nemorino fakir fukara bir oğlandır, ama zengin ve kendisiyle ilgilenmeyen bir kıza sevdalanmıştır. çaresizlik içinde bir "aşk iksiri" alır, ama aldığı şey ucuz kırmızı şaraptan başka bir şey çıkmaz. nemorino acınası bir şekilde yine de bunun işe yarayacağına inanmaktadır. işte birden zengin kızın ağladığını gördüğünde onun kendine aşık olduğuna, bu yüzden ağladığına inanır
I must say it's very refreshing to hear different interpretations (or another version in this case) of the great arias. Even if I perhaps like the other version more, it's important for the art itself that we keep exploring new ways. I've just discovered Alagna, and I'm really glad I did.
I like this interpretation! Crisp diction, solid technique, more baritonal which fits Alagna's range well. Perhaps an attempt to distance himself and the comparisons to the tenor who owns this aria--Pava. Good work! Bravo!
Great voice, a real legend. Please if you have the time take a look at my take on this. It is a great song and I hope I did it justice, /watch?v=BgbDA_GR5EU , thanks.
I actually saw this production on DVD a few months ago (it is Angela Gheorghiu playing opposite him btw)...he's not my favorite tenor, but he does a nice job with this aria...
While I understand some of you wanting "what the composer intended," there is not one DEFINITIVE version, and a bit of research would be preferable before stating dislike of the singer. Roberto Alagna is known to want stay as close to what is written as possible.
Actually, this is another version of "Una furtiva lagrima."
I own the recording, and the booklet states
Note from Evelino Pido:
" . . . I suggested to Roberto Alagna that we record the second version of 'Una furtiva lagrima', which Donizetti himself wrote, clearly for a more baritonal tenor, about 10 years after finishing this score. This is a very interesting version, which includes some lovely, and highly original variations in the second verse, and an associated final cadenza."
He sings the wrong notes! Nothing that Donizetti wrote. He makes his own melody as he goes along! I suggest he listen to Pavarotti and Caruso and Villazon. What a shame!
Que no es versión libre lo que canta, es que por lo visto Donizetti reescribió una furtiva lacrima y es esa versión la que canta, o por lo menos eso explican en el DVD, pobrecillo Alagna que se meten con él...
I respect alagna for being very brave, he dares changing some part of the area, and still keeping the harmony, really time changed and people changed! that's what we need !
True in one way. I think people want classics opera interpretated in modern ways, maybe even modern armony. well. Some shoul;d compose them. As for changing what is already written, that is a mistake, as Donizetti didn't wanted that, that's why he composed what he wrote. A signer should consider the scores as his bible. No one thought to rewrite the bible.For example, villazon also sang the role wonderfully, without changing the score
@Ofirangel True, He got an operation on the vocal chords and stopped to sing for a very long period. I was reffering more to the stilistic and approach of the aria ;-) though he has vocal problems now, he is still a first class artist in therm of interpretation. I named Villazon because he's well known, I could have named others as well...
@MonteKristof , are you sure this fancy thing in 2.part is indeed some Alagna's invention, rather than an earlier alternative version? I imagined they had done some research for this Salzburg performance, going back to originals in a few instances. Was I wrong?
@MonteKristof Plenty of people have rewritten (oops, I mean "translated") the bible. If one knows nothing of composition perhaps they should not change the scores. Otherwise everything is fair game. Some performers enjoy having artistic freedom with their roles and directors with their productions. Not all like being glorified dancing (singing) monkeys.
Furthermore, there is no way to claim with todays society/instruments/etc that Donizetti would or would not want something - he is dead.
I do like that he sings this a bit more upbeat. Because of the legato tones, a lot of singers end up in a sort of glum demeanor. Where as in the story it should be a mixed emotion of amazement that the love potion actually worked with the realization what that means. She loves him!
è grande da avere nuovi tenori perché il maestro è andato. Amo Roberto Magno poiché lui si molto di talento e lui mi danno indietro le memorie di Pavarotti. Grande Roberto
per casteddu79: ti lascio questo commento con tutto il rispetto possibile.. io studio lirica e posso dirti che queste sono variazioni che si possono eseguire in base a chi interpreta questa aria. Esse sono state scritte proprio sullo spartito e certe volte proprio dal compositore stesso, può sembrare assolutamente fuori luogo ma é così.. :-) ritengo che roberto alagna sia uno degli interpreti più bravi dei nostri giorni.. questo commento non vuole essere una mancanza di rispetto
@MsGENIUS901 potranno annche essere possibili queste variazioni, ma in questo caso quello di roberto mi sembra un errore ed in più non mi piace anche a me !
per casteddu79: ti lascio questo commento con tutto il rispetto possibile.. io studio lirica e posso dirti che queste sono variazioni che si possono eseguire in base a chi interpreta questa aria. Esse sono state scritte proprio sullo spartito e certe volte proprio dal compositore stesso, può sembrare assolutamente fuori luogo ma é così.. :-) ritengo che roberto alagna sian uno degli interprei più bravi dei nostri giorni.. questo commento non vuole essere una mancanza di rispetto
Alagna n'a du tout de souffle, en tout cas dans cette video il chante comme s'il voulait se depecher..c'est bien chante, sans faute de note, mais il lui manque quand meme beaucoup dans cet extrait.!
Alagna n'a du tout de souffle, en tout cas dans cette video il chante comme s'il voulait se depecher..c'est bien chante, sans faute de note, mais il lui manque quand meme beaucoup dans cet extrait.!
He is actually singing ornaments that Donizetti had rewritten and autographed dated 1843 found in the Paris Public Library... Donizetti had also re-written it a third down...
