Added: 4 years ago
From: damekirilover
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  • god this aria must be really difficult.

  • The high notes, to me, did sound abit "squeezed"; however also to me, it only added to the poignancy of the verse! To "conduct" the flute player and then to raise his fist and "stomp off" at the end was pure comedic genius! I am just continually astounded at the versatility, intelligence, and devotion of this great man. To instinctively know exactly what to do and how to sing on stage in order to push every button his audience has is nothing short of other-worldly! There are none to compare.

  • I love him and this aria so much, I made it my ringtone. I love when my phone rings.

  • Hey I'm pavarotti I'm showing up outta fucking nowhere. well bye

  • He had a cold so his high notes were a little sharp[not in intonation].

  • Luciano... Une voix de l'Olympe descendue sur Terre pour nous inspirer l'Olympe...

  • Kiri is the BEST!!!! <3 

  • Mario Lanzas is the best version.

  • Pavarotti's version should be the best on record. But it isn't. Carreras, Wunderlich, and Domingo are better. Of course unlike Domingo and Carreras, Pavarotti could have actually done it live.

    It's very high and has no warm up. Domingo, Carreras, Di Stefano and many others were unlikely to have risked it live.

    I think Pavarotti needed to rehearse it more. He doesn't sound like he has it "in the voice" yet. The top sounds tentative rather than soaring.

  • He had a cold throughout this run, but was keen to sing the performances; this accounts for the thin upper register and strained high notes.

  • Is this unbeatable line up on dvd?

    amazing

  • @maxjamesorgans It's part of the Levine 40 collection.

  • Comment removed

  • I remember one ROSENKAVALIER with Pavarotti....he simply had a terrible cold and could hardly get through this aria. It was truly pathetic. I was shocked with such an appearance. Pathetic.

  • sometimes it happens.....im sure he sounded better with a cold than MOST of the tenors today....maybe ALL of them!

  • Comment removed

  • Love how Pavarotti conducts the flute when there is actually no flute playing and ignores the actor in his long ridiculous mimed introduction to the tenor solo. Also , probably the shortest part he ever had to sing in opera and he stares into that silly book. Genius he was, this was pretty average.

  • get your head out of your ass, it's not like he was the director.

  • Like you even know what you're talking about.

  • C'mon - the directing was crap, Pavarotti is my favourite tenor but the acting here was terrible - I blame the director.

  • Such a beautiful aria sung by the greatest of them all. We miss you Luciano.

  • Pavarotti loved performing this part (the Italian Singer) so much that even after he became famous, he would perform it uncredited whenever he had the chance, just so he could sing the part. It really is a beautiful part, and he puts a lot of love into it, you can tell.

  • @trichonosis Thanks for that info. I was surprised to see that Pavarotti performed such a small role when he was at his height. Don't care what the others say about acting and the directing; his brilliant singing brings the entire scene to life.

  • @chantdonchant If you want to hear a young Pavarotti sing this listen to the 1968

    recording with Solti and an otherwise undistinguished cast. I believe he also did once with Sutherland. Nicoli Geda did a wonderful job on the greatest recording of Rosenkavlier with Schwatzkopfand Karajan.

  • Undistinguished cast? Are you kidding me? Ever heard of Regine Crespin? Sheesh.

  • seriously, undistinguished? obviously you don't know much if you refer to crespin, donath, and dermota as undistinguished

  • Comment removed

  • very tight in this aria---super squeezed--

    yikes---

  • "Di rigori armato il seno Contro amor mi ribellai Ma fui vinto in un baleno In mirar due vaghi rai. Ma fui vinto in un baleno In mirar due vaghi rai. Ahi ! che resiste puoco a stral di fuoco Cor di gelo di fuoco a stral" Air du chanteur italien Die Rosenkavalier R. Strauss Wondeful bijou that Luciano Pavarotti glorifies. Regards from France
  • love how he punches the air and waddles off pissed XD utter legend!!

  • la verita' e' che quel bastardo di strauss ce l'aveva con la voce di tenore e ha voluto vendicarsi scrivendo quest'aria quasi impossibile. Adesso, come si dice al mio paese, t'a fai ngul, caro strauss, perche' grazie a Dio, ci e' stato donato Luciano Pavarotti.

  • Jajajaja..é vero amico....!

  • I have to say - with all my respect and admiration to Pavarotti - that it's not the Maestro's best performance.

  • Actually he could learn the few notes also from memory !!! Or just not sing this part !!! It is a "Italian singer",but composed as a joke...

  • I think you'll find that the score says - Der Tenor (mit dem Notenblatt in der Hand) in English (With music in his hands) The Met choose to stay very true to the score with this production.

  • interesting seeing the best tenor and best bass of their generation on stage; not a huge fan of the opera though

  • great pavarotti

  • Absolutly.

  • Kiri Te Kanawa, Luciano Pavarotti, Kurt Moll, James Levine... What more can you ask for??... Just GREAT!!!

