Added: 4 years ago
From: AliceBathory00
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  • wow, he's so young! :D

  • He certainly was great in his prime. I heard him a few times at Covent Garden. His vocal decline is an object lesson in how forcing the voice to make big high notes ultimately destroys it in the long term. Even in this early performance there are signs of what was to come.

  • I've repeated this video like a hundred times today, so the number of times this video has been should be one hundred more, he he.

  • Bravo Alagna! He is just so sublime when singing in his native tongue and so few other tenors sound quite like this when singing the French repertoire. Yes he comes from Italian parents, but has grown up in France, speaking French every day and is a very proud Frenchman.

  • eccellente la dizione ma il resto..... non vi pare sia un pò scadente!

  • watch?v=BAea4OggdjU

  • BRAVO JUAN DIEGO FLOREZ

  • @tomclaudetom ¿¿¿Juan Diego Florez???

    ¿que tiene que ver aca?

  • superbe roméo et juliette( que j'ai eu le plaisir de voir à Orange) de plus avec la diction pas besoin de sous-titres,bravo

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  • Alagna SUPERBE, MAGIC

  • Quelle diction merveilleuse. Et de plus, Alagna démontre qu'il est parfaitement possible de chanter en française avec une grand projection sans rouler les "r" comme le font encore trop de chanteurs, même français.

  • BRAVISSIMO!resta sempre uno dei pii grandi!

  • Gorgeous singing. About the best I have seen from Alagna

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  • La mejor interpretación de esta aria en vivo por fraseo, calidad vocal, presencia escénica, excelentes agudos, dicción y el conocimiento pleno de lo que está pasando en escena, en la obra. ¡Excelente!

  • One of Alagna's finest moments. Wonderful!!

  • Voilà un Roméo qui a ET le physique de l'emploi ET la voix ET la justesse d'interprétation. Un chanteur qui comprend ce qu'il chante et qui sait transmettre

    l'émotion requise. Bravo !

    Danielle - Belgique

  • Ca fait du bien quand meme d´entendre ca sans accent une fois!!!bravo!

  • Wonderful and expressive performance

  • Pour moi son meilleur rôle ! Il a la voix et le physique du personnage.

    Pourquoi est-on parfois si intransigeant en ce qui le concerne ?

    C'est un artiste extrêmement sympathique. Bravo pour cette performance !

    Trolletje

  • What voice and wonderful interpretation! How his voice may have changed for the worse in so little time? The Algna in this recording is not the same as today! A great, great pity!

  • GOOD VOICE !!!!!!!!!!

  • Magnificent!

  • gounod 's finest moment !!

  • Da gusto. Qué distinto es el francés bien pronunciado. Qué bello.

  • Alagna is a magnificent singer and of course his native command of French gives him an edge over many other great singers but I still feel Corelli gives the most powerful, heart-rending version of this beautiful aria.

  • he's wonderful!

  • Absolutely.

  • It is such a pleasure to hear this music sung by a real French tenor for a change, and not some foreigner struggling with the language. It creates an entirely different aura of authenticity. Excellent singing!

  • @EdmundStAustell Are you French?

  • @EdmundStAustell I agree completely!

  • A cette époque Alagna était parfait.

  • la voix du ciel!!!ALAGNA GRANDE!

  • Björling is far better than Alagna, not only in this aria, but i general. His voice is placed "higher". Check out Gedda in this aria, here in utube. See how he sings smiling, with a frank sound, and open and luminous sound. Quite the contrary to the dark, serious sound Alagna gives. Alagna is a great singer though. It's only that Björling and Gedda are super human.

  • GORGEOUS!!! :)

  • The best for this role, ever !!! (More light than Björling, more harmonics than many others, perfect french etc...) Whatever old people (or young people who are always criticizing as if they were born in 1905) may say about my opinion, this video is amazing !

  • Eh oui,Roberto ce glice dans le personage et lui donne vie voila pourquoi il est crédible!

  • Roberto a la voix du bon dieu et le talent et beaucoup de travail,, toute une vie derrière ,, on sent les émotions de son vécu dans cette voix

    il est Roméo précisément , sans falsification

  • au delà de la technique ,, des notes ,, de l'agilité et de tout ce qu'on veut invoquer au nom du lyrique et de toute école,,, moi ce qui me porte c'est l'émotion que je perçois

  • c Roméo

    thkssss AliceBathory00

  • C'est magnifique les gens qui critiquent n'y connaissent rien et n'ont jamais sortis une note de leur vie...

  • ALFREDO KRAUS.LICEU BENEFIT Concert.Romeo et Juliett

  • Escuchen a Afredo Kraus.

  • It's okay....and Alagna certainly has the looks for the role. And like "SonoUnPoeta" commented below, you can always pick out Alagna.

    But who can beat Jussi Bjorling on this aria??

  • His best version is from Covent Garden (1994) under the baton of Charles Mackerras. It was also on youtube, but now, I can't find it.......

