Roberto Alagna - "Ella mi fu rapita" - "Parmi veder le lagrima" - Rigoletto
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- čas přidán 4. 09. 2024
- Roberto Alagna as Il Duca di Mantua imagines the innocent Gilda being heartbroken because of the abrupt departure of her youthful lover, can it be that the careless womanizer actually has a heart? Riiccardo Muti conducting at La Scala, 1994.
Il timbro è bellissimo: pastoso, vellutato, espressivo. Il fraseggio preciso ed elegante, uno dei grandi, diretto perfettamente da Muti
Maravilloso ❤
merveilleux Roberto, grand ténor merci une voix d'or !
L'orchestre est trop rapide
Тёплая огранка его тембра голоса всегда впечатляет и покоряет!
The best Duca, bravo Alagna!
Roberto Alagna has legions of fans, particularly in France, where he is called "notre ténor national"... His appeal to his fans comes from the unique timbre of his voice, his enduring dramatic and sexual appeal, and also in part his accessibility and kindness... and by singing popular concerts of Luis Mariano, Sicilian, and now Spanish songs, he has attracted many new fans, who may also become operagoers...
Meraviglioso. Lo trovo estremamente toccante in quest'aria. Grande Alagna!
Fraseo y color vocal hermosísimos. Línea de canto fabuloso. Bravo Sr Alagna. Muy bella interpretación.
Dice Roberto que gracias. Que No podía dormir sin tu análisis.
Aquí esta en plenitud vocal. Buena interpretación.
Сокровище голоса..ваша артистичность.Для меня слышать Аланью как увидеть ангела на земле.Необыкновенный художник, человечный.
Molto meglio cosi , grande maestro!!!
You are right about Pavarotti as to the rest, I'll let Alagna speak for himself -
"I look for simplicity, sincerity, and I try to give much. I sing what the composer wrote, without portamento and without adding extra notes or other effects to the music."
Roberto Alagna
Quel musicien!!!!!! Avec la partition sous les yeux je me rend compte combien est excellente cette performance! Bravo!
Bravo, Alagna!!!
the best, hope you have the entire performance Dede
I really like Alagna
His voice has a unique and rare beauty , and he is generally a tasteful musician. What I cant understand I why his voice always sounds so small on recordings. Ive heard him in person and while its not a powerhouse, its big enough and carries well. Sounds teeny weeny on recordings
Young Alagna and Maestro Muti. Perfect combination.
French tenor alagna good tenor good voice
Alagna è italiano, mi dispiace per i francesi
@@biolaloucosmeceuticibioeve4846
Il est né dans la banlieue de Paris, de parents siciliens, a été à l'école en France. Il est franco-italien.
@@sylviebasyl2835 anche se è nato in Francia, i suoi geni sono italiani
@appeace1 the sustained note, the full, open throat, bell voice, the rapport he had with them. That was HIS audience and he knew very well what they expected to hear and what would keep them coming back for more. Therefore, if he deviated from the form, it was to please HIS audience and we love him for that. (perform NOT preform--lol)
Muchas gracias por subirlo.
Soberbia voz e interpretación.
@myyellowlabfan I truly admire Alagna's talent, and if, his fans are opera purists then his interpretation as written by the composer is exactly what he needs to preform. However, one must realize that a huge part of Pava's goal was to bring new audiences to opera, to open that world to folks who previously would not have given opera a thought. In order to reach them and to please his already massive audience, he knew what they wanted--the thrill of the high note,
Representado!!! Lindo !
Obrigada!
Ana Cardoso i
💗💗💗💗💗💗💗💗
Alagna, le dernier des grands...Par son timbre unique, sa technique, son souffle, son legato, sa ligne de chant, sa facilité générale, il excella aussi bien dans Verdi, Puccini, Donizetti, Massent ou Gounod. Dernier descendant des Stefano, Corelli, Carreras, Pavarotti, Bergonzi et autres Bjorling...où est la relève ??? Beaucoup de "jolis" ténors, mais où est le grand ténor du moment ? On peut en dire autant des barytons et des sopranos d'ailleurs. Beaucoup de jolis minois à défaut de grandes voix. Espérons que cette "fracture" n'est que passagère...
alagna canta il Rigoletto come e' scritto da Verdi,come ha voluto Muti, anche per il Trovatore
l'acuto finale e' stato inventato in seguito, cosi come il si naturale della donna e' mobile
alagna canta Verdi come voleva Verdi
@operabohemian - Actually, no, Verdi wrote in the era of "dramatic" opera, when the composers wrested back control from the singers who had made the composers music into their own vocal showcases. Now the singers had to convey the emotion of the drama with their singing...