He is actually singing ornaments that Donizetti had rewriten and autographed dated 1843 found in the Paris Public Library... Donizetti had also re-written it a third down...
His improvisations were not any more difficult than the original, so what's the point? The odd ending capped the disappointment. I can go listen to another clip, but if I were in the theater, I think I would feel frustrated at not having heard the real Una Furtiva.
Va muy de prisa, esta aria es dulce, no se puede cantar con tanta potencia, es que el no es tenor ligero, definitivamente esta aria no es para su voz. escuchar a Alva, Florez o Kraus, otro tema.
laboratory, including some with faults, and then extrapolate "spurious technique" from such observations. Allowing the larynx to elevate is a serious fault which needs time and hard work to fix. The larynx, when sining, should be stable, as in everyday speech. This is a great example.....watch and learn.
OK, all of you young tenors watching this, please observe the following: in the cadenza, which Sgr Alagna sings full voice with dazzling technique, observe closely how stable his larynx (Adam's apple) is. It does not move around, or go up with the pitch. This is good technique, there some bad advice currently going around that a tenor should try to elevate his larynx for high notes, voice scientists invite some very ordinary singers into the .....continued
Donizetti wrote beautiful music, and this particular aria is one that is mere perfection...REALLY...it was stripped to bits and there's no need for so many interpretative changes which actually take away its simplistic beauty.
He sings here the very first version of this aria, which was originally writen for a baritone voice and later transposed for the tenor voice of course.
@MDSmitty2488 It's part of the bel Canto Technique to ornament the melody on the repeat. Some do more than others... see Joan Sutherland and Marylin Horne for great examples. :)
He doesn't sing this sad because he has no reason to - he has seen the "furtive tear" - he KNOWS NOW that she cares about him! And Alagna, who is an excellent actor, knows when to be very quiet & contemplative, which is needed for this particular scene.
ragazzi ma conoscete la storia? parlate senza cpire nemmeno che dite...alagna in primo luogo non è un grande tenore e questo è risaputo...abbiamo nel panorama mondiale tenori molto superbi e superiori a lui...alagna manca della grandezza e potenza vocale! riguardo l'aria non è triste...forse prima di ascoltare ragazzi leggete i libretti delel opere e capirete qualcosa e sparerete meno stronzate
due sono le cose, o milioni di persone che ascoltano roberto non capiscono niente, o tu sei veramente competente, ma io opto per un'altra ipotesi, cioè, che la mamma degli idioti e sempre incinta.
Opera lovers are so funny. They ramble on about an artist's creativity and interpretation.Yet here comes Alagna whith a fresh interpretation of this aria and it is chastised for being different. THis aria, within context of opera, is not as sad as Caruso, Pavarotti and others have historically made it to be., Maybe, a little frivolity is a good thing in this aria..BEsides, embrace this different interpretation.
That's the thing: The aria is *NOT* sad. It begins reflective and even bemused, to a moment of realization ("M'ama! Si! M'ama!") and ends in an eruption of joy upon the realization that he is loved ("Cielo! Si puo morir!") I'm afraid Roberto doesn't do any of that, he's pretty stiff throughout. The only time when I saw an expression cross his face was when he was done singing.
There's bel canto artistic singing, and then theres a bit much. I think he's crossed the line a bit with his ornamentation here. Nemorino isn't a diva...so the extra just isn't called for in this character...not that it needs to be completely straight up, but this is a bit much. Also he comes off his chords at times at the top of his range. He's gotta work on keeping the chords together.
please inform yourself, before babbeling away. This version is not by Alagna, but by Donizetti. Just because most of the tenors don't sing it it does not mean it's not supposed to be sung.
I don't believe I was stating anything that was misinformed. I have the version that he is singing, in fact have sung it many times, but he IS going off what was originally written and adding in his own interpretation, which is annoying. Before you feel the need to jump to any conclusions about what people know or do not know, do your fucking home work idiota.
Well funny, I have exactly the same version he sings. To the note. Perhaps you schould also consider, that at that time singers were really at liberty to do anything on stage.
There is another autograph of this aria by Donizetti from autumn 1843 (so about 10 years after the opera was written) and it's written a third lower than the original. He sings this second version, though in the key of the first version.
I love it and also sing this version. The cadenza is in any case a piacere, at liberty of a singer.
How interesting. Do you know anything else of the story of this second versi'on.
I know that Donizetti originaly wrote this melody for an oboe concert, I think and that he later used it for the nemorino Aria because he was lacking a good aria for the tenor in the opera.
my friends that's why this kind of music is called bel canto, which means the ability to make the aria your own, but this effect is only doable in bel canto never, his phrasing and adorment is beautiful in this aria a great lesson of belcanto, the score is written in and the artist creates art within the art, it requires a little of bit of research and studie to know that Mr Alagna is completely right and just in singing the aria with adornments and doesn't violate the code of bel canto.
Jejeje, Alagna siempre ofreciendo cosas nuevas y alternativas. Creo que es creativo y eso debe valorarse, sin embargo si se llegan a echar de menos algunas de las melodías originales de este pasaje. Variar esta bien siempre y cuando no se exagere. Me gustó el dominio de su voz aunque creo que fue algo rápido en el tempo. Buena interpretación, buen dominio de la voz, pero demasiado alejado de lo original. me quedó debiendo final: "si può morir, si può morir, d'amor". aún así, me gustó.
Como tenor, mediocre... sin que esto sea una ofensa. Como interprete, desastroso. Quiero creer que lo hizo a proposito pero no acertó una nota. Y aparte de todo esto, se nota que no sabe lo que está cantando, porque esos cambios que hizo diluyen la profundidad del sentimiento de lo que canta.
