If Verdi would wrote only these 7 minutes of music in his whole life, I have considered him one of the greatest compositors. The singers are fabulous, Ramey is one of my favourite basses, he's an animal on stage ( in a good way :p). The soprano is also very good, and Pavarotti... he's an angel. Not to forget James Levine.
grande pavarotti! notice how great his voice is in this. notice the control, the beauty, and the feeling. Listen to the last note how his note rings out over the orchestra and other voices for a sustained time.
Who said this man could not act!!--PIFFLE! Just because he was unable to jump and run around does not detract from the emotion of the voice, his eyes and face. Indeed, it is my humble opinion, that it requires greater acting skill to convey the emotion sans physical action and Pava NAILS it!
When he was younger on stage he was very active, you could easily see how graceful he was. But that voice, unmistakable. Unbelievable, no one will ever come close, that only happens once in a lifetime. And who cares about the acting, he's not an actor he is THE singer,
Mi sembra quanto meno presuntuoso dire che tutto il Verdi di Pavarotti sia "un disastro"... non mi pare che a San Francisco e alla Scala la pensassero così quando cantava Aida e Un ballo in Maschera... solo per dire di due tra i suoi capolavori
Luciano Pavarotti , Samuel Ramey and Anna Netrebko, avec James Levine , quoi rêver de mieux comme distribution pour cette sublime scène de la mort . Verdi est génialissime même dans ses opéras de jeunesse !
This entire number is such the vibration of Italy and all of its melody, contradictions, fears of death, Christianity and the wailing love for life. I remember when this aired and Lauren Flanagan stepped in as the role of Griselda sort of last minute as a cover. The entire opera is strange rhythmic and has a lot of religious counterpart to another Verdi gem “Stiffelio.
RESPECTO A LO QUE DICE MADAMEBORGI, CLARO QUE ES DIFERENTE ESCUCHAR A BERGONZI EN ESTE ROL YA QUE LA VOZ DE BERGONSI ES MAS OSCURA QUE LA DE PAVAROTTI, PUESTO QUE EL COMENZO A CANTAR EN LA TESITURA DE BARITONO Y LO POCOS AÑOS COMENZO COMO TENOR, BERGONZI TIENE UNA TECNICA COMPLETAMENTE DIFERENTE A LA DE PAVAROTTI, Y EN ESTE VIDO PAVAROTTI HABIA CUMPLIDO LOS 58 AÑOS, Y BERGONZI LA ULTIMA VEZ QUE LA CANTO LA OPERA TENIA 40, DEPUES LA CANTO VERSION CONCIERTO QUE NO ES LO MISMO. MAGISTRAL PAVAROTTI.
su questo potrei essere d'accordo che negli ultimi tempoi aveva difficoltà nel registro acuto....ma nn è come dici tu la facilità di Luciano a sparare acuti che fa verdiano o meno un tenore..qui ragazzi si parla di fraseggio e rispettare quel che verdi scrive!!!punto e basta!!!
Prefiero a Bergonzi en este rol, Pavarotti era un gran tenor y en la historia del canto será uno de los grandes, pero su voz es demasiado frágil para este papel tan verdiano. Me gustan más para I Lombardi las voces "viejas" y no tan juveniles o sutiles; viejas porque cada nota que cantan reclaman mejor la expresión y estilo verista por las palabras del texto, no solo es técnica y voz, es pura expresión y en este rol Pavarotti no se defiende, Un Puccini joven o Traviata le quedan mejor.
They’re not actually in jail in this scene. Basically, what happened is that Giselda and Oronte ran away together because Oronte’s entire family is dead and his kingdom destroyed etc etc etc and Giselda’s father would *never* approve of the two of them being together because Oronte is “the enemy” (not to mention the whole “Giselda’s people wiped out Oronte’s people” thing). Arvino (Giselda’s father) sends a bunch of his soldiers after them to kill Oronte and bring back Giselda; this is...only partially successful, as Oronte is mortally wounded but Giselda is unharmed and the two of them nevertheless manage to escape the Lombard soldiers and take refuge in this cave, which happens to be the refuge of a hermit (in actuality Giselda’s uncle Pagano), who comes across the two, baptizes Oronte into Christianity, and blesses their union before Oronte passes away. Hope that clears that up! ❤️
@@infinitelytheheartexpands Wow!! Thank you so much for all your trouble! You certainly are NOT "the average Julie"! I hate to tell you this, but I was attempting to make something of a "joke". "In ciel" as Luciano dramatically sings, I sarcastically misinterpreted as "in jail". Just my warped sense of humour - sorry about that. I know I should always read the synopsis, but when the music & the singing are so superlative, as is the case here, I'm not so academic / historical. Pavarotti for me is a sensation. Never to be repeated. (except "in ciel").
