My late Italian mother always said that of the tenors she heard singing, his clarity of pronouncing the words, gave a pathos to the libretto. His power. and delivery, added to the beauty of everything he sang. It was a cruel blow when his illness occurred, and thereafter younger audiences were never able to experience his strength of delivering his previous renditions.
How gorgeous, how youthful voice, especially at his early years, like this rare piece at 1970's. Not too much to state that he has the most beautiful timber for tenor...Appreciate your sharing, total love.
CARRERAS grande maestro Carreras voz cristalina e sublime. O tempo vai passando mas Carreras sua voz permanece cristalina e sublime. Maestro Carreras que recital fabuloso!
voor mij zingt of zong niemand ooit zo aangrijpend en mooi als joseph carreras...Zelfs nu, dat zijn stem veel van zijn glorie spijtig genoeg verloren heeft , is het de stem die ik het liefst hoor en die mijn nooit, nunca jamás , tegensteekt ......
amazing how carreras's singing echoes di stefano's so clearly. he had pippo's gift of musical sensitivity, breathtaking phrasing and the ability to caress the diction of the text in such a tender and expressive way. of course as we all know he unfortunately he adopted pippo's approach to singing open the passaggio and singing unsuitable repertoire, which likewise coarsened his voice very quickly. but boy, what an unbelievably gorgeous sound while it lasted!
Voce fresca e tenera della giovinezza. , peccato che fui rovinata dalla leukemia. Pero sua carriere he andatta bene , vero che era un buon musicista e questo le ha dato aiutto . Credo che con Aragall errano le due belle voce spagnole . bravo .
Dentro do clássico operístico Carreras está entre os três melhores de todos o s tempos. Em se tratando de canções, populares,é sem dúvida, o melhor. A mais bela voz. Parabéns pela seleção.
As a young student and aspiring to become a singer Pavarotti was my idol. Just recently I turned to my son and said ,son of the three tenors Carreras's instrument is the more natural and beautiful.
No tengo palabras para describirlo .... Sencillamente un talento super Extraordinario .....no sólo en tecnica y maestría , sino como legitimo artista ..... que llega a hacer vibrar las fibras mas íntimas de mi corazon .🎶🎶❤❤❤😄😄😄😃😃😃🤗🤗🤗🤗🍀🍀🍀🍀🍀🍀🍀🍀🍀🍀🍀🍀🍀❤❤❤❤❤❤❤❤
Estas três canções de Paolo Tosti, são cantadas maravilhosamente pelo grande tenor Carreras, aqui ainda bastante jovem e, por isso, com a voz cristalina e sublime que só os anos de juventude proporcionam.
Jose Carrera Grande interprete di P F Tosti ,e canzoni Napoletane interprete di opere liriche Puccini v Verdi donizzetti Mascagni Bellini .ecc. La sua voce inconfondibile per colore tonalità .piacevole. Considerato voce eccezionale, Secondo a pochi. Bravo Carreras ti vogliamo Bene 😌
Always the singing poet. Similarity with Di Stefano was obvious. Both put so much emotional intensity into their singing without over singing. Both voices suffered for whatever reason but they will always be remembered for the wonderful singing in their early years.
Que beleza poder ouvir a voz maravilhosa do jovem Carreras. Parece tanto com o jovem Pippo, que andou até cometendo os mesmos erros na administração da sua voz. Linda voz!
I heard Carreras live about 1975 when he replaced Pavarotti in Ballo at the ROH. How beautifully he sang that night. Yet afew years later he was done! What a shame. Yet I have those great Philips recordings to remind me of how good he was. Henry Webb
Nowadays people are very cruel with the olders. There are'nt no respect as we can see, for example, in Japan. If Carreras will go there he will be received so well that they will ask for many "encores".
Charles didn't call Carreras "shameful." He referred to his career--that it was a shame his prime was so brief. The cancer (leukemia) he battled successfully was actually a bit later, closer to 1990, I believe. His voice was already damaged by then, sadly, with his having undertaken too many strenuous roles (often at the urging of Herbert von Karajan). No disrespect is implied when politely and knowledgeably discussing the talents and abilities of musicians with public careers, and no reasonable person should infer such. As Charles said, we do have the early and incredible Philips opera recordings (available now under the Decca label) which document the great tenor at his best.
@@mikewalsh5631 The cancer was 87 and he was still getting amazing reviews prior to that and was hugely in demand. He sang Carmen at the Met a matter of months before his illness and I have the recoding its wonderful. I would say as much as the roles he sang it was how often he sang which had an impact on the darkening of his voice although I don't hear it as others do. I'm not saying that Mr Webb doesn't have the right to his opinion but have a look at Carreras videos on here and he comes and says the same thing over and over again I can understand why people get fed up with him and other posters who do the same. We get it they think he was a fool to take on the roles he did but if they feel his voice is destroyed, butchered, finished with(all words I have seen used to describe his voice) by the end of the 1970's, why listen to anything post that date let alone comment?