This comment has received too many negative votesshow
mais qu'est ce que c'est que cette horreur ??????
serieux ce n'est pas pour critiquer R Alagna mais il a completement changé la mélodie !!!! c'est horrible !!! et il arrete pas de baisser la tessiture !!!
Alagna was 33 yrs old here - & looks about 18... Yes, he is NOT Pavoritti ( although he won the competition in '89) but he has (at this point) at lyric tenor voice, not a dramatic tenor. Anyway, who would you rather SEE in this role! Alagna & Gheorghiu are great in the DVD.
listening to all these youtube experts, sometimes i think myself fortunate that i dont know the nuances of opera, so i can think to myself 'this sounds great' instead of 'his technique is horrible and blah blah blah....'
Its easier to enjoy if you can't hear the faults, but I suspect another tenor can better appreciate all that is required to create such a beautiful sound.
But in general I agree with you- I am sometimes glad I don't know enough about it to despise those performances I presently enjoy, so derided by those who know more.
Alagna is not Pavarotti, but he is great to hear, nevertheless.
alagna no se encuentra ni por asomo entre mis tenres favoritos pero me ha alegrado encontrarme una versión suya de la furtiva lacrima más decente que la que enconté en una grabación, bajada un tono para poder realizar una cadenzza final HORROROSA, no obstante su prepotencia no le permite realizar un Nemorino creible, pero aún asi está correcto, me alegro por él
And by the way, a great Nemorino is also Ramon Vargas. There is a studio recording conducted by Viotti from 1992. Amazing Rossini and Donizetti in this disc.
If you want to hear Alagna at his best in the Furtiva Lagrima in the later most known version, just listen to the Erato studio recording. Adina is Devia and conductor is Viotti, an expert conductor in Bel Canto. Too bad he passed away from a heart attack a few year ago...
Poi secondo lui sarebbero quelli che lo fischiano alla Scala a non capire una mazza?!!
Ma la canti come si deve e ci faccia il piacere. Tenori più grandi non hanno osato deturpare l'originale, è arrivato lui a fare il figo della situazione... con risultati pessimi per giunta. Che Donizetti riposi in pace.
ma che stai a scrive? ma perche' non ragioni con il cervello? Prima cosa: Donizetti ha scritto questa versione cantata da Alagna dieci anni dopo la prima. Alagna non sta facendo assolutamente il presuntuoso. Per quel che riguarda il resto....Alagna merita piu' rispetto in confronto ad altri tenori che di lirica non hanno molto (vedasi Bocelli).
Sounds like a baroque 'da capo', it's kinda funny - but I don't mean it's boring. There's a nice interpretation. Perhaps he felt that he could do that at Bel Canto, since the cadenzas must sound like improvises. He went just to far in this idea lol. Like Maria Callas and Una voce poco fà, perhaps.
Alagna Voice es magnifique, but what happened to the music? he made a lot of variations on the original score, and I dont feel those were variations we could accept, the character of the composition is lost. However, always good to listen to a working tenor.
I am almost 100% positive that Donizetti wrote both versions of Una Furtiva Lacrima. I think this was the original and the more familiar one was written about ten years later. The DVD explains it very well.
I have a "regular" version of this aria at home ,also sang by alagna and it is just great! Much more fluid and emotional that this version (althought very original)...and it really showed his beautiful voice.
This is a WEAK INTERPRETATION....someone wrote great singer...are you joking? Can't you hear the uneven delivery how he overcovers in some places and spreads to much in others...very ameturish...you want to hear GREAT try PAVAROTTI....Pavarotti was no fool...the reason he supporetd this egotistical clown is because Alagna's singing just undersores how great Pavarotti was in comparison...I mean the guy is not even in the same league....and I don't want to hear the B.S. spinto vs lyric argument
nemorino fakir fukara bir oğlandır, ama zengin ve kendisiyle ilgilenmeyen bir kıza sevdalanmıştır. çaresizlik içinde bir "aşk iksiri" alır, ama aldığı şey ucuz kırmızı şaraptan başka bir şey çıkmaz. nemorino acınası bir şekilde yine de bunun işe yarayacağına inanmaktadır. işte birden zengin kızın ağladığını gördüğünde onun kendine aşık olduğuna, bu yüzden ağladığına inanır
TheTedirgin 1 day ago
I must say it's very refreshing to hear different interpretations (or another version in this case) of the great arias. Even if I perhaps like the other version more, it's important for the art itself that we keep exploring new ways. I've just discovered Alagna, and I'm really glad I did.
FredrikJComposer 2 weeks ago 2
Muy buena voz, pero poco respeto por el autor.
ARQUICANTANTE 3 weeks ago
I like this interpretation! Crisp diction, solid technique, more baritonal which fits Alagna's range well. Perhaps an attempt to distance himself and the comparisons to the tenor who owns this aria--Pava. Good work! Bravo!
appeace1 3 weeks ago
Un génie, la plus belle voix du monde, j'en reste sans voix !
monroman1 4 weeks ago
Que porquería le hizo a ésta aria. No me gusta ni tantito.
focsipolo 1 month ago
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Great voice, a real legend. Please if you have the time take a look at my take on this. It is a great song and I hope I did it justice, /watch?v=BgbDA_GR5EU , thanks.
topboy006 2 months ago
!EL MEJOR !!!!!!
santanaelena1 2 months ago
I actually saw this production on DVD a few months ago (it is Angela Gheorghiu playing opposite him btw)...he's not my favorite tenor, but he does a nice job with this aria...
jpg0901 2 months ago
i like alagna but not this version of una furtiva lagrima !
