@@mariofilippeschi4855 No, I was un precise, Domingo conducts, and he also can add piano and guitar solo in between... played by himself, superb level of mastery also...in addition to sing everything!
Placido Domingo truly one of the most overrated singers strained voice strained vocal technique and a very short top reaches B-flat only with Supreme difficulty
Caruso and Ruffo as Otello and Iago what an electrifying performance. This was to have taken place at the Met in 1923 but of course Caruso died in 1921. The Desdemona was to have been Ponselle. What an event that would have been!!!
@@ransomcoates546 I think that Caruso's voice would have been in further decline. Ruffo's career lasted well into the electric era. However, I agree that they both were at their peak in this recording.
Bjorling&Merrill tried their best to make their duet as close to this one as possible. But alas, their voices lacked power in low notes. Though, of course, they also sound very good.
@@xxsaruman82xx87 Yes, but why so late? There is a video on YT with Mario del Monaco explaining the reason. Unfortunately, I do not understand Italian and the video is without subtitles.
@@aetion The reason is this: Caruso studied the entire Otello opera. But the Met producers were afraid that his voice would be destroyed by the nuances he used. And MDM puts Tosca and Pagliacci as an example. Well, two operas where Caruso left all his heart. MDM says that Giuseppe Danise, a baritone who was present at the Caruso del Otello demo, assures that it was something that had never been heard. To this, MDM adds that the idolization of Tamagno (the first Otello) was another impediment. Greetings from Peru. Postscript: I don't know English. I used google translate 🤪
I have only one word when listening to this...wow. I first listened to this duet in 1972. Now a half century later it thrills me just as it did then....wow
Two quotes. The great conductor, Sir John Barbirolli, appearing on the British radio program "Desert Island Discs" chose this as one of the six records he would take with him if he was ever a cast-away. Asked to narrow his choice to one he chose this and said it was not only his favourite but he deemed it the greatest record ever made. J.B. Steane, connoisseur and critic of vocal recordings calls this "one of the most exciting of records" in his voluminous book "The Grand Tradition".
Let's hope the LA GIOCONDA recording still exists and is just waiting to be discovered! Even if Caruso & Ruffo were not happy with it, it would make for fascinating listening!
actually, this is a kind of shadow recording. Imagine a live performance with a thundering orchestra and two voices that could rise above that and shake the rafters! Plus Ponselle!
Yes, I don't know what happened to the other recordings.... Have not been able to locate them. Ruffo was one of the most fantastic baritones of all times. A 'miracle' like Caruso.
According to Titta Ruffo's Book, "La Mía Parábola", this is NOT the only preserved recording of Caruso and Ruffo singing together. There is another one, never published, singing a duet of "La Gioconda".
The only preserved recording with Caruso and Ruffo performing together (from 8th of January 1914). Verdi's Otello, act II: Oh! monstruosa colpa! Sì, pel ciel. grandissimi!!!
Came here after listing to Domingo & Morris in a Met performance in 1996. That was great. This was better. As Domingo and Pavarotti often said, 'Caruso was the best, and in this, there can be no argument!"
Without a doubt the best recording of this duet ever made!! All the rest pale by comparison. Both these singers were at their peak when this was made. I am so sorry that they didnt make more duet recordings--each one inspired the other--and as you prob. know Ruffo made more money than Caruso did in S. America and other venues because of the size of his voice--no amplification in those days--but Ruffo himself even admitted that he had blown his voice out by the time he was in his early forties..but now who cares--they were the two Titans of Vocalism on this day and gave us their all!! God Bless them both for sharing!!