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  • Check MUEZZAB's channel for clips from the 1994 version. I agree it is his best overall. The rest of the cast is also very fine.

  • well sustained on the last note :)

  • I've always been fascinated by Alagna's "grace note" style, the way he slides up to his high notes like that. I don't know whether I like it or not, but whenever I hear it, I know who I'm listening to.

  • probably it's to keep the top notes darker, cuz it keeps the larynx down more.

  • this is fantastic- one of his best performances, alagna singing french is unmatched, not to mention this is great a great vocal performance

  • Orrendo da ogni punto di vista

    Acuti aperti,legato inesistente...

    Peccato!!questo tenore poteve fare qualcosa invece ha preferito la strada del facile divismo.

    Poi sposato con quella li...

  • I have a comment, and this is from an incompetent observer. He sounds fine to me; the intensity modulation, and (in my view) on the mark on the notes (frequencies).

    How does Jussi Bjoerling's version compare? I loved both Gedda's and Bjoerling's.

    Tenor comparisons can create such conflicts.

  • je suis parfaitement d'accord. on peut aimer sa voix mais l'interprétation ne correspond pas vraiment.

  • peut-etre ce n'est pas lyrique, mais il a un voix avec plus de coloré et puissance. Je l'aime!

  • en quoi n'est-ce pas lyrique ? en tout cas, je voulais dire que j'aime sa voix. Malheureusement, il m'apparaît de plus en plus que je n'aime pas ses interprétations.

  • d'accord, Je te comprende maintenant. (J'espere!)

  • Il ne sait pas trop chanter mais il sait très bien crier. Et heureusement qu'il y a des sous-titres car on peut se poser la question si c'est du Français.

    Cessons ça et écouter la version de Georges Thill.

  • ...ses notes sont très belles faciles et riches en harmoniques même si ça n'égale pas Georges Thill...vous êtes dur...

  • Ça pourrait être une des meilleures versions de cet air s'il n'attaquait pas tous ses débuts de phrases 5 tons (ou plus) en-dessous. Aboutis! Ça sonne comme un koala qui se déplace d'une branche à l'autre. Ses aigus sont minces et tendus.

  • ...vous n'avez probablement sorti jamais un si naturel de votre gosier...

  • Vous ne semblez pas bien savoir de quoi vous parler !

  • excelente!!! que placer escucharlo cantar en frances tan natural...

  • He was meant to sing French repertoire like this...why the hell did he bother to do Verdi? He's great here.

  • I think so too, GermanOperaSinger.

  • When opera singers sing in their native language, the effect is something very magical. Expressing emotion through song is best done when the words make perfect sense.

  • I admire his Gallic poise and pathos whenever he sings French opera, and his French is impeccable, "bien seur." His voice has an appealing heroic quality.

  • It's good, but the best performance of this aria I ever heard sung by Alagna in 1994 at Covent Garden. I saw it on youtube, but now I can't find it.

  • That´s true. How could we get this performance?

  • you can buy it on DVD (opusarte)

  • QUé cantante era cuanto cantaba dentro de su repertorio... contario hizo a loa consejos de Kraus: "NO dar el paso mas largo que la pierna!"

  • es cierto, pero esta interpretacion es de mucho despues de haber empezado a cantar repertorio mas pesado

  • es cierto...siempre le gusto cantar repertorio grande...pavarotti comenta esto en un video por aqui en youtube y que le llamo la atencion sobre esto diciendole que su voz no era paracosas tan grandes en ese momento.

  • Bueno luciano tambien se equivocó mucho en su aburrido repertorio, escogio muy bien rigoletto, tosca, la fille du regiment y pocas mas pero cantarme aida y turandot y algunas mas pues va a ser que no. Luciano pavarotti era un excelente cantante pero mal interprete y menos maestro. De todos modos una boheme como la de él es muy dificil.

  • estoy de acuerdo en que Pavarotti tambien cantó cosas que no le venian. PEro creo que hay cantantes que hacen esto y es mas notoria la mala combinacion (voz-opera) que a otros. Pero lo que mas me da lastima es que a Alagna se le nota el deterioro de la voz muy temprano gracias a cantar este tipo de repertorio que no le va. Gigli cantó de todo, pero a diferencia de Pavarotti y Alagna, era Lirico. Alagna cantando Radames se le blanquea la voz de pujar los agudos (como a Carreras)

  • Bueno creo entender que carreras sólo cantó Aida en una tanda de presentación y bueno también ha cantado Il trovatore, el problema es ese, que se el cantante no respeta la voz acaba quemándola.

    No el entendí muyu bien, pero anoto que Luciano era un tenor lírico con características leggero cuando era muy joven. Nadie es una exepción, a todos se nos pasa factura sino cantamos lo que nos va a la voz, por muy tentados que seamos en cantar roles heroicos.

  • Gracias AliceBathory00

  • Alagna...lo mejor lo más bello que pisa los escenarios, voz adorable,entrañable en verdad se vive la ópera con cantantes así

    ximena odekerken

  • yes, like his unique di quella pira with a total lack of voice, and his awful celeste aida at la Scala.I was there and... live he doesn´t have what is needed to sing those roles.

