He oido mil veces eso de que la Caballé es demasiado belcantista para este papel. Sin embargo, por mucho que lo sopese, a mi me parece una Turandot excelente y con una voz mucho más dura de lo que es habitual en Caballé. Me encanta.
If you think that a Turandot rendition, live on stage, with Pavarotti and Caballé at their best of their voices is boring, I think you are not an opera lovers, not much...
Pues yo hago el siguiente símil, Monserrat cantó una Salomé antológica y ese es un rol para una soprano de voz enorme y dramática... Entonces porqué no Turandot? instrumento y poder le sobran. Además le aporta unos pianos y una dulzura cuando se refiere a la princesa inmolada Loulin... esto le aporta un humanismo a la fría princesa... Impagable...
We can argue about the fact Turandot is a role for Caballé or not - most probably it is not - but...this is a different Turandot. This is a Turandot by Caballé. What she is able to do and achieve in a LIVE performance between minute 3:35 and 3:50 changes the entire perspective of the role. That 'la morte' in her Turandot has a totally different and very distinctive shape and delivers a very peculiar sense of 'melancholy' to the character herself. Nobody else has ever been able to deliver it. Thank you, Montsy for all the art you shared with us.
Oscar Grau Callas didn't breathe there Dimitrova at her Verona debut didn't There's a reason it was written ffff, but it's good Caballé adjusted it, it truly is a moment to show off a gigantic voice
Where do people get the idea that Caballé had a light voice? She sang all of the Verdi heroines, Salome, and even Brunnhilde (in concert) to great acclaim.
Que graciosos, secos y desdichados los "expertos" en opera que se encargan de repetir como grabadoras el hecho de que este rol es para una soprano dramática. Si el resultado es bueno, no me interesa de donde provenga...
VIVA LA CABALLE!!! SHE IS A GENIUS, I LOVE her TURANDOT which she sings with feminine glamour and POWER. Most opt. For the mannish angry Turandots, which if you're betting on a horse in the Kentucky Derby, can be more exciting. I love the feminine Turandots like Montse here and LA DIVINA. PAVAROTTI AND CORELLI OWNED THE ROLE CALAF.
Lo que pasa que estamod acostumbrados a escuchar el rol por sopranos dramaticas o spintos...pero en realidad tiene que ser una voz como la de caballe o la kabaivanska...por momentos solo se nesecita una voz dramatica, pero en llegando al final se requiere una voz dulce cuando dice SU NOMBRE ES AMOR...HERMOSA POR SIEMPRE CABALLE
Majestuosa, sublime, magistral, maravillosa, única, imponente, emocionante, excelente, son palabras que quedan chicas para describir la genialidad de ésta maravillosa obra de arte. Sólo puedo decir que me pone la "Piel de Gallina" Y hace que se me caigan las bolas al piso ante tal sofisticada y majestuosa canción. No puedo hacer más que arrodillarme.
She is even better here than in her studio recording with Carreras and Freni. She screams a lot in that recording, Carreras survives the tessitura and Freni's Liu steals the show.
mmm I think Caballé has not the correct voice for this aria. I mean, she's way too light. Anyway, Pavarotti is too lyric, so who care right now about sub types of voices. Th version's good, maybe a little slow, but is still very enjoyable.
PRINCESA LOU-LING In questa reggia, da ópera Turandot, o grito Desesperador soou, de longe, e veio passar Por gerações e ancorou na mulher, em atrito, A princesa, que rei dos tártaros veio devassar. Engramas passados são forças e recrudescem Em situações que delineiam algo a se beneficiar, A pessoa carrega os pensamentos que crescem Na dificuldade que a faz sucumbir ou se elevar. As amarras do passado retendo-a em remessa À reflexão meditativa que lhe dê luz no andar. Somente o nosso ser profundo pode ter essa Visão da realidade, o que temos são indícios Que podem nos conduzir à decisão para amar Que nos dê o horizonte límpido, sem os vícios. (*) (*) FERNANDO PINHEIRO, presidente da Academia de Letras dos Funcionários do Banco do Brasil. - PRINCESA LOU-LING (poesia), de Fernando Pinheiro. - in O mundo de Morfeu, de Fernando Pinheiro.