I agree with your opinion. In addition, while Ruffo had blown his voice early in his career, Caruso damaged himself with heavy smoking. The difference was Ruffo's damage was quite apparent and Caruso's was limited to a darkening of his voice and an early death. It would have been wonderful if the two had stayed healthy into the electric recording era.
hobo1975 The tobacco habit was the means by which Caruso damaged himself. As for the smoking damaging his voice...maybe not ... I agree that darkening of the voice in many cases is a good thing. Perhaps, if some of the darkening was from his smoking, we might consider that a good thing. I do not think that Caruso's voice declined as he aged. As a singer Caruso was improving over time. His best recording IMO is Ombra mai fu recorded in 1920. The transition from the trill into a short run at the end of the aria is exquisite. It is his best display of agility and is bettered by only a few. such as Herman Jadlowker John McCormack . My point is that two glorious voices never made it to the electric recoding era because of unfortunate choices made by their hosts.... From listening to the recordings of Ruffo, his voice, to my ears was best before the electric recording era began. I think that Ruffo's voice sounds best in a recording of Largo al factotum in 1912,if memory serves me right. It definitely shows his agility which he never lost.
hobo1975 I think there is finally agreement. As I see it Caruso was the greatest tenor and Ruffo the greatest baritone... As to who was the better singer... that's a tough one... I never considered who was the better. Both had exceptional agility but both pale compared to Herman Jadlowker who I consider to be the most agile tenor that I have heard. I am going to listen Caruso and Ruffo again and consider who is the better.... Jadlowker may have been the most agile tenor but he had problems with breath control and his voice was not the most appealing to me.
@31operafan I know couple of recordings of Otello whith Mario del Monaco. One is a film-opera with Renato Capecci sa Jago, second is filmed from stage in Japan whith Tito Gobbi. It is just great! Monaco is the best Otello for me)
@@marisamassimino6418, wer verbietet denn? Der Kommentar passt halt nicht ganz hierher. Es ist zweierlei, ob ein Film gedreht wird oder der Sänger live vor Publikum eine Oper bestreitet!
Zenatello at age 33 sang 1 Aida 2, Faust, 1 Butterfly and one I Pagliacci at the Met in 1909. He unfortunately never sang Otello at the Met. Martinelli did 26 Otellos starting at age 52 in 1937 to 1942. He received excellent reviews in Otello and almost everything he sang at the Met. Martinelli also has a record 123 Aidas at the Met with Caruso in 2nd place with 91. Enjoy
This is history. I should have already heard this record over than 100 times... What a shame the other of three recorded duets were lost. (I read that somewhere in RUclips.)
Thank you for your answer. I Think that perhaps Caruso or Ruffo (or both) were not happy with the final result of the recording, and they decided not to publish it. Maybe it happened just the same with a recording of Louise Homer, (La Prophète, "O Pretres de Baal", 5/10/1903), with a very bad ending of the aria, and this was not published then, but many years later. And, if you hear it, you can tell why...
Yes, when I wrote the only preserved, I actually meant the only one published. It does seem strange that the other duet never was published later, so maybe it is the only one preserved...
Exactly. Domingo was nasal by the time he sang Otello. And he was a lyric tenor. With better technique, he might have been a better Otello, but still not even close to Del Monaco!!!
@@mariofilippeschi4855 Like so many singers today, he had great musical talent and potential - what he lacked was a solid technique to fulfill that potential. Especially with regards to his musicality, which was great until he had to resort to barking as a ‘baritone’.
Ci sono decine di esecuzioni in cui Del Monaco ha eseguito in maniera perfetta "Già nella notte densa".e non è sempre stato orribile come Lei afferma.riguardo al gusto personale se Lei preferisce Domingo come Otello sicuramente ama il solfeggio.perchè a livello vocale è uno dei più scadenti..sempre in affanno con la tessitura ..la mia non è una critica verso Domingo ma riporto un dato di fatto che tutti gli appassionati d'opera conoscono..per eseguire al meglio un'opera ci vuole anche la voce...
federic017 condivido il suo pensiero. Molti dimenticano che per cantare la lirica ci vuole soprattutto la voce. Naturalmente essa da sola non basta e servono molte altre qualità e talenti,ma la voce è la prima cosa. Cordialità.
