Lily Pons & Placido Domingo at 21! - Lucia Duet 2

[13Ladygrey]

wonderful!!!

[1938gwen]

Marvellous to hear him at such a young age. Thank you for posting this.

[NMEnrique]

Does he crack on the Bb on the last note?

[TheRevellingJester]

Baritone roles in Spanish Zarzuela generally have a higher tessitura than regular baritone roles.

[cleanears]

He is about at his top here. I never liked him. She is wonderful considering her age at the time...

[Tenorgeiger]

Absolutely amazing. Bravissimi!!

[carlajpatterson]

What a golden find! Thanks for sharing it.

[racheleleeba]

@erik2310521010 -- Replies don't seem to be showing up under the comments to which they refer. In re Corelli's performance of the Celeste Aida diminuendo, he certainly did perform it live sometimes, as in-house recordings attest. Every great singer has his/her strong points which we can enjoy, and I dislike all the bashing of anyone who is not one's favorite.

[Aetion]

Amazing! Thank you.

[melbapatti]

Facts are facts, ladies and gentlemen. Can we put the facts straight here? Placido was born in Jan 1941; Lily was born in April 1898 (although for years she only admitted to1904) so Placido was a few weeks shy of his 22nd birthday here, and Lily was 64 1/2 years old. AGE IS NOT AN ISSUE HERE. They both know how this music is supposed to be sung. Their unison singing of the tune at 5.03 is simply outstanding, and both voices are BEAUTIFUL. We should be grateful we have the chance to hear it

[mariacarmensolari]

@melbapatti totalmente de acuerdo ,

[acitipo]

Que simpatica Opera, Domingo besando a su bisabuelita!!!!!

[raythespian]

Edgardo sounds like an exhausting role, no matter who sings it. Domingo's Chenier broadcast was on SIRIUS recently, and I was surprised at how good his high notes were...all the B-flats and even the 2 B-naturals at the end.

[AriaDivina]

I just stumbled onto this video and conversation. I will say one thing- what a breath of fresh air to hear people discussing and critiquing without bashing each other with vile language. Oh discussing it civilly, even while disagreeing. Bravi tutti. : )

Oh and this is excellent. Thank you for posting it! I'm just enjoying it so much!

[fideliosmum]

@AriaDivina Oh, I totally agree with you. The appalling language and vindictiveness of some of the "contributors" is quite frightening. Everyone deserves respect unless they prove themselves totally unworthy,

This duet is a beautiful piece of operatic history.

[erik2310521010]

By the way,Corelli never sang the diminuendo in live performances and always belting out the high B-flat of the final duet while Domingo always sang it softly.

[ShawDAMAN]

Oh and Corelli DID diminuendo on the "Celeste Aida" in live performances though not always.

[PlacidoDomingoIsN1]

se la gente si sorprende d quale voce avesse Domingo a 21 anni xkè nn si sorprendono del fatto ke canta ankora?!qnd 1 è 1 prodigio e qnd ha 1 tecnica ottima è logico ke faccia furore anke se, magari, è giovanissimo!!!!! Quindi, l'unica cs da aggiungere è: era è e rimarrà 1 grande x sempre! DOMINGO 4EVER!!!!!!!!!!

[Tenorbravo]

GREAT..THANKS for sharing this WONDERFUL PERFORMANCE...IT IS JUST PERFECT..WHAT A TALENT.

[GWR3440]

Amazing. I saw Domingo at the San Jose Arena - and it never occurred to me he could have sung with the great Lily Pons, from a couple of generations earlier.

And they're both in top form.

I think my favourite Lucia was Galli Curci because of her amazing timbre and clear diction.

But Pons has to come a close second.

[organdude44]

The great "Lily" who was credited with single handedly saving the Met when, like the rest of the country, it had fallen on hard financial times. Brava!

[andrebontemp]

music doesn'thave to be perfect to be enjoyable

and this two interpreters each one in their own right are very nice.lily ponds in her maturity and placido domingo in his youth

bravo for posting this video

jmb

[divaclarita]

Holy frijoles!

[Zva26]

Lili Pons was already past 60 here and she actually doesn't sound bad. Domingo, born in January, 1941, was truly only 21 here. Detractors be damned --- he's had a hall of fame career --- has mastered tons of roles in at least five different languages, and must have a musical IQ of at least 150. Pons was a very limited singer...a cute little tweety bird with only

Lucia, Gilda, Lakme, Rosina (plus a couple of others) in her repertoire. Callas and Sutherland made Pons

seem archaic.

