No one who has heard him sing this live can exaggerate how incredible it is. The greatest performance I have ever seen, I don’t see how anyone can ever top it. I couldn’t hardly applaud when he was finished because it was so emotional
I saw the Hytner production in Oslo (with Anja Harteros/Peter Mattei/Renè Pape and a nondescript tenor). Pape as Philip was in no way inferior to this. Vocally both Siepi and Ghiaurov are even more impressive. This aside, also F. is a joy to behold.
STEFAN H - You actually have it in reverse - It is the original French text that fits the music "like the hand in glove" - few musicologists would argue with that. IT WAS A FRENCH TEXT and VERDI fashioned his music around that FRENCH TEXT....... One can't argue that! However, I will admit that as much as I love the French sung DON CARLO, I have heard it most often in Italian in the major Opera Houses and I adore it. I've heard it sung on stage completely in FRENCH TWICE and it's a totally different dynamic......... It's your preference, dude and there is nothing wrong with that. The almighty important thing is that we are listening to opera. So keep on truckin'!
Ella giammai m’amò! No, quel cor chiuso è a me, amor per me non ha! Io la rivedo ancor contemplar triste in volto il mio crin bianco il dì che qui di Francia venne. No, amor per me non ha, amor per me non ha! (ritornando in sè) Ove son?... Quei doppier presso a finir! L’aurora imbianca il mio veron! Già spunta il dì! Passar veggo i miei giorni lenti! Il sonno, o Dio! sparì dai miei occhi languenti! Dormirò sol nel manto mio regal quando la mia giornata è giunta a sera, dormirò sol sotto la volta nera, là, nell’avello dell’Escurïal. Se il serto regal a me desse il poter di leggere nei cor, che Dio può sol veder! Se dorme il prence, veglia il traditore; il serto perde il Re, il consorte l’onore Dormirò sol nel manto mio regal quando la mia giornata è giunta a sera, dormirò sol sotto la volta nera, là, nell’avello dell’Escurïal. Ah! se il serto regal a me desse il poter di leggere nei cor! Ella giammai m’amò! No! quel cor chiuso e a me, amor per me non ha, amor per me non ha! (ricade nelle sue meditazioni)
I just LOVE this!!!! First time I heard it was in Rome, when I got home I rushed to the record store and bought two versions and found out when listening that one was in French and the other one in Spanish and the magic was gone. I know Verdi composed the original on a french libretto and that it's about the Spanish court, but I find the Italian version fits the music like the hand in glove.
Altough I fell in love with this aria performed by Nicolai Ghiaurov, I love his performance really much too. It always seems to me that aria touches something in his personal past and the emotions he experienced. It seems that he understands Philip in some way.
Это потрясающее исполнение! Впервые вижу такого Филиппа, с такой яркостью актёрской игры и речевых красок... Фурланетто великолепен! Великий певец и великий актëр! Всë, что он делает, прямо соответствует всем столпам искусства Шаляпина. БРАВО!!!
Tres belle interpretation au service du livret et surtout de la partition et de la Musique Dans la veine de Laszlo ,de Neri et pour ma part l'inaccessible Talvella La Musique est souvent au service de l'eclat du chanteur . Mais chaque timbre , chaque couleur de voix touchera une fibre emotionnelle propre a chacun de nous .
@@jessemendozadavis6544 As great as Ramey is, he is far too cantabile for Phillip! Yes, Verdi roles such as this (e.g. Silva in 'Ernani') require a true profoundo bass, while Furlanetto's portrayal of the role is arguably the greatest ever in surveying the whole history of 'Don Carlo' - inclusive of Christoff, Ghiaurov, Lloyd, et.al.
Stefan H - There is NO DON CARLO sung in SPANISH......... by some freak you might have found " ELLA GIAMMAI M'AMO', Philip's Act IV Monologue sung in Spanish by some basso profondo but it has NEVER been performed in Spanish. It is either the original French text or the more commonly used Italian..... however, the French is gaining ground and even the almighty MET will be doing DON CARLO in the 2021/22 season NOT in ITALIAN but in the original French. It is the French that fits beautifully to the music but I must admit that I personally prefer the ITALIAN.