MrFrenchaccent 4 months ago
さすがに「高級ななめし皮のような」肌触りの美声ですね。しかし、このような歌い方ははじめて聴きました。最近の流行でしょうか？
jiettey 4 months ago
Les 38 personnes qui n'aiment pas doivent s'exploser le cerveau et les oreilles avec NTM ou Motorhead !!! pas possible autrement !!!! :-O
Roberto, c'est du pur chef- d'oeuvre !!!
VirginieDP 4 months ago in playlist Vidéos favorites de VirginieDP
non è una versione soddisfacente.... come diceva kraus una bella voce è solo il 10% ... la tecnica .........???
Peccato che questo tenore abbia scelto la facile via del divismo...
fra1979it 5 months ago
Pour qui se prend-il pour changer les notes a sa guise ?? Quelle pretention ! Pas etonnant qu'il soit persona non grata a la Scala, l'imbecile !
Aspett0 5 months ago
looooooove!
LazEstrada 5 months ago 2
Year/Location/Cast
The recording was done in 1996, at the Opera de Lyon (France)
Nemorino - Roberto Alagna
Adina - Angela Gheorghiu (you're right, vladutze84)
Belcore - Roberto Scaltriti
Dulcamara - Simone Alaimo
Giannetta - Elena Dan
ConcentricEccentric 5 months ago
While I understand some of you wanting "what the composer intended," there is not one DEFINITIVE version, and a bit of research would be preferable before stating dislike of the singer. Roberto Alagna is known to want stay as close to what is written as possible.
ConcentricEccentric 5 months ago 8
Actually, this is another version of "Una furtiva lagrima."
I own the recording, and the booklet states
Note from Evelino Pido:
" . . . I suggested to Roberto Alagna that we record the second version of 'Una furtiva lagrima', which Donizetti himself wrote, clearly for a more baritonal tenor, about 10 years after finishing this score. This is a very interesting version, which includes some lovely, and highly original variations in the second verse, and an associated final cadenza."
ConcentricEccentric 5 months ago 10
whats with the wrong notes....this is disrespectful. Write your own opera then do whatver you want with it.
thatoperaguy 5 months ago
What the dump is he doing? SIng what's written idiot. Roberto Donizetti ? no.
itsthemex07 5 months ago
Аланья один из лучших теноров мира !!!
karasik41 5 months ago
Sounds soul touching.
And an amazing improvisation of this aria.
arissss1962 6 months ago
Roberto est FABULEUX !!!! Quelle voix !!!!
VirginieDP 6 months ago
He sings the wrong notes! Nothing that Donizetti wrote. He makes his own melody as he goes along! I suggest he listen to Pavarotti and Caruso and Villazon. What a shame!
barmax4537 6 months ago
@barmax4537 In Donizetti's day this kind of extreme ornamentation was routine. It's not incorrect.
Englishtenor2 5 months ago 2
BRAVO!!!!!!!!
ModeModeMode63 7 months ago in playlist Una furtiva lagrima
MA CHE SCHIFO E' NON VA A TEMPO E LE NOTE SONO SBALLATISSIME
x00xification 8 months ago
Que no es versión libre lo que canta, es que por lo visto Donizetti reescribió una furtiva lacrima y es esa versión la que canta, o por lo menos eso explican en el DVD, pobrecillo Alagna que se meten con él...
inshallahojala 8 months ago
I respect alagna for being very brave, he dares changing some part of the area, and still keeping the harmony, really time changed and people changed! that's what we need !
lonlywolfish 10 months ago
@lonlywolfish
True in one way. I think people want classics opera interpretated in modern ways, maybe even modern armony. well. Some shoul;d compose them. As for changing what is already written, that is a mistake, as Donizetti didn't wanted that, that's why he composed what he wrote. A signer should consider the scores as his bible. No one thought to rewrite the bible.For example, villazon also sang the role wonderfully, without changing the score
MonteKristof 9 months ago
@MonteKristof but villazon is having awfull technique lately
Ofirangel 9 months ago
@Ofirangel True, He got an operation on the vocal chords and stopped to sing for a very long period. I was reffering more to the stilistic and approach of the aria ;-) though he has vocal problems now, he is still a first class artist in therm of interpretation. I named Villazon because he's well known, I could have named others as well...
MonteKristof 9 months ago
@Ofirangel but beczala is the best
chrzanowianin 8 months ago
@MonteKristof , are you sure this fancy thing in 2.part is indeed some Alagna's invention, rather than an earlier alternative version? I imagined they had done some research for this Salzburg performance, going back to originals in a few instances. Was I wrong?
aglezelelekhaim 9 months ago
@MonteKristof Plenty of people have rewritten (oops, I mean "translated") the bible. If one knows nothing of composition perhaps they should not change the scores. Otherwise everything is fair game. Some performers enjoy having artistic freedom with their roles and directors with their productions. Not all like being glorified dancing (singing) monkeys.
Furthermore, there is no way to claim with todays society/instruments/etc that Donizetti would or would not want something - he is dead.
tggold 7 months ago
Bravo! There is always a bit of sadness in the greatest joy and he finds it perfectly. And could he be any more romantic?
giirving 11 months ago
Bravo! There is always a bit of sadness in the greatest joy and he finds it perfectly. And could he be any more romantic?
giirving 11 months ago
SIMPLY BEAUTIFUL
SuperDrew72 11 months ago
Sublime!
betsy1947 1 year ago
What a voice and what an expression. Simply the best tenor.
hypno6 1 year ago
I do like that he sings this a bit more upbeat. Because of the legato tones, a lot of singers end up in a sort of glum demeanor. Where as in the story it should be a mixed emotion of amazement that the love potion actually worked with the realization what that means. She loves him!
phantom12321 1 year ago 2
è grande da avere nuovi tenori perché il maestro è andato. Amo Roberto Magno poiché lui si molto di talento e lui mi danno indietro le memorie di Pavarotti. Grande Roberto
DaniellefromChile 1 year ago
I do wish people would realize that this is actually a happy aria....just because theres a bassoon in the begining does not mean its sad
millerj3066 1 year ago 4
¿Por qué el conductor le habrá permitido hacer esas variaciones dentro de la Ópera?