[sagagossard]

que guapo era

[sutevo]

Cuenta Plácido Domingo en su biografía: "Tuvo mucha trascendencia para mí la producción de Lucia en Fort Worth (Texas), en la cual representé por primera ocasión a Edgardo, al lado de Lily Pons, que, a los 58 años cantaba Lucia por última vez. Era dulce y adorable compañera de trabajo y reconozco que me alegra la existencia de una grabación pirata de aquella actuación".

[1019q]

It's so valuable to have a recording like this.

Domingo at very young age singing against the Queen(la Pons) wonderfully.

This is a historical recording.

I cherish it, thank you.

[BoisduMoine]

Beau document que le futur Grand Domingo et la Grande "petite lily"

[petelovesbevsills]

Very Yummy Lily and Placido... what a find!!!!!

[peacocktravels]

hes not 21 here you people are foolish

[VinylToVideo]

He was born January 21, 1941 and this was November 26, 1962. So what does that make him, 34?

[jcattapan]

No, 21

[VinylToVideo]

O.o

[verdiotello]

Si! 21 :-)

[2800Hertz]

Uh, no, definitely not 21...young, yes, but not 21.

[Twinkietoots]

In an Interview he states that he was born in 1941 in Spain ... I guess we have toi believe him . He has no reason to misrepresent himself ..... and with his stature such mediocrities are useless

[2800Hertz]

If you say so.

[aarontenor]

Yes, in 1962 he was just 21. Years ago some tried to say he was born in 1934 out of jealousy for how good he was when he was young, but it is untrue. Domingo also taught himself, though it didn't hurt growing up around two parents who both sang for a living and with pretty good techniques for a youngster to imitate. Same goes for Bjorling and Pavarotti in that respect. Domingo's top got ebtter with some maturity, but you can hear that it was already there and done very well.

[korny87]

in 1962 he was 21!!!!

[64102256]

Sorry but to me Placido is the star. He sounds fantastic. We all have our opinons agree or don't agree lets be nice about it.

[fabrizzzio48]

It seems a sport to insult and mark down tklogan's comment.

Especially by the very I D I O T I C person who calls her/him self Operabitch77. Domingo as many tenors has not found a confortable seat after singing +- A's. His techinique Yes, it's a lot of PUSHING, not FLOWING. He is not into the EFFORTLESS singing approach. For young singers studying voice Placido's technique in not one to imitate. So Ms. Operabitch77 B A C K O F F!!. leave your comments and respect the rights of others to do so!

[ShawDAMAN]

Fabrizzzio is right (in my view.) I like Domingo sometimes. There are a few roles that suit him pretty well...and I like him the best early in his career (early-mid 70's.) But his technique is not one to imitate. He did have significant trouble with high notes which led to his transposing a great deal

[adamoperaman]

Domingo, unlike many tenors has sung well into his later years. As far as technique goes, you don't sing with longevity unless you use good tech. Second, he started as a baritone. Yes there are some tongue tension at times, but the man is one of the greats of all time who just premiered two new operas, in the past 3 years at the MET...Uh I think his tech is pretty sound.

[ShawDAMAN]

Perhaps his technique was OK in that it didn't damage his voice, (although tend to think he just had remarkably resilient vocal cords!) His technique involved lots of pushing. Longevity isn't necessarily a sign of excellence or good technique. He sang lots of roles, yes- but that isn't necessarily admirable- no single tenor is capable of being excellent in every role in the repertoire! I do admire him in a way for continuing to be active when he could be comfortably retired.

[erik2310521010]

His technique didn't involve lots of pushing.He's the only spinto tenor who could sing the lyrical parts of heavy Verdi roles without being a hammer.What you call ''pushing'' is the spinto technique than many singers apply tragoediae gratia.Domingo analyzed the technique in his book he just increases breath power without hurting his vocal apparatus.He doesn't have ''remarkably resilient vocal cords'' he had serious vocal problems in 1968 for half a year after debuting Lohengrin.

[ShawDAMAN]

He could sing the lyrical parts but could he sing the dramatic parts? I think Corelli and especially Tucker (others too) struck a good balance between lyric and dramatic. Call it what you will but when I see him straining with his face tensed and his tongue curled up in the back of his mouth to shout out a high note I call it pushing. :P If it looks pushed and sounds pushed isn't it pushed? :D His voice has survived many years of that so it seems pretty resilient. I respect your thoughts :)

[erik2310521010]

Well,Corelli had an extremelly flawed legato and always sang extremelly loud how the hell could he sing lyrically?Tucker had a voice but his style was dreadful and he had no mezza voce.Domingo could certainly sing dramatic parts he sang with huge voiced soprano in huge theaters and he was never drowned out.Believe me I've heard him singing with Dimitrova and he had no problem with projection.

