I was lucky to see her in this production that year. One of my first live Met operas. Spectacular. I had no idea at the time how fortunate I was. Bygone era…
Met On Demand has four or five versions of this from over the years. This one is unquestionably the best. I compared all of them and the orchestra here plays with such an intensity that the others don't even come close to. And the acting and the singing is top-notch in this production. It seems great opera singers are harder to find these days. If they can find a great singer that singer can barely act. Placido brings it all in this performance.
Tienes razón en ese momento no somos conscientes de tamaño regalo que nos ha hecho la vida Cuando nos hacemos viejos son momentos que vienen y te hacen sonreír delante del fuego y la adversidad
what a grand a powerful production..saw turandot last Saturday...what a cast and what great orch and chorus..my friend and I was moved to tears..what a way to end a great day in the city.....outstanding....
It was really something, I was there, too! It was amazing how the entire audience gasped together when the scrim raised on the castle, almost blindingly silvery white and gold...Baek, the tenor was wonderful, I was less impressed with the Turandot, and if the more subdued, shorter applause at the end was any indication, so was the rest of the audience. But all in all, a very affecting evening, I'm very glad I was able to get a ticket.
I saw her sing this in Boston back in the eighties. She blew the back off the auditorium and nobody in the place took a breath. Thunderous applause followed. I don't care if she was calling hogs, that was THEATER!
Marton was a force of nature. She could act and drive the audience to tears. Everybody knew that her voice was not the most beautiful and even in her Strauss operas I had a hard time understanding the lyrics (as a German) but boy, she was always giving it all, just like Gwyneth Jones and the likes. Where are they now? Who´s is following? Nobody. The world of opera has become antiseptic with ice-cold singers who care about making an easy money by singing the tough roles when they´re too young. That´s the reason why there is no real Elektra, Isolde or Brünnhilde around any more. As long as an audience is willing to accept that, there won´t be any change to the better.
Indeed. She went from Boston to the Met centennial and arrived just in time. Supposedly, Levine was quite put out. She blew the back off the theater again.
Attended a performance of this production during its first run in the late 80's. Wondering why there was more commotion in the Met foyer during the intermission than in the auditorium during the performance, watched in amazement as Birgit Nillson accompanied by Christa Ludwig descended the met staircase arm in arm to the night's most thunderous standing ovation.
Sad we lost Ludwig.. she was amazing.. Sutherland's recording on this is my favourite, I know it was a recording, but it was actually a recording of a moment that we can't recapture.
Stupenda!! Marton is such a credible, amazing Turandot, her timbre, her way of dramatic phrasing is so brilliant, and comes across so authentic, what a great performance!
Powerful voice; sublime stage presence. Miss Marton is always wonderful as Turandot as well all the other operatic roles she played and sung. Bravo. Only a great dramatic soprano can sing this aria so propitiously.
Marton's "quel grido" is impeacable. When she sang "Mai nessun m'avra... ah... rinasce", the camera was shaking...XD. And there are quite some nuances in this version that worth noting, like Calaf tried to pull her sleeve and she pulled it back. Also the hand gesture when she said "3" (like OK) is really a Chinese way to say "3". Maestro Zeffirelli worked a lot on the details. Only a Chinese Emperor would not wear in black, it's usually gold or purple.
I’ve seen several more recent productions on The Met app, but none of them are as good as this! The voices, the acting, stellar! I’d LOVE to go to an opera, but I know I’d be so disappointed by the inferior talents.
I have to reply to your comment. I lived in New York City for years but I now live in Knoxville Tennessee. Knoxville actually has an opera house believe it or not. I looked online and I started investigating it thinking it was probably going to suck. But it turns out that the singers that they hire to perform their operas are world class and have performed all over the world and big city opera houses. So have some optimism. You can see operas in any city and there will be great talents. So take a chance and go see a show!
1987 at The Met. It is a available on Met On Demand. They have at least four other versions but this is the one to watch! The orchestra performance alone is stunning. But everything came together in this production and it is so intense and wonderful.
Plácido Domingo is one of my favorite but still I enjoy hearing him crack in this. Lots of fun! I am surprised that his voice is even audible with Eva Marton’s laser beam voice.
I love Domingo and he was much better at La Scala, in 83 with Dimitrova and Ricciarilli. But I prefer Carreras in this role with Marton in the same year with Vienna Staatsoper production. They were both on fire and his interpretation was fantastic, as it was Marton. I thought she was crying in the end. Absolutely fantastic to listen and watch.
@saelind73 Yes he was better than. But he's even better in 70s. Check out the 1970 Turandot with Nilsson. Domingo sang the best HighC in his whole career. And yes it's very loud and clear under Nilsson's huge voice. I think Carreras' Calaf is very acceptable, but I prefer him in lyric roles. His L'elixir d'amore for example, is one of my favourite.
To all the haters... who the heck did you expect the Met to hire to sing this in 1988? Nilsson and Corelli were long gone by this time. Stop letting the perfect be the enemy of the very good.
+thricegreatart I actually thought Eva Marton sang it way better than Ghena Dimitrova. Marton had a nice tone to her voice, her vibratos were also for the most part kept short. Her techniques for the middle-throat resonance was also very good. I do agree that Nilsson is better. As for Domingo, he was way better at the La Scala. Here he's already past his prime for this high of a range (near 50s) which he did not have naturally. I listened to both his 1981 recording and La Scala, both were way better. But he's still one of the tops for the mid-range singing. People just like to judge a tenor on whether he can sing a couple of high notes, which is frankly, stupid.