@@katef6154 I first fell in love with José Carreras’s voice when I heard him sing Andrea Chénier Un dì all'azzurro spazio", "L'improvviso” At the 1990 World Cup!! He was truly superb!! And moved me to tears! And that was after his Cancer! He was light years better ( more beautiful) vocally than Domingo,. And a totally different voice compared to Pavarotti.. I feel some people who probably don’t even sing a note themselves just grandstand about this or that re tenors … but I have a soft spot for José who was an astonishing talent! and always passionate when he sings…. Sadly like all of us tenors we age and it affects the olde diaphragm … and José developed a ‘wobble’ and sacrificed the legato line for over dramatising each phrase etc (in some performances) …just compare the 3 tenors 1990 to the 1994 recording … in his autobiography he explains everything he went through to survive his cancer, and it wasn’t pretty, and he lost his voice for a period and wasn’t sure he would ever Sing again…but he did!! Bravo José! Pure class!! 👏😀
Stop thinking its shameful that he was not able to continue on this voice later on life...he had cancer so think about it..and how it affected his delicate and beautiful instrument before jumping to conclusions. Lucky we still have him around.
Thanks for your comment.. and for your superb premiere opera podcast site!! Quite a treasure trove for opera fans. Any chance of any of that stuff being posted on youtube? It deserves more exposure =) but I'm sure you would have if you thought it best. It is much appreciated.
I think Carreras admits as much. He was adverse to singing a handful of roles. He preferred singing the music he loved, the music that moved him. As you rightly note, much of it wasn't adapted to his instrument. What a glorious sound, though!
Yes, Wunderlich, the perfect combination of natural beauty and great technique. I wish there were more live recordings of him. there's a few if you look for them but never enough. :-) Although he was fairly prolific in studio considering his relatively short career. I too wonder how guys like Carreras and Di Stefano would have sounded with a technique like Wunderlich. That would be something. Such a shame. He also sang Nessun Dorma at this recital, I'll post it maybe...
I don't understand the comments, why do people who are seemingly very annoyed by Jose watch and listen to him sing. I cannot think of a worse thing to do than waste my time listening to somebody I don't like and them feeling compelled to write a comment saying what an idiot he was or how awful he sounds. If you don't rate him or feel he ruined his voice that's fine listen to somebody else
Love his simple and straightforward performance of Ideale. It's not an emotion laden song and shouldn't be sung that way (per my incredibly humble opinion--of which I have so so many!)
I'm astounded that Carreras was the least acclaimed tenor of the three tenors! He had a beautiful voice, superior to that of Domingos, yet Domingo was the one that was well known and more sucessful!
Muy bien por Carreras, una voz privilegiada desgastada prematuramente. Escuchen al Maestro KRAUS,otro nivel, el más alto nivel. Linea de canto, fidelidad a la partitura, dicción , tempo .Kraus el más grande.
Caro SERGIO.........difiero de tu comentario pues opino que NO HACE FALTA menospreciar un artista para adular a otro. Los dos han sido grandes artistas........los dos con defectos y virtudes. Lo que no tenia uno, lo tenia el otro. Soy tenor y se de tecnica y te digo, que los dos me han emocionado y me han hecho llorar con sus interpretaciones. Uno es un amigo muy querido y el otro fue mi Maestro muy que querido.........
Las comparaciones son odiosas... son de mala educación. Cada asrtista es como es y canta como quiere, y nosotros sus fans escogemos que oír y disfrutar !!
Your so right. He had the most beautiful timbre in the world in 1975 ( IMOP). He destroyed it by forcing the voice and singing roles that were to large for his gorgeous lyric voice. By 1980 his voice had already lost some of its former bloom. i only say this because it makes me so sad that he was so reckless with that glorious voice. God bless you Jose
He wrote about his early childhood, his mother recognized his voice and talent, told him to "take good care of your voice..." God knows maybe he unintentionally hurt himself, i am sure he was not intended to disobey his mother. His texture is triple thick golden silk, love his youthful timber especially in 70's...
Exactly. Those lamenting JC's development in his singing and scorning and deriding him of it are self-righteous. It is not at all the case that singing is only sheer, overwhelming power and ringing beauty.
Unfortunately, many people think that power equals beauty. So many leggero and lyric tenors, who do not have the power of the spinto and dramatic tenors, sing so beautifully. Everyone should know that the bel canto operas - the operas of Rossini, Donizetti, and Bellini - were written for leggero tenors, the very lightest of tenors, Around the middle of the nineteenth century, the popularity of bel canto began to wane. With the advent of the heavier roles written at the very end of the century and into the twentieth century - beginning with the verismo operas of Verdi and Puccini in Italy, for example, singers developed a chest voice and sang higher notes in head voice / falsetto. This is a scanty look at bel canto, which enjoyed a twentieth-century revival thanks to Luciano Pavarotti, a light - perhaps leggero tenor -; Joan Sutherland, a dramatic coloratura soprano with an incredibly high range; and her husband, conductor Richard Bonynge.
