Stop writing nonsense. It is the 1964 recording. That is how he sounded during early 60s. The amount of pseudoprofessional comments here is unbelievable...
The sound was already unbelievable. The voice fresh, the high notes ringing.
What can be said with certainty is that it is pre-hype times, without the PR that followed much later. And you can hear how cold the public is. It goes a long way to tell you how little general public understands and how they fail to recognise the great talent.
@corellipavarotti my dear sir...you would lose that bet. This is a live recording from September 24, 1964 in which soloists from La Scala (Pavarotti, Margerita Gulelmi, Lynda Vaina, Gabriella Tucci, Nicola Zaccaria, Antonio Tonini - piano), performed at the Bolshoi. It is a commercial recording made on the Yedang label (Russian). It is available @ russiandvddotcom. I have posted Pavarotti's other selections from that night, along with Tucci and Zaccaria
@Operafiend22 I will take your word for it. Sounds heavier than he did in those days. Perhaps a cold or something. Certainly not in his usual voice, I would think, listening to it.
@corellipavarotti I know what you mean, I have other earlier recordings of Pav. from '64-68 in which he does sound a bit lighter/thinner...who knows? Still a gorgeous sound in any case :)
I am no Opera expert but I think It was Pavarotti's intention to be more dramatic than usual, Notice that this version is quite slower and only have a piano playing.
I think no cold got to his voice in this, his high notes were so fine.
@corellipavarotti Pavarotti's voice sounded heavier for most of the early 1960s - he polished his technique by the late 60s and actually lightened his voice. At least the recordings seem to suggest this. By the mid 70s it started to get heavier again, due to age probably?
@corellipavarotti You haven't listened to Pavarotti very much then. This is his young voice...before he even settled into what you know as the "sound of Pavarotti."
He was able to produce each of the five Italian vowel's in their purest form CORRECTLY. He was by no means the first tenor capable of this, but he was certainly one of the last. His registers were perfectly integrated and controlled by the muscles of the head voice. This is not something that happens in the course of a few days. This takes YEARS of proper exercises in training. Young tenors, stop singing operatic arias and get back to basic training! No wonder they all stink - too impatient!
@GermanOperaSinger i couldn't agree more, im 33 and still trying to perfect the low and middle voice. i have high notes but only dabble in them till i can be sure of my technique, if i start singing arias when im 50 ill be fine as long as they are kept easy and within my voice =).
I seethe same people voicing the same opinion about his voice but yet they keep coming to hear him. Compare him not to others but how you can sing then criticize him.
this is a very interesting recording, which i had never heard before. It show vividly i think, how his singing improved between here and say 10 years later. I do not believe pavarotti had great technique, and i mean no disrespect, but one can hear how it improved from his earlier years. very good post, thanks
Yes, the "C" was open here, a la Di Stefano, whom as I'm sure you know he admired. He did perfect his technique/cover and unlike, GDS, had a long & glorious career.
@Lovelytenor1 yes i agree the C here is still too open. open is good but the support to keep it heady wasnt there all the time like he himself said and i agree you can hear it here. good talking to you the other day my friend ill call again soon.
What a joy this is: the young Pavarotti, healthy, strong, vigorous, with the astonishing color and clarity of that remarkable voice. Here he is a pure lyric, before his voice deepened and added some heft, as it does with many tenors. Soaring, magicla, heart-rending: a marvelous, marvelous Rodolfo.
The whole reason why these words exist in the first place is because famous singers, Pavarotti, Caruso, etc, were asked to describe how they make that kind of sound blah blah,and there response is COVER, or THIS, or THAT, then you have someone misinterpret that and base a WHOLE BULLSHIT system of teaching around this. Its bullshit, you are learning how to sing from singers, not teachers, it should be the other way around. Learning how to sing from a singer, will destroy you.
Those who have the real talent do sing with distinction (as seen in this vido clip)...those who don't theorize as seen in Web's case. Funny, simply funny. Nice try Sherlock.