@@chastenor oh to have been a fly on the wall at that performance,the worlds greatest tenor and possibly one of the greatest singing actors in chaliapin,i have a book written by his pal gorky and it is full of black and white photos of chaliapin in various roles,his makeup and costumes are second to none and his life story and shocking poverty are a magnificent insight to life in russia at the time,and his steady climb to fame and escape from poverty.
@@amantedellopera1681 When I invent my time machine I will be spending frequent nights at the Met. Have just found out that Caruso and Chaliapin also appeared together in Gounod's Faust in 1908 at the Met.
+Андрей Щербаков The subject is much more complicated than your question implies, but the simple answer is that Ruffo had a dark baritone voice with fabulous high notes.
@dilvishselar del Monaco had his strengths, but his performance in the eternal love duet from act one was always horrible. There has never been a perfect Otello, but there have been several great ones. Opera is not a sport where we keep score. For my part, I prefer Domingo in the role, but that is only personal taste.
Mario del Monaco owned Otello role. Domingo never resembled or was able to follow Monaco characteristics in dramatic performances. Domingo lacked temper. He was rather of more lyric natured person. I love Monaco in Otello. He was born to sing it.
After Domingo sang Cassio in 1962 in Hartford Connecticut with Del Monaco as Otello, Domingo stated that he would never be able to sing Otello the way MDM did. It's fine that you prefer PD, but in the Esultate, Ora Per Sempre, and Si Per Ciel, MDM had that wielding sound with great high notes and endless breath. Perhaps PD sang the lyric portions of the opera quite well, but cutting phrases short and squeezing in the passaggio and higher always seem to be a problem for Domingo. I saw both live and MDM was quite superior. Enjoy
![Blox Fruits Dragon Rework Update [Full Stream]](http://i.ytimg.com/vi/EqDAp8udhm0/mqdefault.jpg)
Magnifica esecuzione, ancor oggi insuperata
che cantanti.
One of the greatest recordings EVER MADE.
still 10 people here dislike... they want domingo to sing with Mingo！！
@@道-p2e Ahahahahahha 😂 Want to see someone edit and make Mingo sing wtih Mingo, Mingo Iago and Mingo Otello
@@mariofilippeschi4855 No, I was un precise, Domingo conducts, and he also can add piano and guitar solo in between... played by himself, superb level of mastery also...in addition to sing everything!
@@道-p2e No le des ideas, que ya grabó consigo mismo el dueto del Barbero
Placido Domingo truly one of the most overrated singers strained voice strained vocal technique and a very short top reaches B-flat only with Supreme difficulty
Чудо чудное! Диво дивное! Я в восхищении!
Quite possibly the greatest opera recording ever made. Stunning singing.
When opera was about great singing. And WHAT great singing!
Caruso and Ruffo as Otello and Iago what an electrifying performance. This was to have taken place at the Met in 1923 but of course Caruso died in 1921. The Desdemona was to have been Ponselle. What an event that would have been!!!
Shlomo Hoffert Ruffo would have been in decline.
@@ransomcoates546 True, but still a thrill.
@@ransomcoates546 I think that Caruso's voice would have been in further decline. Ruffo's career lasted well into the electric era. However, I agree that they both were at their peak in this recording.
Caruso è straripante con la sua splendida vocalità!!! Anche Ruffo è strepitoso!!! A tratti sembravano 2 baritoni
Never to be surpassed. How many young singers will have heard of these two, let alone listened to their recordings!
Bjorling&Merrill tried their best to make their duet as close to this one as possible. But alas, their voices lacked power in low notes. Though, of course, they also sound very good.
@@elenajha4357 yes, that’s the only recording that gives you some insight into what Caruso and Rufo might have really sounded like.
@@edwardstroud8245 I think all the theatre vibrated when they had sung together. Outstanding voices indeed.
I am 76 and grew up listening to this recording when I was about 8!
@@mr.obrien6984 on 78s?
Лучшее исполнение этого дуэта! Каждый раз мурашки. Два монстра оперы. Грандиозно!