AnibalAcevedo1 1 year ago
beautiful voice!
willberain 1 year ago
NOUS T'AIMONS ROBERTO!
magda3102 1 year ago
Roberto Alagna
Orchestre et Choeur de l´Opera National de Lyon - evelino pido
ulisesramirezsalinas 1 year ago
per casteddu79: ti lascio questo commento con tutto il rispetto possibile.. io studio lirica e posso dirti che queste sono variazioni che si possono eseguire in base a chi interpreta questa aria. Esse sono state scritte proprio sullo spartito e certe volte proprio dal compositore stesso, può sembrare assolutamente fuori luogo ma é così.. :-) ritengo che roberto alagna sia uno degli interpreti più bravi dei nostri giorni.. questo commento non vuole essere una mancanza di rispetto
MsGENIUS901 1 year ago 2
@MsGENIUS901 potranno annche essere possibili queste variazioni, ma in questo caso quello di roberto mi sembra un errore ed in più non mi piace anche a me !
tippitay 1 year ago
per casteddu79: ti lascio questo commento con tutto il rispetto possibile.. io studio lirica e posso dirti che queste sono variazioni che si possono eseguire in base a chi interpreta questa aria. Esse sono state scritte proprio sullo spartito e certe volte proprio dal compositore stesso, può sembrare assolutamente fuori luogo ma é così.. :-) ritengo che roberto alagna sian uno degli interprei più bravi dei nostri giorni.. questo commento non vuole essere una mancanza di rispetto
MsGENIUS901 1 year ago
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Alagna n'a du tout de souffle, en tout cas dans cette video il chante comme s'il voulait se depecher..c'est bien chante, sans faute de note, mais il lui manque quand meme beaucoup dans cet extrait.!
Sarashka1 1 year ago
Alagna n'a du tout de souffle, en tout cas dans cette video il chante comme s'il voulait se depecher..c'est bien chante, sans faute de note, mais il lui manque quand meme beaucoup dans cet extrait.!
Sarashka1 1 year ago
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o mio dio gaetano donizetti si sta rivoltando sulla tomba.
come si puo rovinare una romanza di questa meraviglia.
musicalmente tutto diverso dall'originale, ma io mi chiedo
come puo il direttore d'orchestra permettere questo e una vergogna
non si a piu rispetto del compositore che la scritta.
alagna ma va a cantare ai mercati del pesce che sei osceno e non meriti
di cantare una furtiva lagrima.
casteddu79 1 year ago
Comment removed
casteddu79 1 year ago
o mio dio gaetano donizetti si sta rivoltando sulla tomba.
come si puo rovinare una romanza di questa meraviglia.
musicalmente tutto diverso dall'originale, ma io mi chiedo
come puo il direttore d'orchestra permettere questo e una vergogna
non si a piu rispetto del compositore che la scritta.
alagna ma va a cantare ai mercati del pesce che sei osceno e non meriti
di cantare una furtiva lagrima.
casteddu79 1 year ago
@casteddu79 Concordo pienamente.
clarissamarro 1 year ago
tout en nuances et en émotion, bravo
caquenanaud1 1 year ago
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He is actually singing ornaments that Donizetti had rewritten and autographed dated 1843 found in the Paris Public Library... Donizetti had also re-written it a third down...
pjsfrenchie 1 year ago
He is actually singing ornaments that Donizetti had rewriten and autographed dated 1843 found in the Paris Public Library... Donizetti had also re-written it a third down...
pjsfrenchie 1 year ago 2
If it ain't broke ...DONT FIX IT!
deetz987 1 year ago
Aucune emotion, désolé interprértation fade !!!!!!
JLP078 1 year ago
i didnt know Alagna wrote this aria. man for the longest time i thought it was Donizetti! silly me.
fattyboyblue 1 year ago
His improvisations were not any more difficult than the original, so what's the point? The odd ending capped the disappointment. I can go listen to another clip, but if I were in the theater, I think I would feel frustrated at not having heard the real Una Furtiva.
raythespian 1 year ago
Eis aí um grande clássico dos clássicos. Uma verdadeira jóia rara.
MrSilvioreis 1 year ago
non mi piace affatto .
bodiloto 1 year ago
Va muy de prisa, esta aria es dulce, no se puede cantar con tanta potencia, es que el no es tenor ligero, definitivamente esta aria no es para su voz. escuchar a Alva, Florez o Kraus, otro tema.
gonzalojosevb 1 year ago
@gonzalojosevb Definitivamente, me quedo con Alagna. Gracias
estanteriax 1 year ago
Different, very male and powerful, great voice, great heart -BUTCH singing different!!
bladezone1 1 year ago
laboratory, including some with faults, and then extrapolate "spurious technique" from such observations. Allowing the larynx to elevate is a serious fault which needs time and hard work to fix. The larynx, when sining, should be stable, as in everyday speech. This is a great example.....watch and learn.
keenaussie 1 year ago
OK, all of you young tenors watching this, please observe the following: in the cadenza, which Sgr Alagna sings full voice with dazzling technique, observe closely how stable his larynx (Adam's apple) is. It does not move around, or go up with the pitch. This is good technique, there some bad advice currently going around that a tenor should try to elevate his larynx for high notes, voice scientists invite some very ordinary singers into the .....continued
keenaussie 1 year ago
I can't get over the fact that he is such a HUGE DIVO did any body see how much of a child he was at La Scala!
classicalgal14 1 year ago
this man has a golden voice. love his voice. amazing.
babystinky 1 year ago
que feo..
ellicantropo 1 year ago
Donizetti wrote beautiful music, and this particular aria is one that is mere perfection...REALLY...it was stripped to bits and there's no need for so many interpretative changes which actually take away its simplistic beauty.
nickad84 1 year ago
He sings here the very first version of this aria, which was originally writen for a baritone voice and later transposed for the tenor voice of course.