@nicolasdelariva Oui Montserrat Caballe est géniale dans cette oeuvre. Elle a une voix sûre et puissante . Et quand on connait la difficulté de ce rôle, un des plus difficiles sinon le plus du répertoire lyrique, on n eput qu'être admiratif. Et que tous ceux qui n'ont jamais fait de chant disent le contraire!!!!
Me parece muy segura , esta muy bien la Sra Caballe en comparacion con la version grabada en estudio con Jose carreras,.La soprano estuvo muy mal. Y otra version muy buena es la que cano con el tenor Giacomini. muy buena
You were so fortunate to have seen this fabulous artist as Turandot. Judging by this recording she has great squillo and staying power on the top notes. That first high b is a laser in its penetration.
Caballe tells Turandots old legend very strongly. She can make feel, that the princess has a monomania. Pavarotti with Gli emigni sono tre brings a new idea in her life. Their high Cs are great. Remind Nilsson and Corelli! The two relatively lighter voice fits each other perfect. And don't forget: Chailly leads the orchestra excellent!
Buena observación de tu parte, coincido en que algunas partes si debería cantarse con una voz dulce, pero al menos el aria In questa reggia requiere una voz dramática por completo. :)
@vergoti20 I was there and she had plenty of power - it's a matter of being able to focus the sound. She cut right through the orchestra. Your pitch is off - the key has not been altered nor were the high notes "horrible squally", whatever that means.
Turandot cantado al estilo Caballé ( con su fiato, modulaciones y legatos magnificos), no es que este mal. pero no describe a mi parecer la personalidad del personaje.
@@Antonio-qm3bi Es cuestion de gustos, Turandot para mí es mas parecida a Electra o Tosca que a Mimi de la Boheme o a Batterfly. Es un papel para soprano dramatica casi wagneriana, por eso creo que Birgit Nilsson es la soprano ideal para el personaje.
Caballé no pega ni con cola en el papel de Turandot, aun así sigue siendo Caballé con todas sus virtudes. Fuera de lugar pero igualmente impresionante.
I saw her in Turandot in Barcelona 1979 and in Avignon in 1980 and it was amazing and unforgettable ! Her human approach to the ice princess is different than Nilsson or Marton! I love her !
Lol, open your mind I prefer a sweet Turandot instead a screaming one. I don't care about "whom the role is for..." This isn't science, this is art, and if you like it, that's all... I invite you to put "I think..." at the beginning of your comment
I read here a lot of things about how Turandot is supposed to be frightening. How Calaf is supposed to move the ceiling of a building etc, etc. Such a bunch of nonsense. Now let us bring on the nonsense about opera being controlled shouting and we are set. Bullshit. All the shouters, scoopers, bowlers, yellers , pushers, squeezers, etc etc are not that impressive. Musicality and being a musician is much more important in singing. Those who wish "see blood" are welcomed to see MMA and corrida.
@bodiloto, hahahaha! Ni en tus sueños mas delirantes has podido escuchar tu a 'Miguelon' cantando como Calaf! Hahahaha! hablas virtualmente y de lo que te contó 'il tuo vecchio nonno'!....ahahahaha!...el mejor Calaf Corelli! y la mejor 'Principessa congelata' la Nilsson!....regresa a la realidad de una vez, hombre!
Odio repetir un comentario, pero a mi punto de vista Montserrat Caballé tenía una voz y técnica demasiado bel cantista, para un papel como este aunque ella sabe adaptar su voz considero que no era el apropiado para ella. Aún así es innegable que muchas sopranos "apropiadas" se quedan cortas.
The beautiful lyric Soprano of Caballe is not suitable for a role like Turandot. this execusion is laking the anger and the militant voice volume of Turandot, wich has to outstand in a very dramatic orchestration like this. it sounds like someone has implanted a Norma or a Lucia on Stage. also the endless portamenti very much contrasts the spirit of the carecter and the text. the same thing can be seen with Katia Ricciarelli as Turandot.
Not totally convinced of this! All depends on what you expect. As I said in my comment. This is Turandot by Caballé! You can like it or not, but you can't say it is irrelevant and wrong
She's always had a beautiful timbre, the lyric lines on this are gorgeous but I think the dramatic lines need more heft and I don't think her voice has that.
