Pavarotti - Celeste Aida

[jamesoneist]

Disaster,isn't complete this footage video :(

[espositogianluigi]

Di Stefano aveva semplicemente una bellissima voce, ma la tecnica era pessima, gli acuti devastati, non sapeva cosa erano i suoni di passaggio. Pavarotti era straordinario come voce e tecnica capace di affrontare ruoli non suoi, ma di uscirne indenne, proprio perchè aveva una tecnica di altissimo livello.

[tommyarreiga]

@espositogianluigi SEI UN GENIO

[MisterPapageno]

@espositogianluigi Completamente d'accordo!

[bodiloto]

MICROFONATO !!!!

[Baritanist]

mics

[flaviny]

Great singer; terrible audio recording (at least the tranference to u-tube

[Melomondo]

Microfonato.

[ellecho]

@Melomondo not amplified

[andrea2403]

Pessimo!

Non è mai stato un tenore verdiano. Un bravo tenore ma non sicuramente all'altezza di Di Stefano.

[31122051]

@andrea2403 : dai per piacere ! Di Stefano nei ruoli verdiani ( e non solo ) faceva autenticamente RIDERE : tenore senza tecnica, con un'emissione DEVASTATA, che non aveva la benché minima idea di come si emettesse decentemente un acuto o una nota di passaggio. Del Monaco, Corelli, Giacomini, Martinucci ... Questi erano i veri grandi interpreti di " Aida " ; e comunque anche il buon vecchio Pavarotti nei ruoli lirici e lirico-leggeri se lo sbranava vivo Pippo de Pippis. Tanti carissimi saluti !

[federricoilgrande]

Nemorés ??

[bigus]

the funny thing is. this role didn't suit his voice at all but he sounds better on this than almost every other tenor in history. it was smart of him to back out of aida early. he was always very intelligent about his voice. i disagree with the honey drying up, his voice sounded great even in his old age, certainly better than everyone else his age. people who criticize him are a bit small minded and uninformed to say the least.

[QuiRan82]

Who did the costume??

[ternitamas]

poor Dear Mr Pavarotti! He should have complained to the wardrobe master for turning him into a tent, literally

[bodiloto]

voce fuori repertorio .

[Flutecenterofmilan]

I'm Maurizio Simeoli, Solo Piccolo player at La Scala.

This movie is about our Aida at La Scala, december 1985, M° Lorin Maazel.

Great Big Luciano!!!

Happy new Year 2010. Mau911.

To know me, please visit: youtube, simeoli pastore svizzero.

[crabbe88]

I am a huge Pav fan-but he overreached for this role (like his concert performances of Otello). I saw him sing Radames in London in 1984-he looked like part of the set! Too bad. Great great artist.

[Lovelytenor1]

When I first heard him (1970) I talked to my teacher & he said, "that voice will white-out, just wait. He is carrying the voice too high."

Of course, it did. I wish he had sung this role earlier. The voice remained clarion, etc but not well suited for some of these roles.

I remain a fan but yes, the costume looks like it was made by Omar the tent maker.

[Mooorhe]

Your teacher observed in 1970 that Pavarotti's voice would 'white-out'?

[Lovelytenor1]

@Mooorhe If the voice is "carried too high" the instrument will lose its warmer, more baritonal gifts. Just contrast his early recordings w/those of his last ten years. Of course we all know voices age/change, etc. Usually, the tenor voice darkens, if produced properly. At 64 I vocalize to the "C" but do not sing it, etc. BTW, there is another YT of LP singing this aria live wherein he was in better voice, in a better costume.

[Mooorhe]

Indeed, the voice did decline heavily; I agree with you there. I'm sure it's difficult, but could you describe what you mean by 'carried too high'?

I was under the impression that Pavarotti's decline was due to adding weight to the top of the voice for a bigger sound.

[Lovelytenor1]

@Mooorhe So much of the old bel canto terms are somewhat nebulus. If you ask one singer/teacher a certain question you'll get a different opinion. Carrying the voice too high means that he trained the voice in a very high placement. The result was the clarion high notes which made him famous/rich, not a bad decision. If you listen closely you'll hear that in the later years he wasn't putting weight on it but it seemed to get higher, thinner, almost squawky. I remain his fan.

[tenorismo]

@Lovelytenor1 In people inparticular Pavarotti , Del Monaco , who ever the tenor . Its their natural isntrament. that makes them great and famoues in teatro lyrico. At this point in Pararottis carear he had been singing for almost 30 yrs. His weight ,prob his health, maybe he shold have thought about singing Aida.

