Donizetti: Anna Bolena. Montserrat Caballé. Scala 1982.
Вставка
- Опубліковано 10 вер 2024
- Anna Bolena: Montserrat Caballé
Giovanna Seymur: Elena Obraztsova
Enrico VIII: Paul Plishka
Lord Percy: Antonio Savastano
Smeton: Elena Zilio
Lord Rocheford: Carlo del Bosco
Orchestra e Coro del Teatro alla Scala
Giuseppe Patanè
Scala 21-02-1982
Inmensa Caballe,inigualable e insuperable
Flaws and all, she remains superb. What would I give to have her back, even on a night like this one (especially among so much mediocrity of many of the singers performing this role lately)?
That ovation after the high D at the end of Act 1 is priceless !
Yet they viciously hiss on the last, I hate them!!!!
It is an insane ovation indeed, and very brave on her side, attempting a note that you know you pretty much don't have..
She sings the whole opera Very competently, I wish she would've invented a way to go around the "infiorato" C, but, hey..
In 1965-1974 she would've killed this, pity she didn't even get to do much arias in studio. At least we have the grand duet with Verrett.
How is it possible to create that HIGH D? It was singing for her, it's impossible, she never had High D in her vocal range.
That High D was sung by #ElenaZilio, qualified as a mezzo-soprano, but who has very easy high notes, so the thief of the Government of Spain, who went to her grave as a common thief, did not sing that note, you want proof: I was there, she only sang one night and then #CeciliaGasdia replaced her.
@@antoniomorodiez1042 this is the most insane thing I’ve read on here … do you think the Milanese audience wouldn’t have noticed if the high D was sung by Zilio instead of Caballé ?
Indeed the high D is quite rough / screamy as Caballe wasn’t confortable that high
Un’artista come la Caballe trattata in quel modo: non posso neppure immaginare chi ha fischiato una bellezza tale, oggi cosa farebbe in teatro visto il livello scarsissimo della maggior parte dei cantanti cosiddetti Star! Vabbè…
Hanno fatto bene! Non aveva studiato, non sapeva la parte ed è stata presa a pesci in faccia per la sua cialtronaggine.
@@paololami7208 e Lei quante recite di Anna Bolena ha alle spalle per potersi ergere a giudice inclemente nei confronti di un’artista monumentale come la Caballè?
At the time Caballe was often cancelling performances and this is actually the only night she did Anna Bolena at La Scala, after the theater forced the soprano to appear despite her illness. The loggioni, boo and shout and even call her names during the performance!
Caballe sounds marvelous, what were they complaining about???
star love Italians want perfection regardless....I thought she sounded well despite being ill.
Bonkers S apart from being ill, she dodged the part. The only beautiful thing was “Al dolce guidami”. I was there
I was there!
According to Caballé's autobiography, either she asked to go home and see her doctor or have La Scala management bring her doctor to Milan. They refused to do both. And they have a sick soprano who was forced to sing. Caballé dropped Bolena from her repertoire after this.
Io sono un rande fan della Caballé e quella sera c'ero naturalmente alla Scala, dopo che la prima era saltata. L'elettricità si tagliava col coltello nell'aria, perchè tutti i fan della Callas la aspettavano col fucile spianato, furono beccati tutti, la Obratzowa, Plishka, e naturalmente, anche la Caballé che fece tutto molto bene, a parte qualche parola mangiata, ma è usuale in lei. In "giudici ad Anna" dopo l'acuto della Montsy il teatro è scoppiato in applausi, tanto che i callassiani diventarono ancora più furenti, fine a fare perdere la tranquillità a Montserrat, che nel recitativo di "al dolce guidami" ha ceduto sull'acuto, che peraltro ne esiste una registrazione superba, magistrale. Se non ci credete rimasi così avvilito che non andai mai più alla Scala, colpe dei vedovi Callas.
Callas es Anna Bolena literalmente, vocalmente plasma el drama en el sonido, Callas es la reina, Caballe y las demás que le han seguido en ese rol solo han logrado ser sus damas de compañía, meras cortesanas...
КАБАЛЬЕ ❤КАБАЛЬЕ А вы кто?
Бууу и что?
Жалкие существа на балконе.
Ее знают даже люди долеки от оперы .
Ее имя в мировой опере навсегда .
1 раз был на ее концерте в
Москае .
Спасибо
Богу 🎉
Que n'a-t'on pas dit sur cette soirée!! Je me rappelle l'article haineux de Sergio Segalini dans Opera International. Et quand on écoute cet enregistrement, la vérité reprend sa place: un début pour le premier air qui est laborieux, et on comprend que certaines personnes sont là uniquement pour huer Caballé (on entend qqn crier "Buffona" après le premier air!!). Et puis Caballé s'échauffe bien, fin électrisante de la première partie ("Giudici") avec un aigu superbe et un triomphe in contestable. Pour la suite, le beau duo est bien sans plus, la fatigue gane à la fin avec cet aigu mal commencé dans le récitatif qui précède "Al dolce guidami", mais qui se rétablit vite...sauf que les fauves qui guettaient la moindre défaillance de Caballé ont repris leurs hurlements. L'air lui--même est superbe et déclenche un triomphe. Et puis la cabalette finale est entachée par quelques aigus criés et métalliques, mais qui ne justifient nullement les vociférations de certains. Comment la musique peut-elle justifier de telles choses? 1982 fut une année dure pour Caballé. La Bolena de Barcelone, bien plus faible, Turandot sifflée à Nice... Mais si on écoute dans la sérénité cet enregistrement, il révèle des beautés incomparables. Caballé aurait pu être une grande Bolena.
