Amelita Galli-Curci & Tito Schipa - La Traviata : Parigi O Cara (Verdi)
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- Опубліковано 17 вер 2024
- Violetta/Alfredo duet from the final act of Verdi's "La Traviata". The commentary for "Un Di Felice" would also apply here. Victor recording, September 17, 1924.
Galli-Curci y Schipa. Qué más se puede pedir?. Sólo el cielo y la eternidad. Bellísimos.
yes indeed
Fantastic!!!
Beautiful. Just listen the wonderful line of the music these two project. Wonderful legato. True bel canto singing
Incredibile! Galli-Curci e Schipa. Che belle voce!
Immortali, eterni. Grazie, Divino Maestro Giuseppe Verdi
Quanta grazia e bellezza... Oggi abbondano gli "urlatori": e più urlano e più applausi ricevono.
@@ferdiscalco4055 no!
Pelle d oca ascoltando questi cantante di un epoca d oro della musica ormai sparita
Schipa sang Traviata with Claudia Muzio here in São Paulo. They were sublime, said a critic.
I am never tired of hearing this duet
Wow! From the days when, "Bel Canto," had real meaning...
As its not possible to thumb this up several times i will just have to listen to it for the rest of my life. Thank you.
Na realidade os mais idosos tinham Tito Schipa o preferido numa época de grandes nomes.
Contemporâneo de Gigli, Yussi Bjorling, Caruso, Tagliavini e outros grandes nomes. Amigo do cantor Orlando Silva e admirador lhe aconselhou nunca alterar a postura da sua voz.
Simply beautiful balance of the voices -bigger tenors would tend to.drown her out but the lightness and elegance of Schipa matches here perfectly -Gigli said When Schipa sang we all bowed down to his greatness -he was right in his judgement -this was one of the great pairings in the history of recorded singing and remains so .
Such effortless elegance - not likely to be heard again.
A bel canto lesson!
Бесподобно!
höchste gesangskultur ist hier zu hören.einzigartig
sublime! time has not diminished the beauty and clarity of this duet
Heavenly! That was a match decreed in heaven!
this must be the best recording of this beautiful duet. bel canto at its best
Try john mccormack and bori its excellent also
I agree
incomparable
the best soprano and tenor ever
An elegant duo. Beautifully sung.
gioiello...l'opera é teatro e bellezza....chiudete gli occhi,
sentite..e dimenticate il tecnicismo.
Il fatto è che qui non manca nulla
Great La Traviata duet from two great treasures of the past. Fine intonation and diction from both artists. Thanks for posting this.
Diction is beyond perfect, caressing each syllable.
“Fine” is such a painful understatement!
Voix merveilleuses...accord parfait ...C'en est émouvant!...Merci...
First one is struck by the ethereal beauty of the voices. Then one notices the finely drawn and elegant legato and rubato, as well as the vocal colors and diction. Finally one pays attention to the utter musicality and musicianship of these superb artists. Thanks, Doug, for sharing!
I think you could learn Italian just from hearing Schipa sing- his diction is amazing.
You said what I was going to post. Thank you!
Total y absolutamente de acuerdo, como no tener hoy en día a estos bel cantistas
Magnifica mitica
Comentar a interpretação, a elegância, a finesse... nada do que pudéssemos dizer seria suficiente para descrever o que esses dois monstros sagrados eram capazes de fazer. Mas... há uma coisa a ser comentada: o tempo! Hoje, nossos regentes querem essa ária muito rápida. Vocês percebem como ela fica linda nesse tempo um pouquinho mais lento? E como o regente deixa os dois interpretarem . Essa é a ordem natural das coisas: os cantores cantam e a orquestra acompanha. Acompanhar é isso: a orquestra segue o cantor e não, o cantor segue a orquestra. É claro: tudo dentro dos limites da partitura e do bom gosto. Mas, quem pode discutir bom gosto com Amelita e Tito?
QUÉ MARAVILLA!!!
