically because of the black-and-white approach in the musical dramaturgy and the Manichean, sexist libretto. Marton and (to a lesser extent) Dimitrova give us unmitigated glare. The four mentioned above, on the other hand, introduce subtlety, which is a gain in an unsubtle role. And by the way, the contrast only increased the impact of their loudest tones. (Unless, of course, you grew up convinced that Turandot is a loudness orgy, or you think of subtlety and dynamic range as party poopers.)
Ref Ghena D. without a single doubt, but .....Callas and Marton ??? Both screaming and "singing" OUT OF TUNE as was usual with M C ! In their places I put Caballe and Sutherland ( in their prime - obviously )
@SymphonyBrahms, agree. Dimitrova was far better than Marton. [06-21may29, not 28]. The Great Domingo as Calaf was glorious. Sure, likely Zeffirelli had a crush on him, and so did everyone else who mattered but that voice of his is legendary for a reason: it’s simply beautiful. Factor in his acting and masculine pulchritude, and now you’ve got the triple crown. The quality of this clip is far superior to others uploaded around here. I’m gonna check out this channel’s other uploads and maybe @Viva L’opera has graced us with the full opera. Paz.
@@christopherjohn6370 If one comes to opera only for the raw sound, John, then I guess you are right. Hear Callas in Mexico City, not in the studio recording. But even in the studio, late in her short career, when she had basically destroyed her voice (I'm not a Callas worshipper, but she IS one of the great singers in the entire history of recorded sound), Callas showed incredible insight, myriads of shades and a plethora of colors to every single utterance of the character. To say nothing of the musical phrasing. It's amazing to see a superior interpreter, even when impaired, make such a four-square, sexist conception of a character, as Turandot is, suddenly palpitate with a psychology we never suspected was there. If you know the words and understand both Italian enunciation and musical phrasing, Callas will deliver every time. If the voice became unwieldy, wobbly (the pitch was slack, but the unduly wide vibrato always correctly centered), or strident (again, especially towards the end of her career, although she never really had a comfortable C6), some of us find all of that easier to forgive than we do the relentless muscle flexing from a stolid, unsubtle, monochrome performer like Dimitrova. Like someone wrote once, making a parallel to Callas' last years: "I'd much rather hear Schnabel play on a broken instrument, than a mediocre musical personality play in the greatest piano in the world." Dimitrova was awesome in volume and correctness of emission, but so, so little else. I saw her in dozens of performances, both in NYC, where I live, and in Europe, where I lived before that. Opera is much more than that. Is hectoring all a singer can do with the phrase "Nella cupa notte, vola un fantasma iridiscente?" Is all that volume (undoubtedly exciting, at an animal level) and all that relentless glare really what corresponds to the words "Through the dark night an iridescent phantom flies?" Only the most unimaginative of singers resorts to monochrome volume in a moment like that.
@@christopherjohn6370 I don't think it was a good idea for Callas to record Turandot in studio so many years after she had stopped to perform the role on stage, because her voice wasn't as strong as before by the time she recorded it. HOWEVER, have in mind that Callas had sung Turandot 24 times on stage, in the late 1940s, when she was also singing Brunhildes, Isoldes, Gioccondas, Abiggailes... very very dramatic roles at that time because her Voice was incredibly Bigger and more reliable back then, so I think its unfair to judge Calla's ability on this role just trough a later recording... I usually only Listen to an earlier version of "In Questa Reggia" that Callas recorded in 1954, and her voice sounds better compared to the later recording of the complete Opera (which I don't listen to). Saddly there is no recording of Callas singing the complete role of Turandot when her voice was at its peak, it would be Amazing, for sure! Well, My favourite Turandot is Birgit Nilsson, of course!
Il mio maestro che aveva cantato Erode con la grande Nilsson e aveva sentito tutti alla scala di Milano( dove era stato solista stabile per circa 20 anni) quando dalla sala senti' la Turandot della Dimitrova mi disse che neanche la Nilsson ( che lui adorava) poteva avere un volume di voce come la Dimitrova...ho detto tutto
Plácido nunca tuvo un potencial para Calaf, mucho menos los agudos. Impensable compararlo a Franco Corelli. En 1979, 1981 y 1982 lo escuché en su mejores años, la voz era lírica y corría bien en teatros con buena acústica y no muy grandes.