There is a war going on right now in the vocal technique department, between bullshit theory, in my opinion, and physiological, ACTUAL, vocal technique, that WORKS, PRACTICAL facts. For most people, I find that words like passagio and registers and placement and covering all confuse the shit out of everyone, including yourself. The only thing that happens, as I stated before. Is one position is maintained, you are singing into the same space, throughout the whole range!!
Registers, are simply feelings of tension. Everyone says oh lower register, higher register, but the truth is: its the same position in every register. You are singing into the SAME PLACE no matter what tone. And if you choose to sing in so called "chest" voice, which is basically throat voice, your career will be cut short! To maintain the healthiest and most projected sound, one must use this strategy which I previously stated.
If one thing is not working, then everything stops working. This is why the squeeking stops. There is one TRUE position of a singer to sing ALL tones, that is why I argue for no registers/passagio and etc..
I meant the musical passage...not the passaggio, which you are referring to. Depending on the location of the note within the musical passage, it can be extremely difficult to sing. Sorry for the misunderstanding. The passaggio doesn't exist...I agree. It is simply a point where the pressure under the vocal folds becomes too great for a pitch to be accessed with conventional means. Which means one must use various methods to balance this pressure and reduce strain upon the cords. If one is...
...completely relaxed and supporting perfectly, there will be no passaggio. Covering is not something that one physically DOES, for lack of a better term, but which is the result of perfect relaxation and support, and the sound falling into the correct placement automatically. For some reason many modern singers are unable to understand this. Granted, all this is easier said than done. I still have not quite 'discovered' it yet.
Under the easiest possible conditions (such as singing up a scale), any professional tenor should be able to produce a high C without difficulty. What sets the singers famous for their high notes and the singers famous for their lack of high notes is that the former are able to sing perfect upper register notes within the context of the music, and depending upon the passage, it can be extremely difficult. The high Bb at the end of 'celeste aida' is more difficult to sing than a high C on a scale
The trick is, there is no passage. The "space" has to be the same from the lowest note to the highest note, all tension in the neck/throat/chest/back/diaphragm/pelvis area should be removed COMPLETELY, this is perfect technique. The more of those things I just named that you relax, the more you will not even feel this feeling of so called "passage" or "passagio". You have a misunderstanding in that the space has to change depending on the tone. This is not true.
From where in my comment do you assume that I have a misunderstanding of how the human voice works? I know what you are talking about and you are right. But what does that have to do with our previous discussion?
@Webarton There is no need to sing high C after high C when warming up. You shouldn't, because regardless of some of your comments here, there IS mechanical effort taking place. Warm up the middle voice well, do some messa di voce (crescendo/diminuendo) to get the folds stretching and relaxing, but there is no need to go busting you chops to warm up.
@colino72 I agree with your comment. THe middle register is actually the base of the whole lot. If the voice seats well there, then you should be ok. Thanks.
Some idiot here said Pava was a light lyric tenor and lost his early in his career. Pava's voice darkened over the years, and calling him a light lyric tenor beyond the 70s is a bit of a stretch. He used his C on a consistent basis well into his 40, and in recordings you'd see him use this C in his 50s. And suggesting he couldn't sing a good legato line is seriously absurd. To what are some of you listening I wonder?
Damn! This rendition of Che Gelida Manina is so pure and sublime. The youthfulness of his voice comes across splendidly. Mingo (where's the Do?) and Carreras can only dream about singing like this :)
LOL, why do you always talk about flamingo and carerras? you never compare the big P to any other GOOD tenors, just the mediocre ones. Figures, wouldn't want anyone to disagree- pav is MUCH better than flamingo and carreras. I agree! You won!
Yoni-I consider him as a talented person who has perfected his art to the best of his ability unlike some other tenors who pretended to be someone they were not.
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Miguel Fleta is FAR (Light Years) better than Pavarotti, even Beniamino Gigli is superior in this aria. Pavarotti could not sing real legato, ever. Being a light lyric tenor, Pavarotti lost his high C early in his career and used microphones. And this info is from a REAL LIVE source. Now go and do your homework.