  • I must tell that 2 days ago I watched this opera on Mezzo tv. I don't know the name of the tenor who was sang this aria but even he has run against Pavarotti, the first one won't never gains he :)

    In my opinion the Pavarotti's studio record of Di Rigori Armato Il Seno overshadows all which was made before.

  • If you mean the version which appeared on his King of the HIgh C's LP years ago, I readily agree! Grew up listening to it in my grandfathers house. That and Sutherland. Fantastic!!

  • Exactly this record!

    His voice is flowing so beautiful... Realy fantastic!

  • Of course, Pavarotti appears to "bulldose" the text because of his powerful voice... Nevertheless, he remains one of the greatest singers of all times. He wonderfully sings Mozart's Cosi Fan Tutte : "Un aura Amorosa".

    I recommend you a beautiful version of Idomeneo with Pavarotti too.

    We miss you Maestro

    Regards from France

  • His rendition of Un aura Amorosa was terrible he sang the aria at ff and the tempo had nothing to do with Mozart.Check Kraus for supreme Mozart singing his voice had a much wider dynamic range and his phrasing was better.

  • While adhering to these statutes in a complete opera may be important, cer1n, nobody cares about whether you sing it that way during a recital, especially with a voice like Pavarotti's. Kraus' technique was impeccable, but the quality of his voice lacked "ping" and brilliance. Plus, it was tiny as hell. Great for pedantic operagoers, but I live for the glory of the Pavarottis, Rameys, Molls,and Sutherlands of this world. Kraus' rendition is almost a lullaby, perfect but not spectacular.

  • I don't think Pavarotti's voice was very beautiful in the 80's it was way too metallic always pushed to 100 percent of it's power.

  • I think he always bulldozed everything. Well - almost.

  • All of us who love the voice of Pavarotti with the deepest respect, knows of cause that this was not his greatest moment. He is a bit tight. But those who proclaim loudly that this is bad, I highly recommend you all to try out this aria in one strecth... I think after the try you all will be without voice! You see, I think even the light voices of Gedda and Krauss find this aria to be one of the hardest for a tenor to perform.

  • I agree. This is one of the hardest things i EVER sang. It's short, but the tessitura is unrelenting, and it will wear you out quickly. So many tenors tend to push a bit as the aria moves along just to survive, never mind the 2 Bflats and the Bnat. He is a bit tight, but not may tenors aren't when they sing this. Not enough warm up, and then you're onstage to sing THIS little cruelty. Strauss was a torturer.

  • exactly. his sound is bright and high which is necessary for this tessitura and helps soar over everything else going on. Consider the vowel too! C'mon people! get a grip!

  • I totaly disagree. Thats the main problem, if you try to loose this tessitura by making/doing your voice bright and high!

    You have to connect your voice even deeper in the body, if not you will get tight. and there is a big difference to sound bright and high because of a high tessitura, contra getting tight.

  • true, if you are trying to make your voice bright you will be in trouble. His voice has a natural brilliance and is usually ringing all over his body and the theater. He breathes extremely low and deep(something Sutherland solidified for him) and I hope you enjoy his special gift.

  • For sure I do enjoy pavarottis special gift. I just pointed out that EVEN Pavarotti sounds a bit tight/stiff in this extremely difficult aria. And that tells a lot about what this "little" aria demands from the performer.

  • its pavarotti. enjoy it. you didnt pay for the performance, did you?

  • Did I say that I did not enjoy. I just put out that EVEN the great Pavarotti find this aria a bit hard. And the reason for writing about this event is the same reason as you have. I respond to what other people writes. And some times we have different opinions. understand?

  • Pavarotti4eva... This guy's right. It IS tight vocally. Since you adore Pavarotti so obviously, you ought to know that.

  • Wow. Er no.

  • Good comment... What did you mean by "no"?

  • It was in response to a comment made that Pavarotti was tensing his throat. I said no, he wasn't.

  • Whatever you say. LOL

  • You better know it. It's an incredibly difficult aria.

  • Do some "esperti del bel canto" come to youtube to criticize "per se " or to enjoy pages of art that can be found only and recently on this site?

    Please refrain your bitchy comments and let common people listen to all the GREAT artists posted by gracious persons.

  • some of you people are crazy. The viewing of the great works of these incredible artist has become so commonly accessible that we criticize their greatness with a fatuous, ill-equipped ear, with no regard of perfected use of the human instrument, or any instrument for that matter. I would love to see you unqualified, incompetent critics attempt such great performances.

  • That's telling them!

  • The "problem" with Kiri is that she is an absolutely ravishing Marschallin, in a sense, still far to young and beautiful to play the "aging" Frau.

    Pavarotti has a thinness to his very high upper registers, which instead of being considered a "liability" add a kind of drama to his sound.

    His pitch is right on, and he hits the notes from above, as he was trained.

    I can see no reason to criticize him or Kiri...

    sanjosemike

  • The Marschallin is 31 years old, not really an "aging" woman, and Octavian is 17.