BassoNero 1 year ago
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Alagna + Villazon + Alvarez + albelo = 1/4 di PAVAROTTI
AleBro83 1 year ago
Bravo Roberto......
agos969 1 year ago 3
prefer Australian David Hobson's rendition to all on youtube.
annyfenton1 1 year ago
bello.... però un po sbuffoneggiante.
WINSTONS123 1 year ago
ma che note canta?!?
skunk0z 1 year ago
doesn't this usually end with a repetition of "si puo morir"?
sopranosd 1 year ago
Wow he took some liberties with the notes here. I guess it is bel canto and if he can get away with it, good for him.
MDSmitty2488 1 year ago
@MDSmitty2488 It's part of the bel Canto Technique to ornament the melody on the repeat. Some do more than others... see Joan Sutherland and Marylin Horne for great examples. :)
JoshuaMazur 1 year ago
Alagna is a marvelous tenor: great voice, great heart, but lyric and dramatic. Just love him.
jd1906sf 2 years ago 20
A reasonable version although it cannot approach the perfection of Jussi Bjorling.
ajjle 2 years ago
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Agreed.
guanacadecorazon12 1 year ago
Magnifico!!!
WMWZeppelinWMW 2 years ago 3
He doesn't sing this sad because he has no reason to - he has seen the "furtive tear" - he KNOWS NOW that she cares about him! And Alagna, who is an excellent actor, knows when to be very quiet & contemplative, which is needed for this particular scene.
myyellowlabfan 2 years ago 25
ragazzi ma conoscete la storia? parlate senza cpire nemmeno che dite...alagna in primo luogo non è un grande tenore e questo è risaputo...abbiamo nel panorama mondiale tenori molto superbi e superiori a lui...alagna manca della grandezza e potenza vocale! riguardo l'aria non è triste...forse prima di ascoltare ragazzi leggete i libretti delel opere e capirete qualcosa e sparerete meno stronzate
miaobauaugh 2 years ago
I've never heard these improvisations before. It's a nice change
24yotenor 2 years ago
due sono le cose, o milioni di persone che ascoltano roberto non capiscono niente, o tu sei veramente competente, ma io opto per un'altra ipotesi, cioè, che la mamma degli idioti e sempre incinta.
giofur2004 2 years ago
il numero non fa la quantita'
lamarchesado 2 years ago
It's good, but the conductor is pushing the tempo too much--it should be slow, contemplative, meditative...
giollachriost 2 years ago 3
This is the must beautiful part of this opera .. :)
johanXXX1969 2 years ago
Beautiful singing. Still, he doesn't play acts as much. Villazon's version is a lot more unique in that regard.
espinaca79 2 years ago
Opera lovers are so funny. They ramble on about an artist's creativity and interpretation.Yet here comes Alagna whith a fresh interpretation of this aria and it is chastised for being different. THis aria, within context of opera, is not as sad as Caruso, Pavarotti and others have historically made it to be., Maybe, a little frivolity is a good thing in this aria..BEsides, embrace this different interpretation.
bluluvsrae 2 years ago 5
That's the thing: The aria is *NOT* sad. It begins reflective and even bemused, to a moment of realization ("M'ama! Si! M'ama!") and ends in an eruption of joy upon the realization that he is loved ("Cielo! Si puo morir!") I'm afraid Roberto doesn't do any of that, he's pretty stiff throughout. The only time when I saw an expression cross his face was when he was done singing.
Merryjest 2 years ago
Ma che versione è!!!???
Gio0587 2 years ago 2
There's bel canto artistic singing, and then theres a bit much. I think he's crossed the line a bit with his ornamentation here. Nemorino isn't a diva...so the extra just isn't called for in this character...not that it needs to be completely straight up, but this is a bit much. Also he comes off his chords at times at the top of his range. He's gotta work on keeping the chords together.
mackgotcher 2 years ago
Muy amanerado....
sergiotmujica 2 years ago
Esta no es la versiòn original escrita por Donizetti.
Questa non é la versione originale scrita perr Donizetti
LuisdelaCuesta 2 years ago 3
bella voce,tecnica vocale sotto 0,stonato ........
bodiloto 2 years ago
This has been flagged as spam show
I do like it :):):):)
kharlitoz 2 years ago
E bravissimo....preferisco questa interpretazione .....bravo!!!
agos969 2 years ago
On peut préférer Pavarotti (dont je suis fan ) mais cette version me parait très bien , merci Roberto
gcalvet81 2 years ago 3
y para cuando ...alagna,florez,y villazon...en vivo.
produccion vamos ...¿¿¿¡¡¡..
musilvaleo 2 years ago
m'ama, si m'ama lo vedo, lo vedo
salvo79salvo 2 years ago
Magnifique! Merci, Roberto.
lafemmerusse 2 years ago
Sensobrando tiene mucha razón.