"could not sing real legato...light lyric...lost his high C"??? Clearly you are the one who needs to do homework. Go display your ignorance somewhere else, perhaps you'll be more intelligent in another 25 years.
Wow, pathetic comment from someone who clearly resents the man for his commercial success. Pavarotti had great legato, the music flowed perfectly. Pavarotti still had a vibrant and gorgeous high C in 1979 making him 44, which is around the end of his prime. And for microphones, if you knew anything, you would know that Pavarotti's voice grew in size - quite dramatically. He only used microphones for open air concerts, not even Mario del Monaco could sing for 100,000 people without amplification.
Pavarotti didn't have legato? That's just simply stupid. He didn't lose his high C until very late in his career, it just wasn't good anymore by the 80s...so what is so special about high C...you make it sound so special, but Gigli never had a good C either but yet you praise him?...Bjorling lost his C eventually too...it happens. Who cares? It's a note. A NOTE, damn it. If you are so obsessed with the 'high C' just play Kurt Baum's 'di quella pira' over and over again to satisfy yourself.
To compare Fleta with Pavarotti is stupid too, because Fleta was a spinto with a very polished technique who sang heavier roles than Pav...completely different voice types, unless I am missing out on something.
I agree with what you said except for the Bjorling thing: his very last live recording was made only a couple months before his death, and he still had a glorious C. I'm not a high-note buff (I love the work of Richard Tauber, Carlo Bergonzi, etc), but there's no way a tenor can lose his C in a couple of months.
It's not available on youtube (I don't think), but it was a live concert in Atlanta (and his only live recording in stereo). He sang "Che Gelida Manina" in key. Then there's also the recording of "Turandot" he did around that time with Birgit Nilsson and Erich Leinsdorf.
He didn't sing Che gelida manina with the C, and it wasn't his last live recording. You might be right about the only one in stereo sound though, the sound is wonderful.
Oh! I had the wrong recording. I was thinking of the mono recital from the San Francisco Opera (my uncle was there). However, I'm pretty sure that the last recording is the Turandot he did, and he shows off a beautiful (though not well-miked) high C during the riddle scene.
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So if he did so until 79, does it not make people think twice when considering Luciano a master of voice knowing that he started so young to stop singing in key?
His debut was in 1961. He was in his prime from the mid 1960's till about 1973. So, for him to sing in key in 1979 is impressive. While most other tenors would have exclusively transposed down by that time in their careers.
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Yes I agree with you, his very best fine tops were almost lost in 1981 so to me then he does not deserves all the popularity he had over that period, knowing that he was considered the King og the high C all his life when really he had a fine top form voice not very long, however in his own way he maid a good career. thanks for anwering.
I agree. Keep in mind though, that in 1990 he hits a solid high C (compared to others who would not even try at 55 years old) with the 3 tenors. So, that is still beyond the rest in my opinion.
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Yes I agree on that though but what Iam tryig to say is that he is unfarely overrated. Overall he was not that good at high nights, only at pick perfomances and when very young. Netherless he did a good job in some ocations.
Everyone has transposed this aria, maybe no matteuzzi but that don´t make him great. Pavarotti like Bjoerling, Gigli, Wunderlich, young Di Stefano was loved because they produced lovely sound not mainly for their high notes. Pavarotti sang great until he was over 50 years old and how many tenors have had longer careers? just because he changed repetoar don´t make him a bad singer!! Of the three tenors he stands out completely for sounding younger with more freshness than both the others.
Yeah, I'm going to have to agree with Operafiend22. Coscorrona, you obviously have no idea what you're talking about. Pavarotti had his C far later in his career than most. Do you know who Pavarotti is? Makes since "corrona" going with the Spaniard.