As to Alagna - again, he is a singer who has chosen to interpret the score as it is written....
Anche perché Muti la vuole originale
@ah332 Riccardo Muti is very strict with singers and does not allow them to sing notes which are not written in the score - unlike Pavorotti, Alagna can read a score, and so is performing this aria correctly.
Following the tradition is also singing something correctly. As you go back in time you find that the closer the singers are to the source, the freer they sung, even when they were conducted by the composers themselves. Caruso knew Leoncavallo, who wrote "'Mattinata' for the tenor. Then you appreciate the freedom with which Caruso understands the score. Then you listen to Gigli, who was a student by Cotogni, one of Verdi's favourite baritones ever. Gigli took many liberties when performing, because that was the tradition. A good singer is not the one who sings what is written, but one than knows when he can be free and when he can't. The "come e scritto" is sometimes quite arrogant and often musically poorer, because, don't forget it, the real experts were the singers, not the composer. Can you imagine Copland telling Benny Goodman about his clarinet concerto: 'No, it's written like that, play it like that, period.'?
@@juno-m6061 but R. Mutti doesn't give a damn about tradition and when you're a young singer, you don't challenge the Maestro.
Entretien : Riccardo Muti, directeur musical de la Scala de Milan
Riccardo Muti, directeur musical de la Scala de Milan, sourit en pensant à ce qui s'est passé le soir de la première du Trouvère, le 7 décembre 2000
Le jeune ténor Salvatore Licitra avait à peine fini de chanter " Di quella pira " qu'une tempête de huées s'est élevée du pigeonnier. Pour quelle raison ? Le jeune ténor avait eu le malheur de s'arrêter au la écrit dans la partition et de ne pas chanter le célèbre ut de poitrine imposé par la tradition. Excellent point de départ pour aborder l'interprétation verdienne avec le chef d'orchestre italien. Agé de cinquante-neuf ans, Muti effectue, depuis longtemps, un travail fondamental de dépoussiérage des ouvrages lyriques qu'il dirige, sans être toujours compris par le public le plus traditionaliste.
" N'est-il pas étonnant d'entendre siffler ce que Verdi a écrit ?
- C'est une situation paradoxale. Une partie du public conteste que nous jouions ce que Verdi a écrit plutôt que la retranscription qu'en a faite la tradition. Sans doute certains pensent-ils que respecter le texte original est un geste révolutionnaire : je suis fidèle, je ne suis pas révolutionnaire. En tant qu'interprète et en tant qu'Italien, j'en ai assez de voir le répertoire verdien ainsi massacré. Si l'on admet que la musique est un bien culturel, les intentions de l'artiste ne doivent pas être altérées.
- Pourquoi avoir justement choisi l'inauguration de saison de la Scala de Milan, le 7 décembre 2000, Le Trouvère, symbole d'une conception enflammée de Verdi, pour donner un signal stylistique aussi précis ?
- Parce que les célébrations du centenaire n'auront de sens que si l'on réussit à lancer une relecture de ses œuvres comparable à celle qui a été accomplie pour Mozart, Schubert, Rossini et même Beethoven. Cela n'a pas été fait pour Verdi. Peut-être n'a-t-on pas jugé sa musique digne d'une recherche aussi attentive. Il existe maintenant une édition critique d'un grand nombre de ses opéras qui nous donne la possibilité d'exécuter correctement cette musique.
- Les exécutions traditionnelles ont-elles pénalisé Verdi ?
- De la lecture de la partition à son écoute, il ressort une différence énorme entre ce qui est fait et ce qui est écrit. Je ne veux pas proposer un Verdi exsangue, mais on oublie trop souvent la noblesse du chant verdien.
@@sylviebasyl2835 Thanks for refreshing my French! Two things to say about this:
1) Toscanini had once played for Verdi and introduced a rallentando not marked in the score, and Verdi had congratulated him. Toscanini had then asked Verdi why he hadn't put the marking in the score, to which Verdi's answer had been "I can't put markings on every note".
