Evelyn Auernheimer Aber ein extremer Geizkragen ist er. Als ich im zwei Tonbänderschacheln der Radioübertragung der Tosca vorlegte 1976 für meine Freunde, beide auch schon tot, für ein Autogramm, da fragte er, was das sei. Ich sagte ihm das. Er wollte das auch haben. Nachdem wir die techn. Voraussetzungen geklärt hatten, ich liefere nur Topqualität, hatte ich ihm die zwei Bänder zwei Tage später ins Theater extra hingefahren. Es war noch eine zweite, hervorragende Tosca dabei mit ihm und Domingo mit Eva Marton, von mir als Bootleg-Dokument aufgenommen, fragte er mich nach dem Preis. Ich sagte DM 40.-- reine Selbstkosten. Er gab mir DM 50.-- und fragte, ob ich ihm 10 Mark zurückgeben könnte. Ich gab die ihm. Dafür hatte ich über 4 Stunden in Echtzeit die beiden Toscas überspielt. Bin eine Stunde ins Theater und eine wieder zurück gefahren. Ich denke mal, dass der eine Frau hat, die sein Geld verwaltet und er nur ein knappes Taschengeld bekommt. Die Geschichte stimmt wirklich so!
@@ilovemilnesandopera7662 For me this was very funny. I did not expekt 100 or 200 Deutschmark. If he had given me more I would have no story to tell, haha.
Milnes at 61. Well, he gives it his all. There was no transposition here but the pitch on the final G was initially a shade flat but he corrected the note soon thereafter. Milnes instrument here still had some of its recognizable sonority but I am not certain what complete roles were suitable by this time. I was never a big fan of his anyway & his spotty technique was evident the first timeI heard him which was on his debut aria album back in 1969. In his best singing period the extreme high notes were among his instruments best features but the upper E to F area of his voice sometimes had a lack of focus which resulted in intonation problems. As a supposed successor to Warren & Merrill he never quite measured up vocally however in his stage presence & some impressive characterizations he was often more impressive than either of these two. Although some 13 years older MacNeil, granted with some vocal variability, was still in better shape at the point when Milnes own instrument faced its first difficulties, IMO.
@@petergraham8681 I don’t have the Jerome Hines “Great singers on singing” book on me right now, but if I recall correctly, Milnes’s technique was note by note. I think that was the problem. The result is that even though the voice itself was charismatic, it came across as quite manipulated. Placement, cover, colour, etc. constantly shifted. I think the fact that you brought up Macneil in your comment is telling. It can be argued that Mac opened too much in the passage, but there was no manipulation in that voice - just support, support, and support.
So good, I had to play it twice. And I had just finished playing earlier the studio recording of Il Tabarro starring the Great Milnes, the Great Domingo and the Great Leontyne Price. **beso de chef**
I'm amazed how good this sounds this late in his career. Well done
Maravilloso
This is what opera is supposed to be. Drama, intensity, beauty and pain. It's all in the hands of the phenomenal Sherrill Milnes.
Magnifico!!!! Extraordinario!!!
Gracias!!
My favorite of Il Trittico. I saw Milnes in concert and he was marvelous.
Tolle Stimme und auf der Bühne ein toller Akteur
Aggiungo anche una grande presenza scenica.
Evelyn Auernheimer
Aber ein extremer Geizkragen ist er.
Als ich im zwei Tonbänderschacheln der Radioübertragung der Tosca vorlegte 1976 für meine Freunde, beide auch schon tot, für ein Autogramm, da fragte er, was das sei.
Ich sagte ihm das.
Er wollte das auch haben.
Nachdem wir die techn. Voraussetzungen geklärt hatten, ich liefere nur Topqualität, hatte ich ihm die zwei Bänder zwei Tage später ins Theater extra hingefahren.
Es war noch eine zweite, hervorragende Tosca dabei mit ihm und Domingo mit Eva Marton, von mir als Bootleg-Dokument aufgenommen, fragte er mich nach dem Preis.
Ich sagte DM 40.-- reine Selbstkosten.
Er gab mir DM 50.-- und fragte, ob ich ihm 10 Mark zurückgeben könnte.
Ich gab die ihm.
Dafür hatte ich über 4 Stunden in Echtzeit die beiden Toscas überspielt. Bin eine Stunde ins Theater und eine wieder zurück gefahren.
Ich denke mal, dass der eine Frau hat, die sein Geld verwaltet und er nur ein knappes Taschengeld bekommt.
Die Geschichte stimmt wirklich so!
@@e.g.8454 Ciao Eugenio..
@@achmedmohamed4708 I have no words.... from Milnes I never expected this!
@@ilovemilnesandopera7662
For me this was very funny.
I did not expekt 100 or 200 Deutschmark.
If he had given me more I would have no story to tell, haha.
Meraviglioso...grande voce, dizione chiara e grande talento drammatico...Grazie mille.
Ciao Rita, tutto bene spero.👋
@@e.g.8454 😁👋
E questo è ciò che ammiri???
The best...
My friend Sherrill…
Half a tone down at the end, but what does it matter; It is already a legend.
Milnes at 61. Well, he gives it his all. There was no transposition here but the pitch on the final G was initially a shade flat but he corrected the note soon thereafter. Milnes instrument here still had some of its recognizable sonority but I am not certain what complete roles were suitable by this time. I was never a big fan of his anyway & his spotty technique was evident the first timeI heard him which was on his debut aria album back in 1969. In his best singing period the extreme high notes were among his instruments best features but the upper E to F area of his voice sometimes had a lack of focus which resulted in intonation problems. As a supposed successor to Warren & Merrill he never quite measured up vocally however in his stage presence & some impressive characterizations he was often more impressive than either of these two. Although some 13 years older MacNeil, granted with some vocal variability, was still in better shape at the point when Milnes own instrument faced its first difficulties, IMO.
@@petergraham8681 I don’t have the Jerome Hines “Great singers on singing” book on me right now, but if I recall correctly, Milnes’s technique was note by note. I think that was the problem. The result is that even though the voice itself was charismatic, it came across as quite manipulated. Placement, cover, colour, etc. constantly shifted. I think the fact that you brought up Macneil in your comment is telling. It can be argued that Mac opened too much in the passage, but there was no manipulation in that voice - just support, support, and support.
4:10: High G
It’s an F# to be honest
So good, I had to play it twice. And I had just finished playing earlier the studio recording of Il Tabarro starring the Great Milnes, the Great Domingo and the Great Leontyne Price. **beso de chef**
That last note wasn't too cool. Rest was OK