@coscorrona so he lost his high C without a microphone but not with a mic? pavarotti a light lyric tenor? wow! just wow! whos miguel fleta ? lol omg this is is actualy funny
very nice but his other great one is 1961. I believe his first opera complete, a show in Italy of course, faster tempo perhaps and very fine, I have it somewhere in my house but just the aria and even though I am not a big pav. fan I can enjoy his fine clean tasteful singing. Thanks for the post
Gorgeous...what to say...this is Pavarotti at his best. Early enough that he still maintained his youthful brilliance in his voice but by this time he had gained a firm grasp on his technique. One of the best of this single aria I've heard.
I really enjoyed that,thank you. Its quite unusual- slower, and just the piano. The sound quality for a live performance in 1964 is quite good as well, isn't it?
In general I prefer a slightly later Pav but he's in excellent voice here.
I listen to Jussi Bjorling and forget all the rest.Including Pavarotti I'm afraid.
MrGranfield 2 months ago
God bless the next person who tries to bring a voice like Pavarotti's back to the operatic world. RIP Maestro
PianoGodfather 6 months ago
Absolutely the best voice in the '60's........masterful high notes, great power....
MrSammyscroll 7 months ago
the prettiest voice of my life time but i think corelli had a strong voice ?
SkipAscari 1 year ago
Stop writing nonsense. It is the 1964 recording. That is how he sounded during early 60s. The amount of pseudoprofessional comments here is unbelievable...
The sound was already unbelievable. The voice fresh, the high notes ringing.
What can be said with certainty is that it is pre-hype times, without the PR that followed much later. And you can hear how cold the public is. It goes a long way to tell you how little general public understands and how they fail to recognise the great talent.
chaiter1 1 year ago
This is the audio...good... the video is here at youtube
aguacun 1 year ago
I will take a gentleman's bet that this is NOT 1964. His voice sounds very much "80's" here.
corellipavarotti 1 year ago 5
@corellipavarotti my dear sir...you would lose that bet. This is a live recording from September 24, 1964 in which soloists from La Scala (Pavarotti, Margerita Gulelmi, Lynda Vaina, Gabriella Tucci, Nicola Zaccaria, Antonio Tonini - piano), performed at the Bolshoi. It is a commercial recording made on the Yedang label (Russian). It is available @ russiandvddotcom. I have posted Pavarotti's other selections from that night, along with Tucci and Zaccaria
Operafiend22 1 year ago 4
@Operafiend22 I will take your word for it. Sounds heavier than he did in those days. Perhaps a cold or something. Certainly not in his usual voice, I would think, listening to it.
corellipavarotti 1 year ago 3
@corellipavarotti I know what you mean, I have other earlier recordings of Pav. from '64-68 in which he does sound a bit lighter/thinner...who knows? Still a gorgeous sound in any case :)
Operafiend22 1 year ago
@corellipavarotti
I am no Opera expert but I think It was Pavarotti's intention to be more dramatic than usual, Notice that this version is quite slower and only have a piano playing.
I think no cold got to his voice in this, his high notes were so fine.
VNThongNhat 1 year ago
@corellipavarotti Pavarotti's voice sounded heavier for most of the early 1960s - he polished his technique by the late 60s and actually lightened his voice. At least the recordings seem to suggest this. By the mid 70s it started to get heavier again, due to age probably?
GermanOperaSinger 1 year ago
@corellipavarotti a cold??? I wish I can catch this kind-a-cold all the time!! It is not too bad to lose a bet... sit back and relax about it...
MariaCaIIas 7 months ago
@corellipavarotti You haven't listened to Pavarotti very much then. This is his young voice...before he even settled into what you know as the "sound of Pavarotti."
Nater389 6 months ago
@Nater389 Most certainly does not sound like it. Been listening to him all my life, thanks. Must have been an off day/cold. Not his best at any rate.
corellipavarotti 6 months ago
Great live recording. I could hear the different side of him. Young and pure sound.
steakopera 1 year ago
He was able to produce each of the five Italian vowel's in their purest form CORRECTLY. He was by no means the first tenor capable of this, but he was certainly one of the last. His registers were perfectly integrated and controlled by the muscles of the head voice. This is not something that happens in the course of a few days. This takes YEARS of proper exercises in training. Young tenors, stop singing operatic arias and get back to basic training! No wonder they all stink - too impatient!
