Un D. Carlos splendido per interpreti, costumi, scene!! Penso insuperabile! Voci, splendide!! Tutto perfetto, lo approverebbe anche Verdi!! Splendido!!
Eine der besten Aufführungen aller Zeiten. José Carreras war auf seinem stimmlichen Höhepunkt. Nie vorher und nie mehr danach war er so gut, einfach perfekt! Aber die Audio-Aufnahme von 1979 kommt dieser hier gleich. Und Agnes Baltsa ist hier phänomenal. Ich habe diese Inszenierung bereits bei der Erstausstrahlung im TV gesehen und bis heute hält die Faszination dieser Aufführung an. Unglaublich gut ist auch Philipp II, wenn er klagt: "Sie hat mich nie geliebt." Das haut einen um!
A superb really dramatic performance , wonderful singing from all , I have never heard Carreras sing better or more expressively . listening to the orchestra , I think one could be entertained without any singers at all , Karajan is so precise in his conducting. I have been in rapture enjoying this outstanding performance .
It may be a weird comparison but I've always thought of Don Carlo as Verdi's Parsifal, at least from my seat in the audience. While you could always drop in on a Boheme or Magic Flute on the spur of the moment and enjoy a great show, works like Don Carlo and Parsifal, while wonderful shows themselves, always benefited from an approach featuring a certain focused reverence and attention. May evenings of live performances eventually return to us who have been privileged to enjoy them in the past, and to those yet to discover their joy. But even a cracked phone screen in an age of quarantine can be a magical portal to enjoying gems like this. Thank you for posting, whoever you are and wherever you are and remember -- Beware the Grand Inquisitor! Beware! (still sending chills up my spine after all these years)
Furlanetto is very smart. He shows the King's weakness underlying his ostentatious displays of strength. The face-off with Matti Salminen's Grand Inquisitor is wonderful. And as long as I'm pointing out the small parts, this Frate/Carlo Quinto is really good too. The singer is Franco de Grandis. It's funny: the role of the Grand Inquisitor is more difficult to sing than the King, in spite of his limited time on stage, and the Frate/CQ is even harder than the GI even though Frate/CQ has EVEN LESS time on stage than the GI does.
@@kennethwayne6857 e nella presentazione del video se lo sono scordato,eh? Notato che nella scena con Elisabetta, quando lei sviene, lui, pentito della propria brutalità, ha un gesto di tenerezza verso di lei; non so se l'idea fosse sua o di Karajan, ma a quel che ho visto, così è solito fare in tutte le successive interpretazioni del ruolo, e con l'età più avanzata l'atto diviene anche più patetico (es.Vienna, regia Daniele Abbado)
Начала слушать и Не могла оторваться, космическое звучание. Именно здесь, я открыла для себя Хосе Каррераса! Женские голоса очень красивы! И внешне все исполнители прекрасны!
Esta es en mi opinión la mejor versión de Don Carlo que hay disponible, quede impresionado! La dirección de Karajan es inmejorable! Todos interpretaron sus respectivos personajes de una manera conmovedora, realmente convincente y la puesta en escena magnífica. ❤❤❤
I know that these heavy roles took a toll on Carreras' beautiful lyric tenor voice, but I really like a lighter voice in Don Carlo and Aida, just as Von Karajan preferred. He sounds GREAT here. Thanks so much for uploading this.
What took a toll on Carreras' voice was his lack of vocal technique. Leukemia notwithstanding, those who sing with their "natural" gifts without a rock solid technique end up like Carreras. One of the most beautiful voices ever; a dream barely realized.
Wonderful, marvelous. What can one say about a performance that is beautiful, convencing in every aspect from beginning to the end. Bravi to all the singers, production, orchestra under the masterful direction of Herbert von Karajan. I must say that the visual aspect is very agreeable, costumes and scenery. The volume of the orchestra sometimes overpowers, but no matter. Karajan has a heavy hand.
This is definitely the second triumphal performance after conducting the Vienna Philharmonic. There may have been a presence for Karajan once again for Furtwängler a bulldog who had completely closed down his commanding activities in Berlin. The unprecedented, magically smart idea of putting the Berlin Philharmonic into the pit, which Furtwängler had never thought of, would have been regrettable by Furtwängler of the world. Even though Karajan is harassed, he throws it away and sublimates it in another advanced dimension. It's really Nietzsche's Zarathustra.
@@exdiva46 I agree with most of what you’re saying, but Baltsa, while better than most of her contemporaries, had technical issues, and they show here. It is possible to sing with even more power than she does here, but unfortunately some technical shortcoming got in her way.
at his best Jose Carreras was a phenomenon. People criticise him for pushing himself into unsuitable repertoire, but this role seems to fit him like a glove.
Izzo d'Amico è un doppio cognome, non due persone! Fiammetta, sorella di Simona. E ci siamo scordati Furlanetto, poi diventato specialista del ruolo di Filippo?