[Lovelytenor1]

@tenorismo As I said much earlier, I wish he tackled this role earlier in his career. On the other hand, perhaps it would have harmed his voice, etc. A friend, who was/is a longtime MET goer said to me, "He came to us w/a voice dripping w/honey, but the honey dried up." Still, his career will be viewed as one of the most sucessful of all time.

[bigus]

@Mooorhe he never carried wieght up for a bigger sound. and his voice didn't decline at all other than age. it happens to everyone, but his pitch was still perfect which it wouldn't have been if he was pulling weight up or pushing, and he was still able to sing a C when he wanted to even into his old age i dont call that declining at all. perhaps at the very late stages in suedo retirement from being on the cancer drugs but who can be picky about that?

[bigus]

i would say if the voice is carried too high it has a tendency to go flat or wobble more than anything because you are fighting against the natural thinning of the sound as the chords stretch to make the pitches above the staff. i never heard any of that in pavarotti and he always had perfect pitch. if anything the sound will white out or strangle if you lose support and your throat tightens up, but not from carrying weight up, and the other can happen anytime if you are tired wouldnt you agree

[scottreiburn]

He sounds good to ME. That costume makes him look like a piece of the set. Oy.

[pieritlyon]

El Gran Luciano Pavarotti tenia una muy hermosa voz, que fluía como absolutamente natural , no hacia morisquetas con la cara ni movimientos innecesarios con el cuerpo.eso es totalmente admirable, pero para la opera "Aida" se requiere más fuerza y enfásis en la voz se trata de un guerrero que, sólo se pone dulce cuando recuerda a su Aida. El Gran Maestro Franco Corelli y el Gran Mario el Monaco lo hicieron perfecto.

[mestrehistoria]

Suscribo lo que dices, este tipo de voces no van con el papel, en mi opinión Corelli fue quien mejor desempeñó el papel. No sólo por su extraordinara voz llena de matices y de bajos y sobreagudos, sino por presencia.

[tenoreDB]

man and still he goes on barking like a brainless dog.

that guy must be the most frustrated idiot on earth ever. I bett he only can dream scraping that bottom of the barrel he talks a bout.

heey inquisite, every comment of yours is more pathetic then the first and gives the idea how frustrated YOU are.

An like a kid of four he just calls names and just returns everything. anyway i would like it better to be a 3rd tier tenor ( but i'm not) then to be the laughing stock of youtube. get a life

[Kulgark]

you say to him to get a life but you answered to every comment he did... who has to get a life?

[deliriouslyelphaba7]

It's just so much fun to fight with people who haven't got a clue.

[TheInquisitive4Ever]

Tenore-If your singing is just like your rhetoric then I highly doubt that you have sung in any reputable venues. It's not what you sing, it's how well you sing. As I said before, the idea is to reach the top in one's career. Obviously, you didn't. I'd be surprised if you're a 3rd tier tenor. How's life at the bottom of the operatic barrel? Do you like scraping the bottom of the barrel? It is you who is cannot stop blurting out nonsense by the way!

[tenoreDB]

of that low sort of people mr inqui is even the worst kind: he has no idea what his overrated comments are about but keeps yelling, insulting everybody and his comments are even that rude they get funny in some sort af way. And thats how everybody on youtube became to hate him: does he cares: NO he goes on!!

he must be veeeeeery frustrated.

My dear inqui in breaks for rehearsels your comments have been the laugh of the day in many operas. singers think your comments are great: as a comedyact

[tenoreDB]

he never sang a note and yet he thinks he knows a lot about it: how do we call that in our bussines:the critics.Mainly people who tried to get on a stage but failed hugely and then try to deliver some comments on those who can in newspapers and on the radio.those guys that write great reviews for every mediocre thing because they identify themselves with it and try to crack anything good because THEY didnt get there. critics mostly also known as the loosers. well inq you entered that row

[tenoreDB]

my dear friend: I can sing radames, I did calaf: I know every single note and remark in the score. I know what i'm talking about. Do you??. I bet you dont because nowhere in your comments that is clear. You bark like a dog and repeat things you heard somewhere.