@@andreistan5497 You, Andrei Stan, don't seem to have much of a clue about the French language (which is beautiful when well spoken or sung) other than you say it is an elegant language; You must be slightly unhinged to say that French has "nothing to do with opera"........ The French language has been part of opera from the earliest of times, as far back as LULLY.... and the baroque period becoming enormous in the 19th Century with the likes of Gounod, Saint-Saens, Offenbach, Mayerbeer, Bizet, Massenet and more ... then with composers bridging into the 20th century like Charpentier, Debussy, Milaud, Dukas, Ravel and Poulenc's "Dialougues des Carmélites" not to mention more modern composers. So how can you state so incoreectly that French has "nothing to do with opera"? May I ask where you were educated?
@@peterdevita6308 Dear Peter, thanks for your lecture in the history of French music. It was a lovely gesture although not necessary at all. I assure you I am very familiar with French culture, written, painted, built, spoken, sung or whatever it may be. No cultivated person would argue about the qualities of the French composers that you mentioned and many more others, in the instrumental area (by the way, Lully was a ”frenchised” Italian and you forgot maybe the greatest of them all, Rameau). Yet, as soon as it comes to bel canto, French becomes rough and cloddish, sometimes downright unpleasant. This is precisely what I meant and I stand to it. A completely different sound have their modern chansons which are rather spoken than sung which is why their performers are called ”diseurs”. This is a personal opinion, you do not have to share it !
Per chi riesce a cogliere la differenza: in francese "elle ne m'aime pas"; in italiano "ella giammai m'amò". Nella versione italiana c'è tutto il dramma della consapevolezza di non essere MAI stato amato.
+Antonella Cesarini Sorry if I was unclear. What I mean is that it is nice that we have anyone around singing today that is worthy of comparing to the great basses of the past. No matter what your preference.
Это недоразумение. Певца надо представлять и показывать в Интернете не тогда, когда он уже потерял голос, а в молодые годы, в расцвете жизненных и творческих сил. Сравните хотя бы это исполнение: ua-cam.com/video/XnTESHVxb6M/v-deo.html:
Well, it's actually not nasal -- nasality happens when the sound goes through the nasal passage, and I can assure you that his soft palate is raised at all times while singing, sealing off the nasal passage. So you may not like the sound he's making, but it's not because of nasality. Also, Ferruccio has one of the biggest voices of recent history (I have heard him live in Don Carlo and his voice was far bigger than even Morris Robinson's), so he's not doing any kind of small singing even if it may sound like that at times in this video. The wobble has become more prominent as of late, but the man is still singing very, very well for his 70s.
It is huge and dark in the house, not nasal at all. Three to four times bigger than that James Morris, whose voice was already one of the biggest I heard in the Met. You hear some wobble on the recording but not in the house. Every word was perfectly clear as well.
Bigger voices struggle to be comprehended when recorded. Think Del Monaco and Richard Tucker. I know there is a trend of bashing contemporary opera songs but this guy is the real deal.
I actually sang this opera with him in 2018 ... I've been in other shows with him as well. I can promise you ... there is nothing nasl about his sound. In recordings resonance comes across as nasal. I have a big voice, and I've sung with some of the largest, most beautiful voice ever heard (Zajick, Giordani (God rest his soul), Guleghena (Spelling) Ramey etc). Furlaneto BY FAR has the largest, most gorgeous sound EVER. (Zajick was defening to be fair ... but she wasn't a Bass) 😊 There is nothing critical to be said about his singing. Its so naturally nuanced and beautiful ... and I speak this from the vantage point of a current Performing Artist who also happens to be a Bass who sang Inquisitor opposite his Filippo! My 2 cents
Una delle più fenomenali pagine per basso mai musicate. Non solo verdiane ma di tutto il teatro d'opera.
No one who has heard him sing this live can exaggerate how incredible it is. The greatest performance I have ever seen, I don’t see how anyone can ever top it. I couldn’t hardly applaud when he was finished because it was so emotional
I saw the Hytner production in Oslo (with Anja Harteros/Peter Mattei/Renè Pape and a nondescript tenor). Pape as Philip was in no way inferior to this. Vocally both Siepi and Ghiaurov are even more impressive. This aside, also F. is a joy to behold.
That's the highest praise you can get as an artist......
Have a listen to Cesare Siepi......
@@michaelashby1067 I can’t see him live
PLEASE LISTEN TO THE RUSSIAN BASS ILDAR ABDRAZAKOV !!!!!!
