Christoff's voice is probably the first I'd suggest for the role of the devil, and his singing is no less spectacular, despite the missed low notes. If there is a better version of this aria, I haven't found it.
i think that he sings vary good, not for nothing is one of the greatest basses of the history, in the "fiscchiò" he doesn't get to the hi notes and it's rare the he doesn't make the low G....
Evidently for some people opera is nothing more than low notes and open vowels. Or, at best, proper singing. For me, opera is all about character and drama. Christoff is the only Mefistofele (among many other parts) with whom I feel like listening to a real character, not just a singer sinigng a part. I've heard Siepi, Ghiaurov and Ghiuselev - none of them impressed me even vocally, let alone dramatically. Ramey and De Angelis did, but neither would I prefer to Boris if I must choose.
at moments like 4:53 when he sustains the pitch, I was under the impression that there are staccato quarter notes there. Why do singers not do those? If you aren't sure what I am referring to, look Samuel Ramey's version.
Christoff was a great singer, but in this aria he avoids the low G (G2) twice (...ciò che chiama si PECCATO...;...v'è sul Sole sulla TERRA...). Cesare Siepi sings it better.
Silmacar yes that's right but he is not the only who makes no differnece between open and closed o and e, also many Italian have these attitude. They have the idea: the loudest voice is the best. Under the so called "great singers" only a minority respected the ritten piano, mezza voce, diminuendo etc. An exception was Giorgio Tozzi.
Very smart and beatiful rendition. Great Christoff.
Great interpretation - and great diction, I am italian mothertongue and I can understand all. Christoff's Mefistofele is a real creature of hell!
Possente interpretazione 'Grazie grande Boris
I think The best Mefistofeles are Cesare Siepi (Record of 1963, with Del Monaco and Tebaldi) and Samuel Ramey (Video made in San Francisco, 1988).
Christoff's voice is probably the first I'd suggest for the role of the devil, and his singing is no less spectacular, despite the missed low notes. If there is a better version of this aria, I haven't found it.
uma das masi lindas gravações, que infelizmente não é completa , pois falta o quarto ato e há cortes, gravadora RCA , 1955
i think that he sings vary good, not for nothing is one of the greatest basses of the history, in the "fiscchiò" he doesn't get to the hi notes and it's rare the he doesn't make the low G....
Evidently for some people opera is nothing more than low notes and open vowels. Or, at best, proper singing. For me, opera is all about character and drama. Christoff is the only Mefistofele (among many other parts) with whom I feel like listening to a real character, not just a singer sinigng a part. I've heard Siepi, Ghiaurov and Ghiuselev - none of them impressed me even vocally, let alone dramatically. Ramey and De Angelis did, but neither would I prefer to Boris if I must choose.
at moments like 4:53 when he sustains the pitch, I was under the impression that there are staccato quarter notes there. Why do singers not do those? If you aren't sure what I am referring to, look Samuel Ramey's version.
Because he didn't want to lol.
@JairFerreira1947 , Two great, indeed!
@Silmacar I think that's just a Slavic thing. I've heard a lot of singers from countries like his sing them like that.
Oui, Vous avez raison. Mais dans ce cas il doit interpreter le diable et il le fait d'une maniere incomparable.
Christoff was a great singer, but in this aria he avoids the low G (G2) twice (...ciò che chiama si PECCATO...;...v'è sul Sole sulla TERRA...). Cesare Siepi sings it better.
Tu ti intendi di lirica come il mio cane
Too bad he doesn't pronounce correctly the "e" and the "o"... he opens every single one of them.
Silmacar yes that's right but he is not the only who makes no differnece between open and closed o and e, also many Italian have these attitude. They have the idea: the loudest voice is the best. Under the so called "great singers" only a minority respected the ritten piano, mezza voce, diminuendo etc. An exception was Giorgio Tozzi.