***** right, which is why I said that his mid-range notes (vast majority of the singing) is great. But once again, he had better performances than this one in terms of singing. All opera singers have their ups and downs of course. I pretty much like Domingo whatever he does. He understands what beautiful singing is. People just don't see that because they always want to be thrilled by high notes. I understand that too, but honestly, after a few times, always pay attention to high notes gets old really quick.
***** I absolutely agree. I don't understand how people would overlook Domingo's beautiful phrasings-long and velvety smooth, language and bel canto transition techniques and dwell on his couple struggling high notes. But whatever each to his/her own.
***** so he's a workaholic and people hate him. Okay whatevs, I think for the most part he handled it pretty well. Nowadays I've heard people say that he got a bit irritating and even arrogant. For example somebody said that there was once he went to one of Domingo's live opera and Domingo came out, because of the make-up nobody recognized him and he seemed to be waiting for applause or something and then the opera house had to emphasize that he got a cold so people would applause. That person said that after that he would never see him live again. I can detect a little bit of that from his interviews. If you look at his interviews when he was young versus old. Almost totally different person. He was such a vibrant, positive person, full of life and enthusiasm. Now, he looks kind of grumpy most of the time, irritated and tired. It actually made me reflect on life a little. I think it's inevitable that we are all going to change for the worse from some respects as we get older. Especially somebody so successful as Domingo and by nature our ego does get to us in the end. My advisor is somebody who's really famous in his field and he has a little bit of that too, even though, really one of the nicest guy you could meet.
Well, so much fortissimo required in In questa Reggia. I think that this rendition is one of the best on today's recording market. Eva Marton is excellent as well as Domingo.
Mientras más escucho esto más vuelvo a escuchar a la insuperable y magnífica Nilsson ... Marton no llega ni nunca llegó a las notas , sin embargo du voz es muy linda...
The acoustic box isn’t consistently under her voice, so the support she needs to sing high and on perfect pitch isn’t there.😢 If you watch Dimitrova or Nilsson, you’ll see them keep their sternums up and their chests full of air like a tank to support their huge voices. Marton, and many others collapse the acoustic box and try to muscle their way through the piece using their necks and throats. This eventually leads to vocal problems.
The night I saw this production with this same cast at the Met, Elizabeth Taylor accompanied by Franco Zefferelli was in the audience. She was overshadowed by Brigit Nillson, who was also in the audience. At her curtain call, the audience hurled roses at Eva Marton. She picked them all up and throw them at Brigit Nillson saying, "You get all the roses." It was some night!
@@lirahbaril5807 Although I wasn't privileged enough to meet Eva Marton, let alone get to know her, I still miss her. But what happened to Anna Netrebco''s voice and maybe to her health pains me even more. So I pray I'm only imagining problems where there aren't any. I must be careful when I watch an opera, especially Madama Butterfly because I nearly forget that someone is portraying Cio-Cio San. Sometimes I even feel enough empathy for the character that I wish I could throw my arms are her and say, "Please, dear Butterfly, don't marry him. He's no good for you." But, of course, I know the difference between how things are and how they seem, at least when the singers bow after the performance. I felt honored to email briefly with Patricia Racette. And maybe someday, she'll know how much her fine work helped me when my mom died on November 10, 2020. For me, opera is much more than entertainment because it helps me get mentally healthier. I'm not crazy. Still, it's easy to feel empathy when someone "incarnates" Pinkerton's innocent wife. I'm sure many opera fans know Miss Racette's work. But Amarilli Nizza is new to me. ua-cam.com/video/4WWIWxnDbtU/v-deo.html
@@marksmith3947 Maybe you're right. But I shouldn't judge her intentions. Since Miss Netrebko is an atheist, she's unlikely to believe that God punishes her. Years ago, I talked with a ghost hunter who thought I got cerebral palsy at birth to punish myself for something I did in another life. So I told her that since I had no idea what, if anything I did wrong, my disability seemed pointless. She din't reply to that. But she said that my yellow aura meant that I was skeptical. I mention her points because they're analogous to what Miss Netrebco could tell you about her health problems. She might say that if she's getting punished, she has no evidence for that. If God punishes me here on Earth, it's probably because he wants me to repent and learn from the sin or sins that justified the punishment. In a case like that, I'm grateful for the discipline and the lesson it taught me. Maybe somedY Miss Netrebko will suffer something that will convince her to pray something like, "God, if you're real, please help me because I can't cope with my pain on my own." Please understand. I'm not hoping she'll suffer. But I know God the Father changes me noticeably while my clinical depression is severe. Sometimes it's as though he wants to teach me how to feel empathy for Christ and others who feel pain I couldn't tolerate.
i did Turandot this summer at Arena di Verona as a figurant and i can tell the structures and ornaments are all the same, who knows maybe i was holding the same objects as the ones i see here
I have been lucky enough to see this production many times at the Met. Unfortunately not with Eva Marton, the best Turandot from her time... till nowadays.
Oh my God the power and soul of the Dramatic Soprano. God given human refined! Oh the Ecstasy she must feel and she produced! Heaven on Earth brought to us by Puccini!
I personally feel the only reason for Marton's less-than-spectacular performance is because of the banners with the three riddles she had strapped to her back. Otherwise she acts the part with her signature dramatic impact, especially during her tearfully delivered Act 3 aria
What are you talking about? if this is not giving you chills...what could? It is already amazing as a recording...just imagine how incredible it must have been in the theater!