Oh, no... how is it possible? Carreras has made many Tosti recordings, the most famous one is Edoardo Mueller cond./English Chamber Orch. For many other recordings you can just googling "Carreras Tosti cd".
I believe no other can sing Tosti as beautifully as Carreras, although all other recording by other outstading tenors are beautiful and I cannot deny this.
I know what you mean ;-) Yes Jose had a great voice. Too bad it didn't last longer. I'm always glad to hear him in the 1970's though, that was his prime. :-) Thanks for listening :-D
Aun Bebé🌹🌹🌹🌹🌹🌹🌹🌹🌹🌹🌹🌹🌹🌹🌺🌺🌺🌺🌺🌺👏👏👏👏👏👏🙏🙏🙏🙏🙏🙏🙏🙏🙏🙏🙏🙏muy parecida la Voz a la de tu colega JDF la d JDI es inconfundible d tanto que le escucho🌹🌹🌹🌹🌹🌹🌹🌹🌹🌹🌹🌹🌹🌹🌹🙏🙏🙏🙏🙏🙏🌺🌺🌺🌺🌺🌺🌺🌺👏👏👏👏👏👏👏👏👏👏🌺🌺🌺🌺🌺🌺🌺🌺🌺🌺🌺🌺
Let me correct some of the misapprehensions expressed in the comments. First Carreras pushed into repertoire that was heavier because that's the way the industry is set up. There are the guys who can sing Nemorino and Rodolfo ( Boheme). There is quite a bit of competition in this fach. So their agents suggest that they try Cavaradossi and other things a bit heavier. They do and many prosper but some ruin their voices and others revert to their former repertoire. Kraus is the most famous example. He sang one performance of Tosca and that was it. He sang afterwards in his lighter operas for forty more years. Carreras didn't lose his voice on the Puccini and Verdi repertoire. He got Leukemia and mushrooms grew in his throat. He never was quite as good thereafter. He made a mistake trying to sing Rhadames but Bergonzi tried to sing Otello. Carreras always had a more substantial sound than Bergonzi live in the opera house. I've known lots of tenors. The light Rossini tenors want to sing Puccini. The light Mozart tenors want to sing Verdi. Carreras was a natural medium weight tenor. He was always best in the lighter more lyrical parts - but market forces push all tenors to take on the more challenging roles. Something like this also works on baritones. A normal range baritone like Bryn Terfel will be pushed to be a Verdi baritone. But Terfel resisted those pressures. So he spent his career singing parts with high Fs and F Sharps rather than Gs and A Flats. I'm a bass. I never had those pressures. I can sing just about everything in the entire catalog as long as it isn't too florid, has too many high soft phrases, and is not too musically difficult. But if you are a bass - you bow first. The tenors and sopranos bow last.
It's true there are a lot of voices and talking heads encouraging singers to go into heavier and heavier repertoire, but most certainly they are not obliged to do so. If they do so, it's their own decision, and they can't say "they made me do it". Great singers such as Mirella Freni often say the most important word a singer can learn is "no". Even Beverly Sills, who wrecked her voice by singing heavy repertoire, encouraged singers to say "no". She sang Elizabeth in Roberto Devereux not because of outside influences, but because she was artistically attracted to the role and she did it of her own accord. It's also worth noting Carreras's voice was deteriorating long before he got leukemia. By the late 70's, his voice was already losing its youthful bloom, and he was just barely past 30 years of age. That's not normal. He pushed too much, frequently singing mezzo-forte and forte. Unfortunately I think he was a "loud lyric" who led himself to believe he had a bigger voice than he actually did.
He idolized Di Stefano and unfortunately made the same mistakes in trying to sing bigger rep. Lyrics should not be singing spinto and dramatic rep just because they have the notes. They end up having to uncover higher and higher to get power.
Early Di Stefano was so beautiful. His singing was so warm and clear, and involved the listener in a very special way. Several lyric tenors of this period dropped bel canto and, as you said, moved to the spinto and even dramatic roles. While singing too often in and of itself is not wise, doing so outside your fach is destructive. Carreras, Di Stefano and others shortened their careers this way. I don't know for sure, but I believe Corelli sang too frequently and pushed his voice too hard. When he became dissatisfied with his voice, he retired and became a voice teacher. We must feel for these singers; they knew what they lost. They also knew why they lost it.
Yes his upper register was never anything to shout about. Ha ha I just realized the hidden irony in that statement.... :-P Love his timbre though I must admit.
He did not shout his top notes in his early years. His top notes were quite exceptional IMHO. My LP of him singing Verdi arias is evidence of that. Whether he should have been singing them is a debatable point.
