Added: 2 years ago
From: asdfopera
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  • OMG you can hear the prompter so clearly :)

  • Add an opinion on pronunciation: Questionable to Milnes. Excellent that of Sutherland

  • Fully share the opinion of the synthetic mrantiquedealer, adding that the prompter was perhaps too close to microphones recording ...

  • RIP Joan Sutherland

  • Had no idea about prompter-boxes until I watched this. Interesting to hear the prompter's voice/had never heard that before. Do love how the ovation drowns out ***everything at the end of this 'number'. Thanks for posting.

  • Dame Joan 10+++++ Milnes 6-

  • Tempo!!!!! Tempo!!!!. Maestro Levine, tempo... Milne sounds young, very young voice, "La Stupenda" just perfect as always! And I'm very happy abbout to have the great opportunity to see, listen, enjoy and get moved at the Met , with all of them many years latter. Thank you Maestro Levine, Thank you Sherril, Thank you very much, Madamme Sutherland

  • @SparafucileDiMantova

    cretino , saccente , ignorante non  lo sai che queste voci sono personali e personale e chi le ascolta ..... e tu sei nessuno , perche' nessuno puo' dire chi e come...forse come si ..... ma come chi...e' personale

    torna al conservatorio se mai ci sei stato

  • povero MIlnes quella sera era indisposto ma cantò lo stesso :(

  • Comment removed

  • @windstorm1000

    I think I would too lol, but sometimes I can see the need for one. opera singers on average have about a month to prepare for a given performance. orchestra members rarely have to memorize anything and singers have words on top of all that music! I bet that prompter guy is a life saver sometimes =)

  • @raigekimaru

    there is always a prompter at the met, so i don't think this reflects badly on the singer's ability to learn the words. this was recorded backstage near the house wire, so that's why the prompter is very loud.

  • @windstorm1000 At this time, the house mikes were directly on the side of the prompter's box, amplifying anything the prompter said. It did NOT sound like this from the stage, I assure you, most of the prompters, with the exception of Adriano Petronio, mumbled the cue lines, ONLY raising their voice if the singer started to falter in their words. Please do not make the false assumption that these artists didn't know their parts--prompters do this every night at the Met.

  • @Richiesutherland Thank you for the prompter facts.-- I wrote what I did not know about, and have removed my comment. Good to learn the sublties of the opera house tradition--hundreds of years old. Santa Fe opera has opened--Faust--now in the house!

  • Peggio non puoi sentire.

  • @RIGOLETTO47 Per sentire di peggio basta entrare in un qualsiasi teatro di oggi nel quale si rappresenti un Rigoletto.

  • ABSOLUTELTY STUNNING!

  • God sutherland hits those notes with zero effort

  • @zegermans750

    well, it's easier for a coloratura soprano to hit effortless high notes than a baritone. verdi's baritone roles were high as hell. especially in his duets like this one) where the baritone is asked to match the tessitura of the soprano!

  • @raigekimaru You're right. But keep in mind that his voice is a very high baritone.

  • @Kushami17

    that's true, but he still has to match the tessitura of Gilda, which is written for a coloratura soprano.

  • Poor Milnes. He was indisposed and cancelled during the next performance; he fudges his high notes somewhat, while Sutherland's is absolutely breathtaking.

  • Listen closely you can hear the prompter

  • @Sebastian740 So what? You can hear the prompter in many live Met recordings. That doesn't reflect on the performance.

  • I was there and it was one of the greatest performances I ever heard.

  • is tat the prompter??

  • @thomastmwc yes

  • negli anni 70 il migliore Rigoletto  era Stoyan Popov !!!

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