Абсолютно согласна. Рядом с Димитровой у которой махина голосовая это особенно понятно . Только Корелли мог бы рядом встать . Дуэт Нильсон - Корелли конечно, великолепен , но думаю у Димитровой ещё более огромный голос .
I think people are being too mean to Domingo. He is a good Calaf. The best Calaf is Corelli of course. It’s true that Domingo always has issue with B4/C5 and he usually cracked those money notes, but there are no problems apart from that. The most difficult part in Nessun Dorma is not that B4, but the several continuous A4, and he nailed it and never had any cracks or issues. If you are going to compare him with Corelli well that’s not fair…. But if you look at the Calaf in recent years, they are not even coming close to the level of Domingo. And seriously every one who complains about Domingo’s high notes and nasality is missing the point a little bit. No doubt his overall opera performance is one of the best. Good musicality, good performances and acting skills and charming appearance etc (sorry still not comparable to Corelli)
Placido doesn’t establish his lungs as the acoustic box underneath his voice, so his neck and cords take the brunt of the force of singing instead of the acoustic box. If you watch Dimitrova breathe, she fills her lungs all the way up to her clavicles then leans back to lengthen then pipe as she goes towards the high notes. Placido is leaning forward all of the time and never has enough breath support, and you can see the strain in his neck because of it. His voice is good, but the technique is not.
@@user-we1jm8ff7t У Нетребко легкое лирическое сопрано, а у Гены - огромное драматическое. Это совершенно разные калибры, всё равно, что сравнивать дуэльный пистолет с гаубицей. Нетребко загубила свой голос, берясь за партии Турандот, Нормы и леди Макбет. Теперь она уже не в состоянии спеть ни Джильду, ни Травиату, которые когда-то принесли ей успех и известность. На что же Аня еще замахнется? Неужели на вагнеровские партии?
@@essevikt У Анны Нетребко выдающийся голос, который, действительно, можно сравнить с голосами Каллас и Каббалье. Это слышно и на ранних записях. Она могла легко брать высочайшие ноты и петь поэтому и в Пуританах, и в Лючии ди Ламермур, и в Травиате, и в Руслане и Людмиле. Но у нее и тогда были прекрасные средний и нижний регистры. Плюс к тому драматический темперамент. Мне представляется совершенно естественным и закономерным ее желание петь Макбет, Турандот, Абигаиль... В вагнеровском Лоэнгрине она, кстати, уже пела вместе с Бечалой. Думаю, что со временем она попробует себя и в партиях высокого меццо. Все это нормально для певиц с таким большим голосом. Очень надеюсь на то, что голос ее не подведет, так как вижу, как внимательно она готовит партии и какой виртуозной техникой бэльканто она обладает! Дай Бог ей здоровья и новых успехов! А русским надо очнуться и осознать, что Нетребко - подлинное национальное и мировое достояние!
In this performance Ghena is definitely my favourite Turandot ever..far better the stunning Birgit Nilsson. Supreme power ,drama and passion. Fearless modern singing and acting. Such power and soul..Her "straniero ascolta" and "vivido baglior " are pure dynamite.
След такова изпълнение е нормално да има хиляди разнопосочни коментари.... Истината обаче е една единствена: Малко изпълнители можеха да съперничат на г-жа Димитрова било като глас, било като темперамент, било като излъчване на сцената. Още по-малко можеха да и бъдат истински партньори на сцената които да са на нейното ниво и да си паснат като италианска мозайка, Павароти беше един от тях!!! За огромно съжаление, нито той, нито Гена Димитрова са живи. Добре че поне ще останат видео записи макар и с много лошо или ниско качество които да ни напомнят за непреходното изкуство което те толкова обичаха, наречено ОПЕРА. Надявам се в един момент някой да дигитализира и повиши качеството на тези записи за да останат за поколенията и след нас защото изпълнители от техният ранг са цяла школа, която трябва да се помни и изучава и занапред..........
My, all the Domingo bashing! Of course, she overwhelmed his voice - so what? She overwhelmed most tenors she sang with. I've read that she subbed in a Gioconda with him early in her career, when she was mostly known behind the Iron Curtain. To his credit, he started promoting her to Western opera organizations.