She was incredible. Plácido to me had a more commanding ability over the high C in his earlier years. When he gets up that high, he jumps off pretty quickly. Beautiful voice none the less.
Seems that the older generation of sopranos knew how to command a role like Turandot.Recently Nina Stemme and Christine Goerke, no matter how stellar they are in the german repertoire, seem so weak and disappointing is this role.
….but the Met production remains one of the most incredible theater productions ever...and the fantastic choir and orchestra performance alone is worth seeing it at the Met this season. The vocal force coming of that huge stage is just unbelievable and I think you have to see it at least once live....if you are a real opera fan!
I recall this production…Marton, as usual, delivered. Domingo, throughout this performance, had his issues. I actually prefer the 1983 performance with Marton, Carreras and Ricciarelli. I do thank you for posting. :-)
Unfortunately, this opera needs to be put on hiatus until a Soprano and Tenor can be found who can handle the tessitures and vocal athleticism required. Jonas Kaufman comes closest to having the vocal power, but he can have intonation/pitch issues. And I don’t know of any Soprano who even cones NEAR what this role demands. Marton does a nice job, Domingo adequate at best. Gwyneth Jones in her prime could tackle this role, but the only remaining Tenor than I can recall would have been Nicolai Gedda. Nilsson and Corelli were the standard set, and no pairing ever came close.
@@x16881 I wouldn't say a complete failure. Sure she doesn't match up to Nilsson, but I would love if there were singers as good as Marton today. Marton's problem is that, although she can actually hit the notes, it sounds too effortful. Considering how hard Turandot is, I'd have some patience if it could be sung today as well as she sang here.
4:25 you can hear the damage she’s doing to her voice. She splits and doesn’t recover. In fact the Trovatore she sang after this was in audible her wobble had become so severe.
Marton isn't my favourite Turandot but that simply can happen to the voice once in a while on a bad day. Domingo's crack on the high C here is much worse
What can you expect when one pushes, pushes,pushes...One can have a large voice and still sing drammatic roles in the italian belcanto style. In this way the voice will last until the end. Healthy and pleasant, not like the garbage of today.
This scene illustrates a common problem in the realization of much grand opera. The orchestra is too loud. The singers are straining to be heard. The whole thing wobbles and threatens to explode. Everything needs to be dialed back a degree or two. The director must recalibrate so that when the full-throttle moment arrives it has full effect. Relentless emphasis de-prioritizes what is important for the senses to grasp. There is so much magic in Puccini's notes that is better served by subtlety and restraint than by sustained histrionics.
No. The singers simply need to be capable to sing over the orchestra. Nilsson did. Turandot is a difficult role, and only the best should attempt it. Compromising the orchestra is a bad idea which results in an overall compromised dramatic effect. Of course, I don't think Marton is bad here though.
@@adriand6883. Calibration is not compromise. It is just regulation of the forces employed. After two years I listened to this again. Things hold together well enough until 5:20 or so, but in the final unison statement I'm afraid it's still a shouting match in which tenor and soprano are struggling to refill their lungs so desperately they cannot manage the same tempo. Should volume be paramount here, or should the orchestra be slightly scaled back, as I suggested, so as not to compromise the overall effect of the music that has you worried? I took a look at the score. It calls for ff through this passage. That is less than fff, which is as loud as the composer wants the orchestra to be at any point in this aria. Puccini understood he had to leave a little more room for the voices at the climax.
A mi me parece perfecto, Puccini en esta etapa es un colosal orquestador, eso debe reventar porque asi es el estilo, tipo wagner, strauss, o Mahler. imaginate que estas escuchando la sinfonia de los mil de Mahler
PRINCESA LOU-LING In questa reggia, da ópera Turandot, o grito Desesperador soou, de longe, e veio passar Por gerações e ancorou na mulher, em atrito, A princesa, que rei dos tártaros veio devassar. Engramas passados são forças e recrudescem Em situações que delineiam algo a se beneficiar, A pessoa carrega os pensamentos que crescem Na dificuldade que a faz sucumbir ou se elevar. As amarras do passado retendo-a em remessa À reflexão meditativa que lhe dê luz no andar. Somente o nosso ser profundo pode ter essa Visão da realidade, o que temos são indícios Que podem nos conduzir à decisão para amar Que nos dê o horizonte límpido, sem os vícios. (*) (*) FERNANDO PINHEIRO, presidente da Academia de Letras dos Funcionários do Banco do Brasil. - PRINCESA LOU-LING (poesia), de Fernando Pinheiro. - in O mundo de Morfeu, de Fernando Pinheiro.
Luceafarul no he is not a baritone. He is a lyric tenor with no good lows no good highs and no good middle. If you think those are good lows go listen to renato zanelli. That is an actual dramatic tenor with actual good lows
El demonio y las mas bajas pasiones a veces se esconden en seres hermosos y dotados de talento, o hasta en una viejecita que todos ven como fragil y vulnerable, pero en realidad hace muchísimo daño y destruye familias enteras....que horror Dios mio.
Que pena que bajo un fisico hermoso y una voz bella, en Placido Domingo se escondan tan bajas pasiones de extorsionar, amenazar y violar a mujeres indefensas y pobres....y frustarles sus carreras como hizo con Gilda Cruz Romo y ha hecho con tantas...abominable e inadmisible.