Has anyone seen the CG performance with Lima, Lloyd, Cotrubas and Zancanaro? Carlo has been depicted in the best way by Lime, because he played him like he was in the history and not a hero, just a hysterical madman....
I worked there at the time, front of house, while I was studying. Lima was a fantastic Carlo. Beautiful, plangent voice, and played as a neurotic. Wonderful.
Splendida edizione. Se dovessi, da ipercritico, trovare due piccoli neon sarebbero la Baltsa un poco troppo sopra le righe in "oh don fatale" e la dizione talvolta "russeggiante" di Furlanetto. Cred ia la più bella esistente con quella Abbado Christoff Freni Bumbry-
Grande de las GrandesAgní Báltsa 1.06.00 y todo el terceto....1.06.14: Ed io, che tremava al suo aspetto...! Ella volea questa santa novella Di celesti virtù mascherando il suo cor, Il piacer libar ed intera La coppa vuotar dell'amor. Ah! per mia fe! ...fu ben ardita! IM PE CA BLE MARAVILLOSA!!!!
La Izzo d'Amico, per non sapere assolutamente "recitare", offre qui una delle più pure, ingenue e incantevoli interpretazioni di Elisabetta che si siano mai registrate. Non ci si può non commuovere di fonte a tanta intensa semplicità. Avrebbe meritato ben altra carriera.
Niente da dire sull'esecuzione,ma i tagli al secondo verso di NON PIANGER MIA COMPAGNA, della CANZONE DEL VELO e lo sciagurato taglio ad una romanza meravigliosa e complessa come TU CHE LE VANITA' mi fanno fortemente dubitare che si tratti dell'edizione definitiva del DON CARLO. SI è è sentito altro successivamente.
What happened with the horns prelude????? there is about 2 minutes of music missing before the curtain rises! I doubt Karajan would have made such a horror as to suppress that from the score!
Magnifique spectacle! Orchestre, voix, mise en scène, costumes... Dommage que le sous-titrage espagnol soit aussi catastrophique. Certains sous-titres s'effacent aussitôt. On n'a pas le temps de lire les autres. Quel mauvais travail! A refaire complètement!
The opera's name in this particular performance: "Eboli". Wish they picked a suitable Elizabeth to queen over the Baltsa - monster... But there are no perfect situations. Thanks for the upload, such a joy that these performances existed once. Not anymore!
@@susanaar2001 infatti! La Izzo D'Amico (sono 2 cognomi, non 2 persone, sbagliata la virgola!) ha qualche limite di esperienza, era giovanissima. Ma era più di una promessa, peccato che la sua carriera operistica sia stata molto breve, comunque per sua scelta. Probabilmente era l'intenzione di Karajan, come direttore e regista, sottolineare del personaggio la giovinezza e la tenerezza
Tutti splendidi, sia musicalmente che come interpreti, peccato che manca l’atto della foresta di Fontainebleau, che è bellissimo e spiega l’antefatto, 🎶🎶🎶🎶sempre w Verdi 🎶🎶🎶🎶🎶
Voor mij heb je helemaal gelijk. De Fontainebleau scene is niet alleen heel mooi maar is eigenlijk voor de verhaallijn onmisbaar. Maar helaas wordt die scene in de Italiaanse versie van de oorspronkelijk door Verdi voor de Franse opera in Parijs gecomponeerde opera volgens de traditie van de Franse Grand opera meestal weggelaten, of soms ingekort naar een ander tijdstip in de opera verplaatst. Dramaturgisch is de originele versie dan ook beter dan de Italiaanse versie. Daarnaast is in de oorspronkelijke versie Phillips een bas-bariton en geen bas zoals Furlanetto, dit om het hautaine character van de koning beter weer te geven. De das-bariton Jos`e van Dam maakte er furore mee. Carlos is een typische lirico-spinto, iets wat Carreras niet is. Eigenlijk verre van dat.
@@liedersanger1 Verdi, himself, rewrote the opera like this for Italy. In the original theater in Paris, France, the requirement was to compose a five act opera with ballet, ehich is what Verdi delivered. Once back in Italy, unencumbered by these restrictions, he cut it down to a more manageable size. Nowadays, many opera houses offer the 4 act Don Carlo, supplemented by a cut version of the Fontainbleau act. OK?
@@TedinNY Thanks. I was asking about Karajan. I'm just curious as to why HvK chose the Italian version rather than the original. And, BTW, is the Fontainebleau act, even in truncated form, included in this performance? (I don't remember hearing it, but I don't have time to listen to it again.)
@@liedersanger1 That was the regular way the opera was presented at the time. And no, there is no Fontainebleau act, whatsoever. That practice started long after HvK.
The production is temarkable. Baltsa is a phenomenon 1000 volts. She rocks. Carreras is a prince! Amazing cast, except D'Amico. I prefere Freni in this role. Opinion...only.