Pavarotti and domingo werent friends but pavarotti sure got respect for the career domingo had ( and has) and his musicianship ( wich pava never had:he cant read a score, not even remember cues or words). and thats more you'll ever have

[TheInquisitive4Ever]

Memorizing the score of 130 some roles and yelling it out on stage to unsuspecting audiences around the world while being backed by predatory marketing is not called musicmanship. It's artistic prostitution. Last time I checked the idea was to create artistic excellence. Who cares if Mingo was fluent in solfege? First and foremost he should have learned how to sing well. If the technician cannot deliver, the interpreter cannot interpret. Didn't they teach you that in school?

[tenoreDB]

hahaha I have to smile at this hugely.

you dont know me and if you did you wouldnt say this shit. because my limited talent is a huge voice with a warm sound and lovely high notes. C and Even D easilly. I dont scrape the bottom. I sang in lots of nice houses including Wien, la bastille, Cologne, Brussels etc...

But you must be very frustrated yourselve huh. you dont even scrape that bottom. your less then nothing and you comment on people that are at the top. hows that for a shortccomming

[TheInquisitive4Ever]

Domingo's voice lasted? One needs to have an exceptional voice to have it last at first place. He didn't have much to loose, so he didn't and couldn't lose much even if he tried. Considering the fact that anything he sung above a F sharp was an error and trial exercise, especially in the last 25 years proves the point.

[tenoreDB]

You insuisite 4 Never have the guts to give an opinion to people who are in the bussines and on stage for a long time.

We studied for years to sing for idiots like you that think they have a clue what music and opera is about.

You even think you know it better!! thats shameless my friend, very shameless and also a bit sick. You should go teach at a very good music school: because with your knowledge you would be the greatest voiceproffessor EVER! but you never left your overpayed concertseat.

[TheInquisitive4Ever]

TenoreDB-All that effort and you're still a nobody. You might want to concede to the fact that because of your limited talent in your chosen field you've been making a living by scraping the bottom of the barrel. Your infatuation with Mingo is therefore understandable for you can relate to his limitations. It's just that he was lucky enough and unethical enough to make it to the top despite his fundamental shortcomings as an artist.

[TheInquisitive4Ever]

TenoreDB-What one does for a living doesn't matter. The idea is to be good at it and to excel. Obviously that is something you've never succeeded. You would have given lots of things up to sing in a reputable venue in a leading role where people pay for overpriced seats.

[TheInquisitive4Ever]

Talking about a tenor's fach when it comes to Domingo is rather funny. He couldn;t decide himself for 30s years! Check the timeline of his operatic roles. Pinhead!

[tenoreDB]

hahahaha ooh this is fun:

this no singing idiot that even has no idea what is written in an operascore calls this : he couldnt decide.

in opera they call this: all round my friend.

he had succes with parts in any fach.

how many can do that: only the ones who act and sing well ( pava sang nice in his young days: acting he never did)

domingo 40 years on stage in al kinds of roles and still in good voice: with a bad technique he wouldnd last 2 years.but what the hell would you know inquinever

[TheInquisitive4Ever]

Tenore-It is you who needs to get a clue not I. Domingo's 130 some roles is no indication of artistic achievement. Memorizing the score and yelling at the top of his lungs, often completely transposed, doesn't count mind you? Suggesting that Domingo had a good technique is simply ridiculous. Since when an overextended vocal range with poor breath control producing a hooted, throaty and pushed sound is considered a product of good technique. Get lost you little fiddlestick!

[tenoreDB]

now this proves you know scrat about singing. You think your god and you call everybody an idiot. but your comments make no sence.

try rto sing radames or calaf when you dont have the range or correct breathing technique: its simple you cant!!

even if you have a splendid voice: it still would brake. you would be done singing and your voice would be gone forever.

Tons of examples we have there to prove it! Domingo did sing 40 years: so either he had steel vocal chords or a good technique

[tenoreDB]

say what you: selfdeclared voicespecialist what you want:

I know what is is to sing those parts and heard and talked enough to tenors on the higest levels:

the only way to do it is a correct technique.

face it domingo has it: but you cant ha

[tenoreDB]

have any idea about it because you cant produce any decent tone yourselve.All you know ( and it is veeeery litlle) you can only tell because you heard off.

He had only one problem and that was his tongue: how I now that. first hand information: Domingo himselve!

Opera is more then just belching high notes out.Its a combination: a voice that interprets well in style, good acting etc....you can only hear one thing: if the singer makes loud noise and has some highd: hes great for you. poor kid!!

[WANK83]

Sorry to interfere in those clever and intelligent commentaries. But Pavarotti was astounding in this role. His voice was powerful and clear ; he was really shaped for this part.

