Pues el perfomance es aceptable. Y digamos que en ese momento, Caballe hizo una particular versión de Medea. Ha pasado el tiempo desde que nos dejó y cada vez nos damos cuenta del increíble talento de Caballe, poseía un oído majestuoso, una voz bellísima y gran presencia escénica. Seguiremos extrañándola.
What an interesting document ! IMHO Caballe is by far one of the greatest voices of the 20th century and she actually gave us unique moments of ecstatic grace and historical performances in a broad and diverse repertoire. But as we well know thru many testimonies, she sometimes could also deliver terrible performances. This is certainly one of them. Such a total and continuous disaster is almost funny, and any opera lover would forgive her and just laugh for her daring sink into something that is vocally musically and dramatically alien to her. Why such an amazing singer would jeopardize her legacy in a repertoire where she does not belong at all is quite mysterious. Did she need money up to this point ? Did she want to prove something to herself and the public ? We love you also for your errors Montserrat !... it makes you more brave and human ... and it makes your sublime renditions even more precious 😍
Caballe's voice is/was a miracle! The composition is masterful; every voice exceptional. The staging is unimaginative, but doesn't detract from what is an opera of choral beauty.
Нет, не браво. Сразу вспомнились слова Раневской: «Сняться в плохом фильме всё равно, что плюнуть в вечность. Деньги съешь, а позор останется». С поправкой, конечно, в данном случае, на "плохо спеть". Ей определенно не стоило браться за эту роль.
Her voice is almost too lovely and gentle for this part, and she can't fill the voice with the venom this part requires. And she often puts the words aside and vocalizes on Ahhhhh.
Caballé ha sido una gran soprano sobretodo en el repertorio belcantistico pero nunca ha tenido ni la voz ni el temperamento para afrontar Medea. Como es posible que ella misma no se diera cuenta de las limitaciones de su voz y mas aun despues de haber escuchado a Maria Callas. Reina indiscutible de esta opera
La delicata trasparenza dei filati della Caballe e direi anche la sua psicologia di artista adatta ad altre incarnazioni la rendono una Medea inappropriata ma é certamente interessante ascoltare una grande della lirica anche un un ruolo decisamente non suo ! Ci sono comunque anche qui dei punti interessanti e poi ci ha regalato talmente tanto che sarebbe davvero ingiusto non perdonarle quello che é il desiderio di una diva ! Cantare tutto....
The following singers have sung Medea in the 20th century besides the magical M. Callas: Anna Caterina Antonacci, Dame Josephine Barstow, Montserrat Caballé, Eileen Farrell, Marisa Galvany, Leyla Gencer, Dame Gwyneth Jones, Nadja Michael, Maralin Niska, Magda Olivero, Leonie Rysanek, Sylvia Sass, Anja Silja, Dunja Vejzovic, and Shirley Verrett.
Callas recommend Caballé not to sing many roles and she actually followed her advice. But she must have forgotten everything when accepted doing this. As one of the most talented performers of the second half of XXth century, she should know better. But, who doesn't make mistakes?
@@luanllluan she adored carreras,she started his career and he always adored her and she him .His first time back on stage after his terrible illness, he asked her to sing Brindissi with him which she did ,its on you tube 💗
Medea de Luigi Cherubini nunca cesa de regocijar mi corazón colmándolo de una infinita tristeza y melancolía aunque, aparentemente, contradictorio esos términos. Imperceptiblemente a lo largo de esta herrmosa ópera, despuntan los primeros acordes de los albores del romanticismo que ya desde la última década del siglo XVIII iban reemplazando el clasicismo e introduciento el romanticismo del siglo XIX. Luigi Cherubini fue el maestro musical de la corte española de los años 1790s, allí pasó una parte de su vida y absorvió la atmósfera musical española en sus celebradas retretas nocturnas madrileñas componiendo hermosísimos quintetos para guitarra y violines y fandangos y tuvo la perspicacia de sentir, absorver y valorizar, como nadie antes, que en España los elementos clásicos musicales y los populares forman una amalgama encantadora e inigualable entre esos estilos lo que constituye en el arte musical de la cultura hispana una dualidad fascinante en la cual podemos decir que es un arte popular clásico y un arte clásico popular. p.s.- Excelente mise en scène, formidable interpretación de Monserrat Caballé, José Carreras y, en general, de todos los solistas, coros y orquesta.
love Caballé ... but at this moment she was no longer in the best shape for these roles ... too many mistakes ... like her Lucia or puritani recordings ... amongst many others ... THERE WAS ONLY ONE CALLAS !!