"A beautiful physique?" Seriously? He only had an okay physique in the 1980s when he was forced to lose weight for filming La Traviata and Carmen. Other than that, all he had was his height. Franco Corelli, a former athlete-swimmer, had a beautiful physique and a voice to match. And yes, I second your sentiment about his horrific treatment of women.
@@DtheGlamorous Sure, many times... For me the best performances are "In questa Reggia" (SFO) with Pavarotti, and Turandot in Paris with Giacomini (sorry for my english)
What a pity. aug27_3 Marton had her strengths, I suppose, but her weaknesses are hard to ignore. Here, her phrasing was generic and her emphasis on pure high note vs nuance was predictable. The Domingo haters, also predictably, will never say anything nice about the living legend and the only successor possible to the greatest tenor crown. And the crown is his now, for at least the coming century. And as the greatest opera artist aside from the composers of all time? Signed, sealed and delivered. Paz y salud a todos que aman la opera.
@@x16881 Well, Borkh and Udovich are not better, their vocal technique is quite poor actually in the available recordings. Borkh though has a unique and very authentic artistic presence, it sounds more "true" than others.
I was lucky to see her in this production that year. One of my first live Met operas. Spectacular. I had no idea at the time how fortunate I was. Bygone era…
I was blessed to see the same production back in the 80's. Only Zefferelli !
Met On Demand has four or five versions of this from over the years. This one is unquestionably the best. I compared all of them and the orchestra here plays with such an intensity that the others don't even come close to. And the acting and the singing is top-notch in this production. It seems great opera singers are harder to find these days. If they can find a great singer that singer can barely act. Placido brings it all in this performance.
@@Ce2437 lucky you. I lived two blocks from the Met for a couple years in the early 2000s. I wasn't into it then. Didn't know what I was missing!
Tienes razón en ese momento no somos conscientes de tamaño regalo que nos ha hecho la vida
Cuando nos hacemos viejos son momentos que vienen y te hacen sonreír delante del fuego y la adversidad
Spettacolare Marton. Una di quelle voci che appaiono poche volte nella vita!! Bravaaaa,!!!!!❤👏👏👏👏👏👏👏👏👏👏
Looks like a magnificent production. Eva Marton was an unbelievably magnificent Turandot!
And the stage design and costume is brilliant in every way.
Eva Marton is lovely 💟. Wonderful aria written for a dramatic soprano.
what a grand a powerful production..saw turandot last Saturday...what a cast and what great orch and chorus..my friend and I was moved to tears..what a way to end a great day in the city.....outstanding....
It was really something, I was there, too! It was amazing how the entire audience gasped together when the scrim raised on the castle, almost blindingly silvery white and gold...Baek, the tenor was wonderful, I was less impressed with the Turandot, and if the more subdued, shorter applause at the end was any indication, so was the rest of the audience. But all in all, a very affecting evening, I'm very glad I was able to get a ticket.
Disappointed that the camera pans to Mr. Domingo at 3:19 - the cameras should be focused on the singer not to silent!
Adoro imensamente.
I immensely love In Questa Reggia. Miss Eva Marton is a lovely dramatic soprano.
I saw her sing this in Boston back in the eighties. She blew the back off the auditorium and nobody in the place took a breath. Thunderous applause followed. I don't care if she was calling hogs, that was THEATER!
Marton was a force of nature. She could act and drive the audience to tears. Everybody knew that her voice was not the most beautiful and even in her Strauss operas I had a hard time understanding the lyrics (as a German) but boy, she was always giving it all, just like Gwyneth Jones and the likes. Where are they now? Who´s is following? Nobody. The world of opera has become antiseptic with ice-cold singers who care about making an easy money by singing the tough roles when they´re too young. That´s the reason why there is no real Elektra, Isolde or Brünnhilde around any more. As long as an audience is willing to accept that, there won´t be any change to the better.
I've heard that on a pirate recording! It's marvelous!
Indeed. She went from Boston to the Met centennial and arrived just in time. Supposedly, Levine was quite put out. She blew the back off the theater again.
Marton in Boston was the most impressive live singing I've ever heard
I believe this role wrecked her voice. Shame; she was magnificent in it.
I have a few of Eva's records. Love it! 🤍
Eva Marton maravilloooosa...
Attended a performance of this production during its first run in the late 80's. Wondering why there was more commotion in the Met foyer during the intermission than in the auditorium during the performance, watched in amazement as Birgit Nillson accompanied by Christa Ludwig descended the met staircase arm in arm to the night's most thunderous standing ovation.
Sad we lost Ludwig.. she was amazing.. Sutherland's recording on this is my favourite, I know it was a recording, but it was actually a recording of a moment that we can't recapture.
i just come back from met's turandot, and the seporano is so bad! I cannot feel it!. EvaMarton's version is the all time favorite of mine. Huge gap!
Miss Eva Marton is one of the best Turandot. Lovely.
Stupenda!! Marton is such a credible, amazing Turandot, her timbre, her way of dramatic phrasing is so brilliant, and comes across so authentic, what a great performance!
Not to mention her wobble :((
@@mikaelb7735her wobble sounds fantastic and majestic too, is that what you're saying? 😎
@@mikaelb7735 her vibrato is at a correct pace she's not wobbling
With all respect, she is singing in a most unpleasant and screaming her way through it. Not a Turandot to remember.@@mathiasboucher8061
Powerful voice; sublime stage presence.