R.I.P Maestro. We miss you

Regards from France

[TheInquisitive4Ever]

Whomever was the costume designer for this performance of this opera should take be punished. He or she should be asked to wear it for 1 month, every day, 8 yours a day during office hours. It is hideous!

[baritonas]

No no no!!! He isn't Radames! Who was Aida then? =DDDDD

[acitipo]

Estimado MarioVS23, Fiato en el lenguajo de canto significa el retener el aire y la voz controlandola gracias a un diafragma solido y fuerte, y a los abdominales bien trabajados.

[acitipo]

impresionante!!!!que fiato, y el si bemol, pasando del forte al piano, acto casi imposible en los tenores, nunca vi a uno hacer el final largo y en piano, solo en Luciano.

[MarioVS23]

Mira a Corelli. Qué es fiato? Gracias.

[acitipo]

Si Corelli es un gran cantante, pero el timbre de Luciano me gusta mas.

[wwjacod13]

I really dislike Pavarotti's rendition of this aria and I've listened to three performances. The recordings I have heard that I thought were the best were Domingo, Vickers, and Tucker.

[TheInquisitive4Ever]

Putting Mingo in the same category as Vickers and Tucker is rather insulting. Mingo, as always, was rather pedestrian in this role. He just doesn't have the technique to sing well.period.

[tenoreDB]

inquisite go read the book of the impresario of Pavarotti and then think again. Pavarotti was a nice voice with in his early days good high notes, but thats it. Period!! he could read music and did whatever he liked, he couldnt even remember his text properly: cuecards were his big help.

Now: Placido can read veeery well, play the piano and conduct, with his technique is nothing wrong. he sang 106 different roles and can sing in any language ( pavarotti only sounds decent in italian)

[sesameseed77]

I wish they would have put him in a tight superman costume. That would have been classic.

[OettingerCroat]

LOOOOL

i TOTALLY agree!!!!!! give him Domingo's costume from Houston 1987!!!! ROFL

[TheInquisitive4Ever]

O'Croat-Mingo's costume seems to make you switched on it seems. Whatever floats your boat nancyboy. lol

[OettingerCroat]

i said give him Domingo's costume because it would look even worse, because it looked terrible on Domingo.

you got serious problems, not only is your fanaticism flagrant but evidently you are also a dyslexic moron.

[TheInquisitive4Ever]

OCroat-Just jerking your chain. I see Tito's stick is still lodged where is was before. Loosen up man! One of these days you will get a grip.

[OettingerCroat]

I never lived under Tito or in Yugoslavia, born and raised here in the US and have had the joy of returning to a free prosperous and pluralistic Croatia since independence. So Tito's "stick" never got near any part of me, thank you very much.

[TheInquisitive4Ever]

OCroat-For heaven's sake man! Please do read the first sentence of my last post and REALLY loosen up! lol

[deliriouslyelphaba7]

*FEARS*

[castorp1981]

Pavarotti looks here like a singing wardrobe.

[CarlaUY]

hahahahah LOL

[SonoPortoricano]

lmao

[Mooorhe]

The critics called it a moving tent.

[tenoreDB]

well i can imagine it is hell to disign a costume pavarotti looks good in. remember him togheter with caballé: two huge persons dressed in black. the nightmare of every costumedesigner.

this moving tent is actually a decent solution. imagine pavarotti in a usual radames costume: with a skirt and sandals. it would be comedy at his best!!

[paintballKid545]

@Mooorhe Critics are asses this textile is beutiful

[Operafiend22]

It kinda looks like what tina turner wore in mad max: beyond the thunderdome

[tenorismo]

@castorp1981  Yes like a garment rack

[bobtemming]

1 van de allergootste tenoren aller tijden,veel talent,heldere krachtige stem,zeker om jaloers op te worden,het klinkt allemaal kinderlijk eenvoudig,SUPERB

[Webarton]

like, u can hear how even the higher notes are more chesty with this guy, its insane, his freakin whole mechanism was built to sing... damn it im jealous.

[aroncooker]

@Webarton funny how a year ago you thought "his whole mechanism was built to sing".... Yet now you have so much to say against him as a singer....

Let me guess, that was when you didnt know anything about technique right?

And now you do? Pffffff....

(Sorry, I know I can be an ass, I just get really defensive with my passion and especially when someone claims to know something but actually has no clue about it and should rather just keep there mouth closed.)

[aroncooker]

I guess I'll continue our conversation by repsonding back on this, since all your comments get removed....