[ShawDAMAN]

Corelli did not always sing loud. He is famed for his gorgeous diminuendo and sang piano more often than most spinto/dramatic tenors and probably more than Domingo. True he was never lyric in the sense of being able to sing intricate passages, cadenza's etc; but I said I think he strikes a good balance- better than, say, Del Monaco. There's some minor style issues with Tucker I don't care for but I'd never call it dreadful. His volume was stunning, his diction was great; among other qualities.

[erik2310521010]

He is famed for diminuendo that he could never achieve without holding the note three times longer than the written value.He didn't sing piano very often actually he had no other dynamics than pianissimo and fortissimo.I didn't refer to his inability to sing florid music,he simply didn't have good legato which is essential in all singing including the lyric parts.Tucker's style issues were huge he suffered from the so-called "Bayreuth Bark''.

[ShawDAMAN]

Well I won't argue with you on the finer points :P but I look at the end product of a singers career as a whole and I would take Corelli and Tucker(among many others) over Domingo any day. They each had exceptional aspects to offset their deficiencies- I find virtually nothing to be really exceptional about Domingo's singing; he oversang, pushed and shouted out high notes for most of his career. His yelled upper register wears me out and ruins an otherwise pleasant voice.

[ShawDAMAN]

I admire Domingo's musical acumen and to some extent his drive- if only he'd applied the energy to perfecting his instrument and his art. He tried to do everything and failed to be exceptional at anything in my opinion. Sorry. *braces for barrage from Domingo fanatics* :P

[erik2310521010]

Have you ever heard Domingo in the theater during his prime?His high notes were fine.Singers like Tucker and Corelli sang everything below high A badly in order only to sing the high notes.First of all Domingo had a melting legato and much greater diction than Corelli and Tucker.I don't think they managed to surpass Domingo in any role he simply had a more beautiful and refined instrument and a sense for phrasing,dynamics and rhythm that puts their generic and obsolete singing into shame.

[erik2310521010]

You know,the ratio between high notes and middle/low notes in Domingo's main repertoire(heavy Italian and French roles)is around 1/40.Domingo in his off days used to miss around 10 or 15 percent of the high notes.I prefer a highly musical singer who may miss a high note or two than a singer who sings slovenly 98 percent of the notes and nails 2 high B's and 10 B-flats.

[ShawDAMAN]

Fine, that's your choice. I prefer a singer who has well connected registers and who doesn't ruin the atmosphere of the music with that strained sound.. In Aida and Turandot and Forza and Trovatore Corelli and Tucker put Domingo to shame IMO. Domingo may have been more versatile than them but so what? He wasn't truly great at anything. If I want to hear beautiful lyric singing I'll listen to Wunderlich, Di Stefano etc- If I want thrilling singing I'll listen to Corelli/Tucker/MDM etc...

[ShawDAMAN]

...Domingo tried to do it all and didn't really excel at any of it (I like him in maybe 2 roles and various excerpts, and being spanish, I like his spanish songs. :P) What is his prime? I've heard him making throaty hoarse sounds as early as the '70's but his top has always been rather tight. Almost no matter what Domingo did I can find someone who to my ears did it better. Better IMO to sing 30 roles great than to sing 130 roles, some OK some average and some downright poor. You disagree, fine.

[ShawDAMAN]

He's been one of the better tenors of his day, but then that's not saying much.

[erik2310521010]

He excelled in most of the roles he sang.His Otello is historical.What you call ''exciting''singing others call it sloppy and unmusical.Singing everything in a pseudo-veristic lachrymose style was acceptable in the 40's and the 50's in today standards it's just obsolete and generic. I've heard radio interviews of Corelli with Zaker.He was very regretful about his singing he said he sang everything like he was sad.

[ShawDAMAN]

In what way is his Otello historical against the backdrop of Zanelli, Vinay, Caruso, Del Monaco etc etc? Just curious.

Style is one thing. Vocal production is another. Domingo had "style" if you like, in that he didn't have bad habits or mannerisms, but his vocal production was just average IMO. There was *nothing* "generic" about Corelli or Tucker. They more than deserve their places in opera history. I wish we had singers of their caliber today.