  • Come on now folks. The man sings like a god. His worst day is still better than almost anyone's best.

  • Pavarotti's voice doesn't crack at all (it 'stuck' (barely- that happens with a bit of phlegm). Strauss is known as a tenor killer anyway. Wonderful to see Kurt Moll-what a fantastic bass he was.

  • Not Pav's best singing.

  • Sag mir, was Du meinst? Ich denke, dass die Musikalitaet viel mehr wichtiger ist!

    Do you really mind? I think we'd better focus on musicality.

  • Ja es ist ja auch sehr schön gesungen aber beim hohen H bricht seine Stimme weg. Habe ich von Pavarotti auch noch nicht gekannt.

  • I think the reason is that he doesnt open his throat to let the sound flow. Cheers Pav

  • Yes that's right - he hardly opens his throat and has a wide mouth ;_)

  • I don't hear any crack...but he does sound tight, and the eee's are spread...just another night-but not his best -still!!!!pretty amazing, and these little snipits of live performance show the craft as it really exits, not audio comparisons with umpteen takes-this is humanity!

  • @deviljulian (At 2:55) That is a high C-flat, sir! If you had something to say about the high B at 6:31, dude, you need to check your hearing at your doc.

    And to hell with that. It's the musicality that matters. Who care about tiny little cracks in the perfectly interpreted phrases?

  • @flautist yes it is an H it goes first up to B and the higest is H or Cflat if you like that better. for the moment i'm trying this aria myselve. And its wreally nothing to do five times on a rehearsel.

    if you want musicality on this listen to the fritz wunderlich version. He sings this with an ease!!

  • @deviljulian Pavarotti's voice in this video is perfect it doesn't crack.

  • Doesn't this make anyone else nostalgic for this type of vocal splendor at the Met? Certainly the stars are at their peak. But a big plus is how rich the Met was in all-around casting at this time. In this case, we have the inimitable Joseph Frank as Valzacchi and the megawatt charm of Barbara Conrad (in her Met debut). Bravi tutti!

  • Yes it does make me nostalgic. Today's roster pales by comparison. That's because beautiful voices with great technique were placed first then...not necessarily the case now.

  • Looking for Mario Del Monaco's version...someone help me ?!?

  • Are you dreaming? If you got it, let me know too.

    dameKIRIlover

  • I will ! but you are r-t ! He never perform german opra.Kiri is a fantastic soprano(1 of my favourites)but I found Tito Beltran the Best in this aria.

  • he's sruggling a little here. not a good day.

  • You probably interpret the facial expression of concentration and support as such. Because the vocal result is -by all means- one of utter beauty.

  • No I just listen. I've heard a lot of Pav and can tell when it's not his best day.

  • we hear different things...

    I hear a great pitch and a ringing tone.

    I have learned (and believe me I hear live opera since I was a kid) to stop putting singers under the self-invented-microscope-of-th­e-opera-buff many years ago...

  • I've been listening to opera my whole life as my dad was a tenor. I don't use that opera fan microscope that so many do. Like, hearing a great performance but complaing that one syllable was mispronounced. I hate those guys(or girls). I also hear great pitch and a ringing tone but I also hear that it is not one of his best days. I know Pavs voice very well at all stages of his career and I know when he is a little off. It's still very good, I was just making an observation.

  • Sí, el tenor suena poco: cierra el sonido con mucho miedo, y le sale una emisión estrangulada y fea en los agudos: algo pequeño que no se oye en la segunda fila. Cantando así, 50 años antes, no habría podido salir ni siquiera de coprimario.

  • todo lo contrario mi amigo,todo lo contrario.

  • Pavarotti continua la tradizione del belcanto e canta perfettamente. Come si fa a non capire che Bocelli ed altri come lui strillano e ragliano come asini? Bell'invenzione il giudizio di massa e gli interessi consumistici! Abolite il microfono!

  • I cannot even come up with the words to describe him here. I'm speechless. How fortunate to have been in the audience for this!

  • Just love it!!! :) Thank you for posting :)

  • Luciano is just GLORIOUS!

  • Bravo Pavarotti!!!

  • Some diction!!seems to me the aria of the italian tenor was specialy made for Pavarotti. The legato, , respiration and vibrato are magnificent. Bravo Maestro!!

  • i was there too..............

    what a thrill

  • OH MY GOD! Pavarotti is awesome no matter what!!!

  • Oh the Baron and the close of Act II PLEASE! I vant to valtz vith the voman!

  • its like a completely different universe when he starts to sing

  • i was there!!!!

  • I hope they eventually release this on DVD! I remember seeing it several years ago on a re-broadcast... How can you go wrong with a team of Te Kanawa, Moll, Blegen, Troyanos, and the brief but golden cameo of Pavarotti?

    Many thanks for the post!

  • What a LUXE! Il Grando Luciano as a small role in opera??? Yes, this is a MET's "Der Rosenkavalier" with Dame Kiri, Moll, Blegen, Troyanos and Levine in 1982.

    Enjoy......(more coming soon)

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