Fiammetta era giovanissima troppo inesperta per il ruolo ma non demerita. Forse però la brevità della sua carriera fu dovuta proprio ai troppo gravi impegni imposti a uno strumento vocale ancora acerbo
I personaggi non portano mai i guanti nelle scene pubbliche.. non si possono vedere. Ma Karajan non era il regista che voleva far credere ed aveva nelle arti visive un gusto molto discutibile. Bravi Furlanetto e Carreras.. anche senza guanti.
@@vincenzomesseri3433 Perché è Odino in terra? È stato un bravo, astuto e commerciale direttore, baciato dalla Fortuna di essere appoggiato da Furtwängler, anche per motivi nazionalistici, ereditando la splendida BP. Ne ha saputo qualcosa Celibidache
@@sergiokibizer8317 Karajan sponsorizzato da Furtwangler? Ma dove hai letto questa panzana assurda? I due, nonostante l'ammirazione sincera di HVK per il più vecchio collega, in realtà non si sono mai sopportati... E Furtwangler avrebbe gradito Celibidache come successore...
Un pequeñísimo fallo en el dúo de tenor y barítono ...por decir algo malo de esta extraordinaria versión ...Carreras espléndido ...Capucilli magistral ....karajan único ...imposible llegar a esta perfección ahora y casi para siempre
@@gergelycsallo5133 Karajan sometimes just miscasted his favorite singers, like casting Ricciarelli and Carreras in La Forza del Destino and Aida. I don't know what's wrong with him.....
Miss Izzo D'Amico is very fine, but even a highly-trained soprano should not sing Elisabetta at the age of 21! I attended her Met debut as Mimi in '89 (with Domingo). She did quite well but never came back.
infatti ebbe una carriera breve, poi si dedicò al doppiaggio cinematografico,seguendo la tradizione di famiglia (Renato, padre di lei e di Simona,Rossella, Giuppy, fu maestro del doppiaggio); il fatto di aver cessato con l'opera prima dei 30 anni può essere dovuto come dicevo ai troppi gravosi impegni ma anche alla vita familiare e alla maternità
QUE ESTUPIDEZ MAS DECRITERIADA POR QUE LO DIALOGOS LOS RETIRAN TAN RAPIDO CUANDO UNO NO ALCANZA A LEERLOS NO LOGRO COMPRENDER POR QUE NO SE HACE ALGO BIEN HECHO CUANDO ENTRE TRADUCCION DE DIALOGOS HAY TANTO TIEMPO...............DE CHILE
Per me salvo qualche momento di Cappuccilli, è una brutta edizione con tagli a volontà che la deturpano notevolmente. Pessima la Eboli della Baltsa: esagitata e forzata. Le Eboli hanno altri nomi e artiste....
Whenever somebody comes up with that bullshit about how "there's no such thing as DRAMATIC MEZZO, BECAUSE ALL MEZZOS SHOULD BE DRAMATIC VOICES" just show them that trainwreck at 2:09:27. To make it clear, I love Baltsa, but Eboli was not for her!
I remember when this was first broadcast. We singers all thought that both Carreras and Baltsa pushed their voices incredibly. Have to blame Van Karajan. And they all stand around using their hands just like he does when he conducted. This is not a great example of this opera.
As you know, it was professionally unwise to say 'no' to Von Karajan. Unfortunately. My admiration to Mirella Freni for refusing to sing Turandot for him and to Thomas Allen for saying no to di Luna. That said, I do enjoy this performance of my favorite opera, in spite of the slow tempi (and the cuts).
Casi todas las historias llevadas a la escena son falsas, desde la antigua Grecia hasta nuestros días. Esto es ópera, la historicidad del libreto suele ser bastante secundario. Esta ópera en cuestión es estupenda en cuanto a su composición musical, sus áreas magníficas y harto difíciles por lo demás, los coros, la música orquestal. Es Verdi 100% y del mejor calibre. Es muy difícil de llevar a escena, requiere un elenco de gran calidad y nada menos que tres bajos (producto en vías de extinción). Esta producción fue muy buena, de la época en que el Met hacía puestas en escena concordantes con los textos, hoy quizás podría ver al Don Carlo ambientado en un supermercado de barrio, en una zapatería o vaya uno a saber se estrenó en 1983 con Domingo, Freni, Bumbry y Ghiaurov como un atronador Felipe II, esa noche fue esplendorosa, yo era crío de universidad y la recuerdo hasta el día de hoy
via, non esageriamo! Certamente Karajan come regista non era al livello di sè stesso come direttore, ma insomma... almeno siamo sicuri che non l'ambientava nel Pianeta delle Scimmie nè su una nave e tantomeno astronave, nè si sforzava di trovare identificazioni con personaggi e vicende più recenti...
Absolument d'accord. Mais aujourd'hui même une mise en scène merdique doit être dite "géniale". Cela fait bien et "contemporain". Plus on se fout des spectateurs plus ils applaudissent, alors.....
