Montserrat Caballe's American Debut - Lucrezia Borgia 1965 Full Opera, Vinyl Source
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- čas přidán 17. 06. 2015
- On VOCE-7 Vinyl, the amazing breakthrough performance that established Montserrat as an international superstar. She earned herself a 25 minute standing ovation!
Featuring Montserrat Caballe, Jane Berbie, Alain Vanzo and Kostas Paskalis.
Jonel Perlea conducts the American Opera Society Orchestra.
Performed live at Carnegie Hall, 20 April, 1965. - Hudba
I would love to hear the 25 minute applause and standing ovations. That was pretty early in her career. She was only 32!
Yes, but she'd slogged all over Europe for nearly a decade without catching a break. I'd heard that at one point she had to work as a dishwasher and had to pawn her wedding ring to pay the rent. Wouldn't you have thought that with a voice and technique like hers, SOMEBODY would have noticed her gifts? "Casta Diva," an excellent biography of her, came out in 1995. For some reason, it does not mention the legendary 1969 Cincinnati Il Pirata she sang with a broken leg, which I saw and loved recalling to people for whom she was synonymous with cancellations. Last but not least, i had friends who were at Carnegie Hall that night, and they told me that at the first intermission, people literally ran to the pay phones in the lobby to get their friends to rush to CH as fast as they could.
@@bobzeschin3154 I don’t know about that pawning her wedding ring. That sure isn’t in the book, Casta Diva. She and her husband Bernarbe’ Marti were both working before and at the time of their wedding going all over Europe. They were only married 7 or 8 months before she got this huge break and became famous overnight. They both continued working years into their marriage until he retired
@@debbiejohnson2789 Something else that isn't in Casta Diva is that she sang Il Pirata with a broken leg at the Cincinnati Zoo Opera the summer of 1969. WHICH I SAW! They carried her on and off the stage in a sedan chair, which she managed to get in and out of thanks to crutches skillfully hidden under a long black cape. She sang fabulously, and the ovations after each aria and at the end went on so long my friend and I almost missed our midnight flight home to Detroit. I loved to tell that story in later years as the complaints about her cancellations piled up.
I have this on cd - the performance that made her a star. She learned the role in a hurry as a replacement for Marilyn Horne who had to cancel because of pregnancy concerns.At the end of this historic evening both RCA Victor and the Met were backstage with contracts! Her singing caused mass hysteria in the audience - most of whom had never heard of her before.
Replacing Marilyn Horne? Do you mean the mezzo Horne? I always thought Lucrezia was a soprano role.
@@pump066 You are correct; it is a soprano role. However, Mme Horne was capable of doing it at the time; so she thought. Actually, she was not sure if she wanted to be a soprano or a mezzo. Grace Bumbry started out az a mezzo but she became a soprano.
@@magdaschweitzer1472 Thank you, I just found elsewhere John Mitchell explaining this Lucrezia Horne Caballe-history..I never was a fan of Horne, and didn't know she had soprano aspirations.Caballe I admired and still think she was the greatest Lucrezia!
@@pump066 Horne flirted with Wagner for a while, too. In the late 60's, I heard her do the Immolation Scene with the Detroit Symphony, preceded by the Kindertotlenlieder, her then-husband Henry Lewis conducting. She certainly had the lung power for it, but I suspect Richard Bonynge had a hand in getting her to stick to bel canto. (P.S. Been to Finland twice & loved it! Wish I'd known Anita Valkki had opened a restaurant--I'd have dropped in and told her what a splendid Turandot she was.)
@@bobzeschin3154 Thanks for this Bob! Had she ventured to Wagner, I might
have become a fan. Yes, Välkki was my favourite in many of the heavy
roles, along with Nilsson and Dernesch.
I wish i was there 🙏
So do I!
@@magdaschweitzer1472 me too x
One of my NYC opera chums was there That Night, and loved recalling the occasion. There were empty seats in Carnegie Hall because Horne had canceled and Caballe was such an unknown quantity. After she stood the place on its ear in the Prologue, there was such a long line at the pay phone in the lobby of people wanting to tell their friends to get to CH as fast as they could, people ran next door to the Carnegie Deli to use the pay phone there. She said a couple of people tried to bribe the manager into letting them use the house phone, but he wouldn't let them. The place was packed by the last act, and the rest is operatic history. A few years later, I heard MC sing "Il Pirata" at the Cincinnati Zoo Opera with a broken leg. They carried her on and off stage in a sedan chair, but she managed to get to her feet to sing thanks to crutches carefully hidden beneath a long black cape. She sang magnificently, and the ovations after each aria went on so long my friend and I would have missed our midnight flight home to Detroit if the sweet little old lady sitting next to us hadn't broken the world land speed record driving us to the Cincinnati Airport. It's the greatest "Show Must Go On" story I know of, and why it's not included in Pullen & Taylor's 1994 biography I'll never understand.
Straordinaria Caballè❤
Opera meravigliosa di donizetti
Interpretata magnificamente dalla grande artista Montserrat Caballé R.I.P Soprano assoluto migliore di tutti
35:49 pianissimo infinito 🖤 estratosférica Caballé
And she smoked! Isn't that nuts?!