Ces quelques incidents ,dans une carrière exceptionnelle ,ne portent que très peu ! Les chanteurs font le métier le plus difficile et ce sont des êtres humains avec leur grandeur et leurs défaillances .Je n'aime pas que l'on siffle un chanteur lyrique ,c'est injuste ! Par ailleurs en dehors de quelques notes ratées ,le reste de la représentation est bon ( Al dolce guidami..!).
Elle aurait dû annuler, car malade. Et styliistiquement, ce qu'elle fait est peu acceptable. J'étais dans la salle.
@@operabilia "stylistiquement, ce qu'elle fait est peu acceptable". Vous voulez dire quoi, au juste ?
Caballe' perfetta nella parte! Peccato che ci sia qualche taglio! 😍😍😍🙏🙏🙏❤
1:13:44 Great!
BRAVISSIMA CABALLE
Amazing how, after the disgusting outburst by the loggioni in the final scene to a misfired note, she holds her ground and makes art. Ecco un'artista! The opera is one of Donizetti's best and it's a pity she didn't do it more often. The all-but-unknown tenor is very talented and Plishka is heard at his best in this role.
Wholeheartedly agree, ditto the Savastano praise, and the conductor is extremely good as well.
Si Montserrat estando enferma hizo esto, regalándonos un agudo como este 1:13:44 , poco habitual en ella. No quiero ni imaginar como hubiera sido representar Anna Bolena en su momento cumbre. Sin ser una de sus grandes noche, tuvo momentos sublimes y el público milanes se los reconoció con varias ovaciones. La Scala no fue dura con ella, la arropó (excepto los cinco cretinos de la Loggione).
Ella es una gran cantante, una gran artista y un ser humano mucho mejor, pero; Los que estaban esa noche en el teatro y mucha gente que ahora opina, por lo visto no han escuchado la versión de la Callas en el mismo teatro 25 años atrás, Callas es la indiscutible reina en este papel, Caballe y las demás que le han seguido en este Rol (como en Medea, Norma, Violetta...) solo son sus damas de compañía.
❤🌻🏵🌺🇻🇦🍋✝️🍋🇻🇦🌺🏵🌻❤💮🌸✒📃📚🍀💒🥰🎶💐⛑🪢🌿🪅🇲🇬🫂🇲🇬😇🌷🎶🌼✒📃💮🌸🇻🇦🍋✝️🍋🇻🇦⛑🌺💒💐🥰❤😊🌺⛑💐🪢🌺🏵🌻🌿⛑🙋♂️
If I'm not mistsken, she'd just taken this opera on her repertoire (she sang her first "ANNA BOLENA" ever at the Barcelona Liceo Theatre, a month before this performance [January 1982])
Montserrat sang Anna Bolena in San Fransciso in 1978.
That was actually Roberto Devereux
Does anyone know what they were saying? Btw I just saw Anna Bolena @Lyric Opera Chicago Jan 10th with Sondra Radvanovsky and it was fantastic!!
shortly before the dolce guidami the high C goes wrong and someone of the audience screams "strega" (english = witch)
Plishka, Obraztsova do not sound real belcantist...they are not booed. Caballé who is a true belcanto goddess is harrassed by these stupid guys in the audience who noticed she was avoiding some high notes in her first aria. How she kept her breathing safe to go till the end is a sign of great courage.
I didn't know that she had a High D! I'm impressed!
Half the opera is missing.
2:03:49 for the screech
Ils se croient à un match de boxe. Aucun respect..
who’s the tenor? 😍😍😍
Antonio Savastano. There's also a 1976 live recording of Bellini's "Bianca e Fernando" with him.
@@kbhprinsesse And also "Elisabetta" of Rossini Torino 1985 with him and Cuberli, Blake and Dessì.
And I discovered yesterday 2 versions of Bellini's " I Capuleti ed i Montecchi " with him : the first with M.Horne as Romeo Dallas 1977, and the second with M.Dupuy as Romeo dated 1982!
Did Caballe continue to sing at La Scala after this?
Yup
И было очень много триумфов
Ce ne fossero
Obraztsova non e al suo meglio
Un mezzo-soprano drammatico non è la propria voce per il ruolo di Giovanna Seymour.
What she does in the Act I cabaletta was not acceptable. Sorry: I was there! ... It was a bad night for her, she had caught a bad virus, and should have canceled. A shame.
la caballe fue grande, indudablemente, no tan grande como algunos la ponen ni tan mala como pensaron los que la silbaron esa noche. Termino medio: una grande, no de las más grandes, pero si destacable en belcanto.
Le public de la Scala quoi qu'on en dise est juste, il t'acclame après "Giudici ad Anna ..." idem après "Al doce guidami..." mais si tu rates une note il pardonne pas...Et puis la caballetta " Coppia iniqua..." est vraiment pénible à part les difficultées dans les vocalises, mais aucune colère haine dans son interpretation trop angelique, comme toujours !
.
One of the worst nights in Scala...