Vien diletto - Montserrat Caballé

Mad scene from Bellini's I Puritani.

Montserrat Caballé - Elvira
Matteo Manuguerra - Riccardo
Agostino Ferrin - Giorgio

Category:

Music

Tags:

• montserrat
• caballe
• vien
• diletto
• in
• ciel
• la
• luna
• puritani
• mad
• scene
• vicenzo
• bellini
• coloratura
• bel
• canto

[joansutherlandista]

nada que pueda comparse a Callas y sutherland.tempis lentos,y sólo un centro de bello sonido, faltándole una agilidad mas suelta y unos mejores agudos.Una aceptable elvira, pero no modélica en nada.Una curiosidad en su larga carrera .

[leoperarm]

no entereme de que habia comentado en esta canción. por favor, si no le gusta montserrat caballé, solo no la oiga. gracias.

[DonRolini]

Dearest, lets not give ourselves a stroke b/c we don't understand.Bellini did not ask Pasta for Eflats when he wrote the role for her which is why its not in the score.Which is why Cabelle sings it just the way it is written with perfect intonation & style to that period.Elvira not just a 15yr old girl.She has just lost her love/fiancee and is crazy,hince the descending scales.You don't always need high notes to be crazy. Plus Cabelle never sung Eflats it would've been dangerous to her voice. :)

[BEVER29]

Ce n'est pas faire injure à madame Caballe que de constater qu'elle n'est pas vraiment à sa place ici!. La voix (superlative!) d'essence lyrique se pose sur des tempi aménagés et la tessiture un peu trop haute l'oblige à tendre son aigu. La vocalisation quant à elle, contrainte, manque singulierement de liberté et de brio.

L'art de Montserrat est ailleur!

[MsMacbeth22]

I adore this version.Anna Netrebko is magic....(¸.•¨¯`*•●♥Ƹ̵̡Ӝ̵̨̄Ʒ♥.­..

[thomastmwc]

@vocalissimo1 can't agree more

[DanyelHawkes]

Her diction is rather good and those scales have precision. Overall i think she portrayed this character quite well.

[vocalissimo1]

I can't understand why Caballe felt she had to inhabit this repertoire when she sang it with limited impact. Her Verdi and Puccini are great, but in the bel canto roles she slows things down, expands the phrasing where it shouldn't be expanded, and loses musical momentum every time she makes an aria out of a simple phrase. And high notes do matter - they are part of the glory of the human voice and we love to hear them. The final phrase is anti-climactic here and the last high C is flat.

[babydrane]

@DonRolini Thanks for sharing this bit of information. I still can't understand why there hasn't been some radical movement to sing the scores come scritto without all these ridiculously high notes. Forget that it is now the convention. People value it way too much and it's just not essential to portraying a character. More time should be spent on ornamentation and getting that right .

[Dymension]

@gwright199 That's funny, I always loved her almost instrumental vibrato, true to the pitch....Oh and I have perfect pitch and sing with the Chicago Symphony!

[Bivolari]

@DonRolini The role was written for Giulia Grisi.

[opera75frfr]

Bien sûr le timbre est beau, bien souffle est là, mais en 79 la voix de Caballé est déjà loin de ce rôle,et l'intégrale le montre bien: les passages élégiaques sont superbes, les passages d'agilité souvent laborieux, voire stridents, comme ici. Et tout le talent de Muti n'y peut rien. la vedette dans ce disque, c'est Kraus, dont c'est le vrai répertoire. Pour moi c'est une erreur, comme Lucia, même si Lucia est pire je crois. J'ajoute: J'ADORE CABALLE