2) Alfredo Kraus had an argue with Muti concerning ‘La Traviata’. Muti didn’t let Kraus sing the high C in ‘O mio rimorso’. Kraus said that in this case, he would like the orchestra to be tuned at 432 Hz (that Verdi wanted to be declared official in Italy). In this case, HIS (not Verdi’s) orchestra would have sounded much less brilliant, and following Verdi would turn against the conductor’s brilliance, not the singer’s, so needless say Muti didn’t accept.
I don’t know if you realize that, out of the three main characters of this Rigoletto, Bruson is the one who sings with more freedom, because he is old enough to already know what good singing is about. That’s why Muti only conducts young people currently. People don’t understand that the freedom singers like Cotogni sang with was not born of ignorance, but rather the opposite. They knew Verdi himself, and knew where they could be free and where they had to follow the score ‘as is’. Don’t forget the composer himself was there. Most times, tradition is not getting apart from the score. Tradition is getting inside the score.
voto 8
To sing Verdi without portamento is against what Verdi writes in his scores. When he writes a slur joining two notes and two syllables, he is asking for portamento He does this all the time.
I was about to say that he could do with a bit more portamenti, but in fact he DOES use it.
Ну куда же у всех вас вся эта чарующая Вердиевская пленительность мелодичности этой арии пропадает? Вы что глухие, как это можно так петь, как можно так петь такую мелодику, как это можно так кромсать, рвать такую потрясающую мелодию,? Нет, после Карузо это слушать невозможно, никакой кантилены, это же Верди!
Muti aveva un appuntamento galante quella sera, non voleva fare tardi.
Si no va a llegar a la nota y encima va a cambiar las tonalidades en donde se le de la gana, debería optar por no cantar Rigoletto... No me imagino como habrá hecho el possrnte amor
es un asco esta interpretacion amigo, esta Aria deberia de ser dificil y no solo dar lo basico. Placido Domingo al igual hizo una porqueria.
Como lirico que es puede con el si/b con el si/no y con el Do .Como muchos ánimos escrito verdi lo escribió sin el Si/b y como en tantas otras obras es opcional,depende del carácter que se le quiera dar,más dramático o más lirico.Gran Tenor
@@rafaelalvarez6749😊
Demandez plutôt à R. Muti pourquoi il le chante ainsi.
@myyellowlabfan Well, didn't Verdi write music like the previous Bel Canto composers where ornamentation and adding high notes (within reason) was generally accepted?
E' va bene...senza acuto finale. qualcuno dice che Verdi lo voleva cosi...non so forse lo conosceva personalmente. rimane il fatto che anche Bergonzi e tutti li altri lo hanno fatto. Alagna no ma la realta e' che preferisco cosi meglio un aria cantata bene fin li che rovinarla con un acuto stentato come altre volte ha fatto. buono molto meglio cosi
+julio romero Basta leggersi le lettere di Verdi che non apprezzava i cambiamenti - lui vivente - poi incrostati con la "tradizione". Nella partitura, gelosamente difesa da Verdi, non c'è traccia di questa e di altre puntature (acuti). E a sentirlo in quest'esecuzione si capisce il motivo: la versione originale, l'unica vera versione, è molto più elegante, controllata, drammatica. Il fenomenismo da baraccone non è adatto alla drammaturgia verdiana.
You know maestro Mutti,
You know, the one who does not give a damn about tradition and who sticks only to the score.
He is good there, but than he ruined and cracked his voice...
Ma perché non ha preso l'acuto pre-finale? Mi pare che lo poteva fare. O no?Mica è Domingo. O forse sì?
Peche nella partitura originale non era richiesta...Verdi l aveva scritta senza il SI finale....ed il maestro MUTI l ha applicvata alla lettera
Si è vero .Muti si attiene sempre alla partitura .però non tutto il pubblico lo sa e pensa sia una mancanza del cantante ..cmq è un abitudine di Muti .ma l opera ha le sue tradizioni .acuti che verdi non ha scritto ma che i melomani aspettano perché da anni si eseguono .perché privarli di questo piacere ? Ecco perché Muti a me non fa impazzire .
Непонятно- Аланья спел герцога лучше чем Паворотти, а везде звучит только интерпретация ,именно, Паворотти. .
Es que Pavarotti no fué el mejor Duca. Para mí gusto Kraus y Bergonzi, aunque Alagna hace una magnífica interpretación.