GermanOperaSinger 2 years ago 3
@GermanOperaSinger - I couldn't agree with you more. Everyone is too impatient. now. Sooo sad. :(
JuliaDarling 1 year ago
@GermanOperaSinger i couldn't agree more, im 33 and still trying to perfect the low and middle voice. i have high notes but only dabble in them till i can be sure of my technique, if i start singing arias when im 50 ill be fine as long as they are kept easy and within my voice =).
bigus 1 year ago
His technique was as natural as walking.The correct placement just happened.
jwccc47 2 years ago
Aqui Luciano canta en el tono original, la voz fresca en todo su esplendor.
acitipo 2 years ago
I seethe same people voicing the same opinion about his voice but yet they keep coming to hear him. Compare him not to others but how you can sing then criticize him.
slowpokecat 2 years ago
this is a very interesting recording, which i had never heard before. It show vividly i think, how his singing improved between here and say 10 years later. I do not believe pavarotti had great technique, and i mean no disrespect, but one can hear how it improved from his earlier years. very good post, thanks
operalament 2 years ago 2
Yes, the "C" was open here, a la Di Stefano, whom as I'm sure you know he admired. He did perfect his technique/cover and unlike, GDS, had a long & glorious career.
Lovelytenor1 2 years ago
@Lovelytenor1 yes i agree the C here is still too open. open is good but the support to keep it heady wasnt there all the time like he himself said and i agree you can hear it here. good talking to you the other day my friend ill call again soon.
bigus 1 year ago
What a joy this is: the young Pavarotti, healthy, strong, vigorous, with the astonishing color and clarity of that remarkable voice. Here he is a pure lyric, before his voice deepened and added some heft, as it does with many tenors. Soaring, magicla, heart-rending: a marvelous, marvelous Rodolfo.
jd1906sf 2 years ago 3
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his high notes often woobles, they were not be well placed, did you noticed?
tena2 2 years ago
Ah! this C!
TraVoiBelle 2 years ago 8
He gives the feeling of escape. I am not wondering what chore I have to do next when I listen to this magnificent performance.
What a pleasure to hear and see him in his prime thanks to technology!
Milli080 2 years ago 5
Wonderful! Such a beautiful rendering of this aria and sung with such emotion!
pavlova1959 2 years ago 2
BELLISSIMO!!!
fabioarmenante 2 years ago 2
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russell watson is better.but this version is too, very,very,... awesome
krajncrocky 3 years ago
russell watson jajajajajajaja!!!!!!!!
verdi17 2 years ago
That's a C according to my chromatic tuner.
mjfergs 3 years ago 2
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Webarton 3 years ago
The whole reason why these words exist in the first place is because famous singers, Pavarotti, Caruso, etc, were asked to describe how they make that kind of sound blah blah,and there response is COVER, or THIS, or THAT, then you have someone misinterpret that and base a WHOLE BULLSHIT system of teaching around this. Its bullshit, you are learning how to sing from singers, not teachers, it should be the other way around. Learning how to sing from a singer, will destroy you.
Webarton 3 years ago
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Webarton 3 years ago
Those who have the real talent do sing with distinction (as seen in this vido clip)...those who don't theorize as seen in Web's case. Funny, simply funny. Nice try Sherlock.
TheInquisitive4Ever 3 years ago 2
There is a war going on right now in the vocal technique department, between bullshit theory, in my opinion, and physiological, ACTUAL, vocal technique, that WORKS, PRACTICAL facts. For most people, I find that words like passagio and registers and placement and covering all confuse the shit out of everyone, including yourself. The only thing that happens, as I stated before. Is one position is maintained, you are singing into the same space, throughout the whole range!!