Miss Marton is always wonderful as Turandot as well all the other operatic roles she played and sung. Bravo.
Only a great dramatic soprano can sing this aria so propitiously.
ONE OF THE VERY BEST - The first TURANDOT of the MET -ZEFIRELLI Production - 1980's
Bravissima!!! 💖 La voce è molto buona e lei è molto espressiva! In sé la performance è bellissima! ❤❤❤
Marton's "quel grido" is impeacable. When she sang "Mai nessun m'avra... ah... rinasce", the camera was shaking...XD. And there are quite some nuances in this version that worth noting, like Calaf tried to pull her sleeve and she pulled it back. Also the hand gesture when she said "3" (like OK) is really a Chinese way to say "3". Maestro Zeffirelli worked a lot on the details. Only a Chinese Emperor would not wear in black, it's usually gold or purple.
You realize this is a fairytale? The story is fiction.
Magnificent voice!
Straordinary rendition of one legend❤
Best In questa Regia by Eva Marton :"Gli enigmi sono tre" (4:59 showing the three fingers) Epic..
I’ve seen several more recent productions on The Met app, but none of them are as good as this! The voices, the acting, stellar! I’d LOVE to go to an opera, but I know I’d be so disappointed by the inferior talents.
I have to reply to your comment. I lived in New York City for years but I now live in Knoxville Tennessee. Knoxville actually has an opera house believe it or not. I looked online and I started investigating it thinking it was probably going to suck. But it turns out that the singers that they hire to perform their operas are world class and have performed all over the world and big city opera houses. So have some optimism. You can see operas in any city and there will be great talents. So take a chance and go see a show!
My favorite Turandot!
1987 at The Met. It is a available on Met On Demand. They have at least four other versions but this is the one to watch! The orchestra performance alone is stunning. But everything came together in this production and it is so intense and wonderful.
I’ve done the same! You can do this with any opera on the app, the older versions are always vastly superior in every aspect - except picture quality.
Interpretazione Magnifica!!!
Eva Marton is fantasic in this role! She was in her best moment at the late 80´s
A melhor de todas as turandot. Para sempre.
I wish she had sung this well in the several times I heard her live in the house...
Plácido Domingo is one of my favorite but still I enjoy hearing him crack in this. Lots of fun! I am surprised that his voice is even audible with Eva Marton’s laser beam voice.
I love Domingo and he was much better at La Scala, in 83 with Dimitrova and Ricciarilli. But I prefer Carreras in this role with Marton in the same year with Vienna Staatsoper production. They were both on fire and his interpretation was fantastic, as it was Marton. I thought she was crying in the end. Absolutely fantastic to listen and watch.
@saelind73 Yes he was better than. But he's even better in 70s. Check out the 1970 Turandot with Nilsson. Domingo sang the best HighC in his whole career. And yes it's very loud and clear under Nilsson's huge voice. I think Carreras' Calaf is very acceptable, but I prefer him in lyric roles. His L'elixir d'amore for example, is one of my favourite.
Fantastic!!!
Qué mostrua! Qué animala! ❤️
To all the haters... who the heck did you expect the Met to hire to sing this in 1988? Nilsson and Corelli were long gone by this time. Stop letting the perfect be the enemy of the very good.
+thricegreatart I actually thought Eva Marton sang it way better than Ghena Dimitrova. Marton had a nice tone to her voice, her vibratos were also for the most part kept short. Her techniques for the middle-throat resonance was also very good. I do agree that Nilsson is better.
As for Domingo, he was way better at the La Scala. Here he's already past his prime for this high of a range (near 50s) which he did not have naturally. I listened to both his 1981 recording and La Scala, both were way better. But he's still one of the tops for the mid-range singing. People just like to judge a tenor on whether he can sing a couple of high notes, which is frankly, stupid.
*****
right, which is why I said that his mid-range notes (vast majority of the singing) is great. But once again, he had better performances than this one in terms of singing. All opera singers have their ups and downs of course. I pretty much like Domingo whatever he does. He understands what beautiful singing is. People just don't see that because they always want to be thrilled by high notes. I understand that too, but honestly, after a few times, always pay attention to high notes gets old really quick.
*****
I absolutely agree. I don't understand how people would overlook Domingo's beautiful phrasings-long and velvety smooth, language and bel canto transition techniques and dwell on his couple struggling high notes. But whatever each to his/her own.
*****
so he's a workaholic and people hate him. Okay whatevs, I think for the most part he handled it pretty well. Nowadays I've heard people say that he got a bit irritating and even arrogant. For example somebody said that there was once he went to one of Domingo's live opera and Domingo came out, because of the make-up nobody recognized him and he seemed to be waiting for applause or something and then the opera house had to emphasize that he got a cold so people would applause. That person said that after that he would never see him live again. I can detect a little bit of that from his interviews. If you look at his interviews when he was young versus old. Almost totally different person. He was such a vibrant, positive person, full of life and enthusiasm. Now, he looks kind of grumpy most of the time, irritated and tired. It actually made me reflect on life a little. I think it's inevitable that we are all going to change for the worse from some respects as we get older. Especially somebody so successful as Domingo and by nature our ego does get to us in the end. My advisor is somebody who's really famous in his field and he has a little bit of that too, even though, really one of the nicest guy you could meet.
+Sardus Orpheus I so much agree with you! 5:22 is a crack for Domingo listen to the voice crack! IT"S TERRIBLE!