parlandone da vivo e non da morto (putoppo)com in tutte le sue rappresentazioni in opera luciano era un disastro,nel repertorio verdiano...qui il tempo è completamentesbagliato e l'espressione assolutamente fuori luogo,si sta facendo una scena di morte e questo fortissimo(tutto del resto)mi sembra proprio fuori luogo....e come sempre assoluta intuizione musicale
purtroppo è cosi...la voce non è verdiana,ma mica tolgo nulla al grande Luciano,anzi in donizzetti e Puccini lo preferisco a molti altri;ma in Aida proprio nn condivido,sono opere da Bergonzi quelle..molto meglio in Traviata e Rigoletto...ma nei lombardi non c'entra nulla purtroppola sua vocalità..
la voz de Pavarotti, es única, la más bella que ha existido jamás
The luckiest audience in the world to see this!!!!!! Bravo Maestro!
If Verdi would wrote only these 7 minutes of music in his whole life, I have considered him one of the greatest compositors. The singers are fabulous, Ramey is one of my favourite basses, he's an animal on stage ( in a good way :p). The soprano is also very good, and Pavarotti... he's an angel. Not to forget James Levine.
Wow... this would be priceless in HD...
Pavarotti's voice melts the mind in a most pleasing way, does he not?
YES!
Something like this will never come back, it is gone, the angels are lucky to listen to Luciano forever, how I love him.
They are all fantastic.
grande pavarotti! notice how great his voice is in this. notice the control, the beauty, and the feeling. Listen to the last note how his note rings out over the orchestra and other voices for a sustained time.
bravoooo!!!!! maestrooo pavarotti!!!!
Pavarotti e' divino e' non paragonabile a nessuno!
Who said this man could not act!!--PIFFLE! Just because he was unable to jump and run around does not detract from the emotion of the voice, his eyes and face. Indeed, it is my humble opinion, that it requires greater acting skill to convey the emotion sans physical action and Pava NAILS it!
When he was younger on stage he was very active, you could easily see how graceful he was. But that voice, unmistakable. Unbelievable, no one will ever come close, that only happens once in a lifetime. And who cares about the acting, he's not an actor he is THE singer,
All Italians can act. Italian life is one big drama.
Fantastic singing
Mi sembra quanto meno presuntuoso dire che tutto il Verdi di Pavarotti sia "un disastro"... non mi pare che a San Francisco e alla Scala la pensassero così quando cantava Aida e Un ballo in Maschera... solo per dire di due tra i suoi capolavori
Luciano Pavarotti , Samuel Ramey and Anna Netrebko, avec James Levine , quoi rêver de mieux comme distribution pour cette sublime scène de la mort . Verdi est génialissime même dans ses opéras de jeunesse !
No, it was not Anna Netrebko. She was not singing at the Met in 1993.
Its Lauren Flanigan.
I completely agree with RRRAAAPPP's initial comments, esp. his first sentence. This is one of the greatest trios in all opera.
fantastisch !!!!
Niente da ridire su Del Monaco e Corelli che pero' non ho avuto il piacere di sentire dal vivo, mentre Pavarotti si e piu' di una volta!
Rip😭😭😭
This entire number is such the vibration of Italy and all of its melody, contradictions, fears of death, Christianity and the wailing love for life. I remember when this aired and Lauren Flanagan stepped in as the role of Griselda sort of last minute as a cover. The entire opera is strange rhythmic and has a lot of religious counterpart to another Verdi gem “Stiffelio.