This is pretty dismal, sorry. At this point in her distinguished career Caballe was left with only her pianissimi. Still exquisite pianissimi, no doubt, but of no use whatsoever in Medea. To say she employs them liberally is an understatement. Medea wouldn't have been a good fit for her even 20 years before, actually never, because it's mostly a sort of declamatory style of singing, and it takes someone with an extraordinary sense of rhythm and diction to do it justice, someone who knows instinctively what part of a word should be emphasized and for how long. It's not something you can learn in school, you either have it or not, and she doesn't have it (to do her justice, neither do most other singers.) And as this wouldn't be hard enough, it also requires both legato and a special sort of agility, and the ability to summon a huge wave of sound at very short notice in the dramatic climaxes. Caballe's musicality was never very strong, her diction poor, mediocre agility, and generally not considered a singer with marked dramatic capabilities. She was more of a lyrical singer and Medea isn't a lyrical role, not a good fit for her. She shouldn't have attempted Medea.
Loved the production. Madame Caballe waited too long to perform this role. Many notes failed to sound, not a congenial role for her magnificent pianissimos.
Well, others have said it already: this is a disaster. I'm more curious as to WHY Carreras chose this as a comeback role. Donizetti or Bellini would have been a 'safer' route back to the stage. Caballé never had the kind of fire needed for a role like this. I have seen both of them 'in the house'. She had one of the most purely beautiful voices ever to grace opera, and his tenor was velvet, but never to recover after his illness... a real tragedy.
No, è stata una grandissima grazie ad una voce di una bellezza incredibile ed a pianissimi ultraterreni ma in questo ruolo è pessima. Non sfidare la maledizione Callas , questo ruolo è e rimane solo suo e lo sarà per sempre.
She has such a beautiful voice but no way she can sing medea... the first aria is painful to hear nad she skips the words and the tunes she is almost outta voice at the end of the aria... her technique is not enough to sing this role... let's hear Maria callas's Medea to heal my brain!
No es uno de los papeles de la Caballé. Lo saca adelante de forma digna pero, para el nivel que ella nos tiene acostumbrados, que sea digno su canto es muy poco. Mejores resultan, aparte de evidentemente la Callas, Jones o Sylvia Sass.
Quem ouviu Maria Callas como Medea jamais vai se contentar com outra soprano. Callas tinha o drama. Callas foi a própria Medea! Infelizmente, essa interpretação de Caballé foi um horror. 😞👎
Holy shit what was she thinking. This role would never have been a good fit for her, least of all a decade past her best. And it sounds like she didn't even really bother to learn it, she makes all kinds of musical and textual mistakes as though she were making it up as she goes along. A disgrace.
Pues la grabación de RCA y algunas versiones en vivo de Violetta son soberbias, la verdad, difícil cantarlas mejor, y el fraseo en aquellos años también era magnífico. Cada uno se cree lo que quiere, y ella cantaba maravillosamente hasta más o menos principios de los ochenta. Medea llega tarde y adecuada no era, evidentemente. No obstante, algunos testigos de estas funciones que conozco dicen que en escena Caballé resultaba brutal en Mérida. Desgraciadamente yo no estaba allí, la verdad es que me suena mucho mejor Obratzova.
Love this Medea. She's not as violent as others... Of course, everyone has their own opinión, and I respect it. Carreras y excellent, too sad Elena is not with us anymore! :-(
Marcela castaño Medea was a witch who killed her lover's wife and about to kill her both children, i think violent is a small word for that barbaric woman, lets face it caballe failed that a big fail, she seemed to me as a rehearsal i cant see how dare she to sing it live and she knew that she wasn't good enough for this role
JimNickoloffMiami Let's not forget too the great yet unjustly forgotten Gino Penno and Mirto Picch. About Carreras I believe he is casted not because he is suitable but more to mach the lyric instrument of Caballé.
Medea is not a simple barbarian, she is a complex character which can be interpreted in many ways - try reading Euripides, the original source for the opera.
+José Antonio Domené y en que te basas para decir que "No se la sabe" marcame algún minuto donde entre mal, se olvide al letra, se vaya de tempo o algo, justifica el comentario, ya que estas hablando de una de las grandísimas sopranos del siglo XX.