The greatest recording of this aria. Thank God they were performing at the same time in the history of opera.
Best version. The best tenor (Caruso) and the best baritone (Ruffo). Thank you!
They never sang Otello on stage. Caruso did not sing Otello.
@@WMP777 He was preparing to sing the role when he died.
@@xxsaruman82xx87 Yes, but why so late? There is a video on YT with Mario del Monaco explaining the reason. Unfortunately, I do not understand Italian and the video is without subtitles.
@@aetion The reason is this: Caruso studied the entire Otello opera. But the Met producers were afraid that his voice would be destroyed by the nuances he used. And MDM puts Tosca and Pagliacci as an example. Well, two operas where Caruso left all his heart. MDM says that Giuseppe Danise, a baritone who was present at the Caruso del Otello demo, assures that it was something that had never been heard. To this, MDM adds that the idolization of Tamagno (the first Otello) was another impediment.
Greetings from Peru.
Postscript: I don't know English. I used google translate 🤪
@@joelshuan
I thank you so much for having translated for me. The translation is excellent. MDM must know the reason.
Greetings from Greece.
Listen well... This is a combo of Olympian powerhouses we will never hear again. This is Opera!
Two national treasures of the same nation! Bravo!
Y , 108 años hace de esa sublime grabaciòn!!!, aun no an nacido voces què los puedan igualar!...( superar?? IMPOSIBLE!!!........
Two giants
One of the great records.
A much-respected colleague has said "it is like two dinosaurs going to war:)"
Лучшее исполнение дуэта Отелло и Яго! Полнейший восторг!
I have this on a LP bought in the early 1960s and enjoyed ever since, what wonders these two were, perhaps incomparable in recordings of this duet
I have only one word when listening to this...wow. I first listened to this duet in 1972. Now a half century later it thrills me just as it did then....wow
TWO GODS OF OPERA TOGETHER!!!!
Two quotes. The great conductor, Sir John Barbirolli, appearing on the British radio program "Desert Island Discs" chose this as one of the six records he would take with him if he was ever a cast-away. Asked to narrow his choice to one he chose this and said it was not only his favourite but he deemed it the greatest record ever made. J.B. Steane, connoisseur and critic of vocal recordings calls this "one of the most exciting of records" in his voluminous book "The Grand Tradition".
Let's hope the LA GIOCONDA recording still exists and is just waiting to be discovered! Even if Caruso & Ruffo were not happy with it, it would make for fascinating listening!
Due leoni della lirica.
Immensi entrambi.
❤️🌹🌟🌟🌟🌟🌟
voce poco adatta a questo repertorio
@@armwrestlingfanatic7923
Carissimo/a Fanatic, purtroppo non si capisce niente del suo commento…
Strepitosi entrambi!!! Due interpreti di grande valore...grazie
Giganteschi voci d’oro
actually, this is a kind of shadow recording. Imagine a live performance with a thundering orchestra and two voices that could rise above that and shake the rafters! Plus Ponselle!
And possibly to have been conducted by Toscanini or Panizza back in 1923......we will never know....but what a concept.
Un miracolo! Due voci fantastiche! Elio Zappulla
Yes, I don't know what happened to the other recordings.... Have not been able to locate them.
Ruffo was one of the most fantastic baritones of all times. A 'miracle' like Caruso.
THE GREATEST FOR EVER
Two towering titans of the opera world in all their glory. such as we'll never, no not ever encounter again...
Treasure, Wow!!!
When this recording was made, Otello was less than 30 years old. Unreal.
Вершина всей мировой музыки. Ничего более грандиозного не существует. Два друга - два величайших голоса.
Hahaha 2 giant male voices, the absolute cream of the crop, they sound like an entire chorus LOL
Caruso único e inimitable!!!!!.................
Великим певцам. Слава в веках ....
According to Titta Ruffo's Book, "La Mía Parábola", this is NOT the only preserved recording of Caruso and Ruffo singing together.
