Kallen is my cousin from my Armenian side....and i was just going through some old pics and and found some of her and thought maybe, just maybe i could hear her sing again and found THIS!! i cannot tell u how much it means to me to be able to hear her voice again!!! the last time was at uncle jacks funeral when she sang Ave Maria...this is such a gift for me, thank you from the bottom of my heart!!!
Kallen was one of the first winners of the Pavarotti Competition in Philadelphia, and deservedly so ! her wonderful career started there. Not so much later , she went on to sing Bohème in Rome with Maestro Bernstein.
This is superb, as ever. I wonder what year this was? Pavarotti will always be on my all time favourite great tenors list. Instantly recognisable, a voice that was like liquid gold at times, very rich and always with a warmth too, to match the personality that comes across in all the interviews. Regret not trying to hear him live. Modena's finest !!
@@MarquesEunice thank you, I agree , his voice remained unique and so beautiful for a very long time, it changed but the quality was there, and even at the very end, he could put out an incredible moving sound, on occasion, and to me, on occasion is still very acceptable, a much nicer alternative than silence.
Me too, but I never discovered him until 13 years after he passed, I was around when he was performing, it would have been life changing to see him in person. my great regret.
I like his voice for this. Typical of Pavarotti his voice is open and free and ringing. So many tenors that sing this role have their tongue crammed down their throat trying to produce a fake deeper tone. The result is a voice that doesn't project and has the dreaded tremelo that you can walk through.
This is a serious musician at work here (and in the recording with Solti). Mindful of the history and traditions of Italian Opera. This is a powerful characterisation, thankfully free of the ugly histrionics of so-called ‘heavier’, ‘harsher’ voiced Otellos. Look at José Cura, it’s badly acted, melodramatic, ugly sounds and the words are completely lost with over-emoting (which threaten the pitch).
Pavarotti was an extremely versatile tenor. His voice carried very well and the quality of his tone had a very distinctive personality. One can't think of a better Duke than Pavarotti, nor a better Rodolfo. Aida, Tosca, Il Trovatore etc. were never a problem for him. There are plenty of jealous haters on UA-cam who call him "Nemorino" when he's singing in heavier roles, which is ridiculous and hypocrite, because the same people who do it praise Björling singing Si Pel Ciel for example.
He would never have sung it on stage- he told me - not vocally but because he had by then difficulties in moving on stage ( due to his knee) but recording it with Maestro Solti or singing arias in concerts was a possible way of singing this beautiful role.
The thing is you can have a heavy voice and learn to legitimately sing lighter, but you reallycant do the reverse. Dramatic tenors can definitely sing lyric stuff well if they practice (and are comfortable in the upper range). Lyric tenors or any similarly light voice though, they can yell I guess, but thats about the extent of the added "power" they can do, and you reallyideallydont want to just shout anyway... Spyres Baritenor album is probably the easiest example to find and see what I meant, his A4s in "Il Balen" and "Largo" dont even sound like the same person as the ones in "Pour mon ame" or "fuor del mar"
Non è per lui Otello. Serve impeto, dramma, voce possente, dal volume immenso. L'ha cantata raramente. Leggeva il testo. Non è possibile. Si sforza tanto, ma non ci riesce.
Che non ci riesca lo sostiene lei. L’ ha cantata in disco con Solti- e anche in concerto, con Kiri Te Kanawa. Non è certo un tenore drammatico, e lo sapeva bene pure lui. Ma un Otello più che decoroso , mai fatto in scena perché già aveva problemi al ginocchio e questo non è un ruolo ‘ statico’. L impeto invece c’è, in quel timbro di velluto unico. Eppoi, leggere un ruolo che non si canta spesso in versione concerto succede anche ad altri cantanti.
@@Musettina6 nel '92 a Londra ha subito pesanti critiche al punto da decidere di non cimentarsi mai più con Otello. Forse ho l'orecchio troppo viziato dallo stratosferico Del Monaco. Per quest'aria non serve solo dramma e impeto, ma voce greve e stabile sui bassi. Serve un registro ben più ampio e armoniche a non finire. Otello non è per la gran parte dei tenori. Molto impegnativo e difficile.
Are you deaf? Who the hell are you to claim it’s not for him? Impetus, drama, a powerful voice with immense volume are all here. And you’re too stupid to realise.
Das ist kein Vergnügen mit Pavarotti, wahrscheinlich war Er der Meinung Alles zu können, Irrtum vom Amt, haha , den Schluss der Arie vergeigte Er ganz und gar, weil einfach das Stimm Volumen fehlt bei einem lyrischen Tenor . Sie ist sehr gut.
Kallen is my cousin from my Armenian side....and i was just going through some old pics and and found some of her and thought maybe, just maybe i could hear her sing again and found THIS!! i cannot tell u how much it means to me to be able to hear her voice again!!! the last time was at uncle jacks funeral when she sang Ave Maria...this is such a gift for me, thank you from the bottom of my heart!!!
Kallen was one of the first winners of the Pavarotti Competition in Philadelphia, and deservedly so ! her wonderful career started there. Not so much later , she went on to sing Bohème in Rome with Maestro Bernstein.
how wonderful I love her voice, it has a nice lower tone quality along with the soprano, very much a quality voice.