Dimitrova is a wonderful Turandot in this production. One couldn't hear Placido Domingo at the end of In questa regia. I suppose because he was farther away from the microphone. d
@@draganvidic2039 So was Pavarotti's voice. He sang Calaf on stage a few times and recorded it with Sutherland, but his voice wasn't large enough for the role. Corelli, on the other hand, had a huge voice. And beautiful as well. He sang it many times with Nilsson. They were both perfect for the roles in Turandot.
Domingo's really a clown Calaf. look how he execute the 3 riddles in In questa reggia 😩. Never heard this man reached the High C in No, no, principessa.
Domingo was not a great Calaf. At this time, only a handful of tenors could distinguish themselves in this role, and Domingo wasn't one of them.... I'm thinking of guys like Cechelle, Giacomini, or Carlo Cossuta... they didn't have Domingo's box office cache, but were far better suited to take on the role's demands.
Domingo totally screwed Ghena on that high C right at 5:17. He didn't have it and she did. He came off of it so early that she didn't get to sustain it that way she could have.
Placido doesn’t stay up in the chest and keep the acoustic box like she does. The brunt of the force is on his cords and not his lungs. It’s unfortunate he wasn’t taught properly or just didn’t listen.
@@toscadonna I try not to get too technical here on UA-cam. I know this aria really well because I play it for my wife on a regular basis at the piano. We're going to submit a live raw PV version of it on my channel. Ghena though is her favorite Turandot. What a voice.
Ghena Dimitrova The last great Turandot of XX Century 👏👏👏👏👏👏♥️♥️
a HUGE, cavernous voice, still used with beautiful phrasing, tapering, diminuendi; just masterful control of a massive voice.
DOMINGO is lucky to sing his high C beside Dimitrova, because her High C was so powerful to cancel the crash of Domingo !!
DIMITROVA DIVINA !!!
I remember her first TURANDOT at TEATRO alla SCALA : she was DIVINA !!!
Never heard such a Voice .
Nowadays young Opera Fans cannot imagine wat DIMITRIVA was and this is the reason they appreciate the Lady Macbeth of Netrebko and so on .....
Who listened Artists like DIMITROVA, COSSOTTO and CABALLÉ has no reasons anymore to go the an OPERA THEATER !!
"his high C".... Where s his high C?
ASSOCIAZIONE CULTURALE I agree.
that's why they call him placi (senza do)...
Also, Nilsson's Turandot is a powerful one.
Yeeees
Pura potenza e belleza!
Puccini would be proud of the great Ghena - magnificent, musically poised, genial artistry, superb use of the lavish vocal and dramatic gifts. Transfixing, just magnificent!
La grandissima e fenomenale Dimitrova con la sua potenza vocale offuscava tutto quello che vi era intorno. Ho avuto la fortuna di conoscerla un vero portento della natura!!!!💞💞💞💞💞💞💞💞
Non solo la voce ma la tecnica superba, il timbro e l'autorità della persona! Così si canta, altro che i microfoni!
Wow. Dimitrova sounds so great here!
Dimitrova is certainly in stunning form on this occasion. Wow.
Questa registrazione dice la verita' sulla voce di Ghena Dimitrova, la piu' formidabile voce di soprano che ebbi la fortuna di sentire ( io li' ero il mandarino avevo 23 anni) e scherzando Gena mi diceva: facciamo mandarancio!,e da allora ebbi la fortuna di essere oltre che collega "amico" della voce piu' formidabile che ricordi
She was stunning as Turandot . When either she or Nilsson was on the stage the audience was in for great singing. Both were legendary in this role!
Marton Éva! For ever Turandot!
@@Caruso601103Marton was screachy when she did Turandot.
Immensa notra Ghena! povero Placido didn't stand a chance
❤❤❤Así es…desaparece frente a Ghena. Saludos cordiales
Goosebupmps! Proud to be Bulgarian! She's titanic! She's the only one there!
La Dimitrova un fiume di voce
i will always love Ghena‘s Turandot.She had the voice of a phantom jet airplane,she blew everything away
So did Nilsson and Sutherland
@@crazyorganist1609 Because of comments like this I had to dig the highest available quality of Turandot with Ghena and upload it here:
ua-cam.com/video/NR-rAY7h3Pg/v-deo.html
Sutherland never sung Turandot. I am a fan of Nilsson, but even she's blown away if we compare pure power of delivery.