Magnificas voces
RESPECTO A LO QUE DICE MADAMEBORGI, CLARO QUE ES DIFERENTE ESCUCHAR A BERGONZI EN ESTE ROL YA QUE LA VOZ DE BERGONSI ES MAS OSCURA QUE LA DE PAVAROTTI, PUESTO QUE EL COMENZO A CANTAR EN LA TESITURA DE BARITONO Y LO POCOS AÑOS COMENZO COMO TENOR, BERGONZI TIENE UNA TECNICA COMPLETAMENTE DIFERENTE A LA DE PAVAROTTI, Y EN ESTE VIDO PAVAROTTI HABIA CUMPLIDO LOS 58 AÑOS, Y BERGONZI LA ULTIMA VEZ QUE LA CANTO LA OPERA TENIA 40, DEPUES LA CANTO VERSION CONCIERTO QUE NO ES LO MISMO. MAGISTRAL PAVAROTTI.
Great. Luciano and Ramey are great and also soprano is ok.
I was at this performance and I fell hard for hard for him.
su questo potrei essere d'accordo che negli ultimi tempoi aveva difficoltà nel registro acuto....ma nn è come dici tu la facilità di Luciano a sparare acuti che fa verdiano o meno un tenore..qui ragazzi si parla di fraseggio e rispettare quel che verdi scrive!!!punto e basta!!!
could the sound quality be any more horrible. Flannigan is good, great even here, however I would still rather hear a healthy Millo.
Prefiero a Bergonzi en este rol, Pavarotti era un gran tenor y en la historia del canto será uno de los grandes, pero su voz es demasiado frágil para este papel tan verdiano. Me gustan más para I Lombardi las voces "viejas" y no tan juveniles o sutiles; viejas porque cada nota que cantan reclaman mejor la expresión y estilo verista por las palabras del texto, no solo es técnica y voz, es pura expresión y en este rol Pavarotti no se defiende, Un Puccini joven o Traviata le quedan mejor.
I think I understand the gist of the story. But why do they end up "in jail"?
They’re not actually in jail in this scene. Basically, what happened is that Giselda and Oronte ran away together because Oronte’s entire family is dead and his kingdom destroyed etc etc etc and Giselda’s father would *never* approve of the two of them being together because Oronte is “the enemy” (not to mention the whole “Giselda’s people wiped out Oronte’s people” thing). Arvino (Giselda’s father) sends a bunch of his soldiers after them to kill Oronte and bring back Giselda; this is...only partially successful, as Oronte is mortally wounded but Giselda is unharmed and the two of them nevertheless manage to escape the Lombard soldiers and take refuge in this cave, which happens to be the refuge of a hermit (in actuality Giselda’s uncle Pagano), who comes across the two, baptizes Oronte into Christianity, and blesses their union before Oronte passes away. Hope that clears that up! ❤️
@@infinitelytheheartexpands Wow!! Thank you so much for all your trouble! You certainly are NOT "the average Julie"! I hate to tell you this, but I was attempting to make something of a "joke". "In ciel" as Luciano dramatically sings, I sarcastically misinterpreted as
"in jail". Just my warped sense of humour - sorry about that. I know I should always read the synopsis, but when the music & the singing are so superlative, as is the case here, I'm not so academic / historical. Pavarotti for me is a sensation. Never to be repeated. (except "in ciel").
sorry but the sound is really terrible, but of course pavarotti's performance is priceless
@iavorpatril Beh...magari certi Del Monaco e Corelli???
its simply unlistenable..so sad I love this trio...
parlandone da vivo e non da morto (putoppo)com in tutte le sue rappresentazioni in opera luciano era un disastro,nel repertorio verdiano...qui il tempo è completamentesbagliato e l'espressione assolutamente fuori luogo,si sta facendo una scena di morte e questo fortissimo(tutto del resto)mi sembra proprio fuori luogo....e come sempre assoluta intuizione musicale
purtroppo è cosi...la voce non è verdiana,ma mica tolgo nulla al grande Luciano,anzi in donizzetti e Puccini lo preferisco a molti altri;ma in Aida proprio nn condivido,sono opere da Bergonzi quelle..molto meglio in Traviata e Rigoletto...ma nei lombardi non c'entra nulla purtroppola sua vocalità..