Riposa in pace! Mai piiù un'altra cantante di tal levarura. Rest in peace ! Never again we will hear a singer like Montserrat!
L'esclusiva voce di montserrat caballé manda in estasi
Il duetto di Gennaro e Lucrezia e divino👏👏👏👏
Solo montserrat caballé🌠🌠
Ultimo soprano assoluto poteva interpretare il ruolo della Lucrezia Borgia.👑👑🌹🌹
Adesso riposa in pace nell'alto dei cieli ⭐⭐⭐
Who are the Philistines who dislike this performance? It’s incandescent, inspired, amazing.
È stata una artista infinitamente preziosa resta il fatto che non si può fare a meno di ascoltare le arie famose da lei interpretate di
Just absolutely amazing, words are not enough to portray the feelings that thus performance evokes, no wonder they adored her forever 🥰💞💖💕💓💗
Mitiquisima Montserrat Caballé R.I.P
Es una grabacion inolvidable. El descubrimiento de una gran cantante , su primera noche triunfal, no hay mas que oir al final de su aria "Come e bello" la impresionante ovacion, el Carnegie Hall exploto con gritos y aplausos. La Montse tendria muchas noches de gloria en todo el mundo a lo largo de su carrera, pero como esa ninguna. Muchas gracias al que desde hace muchos años publico esa noche en vinilo, CD y ahora you tube. Muchas gracias
Meraviglioso sentire la Caballé ovunque lei sia la sua voce resterà imbattibile
Awesome! Montserrat is my fave. bravooo
!!!!
Thank you for this jewel.
Incredibly beautiful! ❤️🙏
La sua voce mi fa molta compagnia w la Caballé 👏👏👏👏👏👏👏👏👏👏💕💕
Ha suo tempo fu una meritatissima ovazione
X "Com'è bello
Beautiful!
I remember the quality of those vinyls records under that Voce label wasn't always good but this one has the best sound I had the chance to hear. Thanks for sharing it with us.
Sublime
Muchas veces hemos oido decir que para triunfar en muchos ambitos de la vida hay que estar en la estacion con la maleta por si pasa el tren con el que soñamos. Nuestra Montse estaba en el Carnegie Hall, escuchando a la gran Marilyn Horne, detras de la escena y con los deberes bien hechos ( la maleta hecha), no se puede cantar mejor sin haber preparado a fondo el papel de cover, y paso el tren y ella estaba alli. Gracias al que grabo el primer testimonio en vinilo, que tantos años hemos guardado como un tesoro y muchas gracias a ti nuestra querida, admirada y adorada Montse.
Wonderful Montsy. R.I.P.
Montsy ! J'en foutrais...
23 sec, on 35.47 ongelooflijk !
holy crap . so the pianissimi started from the the start of her career
Alain Vanzo the best lyric tenor, also in french
Questa meravigliosa opera di donizetti presentata dalla grande
Caballé è fantastica vorrei avere il DVD dove cercarlo? 😄😄😄
According to the wonderful biography (endorsed by Montse) of Caballé by Robert Pullen and Stephen Taylor, there are or were 3 cd’s of Montse’s Lucrezia’s available:. Two pirate recordings (This one and from her 1970 debut at La Scala, and an RCA studio recording from 1966.) Details are:
This performance-Legato CD (SRO 801 2), RCA studio CD (GD 86 642(2)), La Scala Myron CD (2 MCD 904.23). Good luck in finding one or more of there.
Gracias por subir esta obra de arte
Verdi must’ve listened to this score as many times as Salieri listened to Nozze di Figaro. The original Lucrezia Borgia was Henriette Meric-Lalande a capricious star at the time who refused to wear a mask in her opening scene for fear of fans not recognizing her! She also demanded a flashy cabaletta at the end and Donizetti was so furious that he wrote one of the most punishing arias for soprano that he ever composed (Era desso). Not to be defeated, Henriette performed it brilliantly on opening night according to all critics present. The 1840 version (this recording) is superior, without the ostentatious cabaletta, because it’s what the composer originally intended.
It's a great performance of Donizetti's revised 1840 version in which the composer removed the final cabaletta which he had reluctantly included in the world premiere performances at the insistence of the soprano. Unfortunately Perlea makes many unauthorized cuts to this outstanding score. Verdi's Rigoletto was heavily influenced by Donizetti's earlier masterpiece.
El teu art i la teva veu incomparables viuran per sempre més entre nosaltres. Reposa en pau, superba
En 35:49 empieza un pianissimo infinito increíble. Esta Montserrat es la que amamos, mejor olvidar las últimas décadas...
She was superb to the end.
Me gusta más este final que el que se canta actualmente
❤️🙏
Люблю.