Magnifique spectacle! Orchestre, voix, mise en scène, costumes... Dommage que le sous-titrage espagnol soit aussi catastrophique. Certains sous-titres s'effacent aussitôt. On n'a pas le temps de lire les autres. Quel mauvais travail! A refaire complètement!
Peter, what a wonderful Don Carlo!!!!Thank you so much for this splendor ❤
Karajan.....with all of his amazing symphony recordings people forget he was NAILING opera right up until the end of his life!
Toujours autant de plaisir en voyant cette version de Don Carlo, voix superbes, décors magnifiques, mise en scène impeccable , merci.
Un D. Carlos splendido per interpreti, costumi, scene!! Penso insuperabile! Voci, splendide!! Tutto perfetto, lo approverebbe anche Verdi!! Splendido!!
e i tagli?
Eine der besten Aufführungen aller Zeiten. José Carreras war auf seinem stimmlichen Höhepunkt. Nie vorher und nie mehr danach war er so gut, einfach perfekt! Aber die Audio-Aufnahme von 1979 kommt dieser hier gleich. Und Agnes Baltsa ist hier phänomenal. Ich habe diese Inszenierung bereits bei der Erstausstrahlung im TV gesehen und bis heute hält die Faszination dieser Aufführung an. Unglaublich gut ist auch Philipp II, wenn er klagt: "Sie hat mich nie geliebt." Das haut einen um!
Excellent performance.
Merci de partager
A superb really dramatic performance , wonderful singing from all , I have never heard Carreras sing better or more expressively . listening to the orchestra , I think one could be entertained without any singers at all , Karajan is so precise in his conducting. I have been in rapture enjoying this outstanding performance .
Una esecuzione perfetta, grandi interpreti e voci indimenticabili.
It may be a weird comparison but I've always thought of Don Carlo as Verdi's Parsifal, at least from my seat in the audience. While you could always drop in on a Boheme or Magic Flute on the spur of the moment and enjoy a great show, works like Don Carlo and Parsifal, while wonderful shows themselves, always benefited from an approach featuring a certain focused reverence and attention.
May evenings of live performances eventually return to us who have been privileged to enjoy them in the past, and to those yet to discover their joy. But even a cracked phone screen in an age of quarantine can be a magical portal to enjoying gems like this. Thank you for posting, whoever you are and wherever you are and remember -- Beware the Grand Inquisitor! Beware! (still sending chills up my spine after all these years)
The commendatore in Giovanni
Don Carlo and Parsifal? An interesting comparison, and when you think about it, quite apt.
Nicely composed sentences. Don Carlo is one of my favourite opera from Verdi.
Божественные голоса! Лучшего состава голосов я не слышала! Первоклассные голоса, спасибо за такое удовольствие.Каррерас красавчик!Капучилли супер.
La vecchis Salisburgo 1986 con i costumi drl 1500 spettacolari ❤❤❤ Don Carlo originale❤❤❤
The ultimate Carlos and the sweetest Elizabeth. However why doesn't anybody mention Ferruccio Furlanetto?-
Furlanetto is very smart. He shows the King's weakness underlying his ostentatious displays of strength. The face-off with Matti Salminen's Grand Inquisitor is wonderful.
And as long as I'm pointing out the small parts, this Frate/Carlo Quinto is really good too. The singer is Franco de Grandis.
It's funny: the role of the Grand Inquisitor is more difficult to sing than the King, in spite of his limited time on stage, and the Frate/CQ is even harder than the GI even though Frate/CQ has EVEN LESS time on stage than the GI does.
Ils sont tous magnifiques
benissimo youtube che ci fa risentire grandissime voci e grandi spettacoli
So much thanks for sharing precious performance! As well as Ferruccio Furlanetto. Magnificent Philip!
@@psono429 He certainly does! Incredible to think he was only 36 here. And now at almost twice that age, he still sings the role as well as ever.
@@kennethwayne6857 e nella presentazione del video se lo sono scordato,eh? Notato che nella scena con Elisabetta, quando lei sviene, lui, pentito della propria brutalità, ha un gesto di tenerezza verso di lei; non so se l'idea fosse sua o di Karajan, ma a quel che ho visto, così è solito fare in tutte le successive interpretazioni del ruolo, e con l'età più avanzata l'atto diviene anche più patetico (es.Vienna, regia Daniele Abbado)
@@paoladatodi8626 Viva Ferruccio!
@@kennethwayne6857 e auguri per il suo compleanno, oggi 16 maggio
o è domani 17? auguri,comunque
Thank you very much for the superb opera!
Thank you a million times over!
Начала слушать и Не могла оторваться, космическое звучание. Именно здесь, я открыла для себя Хосе Каррераса! Женские голоса очень красивы! И внешне все исполнители прекрасны!
Esta es en mi opinión la mejor versión de Don Carlo que hay disponible, quede impresionado! La dirección de Karajan es inmejorable! Todos interpretaron sus respectivos personajes de una manera conmovedora, realmente convincente y la puesta en escena magnífica. ❤❤❤
En que año fué esta presentación? Es fabulosa!! Furlanetto inigualable
Carerras was joke. Corelli's Don Carlo is available in UA-cam.