  • Mucho vibrato, en exceso, falta de tecnica, molto vibrato, bad held, lots of gola.Bad tecqnique.wow ah! leve toi ah! leve toi parais, parais,,,that sound PAARAAAAAIS is bad bad, He has difficulty with the vowels, dificultad enorme con las vocales.Very bad interpretation. VIEN parais...VIEEEEeeenEEEENNN shaking vibrato, gola again, awful sound....he french is good though.

  • no sabes nada de canto Alagna es espectacular e inigualable en este rol

    ximena odekerken

  • me gustaria escucharte a vos intentar esta aria .

    PAYASO

  • Señor sigfridolopez; no es neceario insusltar a nadie si usted no está de acuerdo con las opiniones de otras parsonas, Esto es opera y por lo que la opera se refiere somo nosotros gente con cultura, clase y sentido del arte los que nos deleitamos con esta bella aria que a mi gusto esta muy bien cantada.

    Seamos dignos de ser amantes de la opera y no caigamos en la mala educacion que sufren algunos otros como los seguidores del futbol etc que muchos se les va la lengua. Gracias.

  • Ahahah, your opinion is so funny ! Alagna has a real sunny voice, maybe that's why you think what you said, but i swear that in the opera house it always sounds astonishing ! If Pavarotti could have sung this aria I think he would have done something like this and it would have been amazing. Unfortunately, he didn't like singing in foreign languages.

  • El mejor Romeo de la historia (ópera Romeo y Julieta de Gounod).  Dios guarde por muchos años esa maravillosa voz. Le he visto en Fausto, Romeo y Julieta y Butterfly. el mejor tenor que he visto n persona y soy un fan de la ópera de muchos años y he visto centenares de óperas. aljart de Venezuela.

  • Excellent. His best part and since 1993 when he appeared at Opera Comique with it, unbeatable.

  • Simply the best in that kind of role today. I'm learning lyrical singing and his way to conduct his voice is still amazing even after 20 years of singing !!!

  • I think that Alagna has understood that some nasal or "cried" expressions, typic of his voice, can be used to give "spirit" to his performance. I like it: it's an intelligent taste of natural expression, to evidence a great voice for a great interpretation.

  • I saw the Met's HD broadcast last week of this opera, and I now count Alagna among my favorite tenors today. His voice is simply remarkable in this role and in French repertoire in general. I admit, he does scoop quite a bit, but I don't see it as taking away from his overall quality.

  • It is quite interesting apradox for Alagna He is excellent in French opera However, it, since it is French opera, is the most demanding on the voice. hence, it will do the most vocal damage on Alagna. I love the guy, I think he will be one of the greats with Domingo, Pavarotti, Del Monaco, Gigli and Caruso.

  • Why is french opera the most demanding on the voice? Would you say it is more demanding than, say, the long and exceptionally heavy german tenor roles such as Parsifal, Tristan or Sigfried?

  • The discussion was with Alagna a dn the differecne betweem Italian and French Opera. We all know will never singany of those roles. Wagnerian opera is antother stratosphere

  • I don't know if French roles are the 'most demanding' (I think different rep demand different things from the voice). Though... perhaps it's 'spinto' demand is what ruins a lot of lyric voices who sing it? The real dramatic voices usually just go for the heavy Verdi, Puccini, or the German roles and don't bother much with the French stuff.

  • I saw him in this role at the Met last week - he was wonderful! He looks much younger here in this video than he did last week... but he's still got it!

  • Compare this version with the interpretation of Gedda. It's an old video but the interpretation is perfect!

  • Nach meinem Geschmack tendiert er teilweise eher zu schreien als zu singen. Aber sonst ganz ok.

  • Magnifique!!!

  • Alagna's timbre occasionally acquires some quite ugly tones, either strained, nasal or dry ones. That's why I mostly dislike him, besides his habit to descend from high notes (often too "opened" to my taste) with a broken, unsteady line.

    But I have to admit this is one of his best interpretations. The timbre is mostly very beautiful and he's refined, nuanced and solid throughout the aria. The excellent diction helps a lot. In this case, I say "bravo"!

  • lol, why do youtube viewers try to all be critics?

  • because we are all perfect in every way and we expect the same from people and from l

    joke, maybe it's the opposite...haha

    Yours was an excellent remark though.

    I saw Alagna at the Met and fell in love with this aria, perfection or not.

    And I am very happy that night belongs to my " moments"

    Carpe Diem and fuck critics.

  • Why are you??

  • Watch mi Ah leve-toi, put mi name, Walter Castillo, and walcth!! is very funny!!!

  • watch mi a léve-toi!!!! I'm Walter Castillo put mi name!!! and watch!! is very funny!!

  • somebody can send to me the partiture pls i need it pls!!!

  • fabulous singing of the French repertoire. And his dicktion is wonderful.

  • beautiful singing

  • Simply the best Roméo !

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