THANK YOU A MILLION TIMES FOR THIS!! Beautiful to hear and SEE how it used to be done- no junk about trying to be an 'Actor's School' performance, jumping on furniture and rolling on the floor. They SANG. They sang an elevated kind of music. The Olympic art of operatic singing is not pop singing! Such a breath of fresh air.
Butterfly is arbuably Antonietta Stella's greatest role, although others spoke of how perfect she was for Maddalena di Coigny in Andrea Chenier. She was given the new production of Madama Butterfly at the Met in 1958, and received glowing reviews for both her singing and acting. The conductor for that run of performances was Dimitri Mitropoulos.
Sono estasiato dalla voce di questo tenore! Robusta, brunita, ma al tempo stesso squillantissima e ben proiettata...Proprio come dovrebbe suonare un tenore in questo repertorio...E grandissima la Stella.
Barioni e' tra i tenori che come del monaco, lauri volpi, appartengono ai timbri a tromba quei timbri che tirano dritto come un autostrada, hanno una voce squillante come le trombe ma, non riescono a sfumare la voce. Non assomigliano ad esempio ne al violino ne al violoncello dove riescono invece ad aumentare e diminuire in gradazione con dolcezza.magda Olivero ne e' un esempio, franco corelli, un altro esempio etc..... Questi sono timbri che possiedono i suoni acuti, medi e gravi e non dall' acuto, al grave come le stagioni
Antonietta Stella has been a great representative of Italian lyrical sopranos. It was an example of a beautiful tone, enameled and uniform throughout the range. She has been a great lady who held the Italian school of singing with a very careful phrasing. He had an absolute domain of dynamics and an impeccable legato.
I have a question, does anyone know if Antonietta Stella was epileptic? because she has fits of moving her arms, her hands gesturing every word she says with her hands and gesturing with her face, and she runs like she sees a rat on stage. Antonietta Stella is cartoonish, she had never seen it on video. The voice, opaque, without enamel (senza smalto) and with a lot of cuts in the register
Antonietta Stella , may not have had so long a career , but she was in superb voice here , her acting too was very convincing . Operas were written at times we call old fashioned , I believe I am among many opera enthusiasts who prefer an opera to be presented in the style of the time it was originally written . Many of the modernized productions of today I find offensive , I go to the opera to be carried away into another world of make believe, beautiful scenes , beautiful costumes , beautiful music and singing . I am really enjoying this recording , thank you so much Afro Poli !!!
I have a question, does anyone know if Antonietta Stella was epileptic? because she has fits of moving her arms, her hands gesturing every word she says with her hands and gesturing with her face, and she runs like she sees a rat on stage. Antonietta Stella is cartoonish, she had never seen it on video. The voice, opaque, without enamel (senza smalto) and with a lot of cuts in the register
I agree with you 100%. Most "modern" productions of opera are disgusting. All the do is distort and trivialise a beautiful work of art, and what for? So the director, designer etc. get a showcase to demonstrate to the world that they are vandals. I hope audiences and singers all over the world will start protesting this travesty soon. I recently attended the premiere in my home town of a production of Mozart's "La clemenza di Tito". The production was horrible and I was so happy to hear someone in the audience boo when the production team appeared on stage during the curtain calls.
I'm often undwhelmed by Stella, but this is a fantastic role for her. She's very involved and the singing is all totally secure without the bit of blandness that afflicts her in some other roles. The ending is so touching, and unlike most, she actually looks like she's interacting with and singing TO the child
Barioni possedeva un vero grido educato: il timbro squillante con un colore e omogeneità ottimali. Un bravo cantante con una sicurezza magnifica nel registro acuto.
Frank Furter Concordo, il temperamento tipico dei tenori di quegli anni...Tecnicamente non è a posto e si, tante note sono urlate ma che vuole che le dica, il cuore era tanto e alla fine il risultato , come dicono a Roma: ce piasce
splendida...cuore e anima di tutti gli interpreti...Stella stupenda, impetuosa e appassionata, Barioni...un grande da poco riscoperto che avrebbe meritato decisamente un posto tra gli astri della grande lirica
Voci stupende, interpretazione meravigliosa, grazie per aver ritrovato questa registrazione e avercela regalata. Colgo l'occasione per fare i miei migliori auguri di buon 2024.
Sin Comentarios, una Obra de Arte, todo está en la Excelencia, cantantes, comprimarios, coros y orquesta y que Maestro director, Maestro de Maestros. Esta grabación es una JOYA. Gracias por este Regalo.