Well, so much fortissimo required in In questa Reggia. I think that this rendition is one of the best on today's recording market. Eva Marton is excellent as well as Domingo.
3:19 Domingo holding his "shit" together getting ready for the hurricane that is coming to sweep him away.. Hhhh poor him...
Ha ha ha ha!!! I attended Turandot the year after, with Dimitrova. The poor tenor couldn't hold... but, what a night that was!
5:21 🐓
Mientras más escucho esto más vuelvo a escuchar a la insuperable y magnífica Nilsson ... Marton no llega ni nunca llegó a las notas , sin embargo du voz es muy linda...
The acoustic box isn’t consistently under her voice, so the support she needs to sing high and on perfect pitch isn’t there.😢 If you watch Dimitrova or Nilsson, you’ll see them keep their sternums up and their chests full of air like a tank to support their huge voices. Marton, and many others collapse the acoustic box and try to muscle their way through the piece using their necks and throats. This eventually leads to vocal problems.
La Mejor Turandot y el mejor Calaf por mucho tiempo!!!
Eva Marton si, Domingo...uhmm
Mmmmh... Domingo è bravo qui, ma non è certamente paragonabile a Corelli o a Del Monaco.
Invece Eva Marton è bravissima.
@@esterbruno8604 o Pavarotti!!
이 어려운 곡을 정말 잘 부르네요~♥️♥️♥️🤩🤩🤩
The night I saw this production with this same cast at the Met, Elizabeth Taylor accompanied by Franco Zefferelli was in the audience. She was overshadowed by Brigit Nillson, who was also in the audience. At her curtain call, the audience hurled roses at Eva Marton. She picked them all up and throw them at Brigit Nillson saying, "You get all the roses." It was some night!
Regio
Fabulosa la cantante
Inoubliable Eva marton
普契尼《杜蘭朵公主》
戲劇女高音Turandot (杜蘭朵公主)：
“In questa Reggia” (在宮廷內)
One of the top ten greatest Turandots.
I agree with you. Miss Maron spent most of her career singing this role.
@@williammcenaney1331 and sadly you know that voice is gone!
@@lirahbaril5807 Although I wasn't privileged enough to meet Eva Marton, let alone get to know her, I still miss her. But what happened to Anna Netrebco''s voice and maybe to her health pains me even more. So I pray I'm only imagining problems where there aren't any.
I must be careful when I watch an opera, especially Madama Butterfly because I nearly forget that someone is portraying Cio-Cio San. Sometimes I even feel enough empathy for the character that I wish I could throw my arms are her and say, "Please, dear Butterfly, don't marry him. He's no good for you." But, of course, I know the difference between how things are and how they seem, at least when the singers bow after the performance.
I felt honored to email briefly with Patricia Racette. And maybe someday, she'll know how much her fine work helped me when my mom died on November 10, 2020. For me, opera is much more than entertainment because it helps me get mentally healthier. I'm not crazy. Still, it's easy to feel empathy when someone "incarnates" Pinkerton's innocent wife.
I'm sure many opera fans know Miss Racette's work. But Amarilli Nizza is new to me.
ua-cam.com/video/4WWIWxnDbtU/v-deo.html
@@williammcenaney1331regarding Netrebko, perhaps she is suffering divine retribution for aligning herself with Putin
@@marksmith3947 Maybe you're right. But I shouldn't judge her intentions. Since Miss Netrebko is an atheist, she's unlikely to believe that God punishes her.
Years ago, I talked with a ghost hunter who thought I got cerebral palsy at birth to punish myself for something I did in another life. So I told her that since I had no idea what, if anything I did wrong, my disability seemed pointless. She din't reply to that. But she said that my yellow aura meant that I was skeptical. I mention her points because they're analogous to what Miss Netrebco could tell you about her health problems. She might say that if she's getting punished, she has no evidence for that.
If God punishes me here on Earth, it's probably because he wants me to repent and learn from the sin or sins that justified the punishment. In a case like that, I'm grateful for the discipline and the lesson it taught me.
Maybe somedY Miss Netrebko will suffer something that will convince her to pray something like, "God, if you're real, please help me because I can't cope with my pain on my own." Please understand. I'm not hoping she'll suffer. But I know God the Father changes me noticeably while my clinical depression is severe. Sometimes it's as though he wants to teach me how to feel empathy for Christ and others who feel pain I couldn't tolerate.
Bravi!!!!!great!!
I really wonted to see
I started to like opera seeing this performance. It doesn't matter who is the tenor, he is always "covered" by Marton in "Gli enigmi sono tre".
i did Turandot this summer at Arena di Verona as a figurant and i can tell the structures and ornaments are all the same, who knows maybe i was holding the same objects as the ones i see here
No you were not. This production props and costumes never left the Metropolitan Opera.
This production was also done at la Scala, 1983, so it was not only represented at the Met.
I love the set. You can raffle the rest.
I have been lucky enough to see this production many times at the Met. Unfortunately not with Eva Marton, the best Turandot from her time... till nowadays.
I love Eva marton in Lizst Legend of the holy Elizabeth she's stunning in that too
Eva Marton in Liszt...
Oh my God the power and soul of the Dramatic Soprano. God given human refined! Oh the Ecstasy she must feel and she produced! Heaven on Earth brought to us by Puccini!
A miracle on earth!
BEYOND EPIC...