HORRIBLE...CABALLE AS TURANDOT??...A GREAT MISTAKE OF THE SOPRANO WHO THINKS THAT BEING A SINGER MEANS THAT SHE COULD SING EVERYTHING....REALLY AWFUL TURANDOT !!!!!
This is Caballe's Turandot. How unique! How different! How scary and melancholy at the same time. How much I love her!
He oido mil veces eso de que la Caballé es demasiado belcantista para este papel. Sin embargo, por mucho que lo sopese, a mi me parece una Turandot excelente y con una voz mucho más dura de lo que es habitual en Caballé. Me encanta.
If you think that a Turandot rendition, live on stage, with Pavarotti and Caballé at their best of their voices is boring, I think you are not an opera lovers, not much...
Pues yo hago el siguiente símil, Monserrat cantó una Salomé antológica y ese es un rol para una soprano de voz enorme y dramática... Entonces porqué no Turandot? instrumento y poder le sobran. Además le aporta unos pianos y una dulzura cuando se refiere a la princesa inmolada Loulin... esto le aporta un humanismo a la fría princesa... Impagable...
We can argue about the fact Turandot is a role for Caballé or not - most probably it is not - but...this is a different Turandot. This is a Turandot by Caballé. What she is able to do and achieve in a LIVE performance between minute 3:35 and 3:50 changes the entire perspective of the role. That 'la morte' in her Turandot has a totally different and very distinctive shape and delivers a very peculiar sense of 'melancholy' to the character herself. Nobody else has ever been able to deliver it. Thank you, Montsy for all the art you shared with us.
Maybe Turandot is not for Caballé but Caballé is for Turandot ...
Not all of the first Turandots were dramatic. The German creator of the role, Anne Roselle, also sang Mimi and Butterfly
@@SilfredoSerrano and ??
@@pablolopez4156 Imagine Dimitrova singing Mimì or Madame Butterlfly, lol
sublime Montserrat Grandioso Big Luciano
Uno de los duetos más bellos de la Ópera
Amo Turandot
03:40 - 03:48 she is unique, only she did. The other sopranos breathe, and they spoil the excitement. Brava Caballe.
Oscar Grau
Callas didn't breathe there
Dimitrova at her Verona debut didn't
There's a reason it was written ffff, but it's good Caballé adjusted it, it truly is a moment to show off a gigantic voice
Where do people get the idea that Caballé had a light voice? She sang all of the Verdi heroines, Salome, and even Brunnhilde (in concert) to great acclaim.
caballe caballe caballe forever
Que graciosos, secos y desdichados los "expertos" en opera que se encargan de repetir como grabadoras el hecho de que este rol es para una soprano dramática. Si el resultado es bueno, no me interesa de donde provenga...
Una voce che non si può dimenticare 👏👏👏
Miss them both so much
VIVA LA CABALLE!!!
SHE IS A GENIUS, I LOVE her TURANDOT which she sings with feminine glamour and POWER. Most opt. For the mannish angry Turandots, which if you're betting on a horse in the Kentucky Derby, can be more exciting.
I love the feminine Turandots like Montse here and LA DIVINA. PAVAROTTI AND CORELLI OWNED THE ROLE CALAF.
Lo que pasa que estamod acostumbrados a escuchar el rol por sopranos dramaticas o spintos...pero en realidad tiene que ser una voz como la de caballe o la kabaivanska...por momentos solo se nesecita una voz dramatica, pero en llegando al final se requiere una voz dulce cuando dice SU NOMBRE ES AMOR...HERMOSA POR SIEMPRE CABALLE
Majestuosa, sublime, magistral, maravillosa, única, imponente, emocionante, excelente, son palabras que quedan chicas para describir la genialidad de ésta maravillosa obra de arte.
Sólo puedo decir que me pone la "Piel de Gallina" Y hace que se me caigan las bolas al piso ante tal sofisticada y majestuosa canción.
No puedo hacer más que arrodillarme.
No tengo más que añadir...Está:👌🏻
Augustine, It’s great to hear how her rendition of this moved you so!. Your comment was beautiful!
En una entrevista poco antes de fallecer, Montserrat definió a Pavarotti como el tenor con el que se sintió mejor.-
She is even better here than in her studio recording with Carreras and Freni. She screams a lot in that recording, Carreras survives the tessitura and Freni's Liu steals the show.
mmm I think Caballé has not the correct voice for this aria. I mean, she's way too light. Anyway, Pavarotti is too lyric, so who care right now about sub types of voices. Th version's good, maybe a little slow, but is still very enjoyable.