Crazy organist
Sutherland only recorded the role
Nilsson was the greatest Turandot who ever lived.
So everybody has his/her favourite.Mine was Dimitrova.There was so much tension in her top that made it quite exciting.Sutherland was never a real Turandot.She didnt have the voice for it and she knew it.Just the recording!
It’s funny how she had to cut her glorious high note short because he bombed! Lmaoooooo
Dimitrova is so stunning in this role.
La più grande mai sentita... Un fenomeno!!!!
Единственная Турандот!!! Настоящая Турандот!!! Поет,а нп просто доживает до конца спектакля !Люблю ее !
One of the greatest moments in Opera. Thank you Grand Maestro Puccini 🙏 Arnold Bourbon Amaral 👵💕
Nilsson once said that Wagner made her famous, but Turandot made her rich. After listening to this, I can certainly understand why.
Impresionante Ghena Dimitrova, maravillosa Turandot..¡¡
Amazing!!!! Dimitrova, Today no one can sing Turandot, even with a 🎤 mic
Difatti da oltre 30 anni e soprattutto in alcuni casi tante star cantano con il microfono,visto da me personalmente al Met di New York gia' nel 1988 ! E poi leggo anche qui in internet critiche o apprezzamenti su certi cantanti senza che nessuno sappia la verita' !!!!!!! Le assicuro che Gena Dimitrova aveva la voce che Lei sente qui senza microfoni! In 40 anni di carriera io non ho mai sentito una voce cosi' straordinaria,le piu' grandi voci di tenore potevano solo evitare di fare brutta figura vicino a Lei.... Niente di piu', gli altri sparivano! Questa registrazione e' una delle poche che si sentono su internet abbastanza vicine alla realta',quando termino la Turandot alla scala il pubblico grido' : solo tu! A Gena,( volevano che a fine opera prendesse gli applausi solo lei!) Non credo sia mai successo alla Scala,questa e' la verita'
Bravo! One of the greatest Turandot. Legendary production.
Какой могучий голос, мама дорогая!!
Гласът на Гена Димитрова е уникален и невероятен! Какво щастие е че го има този запис за да се докоснем до нейния огромен талант!!!
Absolutely fabulous!! Thank you New York!
WOW!! She steamrolled Domingo!
fantastica, meravigliosa Turandot
Боже..какой состав!!Какой накал!Потрясающий спектакль!
Incredibile Ghena Dimitrova!
What a wonderful opera singer ! Brava Ghena Dimitrova 👏 !
Una voce unica! Ghana Dimitrova la più Grande Turandot ❤
What a voice !!! Bravaaaaa Dimitrova
In questa reggia dove regnava La Dimitrova .
Povero Domingo...
In effetti Domingo non regge il confronto qui!
bodiloto certo,povereto!!!
No Met, sua voz corre facilmente todo o teatro, projeta-se perfeitamente para toda a platéia. É impressionante o vigor e a beleza da mesma
Generalnie Dymitrowa! Fantastic!
Fascinating!!...
Гелена Димитрова величайшая певица современности!
❤❤❤❤Increíble, Ghena…madre mía!!!!Me ha electrizado…
PUCCINI ❤❤❤❤❤❤❤❤❤❤❤❤
thanks for the terrific posting...
Ghena... Voce Assoluta! ❤
Great sound well done
Solo il grande Corelli avrebbe potuto essere un degno Calaf accanto a lei. Immensa.
Mario Del Monaco and Caruso would have been up to the task. They had great technique.
@@toscadonna Giacomini and Martinucci also good but not at the Corelli level.
Grandissima
MAGNIFICENT- OMG!!!!!
Domingo fa la solita figura che fece Di Stefano con la Nilsson! La signora Dimitrova è stata una grandissima Turandot! Domingo non è MAI stato un Calaf!
BELLEZA !!!!!!!!!!!!!!!!!!!!
Димитрова Гена божественное лирико драматическое сопрано Бог из поднебесьЯ вот оно бель канто.....