Yes, this is Carreras at his best. The signs of vocal decline were evident just one year after this. The throatiness that I despise is unfortunately evident. His low placement must have really killed all the squillo in the house. He had the kind of voice that many would kill for, and yet we probably never heard its full potential. A good example of a perfectly placed naturally gorgeous voice is Wunderlich, we lost that voice too... but an entirely different way.
I beg your pardon Mr.Webb but it's not true. Even now he is'n done. He is older and the voice is different. However, he sings so well that gives joy to our espirits.
Am I right to say that you have been posting this same comment over and over again? If not, I apologize for accusing you of it. However, what you write borders with bullying. Yes, artists are exposed to criticism, and that is a good thing. But the way you criticize JC is almost like hatred and derision. Shame on YOU.
lukemia didnt ruin carreras' voice his over singing and poor choices did. he wasn't smart about his voice like others i have mentioned before. he should have taken more time to hone his technique instead of singing everything simply because he could get through it, he suffered greatly from that. you can hear how he sings everything open to make the sound bigger instead of keeping it heady and easy. its a shame.
Yet another typical response about Jose Carreras. No disrespect, but saying he is hooty and chesty at the same time is a contradiction. The hootiness I agree with you 100%--but hootiness is the result of singing with a head dominant technique. He did keep the passagio more open than traditional Italian tenors of that era and he pushed for sure, but this was to the excitement of the audience. It wasn't a technical flaw, but a stylistic choice. Some loved it and some hated it. To each his own.
Even as a young man he could not sing a true piano/pianissimo in the way his model di Stefano did. What you can hear that he got from Pippo was singing open vowels too high. Very beautiful natural sound but never a finished technique, in my view.
Well each to their own - I think this is the best Ideale I ever heard and the audience loved it. He did adore di Stefano but the appreciation was very much reciprocated. When he was won the Verdi competition di Stefano was in the audience and it seems that the great man took quite an interest in Carreras' career. Its strange about the Pianissimo for many that is one of Carreras strengths but as I said each to their own.
@@katef6154 Given how awful today’s singers are it’s probably unfair to pick. But I ‘d point to two places that virtually demand an early di Stefano floated piano and don’t get it: the second ‘una novella aurora’ in ‘Ideale’ and ‘chiudimi o notte’ in ‘L’alba separa’. But again, today if we had singers who could simply make a beautiful sound it would seem like the Second Coming.
![[한글,이탈리아자막]Tosti-Ideale(토스티)(이상)](/img/n.gif)
He has always been one of my favourite tenors, his sincerety remained throughout his singing career.
Ebbrezza, voluttà… sono espresse perfettamente, meglio di chiunque altro
My late Italian mother always said that of the tenors she heard singing, his clarity of pronouncing the words, gave a pathos to the libretto. His power. and delivery, added to the beauty of everything he sang. It was a cruel blow when his illness occurred, and thereafter younger audiences were never able to experience his strength of delivering his previous renditions.
Magnificent voice of Jose Carreras .
How gorgeous, how youthful voice, especially at his early years, like this rare piece at 1970's. Not too much to state that he has the most beautiful timber for tenor...Appreciate your sharing, total love.
CARRERAS grande maestro Carreras voz cristalina e sublime. O tempo vai passando mas Carreras sua voz permanece cristalina e sublime. Maestro Carreras que recital fabuloso!
Thank you the young carrers voice is wonderful 🤗
I can listen to Carreras day and night! I simply adore his voice. I have so many recordings I don't remember, from vynils to DVDs... he is my idol
Young Carreras seemed very lyric and very special.Beautiful Quality
What an incredibly
beautiful voice!!
voor mij zingt of zong niemand ooit zo aangrijpend en mooi als joseph carreras...Zelfs nu, dat zijn stem veel van zijn glorie spijtig genoeg verloren heeft , is het de stem die ik het liefst hoor en die mijn nooit, nunca jamás , tegensteekt ......
The old Legato Classics issue, sounding so wonderful! Thank you for posting!
amazing how carreras's singing echoes di stefano's so clearly. he had pippo's gift of musical sensitivity, breathtaking phrasing and the ability to caress the diction of the text in such a tender and expressive way. of course as we all know he unfortunately he adopted pippo's approach to singing open the passaggio and singing unsuitable repertoire, which likewise coarsened his voice very quickly. but boy, what an unbelievably gorgeous sound while it lasted!
These recordings are indeed spectacular - what a voice - what an empathy. Never paid much attention to him before - thanks !
Voce fresca e tenera della giovinezza. , peccato che fui rovinata dalla leukemia. Pero sua carriere he andatta bene , vero che era un buon musicista e questo le ha dato aiutto . Credo che con Aragall errano le due belle voce spagnole . bravo .
Dentro do clássico operístico Carreras está entre os três melhores de todos o s
tempos.