Webarton 3 years ago
Registers, are simply feelings of tension. Everyone says oh lower register, higher register, but the truth is: its the same position in every register. You are singing into the SAME PLACE no matter what tone. And if you choose to sing in so called "chest" voice, which is basically throat voice, your career will be cut short! To maintain the healthiest and most projected sound, one must use this strategy which I previously stated.
Webarton 3 years ago 2
I stand corrected.
GermanOperaSinger 3 years ago
If one thing is not working, then everything stops working. This is why the squeeking stops. There is one TRUE position of a singer to sing ALL tones, that is why I argue for no registers/passagio and etc..
Webarton 3 years ago
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Webarton 3 years ago
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Webarton 3 years ago
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Webarton 3 years ago
I meant the musical passage...not the passaggio, which you are referring to. Depending on the location of the note within the musical passage, it can be extremely difficult to sing. Sorry for the misunderstanding. The passaggio doesn't exist...I agree. It is simply a point where the pressure under the vocal folds becomes too great for a pitch to be accessed with conventional means. Which means one must use various methods to balance this pressure and reduce strain upon the cords. If one is...
GermanOperaSinger 3 years ago
...completely relaxed and supporting perfectly, there will be no passaggio. Covering is not something that one physically DOES, for lack of a better term, but which is the result of perfect relaxation and support, and the sound falling into the correct placement automatically. For some reason many modern singers are unable to understand this. Granted, all this is easier said than done. I still have not quite 'discovered' it yet.
GermanOperaSinger 3 years ago
no matter what you critics say, pavarotti is pavarotti and he sang songs which you cant sing you life boring critics!!!
classic1306 3 years ago
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Webarton 3 years ago
Web-With this line of reasoning, the only place you will be singing is in the shower.
TheInquisitive4Ever 3 years ago
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Webarton 3 years ago
Under the easiest possible conditions (such as singing up a scale), any professional tenor should be able to produce a high C without difficulty. What sets the singers famous for their high notes and the singers famous for their lack of high notes is that the former are able to sing perfect upper register notes within the context of the music, and depending upon the passage, it can be extremely difficult. The high Bb at the end of 'celeste aida' is more difficult to sing than a high C on a scale
GermanOperaSinger 3 years ago
The trick is, there is no passage. The "space" has to be the same from the lowest note to the highest note, all tension in the neck/throat/chest/back/diaphragm/pelvis area should be removed COMPLETELY, this is perfect technique. The more of those things I just named that you relax, the more you will not even feel this feeling of so called "passage" or "passagio". You have a misunderstanding in that the space has to change depending on the tone. This is not true.
=)
Webarton 3 years ago
From where in my comment do you assume that I have a misunderstanding of how the human voice works? I know what you are talking about and you are right. But what does that have to do with our previous discussion?
GermanOperaSinger 3 years ago
@Webarton There is no need to sing high C after high C when warming up. You shouldn't, because regardless of some of your comments here, there IS mechanical effort taking place. Warm up the middle voice well, do some messa di voce (crescendo/diminuendo) to get the folds stretching and relaxing, but there is no need to go busting you chops to warm up.
colino72 1 year ago
@colino72 I agree with your comment. THe middle register is actually the base of the whole lot. If the voice seats well there, then you should be ok. Thanks.
mrluistena 4 months ago
Kraus was a legend himself. I like him. But it is safe to say that Pava owned La Boheme throughout his career.
TheInquisitive4Ever 3 years ago
Some idiot here said Pava was a light lyric tenor and lost his early in his career. Pava's voice darkened over the years, and calling him a light lyric tenor beyond the 70s is a bit of a stretch. He used his C on a consistent basis well into his 40, and in recordings you'd see him use this C in his 50s. And suggesting he couldn't sing a good legato line is seriously absurd. To what are some of you listening I wonder?
TheInquisitive4Ever 3 years ago
Hello Inquisitive, I always enjoy your comments and "net-battles" on operatic videos here on youtube, they are a good laugh sometimes...