He's marvellous ...... 🥰 👍 🥰 👍 🥰
Grande interprete e grande voce. Furlanetto sempre una garanzia.
L'interpretazione più emozionante e intensa di quest'aria straordinaria.
Furlanetto è grandioso.
Ma mi faccia il piacere, ti conviene ascoltare i bassi veri tipo Hines Ghiaurov Giaiotti Pinza Siepi Ghiuselev Zaccaria Nesterenko e compagnia bella.
STEFAN H - You actually have it in reverse - It is the original French text that fits the music "like the hand in glove" - few musicologists would argue with that. IT WAS A FRENCH TEXT and VERDI fashioned his music around that FRENCH TEXT....... One can't argue that! However, I will admit that as much as I love the French sung DON CARLO, I have heard it most often in Italian in the major Opera Houses and I adore it. I've heard it sung on stage completely in FRENCH TWICE and it's a totally different dynamic......... It's your preference, dude and there is nothing wrong with that. The almighty important thing is that we are listening to opera. So keep on truckin'!
No puedo escuchar este momento sin llorar... Imposible expresarlo con más belleza
Absolutely phenomenal. So raw and powerful while keeping the voice engaged and efficient. Bravo, Ferruccio!
Here u go...
Watch these amazing percormance after watching your reaction 😁
Goosebumps! Amazing music, amazing artist, amazing orchestra! 🥰🥰🥰🎹🎼🎵
Jeszcze się taki nie narodził co by wszystkim dogodził. Doskonały. Dziękuję. Brawo. ❤
Thank you, Ferruccio for the masterclass!
Truly one of the greatest ever arias.
Wow, I am gobsmacked...thunderstruck. What a MAGNIFICENT performance!
Ella giammai m’amò!
No, quel cor chiuso è a me,
amor per me non ha!
Io la rivedo ancor contemplar triste in volto
il mio crin bianco il dì che qui di Francia venne.
No, amor per me non ha, amor per me non ha!
(ritornando in sè)
Ove son?... Quei doppier presso a finir!
L’aurora imbianca il mio veron!
Già spunta il dì!
Passar veggo i miei giorni lenti!
Il sonno, o Dio! sparì
dai miei occhi languenti!
Dormirò sol nel manto mio regal
quando la mia giornata è giunta a sera,
dormirò sol sotto la volta nera,
là, nell’avello dell’Escurïal.
Se il serto regal a me desse il poter
di leggere nei cor,
che Dio può sol veder!
Se dorme il prence, veglia il traditore;
il serto perde il Re, il consorte l’onore
Dormirò sol nel manto mio regal
quando la mia giornata è giunta a sera,
dormirò sol sotto la volta nera,
là, nell’avello dell’Escurïal.
Ah! se il serto regal a me desse il poter
di leggere nei cor!
Ella giammai m’amò!
No! quel cor chiuso e a me,
amor per me non ha,
amor per me non ha!
(ricade nelle sue meditazioni)
I just LOVE this!!!! First time I heard it was in Rome, when I got home I rushed to the record store and bought two versions and found out when listening that one was in French and the other one in Spanish and the magic was gone. I know Verdi composed the original on a french libretto and that it's about the Spanish court, but I find the Italian version fits the music like the hand in glove.
I saw this opera in New York last weekend. Amazing just amazing. Maybe my favorite opera.
I was there as well, simply amazing!
Una gran interpretación. ¡Qué emoción! La orquesta suena fenomenal.
Grandiose ! C'est lui que je préfère entendre cet air !!!!!! Merci
Красивейший бас в мире! Браво! А в молодости вообще был лучшим.
Che interpretazione splendida!
How about beginning at the top of the aria so we can hear the entirety of the beautiful cello solo?
I totally agree with you !
The CELLO SOLO is so wonderful !!!
💖
@Lukas Casey
Quel est le rapport ?????
Meraviglioso brano
Furnaretto stupendo.❤️❤️❤️
Nobody is Furlanetto's equal in this role. I have heard him sing Filippo live three times, and each time was a study in perfection.
Try Cesare Siepi's rendition....
Antonella Cesarini I've already heard it. With all due respect, to my ear, Furlanetto sings this better.
I've seen him in this role and he is riveting. His technique is perfect freeing him up to act with such intensity. I love him!