Em se tratando de canções, populares,é sem dúvida, o melhor. A mais bela voz.
Parabéns pela seleção.
As a young student and aspiring to become a singer Pavarotti was my idol. Just recently I turned to my son and said ,son of the three tenors Carreras's instrument is the more natural and beautiful.
BRAVO,VOCE ANGELELICA.BELLISSIMO SIGNORE
Thank you for sharing this recording !!!!!!
La melodía música y Voz Evidentemente al Cesar lo q es del César Fabulosos e Inigualable 🌺🌺🌺🌺🌺🌺🌺👏👏👏👏👏👏🌺🌺🌺🌺🌺🌺
Many thanks for posting. Very enjoyable. I warm to the man and applaud his spirit. He showed great strength of character later in life.
amazing voice!
i love the manner th way he sings
Grazie bellissimo... la voce di Carreras ha sempre un fascino particolare...
No tengo palabras para describirlo ....
Sencillamente un talento super
Extraordinario .....no sólo en tecnica
y maestría , sino como legitimo
artista ..... que llega a hacer vibrar
las fibras mas íntimas de mi corazon .🎶🎶❤❤❤😄😄😄😃😃😃🤗🤗🤗🤗🍀🍀🍀🍀🍀🍀🍀🍀🍀🍀🍀🍀🍀❤❤❤❤❤❤❤❤
A Voice Like non Other! Jose! gracias!
Straordinario, Impareggiabile!!!!😀😀😀
젊은시절 목소리 청아하군요
Wow! I am shocked to hear Carreras like this. He had such a beautiful lyric tenor voice. I wish to have his recordings of Tosti!
+Alexander Zamora Before his cancer, he had one of the finest voices in modern opera for sure, far finer than pavarotti or domingo
It’s still amazing in 2020
Estas três canções de Paolo Tosti, são cantadas maravilhosamente pelo grande tenor Carreras, aqui ainda bastante jovem e, por isso, com a voz cristalina e sublime que só os anos de juventude proporcionam.
Jose Carrera Grande interprete di P F Tosti ,e canzoni Napoletane interprete di opere liriche Puccini v
Verdi donizzetti Mascagni Bellini .ecc. La sua voce inconfondibile per colore tonalità .piacevole. Considerato voce eccezionale, Secondo a pochi. Bravo Carreras ti vogliamo Bene 😌
Io direi "secondo a nessuno", almeno per un certo periodo e tra i tenori del suo tempo.
BRAVO!
Bravo bello
29 years old here
Lovely singing. TY ShawDaman for posting.
Grandioso , Exquisito !!!!!
I love my stars !!! Un grande tenor o!!!
Thanks for posting this. I'm amazed that it's live--what a wonderful record.
Always the singing poet. Similarity with Di Stefano was obvious. Both put so much emotional intensity into their singing without over singing. Both voices suffered for whatever reason but they will always be remembered for the wonderful singing in their early years.
Que beleza poder ouvir a voz maravilhosa do jovem Carreras. Parece tanto com o jovem Pippo, que andou até cometendo os mesmos erros na administração da sua voz. Linda voz!
Merry Christmans Maestro! With love !
Very impressive and what a great voice!
Only wished we had this recording quality of you know whos...
Mistrz świata.
Carreras has some inflections of Di Stefano in the 2nd song. He sounds very beautiful here.
Jose. , tü d‘eirast per me adüna il pü grand… 3.06.1982 Carmen cun Agnes Baltsa. Wau nu poss schmauchen… grazcha , Cher Jose
백혈병 앓기 전에는 음성이 탄력있고 박력있는 발성이었네요
I heard Carreras live about 1975 when he replaced Pavarotti in Ballo at the ROH. How beautifully he sang that night. Yet afew years later he was done! What a shame. Yet I have those great Philips recordings to remind me of how good he was.
Henry Webb
Nowadays people are very cruel with the olders. There are'nt no respect as we can see, for example, in Japan. If Carreras will go there he will be received so well that they will ask for many "encores".
Instead of saying "shameful" if you researched a tiny bit, you'd know he had cancer early in life and affected his health and thus his instrument.
Charles didn't call Carreras "shameful." He referred to his career--that it was a shame his prime was so brief.
The cancer (leukemia) he battled successfully was actually a bit later, closer to 1990, I believe. His voice was already damaged by then, sadly, with his having undertaken too many strenuous roles (often at the urging of Herbert von Karajan). No disrespect is implied when politely and knowledgeably discussing the talents and abilities of musicians with public careers, and no reasonable person should infer such.
As Charles said, we do have the early and incredible Philips opera recordings (available now under the Decca label) which document the great tenor at his best.