+siglinde86 Me baso en que no está diciendo el texto y no sigue las líneas melódicas escritas por Cherubini. Compárala con las versiones de Callas o Jones. Ponlas juntas y verás que Caballé se inventa TODO porque vocalmente no podía ya con ese papel. Adoro a Caballé y la respeto mucho. Pero al pan, pan y al vino, vino.
+José Antonio Domené Ah, mejor te animo a que sobre la partitura sigas lo que hace Caballé y verás si en algún momento entra mal o no. Te sorprenderás.
@@kbhprinsesse How familiar are you with her repertoire? I totally disagree with your assessment of her voice as being loud all the time as if she could not muster soft singing and mellow legato at a whim whenever it was required. Check her "O madre dal cielo" in Verdi's IL Lombardi. LISTEN to her aria after the recitative "Ben io tinventi" in Nabucco, and also her death aria in the same opera in the end "morrente..exanime (can't spell properly). Vocally in my opinion she could have been a magical and terrifying Medea, HOWEVER, I AGREE THAT SHE LACKS THEATRICAL VERVE FOR THE ROLE.
@@BetuliaLiberata I am entitled to my opinion even though I haven't heard every single recording she has ever made. I have better things to do with my time than to listen to more Dimitrova recordings. Yes, her voice was amazing, but it and her art were totally wrong for Medea.
you clearly haven't heard of dimitrova enough because she has much better pianissimi and piano than callas and actually the best soprano pianissimi and piano ever@@kbhprinsesse
Horrible? En que sentido? Soy objetivo... a mi me gusta la Caballé y ha hecho cosas hermosas en el mundo de la opera... pero esto es lamentable. No me digas que te gustó? Porque despues de esta vez... ninguna casa de opera en el mundo se interesó por ponerla en escena. Puede que si, soy horrible pero tengo buen gusto musical ;-)
Caballe a souvent été ridicule...mais là on dirait un gag ... qui a pu lui faire croire qu'elle avait la voix et le talent pour affronter ce rôle impossible....toujours à faire sauter des phrases entières des que le phrasé lui pose soucis et à ne produire que des notes ... vraiment elle est insupportable...la fin est un véritable massacre .....
People forget she suffered a benign brain tumor in 1985 and spent 3 months in hospital and had to learn speech. Fortunate, she could do this at all...it also shows what a lovely friend she was to throw caution to the wind to help her friend, Jose
+christieheathert0n Simplona leggera la Gencer? la Gencer fue una sfogato al nivel de la Callas, con un dramatismo y fuerza excepcional, empezó como ligera en su juventud y poco a poco se fue haciendo mas oscura y dramática, fue una grande, una dama de la lírica, no veo porque hablar así de alguien como Leyla gencer. Deberías informarte antes de criticar.
No me gusta ni un poco! She's a terrible Medea. Completely unsuitable for the role in all respects. Her voice and technique are totally ludicrous for this role.
I feel sorry of caballe, it was 1989 when she is not at the peak, she shouldn't try this dramatic role, maybe in the 1970s,she could fulfill it better.
Pues el perfomance es aceptable. Y digamos que en ese momento, Caballe hizo una particular versión de Medea. Ha pasado el tiempo desde que nos dejó y cada vez nos damos cuenta del increíble talento de Caballe, poseía un oído majestuoso, una voz bellísima y gran presencia escénica. Seguiremos extrañándola.
Благодарю Евгения Николаевича за это!
Присоединяюсь
What an interesting document ! IMHO Caballe is by far one of the greatest voices of the 20th century and she actually gave us unique moments of ecstatic grace and historical performances in a broad and diverse repertoire. But as we well know thru many testimonies, she sometimes could also deliver terrible performances. This is certainly one of them. Such a total and continuous disaster is almost funny, and any opera lover would forgive her and just laugh for her daring sink into something that is vocally musically and dramatically alien to her. Why such an amazing singer would jeopardize her legacy in a repertoire where she does not belong at all is quite mysterious. Did she need money up to this point ? Did she want to prove something to herself and the public ? We love you also for your errors Montserrat !... it makes you more brave and human ... and it makes your sublime renditions even more precious 😍
Yo estuve allí, qué recuerdos!!! 🥰
Caballe's voice is/was a miracle! The composition is masterful; every voice exceptional. The staging is unimaginative, but doesn't detract from what is an opera of choral beauty.
Une telle chanteuse, se fourvoyer ainsi!
Cherubini: Medea. Caballé - Carreras. 1989. Full opera.