Ho una domanda, qualcuno sa se Antonietta Stella era epilettica? perché ha attacchi di movimento delle braccia, mani che gesticolano ogni parola che dice con le mani e gesticolano con la faccia, e corre come se vedesse un topo sul palco. È del cartone animato di Antonietta Stella, non l'avevo mai visto in video. La voce, opaca, senza smalto e con molti tagli nel registro
I am watching this again , I wonder who stage directed this production . For me this is a faultlessly beautiful production , the settings , costumes , acting and stage directing/choreography . Antonietta Stella and Daniele Barioni act and sing superbly together , Ferdinando Lidonni is a great Sharpless , there are some great lesser performances too . I am nearly in tears of emotion watching this performance , I wish I had seen it live in Torino . Thank you again AfroPoli you have infinite good taste .
i moved to tears about this wonderful performance.....at saturday they showed in german TV the Aida from Verona 2012- and i was totally shocked about the vocal AND orchestral standard..... BUT THIS: Wonderful singers (today they would be superstars), wonderful playing, wonderful stage presence- and a Maestro to kneel before him..... Himmel- wie weit sind wir gekommen? Wie tief gesunken....Thank you Afro Poli for this wonderful, wonderful upload.....
Thank you so much for uploading this performance! I was so sad to discover that the 1958 Butterfly with Stella here on UA-cam was pitched too low, so I'm really happy to get another chance to listen to her in this role :red_heart:
Not necessarily better. Voices were much more "important" but the taste andd style are a little bit old-fashioned. After these singers we have experienced more careful performances up to some years ago. The situation has now worsened, I agree.But if I think of Scotto,Kabaiwanska, Dessì,well, I can not manage to complain.
I don't consider Scotto and Kabaivanski to be of a "different" time since they sang during the same period. Scotto was at La Scala in '53, Kabaivanska debuted in '57 at La Scala by '61. And I agree with you. They were wonderful.
This performance of MADAMA BUTTERFLY, as with the 1956 RAI "made for TV" film of the opera with Moffo, Pace, Cioni, and Poli (conducted by de Fabritiis), gets the opera just right. Great singing, great conducting, and staging, sets and costumes which serve the opera well. From the point of serving the work, this performance and the 1956 film also beat the living daylights out of several highly touted filmed productions of the future, including the borderline-pornographic Ponnelle/Karajan 1974 film collaboration, the hideous 1994 Met telecast of a new production conducted by Gatti (which replaced the deservedly-praised and long-lived Aoyama/Nagasaka classic), the 1992 La Scala production conducted by Maazel (very well-sung and well-conducted, but it looks as though it is set in a sandbox), and the 1980s Rotterdam production of the original version of BUTTERFLY, conducted by Varviso (if you didn't know what the work was about before viewing this one, you certainly wouldn't know it from this staging and set). Thank you very, very much for sharing this gem with us! Much praise has been given to Antonietta Stella and to Daniele Barioni by other commenters, and rightly so, but let's also give much-deserved praise to Anna di Stasio (who would record Suzuki in the studio the following year, in Rome for EMI/Angel, with Scotto, Bergonzi, and Panerai, conducted by Barbirolli), Ferdinando Li Donni (Sharpless), Mario Carlin (Goro), and, of course, to conductor Alberto Erede, who shapes this work so well and who makes tempo shifts flow seamlessly and correctly from one to another.
This wonderful Performance belongs to the GOLDEN AGE of OPERA !! Nowadays there are NO singers able to perform this fine way : everything is PERFECT .... Tecnique, Projection, Way of Singing, Portamenti , Charming Acting and more !! Tell me : WHO is able today (2019) to perform and sing THIS WAY ?? Thanks to our modern Directors and horrible Singers , OPÈRA is almost vanished and gone ..... !!!
To compare Daniele Barioni with a more than mediocre tenor Beczala one must have a really great and sick fantasy. AfroPoli, thank you very much for sharing this treasure with us!
The standard of old days was so high that these "average" singers at the "average" performance of an "average" regional opera house (at the time of Tebaldi, Callas, Monaco, Corelli stardoms) sound like gods today. Stella and Barioni deserved better careers and media attention. The only singer who sings Bonzo is undeveloped, while Goro sounds no way nasal, small or so called "charachter tenor", instead he is quite competitive next to Pinkerton. This is another lesson from the old golden time of opera.
ma lo sentite il calore del pubblico? applausi a scena aperta di continuo, anche dopo una piccola frase..l'altra sera a La Rondine a Firenze si sono indignati perché urlavo brava al soprano!!! addio fiorito asil...