Ghiaurov. But Furlanetto is a bit different
Ildar Abdrazakov
Altough I fell in love with this aria performed by Nicolai Ghiaurov, I love his performance really much too. It always seems to me that aria touches something in his personal past and the emotions he experienced. It seems that he understands Philip in some way.
Love this. Sang it many times.
So singt man das!
Eine fantastische Interpretation!
Great performance of a great aria.
Это потрясающее исполнение! Впервые вижу такого Филиппа, с такой яркостью актёрской игры и речевых красок...
Фурланетто великолепен! Великий певец и великий актëр! Всë, что он делает, прямо соответствует всем столпам искусства Шаляпина.
БРАВО!!!
Uno de los mejores bajos de todos los tiempos.
Coincido. Pero, por favor, no deje de escuchar en esta misma área a estos tres bajos: Jerome Hines, Nicola Rossi Lemeni y Cèsare Sieppi. Gracias.
Meraviglioso!💙
Best ever!
True!
Merveilleux ,Sublime !
Absolutely exquisite.
Beatiful🌷
I wish I could age so gloriously !
Exquisite
he is wearing very heavy make-up
Santo Verdi miracoloso
Danke shon.❤
Tres belle interpretation au service du livret et surtout de la
partition et de la Musique Dans la veine de Laszlo ,de Neri et pour ma part l'inaccessible Talvella
La Musique est souvent au service de l'eclat du chanteur .
Mais chaque timbre , chaque couleur de voix touchera une fibre emotionnelle propre a chacun de nous .
Un des meilleurs Philippe II.
this song make me cry
Perfection
Please make it a DVD!!!!!!
I wish this video was complete, starting in the beginning of act IV.
i cry evrytiem
the best
BELLISSIMO !!!!!
Magnifico. o
Люблю Філіппа.
perfect
Supper!
Bravissimo
This is very good. Did they have a Grand Inquisitor to match?
Viva Verdi!!!!!!
Genio
,
starke Stimme
Terrific Ferruccio !!!
Very moving. Exuisite rendition. The last living, truly Verdian bass?
Samuel Ramey also? though i think he's just about retired or retiring
Samuel Ramey ha dato sì splendide interpretazioni di ruoli verdiani, ma il suo "territorio" è precipuamente Rossini e il Belcanto.
@@jessemendozadavis6544 As great as Ramey is, he is far too cantabile for Phillip! Yes, Verdi roles such as this (e.g. Silva in 'Ernani') require a true profoundo bass, while Furlanetto's portrayal of the role is arguably the greatest ever in surveying the whole history of 'Don Carlo' - inclusive of Christoff, Ghiaurov, Lloyd, et.al.
Andrea Silvestrelli is also magnificent and he is still singing.
Impresionante 😂🎉
Stefan H - There is NO DON CARLO sung in SPANISH......... by some freak you might have found " ELLA GIAMMAI M'AMO', Philip's Act IV Monologue sung in Spanish by some basso profondo but it has NEVER been performed in Spanish. It is either the original French text or the more commonly used Italian..... however, the French is gaining ground and even the almighty MET will be doing DON CARLO in the 2021/22 season NOT in ITALIAN but in the original French. It is the French that fits beautifully to the music but I must admit that I personally prefer the ITALIAN.
French is an exceptionally elegant language but has nothing to do with opera.
@@andreistan5497 You, Andrei Stan, don't seem to have much of a clue about the French language (which is beautiful when well spoken or sung) other than you say it is an elegant language; You must be slightly unhinged to say that French has "nothing to do with opera"........ The French language has been part of opera from the earliest of times, as far back as LULLY.... and the baroque period becoming enormous in the 19th Century with the likes of Gounod, Saint-Saens, Offenbach, Mayerbeer, Bizet, Massenet and more ... then with composers bridging into the 20th century like Charpentier, Debussy, Milaud, Dukas, Ravel and Poulenc's "Dialougues des Carmélites" not to mention more modern composers. So how can you state so incoreectly that French has "nothing to do with opera"? May I ask where you were educated?
@@peterdevita6308 Dear Peter, thanks for your lecture in the history of French music. It was a lovely gesture although not necessary at all. I assure you I am very familiar with French culture, written, painted, built, spoken, sung or whatever it may be.