Hizo lo que se le vino en gana.
mederi06 2 years ago
Are there different versions of this aria besides the cadenza in the very end? He is singing alot of diff notes from my score.
kevin86h 2 years ago
he has changed the score which is annoying, apparently the original was not good enough. But he is way too distracting when he does it.
bubbaq 2 years ago
please inform yourself, before babbeling away. This version is not by Alagna, but by Donizetti. Just because most of the tenors don't sing it it does not mean it's not supposed to be sung.
amballa 2 years ago 4
I don't believe I was stating anything that was misinformed. I have the version that he is singing, in fact have sung it many times, but he IS going off what was originally written and adding in his own interpretation, which is annoying. Before you feel the need to jump to any conclusions about what people know or do not know, do your fucking home work idiota.
bubbaq 2 years ago
Well funny, I have exactly the same version he sings. To the note. Perhaps you schould also consider, that at that time singers were really at liberty to do anything on stage.
amballa 2 years ago 3
There is another autograph of this aria by Donizetti from autumn 1843 (so about 10 years after the opera was written) and it's written a third lower than the original. He sings this second version, though in the key of the first version.
I love it and also sing this version. The cadenza is in any case a piacere, at liberty of a singer.
amballa 2 years ago 5
How interesting. Do you know anything else of the story of this second versi'on.
I know that Donizetti originaly wrote this melody for an oboe concert, I think and that he later used it for the nemorino Aria because he was lacking a good aria for the tenor in the opera.
enricodicapri 2 years ago 2
my friends that's why this kind of music is called bel canto, which means the ability to make the aria your own, but this effect is only doable in bel canto never, his phrasing and adorment is beautiful in this aria a great lesson of belcanto, the score is written in and the artist creates art within the art, it requires a little of bit of research and studie to know that Mr Alagna is completely right and just in singing the aria with adornments and doesn't violate the code of bel canto.
jesusdanielhernandez 2 years ago
Foi a primeira versão que ouvi desta bela ária e continuo fiel a ela! É a mais conforme o libreto. Bravissimo Roberto!
cosmos121122 2 years ago
Oh, how wonderful, he does the ornamented version. Though it should be sung a third lower...
amballa 2 years ago 2
ti voglio bene Roberto
themelodiest 2 years ago 2
What the?
Honken 2 years ago
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maurorosa1963 2 years ago
è quasi meglio Aldo Bianchi
velenorosso 2 years ago
help me PLEASEEEEEEEEEEEEEEEEEEEEEE!!!!
velenorosso 2 years ago
Qué versión tan exótica. Canta lo que le sale de los huevos. Pues nada, que le cunda.
sensobrando 2 years ago
Jejeje, Alagna siempre ofreciendo cosas nuevas y alternativas. Creo que es creativo y eso debe valorarse, sin embargo si se llegan a echar de menos algunas de las melodías originales de este pasaje. Variar esta bien siempre y cuando no se exagere. Me gustó el dominio de su voz aunque creo que fue algo rápido en el tempo. Buena interpretación, buen dominio de la voz, pero demasiado alejado de lo original. me quedó debiendo final: "si può morir, si può morir, d'amor". aún así, me gustó.
chicocucea 2 years ago
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TheYzgy 2 years ago
@TheYzgy no comment ma chi ti credi di essere 'presuntuosissimo tenore '
REGOLOAD 10 months ago
troppi abbellimenti.. sei nella romanza sbagliata caro...
franztenor 2 years ago
Ma da uno a 10...quanto sei BELLO Alagna????? Bello e bravo.......! Very good!!
aniaromanoff 2 years ago
troppo veloce maestro!!!
rexeterna 2 years ago
Por Dios, que le hizo este hombre a esa aria tan hermosa??? desastrozas sus "modificaciones" por asi llamarlas
focsipolo 2 years ago
the best una furtiva lacrima I ever hurt
Teqdor 2 years ago 3
Como tenor, mediocre... sin que esto sea una ofensa. Como interprete, desastroso. Quiero creer que lo hizo a proposito pero no acertó una nota. Y aparte de todo esto, se nota que no sabe lo que está cantando, porque esos cambios que hizo diluyen la profundidad del sentimiento de lo que canta.
Valantur 2 years ago
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horrible
no me gusta este tenior
no me gusta su tesitura
............sorry, no me agrado esa interpretacion
Calaf120 2 years ago
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mais qu'est ce que c'est que cette horreur ??????
serieux ce n'est pas pour critiquer R Alagna mais il a completement changé la mélodie !!!! c'est horrible !!! et il arrete pas de baisser la tessiture !!!
c'est quoi ce travail ???????????
c'est affreux !!
descelcal 2 years ago
Ne crois-tu pas que ce n'est pas Alagna, qui a choisi cette version (écrit aussi par Donizetti), mais le chef d'orchestre?
Takimirimo 2 years ago 5
Alagna was 33 yrs old here - & looks about 18... Yes, he is NOT Pavoritti ( although he won the competition in '89) but he has (at this point) at lyric tenor voice, not a dramatic tenor. Anyway, who would you rather SEE in this role! Alagna & Gheorghiu are great in the DVD.
myyellowlabfan 2 years ago 2
Very gentle and touching version! Thanks for posting!
mayflash67 2 years ago 4
I can't believe he began his career as a cabaret singer- its always sounds as if he was born to the opera.
jenni4claire 2 years ago 3
You can hear the wonderful version of Joseph Schmidt also.
mayflash67 2 years ago
listening to all these youtube experts, sometimes i think myself fortunate that i dont know the nuances of opera, so i can think to myself 'this sounds great' instead of 'his technique is horrible and blah blah blah....'
chinaman432 2 years ago 3
Its easier to enjoy if you can't hear the faults, but I suspect another tenor can better appreciate all that is required to create such a beautiful sound.