I so enjoy Dimitrova and all her crazy roles. Her voice became firmer and more secure by the 1990’s the vibrato at the top evening out. She always gave 💯. Her Turandot, Donna Macbetto, Tosca, Abagaille Aida, Amneris, 2 Leonora’s , Amelia, Manon, Maddelena, Gioconda and Norma were all thrilling. Domingo sounds difficult here this was always hit/miss role frankly. Corelli, Pavarotti, Bonisolli etc were far better at it.
This role was also not good for Pavarotti he only performed it live a handful of times, it requires a high spinto or dramatic voice. Both Turandot and Calaf are very difficult roles.
Forse solo Corelli ha raggiunto qui la perfezione!!
The best Turandot since Nilsson!
Una de la mejores Turandots. Técnicamente justa y perfecta. Excelente técnica y esto lo entenderán aquellos que sepan de técnica vocal aplicada a el canto, no de facultades y esto no quiere decir que la Dimitrova no las tenga, por el contrario, ella cuenta con grandes facultades, pero lo más importante es que cuenta con un grandísimo conocimiento sobre la técnica para cantar, además de cualidades histriónicas justas y no sobre actuadas. Como ya lo dije, una de las mejores Turandots de la historia de la lírica de todos los tiempos.
Turandot received its world premiere on 25 April 1926 exactly 94 years ago today at Teatro alla Scala. Happy Turandot Day! And April 25 is Italy's Liberation Day! #FestadellaLiberazione
I love to see what they'll do for the 100th anniversary.
Que hermosura de voz, lloré escuchandola. Bella bella.
This is what a Dramatic Soprano should sound! Birgit would be happy.
She would have indeed.
Bellissimo
When Ghena turns around to destroy the world with “Straniero Ascolta,” I was sure she’d have lasers in her fingers and fire coming out of her mouth.😂 She’s unbelievable. What a voice and the technique to match it.
👍🏻👍🏻👍🏻 🤣🤣🤣 i agree!
On aime plus encore On Adore 🌺🌷💕
Dimitrova is one of the great Turandots. The greats are Nilsson, Callas, Marton, and Dimitrova. All of them have huge voices.
Marton was pitchy on top, always... And too relentlessly loud. If you want to play that game, the great ones would be closer to Turner, Callas, Nilsson, and perhaps Caballé (in Paris, only)... Because, believe it or not, there is room for subtletly in this, the least subtle of Puccini's roles. Precisely because of that unsubtlety, light and shadow are more important here than in any other of his characters. The interpreter must step in, basically because of the black-and-white approach in the musical dramaturgy and the Manichean, sexist libretto.
Marton and (to a lesser extent) Dimitrova give us unmitigated glare. The four mentioned above, on the other hand, introduce subtlety, which is a gain in an unsubtle role. And by the way, the contrast only increased the impact of their loudest tones. (Unless, of course, you grew up convinced that Turandot is a loudness orgy, or you think of subtlety and dynamic range as party poopers.)
Ref Ghena D. without a single doubt, but .....Callas and Marton ??? Both screaming and "singing" OUT OF TUNE as was usual with M C ! In their places I put Caballe and Sutherland ( in their prime - obviously )
@SymphonyBrahms, agree. Dimitrova was far better than Marton. [06-21may29, not 28]. The Great Domingo as Calaf was glorious. Sure, likely Zeffirelli had a crush on him, and so did everyone else who mattered but that voice of his is legendary for a reason: it’s simply beautiful. Factor in his acting and masculine pulchritude, and now you’ve got the triple crown. The quality of this clip is far superior to others uploaded around here. I’m gonna check out this channel’s other uploads and maybe @Viva L’opera has graced us with the full opera. Paz.