Sorry but I’ve been listening to Corelli and Nilsson. This suffers in comparison.
PRINCESA LOU-LING
In questa reggia, da ópera Turandot, o grito
Desesperador soou, de longe, e veio passar
Por gerações e ancorou na mulher, em atrito,
A princesa, que rei dos tártaros veio devassar.
Engramas passados são forças e recrudescem
Em situações que delineiam algo a se beneficiar,
A pessoa carrega os pensamentos que crescem
Na dificuldade que a faz sucumbir ou se elevar.
As amarras do passado retendo-a em remessa
À reflexão meditativa que lhe dê luz no andar.
Somente o nosso ser profundo pode ter essa
Visão da realidade, o que temos são indícios
Que podem nos conduzir à decisão para amar
Que nos dê o horizonte límpido, sem os vícios. (*)
(*) FERNANDO PINHEIRO, presidente da Academia de Letras dos Funcionários do Banco do Brasil. - PRINCESA LOU-LING (poesia), de Fernando Pinheiro. - in O mundo de Morfeu, de Fernando Pinheiro.
@nicolasdelariva
Oui Montserrat Caballe est géniale dans cette oeuvre. Elle a une voix sûre et puissante . Et quand on connait la difficulté de ce rôle, un des plus difficiles sinon le plus du répertoire lyrique, on n eput qu'être admiratif. Et que tous ceux qui n'ont jamais fait de chant disent le contraire!!!!
Due giganti che adesso non esistono più! Che peccato
Precioso
Obviously, you are not a fan of Caballe.
Very disrepectful of this great artist. I am assuming you can do better....
Sin embargo, TFanatic, la Liu de Monserrat con Pavarotti me parece sublime y excelente, comparada con su propia Turandot.
Потрясающее исполнение:) Брависсимоڰۣ✿
4:32 "Mai nessun m'avrà, AHHHHHHH!" Very powerful
Me parece muy segura , esta muy bien la Sra Caballe en comparacion con la version grabada en estudio con Jose carreras,.La soprano estuvo muy mal. Y otra version muy buena es la que cano con el tenor Giacomini. muy buena
100% de acuerdo, solo que Giacomini no estuvo a la altura de Caballé en esa ocasión...
Bravissima Caballe! Unica!! 💖💖💖
this is definitely one of the best! she's a very good storyteller in this aria :)
I was there
So was I.
You were so fortunate to have seen this fabulous artist as Turandot. Judging by this recording she has great squillo and staying power on the top notes. That first high b is a laser in its penetration.
Lucky you, Louis!
@@magdaschweitzer1472 you were lucky!
@@debbiejohnson2789 Yes, I know! Thank you!
Caballe tells Turandots old legend very strongly. She can make feel, that the princess has a monomania. Pavarotti with Gli emigni sono tre brings a new idea in her life. Their high Cs are great. Remind Nilsson and Corelli! The two relatively lighter voice fits each other perfect. And don't forget: Chailly leads the orchestra excellent!
Buena observación de tu parte, coincido en que algunas partes si debería cantarse con una voz dulce, pero al menos el aria In questa reggia requiere una voz dramática por completo. :)
@vergoti20 I was there and she had plenty of power - it's a matter of being able to focus the sound. She cut right through the orchestra. Your pitch is off - the key has not been altered nor were the high notes "horrible squally", whatever that means.
This pitch is a bit on the high side, a problem with the recording transfer. I have a copy the pitch is correct.
Signora Caballe',pardon un'angelo caduto dal cielo
Turandot cantado al estilo Caballé ( con su fiato, modulaciones y legatos magnificos), no es que este mal. pero no describe a mi parecer la personalidad del personaje.
La personalidad del personaje es ser una mujer cruel pero femenina... si no, qué belleza le verían todos los príncipes?
@@Antonio-qm3bi Es cuestion de gustos, Turandot para mí es mas parecida a Electra o Tosca que a Mimi de la Boheme o a Batterfly. Es un papel para soprano dramatica casi wagneriana, por eso creo que Birgit Nilsson es la soprano ideal para el personaje.