I think part of our host's (AfroPoli) distaste for modern singer can be understood when you compare Barioni with a modern tenor like Beczala. A couple generations ago no one would have dreamed of making such a comparison. It would have been like comparing Babe Ruth and Pee Wee Reese. It's a size difference. Beczala is a fine modern tenor. He's handsome and cuts a fine figure on the stage. He has a lovely voice and is quite musical. But he could hardly be less like Barioni than a potted plant. When Barioni opens his mouth a great big resonant voice responds. It's bright but full and it's resonant. Beczala has a much lighter sound that never has the edge and throb of a real spinto tenor. What is so revealing about this video is how easy it is for Barioni. He sings so easily. Why is this. The answer is simple. It all happened around 1926. That was the year when electric microphones began to be used. It is also the year that the gramophone went from being mechanical to being electrical. This meant that the recording fidelity improved. But more importantly it made it possible to record smaller lighter voices. In Caruso's day the power to cut the groves in the wax was supplied by the singers breath pressure. In the early days the most popular opera stars were of course those who could be heard. Pop singer like Rudy Valee sang before mics with a megaphone but in the opera house where it would make no sense to carry around a megaphone the singers just sang out with big loud tone. After 1926 we got radio crooners - male singers who sort of whispered the lyrics. It was very intimate and allowed small sweet voiced singers to succeed. Guy's like Frank Sinatra. But in the unamplified opera house we still needed lung power - if only because the music had been devised with big robust voices in mind. But increasingly people heard their opera satrs on LPs, radio, movies and TV. So gradually we got Beczala singing Puccini and not Barioni. If Beczala's voice was a bit smaller than we liked we could always just turn up the volume and it was just the same. Wasn't it?
You are totally right. I always thought that the record played a major role in changing the operatic voice into what it is now. Back then, it was a full bodied Chianti. Now, it's Diet Coke.
Это яркий,впечатляющий,великолепный спектакль!Во всех отношениях превосходная постановка!Голоса великолепны!Даниеле Бариони-блистателен!Я поражена этой оперрой:никогда еще не слышала такого исполнения!Благодарю за эту публикацию!
Fiquei feliz por ver esta versão da Madama Butterfly cantada por Antonieta STella que tive o previlegio de ver e ouvir em Lisboa várias temporadas no Teatro Nacional de S. Carlos. o Baraoni a despeito de ter boa voz e um mau actor. Ver EDTA ópera cantada por Placido Domingo e Mirella Freni (1974) ainda à venda e comparar. Mesmo assim enviem PF outras versões de outras operas porque os verdadeiros apaixonados de ópera agradecem. e Eu agradeço ja
Barioni is wonderful. When I was a kid the only record of him available was his LP with Moffo in 'Rondine'. So this is probably the best testimony to his art. We all knew about Stella but it's good to hear her - lovely sound. BTW does she skip the top High C in her entrance? I don't know Butterfly very well (I don't like it very much)
Daniele Barioni is also featured on 3 other Metropolitan Opera Record Club releases from the mid-1950s. (Those records were marketed through the Book of the Month Club back then, and were recorded in 1955, 1956, and 1957.) He recorded The Duke of Mantua in the abridged RIGOLETTO, with Robert McFerrin, Laurel Hurley, and Sandra Warfield, with Fausto Cleva conducting (and with way too much Milton Cross narration and not enough music; the excessive Cross narration also marred the other "first release" in the series, a heavily-abridged LE NOZZE DI FIGARO); he also recorded Rodolfo in the abridged LA BOHEME, with Lucine Amara, Frank Valentino and Heidi Krall, with Fausto Cleva conducting; and he recorded Lt. Pinkerton in the abridged MADAMA BUTTERFLY, with Dorothy Kirsten, Mildred Miller, Clifford Harvuot, and Alessio de Paolis, with Dimitri Mitropoulos conducting. Daniele Barioni also sang in four Met broadcasts: as Lt. Pinkerton in the 12/15/1956 broadcast of MADAMA BUTTERFLY, with Licia Albanese, Rosalind Elias, and John Brownlee, with Dimitri Mitropoulos conducting; as Mario Cavaradossi in the 3/23/1957 broadcast of TOSCA, with Licia Albanese, Leonard Warren, and Gerhard Pechner, with Dimitri Mitropoulos conducting (Barioni was substituting for the originally-scheduled Jussi Bjoerling, who had to withdraw from his Met engagement that season prematurely because of heart trouble); as Turiddu in the 1/3/1959 broadcast of CAVALLERIA RUSTICANA, with Zinka Milanov, Mario Zanasi, Rosalind Elias, and Thelma Votipka, with Dimitri Mitropoulos conducting; and as Macduff in the 1/2/1960 broadcast of MACBETH, with Leonard Warren, Leonie Rysanek, and Jerome Hines, with Erich Leinsdorf conducting. I know that the first 3 of these 4 are (or were) available through one or another live-opera source, but I don't know about the MACBETH. And he can also be heard as Lt. Pinkerton in a 1960 New Orleans Opera Association live performance of MADAMA BUTTERFLY which was released a couple of decades ago on CD by VAI. The other cast principals in this performance are Dorothy Kirsten, Rosalind Nadell, and Richard Torigi; Renato Cellini conducts.