@@christopherjohn6370 If one comes to opera only for the raw sound, John, then I guess you are right. Hear Callas in Mexico City, not in the studio recording. But even in the studio, late in her short career, when she had basically destroyed her voice (I'm not a Callas worshipper, but she IS one of the great singers in the entire history of recorded sound), Callas showed incredible insight, myriads of shades and a plethora of colors to every single utterance of the character. To say nothing of the musical phrasing. It's amazing to see a superior interpreter, even when impaired, make such a four-square, sexist conception of a character, as Turandot is, suddenly palpitate with a psychology we never suspected was there. If you know the words and understand both Italian enunciation and musical phrasing, Callas will deliver every time. If the voice became unwieldy, wobbly (the pitch was slack, but the unduly wide vibrato always correctly centered), or strident (again, especially towards the end of her career, although she never really had a comfortable C6), some of us find all of that easier to forgive than we do the relentless muscle flexing from a stolid, unsubtle, monochrome performer like Dimitrova. Like someone wrote once, making a parallel to Callas' last years: "I'd much rather hear Schnabel play on a broken instrument, than a mediocre musical personality play in the greatest piano in the world." Dimitrova was awesome in volume and correctness of emission, but so, so little else. I saw her in dozens of performances, both in NYC, where I live, and in Europe, where I lived before that. Opera is much more than that.
Is hectoring all a singer can do with the phrase "Nella cupa notte, vola un fantasma iridiscente?" Is all that volume (undoubtedly exciting, at an animal level) and all that relentless glare really what corresponds to the words "Through the dark night an iridescent phantom flies?" Only the most unimaginative of singers resorts to monochrome volume in a moment like that.
@@christopherjohn6370 I don't think it was a good idea for Callas to record Turandot in studio so many years after she had stopped to perform the role on stage, because her voice wasn't as strong as before by the time she recorded it. HOWEVER, have in mind that Callas had sung Turandot 24 times on stage, in the late 1940s, when she was also singing Brunhildes, Isoldes, Gioccondas, Abiggailes... very very dramatic roles at that time because her Voice was incredibly Bigger and more reliable back then, so I think its unfair to judge Calla's ability on this role just trough a later recording...
I usually only Listen to an earlier version of "In Questa Reggia" that Callas recorded in 1954, and her voice sounds better compared to the later recording of the complete Opera (which I don't listen to). Saddly there is no recording of Callas singing the complete role of Turandot when her voice was at its peak, it would be Amazing, for sure!
Well, My favourite Turandot is Birgit Nilsson, of course!
Poor Plácido!! Can't do nothing with this monster ir voice!!!
One of the few who can sing this but Nilsson is simply incomparable.
Il mio maestro che aveva cantato Erode con la grande Nilsson e aveva sentito tutti alla scala di Milano( dove era stato solista stabile per circa 20 anni) quando dalla sala senti' la Turandot della Dimitrova mi disse che neanche la Nilsson ( che lui adorava) poteva avere un volume di voce come la Dimitrova...ho detto tutto
Muy buena Ghena Dimitrova
Dimitrova una Diva real!
Wonderful - La Scala 21 December 1983 Lorin Maazel with Katia Ricciarelli and Kurt Rydl
Ghena Dimitrova is Amazing . Now except Netrebko no body can sing this role
MARAVILLA DE DUO
Se ha comido completamente a Domingo. Apenas se le escucha... Menuda voz la de Dimitrova!!
Plácido nunca tuvo un potencial para Calaf, mucho menos los agudos. Impensable compararlo a Franco Corelli. En 1979, 1981 y 1982 lo escuché en su mejores años, la voz era lírica y corría bien en teatros con buena acústica y no muy grandes.
MARAVILLOSO DUO
Duo o uno?
THIS IS TURANDOT ITSELF....OKSANA DYKA "LADRI"! DIMITROVA FU UN VERO DRAMMATICO!
ДОМИНГО ПЕТЬ ГРАФА АЛЬМАВИВА ...! "Всеядный "
певец с обычным лирическим голоском ! ДИМИТРОВА ЭТО МОЩЬ ,МАСШТАБ - СОПРАНО ВЕКА !
Насчет Доминго Вы ошибаетесь!
Ho paura che non si sbagli
Абсолютно согласна. Рядом с Димитровой у которой махина голосовая это особенно понятно . Только Корелли мог бы рядом встать . Дуэт Нильсон - Корелли конечно, великолепен , но думаю у Димитровой ещё более огромный голос .
@@user-hv1ic5oj2cI think Mario Del Monaco and Caruso would also have been good alongside Ghena. Corelli was also “Il Fantastico” to me.
I think people are being too mean to Domingo. He is a good Calaf.