[ShawDAMAN]

Who cares if an opera singer can sight read a score and conduct and play a piano at the same time (or whatever :P) if their vocal production is seriously flawed? That's not my definition of "musicality." If the greats of the past lose to Domingo and other modern singers in musical knowledge or style, they beat him in raw vocal talent hands down. I for one am not happy with the way opera is going and has gone.

[erik2310521010]

I don't know what's your definition of musicality but Del Monaco's Otello was not musical at all.He was just shouting the part inventing his own rhythms and pitches.His parlando rendition of Dio mi potevi scagliar is the epitome of sloppiness.Seriously you don't seem to care about Vinay's and del Monaco's serious inability to sing legato and del Monaco's constant flatness and nasality. Isn't it a serious flaw of vocal production?

[ShawDAMAN]

Actually I'm not a big fan of MDM and I agree he was sloppy and sang flat.(although he was exciting and had a real dramatic voice.) I was just throwing out names of famous Otellos since you said Domingo's was "historic." (how?) Zanelli was a great Otello from what I've heard and he had fine legato and a better top than Domingo. I have a clip posted. Caruso as well. Not even a favorite opera of mine though.

[erik2310521010]

Caruso had never sang Otello.Zanelli was a good Otello his phrasing is no patch for Domingo though.Domingo's Otello is certainly historic he found nuances into the the role that no other tenor had ever imagine.He portraited Otello as a tragic character deeply wounded,trapped by fate.Most tenors portraited Otello as a crude,vulgar butcher.Of course when you're only interested in high notes you miss all these details.

[ShawDAMAN]

I consider Caruso to have a better voice than Domingo and judging from the Ruffo recording he would have made a fine Otello.

Let me make it clear again: I'm not arguing that Domingo is a bad singer. I am arguing against him being placed above his worthy predecessors. Style and interpretation is subject to varying tastes. Technical flaws less so

[ShawDAMAN]

I just listened to a *studio*(!) recording of him singing "di quella pira" in key and the last C sounded flat, strained, and throaty. But sure, I'll just ignore that because he's so "musical."

[ShawDAMAN]

I'll also ignore that hoarse gargle he emitted after the high note in the 1977 "l'africaine," and the monstrous crack in the 1987 Turandot, and the fact that the 1983 la scala Turandot "nessun dorma" finale was so bad they redubbed the ending for the commercial release. And how horribly out of breath he sounds on those other trovatore performances. Because he's so musical.

It's not a matter of missing a high note on a bad night. I just don't think he did near enough to make up for his flaws.

[erik2310521010]

He was ill the day the Africaine was filmed.Listen the 1978 C. Garden live broadcast and then tell me if he had the high notes.

[erik2310521010]

It's well known,Domingo didn't have much of a high C.The high C's in Trovatore are not written.Yes his musicality in Di quella pira was exceptional,he didn't bark emphatically like Tucker and contrary to Corelli his rhythm was precise and didn't slur the sixteenth notes. Domingo couldn't sing Calaf in the 80's-true-but during the 70's he was exceptional as Calaf.

[ShawDAMAN]

I know they aren't written but they're more or less expected. There are many such instances throughout opera. At least high B's! but Domingo wasn't much good at those either. The 1989 "di quella" was abysmal. The studio one I mentioned was disappointing. Others I've heard (5 or 6) were OK but nothing special. Maybe I don't notice the musicality in his performances because I'm too distracted by the fact that he often just doesn't sound very good....

[bellini7verdi]

@ShawDAMAN LILY SORPRENDENTE.ELLA ERA LA QU EPARECIA TENER 20 AÑOS.

[ShawDAMAN]

I doubt if someone like Verdi would quibble about 16th notes when faced with as thrilling an interpretation as Corelli's. Scores are rarely if ever followed to the letter. He might quibble about Domingo yelling the end of "Celeste Aida" while Corelli starts forte and draws it out into a lovely decrescendo.

[erik2310521010]

Thrilling interpretation?You know,many letters of Verdi exist.He opposed strongly to Tamagno's interpretation of Otello because he had flawed legato,poor mezza voce  and he was insufficient as a musician and actor.He wrote that he was impressive singing Esultate but De Negri would have been better overly.You see,Verdi cared more about legato and musicality than squillo.Corelli had squillo but never decent legato.

[ShawDAMAN]

He opposed Tamagno's Otello? Tamagno was Verdi's personal choice for the role. Nobody's perfect.