@@mikewalsh5631 The cancer was 87 and he was still getting amazing reviews prior to that and was hugely in demand. He sang Carmen at the Met a matter of months before his illness and I have the recoding its wonderful. I would say as much as the roles he sang it was how often he sang which had an impact on the darkening of his voice although I don't hear it as others do. I'm not saying that Mr Webb doesn't have the right to his opinion but have a look at Carreras videos on here and he comes and says the same thing over and over again I can understand why people get fed up with him and other posters who do the same. We get it they think he was a fool to take on the roles he did but if they feel his voice is destroyed, butchered, finished with(all words I have seen used to describe his voice) by the end of the 1970's, why listen to anything post that date let alone comment?
@@katef6154 I first fell in love with José Carreras’s voice when I heard him sing
Andrea Chénier
Un dì all'azzurro spazio", "L'improvviso”
At the 1990 World Cup!! He was truly superb!! And moved me to tears! And that was after his Cancer! He was light years better ( more beautiful) vocally than Domingo,. And a totally different voice compared to Pavarotti.. I feel some people who probably don’t even sing a note themselves just grandstand about this or that re tenors … but I have a soft spot for José who was an astonishing talent! and always passionate when he sings…. Sadly like all of us tenors we age and it affects the olde diaphragm … and José developed a ‘wobble’ and sacrificed the legato line for over dramatising each phrase etc (in some performances) …just compare the 3 tenors 1990 to the 1994 recording … in his autobiography he explains everything he went through to survive his cancer, and it wasn’t pretty, and he lost his voice for a period and wasn’t sure he would ever Sing again…but he did!! Bravo José! Pure class!! 👏😀
Stop thinking its shameful that he was not able to continue on this voice later on life...he had cancer so think about it..and how it affected his delicate and beautiful instrument before jumping to conclusions. Lucky we still have him around.
The beautiful voice at age 29.
Thanks for your comment.. and for your superb premiere opera podcast site!! Quite a treasure trove for opera fans. Any chance of any of that stuff being posted on youtube? It deserves more exposure =) but I'm sure you would have if you thought it best. It is much appreciated.
I think Carreras admits as much. He was adverse to singing a handful of roles. He preferred singing the music he loved, the music that moved him. As you rightly note, much of it wasn't adapted to his instrument. What a glorious sound, though!
Thank you so much for sharing your memories.
This is a beautiful recording. Is it available?
Yes, Wunderlich, the perfect combination of natural beauty and great technique. I wish there were more live recordings of him. there's a few if you look for them but never enough. :-) Although he was fairly prolific in studio considering his relatively short career.
I too wonder how guys like Carreras and Di Stefano would have sounded with a technique like Wunderlich. That would be something. Such a shame.
He also sang Nessun Dorma at this recital, I'll post it maybe...
Ah! an beautiful voce,looks personality and etc. I love love and love.💗💗💗💗💗💗💗💗
I don't understand the comments, why do people who are seemingly very annoyed by Jose watch and listen to him sing. I cannot think of a worse thing to do than waste my time listening to somebody I don't like and them feeling compelled to write a comment saying what an idiot he was or how awful he sounds. If you don't rate him or feel he ruined his voice that's fine listen to somebody else
We love you CARRERAS
Herbert von Karajan also had a lot to with pushing Carreras into heavier roles prematurely, much like he did with Tomowa-Sintow and other singers!
We love you Carreras
Bravoooo
Anima e colori
Love his simple and straightforward performance of Ideale. It's not an emotion laden song and shouldn't be sung that way (per my incredibly humble opinion--of which I have so so many!)
I'm astounded that Carreras was the least acclaimed tenor of the three tenors! He had a beautiful voice, superior to that of Domingos, yet Domingo was the one that was well known and more sucessful!
Carreras loved Wunderlich incidentally.
I have this recital somewhere.... I haven't listened to it for a while, did he sing Core 'ngrato?
Muy bien por Carreras, una voz privilegiada desgastada prematuramente. Escuchen al Maestro KRAUS,otro nivel, el más alto nivel. Linea de canto, fidelidad a la partitura, dicción , tempo .Kraus el más grande.
Caro SERGIO.........difiero de tu comentario pues opino que NO HACE FALTA menospreciar un artista para adular a otro. Los dos han sido grandes artistas........los dos con defectos y virtudes. Lo que no tenia uno, lo tenia el otro. Soy tenor y se de tecnica y te digo, que los dos me han emocionado y me han hecho llorar con sus interpretaciones. Uno es un amigo muy querido y el otro fue mi Maestro muy que querido.........
Las comparaciones son odiosas... son de mala educación. Cada asrtista es como es y canta como quiere, y nosotros sus fans escogemos que oír y disfrutar !!
De acuerdo contigo amigo, esa mala costumbre que tiene la gente de comparar.
Your so right. He had the most beautiful timbre in the world in 1975 ( IMOP). He destroyed it by forcing the voice and singing roles that were to large for his gorgeous lyric voice. By 1980 his voice had already lost some of its former bloom. i only say this because it makes me so sad that he was so reckless with that glorious voice. God bless you Jose
Yes. You are absoluteLy right. His last day renditions left much to be desired. So he retired early.
