Pilar Lorengar "La Boheme", Puccini. MET, 1973
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- Опубліковано 16 вер 2024
- Metropolitan Opera House
June, 1973
LA BOHÈME, Puccini
Mimì....................Pilar Lorengar
Rodolfo.................Luciano Pavarotti
Musetta.................Colette Boky
Marcello................Mario Sereni
Schaunard...............Robert Goodloe
Colline.................Jerome Hines
Benoit..................Andrea Velis
Alcindoro...............Nico Castel
Parpignol...............William Mellow
Sergeant................Frank Coffey
Officer.................Herman Marcus
Conductor...............Henry Lewis
Pilar Lorengar!!
Pavarotti and Lorengar: impossible to get any better than that.
Some say Pavarotti and Freni had better chemistry onstage being childhood friends, at least for Boheme, but aside from that, Lorengar had a sweeter voice than Freni and both soprani had different overall repertoire, few roles shared, so it's better to enjoy both 😎
@@alejandrotm Agree. I wasn’t necessarily trying to get in the comparison business. Just saying that Pavarotti and Lorengar sound great.
LA DULCISIMA Y DELICIOSO TIMBRE DE VOZ ,FRASEO Y TÉCNICA DEPURADA DE PILAR LORENGAR ADORNAN A UN HERMOSO ELENCO CON LA PRECIOSA VOZ DE LUCIANO PAVAROTTI.
Hermosa versión de LA BOHEME.
PAVAROTTI ,LORENGAR EXTRAORDINARIOS.
Pilar Lorengar's shimmering voice brings to mind a flickering candle fighting for life and she's an ideal Mimi. With her, Pavarotti and a cast of Bing era Metropolitan stalwarts like Jerome Hines, this performance is nostalgia to cherish. Thank you for downloading this vocal treasure.
maravillosa, extraordinaria, celestial
The man from Modena in a place all by himself....for ever. Great upload. Thanks.
Merci à vous Rita d'avoir partagé cette enregistrement, Un pur bonheur!
Thank you for posting this!
Act 2: 35:34
Act 3: 54:00
Act 4: 1:18:23
Thank you
De apañadita a interesante. Vamos avanzando
Well sung, including a easily sung 5 second high C, with plenty of breath left.
Yes, above, meaning in His Che Gelida aria!
It's a shame they didn't have smart phones in 1972. No disrespect for Zeffirelli's gloriously cinematic Boheme which I hope stays at the Met for as long as that opera house exists, but I would have liked to have seen a video of the older Rolf Gerard production which, from its preparatory drawings, was much more intimate but just as atmospheric. One of the commentators below noted the Marcello here wasn't Mario Sereni, and the voice is richer and more lyrical than that baritone. In fact, to me it sounds like Robert Merrill, still in fine voice after two decades with the company. I'd be interested if some long time standee, pirate recorder, or Metropolitan scholar (or all three) could confirm if it was indeed Robert Merrill in this performance: And, if not, I'd like to know who this superb baritone is so I could check UA-cam for more performances of him. Thank you to anyone with that information.
Gracias, Rita. Tengo un primer acto de Pilar con Pavarotti, pero no una versión completa.
Marcello non è di certo Mario Sereni!!!
A lot of disturbing noises close to the microphone!
It is an amateur recording.
Yes it is …..and if we would not have these pirate recordings one would never ever hear
Lorengar & pavarotti,Merill (it is not Sereni for sure!)and Hines in La Boheme together. If you like Studio Recordings buy them…I was engaged at the Munich State Theater and we had a Tenore who was,to gently say past his prime,when he ,once famous in Germany, a new Album of Operetta Arias. It sounded amazingly young and fresh.I asked him how that could be…his simple answer was…MODERN TECHNOLOGY…that was in 1983! What you hear in Studio Recordings is a mix of Technology and clever editing,with the goal of making the recording sound “ As Best as Possible” to sell” As Many as possible” But it is far away from reality!!! I’m grateful to here Pirate Recordings….since their is no faking possible…you-can or can not sing it….PERIOD!
@@sandorkonya8005
I have greatest experiences in making bootlegs with my wondermachine UHER CR 240 which was made and modificated for me by engineers of UHER.
Beginning 1974 we, my famous friend Kurt M. (+) and I, made the best possible recordings in the world.
Esp. in Munich in the years, when most important singers sung in Munich.
I had a lot of tape changing contacts to other best recorders.
So I can claim this.
I have more than 30.000 operas on records, tapes and hard disc drives.
I guess it is one of the largest collections in the world.
I taped important performances also in Genova, Vienna, Mailand, Venice, Parma, Florence, Rom, Zürich, Verona, Macerata, Branca Leone aso.
Who was the tenor in Munich?
I was a friend of Hans Hopf and Alfredo Kraus.
The greatest singer for me was Cesare Siepi.
I taped all I could get from him in best quality in the upper named cities.
@@sandorkonya8005 According to the Met Archives Database, available online, Pavarotti sang one Boheme in 1973 with Pilar Lorengar, on June 23, and another a few days later with Dorothy Kirsten. Both performances were with Mario Sereni as Marcello.
En el año 73. Las grabaciones eran en cassette!!! Osea no busques algo digital!!! En esta grabación solo interesa la voz de Pavarotti, 38años, aún con un estado vocal al 100% su facilidad en la extensión vocal, su timbre de voz, limpio, claro, nítido... Eran un rayo de luz!
Pavarotti: excepcional
Lorengar: cantante apañadita, correcta y poco más.
Además, fue un error para su carrera el permanecer en Berlín siempre, cantando y grabando a veces, óperas italianas....¡en alemán! ¡manda huevos!
Si voz, repito, no tenía nada de excepcional: ni muy bella, no muy expresiva, no muy extensa: apañadita y poco más.
Lorengar “apañadita”. ¡Madre mía!
@@ritacantaora8092 En Españas ha habido dos cantantes que han representado la mejor conjunción entre vocalidad y expresividad...con una exquisita dicción: De los Ángeles y Berganza (mejor mezzo rossiniana de la historia segun Alberto Zedda... ahí es nada)
Caballé...: eximia vocalista y eso posibilitaba que se le perdonasen algunos vicios en su canto.
Lorengar estuvo centrada en Berlín, cantando y grabando a Mozart, Puccini!!! y Verdi en alemán: un horror anti-musical.
Si voz con un vibrato particular, no era muy extensa por abajo y luego no era una soprano que dotará de especial relevancia expresiva aquellos papeles puccinianos o verdianos que cantó en italiano. Sí.....no era un hielo, pero no había ese trabajo expresivo de otras ilustres colegas suyas...: una soprano interesante que dio España sin poca proyección internacional (quitando Berlín) y que fue eclipsada por todo esto por sopranos españolas como las antedichas: Caballé, De los Ángeles o Berganza.
Es una soprano de segunda fila.