First of all I am thinking for myself, thats where I am getting this information. By listening, learning, reading, etc. Sure my teacher has some influence on me, Im sure yours does the same for you. But I have hardly ever mentioned him. Believe I knew all this years ago before I even began studying with him, unlike you who has only been studying a year, right? I dont have my head up my ass,

[aroncooker]

I just know what the hell Im talking about.

Oh and this whole "let our voices show" thing that your so stuck up on. Ok, we can. But I think you wont like the results... Just saying.

[aroncooker]

On a funny side:

Wouldnt it be funny if we both grew up to be like amazing singers and ended up singing together one day? That would funny, especially after all of this YouTube bullshit. I dont think that will ever happen though so...

[Webarton]

Me neither.

[pearlmuth3]

When I first heard him in 73' his voice was not big about like Bjorling or Bergonzi but it did gain quite a lot over the years and was then Bigger then Bjorling/ BERGONZI in volume  so the comment that jussi had a big voice is wrong-- I heard him live, great but not a big voice at all. Yes corelli,tucker, del monaco had tons of volume and so did giacomini!

[pearlmuth3]

I must say most intersting as a singer of tech. Pav was better then Corelli but you cannot compare a lyric to a spinto etc as far as voice Corelli is not a favorite of mine but in this role I like him very much, also as Calaf. Pav had guts to sing this later live but by then he had a darker sound and more volume as I heard him from the start to the near end live and when he was in his mid 40's his voice was larger then Bjorling's or Bergonzi I also heard. tucker/corelli had very big sound

[buffchique]

I sort of disagree -- he does take an interpretation somewhat more 'dry' and less emotional, but his strength of register and voice (especially toward the end of the phrases) make up for it twofold. Not even Corelli or Del Monaco or Bergonzi could top him in that. Corelli, however, is much more of an 'emotional' singer -- although I find the solidity and weight of Pavarotti's voice quite moving in itself.

[tenoreDB]

very correct he should have stuck to puccini ( well not a role like calaf off course) and bel canto.

this hasnt any feeling and the tempo is rush rush rush.

I dont agree on the diction: wat is soluah??

he always makes the italian e vowel very dirty. dont like that at all.

[TheInquisitive4Ever]

Cornero-Thanks. Regrettably, only a handful people comprehend it. The rest is a flock or sheep who blurt out their nonsensical opinions.

[Nater389]

I've read many of the squabbles you get into with people on your seemingly endless endevour to prove everyone who isn't as enlightend as you wrong. I love reading some of your comments when you speak on technique and ability. However, it gets old seeing at least one comment on every Opera video on Youtube that shows you being a complete ass to someone who obviously does not have your knowledge. A better way exists to correct people without insulting them. I bet you're a real cunt in person.

[TheInquisitive4Ever]

Nater-It's not a matter of knowledge. Some people are simply ethnophobes who accuse others with the same with a Pavlovian reflex. I am just ripping them a new one. I have no tolerance for stupidity, sheepishness, and ignorance.

[tenoreDB]

veeery goid point Nater.

but he hasnt also no knowledge about singing technique: he just repeats some things he heard somewhere. and quotes them, but mostly with the wrong singer and the wrong aria.

reading his comments you can wreaaly see he never sang a note in his whole life because then he wouldnt write such comments.

he calls everyone else ignorant and stupid.... the irony is that he is the wreall ignorant pain in the ass whos opinion has a bit of tunnel vision.

[TheInquisitive4Ever]

A good analogy is light. You can have a 10000 Watt light bulb but it's light would reach with appreciable power very far. On the other hand, a laser beam of moderate power could reach long distance while maintaining a good fraction of its power at the source. It's a crude analogy (sound is pressure wave, while like is an EM wave) but it gives the main idea.

[TheInquisitive4Ever]

Phantom-You're referring to "projection" of voice which is correct. But when you say "it made is sound larger than it was" is a misleading statement. The true measure of the largess of a voice is how it is projected. It is the projection which makes a tenor sing over the orchestra, and which allows him to be heard at in the back rows of an opera house. One may have a heavy timbre which would be perceived as a large voice but without projection it wouldn't do much.

[tenoreDB]

eeep and wrong again !! its a combination of it all. you see some people have a large sound and the do get over the orchestra naturally. timbre is also has something to do with it.

you see there are tenors with a small voice sound sharp and very nasal you hear them anywhere. even if they dont project. and if they do project its not terribly loud but the sharpness reaches your ear better. that has nothing to do with technique. depends of every single voice!!