The best Calaf is Corelli of course. It’s true that Domingo always has issue with B4/C5 and he usually cracked those money notes, but there are no problems apart from that. The most difficult part in Nessun Dorma is not that B4, but the several continuous A4, and he nailed it and never had any cracks or issues. If you are going to compare him with Corelli well that’s not fair…. But if you look at the Calaf in recent years, they are not even coming close to the level of Domingo.
And seriously every one who complains about Domingo’s high notes and nasality is missing the point a little bit. No doubt his overall opera performance is one of the best. Good musicality, good performances and acting skills and charming appearance etc (sorry still not comparable to Corelli)
Great analysis. I agree with every single word.
Placido doesn’t establish his lungs as the acoustic box underneath his voice, so his neck and cords take the brunt of the force of singing instead of the acoustic box. If you watch Dimitrova breathe, she fills her lungs all the way up to her clavicles then leans back to lengthen then pipe as she goes towards the high notes. Placido is leaning forward all of the time and never has enough breath support, and you can see the strain in his neck because of it. His voice is good, but the technique is not.
Even Spinks gave only one riddle. 3 riddles? That's too many!
This is the Zeffirelli’s production but I saw Eva Martin and Domingo back in 1987. What year is this?
💞💞💞💞💞💞💞
Ma Domingo con quale faccia si presentava al fianco della dea Dimitrova?
Нет больше таких Турандот и не будет никогда,а сейчас Нетребко "исполняет",куда мы катимся(((
Нетребко не хуже! У нее голос красивее, а с темпераментом еще лучше!
@@user-we1jm8ff7t Нетребко исполняет ее с невиданно фантастической техникой - на каждой ноте трель. Ни одной чистой интонации.
@@user-we1jm8ff7t У Нетребко легкое лирическое сопрано, а у Гены - огромное драматическое. Это совершенно разные калибры, всё равно, что сравнивать дуэльный пистолет с гаубицей. Нетребко загубила свой голос, берясь за партии Турандот, Нормы и леди Макбет. Теперь она уже не в состоянии спеть ни Джильду, ни Травиату, которые когда-то принесли ей успех и известность. На что же Аня еще замахнется? Неужели на вагнеровские партии?
@@essevikt У Анны Нетребко выдающийся голос, который, действительно, можно сравнить с голосами Каллас и Каббалье. Это слышно и на ранних записях. Она могла легко брать высочайшие ноты и петь поэтому и в Пуританах, и в Лючии ди Ламермур, и в Травиате, и в Руслане и Людмиле. Но у нее и тогда были прекрасные средний и нижний регистры. Плюс к тому драматический темперамент. Мне представляется совершенно естественным и закономерным ее желание петь Макбет, Турандот, Абигаиль... В вагнеровском Лоэнгрине она, кстати, уже пела вместе с Бечалой. Думаю, что со временем она попробует себя и в партиях высокого меццо. Все это нормально для певиц с таким большим голосом. Очень надеюсь на то, что голос ее не подведет, так как вижу, как внимательно она готовит партии и какой виртуозной техникой бэльканто она обладает! Дай Бог ей здоровья и новых успехов! А русским надо очнуться и осознать, что Нетребко - подлинное национальное и мировое достояние!
@@catwarm2196 нельзя так хамить, пользуясь безнаказанностью. Вы, похоже, совсем не разбираетесь в оперном искусстве.
exquisitos
In this performance Ghena is definitely my favourite Turandot ever..far better the stunning Birgit Nilsson. Supreme power ,drama and passion. Fearless modern singing and acting. Such power and soul..Her "straniero ascolta" and "vivido baglior " are pure dynamite.
След такова изпълнение е нормално да има хиляди разнопосочни коментари....
Истината обаче е една единствена: Малко изпълнители можеха да съперничат на г-жа Димитрова било като глас, било като темперамент, било като излъчване на сцената. Още по-малко можеха да и бъдат истински партньори на сцената които да са на нейното ниво и да си паснат като италианска мозайка, Павароти беше един от тях!!! За огромно съжаление, нито той, нито Гена Димитрова са живи.
Добре че поне ще останат видео записи макар и с много лошо или ниско качество които да ни напомнят за непреходното изкуство което те толкова обичаха, наречено ОПЕРА.
Надявам се в един момент някой да дигитализира и повиши качеството на тези записи за да останат за поколенията и след нас защото изпълнители от техният ранг са цяла школа, която трябва да се помни и изучава и занапред..........
