Ferruccio Tagliavini - Una furtiva lagrima (Live, 1980)
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- Опубліковано 31 гру 2014
- Ferruccio Tagliavini, showing himself to be in fine voice at age sixty-seven, sings "Una furtiva lagrima" from Donizetti's L'Elisir d'Amore" with Rolando Nicolosi at the piano. This was recorded during a gala honoring the 100th anniversary of the Rome Opera House on November 27, 1980.
Tagliavini was my father's favourite tenor and I can understand why. I have earlier recordings of Tagliavini and although he was a lyric tenor, he was powerful, refined and controlled, with a beautiful tone and wonderful mezza voce - very much in the vein of Gigli. Tagliavini should never be forgotten.
I fully agree
21 years after his Lucia di Lammermoor with Maria Callas. Amazing
Amazing! still gives me shivers! Bravo! these are tenors! they Sing straight into your Heart!
Documento raro e prezioso che testimonia la bravura e l'arte di un tenore ingiustamente oggi pressoché dimenticato
Un tenore molto bravo scorto troppo tardi
amazing!
Gracias por recordar a uno de los grandes y apreciados tenores que nos regaló Italia. Saludos. 🇨🇱⚓️🇨🇱
A truly wonderful tenor with the perfect voice for this role.
BRAVO!!!!! BRAVÍSIMO!!!!!!!Graciasss!!!!!!Graciasssss!!!! Desde INNSBRUK,AUSTRIA,abrazo fraterno....
Maravilloso Ferruccio,Que voz tan increible,en el ,se denota la calidad,en lugar de la cantidad,Que lamentable que estas personas no vivan para siempre!
Love, finest. Bravo and Bravo!!!
BRAVO !!! EVVIVA IL PASSATO !!!!
Il reuccio della Lirica Armando da Napoli.
bravo bravo bravo
THANKS YOU VERY MUCH
Wishing everyone a Merry Christmas and a Happy New Year 2018 !
Es lo más sublime que he escuchado, la repito una y mil veces, me hace sentir fuera de este mundo
Bravo. For me The Best version and interpretation of this song.
Grande Ferruccio
bella y dulce interpretacion, sencillo como los grandes
페루초 탈리아비니와 같은 탁월한 성악을 어디에서 다시 들어보나...
TAGLIVINI IS 67 HERE AND UNFORTUNATELY HAS A SHOT UP VOCAL LINE. but the audience may more so appreciate what he once was than what he is here.
Grande e intimendicabile
Wonderful, memorable singing.
i heard him sing this at town hall, i think a few years after this. memorable!
Incredibile!!
great tenor had troubles at met but back still has it it
ascoltate di tagliavini "il pescatore di perle" chiudete gli occhi e...sognate!!!
Ein guter tenor danke
Era sempre magnifico popolo popolo lo Mari
Excelente
eine tolle leistung in dem alter, hörte ihn im münchner kinopalast gloriahaus am stachus
Go back to his 1946 version then you will hear him in his prime. The voice has about gone here.
La Lucia cantata con la Callas è per me la migliore Lammermoor che posseggo.
Bravo
Bravissimo
67 years horld, here.
il piu´grande tenore di grazia di sempre
Giacinto Prandelli Tito Schipa Renzo Casellato anche se e' poco conosciuto.
@@eugeniogentili1048 Luigi Alva,Cesare Valletti,Dino Borgioli,Nicola Monti, Salvatore Gioia...
❤️👏👏👏
If only he never moved from this repertoire...
His repertoire at the Met was Barber, Boheme, Don Giovanni, Elisire, Traviata Lucia and Butterfly, and Rigoletto. Only his 15 Tosca performances were outside his repertoire, but he handle Cavaradossi quite well.