[TheInquisitive4Ever]

Whomever said Bjorling has a large voice is sorely mistaken. In fact naming him in the same list as Tucker, Corelli and del Monaco is a mistake. Maestro Bjorling was a tenore lyrico of utmost repute. His voice was not large but his technique was surely superb.

[phantom4087]

However, Bjorling's voice was so well focused that it would seem larger than it was.

[TheInquisitive4Ever]

Yoni-By comparing Pava to Corelli, del Monaco and Tucker you show how clueless you are as he's a tenore lyrico while the others are spinto/dramatico. Totally different fach. For a tenore lyrico Pava has a very large voice and projection. In my previous comment, I already mentioned the importance of projection which is what really matters. I'd suggest you get a bit more informed!

[Yoni89]

...While we talk about a dramatic role, like say.. Otello.. Yes, i'm going to compare a lyric tenor to dramatic/spinto tenors, no problem. You're the one who's clueless if you couldn't make that SIMPLE connection.

Good day.

[TheInquisitive4Ever]

What connection is that? Cut the BS and substantiate your nonsense if you could.

[Yoni89]

The connection in comparing dramatic tenors to a dramatic role, in which a lyric tenor is singing. Simple connection.

[TheInquisitive4Ever]

Then you should be comparing the singing and not the timbre. By singing, I mean the faithfulness in holding the pitch, the quality of the legato line, the overall vibrato, the squillo in the high notes and such. Comparing the timbre doesn't make sense. You still have not provided a sensible elaboration!

[Corenero]

I agree. You really know what you're talking about. Lot of people here compares timbre with singing techniques: wrong!

And about projection, (Bjorling "versus" Tucker, Corelli,etc.) agree again. Good statements.

[TheInquisitive4Ever]

Yoni-And how do you know that I wonder? Have you even seen any of the greats live? As Pava said, "nobody is a God in this business". I speak from first had experience when it comes to a good number of tenors. In regards to voice and technique,Pava was as unique as it gets. He's surely one of the GREATS. There is no absolute great. In his era, he was unmatched in the Bel Canto and lyric roles. As he aged, his wisely chosen spinto roles were operatic gems.

[tenoreDB]

wisely chosen: eeeeehm nope!! actually in his older years he didnt wanted to learn anything new anymore ( let him learn a new role when he was young was aready veeeeeery difficult) so e sang only the thing he knew very very well and that he still could sing ( his wreally high notes where gone) .

And NO his voice wasnt big he actually often used a hidden mic!!

[tenoreDB]

domingo is a combination: a nice voice color ( yes darker then most tenors but who likes those squeeky nasal voices??), musical phrases and good believable acting and charme. his don josé is amongst the best ever, his othello is amongst the best ever, should i go on??

pavarotti: is a loud noice with longtime ago high notes. period.

face it: wreal musicians and singers like domingo, uneducated audience like pavarotti

[TheInquisitive4Ever]

Yoni-Which one one those tenors have you seen live? Have you seen Pava live? One thing is certain, Pava never had a problem singing over the orchestra despite being a tenore lyrico in heavier roles as his projection was perfect. Domingo, as an alleged tenore dramatico, quite often was washed out in by the orchestra. You're confusing the timbre of the voice with projection. It is the projection of the voice which makes a tenor sing over the orchestra, not the timbre of his voice.

[TheInquisitive4Ever]

I'd suggest you mind your own business Phantom. When I mention other tenors, it is usually in comparison to Maestro Pava!

[Yoni89]

Jesus, you're rude! You act like the big P is god or something, there are other tenors with bigger voices and better technique, he wasn't all that special.

[Mooorhe]

I would say that he was very special. Just as important to Opera as Corelli. They both define what it is to be a real tenor in their vocal fachs.

[tenoreDB]

and compare all the others to pavarotti is soooooo stupid. did you ever hear that there are different types of tenors?

even comparing domingo and pavarotti is a stupid thing: those two voices are made for different parts.

you are comparing bananas to aples: yes its both fruit there the comparing ends.

[TheInquisitive4Ever]

Tenore-Domingo first tried marketing himself as a lyrico when he was young. He ended up being a joke. Then he tried to pretend being a spinto. That didn't work either. Then he tried reinventing himself as a dramatico and found some traction as during that phase of his career there wasn't much competition for dramatico roles. And these days he's been a helden tenor of sorts. Now go figure. Whatever fach he tried he wasn't anything exceptional.