Потрясающе:)🌷🍃🌹🍃🌷Браво...Браво...Браво...Браво:)ڰۣ✿
Лариса, а почему нет Образцовой Е ?
Нет, не браво. Сразу вспомнились слова Раневской: «Сняться в плохом фильме всё равно, что плюнуть в вечность. Деньги съешь, а позор останется». С поправкой, конечно, в данном случае, на "плохо спеть". Ей определенно не стоило браться за эту роль.
Bravo 🎉
Her voice is almost too lovely and gentle for this part, and she can't fill the voice with the venom this part requires. And she often puts the words aside and vocalizes on Ahhhhh.
To so heavy for she
Caballé ha sido una gran soprano sobretodo en el repertorio belcantistico pero nunca ha tenido ni la voz ni el temperamento para afrontar Medea. Como es posible que ella misma no se diera cuenta de las limitaciones de su voz y mas aun despues de haber escuchado a Maria Callas. Reina indiscutible de esta opera
La delicata trasparenza dei filati della Caballe e direi anche la sua psicologia di artista adatta ad altre incarnazioni la rendono una Medea inappropriata ma é certamente interessante ascoltare una grande della lirica anche un un ruolo decisamente non suo ! Ci sono comunque anche qui dei punti interessanti e poi ci ha regalato talmente tanto che sarebbe davvero ingiusto non perdonarle quello che é il desiderio di una diva ! Cantare tutto....
Singing more than half the consonants would have been a good idea...
Una bellezza inestimabile...
❤
Grazie
The following singers have sung Medea in the 20th century besides the magical M. Callas: Anna Caterina Antonacci, Dame Josephine Barstow, Montserrat Caballé, Eileen Farrell, Marisa Galvany, Leyla Gencer, Dame Gwyneth Jones, Nadja Michael, Maralin Niska, Magda Olivero, Leonie Rysanek, Sylvia Sass, Anja Silja, Dunja Vejzovic, and Shirley Verrett.
Bob Nav One of the most unforgetable tragedians....Inge Borkh ,with Suthaus & Vittorio Gui
And Cristina Deutekom ☝️
Caballe è una stella del firmamento vocale ma ci sono opere che non sono per lei
fred puccino De acuerdo !!!
Certamente!
Medea is a tough opera to sing. This is outstanding !
@@marcela21884 outstandingly bad, yes.
Great 👍
only Callas...
Come off your high horse ,Montse consented to this to help carreras who wanted someone he knew with him ,as it was his comeback after his illness 🤔
Callas recommend Caballé not to sing many roles and she actually followed her advice. But she must have forgotten everything when accepted doing this. As one of the most talented performers of the second half of XXth century, she should know better. But, who doesn't make mistakes?
Carreras begged her to do this role with him ,as it was his come back, or she certainly wouldn't have consented to it 😉
@@judyjones2475 that makes sense. Monty was a adorable person, she would sacrifice herself for a friend
@@luanllluan she adored carreras,she started his career and he always adored her and she him .His first time back on stage after his terrible illness, he asked her to sing Brindissi with him which she did ,its on you tube 💗
@@judyjones2475 they Can sing many other óperas togheter i think she want sing all the Callas Roles but Callas Is one
@@mateodedios4507 one what ?.
Medea de Luigi Cherubini nunca cesa de regocijar mi corazón colmándolo de una infinita tristeza y melancolía aunque, aparentemente, contradictorio esos términos. Imperceptiblemente a lo largo de esta herrmosa ópera, despuntan los primeros acordes de los albores del romanticismo que ya desde la última década del siglo XVIII iban reemplazando el clasicismo e introduciento el romanticismo del siglo XIX. Luigi Cherubini fue el maestro musical de la corte española de los años 1790s, allí pasó una parte de su vida y absorvió la atmósfera musical española en sus celebradas retretas nocturnas madrileñas componiendo hermosísimos quintetos para guitarra y violines y fandangos y tuvo la perspicacia de sentir, absorver y valorizar, como nadie antes, que en España los elementos clásicos musicales y los populares forman una amalgama encantadora e inigualable entre esos estilos lo que constituye en el arte musical de la cultura hispana una dualidad fascinante en la cual podemos decir que es un arte popular clásico y un arte clásico popular. p.s.- Excelente mise en scène, formidable interpretación de Monserrat Caballé, José Carreras y, en general, de todos los solistas, coros y orquesta.