Che grande artista Carreras! Nessuno ha valorizzato quanto lui la meravigliosa parte di Carlo!
Absolutely wonderful! I am in tear’s !
I know that these heavy roles took a toll on Carreras' beautiful lyric tenor voice, but I really like a lighter voice in Don Carlo and Aida, just as Von Karajan preferred. He sounds GREAT here. Thanks so much for uploading this.
I agree, here Carreras is great also his acting
What took a toll on Carreras' voice was his lack of vocal technique. Leukemia notwithstanding, those who sing with their "natural" gifts without a rock solid technique end up like Carreras. One of the most beautiful voices ever; a dream barely realized.
@@hrh4961 it was the leukemia. Hed recovered, at a cost to his strength and vocal longevity.
@@exdiva46 So you say. Vocal decline began before the illness.
@@hrh4961 One of his early influences was Giuseppe di Stefano. Enough said.
2:08:00 Such a visceral, fiery "O don fatale...." ! Loads of chest voice, she holds back nothing 🔥🔥🔥
Wonderful, marvelous. What can one say about a performance that is beautiful, convencing in every aspect from beginning to the end. Bravi to all the singers, production, orchestra under the masterful direction of Herbert von Karajan. I must say that the visual aspect is very agreeable, costumes and scenery. The volume of the orchestra sometimes overpowers, but no matter. Karajan has a heavy hand.
unlike some of the absolute rubbish performances of recent times.
Baltsa moments ❤
20:16 Canzone del Velo
1:04:40
2:04:27 Confession Scene and O don fatale
2:31:11 Tu che le vanita
2:48:37 Elizabetta's final note
Recording from Salzburg Easter Festival 1986.
This is definitely the second triumphal performance after conducting the Vienna Philharmonic. There may have been a presence for Karajan once again for Furtwängler a bulldog who had completely closed down his commanding activities in Berlin. The unprecedented, magically smart idea of putting the Berlin Philharmonic into the pit, which Furtwängler had never thought of, would have been regrettable by Furtwängler of the world. Even though Karajan is harassed, he throws it away and sublimates it in another advanced dimension. It's really Nietzsche's Zarathustra.
Very thanks for your cooperation!!
Grazie aver inserito questa opera..... Peccato essendo io italiana.. avrei preferito la didascalia in ITALIANO
Comunque GRAZIE ANCORA
great, thank you very much
The “Don fatale” was terrifying. Superhuman commitment, but it was scary how far she pushed her voice.
Terrifiant, mais superbe , encore merci Madame
because no one today is used to to full power voices anymore. it is not pushing! The ABILITY IS NO LONGER BEING TAUGHT OR DEVELOPED
@@exdiva46 I agree with most of what you’re saying, but Baltsa, while better than most of her contemporaries, had technical issues, and they show here. It is possible to sing with even more power than she does here, but unfortunately some technical shortcoming got in her way.
@@exdiva46 Agree 100% with you and guess we both understand the same on what opera singing should be and unfortunte it is no longer anymore
X
at his best Jose Carreras was a phenomenon. People criticise him for pushing himself into unsuitable repertoire, but this role seems to fit him like a glove.
Une gigantesque interpretation du grand Herbert Von Karajan.
WOW A MILLION TIMES. BALTSA, CARRERAS, CAPPUCILLI, IZZO D'AMICO, SALMINEN, AND.... VON KARAJAN. THE DON CARLOS DREAM TEAM.
Izzo d'Amico è un doppio cognome, non due persone! Fiammetta, sorella di Simona. E ci siamo scordati Furlanetto, poi diventato specialista del ruolo di Filippo?
this production has never been equaled.
@@richardfallon5507 How about Christoff, Caballe, Bumbry, Gobbi, Vickers Abbado
@@petererdos8458 i fully agree with you ,my friend, but for me, this one stays my fav. (plus my 76 yr old fingers couldn't keep typing all those name)
@@petererdos8458 Una bellissima lotta! Non so quale scegliere, forse Christoff, Caballè , Bumbry e.....Dovrò riascoltarle tutte!
Well, Mr Salminen was great inkvsitor. What a voice!
One of the great basses of all time. His scene with Ferruccio is a true clash of Titans as it should be.
Marvellous.
The Best Don Carlo, bravo !
2:42:55 Izzo D'Amico y José Carreras. El gran final.
Bravo brilliance vocal music opera grandiose genial super
2:14:33 2:22:20 Bravo Cappuccilli!!!
Una edizione memorabile! Peccato che nella Canzon Saracina Karajan abbia saltato la seconda strofa :(
Has anyone seen the CG performance with Lima, Lloyd, Cotrubas and Zancanaro? Carlo has been depicted in the best way by Lime, because he played him like he was in the history and not a hero, just a hysterical madman....