[tenoreDB]

well at his age he is still singing heavy roles. without a good technique you wouldnt be doing that anymore. figure that out. during all his career and all those changes: he never lost his voice.

other well known facts: pavarotti cancelled a lot. And when was the last time you wreally could believe in the character he was singing??his acting is terrible! radames is a soldier who declares love to aida: no walking tent that moves like a lamppost.

[TheInquisitive4Ever]

TenoreDB-Do you even know about what you're talking? Have you even seen him in a live performance. And now you're accusing him of using a microphone. Now that is original. Everyone at the Met and elsewhere must have been fooled except yourself. Wow. What an idiot!

[tenoreDB]

fact is last ten years he put a little mic in his breast pocket. And I have seen more big operastages from the stage and behind than you ever did from a seat in the audience( a thing you can only dream of)did you knew the met has acoustic helps for the singers:(read hidden microphones) the house is a bit to big to get to the last row.did you knew that: no you stupid prick didnt know that. a secret of the met and the performers!and rotti live: no thanks. i dont spend a buck on overyelled old hype

[aroncooker]

@tenoreDB actually i dont believe that is true.... Maybe more so these days, but that just goes along with how art is dying and turning into what a modernized pop culture want. But no, that is not true.

[TheInquisitive4Ever]

Gonza-Nice try! If you have heard Domingo you wouldn't make such nonsensical comments. I have seen Pava in the role of Radame in Wien in 1984, which is one of the premier operatic venues. While he was no tenore spinto/dramatico, he brought the house down that night! He had the balls to go for the diminuendo which Mingo never ever tried in studio recordings!

[TheInquisitive4Ever]

Jussi-When I opine on such matetrs about MINGO (where's teh Do?) people try crucifying me! LoL...For how long will those idiots overlook MINGO's debasement of opera I wonder? He's the ultimate tenor for the ignorant masses. BBS's shameful proclamation of him as the best ever is the iceing on the cake. That's what happens when you place your your former personal assistant as a Exec VP at Decca! MINGO's business ethics are so Macchiavellian, it's despicable!

[phantom4087]

Please don't talk about Domingo while we're all watching other tenors.

[TheInquisitive4Ever]

Pava's Radames was a simple gem. Radames was owned by Corelli no doubt. But the fact remains. Domingo never did a diminuendo on the Bb -he cannot do it. In fact, he sounded throaty, hooted, monochromatic and pushed not matter what role he sung. He was vocalistically inferior to both Pava and Corelli.

[Jussi1946]

Forget a B flat Domingo already sounded pushed on a A natural and the performances during the last 30 years where he actually did an unforced B flat are few and far between. He was always saved by his beautiful timbre, contacts and excellent marketing skills.

The recent concert in Vienna was an incredible shame. Two tenors and not ONE B flat bar the Brindisi duet.

[patrick96321]

Why not just compare the 11 greatest tenors, side-by-side in one video singing the meat of this song. Do a You Tube search for "Celeste Aida Cage Match!"

I say the best are:

1)Corelli

2)Bergonzi

3)Vickers

[phantom4087]

Can't we just agree that Enrico Caruso did it better than anyone else?

[Yoni89]

Deal.

[gonzalordm]

I have seen him live in the Met and his voice is not ideal for radames. Pavarotti was a great tenor, but not a great radames. Compare with Domingo versions you will notice the diference. Again theinquisite4ever is nonsense and makes comments moved by his heart and no by his ear or brain...

[TheInquisitive4Ever]

Very little power? Are you deaf? Have you even listen to him live? You're just another clueless young kid who should first listen, then think, and once mature enough, then talk.

[Yoni89]

And you're a rude old bias man with set ideas, likes and dislikes.

Guess we're even.

[TheInquisitive4Ever]

Big Pava also exemplifies as nice diminuendo, which is expected from a top tenor. Ironically and quite sadly, MINGO (Where's the Do?) never performed a diminuendo since he cannot do it!

[idreno2001]

amazing, exceptional, chilling, the the final B flat is superb

[DaDaFamily]

MArtinucci is much better, but Pavarotti try well

[WANK83]

Pavarotti had the perfect voice to interpret Radames on stage : you should listen to the 1986's version of Aida at La SCALLA, just to correct your flase statment...

[Cantachepassa]

Sono due Voci ben differenti anche se pavarotti con una voce lirica la canto' bene.