L'unica grandissima Turandot della lirica!
Bravissima sicuramente, ma la Calla una spanna in su!
@@alessandrocarlino4508 La Callas in tante opere è la divina..ma qui la NIELSEN e la DIMITROVA sono insuperabili...
L'hai sentita Gina Cigna? ua-cam.com/video/_aPEM7TZu1o/v-deo.html
My, all the Domingo bashing! Of course, she overwhelmed his voice - so what? She overwhelmed most tenors she sang with. I've read that she subbed in a Gioconda with him early in her career, when she was mostly known behind the Iron Curtain. To his credit, he started promoting her to Western opera organizations.
Tandas Comerciales Pasiones 22 de Abril 2021
Phenomenal!!!!! When was this recorded?
Пласидо Доминго великий тенор дуэт. Прекрасный....
is Domingo singing???
Lip sincing
Dimitrova is a wonderful Turandot in this production. One couldn't hear Placido Domingo at the end of In questa regia. I suppose because he was farther away from the microphone.
d
Scott Johnson
His voice is much smaller
@@draganvidic2039 So was Pavarotti's voice. He sang Calaf on stage a few times and recorded it with Sutherland, but his voice wasn't large enough for the role. Corelli, on the other hand, had a huge voice. And beautiful as well. He sang it many times with Nilsson. They were both perfect for the roles in Turandot.
Domingo's really a clown Calaf. look how he execute the 3 riddles in In questa reggia 😩. Never heard this man reached the High C in No, no, principessa.
Turandot beware! This is Domingo ... THAT Domingo! You know what I mean ... Lol ...
100Singers Your Bad Mr Man 👨. LoL Arnold Bourbon Amaral
La Dimitrova È STATA l'unica e vera Turandot.
E la Nilsson dove la metti?
La Nilsson e lei.
Virginia Zeani.
@@michelacogoi5311 la Nilsson una grande....ma meglio con Wagner. Poi è una questione di gusti.
TOTALLY STELLAR person too!
La Dimitrova was a force of nature, beside her the great Plácido sounds like an amateur
Domingo was not a great Calaf. At this time, only a handful of tenors could distinguish themselves in this role, and Domingo wasn't one of them.... I'm thinking of guys like Cechelle, Giacomini, or Carlo Cossuta... they didn't have Domingo's box office cache, but were far better suited to take on the role's demands.
No. Just no. He sounds fine. All singers have their best roles and their lesser ones.
Domingo foi facilmente "engolido" por ela, kkkkkkkk. Viva Dimitrova!
Domingo a tenor who did a Carrier with only a Bflat no high notes like the Great Pavatotti
Domingo could just about make the top "C". He never did have good tops notes.
Because he was actually a baritone trying really hard to be a tenor. He's a baritone again
Super Mommy811
He’s not, he’s just old.
He was a tenor but not a high one.
@@draganvidic2039 I know that he sung as a tenor but he started out as a baritone with a higher top. It's common knowledge
Super Mommy811
Good you know.
Have you heard a true baritone?
@@draganvidic2039 My first voice teacher. There are different kinds of baritones. Bass and lyric are the two most common types. I know my stufff
Какого года запись? В каком театре?
Domingo totally screwed Ghena on that high C right at 5:17. He didn't have it and she did. He came off of it so early that she didn't get to sustain it that way she could have.
Placido doesn’t stay up in the chest and keep the acoustic box like she does. The brunt of the force is on his cords and not his lungs. It’s unfortunate he wasn’t taught properly or just didn’t listen.
@@toscadonna I try not to get too technical here on UA-cam. I know this aria really well because I play it for my wife on a regular basis at the piano. We're going to submit a live raw PV version of it on my channel.
Ghena though is her favorite Turandot. What a voice.
@@canalesworks1247Ghena was my teacher’s teacher. She’s stupendous.
Yodel ay ee oh
Ghena sounds better here than at Verona, a little less of that extreme vibrato sound.
Io ho cantato per 10 anni con la Dimitrova e non aveva nessun vibrato ,esattamente come la maggior parte dei cantanti
Was the Mo. G Solti ???
Lorin Maazel, Teatro alla Scala
21 December 1983.