There is another one, never published, singing a duet of "La Gioconda".
The only preserved recording with Caruso and Ruffo performing together (from 8th of January 1914).
Verdi's Otello,
act II: Oh! monstruosa colpa! Sì, pel ciel.
grandissimi!!!
Un duetto da far venire i brividi.
L'apoteosi ,i più grandi di sempre nella storia della lirica mondiale.
Two titans!!
Amazing quality of recording!
amazing, thank you for this recording
Giganteschi!!! Adoro..!
Dos astros los más grandes de la opera, magnífico joya.
До сих пор мир не слышал подобных голосу Карузо! Не повторимая техника! Бесподобный голос!
Это все относится и к Титта Руффо.
Io sono in Paradiso... 💕💕💕💕💕
Came here after listing to Domingo & Morris in a Met performance in 1996. That was great. This was better. As Domingo and Pavarotti often said, 'Caruso was the best, and in this, there can be no argument!"
BUENOS AIRES FUE UNA DE LAS CIUDADES DEL MUNDO DONDE AMBOS MÁS CANTARON JUNTOS...TANTO EN RECITAL COMO ÓPERA (I PAGLIACCI).
Without a doubt the best recording of this duet ever made!! All the rest pale by comparison. Both these singers were at their peak when this was made. I am so sorry that they didnt make more duet recordings--each one inspired the other--and as you prob. know Ruffo made more money than Caruso did in S. America and other venues because of the size of his voice--no amplification in those days--but Ruffo himself even admitted that he had blown his voice out by the time he was in his early forties..but now who cares--they were the two Titans of Vocalism on this day and gave us their all!! God Bless them both for sharing!!
I agree with your opinion. In addition, while Ruffo had blown his voice early in his career, Caruso damaged himself with heavy smoking. The difference was Ruffo's damage was quite apparent and Caruso's was limited to a darkening of his voice and an early death. It would have been wonderful if the two had stayed healthy into the electric recording era.
hobo1975 The tobacco habit was the means by which Caruso damaged himself. As for the smoking damaging his voice...maybe not ... I agree that darkening of the voice in many cases is a good thing. Perhaps, if some of the darkening was from his smoking, we might consider that a good thing. I do not think that Caruso's voice declined as he aged. As a singer Caruso was improving over time. His best recording IMO is Ombra mai fu recorded in 1920. The transition from the trill into a short run at the end of the aria is exquisite. It is his best display of agility and is bettered by only a few. such as Herman Jadlowker John McCormack . My point is that two glorious voices never made it to the electric recoding era because of unfortunate choices made by their hosts.... From listening to the recordings of Ruffo, his voice, to my ears was best before the electric recording era began. I think that Ruffo's voice sounds best in a recording of Largo al factotum in 1912,if memory serves me right. It definitely shows his agility which he never lost.
hobo1975 I think there is finally agreement. As I see it Caruso was the greatest tenor and Ruffo the greatest baritone... As to who was the better singer... that's a tough one... I never considered who was the better. Both had exceptional agility but both pale compared to Herman Jadlowker who I consider to be the most agile tenor that I have heard. I am going to listen Caruso and Ruffo again and consider who is the better.... Jadlowker may have been the most agile tenor but he had problems with breath control and his voice was not the most appealing to me.
INDIMENTICABILE .RUFFO IN GRAN FORMA..COME AL SOLITO CARUSO E' INEGUAGLIABILE
Mamma che duetto
Pelle d'oca alta due dita!
Who in the hell give a thumbs down?
Wow!
If only We were able to record them with today's technology.
The two greatest natural male voices in history. Ruffo blew his, but Caruso made the most out of his!
Ruffo was against fascism, for which he ended up in a concentration camp! And you dare to say that he is guilty of something?
thats power, pure power
But not just power. Considerable subtlety of dynamics by both singers
Clash of the Titans!!!!!
BRAVISSIME!!!!