@everyday tenor My father saw Tagliavini live at La Scala. He said his voice traveled ''Correva bene" very well in the opera house. We also had dinner with Tagliavini circa 1988 at the Tiro A Segno on Macdougal street in New York. He came with a small group of singers but did perform. We sat across the table from him and my father reminded FT about a time in Rome where Gigli was appearing and FT and my father among other people were ticket holders waiting to enter the Rome opera house. At that time, Tagliavini imitated how Gigli would sing a certain phrase in Pearl Fishers duet. Although not remembering that particular experience, Tagliavini said that he would often do that. FT was a fine elegant lyric tenor. He also appeared on Stefan Zuckers radio show around 1991 and when Zucker prompted FT to talk about his technique, Tagliavini dismissed him and said'' Stefan, I'm not here to talk about my technique, I'm here to talk about myself and my career.'' Zucker grunted and proceeded to engage FT in the matter of his request. Just some anecdotes I thought I would share. Stefan Zucker has some interesting interviews here on YT, mostly with Corelli and some other artists. Corelli and his wife Loretta use to baby sit Zucker. Enjoy
@everyday tenor Yes they do, and good luck to you in a very difficult profession. Try listening to Franco Corelli - Stefan Zucker Part 2 here on You Tube where they and Jerome Hines discuss the loud orchestras and today singers
@everyday tenor I remember Pavarotti giving a lesson and telling the tenor not to be afraid of using mezza voce because the theater will be very quiet during Una Furtiva lagrima and of course the orchestra does not play loud during this particular aria. Yes, the orchestras were not as loud back in the day, but overall the tenor voices were bigger. Martinelli, Zenatello, Merli, Del Monaco, Volpi Filippeschi, Penno, Masini, DeMuro, Pertile, Piccaluga, Zanelli all had formidable voices. Even some lyric based tenors like Gigli, Bjorling, Pavarotti, and Cortis, were able to manage some heavier roles. Del Monaco was better in the house than on his London recordings, where his voice seemed throttled and strange sounding. I never heard Richard Tucker in the house, but was told his voice sounded better live than on records. Tucker has a very good interview here on You Tube with George Jellinek. Tucker tells Jellinek how he patiently waited until his voice matured to take on the heavier roles. Some posters seem ignorant in demeaning lyric tenors, calling them mosquitos, while not realizing the added value they have in the ability to caress the music. I like all tenor voice groups, but the most interesting group of tenor is the spinto tenor group, having the ability to sing across a wider variety of roles. The best way to judge a voice is LIVE. My father saw Martinelli in the house and said that his voice was less steely, My mother said that Masini's voice quality was very beautiful. My father saw Volpi several times in Rome and told me that it was difficult to describe how great his voice sounded, because the theater was full of his voice's vibrations and how it traveled further than any voice he ever heard. His Bianca Al Par here on YT may be a testimony of what he sounded like live. Gigli was a singing machine with a gorgeous quality, mastering mezza voce and falsettone, crossing the Atlantic and singing constantly in the dining room at no charge to the tourists. Pavarotti tells a story here on YT about Gigli singing 15 to 20 arias and or songs requested by the audience after singing a complete opera. A 91 year old friend of mine told me he saw JB about 5 times at the Met and said his voice was pretty but small. He saw MDM over 60 times at the Met and said he was great each and every time. He said that Gino Penno perhaps had the largest middle voice he ever heard. Penno unfortunately only lasted about 5 years. The acoustics in the house play a big part in a singer's live performance. The Shrine Opera House in LA has a capacity of 5,000 and most singers did pretty well performing there because of good acoustics. I think the tenor voice is unique and I enjoy most tenors either great, good or fair
@everyday tenor I'm not very impressed with MDM's Ghost Riders, but his circa 1961-62 Recital at Carnegie Hall was very impressive. A trumpet like sound and clear as a bell, with the ability to constantly call on his voice for what ever was needed. Aside from sounding like he had a built in amplifier in his throat with impeccable diction. I saw Di Stefano at Carnegie Hall around the same period of time. His voice sounded much like it did on records except for the beautiful overtones in the theater. Early GDS is probably the most beautiful voice I ever heard. Try his A Non Credevi Tu and Adio Mignon.I saw Corelli circa 1961 in Trovatore at the Met to standing room only. This was just after his first LP was released. I felt that his voice was a little more lyric live than on his recordings. He was a handsome figure on stage with the ability to caress the music in the Ah Si Ben Mio as well as being heroic in the Pira. His high B- Natural in the Pira was a little opaque, but still good. But his D-flat in the terzetto at the end of the 2nd act was truly great. All 3 tenors made terrific contributions to the art form and I feel they were great in different ways. Enjoy
how can others post this? are rights needed?
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나는 타알리아뷔니가 파바로티보다 좋다
People often remark on the similarities between Tagliavini and Gigli. Small wonder: Tagliavini was Gigli's natural son. That information comes from a close friend of Gigli's.
Really? I had never heard so!
Really? I had never heard so!
@@luisgarcia-ls2gs Of course, you don't know me but I can assure you that it is so. You may know that Gigli's daughter from his marriage, Rina, was a very accomplished soprano. It appears that Gigli's genes carried a strong singing influence!
@@billmontgomery369 Thanks a lot for the information. Indeed, the world of opera was very fortunate of having two of Gigli's siblings. Can you think of any other such anecdotes in the opera world? Thks.
@@luisgarcia-ls2gs Sorry, I'm afraid not. Please forgive me for correcting just one word in your excellent English. "Siblings" are brothers and sisters, not sons and daughters.
Che postura da tenore vecchia maniera! Per cantare bene non è necessario storcere così la bocca.