Barioni was a class tenor,and stella even with a short career was a beautiful soprano voice,i agree,operas set in the time they are supposed to be,are far more authentic than some or most of the rubbish todays woke directors produce,with theses idiots its more about them and their ridiculous ideas more than it has anything to do with the actual opera or performers
Non mi stancherò mai di questa meravigliosa produzione! Tutti veramente superbi! 🎉❤
Man what voices! We are in poverty today because we do not have voices like these!
Barioni was a damn fine tenor,ive seen butterfly 3 times in recent years and all had wimps singing pinkerton
THANK YOU A MILLION TIMES FOR THIS!! Beautiful to hear and SEE how it used to be done- no junk about trying to be an 'Actor's School' performance, jumping on furniture and rolling on the floor. They SANG. They sang an elevated kind of music. The Olympic art of operatic singing is not pop singing! Such a breath of fresh air.
RIP Antonietta Stella and Daniele Barioni 🌺🌺🌺
Butterfly is arbuably Antonietta Stella's greatest role, although others spoke of how perfect she was for Maddalena di Coigny in Andrea Chenier. She was given the new production of Madama Butterfly at the Met in 1958, and received glowing reviews for both her singing and acting. The conductor for that run of performances was Dimitri Mitropoulos.
Now that's a Madame Butterfly worth watching! None of that contemporary stuff we see nowadays.
La scena finale così come è stata concepita in originale ormai è possibile vederla solo qui. I registi moderni hanno stravolto qualsiasi tradizione
Merci beaucoup!
Maravilha! Esplêndidas vozes e magnífica interpretação de Antonieta Stella. Aplausos mais que merecidos.
Sono estasiato dalla voce di questo tenore! Robusta, brunita, ma al tempo stesso squillantissima e ben proiettata...Proprio come dovrebbe suonare un tenore in questo repertorio...E grandissima la Stella.
Barioni e' tra i tenori che come del monaco, lauri volpi, appartengono ai timbri a tromba quei timbri che tirano dritto come un autostrada, hanno una voce squillante come le trombe ma, non riescono a sfumare la voce. Non assomigliano ad esempio ne al violino ne al violoncello dove riescono invece ad aumentare e diminuire in gradazione con dolcezza.magda Olivero ne e' un esempio, franco corelli, un altro esempio etc..... Questi sono timbri che possiedono i suoni acuti, medi e gravi e non dall' acuto, al grave come le stagioni
Antonietta Stella is the funniest singer I've ever seen on stage, she's so mannered and prim,
Antonietta Stella has been a great representative of Italian lyrical sopranos. It was an example of a beautiful tone, enameled and uniform throughout the range. She has been a great lady who held the Italian school of singing with a very careful phrasing. He had an absolute domain of dynamics and an impeccable legato.
I have a question, does anyone know if Antonietta Stella was epileptic? because she has fits of moving her arms, her hands gesturing every word she says with her hands and gesturing with her face, and she runs like she sees a rat on stage.
Antonietta Stella is cartoonish, she had never seen it on video.
The voice, opaque, without enamel (senza smalto) and with a lot of cuts in the register
Daniele Barioni!!!
Gorgeous handsome voice, what a unique grand tenor🔺🔺🔺👍
RIP...❤
Madame Stella, je garderai toujours une place spéciale dans mon coeur pour vous et votre extraordinaire voix!
Where are those singers today! The great Stella and ringing tenor like Barioni!
Antonietta Stella , may not have had so long a career , but she was in superb voice here , her acting too was very convincing . Operas were written at times we call old fashioned , I believe I am among many opera enthusiasts who prefer an opera to be presented in the style of the time it was originally written . Many of the modernized productions of today I find offensive , I go to the opera to be carried away into another world of make believe, beautiful scenes , beautiful costumes , beautiful music and singing . I am really enjoying this recording , thank you so much Afro Poli !!!