@@ellenlyons-xo4vs Thank you for such a lovely comment!!
Such a rich timbre!!!! Viva Luciano!!!
Thank you thousands of times!
This is so beautiful! Thank You MarquesEunice again I am so grateful for your postings!! .......Sella.....
Thank you Marqueseunice! Beautiful!
This is PAVAROTTI, the best.
This is superb, as ever. I wonder what year this was? Pavarotti will always be on my all time favourite great tenors list. Instantly recognisable, a voice that was like liquid gold at times, very rich and always with a warmth too, to match the personality that comes across in all the interviews. Regret not trying to hear him live. Modena's finest !!
Royal Albert Hall, 1995
@@MarquesEunice thank you, I agree , his voice remained unique and so beautiful for a very long time, it changed but the quality was there, and even at the very end, he could put out an incredible moving sound, on occasion, and to me, on occasion is still very acceptable, a much nicer alternative than silence.
Me too, but I never discovered him until 13 years after he passed, I was around when he was performing, it would have been life changing to see him in person. my great regret.
I like his voice for this. Typical of Pavarotti his voice is open and free and ringing. So many tenors that sing this role have their tongue crammed down their throat trying to produce a fake deeper tone. The result is a voice that doesn't project and has the dreaded tremelo that you can walk through.
esperian tres belle voix
this is so Beautiful !!!! thank you !!
This is wonderful!
Royal albert hall 1995 1 year before i was born :)
Those who say Pavarotti can’t sing Otello are deaf or extremely foolish.
I tend to believe it's all about envy/jealousy.
This is a serious musician at work here (and in the recording with Solti). Mindful of the history and traditions of Italian Opera. This is a powerful characterisation, thankfully free of the ugly histrionics of so-called ‘heavier’, ‘harsher’ voiced Otellos. Look at José Cura, it’s badly acted, melodramatic, ugly sounds and the words are completely lost with over-emoting (which threaten the pitch).
Pavarotti was an extremely versatile tenor. His voice carried very well and the quality of his tone had a very distinctive personality. One can't think of a better Duke than Pavarotti, nor a better Rodolfo. Aida, Tosca, Il Trovatore etc. were never a problem for him.
There are plenty of jealous haters on UA-cam who call him "Nemorino" when he's singing in heavier roles, which is ridiculous and hypocrite, because the same people who do it praise Björling singing Si Pel Ciel for example.
Wow, better than the cd!
He would never have sung it on stage- he told me - not vocally but because he had by then difficulties in moving on stage ( due to his knee) but recording it with Maestro Solti or singing arias in concerts was a possible way of singing this beautiful role.
Sin palabras
Can we know the date of this performance?
Opera song
The thing is you can have a heavy voice and learn to legitimately sing lighter, but you reallycant do the reverse. Dramatic tenors can definitely sing lyric stuff well if they practice (and are comfortable in the upper range). Lyric tenors or any similarly light voice though, they can yell I guess, but thats about the extent of the added "power" they can do, and you reallyideallydont want to just shout anyway...
Spyres Baritenor album is probably the easiest example to find and see what I meant, his A4s in "Il Balen" and "Largo" dont even sound like the same person as the ones in "Pour mon ame" or "fuor del mar"
Sin micrófono no se le hubiera eecuchado.
Non è per lui Otello. Serve impeto, dramma, voce possente, dal volume immenso. L'ha cantata raramente. Leggeva il testo. Non è possibile. Si sforza tanto, ma non ci riesce.
Che non ci riesca lo sostiene lei.
L’ ha cantata in disco con Solti- e anche in concerto, con Kiri Te Kanawa. Non è certo un tenore drammatico, e lo sapeva bene pure lui. Ma un Otello più che decoroso , mai fatto in scena perché già aveva problemi al ginocchio e questo non è un ruolo ‘ statico’.
L impeto invece c’è, in quel timbro di velluto unico.
Eppoi, leggere un ruolo che non si canta spesso in versione concerto succede anche ad altri cantanti.
Ti bi bolje otpevao....100%?
@@Musettina6 nel '92 a Londra ha subito pesanti critiche al punto da decidere di non cimentarsi mai più con Otello. Forse ho l'orecchio troppo viziato dallo stratosferico Del Monaco. Per quest'aria non serve solo dramma e impeto, ma voce greve e stabile sui bassi. Serve un registro ben più ampio e armoniche a non finire. Otello non è per la gran parte dei tenori. Molto impegnativo e difficile.
ua-cam.com/video/AqWnk0ogkj8/v-deo.html ascolti questa magnifica versione del '51 con la Petrella.
Are you deaf? Who the hell are you to claim it’s not for him? Impetus, drama, a powerful voice with immense volume are all here. And you’re too stupid to realise.
Das ist kein Vergnügen mit Pavarotti, wahrscheinlich war Er der Meinung Alles zu können, Irrtum vom Amt, haha , den Schluss der Arie vergeigte Er ganz und gar, weil einfach das Stimm Volumen fehlt bei einem lyrischen Tenor . Sie ist sehr gut.
Pavarotti može sve...božanstveni i besmrtni!!!A i nije neka arija....već pozorišna predstava...