I never knew Caballe ever did Medea! Too bad she did! Totally not a role for her voice!
Por que quiso cantarlo todo, principalmente todo lo que la Callas canto. Pero Callas era mucho más que una voz...
@@despertardelaconciencia369 look at my previous comment !
Too soft and tender her voice is not medea at all... i love caballe but this is not good
Montse only consented to sing this as it was Carreras who was not long out of hospital abd she promised to support him ,so now you know .
love Caballé ... but at this moment she was no longer in the best shape for these roles ... too many mistakes ... like her Lucia or puritani recordings ... amongst many others ... THERE WAS ONLY ONE CALLAS !!
FRANCO KALOGEROPOULOS Can you name some of those Caballe's mistakes you spotted? Thanks.
This is pretty dismal, sorry. At this point in her distinguished career Caballe was left with only her pianissimi. Still exquisite pianissimi, no doubt, but of no use whatsoever in Medea. To say she employs them liberally is an understatement. Medea wouldn't have been a good fit for her even 20 years before, actually never, because it's mostly a sort of declamatory style of singing, and it takes someone with an extraordinary sense of rhythm and diction to do it justice, someone who knows instinctively what part of a word should be emphasized and for how long. It's not something you can learn in school, you either have it or not, and she doesn't have it (to do her justice, neither do most other singers.) And as this wouldn't be hard enough, it also requires both legato and a special sort of agility, and the ability to summon a huge wave of sound at very short notice in the dramatic climaxes. Caballe's musicality was never very strong, her diction poor, mediocre agility, and generally not considered a singer with marked dramatic capabilities. She was more of a lyrical singer and Medea isn't a lyrical role, not a good fit for her. She shouldn't have attempted Medea.
Totally agree! And I'm a big Caballe fan from way back. But Medea just was not for her!
@@artdanks As stated earlier she only consented as Carreras asked her to support hom first opera after his illness .
@@judyjones2475 So? That doesn't change the quality or lack thereof in her interpretation and singing.
Esto es una "rareza", escuchemos...
No fue lo esperado, sin embargo resulto muy interesante.
01:12:18 Now I'm all about Medea-Neris relationship.
Troppo statica, la Caballé e Carreras troppo lirico e non abbastanza eroico. Ma è sempre un bellissimo documento.
is this a rehearsal?! i cant see why she go for it while she cant sing it at all ?!
Loved the production. Madame Caballe waited too long to perform this role. Many notes failed to sound, not a congenial role for her magnificent pianissimos.
Caballe is 56 here. Very late for this game. The ability to stop in time is also important
Well, others have said it already: this is a disaster. I'm more curious as to WHY Carreras chose this as a comeback role. Donizetti or Bellini would have been a 'safer' route back to the stage. Caballé never had the kind of fire needed for a role like this. I have seen both of them 'in the house'. She had one of the most purely beautiful voices ever to grace opera, and his tenor was velvet, but never to recover after his illness... a real tragedy.
No, è stata una grandissima grazie ad una voce di una bellezza incredibile ed a pianissimi ultraterreni ma in questo ruolo è pessima. Non sfidare la maledizione Callas , questo ruolo è e rimane solo suo e lo sarà per sempre.
She has such a beautiful voice but no way she can sing medea... the first aria is painful to hear nad she skips the words and the tunes she is almost outta voice at the end of the aria... her technique is not enough to sing this role... let's hear Maria callas's Medea to heal my brain!
No es uno de los papeles de la Caballé. Lo saca adelante de forma digna pero, para el nivel que ella nos tiene acostumbrados, que sea digno su canto es muy poco. Mejores resultan, aparte de evidentemente la Callas, Jones o Sylvia Sass.
Totalmente de acuerdo contigo en que logra sacar adelante el rol y eso lo hace porque era una artista extraordinaria.
Quem ouviu Maria Callas como Medea jamais vai se contentar com outra soprano. Callas tinha o drama. Callas foi a própria Medea!
Infelizmente, essa interpretação de Caballé foi um horror. 😞👎
+Dan Barthy Essa ópera foi gravada bem no fim da (maravilhosa) carreira dela, mas mesmo no auge Caballé jamais teve voz para cantar Medea. =/
Medea é stata interpretata anche da Katia Ricciarelli. Quale é la peggiore ?
Holy shit what was she thinking. This role would never have been a good fit for her, least of all a decade past her best. And it sounds like she didn't even really bother to learn it, she makes all kinds of musical and textual mistakes as though she were making it up as she goes along. A disgrace.