I have a question, does anyone know if Antonietta Stella was epileptic? because she has fits of moving her arms, her hands gesturing every word she says with her hands and gesturing with her face, and she runs like she sees a rat on stage.
Antonietta Stella is cartoonish, she had never seen it on video.
The voice, opaque, without enamel (senza smalto) and with a lot of cuts in the register
@@evangeliadimitriadis5706how fitting that you have chosen the name of Maria Callas' evil mother, considering your evil comment.
I agree with you 100%. Most "modern" productions of opera are disgusting. All the do is distort and trivialise a beautiful work of art, and what for? So the director, designer etc. get a showcase to demonstrate to the world that they are vandals. I hope audiences and singers all over the world will start protesting this travesty soon. I recently attended the premiere in my home town of a production of Mozart's "La clemenza di Tito". The production was horrible and I was so happy to hear someone in the audience boo when the production team appeared on stage during the curtain calls.
Бездари могут быть клиентами психиатра с выраженными деформациями в сфере инстинктов .
Callas's terrible, cunning mother is on here with her typical comments
Voci stupende e bella scenografia classica
I'm often undwhelmed by Stella, but this is a fantastic role for her. She's very involved and the singing is all totally secure without the bit of blandness that afflicts her in some other roles. The ending is so touching, and unlike most, she actually looks like she's interacting with and singing TO the child
Mammamia, che brividi !! Stella fantastica, Barioni incredibile, saldo, sicuro, un grandissimo !
🇧🇬💐BEAUTIFUL!!! 🍀
🌹NICE SPECTACLE!!!🍀
🏵 PERFECTLY INTERPRETATION!!!🍀🐘🍀
🌺BRAWISSISSISSIMO!!!🍀🐘🍀
💮BRAWISSISSISSIMO👌 MAESTRI!!!🍀🦉🍀🐘🍀🇧🇬
What a beautiful voice Stella had...
voice without smalto, opaque, hollow and uneven, ordinary voice
@@MorenoCassals70 Man, get a life. We all know who you are.
Barioni possedeva un vero grido educato: il timbro squillante con un colore e omogeneità ottimali. Un bravo cantante con una sicurezza magnifica nel registro acuto.
Frank Furter Concordo, il temperamento tipico dei tenori di quegli anni...Tecnicamente non è a posto e si, tante note sono urlate ma che vuole che le dica, il cuore era tanto e alla fine il risultato , come dicono a Roma: ce piasce
splendida...cuore e anima di tutti gli interpreti...Stella stupenda, impetuosa e appassionata, Barioni...un grande da poco riscoperto che avrebbe meritato decisamente un posto tra gli astri della grande lirica
Voci stupende, interpretazione meravigliosa, grazie per aver ritrovato questa registrazione e avercela regalata. Colgo l'occasione per fare i miei migliori auguri di buon 2024.
Una maravilla poder acceder a estas grabaciones ...
WONDERFUL.. Stella was also a great actress..
I think this is by far the best Butterfly available on video. Viva Stella! Viva Barioni! Viva Erede!
Maravillado por esta EXCELENTE Butterfly!!!!! Bravisima Stella!!! Una Butterfly apasionada italiana.
Sin Comentarios, una Obra de Arte, todo está en la Excelencia, cantantes, comprimarios, coros y orquesta y que Maestro director, Maestro de Maestros. Esta grabación es una JOYA. Gracias por este Regalo.
Grazie Afro Poli di questo gioiello. Edizione stupenda
Such a fine Butterfly . Wonderful Antonietta Stella.
Mai piu possiamo vedere canto come questo!
Ho paura che dici la verita , ho 84 anni sono contento che ho goduto un' altra piu bell'epoca , ho incontrato Gigli .
And this is how it is done. Extraordinary, clear , human and singing and direction and acting were perfectly put together.
Damn, they sound so wonderful! The vocal techniques are just so solid!
Ho una domanda, qualcuno sa se Antonietta Stella era epilettica? perché ha attacchi di movimento delle braccia, mani che gesticolano ogni parola che dice con le mani e gesticolano con la faccia, e corre come se vedesse un topo sul palco.
È del cartone animato di Antonietta Stella, non l'avevo mai visto in video.
La voce, opaca, senza smalto e con molti tagli nel registro
I am watching this again , I wonder who stage directed this production . For me this is a faultlessly beautiful production , the settings , costumes , acting and stage directing/choreography . Antonietta Stella and Daniele Barioni act and sing superbly together , Ferdinando Lidonni is a great Sharpless , there are some great lesser performances too . I am nearly in tears of emotion watching this performance , I wish I had seen it live in Torino . Thank you again AfroPoli you have infinite good taste .