I personally feel the only reason for Marton's less-than-spectacular performance is because of the banners with the three riddles she had strapped to her back. Otherwise she acts the part with her signature dramatic impact, especially during her tearfully delivered Act 3 aria
What are you talking about? if this is not giving you chills...what could? It is already amazing as a recording...just imagine how incredible it must have been in the theater!
@@tfleiter Although she is no match for Nilsson, I think Marton is probably the only good Turandot we got once Nilsson retired.
The best!!!!!!!!!!!
The best are Dimitrova/ Martinucci and Callas/del Monaco in my opinion.
A M A Z I N G !!!!!
GRANDIOSA....SPLENDIDA VOCE..
Domingo's high C is very funny here
Gorgeous!
Anna Netrebko is singing this!! She is not anything like Martin or Nilsson which this role calls for.
Domingo is a nice Calaf, but if only he is not trying to reach high C...
NEVER HAD A TOP!!!
@@tcewmg3430 nor a bottom
Now this was a Turandot!
Great Perforemance, BUT the Calaf is pretty late for Domingo!!!
R.I.P. Franco Zeffirelli!!!
This role is not a piece of cake you know! As Nilsson said it sits around big C so that is pretty demanding!
She was incredible. Plácido to me had a more commanding ability over the high C in his earlier years. When he gets up that high, he jumps off pretty quickly. Beautiful voice none the less.
Ms Martin is undoubtedly, if not, the best ever Turandot to grace our stages in the last fifty years.
Besides Nilsson.
Ms Marton
The last good Turandot after Nilsson. Once Marton was done, there were no more good Turandots, at least that I know of.
El ultimo Turandot después de Nilsson fue Dimitrova
listen birgitt nielson and corelli !!!!!
Thumb up for background decoration and costume
Apologies to Ms Marton for the dreadful incorrect spelling of her surname. Damn predictive text!
Awesome!!!! 👏👌🔝
Brava, Eva.
Seems that the older generation of sopranos knew how to command a role like Turandot.Recently Nina Stemme and Christine Goerke, no matter how stellar they are in the german repertoire, seem so weak and disappointing is this role.
….but the Met production remains one of the most incredible theater productions ever...and the fantastic choir and orchestra performance alone is worth seeing it at the Met this season. The vocal force coming of that huge stage is just unbelievable and I think you have to see it at least once live....if you are a real opera fan!
I recall this production…Marton, as usual, delivered. Domingo, throughout this performance, had his issues. I actually prefer the 1983 performance with Marton, Carreras and Ricciarelli. I do thank you for posting. :-)
Unfortunately, this opera needs to be put on hiatus until a Soprano and Tenor can be found who can handle the tessitures and vocal athleticism required. Jonas Kaufman comes closest to having the vocal power, but he can have intonation/pitch issues. And I don’t know of any Soprano who even cones NEAR what this role demands. Marton does a nice job, Domingo adequate at best. Gwyneth Jones in her prime could tackle this role, but the only remaining Tenor than I can recall would have been Nicolai Gedda. Nilsson and Corelli were the standard set, and no pairing ever came close.
Agree but even Marton is a complete failure.
@@x16881 I wouldn't say a complete failure. Sure she doesn't match up to Nilsson, but I would love if there were singers as good as Marton today. Marton's problem is that, although she can actually hit the notes, it sounds too effortful. Considering how hard Turandot is, I'd have some patience if it could be sung today as well as she sang here.
Bello
4:25 you can hear the damage she’s doing to her voice. She splits and doesn’t recover. In fact the Trovatore she sang after this was in audible her wobble had become so severe.
Marton isn't my favourite Turandot but that simply can happen to the voice once in a while on a bad day. Domingo's crack on the high C here is much worse
What can you expect when one pushes, pushes,pushes...One can have a large voice and still sing drammatic roles in the italian belcanto style. In this way the voice will last until the end. Healthy and pleasant, not like the garbage of today.
Te das cuenta del tamaño de la voz de Marton cuando Plácido canta y apenas se puede oír...
Cantanti strabravissimi,ma le scene e la regia del maestro Zeffirelli sono eccezzionali.
Also Marton's voice doesn't have a solid bottom which I find really important
Nobody cares anymore…
Marton is loud but mediocre.
So rightly said!@@draganvidic2039
Fantastica! Accanto a lei ci vorrebbe però un Franco Corelli....
This scene illustrates a common problem in the realization of much grand opera. The orchestra is too loud. The singers are straining to be heard. The whole thing wobbles and threatens to explode. Everything needs to be dialed back a degree or two. The director must recalibrate so that when the full-throttle moment arrives it has full effect. Relentless emphasis de-prioritizes what is important for the senses to grasp. There is so much magic in Puccini's notes that is better served by subtlety and restraint than by sustained histrionics.
No. The singers simply need to be capable to sing over the orchestra. Nilsson did. Turandot is a difficult role, and only the best should attempt it. Compromising the orchestra is a bad idea which results in an overall compromised dramatic effect. Of course, I don't think Marton is bad here though.
@@adriand6883. Calibration is not compromise. It is just regulation of the forces employed. After two years I listened to this again. Things hold together well enough until 5:20 or so, but in the final unison statement I'm afraid it's still a shouting match in which tenor and soprano are struggling to refill their lungs so desperately they cannot manage the same tempo. Should volume be paramount here, or should the orchestra be slightly scaled back, as I suggested, so as not to compromise the overall effect of the music that has you worried? I took a look at the score. It calls for ff through this passage. That is less than fff, which is as loud as the composer wants the orchestra to be at any point in this aria. Puccini understood he had to leave a little more room for the voices at the climax.