@31operafan I know couple of recordings of Otello whith Mario del Monaco. One is a film-opera with Renato Capecci sa Jago, second is filmed from stage in Japan whith Tito Gobbi. It is just great! Monaco is the best Otello for me)
This comment, even if true, has no place here.
@@TedinNY e perché sarebbe vietato? Caruso grande sempre. Ma si intuisce che la voce di MDM è il massimo in questa opera.
@@marisamassimino6418, wer verbietet denn? Der Kommentar passt halt nicht ganz hierher. Es ist zweierlei, ob ein Film gedreht wird oder der Sänger live vor Publikum eine Oper bestreitet!
That would explain it ! And the recording technique in those days were not really geared to retakes.
great other duet they did never found never hear this again if only it were high fi be unbelievable
I don't think Caruso ever sang Otello on stage, did he? Zenatello and Martinelli sang it at the Met, but the latter only late in his career.
You are right. Caruso never sang Otello on stage.
Zenatello at age 33 sang 1 Aida 2, Faust, 1 Butterfly and one I Pagliacci at the Met in 1909. He unfortunately never sang Otello at the Met. Martinelli did 26 Otellos starting at age 52 in 1937 to 1942. He received excellent reviews in Otello and almost everything he sang at the Met. Martinelli also has a record 123 Aidas at the Met with Caruso in 2nd place with 91. Enjoy
Awesome
di più non si può
@bodiloto, ya sabes que siempre he creido que Caruso es único y excepcional! Sencillamente el mejor, y basta!hahahaha! Saludos y cuidate bodiloto!
Przepiękny duet
This is history. I should have already heard this record over than 100 times... What a shame the other of three recorded duets were lost. (I read that somewhere in RUclips.)
en esa foto falta Chaliapin , fue tomada en el colon de buenos Aires
Caruso cantado otello de verdi Dios tengamos este Rey de la ópera el mejor de todo comentario del crítico José André Maza
Both had a similar voice. When singing duetts Caruso had diffculties to hear his own voice.
All but brings tears other them in synch!
Stupid spell check!
@bodiloto BRAVO
🙏
Thank you for your answer. I Think that perhaps Caruso or Ruffo (or both) were not happy with the final result of the recording, and they decided not to publish it.
Maybe it happened just the same with a recording of Louise Homer, (La Prophète, "O Pretres de Baal", 5/10/1903), with a very bad ending of the aria, and this was not published then, but many years later.
And, if you hear it, you can tell why...
anch'io..
Yes, when I wrote the only preserved, I actually meant the only one published. It does seem strange that the other duet never was published later, so maybe it is the only one preserved...
DIE BESTE AUFNAHME DES RACHEDUETTS ALLER ZEITEN
DIE BESTE AUFNAHME DIESES DUETTS ÜBERHAUPT
Due LEONI Assoluti della lirica
this is why God keeps mankind, despite of its 99.99999% uselessness, TITANS!!!!!!
@clambondingla I wonder if the master still exsist ?
IM GOING TO LOSE MY MIND ....WHAAAAAAAAT
Chi è il baritono e chi il tenore?Che peccato che Caruso non abbia mai cantato l'Otello!Sarebbe stato il più grande di tutti in questo ruolo!
Morì studiando l'Otello. Peccato. 🥺💔
Saluti.
Il migliore Otello e' stato Del Monaco a seguire Merli Vinay Miranda Ferraro Filippeschi Vichers e tanti altri.
@31operafan Domingo wasnt the greatest Otello his voice did not fit this role. Monaco was the best one.
Exactly. Domingo was nasal by the time he sang Otello. And he was a lyric tenor. With better technique, he might have been a better Otello, but still not even close to Del Monaco!!!
@@xxsaruman82xx87 i agree to you. plus Mingo had good low notes. He could have been great.
@@mariofilippeschi4855 Like so many singers today, he had great musical talent and potential - what he lacked was a solid technique to fulfill that potential. Especially with regards to his musicality, which was great until he had to resort to barking as a ‘baritone’.