Che meraviglia
Lá meglio versione di Butterfly!
i moved to tears about this wonderful performance.....at saturday they showed in german TV the Aida from Verona 2012- and i was totally shocked about the vocal AND orchestral standard..... BUT THIS: Wonderful singers (today they would be superstars), wonderful playing, wonderful stage presence- and a Maestro to kneel before him..... Himmel- wie weit sind wir gekommen? Wie tief gesunken....Thank you Afro Poli for this wonderful, wonderful upload.....
Sound is quite good, thanks for uploading.
Thank you so much.beautiful singing...💙❤️👍
an absolute treat, and so very important a document of this art, truly impeccably presented - bravo for posting!
Thank you for taking the time to share the wonderful art of opera.
Thank you so much for uploading this performance! I was so sad to discover that the 1958 Butterfly with Stella here on UA-cam was pitched too low, so I'm really happy to get another chance to listen to her in this role :red_heart:
That clearly was a better time than ours for opera singers. Thank you for posting this!
Not necessarily better. Voices were much more "important" but the taste andd style are a little bit old-fashioned. After these singers we have experienced more careful performances up to some years ago. The situation has now worsened, I agree.But if I think of Scotto,Kabaiwanska, Dessì,well, I can not manage to complain.
I don't consider Scotto and Kabaivanski to be of a "different" time since they sang during the same period. Scotto was at La Scala in '53, Kabaivanska debuted in '57 at La Scala by '61. And I agree with you. They were wonderful.
Claudio Tracchia and a
Totally agree. Today we have mosquitoes trying to sing beyond their means
@@claudiotracchia3086 You're in in denial and living in la la land.
This performance of MADAMA BUTTERFLY, as with the 1956 RAI "made for TV" film of the opera with Moffo, Pace, Cioni, and Poli (conducted by de Fabritiis), gets the opera just right. Great singing, great conducting, and staging, sets and costumes which serve the opera well.
From the point of serving the work, this performance and the 1956 film also beat the living daylights out of several highly touted filmed productions of the future, including the borderline-pornographic Ponnelle/Karajan 1974 film collaboration, the hideous 1994 Met telecast of a new production conducted by Gatti (which replaced the deservedly-praised and long-lived Aoyama/Nagasaka classic), the 1992 La Scala production conducted by Maazel (very well-sung and well-conducted, but it looks as though it is set in a sandbox), and the 1980s Rotterdam production of the original version of BUTTERFLY, conducted by Varviso (if you didn't know what the work was about before viewing this one, you certainly wouldn't know it from this staging and set).
Thank you very, very much for sharing this gem with us! Much praise has been given to Antonietta Stella and to Daniele Barioni by other commenters, and rightly so, but let's also give much-deserved praise to Anna di Stasio (who would record Suzuki in the studio the following year, in Rome for EMI/Angel, with Scotto, Bergonzi, and Panerai, conducted by Barbirolli), Ferdinando Li Donni (Sharpless), Mario Carlin (Goro), and, of course, to conductor Alberto Erede, who shapes this work so well and who makes tempo shifts flow seamlessly and correctly from one to another.
Such a great version, what a shining cast, love them all... Bravo!!!
All have such wonderful ,and powerful voices. !
This wonderful Performance belongs to the GOLDEN AGE of OPERA !!
Nowadays there are NO singers able to perform this fine way : everything is PERFECT .... Tecnique, Projection, Way of Singing, Portamenti , Charming Acting and more !!
Tell me : WHO is able today (2019) to perform and sing THIS WAY ??
Thanks to our modern Directors and horrible Singers , OPÈRA is almost vanished and gone ..... !!!
Its the modern vocal technique which is taught everywhere. It are not the vouces or singers by themself.
Molto Bello! Stella ! Canta! con Ardore! Un Opera da non Dimenticare! Grazie!
I think this is a beautiful duet. Full of expression by both singers.
To compare Daniele Barioni with a more than mediocre tenor Beczala one must have a really great and sick fantasy. AfroPoli, thank you very much for sharing this treasure with us!
R.I.P. Antonietta Stella
bella edizione, finora a me sconosciuta
Anche a me la sto ascoltarla
Fascinating to see this performance from the Golden Age of Opera with the great Antoinette Stella. Thanks for posting.
Stella is superb!
Wonderful!!!! Thank you for sharing this. I had forgotten what great singers they were.
Ma che meraviglia! Bellissimo!!!!!! Grazie Afro Poli! Tanta commozione!!
Maravilhoso! Muito Obrigado. Barioni e Stella excelentes.