ALFREDO
Parigi, o cara, noi lasceremo,
la vita uniti trascorreremo.
De’ corsi affanni compenso avrai,
la tua salute rifiorirà.
Sospiro e luce tu mi sarai,
tutto il futuro ne arriderà.
VIOLETTA
Parigi, o caro, noi lasceremo,
la vita uniti trascorreremo.
De’ corsi affanni compenso avrai,
la mia salute rifiorirà.
Sospiro e luce tu mi sarai,
tutto il futuro ne arriderà.
YT only allows for 500-character responses but the electric Étoile du Nord recording-a lovely performance all-in-all-is a classic example at the end.
Das beste was je gesungen wurde...!
Love it! - James Aschmann
Que barbaro! Schipa!
Schipa's filatura on the high note on "futuro", ending his opening solo, has the kind of magic one simply doesn't hear any more in this music. Galli Curci, unfortunately, tries to echo him but goes slightly flat in the attempt. Too bad this record could not have been made 10 years earlier, when they appeared together at the Teatro Dal Verme. Still, this is so fine. Their voices always blend perfectly.
fantastic - thanks a lot!
R.
Schipa’s superb singing blends with Galli-Curci’s and is fresher and BI es the music HIS unique talent. She has never captivated me but here her ontonation is OK and the timbre of her Voice suit-suit the music but IT ia Schipa whose Voice That persuades.
Идеальное интонирование, идеальный баланс. Голоса - для Ромео и Джульетты.
Sarà, ma questa è la versione che preferisco in assoluto, le versioni moderne e più "virtuose" non trasmettono lo stesso calore. Ps: ho la copia originale 78 giri, la conservo gelosamente...
great!
A gem- through all its faults!
I know people who have the whole opera. I better listen to it.
These singers are fantastic!
I had this recording on a 10 inch 78 ( DA 1133 )and accidentally broke it. It took me years to find it again on Prima Voce.
Henry Webb
I have never liked any of the Prima Voce transfers with their added echo, it totally ruins the recordings for me. I bought the first Galli-Curci discs from Prima Voce when they were issued in the 1980s and I promptly got rid of them after I heard them. I have all of Galli-Curci's recordngs on original Victor and HMV 78s and that is the best way to listen to them. In fact, I have at least two copies of each record she ever made!
Nice.
Of course my argument was not about when she got it right.
My theory was meant to explain why she got it wrong when she did, as in this record, and many others.
G-C's messa-di-voce was indeed splendid: sending the voice INTO the mask did not trouble her. It's keeping the tone supported when releasing the voice FROM the mask that gave her problems.
The same critics who praised her messa di voce all agreed that she often sang flat. I was merely agreeing with Estelle Liebling as to why.
Remarquez tous les tempi sont RUBATO ! L'orchestre suit les chanteurs! Et a nos jours???
i wonder if there's a lyric of this song, i can't seem to find it, because i wan't to underestand what are they saying in english
medicine-opera.com/2011/08/parigi-o-cara/
Just Google "La Traviata libretto" or "Traviata Parigi o Cara" lyrics.
galliano masini
Aangrypende ou sangers
Absoluut waar.
The way focus and pitch sag when G-C attempts the filatura prove conclusively, I think, that her problems had nothing to do with the goitre, etc, but with BREATH SUPPORT.
The moment she takes her voice off its perch on the mask, the tone threatens to collapse: this is clearly a support problem (she cannot sing sul fiato) exactly as Estelle Liebling said.
it's good that at last somebody explains that Schipa was enormously superior to Galli C. technically.
Well, it sounds ridicolous to me saying that GC couldn't sing on the breath when she built her carrier ExACTLY on breath singing, I agree Schipa had a completely developed breathing singing which was unique in opera history, but if you really know what it means, it's incredibly easy going flat when you sing perfectly on the breath and that's why GC happened to go flat at times. This lady who went saying she corrected GC technique, didn't really know what she was talking about