He wrote about his early childhood, his mother recognized his voice and talent, told him to "take good care of your voice..." God knows maybe he unintentionally hurt himself, i am sure he was not intended to disobey his mother. His texture is triple thick golden silk, love his youthful timber especially in 70's...
@@peterlim5730 He didn't retire he had Leukaemia and changed the path he followed
Nonsense..all voices darken and mature...his artistry is still there!
Agreed.
Exactly. Those lamenting JC's development in his singing and scorning and deriding him of it are self-righteous. It is not at all the case that singing is only sheer, overwhelming power and ringing beauty.
Unfortunately, many people think that power equals beauty. So many leggero and lyric tenors, who do not have the power of the spinto and dramatic tenors, sing so beautifully. Everyone should know that the bel canto operas - the operas of Rossini, Donizetti, and Bellini - were written for leggero tenors, the very lightest of tenors, Around the middle of the nineteenth century, the popularity of bel canto began to wane. With the advent of the heavier roles written at the very end of the century and into the twentieth century - beginning with the verismo operas of Verdi and Puccini in Italy, for example, singers developed a chest voice and sang higher notes in head voice / falsetto. This is a scanty look at bel canto, which enjoyed a twentieth-century revival thanks to Luciano Pavarotti, a light - perhaps leggero tenor -; Joan Sutherland, a dramatic coloratura soprano with an incredibly high range; and her husband, conductor Richard Bonynge.
molto interessante e toccante.-
Si, ha sido muy obvio toda la vida que Pippo era su héroe.
Could you post the complete recital? Thank you!
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@Callas999 I wish I knew! If I find out I'll let you know.
Not sure.... he sang amor ti vieta, it's on youtube already.... I don't know though.
And the name of the pianist ?
The voice that made me love opera and classical singing... How come he never did Tosti pieces on record?
Oh, no... how is it possible? Carreras has made many Tosti recordings, the most famous one is Edoardo Mueller cond./English Chamber Orch. For many other recordings you can just googling "Carreras Tosti cd".
I believe no other can sing Tosti as beautifully as Carreras, although all other recording by other outstading tenors are beautiful and I cannot deny this.
I know what you mean ;-)
Yes Jose had a great voice. Too bad it didn't last longer. I'm always glad to hear him in the 1970's though, that was his prime. :-)
Thanks for listening :-D
I have to say, pushing is definitely a technical flaw.
Aun Bebé🌹🌹🌹🌹🌹🌹🌹🌹🌹🌹🌹🌹🌹🌹🌺🌺🌺🌺🌺🌺👏👏👏👏👏👏🙏🙏🙏🙏🙏🙏🙏🙏🙏🙏🙏🙏muy parecida la Voz a la de tu colega JDF la d JDI es inconfundible d tanto que le escucho🌹🌹🌹🌹🌹🌹🌹🌹🌹🌹🌹🌹🌹🌹🌹🙏🙏🙏🙏🙏🙏🌺🌺🌺🌺🌺🌺🌺🌺👏👏👏👏👏👏👏👏👏👏🌺🌺🌺🌺🌺🌺🌺🌺🌺🌺🌺🌺
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Let me correct some of the misapprehensions expressed in the comments. First Carreras pushed into repertoire that was heavier because that's the way the industry is set up. There are the guys who can sing Nemorino and Rodolfo ( Boheme). There is quite a bit of competition in this fach. So their agents suggest that they try Cavaradossi and other things a bit heavier. They do and many prosper but some ruin their voices and others revert to their former repertoire. Kraus is the most famous example. He sang one performance of Tosca and that was it. He sang afterwards in his lighter operas for forty more years.
Carreras didn't lose his voice on the Puccini and Verdi repertoire. He got Leukemia and mushrooms grew in his throat. He never was quite as good thereafter. He made a mistake trying to sing Rhadames but Bergonzi tried to sing Otello. Carreras always had a more substantial sound than Bergonzi live in the opera house.
I've known lots of tenors. The light Rossini tenors want to sing Puccini. The light Mozart tenors want to sing Verdi. Carreras was a natural medium weight tenor. He was always best in the lighter more lyrical parts - but market forces push all tenors to take on the more challenging roles.
Something like this also works on baritones. A normal range baritone like Bryn Terfel will be pushed to be a Verdi baritone. But Terfel resisted those pressures. So he spent his career singing parts with high Fs and F Sharps rather than Gs and A Flats. I'm a bass. I never had those pressures. I can sing just about everything in the entire catalog as long as it isn't too florid, has too many high soft phrases, and is not too musically difficult. But if you are a bass - you bow first. The tenors and sopranos bow last.