Grazie , grazie e mille volte grazie!!! Bellissima testimonianza... :-)))))
Es Maravillosa. Gracias Italia.
The standard of old days was so high that these "average" singers at the "average" performance of an "average" regional opera house (at the time of Tebaldi, Callas, Monaco, Corelli stardoms) sound like gods today. Stella and Barioni deserved better careers and media attention. The only singer who sings Bonzo is undeveloped, while Goro sounds no way nasal, small or so called "charachter tenor", instead he is quite competitive next to Pinkerton. This is another lesson from the old golden time of opera.
Riposa in pace cara Antonietta 🌹
R.i.p.
grande il mio concittadino Maestro Barioni...vista tutta...grazie del post...:)
Великолепное исполнение Оперы всего состава !!! Брависсимо !!!!!
Hello This is Jung Jacobs from Holland The Butterfly is outstanding Very nice Thanks for this beautiful Butterfly.
UA-cam... we love you very-very-very much ..10000000 thanks... ❤❤❤❤❤❤❤❤
Gorgeous orchestral ensemble playing!
My goodness, their voices are stupendous ! Thanks for the upload.
Sapevo che A. Stella fosse brava ma non così brava.
Come canta bene qui Barioni!!!
ma lo sentite il calore del pubblico? applausi a scena aperta di continuo, anche dopo una piccola frase..l'altra sera a La Rondine a Firenze si sono indignati perché urlavo brava al soprano!!! addio fiorito asil...
ma qui c'era la Stella, la più grande Butterfly del suo tempo!
Grazie di cuore per questa stupenda Madame Butterfly 🦋
Splendida edizione in quel che fu il nostro teatro nuovo quando fungeva da teatro regio di cui nessuno più ne parla
E,un vero peccato!
That is a death scene!! Brava Stella! Utterly devastating.
grandioso barioni!
Ma che meraviglia, grazie!
Ahora ya no se canta asi. Es un lujo .AHORA SOBRE ACTUAN CON LA VOZ. UNA LECCION DE CANTO.
I think part of our host's (AfroPoli) distaste for modern singer can be understood when you compare Barioni with a modern tenor like Beczala. A couple generations ago no one would have dreamed of making such a comparison. It would have been like comparing Babe Ruth and Pee Wee Reese. It's a size difference.
Beczala is a fine modern tenor. He's handsome and cuts a fine figure on the stage. He has a lovely voice and is quite musical. But he could hardly be less like Barioni than a potted plant. When Barioni opens his mouth a great big resonant voice responds. It's bright but full and it's resonant. Beczala has a much lighter sound that never has the edge and throb of a real spinto tenor. What is so revealing about this video is how easy it is for Barioni. He sings so easily.
Why is this. The answer is simple. It all happened around 1926. That was the year when electric microphones began to be used. It is also the year that the gramophone went from being mechanical to being electrical. This meant that the recording fidelity improved. But more importantly it made it possible to record smaller lighter voices. In Caruso's day the power to cut the groves in the wax was supplied by the singers breath pressure.
In the early days the most popular opera stars were of course those who could be heard. Pop singer like Rudy Valee sang before mics with a megaphone but in the opera house where it would make no sense to carry around a megaphone the singers just sang out with big loud tone. After 1926 we got radio crooners - male singers who sort of whispered the lyrics. It was very intimate and allowed small sweet voiced singers to succeed. Guy's like Frank Sinatra.
But in the unamplified opera house we still needed lung power - if only because the music had been devised with big robust voices in mind. But increasingly people heard their opera satrs on LPs, radio, movies and TV. So gradually we got Beczala singing Puccini and not Barioni. If Beczala's voice was a bit smaller than we liked we could always just turn up the volume and it was just the same.
Wasn't it?
You are totally right. I always thought that the record played a major role in changing the operatic voice into what it is now. Back then, it was a full bodied Chianti. Now, it's Diet Coke.
AfroPoli Thank you. I'm often right more or less but seldom totally right.
Excellent explanation Thank You
I believe that PB and DB ARE BOTH GOOD TENORS,
I think we all know the singers of the past are A LOT better
Это яркий,впечатляющий,великолепный спектакль!Во всех отношениях превосходная постановка!Голоса великолепны!Даниеле Бариони-блистателен!Я поражена этой оперрой:никогда еще не слышала такого исполнения!Благодарю за эту публикацию!
The first Act of Butterfly is no walk in the park This Lady sings it like a Prima Donna. 🎶🎵✨💁 THIS IS OPERA. Arnold Bourbon Amaral
Perhaps these two would have been wonderful in Chenier???😮
Amazing.