Se nota que tenés una oreja tan dura que te impide apreciar la majestuosidad de éstas voces.
Caballé no pega ni con cola en el papel de Turandot, aun así sigue siendo Caballé con todas sus virtudes. Fuera de lugar pero igualmente impresionante.
No generalices tu opinión como la correcta...
Fuera de lugar es decir que Caballé no "pega" aqui
MAGNIFICO DUO
I saw her in Turandot in Barcelona 1979 and in Avignon in 1980 and it was amazing and unforgettable ! Her human approach to the ice princess is different than Nilsson or Marton! I love her !
Caballe 💖
They are both too small and weak for these roles.
Lol, open your mind I prefer a sweet Turandot instead a screaming one. I don't care about "whom the role is for..."
This isn't science, this is art, and if you like it, that's all... I invite you to put "I think..." at the beginning of your comment
puede ser liu pero nunca turandot, lo canta todo igual
@toni14744 totalmente de acuerdo, impresionantes!!
Слишком нежная для Турандот. Разве - смотреть, и визуально видеть "крепкий орешек" - Турандот..
O Divina,si' per te perderei volentieri la testa.
r
Fantastic...two great singers
INOLVIDABLES VOCES
I read here a lot of things about how Turandot is supposed to be frightening. How Calaf is supposed to move the ceiling of a building etc, etc.
Such a bunch of nonsense. Now let us bring on the nonsense about opera being controlled shouting and we are set.
Bullshit. All the shouters, scoopers, bowlers, yellers , pushers, squeezers, etc etc are not that impressive. Musicality and being a musician is much more important in singing. Those who wish "see blood" are welcomed to see MMA and corrida.
@bodiloto, hahahaha! Ni en tus sueños mas delirantes has podido escuchar tu a 'Miguelon' cantando como Calaf! Hahahaha! hablas virtualmente y de lo que te contó 'il tuo vecchio nonno'!....ahahahaha!...el mejor Calaf Corelli! y la mejor 'Principessa congelata' la Nilsson!....regresa a la realidad de una vez, hombre!
Se oye tán aburrida esta versión..,
Se lee tan cateto este comentario...
I find them togerther many times a bit boring, but in this perf they are very good. The divina Cabellé sounds here cruel and tough.
Bravíssimos!
EXQUISITOS PARA RECORDAR
@barkero2, no seras tu, Maestro de Motril?...
totalmente aburrida!!!!
Why has Pavarotti naver sung this with Eva Marton?
DanielZavagna Bacause Marton was too mean for most anyone to work with!
@@ubiestinsula what did she do?
What's that picutre got to do with this recording?
It's a picture of the production.
Odio repetir un comentario, pero a mi punto de vista Montserrat Caballé tenía una voz y técnica demasiado bel cantista, para un papel como este aunque ella sabe adaptar su voz considero que no era el apropiado para ella. Aún así es innegable que muchas sopranos "apropiadas" se quedan cortas.
The beautiful lyric Soprano of Caballe is not suitable for a role like Turandot. this execusion is laking the anger and the militant voice volume of Turandot, wich has to outstand in a very dramatic orchestration like this. it sounds like someone has implanted a Norma or a Lucia on Stage. also the endless portamenti very much contrasts the spirit of the carecter and the text. the same thing can be seen with Katia Ricciarelli as Turandot.
Not totally convinced of this! All depends on what you expect. As I said in my comment. This is Turandot by Caballé! You can like it or not, but you can't say it is irrelevant and wrong
There's nothing 'wrong' in artes, there are different things. We can taste everything...
if this is your opinion you do not know much about music
She's always had a beautiful timbre, the lyric lines on this are gorgeous but I think the dramatic lines need more heft and I don't think her voice has that.
I would love to hear Eva Marton here. Why diz she never single this role with Pavarotti?
Not good enough
Caballe lo hace bien... pero todavia ni siquiera iguala a eva marton
Sorry but my cat sings it better than Caballe did.
HORRIBLE...CABALLE AS TURANDOT??...A GREAT MISTAKE OF THE SOPRANO WHO THINKS THAT BEING A SINGER MEANS THAT SHE COULD SING EVERYTHING....REALLY AWFUL TURANDOT !!!!!
No she didn't...she passed up many roles