But in general I agree with you- I am sometimes glad I don't know enough about it to despise those performances I presently enjoy, so derided by those who know more.
Alagna is not Pavarotti, but he is great to hear, nevertheless.
jenni4claire 2 years ago
bravoooooooooooo
ClaudiaFan 2 years ago 5
Magnifica interpretazione della seconda versione: davvero grande Alagna. Poche storie, un tenore lirico appassionato e anche tecnico. Bravo!!!
jeanmolin55 2 years ago 5
alagna no se encuentra ni por asomo entre mis tenres favoritos pero me ha alegrado encontrarme una versión suya de la furtiva lacrima más decente que la que enconté en una grabación, bajada un tono para poder realizar una cadenzza final HORROROSA, no obstante su prepotencia no le permite realizar un Nemorino creible, pero aún asi está correcto, me alegro por él
teneley 2 years ago
il a du coffre ce mec la!!bravo,leberger59
leberger59 2 years ago
interesante las variaciones... un solo instante i palpiti del suo bel cor sentir --genial..
bobhbe 2 years ago
And by the way, a great Nemorino is also Ramon Vargas. There is a studio recording conducted by Viotti from 1992. Amazing Rossini and Donizetti in this disc.
posa67 2 years ago
If you want to hear Alagna at his best in the Furtiva Lagrima in the later most known version, just listen to the Erato studio recording. Adina is Devia and conductor is Viotti, an expert conductor in Bel Canto. Too bad he passed away from a heart attack a few year ago...
posa67 2 years ago
When was this? 96?
Englishtenor2 2 years ago
Poi secondo lui sarebbero quelli che lo fischiano alla Scala a non capire una mazza?!!
Ma la canti come si deve e ci faccia il piacere. Tenori più grandi non hanno osato deturpare l'originale, è arrivato lui a fare il figo della situazione... con risultati pessimi per giunta. Che Donizetti riposi in pace.
melomaneAN 2 years ago
ma che stai a scrive? ma perche' non ragioni con il cervello? Prima cosa: Donizetti ha scritto questa versione cantata da Alagna dieci anni dopo la prima. Alagna non sta facendo assolutamente il presuntuoso. Per quel che riguarda il resto....Alagna merita piu' rispetto in confronto ad altri tenori che di lirica non hanno molto (vedasi Bocelli).
kurtinsmdg 2 years ago 2
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matthieusarah 2 years ago
I like this version! Even if it is not original, it's new and interesting. Traditionalists get stuck up their own asses sometimes :-p
flaze3 2 years ago 5
to flaze3 - I like your :-p
very cute. I enjoyed this also...
gdihtstupdppl 2 years ago
well I'm glad there's more than 1 person who liked the interp, lol :-)
flaze3 2 years ago
Me encanta este hombre,aun que se sale de las linias del bell canto.
carmengatita82 2 years ago
gran voz y version pero se pasa por el forro a Donizzeti xd
Soblok 2 years ago
Nice interpretation! But you must watch, not just listen.
wretchedoptimist 2 years ago
Sounds like a baroque 'da capo', it's kinda funny - but I don't mean it's boring. There's a nice interpretation. Perhaps he felt that he could do that at Bel Canto, since the cadenzas must sound like improvises. He went just to far in this idea lol. Like Maria Callas and Una voce poco fà, perhaps.
RamirRMA 3 years ago
absolutely right!
jhvorotin 2 years ago
Alagna Voice es magnifique, but what happened to the music? he made a lot of variations on the original score, and I dont feel those were variations we could accept, the character of the composition is lost. However, always good to listen to a working tenor.
karlfriedrich 3 years ago
I am almost 100% positive that Donizetti wrote both versions of Una Furtiva Lacrima. I think this was the original and the more familiar one was written about ten years later. The DVD explains it very well.
Brugic13 2 years ago 2
Alagna, mai nome fu più azzeccato!
11Believer 3 years ago 2
perchè?
non vorrai dire lagna? dai che cattivi che siete :)
amdnovello 2 years ago
@amdnovello
hem....si volevo proprio dire questo ma è un'opinione strettamente personale!!!! =P
=)
11Believer 2 years ago
:-)
amdnovello 2 years ago
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Who is conducting this? Rarely have I heard such a travesty of the music of Donizetti! Wrong singer, wrong song, wrong conductor, wrong opera!
johnmichaelmarquis 3 years ago
Wow! He has an amazing voice!
IsabelleGrobanite 3 years ago 3
I have a "regular" version of this aria at home ,also sang by alagna and it is just great! Much more fluid and emotional that this version (althought very original)...and it really showed his beautiful voice.
vivijd14 3 years ago
I feel like they're going too quickly.
Just me?
operaboy1924 3 years ago
Alagna is a great singer..yu can also Listen to the Turkish Tenor Bulent Bezduz trully amazing in that aria.
rodialva 3 years ago
wonderful voice, even if the interpretation has some bugs
cornificius22vain 3 years ago
less than average undifferenciated interpretation!!!!
Vielflieger01 3 years ago
This is a WEAK INTERPRETATION....someone wrote great singer...are you joking? Can't you hear the uneven delivery how he overcovers in some places and spreads to much in others...very ameturish...you want to hear GREAT try PAVAROTTI....Pavarotti was no fool...the reason he supporetd this egotistical clown is because Alagna's singing just undersores how great Pavarotti was in comparison...I mean the guy is not even in the same league....and I don't want to hear the B.S. spinto vs lyric argument
radiologist301 3 years ago
Comment removed
gcalvet81 2 years ago