Bravo Afro Poli !!
No soprano today anywhere can touch her.
She is a mezzo, lol
I love them.
Fiquei feliz por ver esta versão da Madama Butterfly cantada por Antonieta STella que tive o previlegio de ver e ouvir em Lisboa várias temporadas no Teatro Nacional de S. Carlos. o Baraoni a despeito de ter boa voz e um mau actor. Ver EDTA ópera cantada por Placido Domingo e Mirella Freni (1974) ainda à venda e comparar. Mesmo assim enviem PF outras versões de outras operas porque os verdadeiros apaixonados de ópera agradecem. e
Eu agradeço ja
A versão do Karajan para Cinema com Plácido e Mirela tem bela sonoridade, porém frios, nem se compara com esta Maravilha!
Barioni is wonderful. When I was a kid the only record of him available was his LP with Moffo in 'Rondine'. So this is probably the best testimony to his art. We all knew about Stella but it's good to hear her - lovely sound. BTW does she skip the top High C in her entrance? I don't know Butterfly very well (I don't like it very much)
SHICOFF1
Daniele Barioni is also featured on 3 other Metropolitan Opera Record Club releases from the mid-1950s. (Those records were marketed through the Book of the Month Club back then, and were recorded in 1955, 1956, and 1957.) He recorded The Duke of Mantua in the abridged RIGOLETTO, with Robert McFerrin, Laurel Hurley, and Sandra Warfield, with Fausto Cleva conducting (and with way too much Milton Cross narration and not enough music; the excessive Cross narration also marred the other "first release" in the series, a heavily-abridged LE NOZZE DI FIGARO); he also recorded Rodolfo in the abridged LA BOHEME, with Lucine Amara, Frank Valentino and Heidi Krall, with Fausto Cleva conducting; and he recorded Lt. Pinkerton in the abridged MADAMA BUTTERFLY, with Dorothy Kirsten, Mildred Miller, Clifford Harvuot, and Alessio de Paolis, with Dimitri Mitropoulos conducting.
Daniele Barioni also sang in four Met broadcasts: as Lt. Pinkerton in the 12/15/1956 broadcast of MADAMA BUTTERFLY, with Licia Albanese, Rosalind Elias, and John Brownlee, with Dimitri Mitropoulos conducting; as Mario Cavaradossi in the 3/23/1957 broadcast of TOSCA, with Licia Albanese, Leonard Warren, and Gerhard Pechner, with Dimitri Mitropoulos conducting (Barioni was substituting for the originally-scheduled Jussi Bjoerling, who had to withdraw from his Met engagement that season prematurely because of heart trouble); as Turiddu in the 1/3/1959 broadcast of CAVALLERIA RUSTICANA, with Zinka Milanov, Mario Zanasi, Rosalind Elias, and Thelma Votipka, with Dimitri Mitropoulos conducting; and as Macduff in the 1/2/1960 broadcast of MACBETH, with Leonard Warren, Leonie Rysanek, and Jerome Hines, with Erich Leinsdorf conducting. I know that the first 3 of these 4 are (or were) available through one or another live-opera source, but I don't know about the MACBETH.
And he can also be heard as Lt. Pinkerton in a 1960 New Orleans Opera Association live performance of MADAMA BUTTERFLY which was released a couple of decades ago on CD by VAI. The other cast principals in this performance are Dorothy Kirsten, Rosalind Nadell, and Richard Torigi; Renato Cellini conducts.
IT IS NOT A C.......ITS A C SHARP!
PUCCINI ALSO WROTE THE ALTERNATIVE.
Thanks
Goro has a better voice than any tenor I hear playing Pinkerton nowadays. Wtf.
Il maestro Daniele Barioni
Barioni was the best vocally after Caruso in my opinion. Even greater than Gigli and di Stefano... vocally.
Questa è Butterfly. La Scala avete sbagliato tutto e tutti!
Barioni was a class tenor,and stella even with a short career was a beautiful soprano voice,i agree,operas set in the time they are supposed to be,are far more authentic than some or most of the rubbish todays woke directors produce,with theses idiots its more about them and their ridiculous ideas more than it has anything to do with the actual opera or performers
Ma cos è, miele il timbro vocale di questa Donna? E poi quelle inflessioni infantili/adolescenziali ,chiudono il cerchio della Sua statura artistica
26:55 campanelli giapponesi
Why does Sharpless sound like a lyric tenor?
能舞台だよこれじゃ
How do you know?
2:04:56 💔💔💔
1:48:38