Direi ascoltabile senza stancarsi mai,mentre Franco corelli era il Vero Erore di quest'opera come il Trovatore.

Per conto mio,non si possono criticare due voci del genere!

[Bjoerrelli]

This ain´t Pavarotti´s best part he´s voice is to lyric for this role. A wunderfull voice never the less.

[jago1976]

E' stato un grande Radames...non il più grande. In questo ruolo su tutti, Bergonzi. Tuttavia io non li sento questi acuti aperti, a 50 anni erano ancora splendidi.

[pavarottithebest]

vergogna x il tenore Alagna ke nn solo ha cantato un ruolo nn adtto alla sua voce ma inoltre è stato anke fischiato xkè ha steccato.Vergogna vergogna vergogna!

[WANK83]

Pavarotti had the most powerfull voice ever in opera. At 51 years, he was the king of La Scalla ! Pavarotti had the perfect voice to interpret Radames...

Regards from France.

[motherussia]

the most powerful voice in opera?

are you mentally retarted or deaf?

listen to del monaco, corelli, giacomini, any of the dramatic tenors. no comparison in power.

wow.

[WANK83]

I suppose you think you are the most clever man on earth : no, I am not retarded as you are ! PAVAROTTI HAS THE MOST POWERFULL VOICE EVER... Who memembers Monaco, Corelli ? Nobody. But Pavarotti has entered the pantheon of the greatest tenors...

Whether you like it or not...

Sorry for you, and regards from France, the nation of "Bon Goût" and culture...

[rickyelmeio]

Pavarotti non aveva la voce per interpretare Radames

[aguacun]

Agree with you

[WANK83]

If you do not like pavarotti in this role, go and listen to Britney spears : I suppose you shall love her voice and understand the lyrics... Loooool

[aguacun]

IN fact I prefeer Aretha Franklyn in opera than Britney because makes me laugh more! ;)

Pavarotti is great in any rol but his voice was not for this one!He was not a spinto... but sung this greater than many others

[WANK83]

I understand why you prefer Aretha Franklyn, but she never sand Aida unfortunately...

[occhioverde71]

Pavarotti non aveva la voce per interpretare Radames... gli acuti sono aperti e manca di pathos... Preferivo l'interpretazione di Franco Corelli

[WANK83]

Pavarotti had the perfect voice to sing Radames. Power, precision, highness... Pity the are so few lyrical connoisseurs on YOUTUBE ! loool

[Yoni89]

Not really, he didn't have the voice for Radames at all, dull and weak.

[WANK83]

dull and Weak ? Lol... I sometimes wonder if the youtube listeners are real lyrical connoisseurs...

[Mooorhe]

He certainly had the voice for Radames, impeccable high notes and a respectable volume.

[Yoni89]

I heard from so many that this man was a mouse.

I tend to believe it, beautiful tone and excellent range. Very little power.

[phantom4087]

Actually, Pavarotti had incredible power. Maybe not as much as Caruso, Tucker, Bjorling, or Del Monaco, but he had great power nonetheless. Just listen and decide for yourself. Don't let people tell you what to think. I just listened to his live recording of Otello. Even though he was having an off night, he still had almost as much sound energy as the orchestra.

[Yoni89]

A role like Otello requires someone who can sing above the orchestra.

Which is my point exactly, he was a lyric tenor. He didn't have the power of say, Corelli, Tucker, Caruso, etc.. He had a quiet voice in comparison.

[phantom4087]

I know that. However, his recording was good. Not great, but good. Honestly, I can say that my favorite Otello was Mario Del Monaco.

[Yoni89]

Recordings are usually good, hard not to sound good in a studio- now a good live recording is something to be proud of.

[phantom4087]

Actually, his only recording of Otello was a live recording, and he was sick for the performance.

[TheInquisitive4Ever]

The Pava with Solti conducting. It was an operatic gem and a lyric variation which is unique. You should place renditions in context before comparing them.

[tenoreDB]

ah do you think that: get this: pava didnt like soltis conducting!! he tought soltis style was to heavy and certainly not "italian" enough. Pava dindt do whta the conductor did: never; he did what he liked and the conductor could follow him: in every way. the only conducto he liked was james levine: why?? he gave him every time a sign to start and always corrected mistakes quickly ( for instance when pava sang a rythm wrong).

its all in the book by herbert Breslin: pavas manager. maybe READ IT

[luciano260982]

La Scala 86 :) Pavarotti 51 years.

Amaizing Pava, i love forever.