It's true there are a lot of voices and talking heads encouraging singers to go into heavier and heavier repertoire, but most certainly they are not obliged to do so. If they do so, it's their own decision, and they can't say "they made me do it". Great singers such as Mirella Freni often say the most important word a singer can learn is "no". Even Beverly Sills, who wrecked her voice by singing heavy repertoire, encouraged singers to say "no". She sang Elizabeth in Roberto Devereux not because of outside influences, but because she was artistically attracted to the role and she did it of her own accord.
It's also worth noting Carreras's voice was deteriorating long before he got leukemia. By the late 70's, his voice was already losing its youthful bloom, and he was just barely past 30 years of age. That's not normal. He pushed too much, frequently singing mezzo-forte and forte. Unfortunately I think he was a "loud lyric" who led himself to believe he had a bigger voice than he actually did.
He idolized Di Stefano and unfortunately made the same mistakes in trying to sing bigger rep. Lyrics should not be singing spinto and dramatic rep just because they have the notes. They end up having to uncover higher and higher to get power.
Early Di Stefano was so beautiful. His singing was so warm and clear, and involved the listener in a very special way. Several lyric tenors of this period dropped bel canto and, as you said, moved to the spinto and even dramatic roles. While singing too often in and of itself is not wise, doing so outside your fach is destructive. Carreras, Di Stefano and others shortened their careers this way. I don't know for sure, but I believe Corelli sang too frequently and pushed his voice too hard. When he became dissatisfied with his voice, he retired and became a voice teacher. We must feel for these singers; they knew what they lost. They also knew why they lost it.
Yes his upper register was never anything to shout about.
Ha ha I just realized the hidden irony in that statement.... :-P
Love his timbre though I must admit.
He did not shout his top notes in his early years. His top notes were quite exceptional IMHO. My LP of him singing Verdi arias is evidence of that. Whether he should have been singing them is a debatable point.
Yes, this is Carreras at his best. The signs of vocal decline were evident just one year after this.
The throatiness that I despise is unfortunately evident. His low placement must have really killed all the squillo in the house.
He had the kind of voice that many would kill for, and yet we probably never heard its full potential.
A good example of a perfectly placed naturally gorgeous voice is Wunderlich, we lost that voice too... but an entirely different way.
I beg your pardon Mr.Webb but it's not true. Even now he is'n done. He is older and the voice is different. However, he sings so well that gives joy to our espirits.
adüna
Am I right to say that you have been posting this same comment over and over again? If not, I apologize for accusing you of it. However, what you write borders with bullying. Yes, artists are exposed to criticism, and that is a good thing. But the way you criticize JC is almost like hatred and derision. Shame on YOU.
Ususally I prefer Carreras but in this case e I prefer Pavarotti's 70's version.
lukemia didnt ruin carreras' voice his over singing and poor choices did. he wasn't smart about his voice like others i have mentioned before. he should have taken more time to hone his technique instead of singing everything simply because he could get through it, he suffered greatly from that. you can hear how he sings everything open to make the sound bigger instead of keeping it heady and easy. its a shame.
I guess the industry is partly to blame for revering the push for the biggest sound possible syndrome...
And the "industry" back then, at least for Carreras, was frequently Herbert von Karajan.
This is good, but the gold standard for Ideale is di Stefano.
I suspected Carreras would agree with you Di Stefano was his idol
Yeah he still sounds a little throaty here. But at least he has an upper register and the vibrato is still nice and tight. :-) Oh well.
Yet another typical response about Jose Carreras. No disrespect, but saying he is hooty and chesty at the same time is a contradiction. The hootiness I agree with you 100%--but hootiness is the result of singing with a head dominant technique. He did keep the passagio more open than traditional Italian tenors of that era and he pushed for sure, but this was to the excitement of the audience. It wasn't a technical flaw, but a stylistic choice. Some loved it and some hated it. To each his own.
Agree. He was fully aware of the beauty of his voice and timber and he… took advantage
Even as a young man he could not sing a true piano/pianissimo in the way his model di Stefano did. What you can hear that he got from Pippo was singing open vowels too high. Very beautiful natural sound but never a finished technique, in my view.
Well each to their own - I think this is the best Ideale I ever heard and the audience loved it. He did adore di Stefano but the appreciation was very much reciprocated. When he was won the Verdi competition di Stefano was in the audience and it seems that the great man took quite an interest in Carreras' career. Its strange about the Pianissimo for many that is one of Carreras strengths but as I said each to their own.
@@katef6154 Given how awful today’s singers are it’s probably unfair to pick. But I ‘d point to two places that virtually demand an early di Stefano floated piano and don’t get it: the second ‘una novella aurora’ in ‘Ideale’ and ‘chiudimi o notte’ in ‘L’alba separa’. But again, today if we had singers who could simply make a beautiful sound it would seem like the Second Coming.
We love you CARRERAS
We love you Carreras
We love you CARRERAS