I worked there at the time, front of house, while I was studying. Lima was a fantastic Carlo. Beautiful, plangent voice, and played as a neurotic. Wonderful.
Yes, my favourite Don Carlo production :)
Excellent performance! However title is not accurate. Izzo D'Amico is one person and how could you skip Furlanetto?!
Thx for upload
Splendida edizione. Se dovessi, da ipercritico, trovare due piccoli neon sarebbero la Baltsa un poco troppo sopra le righe in "oh don fatale" e la dizione talvolta "russeggiante" di Furlanetto. Cred ia la più bella esistente con quella Abbado Christoff Freni Bumbry-
Grande de las GrandesAgní Báltsa 1.06.00 y todo el terceto....1.06.14: Ed io, che tremava al suo aspetto...!
Ella volea questa santa novella
Di celesti virtù mascherando il suo cor,
Il piacer libar ed intera
La coppa vuotar dell'amor.
Ah! per mia fe! ...fu ben ardita! IM PE CA BLE MARAVILLOSA!!!!
GREAT BALTSA! "O don fatale"!!!
La Izzo d'Amico, per non sapere assolutamente "recitare", offre qui una delle più pure, ingenue e incantevoli interpretazioni di Elisabetta che si siano mai registrate. Non ci si può non commuovere di fonte a tanta intensa semplicità. Avrebbe meritato ben altra carriera.
Un usignolo.
Explosive
Forse il non saper recitare ha fatto risaltare Elisabetta sola e indifesa.
Bravi!!!!
Niente da dire sull'esecuzione,ma i tagli al secondo verso di NON PIANGER MIA COMPAGNA, della CANZONE DEL VELO e lo sciagurato taglio ad una romanza meravigliosa e complessa come TU CHE LE VANITA' mi fanno fortemente dubitare che si tratti dell'edizione definitiva del DON CARLO. SI è è sentito altro successivamente.
Karajan lives forever
What happened with the horns prelude????? there is about 2 minutes of music missing before the curtain rises! I doubt Karajan would have made such a horror as to suppress that from the score!
Bravíssimo!!!
Che strano che la migliore Elisabetta delle varie produzioni di questi anni sia poi sparita dal mondo della lirica.
Ora fa la doppiatrice di film. Veramente bravissima canto e azione scenica e poi anche molto bella.
C'est en quelle année qui a était filmé cette magnifique représentation svp?
1986
14:08 Carreras/Cappuccilli.
Magnifique spectacle! Orchestre, voix, mise en scène, costumes... Dommage que le sous-titrage espagnol soit aussi catastrophique. Certains sous-titres s'effacent aussitôt. On n'a pas le temps de lire les autres. Quel mauvais travail! A refaire complètement!
The opera's name in this particular performance: "Eboli". Wish they picked a suitable Elizabeth to queen over the Baltsa - monster... But there are no perfect situations. Thanks for the upload, such a joy that these performances existed once. Not anymore!
Baltsa is amazing in this role singing and acting but Elizabeth has a very beautiful voice
@@susanaar2001 infatti! La Izzo D'Amico (sono 2 cognomi, non 2 persone, sbagliata la virgola!) ha qualche limite di esperienza, era giovanissima. Ma era più di una promessa, peccato che la sua carriera operistica sia stata molto breve, comunque per sua scelta. Probabilmente era l'intenzione di Karajan, come direttore e regista, sottolineare del personaggio la giovinezza e la tenerezza
Tutti splendidi, sia musicalmente che come interpreti, peccato che manca l’atto della foresta di Fontainebleau, che è bellissimo e spiega l’antefatto, 🎶🎶🎶🎶sempre w Verdi 🎶🎶🎶🎶🎶
Voor mij heb je helemaal gelijk. De Fontainebleau scene is niet alleen heel mooi maar is eigenlijk voor de verhaallijn onmisbaar. Maar helaas wordt die scene in de Italiaanse versie van de oorspronkelijk door Verdi voor de Franse opera in Parijs gecomponeerde opera volgens de traditie van de Franse Grand opera meestal weggelaten, of soms ingekort naar een ander tijdstip in de opera verplaatst.
Dramaturgisch is de originele versie dan ook beter dan de Italiaanse versie.
Daarnaast is in de oorspronkelijke versie Phillips een bas-bariton en geen bas zoals Furlanetto, dit om het hautaine character van de koning beter weer te geven. De das-bariton Jos`e van Dam maakte er furore mee.
Carlos is een typische lirico-spinto, iets wat Carreras niet is. Eigenlijk verre van dat.
❤️❤️❤️❤️❤️❤️❤️❤️❤️❤️
What an opera…
Avec le final de Baltsa, on est loin de celui de Caballe à Verona (7 secondes contre 21)
Furlanetto looks great as Filippo II
Представляю как бы сейчас поставили бы эту оперу нынешные "гении": в камуфляже, в кирзовых сапогах и с автоматоми Калашникова.
2:04:31 La gran Agnes baltsa.