@@davidcallahan2832 Well, whether they are playing fff or ff I don't know.
A mi me parece perfecto, Puccini en esta etapa es un colosal orquestador, eso debe reventar porque asi es el estilo, tipo wagner, strauss, o Mahler. imaginate que estas escuchando la sinfonia de los mil de Mahler
PRINCESA LOU-LING
In questa reggia, da ópera Turandot, o grito
Desesperador soou, de longe, e veio passar
Por gerações e ancorou na mulher, em atrito,
A princesa, que rei dos tártaros veio devassar.
Engramas passados são forças e recrudescem
Em situações que delineiam algo a se beneficiar,
A pessoa carrega os pensamentos que crescem
Na dificuldade que a faz sucumbir ou se elevar.
As amarras do passado retendo-a em remessa
À reflexão meditativa que lhe dê luz no andar.
Somente o nosso ser profundo pode ter essa
Visão da realidade, o que temos são indícios
Que podem nos conduzir à decisão para amar
Que nos dê o horizonte límpido, sem os vícios. (*)
(*) FERNANDO PINHEIRO, presidente da Academia de Letras dos Funcionários do Banco do Brasil. - PRINCESA LOU-LING (poesia), de Fernando Pinheiro. - in O mundo de Morfeu, de Fernando Pinheiro.
Love all the critics here.
A MET színpadát is megjárt világhírű magyar szoprán örök büszkeségünk.
Right at 5:22 TERRIBLE DOMINGO CRACKS HIS VOICE!
Mar R I never liked Domingo. He always reminded me of a Baritone trying to sing as a Tenor.
Michael Miller He said himself he's naturally a baritenor.
Dávid Müller no he is not a baritone he is a tenor with terrible technique
Opera Lover lol, he started as a baritone, his bottoms are stronger than any natural tenor.
Luceafarul no he is not a baritone. He is a lyric tenor with no good lows no good highs and no good middle. If you think those are good lows go listen to renato zanelli. That is an actual dramatic tenor with actual good lows
El demonio y las mas bajas pasiones a veces se esconden en seres hermosos y dotados de talento, o hasta en una viejecita que todos ven como fragil y vulnerable, pero en realidad hace muchísimo daño y destruye familias enteras....que horror Dios mio.
Superb
emociona
q buen gallo de plácido
She better work that garment!!!!
Good thing she drowned out the cracking high notes of that pipsqueak next to her. Beautiful singing
Ha, ha
"...e qvell grido e qvella morte..."
I was there. Fantastic production!!!! Domingo was good and Marton horrible wobbling from start to end :(((
Que pena que bajo un fisico hermoso y una voz bella, en Placido Domingo se escondan tan bajas pasiones de extorsionar, amenazar y violar a mujeres indefensas y pobres....y frustarles sus carreras como hizo con Gilda Cruz Romo y ha hecho con tantas...abominable e inadmisible.
"A beautiful physique?" Seriously? He only had an okay physique in the 1980s when he was forced to lose weight for filming La Traviata and Carmen. Other than that, all he had was his height. Franco Corelli, a former athlete-swimmer, had a beautiful physique and a voice to match. And yes, I second your sentiment about his horrific treatment of women.
Domingo kills Turandot 😭
Marvelous.
Eva Marton is certified one of Nilsson's club member.
Domingo's awful.
astroboy royale i agree
not awful awful, but over-rated
I prefer carreras than Domingo in Calaf role
Nice high C crack from PD
So many people with hearing impairment making ridiculous statements!
I prefer Caballe-Pavarotti
Has Caballe ever sung Turandot? She sang Liu, not Turandot, as far as I remember.
@@DtheGlamorous Sure, many times... For me the best performances are "In questa Reggia" (SFO) with Pavarotti, and Turandot in Paris with Giacomini (sorry for my english)
@@DtheGlamorous yes, she sang turandot!!
What a pity. aug27_3 Marton had her strengths, I suppose, but her weaknesses are hard to ignore. Here, her phrasing was generic and her emphasis on pure high note vs nuance was predictable. The Domingo haters, also predictably, will never say anything nice about the living legend and the only successor possible to the greatest tenor crown. And the crown is his now, for at least the coming century. And as the greatest opera artist aside from the composers of all time? Signed, sealed and delivered. Paz y salud a todos que aman la opera.
I don't hate Domingo. He's a second rate singer who made the most of what he had. After the early 1970s the beauty of tone was gone
@@marksmith3947 0 fux
She only sounded good before she got famous…
During the 70’ that is.
Indeed!!
How can anyone like this.
and what's wrong? Except for Domingo's singing? Marton was still good at the moment...
Turandot is icy, not screamy, and Calaf must have swagger.
She IS NOT screaming... she has a perfectly-placed huge voice!
@@artemsmirnov7067 Listen to Nilsson, Inge Borkh and Lucilla Udovich and then tell us if Marton should not retire
@@x16881 Well, Borkh and Udovich are not better, their vocal technique is quite poor actually in the available recordings. Borkh though has a unique and very authentic artistic presence, it sounds more "true" than others.
The Best ..to me TheBest with no doubt..Marton here Is unbeatable.
Domingo again embarrassing himself with a badly failed attempt at a high C...