23121942 Resulta difìcil pensar que pueda haber una mejor presentaciòn de esta òpera. La participaciòn de Caballè ese 20 de Abril de 1965, , en mi opiniòn, le asegura un lugar entre las grandes, aunque no hubiese cantado nunca màs ( en realidad estaba comenzando ) Hay otra gran versiòn grabada con Caballè Krauss, Verrett , tambièn dirigidos por Jonel Perlea. Aùn reconociendo la calidad de Krauss, considero muy superior la del gran Alain Vanzò
Saludos
La verdad es que Kraus está mejor en otras versiones en vivo, por ejemplo, con Sutherland, en las que se incluye el aria "T'amo qual dama a un angelo", a pesar de ser más viejo, pero el teatro le aportaba electricidad. Para gustos, claro. En mi opinión solo Kraus supera a Kraus. Aragall tenía una voz maravillosa, pero la línea, el fraseo, la media voz y, sobre todo, el legato... A mi juicio Kraus es muy superior a todos los demás.
czcams.com/video/n1alIo-Mk8s/video.html
Ahí está... czcams.com/video/n1alIo-Mk8s/video.html
@Oneguin65 As good a singer for sure. And with a more beautiful voice. J'adore M. Vanzo.
Prologue 0:00
Act I 39:11
Act II 1:18:10
Where is final aria of Lucrezia?
35 40 Wow 48 second di filato....!
Is this the original ending?
Yep. Never heard it elsewhere.
It is, the ending with the Era desso cabaletta was added by Donizetti in regards of a soprano who said the ending was not brilliant and would not sing the opera if Donizetti did not give her a final cabaletta
To be exact, Era desso premiered first. So this is Donizetti’s original *intention* for the ending but it only premiered 7 years later in 1840.
@@tklogan111809 You are absolutely correct! Donizetti never wanted that damn cabaletta to begin with, but most sopranos including Caballe in later performances, insist on its inclusion. An unfortunate choice.
Das Pianissimo von Alain Vanzo in der Sterbeszene am Ende der Oper ist grandios. Das ist Belcanto Stil im reinsten Sinn. Da können sich die Stars von Heute einiges abhören.
She thrills and the breathe of G_D came into...
Is the final aria and cabaletta cut?
Chris Peng no, this is the original ending
dan2194 so the “era desso” is an added cabaletta ?
@@ChrisOPera Yes. Donizetti added it at the request of the soprano at the time because she wanted a brilliant ending.
This is Donizetti's revised version of the Finale (1840). He only included the cabaletta in the first version (1833) because the soprano insisted on it. Most sopranos including Caballe in later performances, insist on grafting it onto the superior revised version.
@@ChrisOPera This performance was indeed a somewhat truncated version of Donizetti’s preferred edition. However the other two recordings on CD have the cabalettas, a 1966 RCA studio recording, and a pirate 1970 recording of Montse’s La Scala debut.
quanti tagli
Aunque no niego la gran calidad de Alfredo Krauss, prefiero a Alain Vanzo en este rol.
Yes, Vanzo is terrific here. Sounds a bit like Kraus, in fact.
voice over. please do not shout
NO Era desso????
This didn't have era desso il figlio mio
There are different versions. Neither is "T'amo qual dama a un angelo", which Bonynge --I think-- rediscovered and included in the Decca recording with Sutherland and Aragall.
This performance uses the 1840 La Scala revision. Donizetti removed the cabaletta which he had written for the world premiere performances, at the insistence of the soprano.
@@pablocarrascosamiguel7680 aragall I am assuming played gennaro and the one you mentioned, sir, is the tenor aria that starts Act II, I believe and it’s usually not done I guess because like “Era desso il figlio mio,” it was considered too difficult to perform
@@gameshowfanatic9311 Como dije, esta aria no está tampoco en esta grabación, ni en la comercial de RCA con Kraus, aunque después Kraus sí la cantaba en los teatros. Está en la grabación comercial de Decca, con Aragall. Por eso digo que hay distintas versiones de la ópera. "Era desso il figlio mio" no estaba en la primera versión. La escribió Donizett para la vuelta de la ópera en 1840 a La Scala, al igual que el 'Madre, se ognor lontano', ambas para el tenor ruso Nikolai Ivanov. El aria final de Lucrezía no estaba en la versión inicial de la ópera, la escribió Donizetti a petición de la protagonista del estreno en 1833, Henriette Méric-Lalande, y se omitía habitualmente por considerar que el final dramático se diluye, aunque hay quien dice que las sopranos llegaban cansadas para algunos de los adornos complejos que terminan en notas graves bastante incómodas.
Мецо-сопрано не поют этой партии.
La voix de Montserrat est dompteuse et elle chante avec un art absolu .Cependant dans ce rôle je préfère Sutherland et aussi Gruberova ,qui malgré des voix plus ingrates ,font une rendition beaucoup plus spectaculaire,par l'utilisation des ornements et du registre suraigu,avec des contre Ré et des contre mi bémol .
Ĺ
c'è di meglio!..... parecchio meglio!
Massimo Turrini, beh, fai i nomi! Gruberova? Devia? Fleming? lasciamo perdere, tre poveracce al confronto. Forse non hai mai visto ne sentito la Montserrat in teatro...quindi, forse, il poveraccio sei tu.
Turrini o sei sordo o sei assolutamente incompetente, o forse tutt'e due😆
astrr flamm...si..tutteddue.
Non c'è niente di meglio
Caballé è stata una artista incantevole e grandiosa