Ya no hay cantantes así 😭😭😭
2:17:50 Magnífico Cappuccilii
25:26 la majestuosidad del protocolo real
Carreras, Baltsa and Karajan, great trio.
Anche Furlanetto !!!
@@mirjamdevries9376 Cappuccilli !
Carreras mosquito.
Indeed.
Did Karajan ever explain why he didnt want to use the Fontainebleau scene?
This is the Milan 1884 version. There is no Fontainebleau, no revolution scene, no qui me rendra ce mort, no judgement scene...
@@jaybee2838 Yes, but why...
@@liedersanger1 Verdi, himself, rewrote the opera like this for Italy.
In the original theater in Paris, France, the requirement was to compose a five act opera with ballet, ehich is what Verdi delivered.
Once back in Italy, unencumbered by these restrictions, he cut it down to a more manageable size.
Nowadays, many opera houses offer the 4 act Don Carlo, supplemented by a cut version of the Fontainbleau act.
OK?
@@TedinNY Thanks. I was asking about Karajan. I'm just curious as to why HvK chose the Italian version rather than the original. And, BTW, is the Fontainebleau act, even in truncated form, included in this performance? (I don't remember hearing it, but I don't have time to listen to it again.)
@@liedersanger1 That was the regular way the opera was presented at the time. And no, there is no Fontainebleau act, whatsoever. That practice started long after HvK.
The production is temarkable. Baltsa is a phenomenon 1000 volts. She rocks. Carreras is a prince! Amazing cast, except D'Amico. I prefere Freni in this role. Opinion...only.
Fiammetta era giovanissima troppo inesperta per il ruolo ma non demerita. Forse però la brevità della sua carriera fu dovuta proprio ai troppo gravi impegni imposti a uno strumento vocale ancora acerbo
Me too. Frénico.
Каррерас!
what a wonderful Elizabetta
I personaggi non portano mai i guanti nelle scene pubbliche.. non si possono vedere. Ma Karajan non era il regista che voleva far credere ed aveva nelle arti visive un gusto molto discutibile. Bravi Furlanetto e Carreras.. anche senza guanti.
Ora ci mettiamo a fare "le pulci" a Von Karajan! Tipicamente italiano!
@@vincenzomesseri3433
Perché è Odino in terra?
È stato un bravo, astuto e commerciale direttore, baciato dalla Fortuna di essere appoggiato da Furtwängler, anche per motivi nazionalistici,
ereditando la splendida BP.
Ne ha saputo qualcosa Celibidache
@@sergiokibizer8317 errore quanto meno storico! Karajan era odiato da Furtwaengler. E viceversa
@@sergiokibizer8317 Karajan sponsorizzato da Furtwangler? Ma dove hai letto questa panzana assurda? I due, nonostante l'ammirazione sincera di HVK per il più vecchio collega, in realtà non si sono mai sopportati... E Furtwangler avrebbe gradito Celibidache come successore...
Who was the Frate please?
Franco de Grandis
Mi scrivono sempre sbagliato il cognome De Grandis (due maiuscole)
@@francodegrandis870 Bravissimo, Sr!!
Che voce e interpretazione!!
@@TedinNY grazie molto gentile
@@francodegrandis870 complimenti! Magnifico. E in un contesto del genere....!
Un pequeñísimo fallo en el dúo de tenor y barítono ...por decir algo malo de esta extraordinaria versión ...Carreras espléndido ...Capucilli magistral ....karajan único ...imposible llegar a esta perfección ahora y casi para siempre
C'è poco da fare, non si è von Karajan per caso.
A bit too heavy for Baltsa. A voice wreck role for her.
She did overdo it here. In the recording, she was a bit more under control and gives what for me is the best "O don fatale"
Ca va pas,non?
C'est la meilleure de tous!
Total miscast.... But she was a Karajan favourite...
@@gergelycsallo5133 Karajan sometimes just miscasted his favorite singers, like casting Ricciarelli and Carreras in La Forza del Destino and Aida. I don't know what's wrong with him.....
@@victorvasquez4212 ::
You must have missed Bumbry's version 😄.
( Sorry ! Just messin' w / U ! I do like Bumbry's version, though. )
They don't make them like Agnes Baltsa anymore. Sadly.
Y que dices de Tatiana Troyanos?
2:25:53
Cappuccilli is a master.
The french version is 5 hours...🥶 I saw last month here in Vienna. Boring......
@@patgalliThe original version is often the best…
ohhhh miss Mirella Freni in this cast
Frénico and Ghiaurov.
21:23 Baltsa!!!!
1986 Wiener Staatsoper
Thank you.