Ci sono decine di esecuzioni in cui Del Monaco ha eseguito in maniera perfetta "Già nella notte densa".e non è sempre stato orribile come Lei afferma.riguardo al gusto personale se Lei preferisce Domingo come Otello sicuramente ama il solfeggio.perchè a livello vocale è uno dei più scadenti..sempre in affanno con la tessitura ..la mia non è una critica verso Domingo ma riporto un dato di fatto che tutti gli appassionati d'opera conoscono..per eseguire al meglio un'opera ci vuole anche la voce...
federic017 condivido il suo pensiero. Molti dimenticano che per cantare la lirica ci vuole soprattutto la voce. Naturalmente essa da sola non basta e servono molte altre qualità e talenti,ma la voce è la prima cosa. Cordialità.
What about CARUSO and SHALIAPIN?!
Shaliapin was a basso.
Try chaliapin,and indeed he was a great russian bass so he would never have sung this duet with caruso
@@amantedellopera1681 Caruso and Chaliapin sang Mefistofele in Milan in about 1902. What a treat that must have been
@@chastenor oh to have been a fly on the wall at that performance,the worlds greatest tenor and possibly one of the greatest singing actors in chaliapin,i have a book written by his pal gorky and it is full of black and white photos of chaliapin in various roles,his makeup and costumes are second to none and his life story and shocking poverty are a magnificent insight to life in russia at the time,and his steady climb to fame and escape from poverty.
@@amantedellopera1681 When I invent my time machine I will be spending frequent nights at the Met. Have just found out that Caruso and Chaliapin also appeared together in Gounod's Faust in 1908 at the Met.
Awesome is a sometimes over used expression, not in this case!
das kam auf der bühne leider, leider nicht zustande
war kaum zu übertreffen-leider verstarb caruso 21
Titta Ruffo is dark bariton (law) or high bariton?
+Андрей Щербаков The subject is much more complicated than your question implies, but the simple answer is that Ruffo had a dark baritone voice with fabulous high notes.
Ruffo had quite high, but very dark and powerful dramatic voice.
He is everything 😊
He was The Dramatic Baritone. The King.
E COSA SI POTREBBE DIRE ASCOLTANDO QUESTI DUE GIGANTI ?
WHY OMITTED CHALIAPIN!!!
@jcab2323 So would I !!!
Ma era un caso che certe voci nascessero vicine nel tempo o era un dono di Dio?
non saprei rispondere forse dono di Dio Grandi
A volte non si comprende chi è il tenore. Ma l' 'ascolto è da paura .
А какой чудик вырезал гениального Шаляпина??
Шаляпин был великим певцом, но он не принадлежит моему каналу, который посвящен Энрико Карузо.
Шаляпин был великим певцом, но он не принадлежит моему каналу, который посвящен Энрико Карузо.
@dilvishselar del Monaco had his strengths, but his performance in the eternal love duet from act one was always horrible. There has never been a perfect Otello, but there have been several great ones. Opera is not a sport where we keep score. For my part, I prefer Domingo in the role, but that is only personal taste.
Mario del Monaco owned Otello role. Domingo never resembled or was able to follow Monaco characteristics in dramatic performances. Domingo lacked temper. He was rather of more lyric natured person. I love Monaco in Otello. He was born to sing it.
🤣🤣🤣🤣 Una volta MDM dissi: io canto tutti i giorni, non solamente il Domingo 👌😏
Saluti.
After Domingo sang Cassio in 1962 in Hartford Connecticut with Del Monaco as Otello, Domingo stated that he would never be able to sing Otello the way MDM did. It's fine that you prefer PD, but in the Esultate, Ora Per Sempre, and Si Per Ciel, MDM had that wielding sound with great high notes and endless breath. Perhaps PD sang the lyric portions of the opera quite well, but cutting phrases short and squeezing in the passaggio and higher always seem to be a problem for Domingo. I saw both live and MDM was quite superior. Enjoy