Please, not to start one of those so called battles,but take a look at Kraus's "Che gelida manina" in 1994 (67 years old) in proper tempo and key.
lavoreano 3 years ago
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Webarton 3 years ago
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Webarton 3 years ago
very very young Pava :)
zzzLUCIANOzzz 3 years ago
No words! He is unbeatable on this aria!
crazymanitaliano 3 years ago
Damn! This rendition of Che Gelida Manina is so pure and sublime. The youthfulness of his voice comes across splendidly. Mingo (where's the Do?) and Carreras can only dream about singing like this :)
TheInquisitive4Ever 3 years ago
LOL, why do you always talk about flamingo and carerras? you never compare the big P to any other GOOD tenors, just the mediocre ones. Figures, wouldn't want anyone to disagree- pav is MUCH better than flamingo and carreras. I agree! You won!
Yoni89 3 years ago
Yoni-Personal preference. Is that simple enough? lol
TheInquisitive4Ever 3 years ago
you never take that stance when arguing with people, you act like Pavarotti is god and all the other tenors are his humble servants.
Yoni89 3 years ago
Yoni-I consider him as a talented person who has perfected his art to the best of his ability unlike some other tenors who pretended to be someone they were not.
TheInquisitive4Ever 3 years ago
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Miguel Fleta is FAR (Light Years) better than Pavarotti, even Beniamino Gigli is superior in this aria. Pavarotti could not sing real legato, ever. Being a light lyric tenor, Pavarotti lost his high C early in his career and used microphones. And this info is from a REAL LIVE source. Now go and do your homework.
coscorrona 3 years ago
"could not sing real legato...light lyric...lost his high C"??? Clearly you are the one who needs to do homework. Go display your ignorance somewhere else, perhaps you'll be more intelligent in another 25 years.
Operafiend22 3 years ago
Wow, pathetic comment from someone who clearly resents the man for his commercial success. Pavarotti had great legato, the music flowed perfectly. Pavarotti still had a vibrant and gorgeous high C in 1979 making him 44, which is around the end of his prime. And for microphones, if you knew anything, you would know that Pavarotti's voice grew in size - quite dramatically. He only used microphones for open air concerts, not even Mario del Monaco could sing for 100,000 people without amplification.
Mooorhe 3 years ago 3
Pavarotti didn't have legato? That's just simply stupid. He didn't lose his high C until very late in his career, it just wasn't good anymore by the 80s...so what is so special about high C...you make it sound so special, but Gigli never had a good C either but yet you praise him?...Bjorling lost his C eventually too...it happens. Who cares? It's a note. A NOTE, damn it. If you are so obsessed with the 'high C' just play Kurt Baum's 'di quella pira' over and over again to satisfy yourself.
GermanOperaSinger 3 years ago 3
To compare Fleta with Pavarotti is stupid too, because Fleta was a spinto with a very polished technique who sang heavier roles than Pav...completely different voice types, unless I am missing out on something.
GermanOperaSinger 3 years ago 3
I agree with what you said except for the Bjorling thing: his very last live recording was made only a couple months before his death, and he still had a glorious C. I'm not a high-note buff (I love the work of Richard Tauber, Carlo Bergonzi, etc), but there's no way a tenor can lose his C in a couple of months.
phantom4087 3 years ago
I'd love to hear it. What was he singing? He began transposing later in his life...didn't realize he still had a good C then.
GermanOperaSinger 3 years ago
It's not available on youtube (I don't think), but it was a live concert in Atlanta (and his only live recording in stereo). He sang "Che Gelida Manina" in key. Then there's also the recording of "Turandot" he did around that time with Birgit Nilsson and Erich Leinsdorf.
phantom4087 3 years ago
He didn't sing Che gelida manina with the C, and it wasn't his last live recording. You might be right about the only one in stereo sound though, the sound is wonderful.
Mooorhe 3 years ago
Oh! I had the wrong recording. I was thinking of the mono recital from the San Francisco Opera (my uncle was there). However, I'm pretty sure that the last recording is the Turandot he did, and he shows off a beautiful (though not well-miked) high C during the riddle scene.
phantom4087 3 years ago
Perhaps his C didn't feel secure enough to risk singing live. And yes, the C is breathtaking, Nilsson would have wiped him live of course.