No cultivated person would argue about the qualities of the French composers that you mentioned and many more others, in the instrumental area (by the way, Lully was a ”frenchised” Italian and you forgot maybe the greatest of them all, Rameau).
Yet, as soon as it comes to bel canto, French becomes rough and cloddish, sometimes downright unpleasant. This is precisely what I meant and I stand to it.
A completely different sound have their modern chansons which are rather spoken than sung which is why their performers are called ”diseurs”.
This is a personal opinion, you do not have to share it !
Per chi riesce a cogliere la differenza: in francese "elle ne m'aime pas"; in italiano "ella giammai m'amò". Nella versione italiana c'è tutto il dramma della consapevolezza di non essere MAI stato amato.
👏👏👏❤❤❤
Эх....Друг мой Феруччо...
Филипп - это НЕ Лепорелло...
Точно подмечено!
Wow
So touching, great actor too. But my favourite is Rene Pape.
its very nice.... BUT.... just compare it to Boris Christoff....i know... Boris is perfection... so Ferruccio made it superb....
You're all invited to join this page dedicated to him. Thanks! facebook.com/FerruccioFurlanettoFans/
It’s good, but is not Ghaiurov!
Mo vu
Zo
@Tam Olyn,, I really like Furlanetto but in my opinion ( and even in Furlanetto's opinion) he is not equal to Siepi ( so we agree to disagree...)
+Antonella Cesarini I think it's nice to have a bass around that you can mention in the same sentence. :D
+Christopher Lucier I beg your pardon?
+Antonella Cesarini Sorry if I was unclear. What I mean is that it is nice that we have anyone around singing today that is worthy of comparing to the great basses of the past. No matter what your preference.
Ma lui canta 100 000 000 volte meglio di Ghiauraccciooo Mauracccioo !
he's so miserable and it is literally all his own fault.
Это недоразумение. Певца надо представлять и показывать в Интернете не тогда, когда он уже потерял голос, а в молодые годы, в расцвете жизненных и творческих сил. Сравните хотя бы это исполнение:
ua-cam.com/video/XnTESHVxb6M/v-deo.html:
Послушала: не совсем бас, студийная запись, и не драматический тембр, изаините.Может, голос и хорош, но не для этой арии.
삼손과 데릴라
Boah...Perle nere... disgrazia
How can people think this is perfect is beyond me, very nasal and small singing and wobble at times, very squeezed sound throughout
Opera Lover have you heard him sing this role live?! I heard him 6 times. I can tell you that you are totally wrong!
Well, it's actually not nasal -- nasality happens when the sound goes through the nasal passage, and I can assure you that his soft palate is raised at all times while singing, sealing off the nasal passage. So you may not like the sound he's making, but it's not because of nasality. Also, Ferruccio has one of the biggest voices of recent history (I have heard him live in Don Carlo and his voice was far bigger than even Morris Robinson's), so he's not doing any kind of small singing even if it may sound like that at times in this video. The wobble has become more prominent as of late, but the man is still singing very, very well for his 70s.
It is huge and dark in the house, not nasal at all. Three to four times bigger than that James Morris, whose voice was already one of the biggest I heard in the Met. You hear some wobble on the recording but not in the house. Every word was perfectly clear as well.
Bigger voices struggle to be comprehended when recorded. Think Del Monaco and Richard Tucker. I know there is a trend of bashing contemporary opera songs but this guy is the real deal.
I actually sang this opera with him in 2018 ... I've been in other shows with him as well. I can promise you ... there is nothing nasl about his sound. In recordings resonance comes across as nasal.
I have a big voice, and I've sung with some of the largest, most beautiful voice ever heard (Zajick, Giordani (God rest his soul), Guleghena (Spelling) Ramey etc). Furlaneto BY FAR has the largest, most gorgeous sound EVER. (Zajick was defening to be fair ... but she wasn't a Bass) 😊
There is nothing critical to be said about his singing. Its so naturally nuanced and beautiful ... and I speak this from the vantage point of a current Performing Artist who also happens to be a Bass who sang Inquisitor opposite his Filippo!
My 2 cents
Very nasal, horrible
No, he's not really nasal. I disagree with you on that.
@@bradycall1889Even if it isn't, it's still horrible, he doesn't cover the high notes, which only makes his singing worse.
Poor singing, overacting ......