[erik2310521010]

Read his letters first and then opine.Verdi was very conservative about high notes in most of his music for tenor high B-flat is the highest note and he opposed strongly to modern tuning.

[ShawDAMAN]

I don't deny the letters I'm just not sure about your application/interpretation of what he said. There are genuine criticisms to be found toward any singer but if he didn't like Tamagno why'd he choose him for the role (reportedly even writing it with him in mind.)

That's true about Verdi's stance on high notes but Domingo didn't even have a great B flat!!

Corelli did NOT always belt the B flat in the final Aida duet. He did the diminuendo there too which for that scene is a marvelous effect.

[erik2310521010]

He didn't have a great B-flat? /watch?v=dNULiDFJD_Q Not as powerful as Corelli's high B-flats but pretty good.Listen to his full performances from the late 60's-70's and then opine.Listening only to few excepts on youtube won't help to develop a fair opinion about his singing.

[ShawDAMAN]

I will watch that video. I have indeed listened to full Domingo performances. I trust that you have done the same for Corelli, Tucker, etc etc? It doesn't seem that way since you said Corelli didn't diminuendo in celeste aida live perfs and that he always belted the b flat in the duet, both of which are wrong. The full performances I have heard of Domingo support IMO the view that he was good but overrated and not, overall, better than many of his predecessors- and certainly NOT the best ever.

[ShawDAMAN]

..Again, I never said Domingo was terrible and never would.

Those are actually B naturals in "Giorno di pianto" not B flats. Hehe.

Good. About as good as his high notes ever got. Still a bit throaty and pushed and the glottal sound as he attacks the final one just doesn't sound healthy. My recording of Tucker singing it, they are freer, with more power and squillo- and Tucker was 51, not 33. ;-P (not that top notes are everything, of course. But they're something.)

[ShawDAMAN]

I can also find many examples of Domingo being rather unmusical. A 1980 Verdi "requiem" for example, on the Ingemisco he basically yells/barks his way into the upper register particularly on the finale. It sounds more like he's about to attack his mortal enemy than an earnest plea for mercy.

[Jussi1946]

Domingo was not 21 in this performance. He was at least 26.

[Plecostomus1986]

yes?why you know?

[Sissawilda]

Lily Pons had a perfect technique, albeit a French technique. She never forced her voice and she never lost her voice, sounding as fresh here as she did 30 years earlier. She is the Star here not Domingo.

[Rapicienta]

La Pons en ese entonces no chillaba, q lindo!!, ya no parecía una flauta, y Domingo esta excelente.

[corellilover]

Eso era seguramente por las grabaciones de la epoca, aqui la grabacion es un poco mas moderna y la voz de Pons no se escucha tan aflautada.

[TennesseeTenor]

Wow!! I must admit right up front that Placido Domingo is not my favorite singer. That being said, this clip is outstanding!! The voice is clear and ringing like a bell, wonderfully even, and the top part of his voice sounds youthful, but secure. This is an example of exceptional singing by 1 of the world's finest singers.

[2ManyHighCs]

I could not agree more. He sounds SO GOOD here. The voice IS clear "like a bell". He sounds like a wonderful youthful "tenor". Thanks a MILLION for these PRICELESS recordings.

[balletamie]

thank you!!!

[tklogan11809]

sorry he sounded strained then as he does today, I've always been mystified as to the reasons people go bananas for this pushed up baritone.

[operabitch77]

i usually dont reply to idiots but i have to say something about you fool! just cause you HEARD someone else call him a pushed up baritone you decide to say it! idiota! tenor and high baritone are only seperated by how the voice sits. its called tessitura!! ever heard of that?! doubt it. anyways. domingo has and always will be a tenor. thats how HIS voice sits. he doesnt even have a baritone sound! dont comment until you do your homework! the truth be said biatch!

[Samurai9]

Even in old age, Domingo sounds nothing like a baritone. In opera he started as a lyric tenor, not a baritone. Most tenors have to develop their upper register and Domingo did so at a very early age. He sang some so-called baritone roles as a teenager in zarzuela before he began his career in opera.

[twarrilow]

Yes Placido Domingo so young and vibrant one of my favorite performers. He is now about the same age as Pons was in this recording, her last performance in opera I believe. I am glad it exists. :-)

[wansob]

So young - and so mature Placido Domingo! So mature - and so young Lily Pons!

[blktenorpower]

BEAUTIFULLY said!!

[rupepill]

Yes, indeed - very true and neatly put.