Mooorhe 3 years ago
He always sang Che gelida manina with in key with the high C until 1979.
tdeane34 3 years ago
'He' is Jussi Bjorling. Jussi Bjorling was dead in 1979.
Pavarotti sang the C in Che gelida manina in 1979 at La Scala by request of Carlos Kleiber. He sang also sang it with B elsewhere that year.
Mooorhe 3 years ago
Sorry I was referring to Pavarotti, obviously. No need to be condescending.
tdeane34 2 years ago
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So if he did so until 79, does it not make people think twice when considering Luciano a master of voice knowing that he started so young to stop singing in key?
tena2 2 years ago
His debut was in 1961. He was in his prime from the mid 1960's till about 1973. So, for him to sing in key in 1979 is impressive. While most other tenors would have exclusively transposed down by that time in their careers.
Nater389 2 years ago
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Yes I agree with you, his very best fine tops were almost lost in 1981 so to me then he does not deserves all the popularity he had over that period, knowing that he was considered the King og the high C all his life when really he had a fine top form voice not very long, however in his own way he maid a good career. thanks for anwering.
tena2 2 years ago
I agree. Keep in mind though, that in 1990 he hits a solid high C (compared to others who would not even try at 55 years old) with the 3 tenors. So, that is still beyond the rest in my opinion.
Nater389 2 years ago 3
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Yes I agree on that though but what Iam tryig to say is that he is unfarely overrated. Overall he was not that good at high nights, only at pick perfomances and when very young. Netherless he did a good job in some ocations.
tena2 2 years ago
Everyone has transposed this aria, maybe no matteuzzi but that don´t make him great. Pavarotti like Bjoerling, Gigli, Wunderlich, young Di Stefano was loved because they produced lovely sound not mainly for their high notes. Pavarotti sang great until he was over 50 years old and how many tenors have had longer careers? just because he changed repetoar don´t make him a bad singer!! Of the three tenors he stands out completely for sounding younger with more freshness than both the others.
Bjoerrelli 2 years ago
I have it, I'll upload it in due course.
Mooorhe 3 years ago
Yeah, I'm going to have to agree with Operafiend22. Coscorrona, you obviously have no idea what you're talking about. Pavarotti had his C far later in his career than most. Do you know who Pavarotti is? Makes since "corrona" going with the Spaniard.
Nater389 3 years ago
@coscorrona so he lost his high C without a microphone but not with a mic? pavarotti a light lyric tenor? wow! just wow! whos miguel fleta ? lol omg this is is actualy funny
luixander19 1 year ago
How about this: we are watching one tenor, and therefore, we do not want to think about another while we are watching this tenor.
phantom4087 3 years ago
very nice but his other great one is 1961. I believe his first opera complete, a show in Italy of course, faster tempo perhaps and very fine, I have it somewhere in my house but just the aria and even though I am not a big pav. fan I can enjoy his fine clean tasteful singing. Thanks for the post
pearlmuth3 3 years ago
Gorgeous...what to say...this is Pavarotti at his best. Early enough that he still maintained his youthful brilliance in his voice but by this time he had gained a firm grasp on his technique. One of the best of this single aria I've heard.
GermanOperaSinger 3 years ago
Oh my gosh! What a marvelous piece of singing!!!
Beautiful, he hadn't quite polished off some aspects of his singing. But it was still marvelous, absolutely wonderful.
Needless to say, five stars and straight onto my favourites.
Mooorhe 3 years ago
Very nice. Thanks for sharing :)
ShawDAMAN 3 years ago
I really enjoyed that,thank you. Its quite unusual- slower, and just the piano. The sound quality for a live performance in 1964 is quite good as well, isn't it?
In general I prefer a slightly later Pav but he's in excellent voice here.
jenni4claire 3 years ago