Miss Izzo D'Amico is very fine, but even a highly-trained soprano should not sing Elisabetta at the age of 21! I attended her Met debut as Mimi in '89 (with Domingo). She did quite well but never came back.
infatti ebbe una carriera breve, poi si dedicò al doppiaggio cinematografico,seguendo la tradizione di famiglia (Renato, padre di lei e di Simona,Rossella, Giuppy, fu maestro del doppiaggio); il fatto di aver cessato con l'opera prima dei 30 anni può essere dovuto come dicevo ai troppi gravosi impegni ma anche alla vita familiare e alla maternità
@@paoladatodi8626 Thanks for your reply. I think opera lost a fine soprano (but the movies gained).
2:07
Don Carlos without Ghiaurov... Not such a good version. Wonderful costumes. And, thanks God, no minimalism.
Terribile il taglio della seconda parte di «Ma lassù ci vedremo». Terribile.
Anche quelli di "Non pianger mia compagna" e della Canzone del velo.
QUE ESTUPIDEZ MAS DECRITERIADA POR QUE LO DIALOGOS LOS RETIRAN TAN RAPIDO CUANDO UNO NO ALCANZA A LEERLOS NO LOGRO COMPRENDER POR QUE NO SE HACE ALGO BIEN HECHO CUANDO ENTRE TRADUCCION DE DIALOGOS HAY TANTO TIEMPO...............DE CHILE
totalmente de acuerdo; se tr
I hate to say that the Io l’ho perduta is pretty disastrous.
??????????
Quetontereskapuyo
Con el minuto 1:36:20 se puede hacer un excelente spot publicitario de un jarabe antitusivo!! Un público muy apestado!
jajaja me hciiste reir,
Per me salvo qualche momento di Cappuccilli, è una brutta edizione con tagli a volontà che la deturpano notevolmente. Pessima la Eboli della Baltsa: esagitata e forzata. Le Eboli hanno altri nomi e artiste....
２２３５６
40:32
1:27:30
1:58:30
2:33:00
2:41:10
Whenever somebody comes up with that bullshit about how "there's no such thing as DRAMATIC MEZZO, BECAUSE ALL MEZZOS SHOULD BE DRAMATIC VOICES" just show them that trainwreck at 2:09:27.
To make it clear, I love Baltsa, but Eboli was not for her!
Невыносимр слушать. Чудовищно все поют просто. Караян уже в коме был что ли, когда эту хрень записывал?
Baltsa is very dull
@Bravo Luca Certo, ma il razzo è esploso quando è stato lanciato.
I remember when this was first broadcast. We singers all thought that both Carreras and Baltsa pushed their voices incredibly. Have to blame Van Karajan. And they all stand around using their hands just like he does when he conducted. This is not a great example of this opera.
As you know, it was professionally unwise to say 'no' to Von Karajan. Unfortunately. My admiration to Mirella Freni for refusing to sing Turandot for him and to Thomas Allen for saying no to di Luna. That said, I do enjoy this performance of my favorite opera, in spite of the slow tempi (and the cuts).
@@kennethwayne6857 bass Mr Talvela says no for Karajan. Because Talvela do not want to be Karajans slave
La historia más falsa llevada a la historia de la música.
Casi todas las historias llevadas a la escena son falsas, desde la antigua Grecia hasta nuestros días. Esto es ópera, la historicidad del libreto suele ser bastante secundario. Esta ópera en cuestión es estupenda en cuanto a su composición musical, sus áreas magníficas y harto difíciles por lo demás, los coros, la música orquestal. Es Verdi 100% y del mejor calibre. Es muy difícil de llevar a escena, requiere un elenco de gran calidad y nada menos que tres bajos (producto en vías de extinción). Esta producción fue muy buena, de la época en que el Met hacía puestas en escena concordantes con los textos, hoy quizás podría ver al Don Carlo ambientado en un supermercado de barrio, en una zapatería o vaya uno a saber se estrenó en 1983 con Domingo, Freni, Bumbry y Ghiaurov como un atronador Felipe II, esa noche fue esplendorosa, yo era crío de universidad y la recuerdo hasta el día de hoy
cette production est d'une horreur visuelle sans nom. Tout est laid. Heureusement les voix sont là.
Vous la trouvez pire que celle de Vienne en 2004 ?
Vous avez vu sans doute la version de Bastille, mais ce n'était pas le même opéra!!si vous n'aimez pas cela n' en dégoutez surtout pas les autres.
via, non esageriamo! Certamente Karajan come regista non era al livello di sè stesso come direttore, ma insomma... almeno siamo sicuri che non l'ambientava nel Pianeta delle Scimmie nè su una nave e tantomeno astronave, nè si sforzava di trovare identificazioni con personaggi e vicende più recenti...
Absolument d'accord. Mais aujourd'hui même une mise en scène merdique doit être dite "géniale". Cela fait bien et "contemporain". Plus on se fout des spectateurs plus ils applaudissent, alors.....
Magnifique spectacle! Orchestre, voix, mise en scène, costumes... Dommage que le sous-titrage espagnol soit aussi catastrophique. Certains sous-titres s'effacent aussitôt. On n'a pas le temps de lire les autres. Quel mauvais travail! A refaire complètement!
2:14:35