Caballé non è mai stata neanche una Violetta credibile... Cosa le è passata in mente di credersi capace di fare una Medea?
Pues la grabación de RCA y algunas versiones en vivo de Violetta son soberbias, la verdad, difícil cantarlas mejor, y el fraseo en aquellos años también era magnífico. Cada uno se cree lo que quiere, y ella cantaba maravillosamente hasta más o menos principios de los ochenta. Medea llega tarde y adecuada no era, evidentemente. No obstante, algunos testigos de estas funciones que conozco dicen que en escena Caballé resultaba brutal en Mérida. Desgraciadamente yo no estaba allí, la verdad es que me suena mucho mejor Obratzova.
Love this Medea. She's not as violent as others... Of course, everyone has their own opinión, and I respect it. Carreras y excellent, too sad Elena is not with us anymore! :-(
Marcela castaño Medea was a witch who killed her lover's wife and about to kill her both children, i think violent is a small word for that barbaric woman, lets face it caballe failed that a big fail, she seemed to me as a rehearsal i cant see how dare she to sing it live and she knew that she wasn't good enough for this role
Carreras excellent? Have you heard Jon Vickers? There is no comparison.
JimNickoloffMiami Let's not forget too the great yet unjustly forgotten Gino Penno and Mirto Picch. About Carreras I believe he is casted not because he is suitable but more to mach the lyric instrument of Caballé.
It should be performed the way the composer intended it to be.
Medea is not a simple barbarian, she is a complex character which can be interpreted in many ways - try reading Euripides, the original source for the opera.
Es que no se la sabe... Voz tenía para cantarla, pero es que no estudiaba...
+José Antonio Domené y en que te basas para decir que "No se la sabe" marcame algún minuto donde entre mal, se olvide al letra, se vaya de tempo o algo, justifica el comentario, ya que estas hablando de una de las grandísimas sopranos del siglo XX.
+siglinde86 Me baso en que no está diciendo el texto y no sigue las líneas melódicas escritas por Cherubini. Compárala con las versiones de Callas o Jones. Ponlas juntas y verás que Caballé se inventa TODO porque vocalmente no podía ya con ese papel. Adoro a Caballé y la respeto mucho. Pero al pan, pan y al vino, vino.
+José Antonio Domené Ah, mejor te animo a que sobre la partitura sigas lo que hace Caballé y verás si en algún momento entra mal o no. Te sorprenderás.
Dimitrova would have been phenomenal in this role
Dimitrova? It takes more than a big voice singing forte all the time to be a good Medea.
@@kbhprinsesse How familiar are you with her repertoire? I totally disagree with your assessment of her voice as being loud all the time as if she could not muster soft singing and mellow legato at a whim whenever it was required. Check her "O madre dal cielo" in Verdi's IL Lombardi. LISTEN to her aria after the recitative "Ben io tinventi" in Nabucco, and also her death aria in the same opera in the end "morrente..exanime (can't spell properly).
Vocally in my opinion she could have been a magical and terrifying Medea, HOWEVER, I AGREE THAT SHE LACKS THEATRICAL VERVE FOR THE ROLE.
@@BetuliaLiberata I am entitled to my opinion even though I haven't heard every single recording she has ever made. I have better things to do with my time than to listen to more Dimitrova recordings. Yes, her voice was amazing, but it and her art were totally wrong for Medea.
you clearly haven't heard of dimitrova enough because she has much better pianissimi and piano than callas and actually the best soprano pianissimi and piano ever@@kbhprinsesse
dimitrova would have been amazing in this role and also in wagner, brunnhilde, isolde, kundry
Por favor!!! No por tener una bella voz quiere decir que pueda cantar todo... Esto es de lo mas horrible.
Horrible? En que sentido? Soy objetivo... a mi me gusta la Caballé y ha hecho cosas hermosas en el mundo de la opera... pero esto es lamentable. No me digas que te gustó? Porque despues de esta vez... ninguna casa de opera en el mundo se interesó por ponerla en escena.
Puede que si, soy horrible pero tengo buen gusto musical ;-)
Caballe a souvent été ridicule...mais là on dirait un gag ... qui a pu lui faire croire qu'elle avait la voix et le talent pour affronter ce rôle impossible....toujours à faire sauter des phrases entières des que le phrasé lui pose soucis et à ne produire que des notes ... vraiment elle est insupportable...la fin est un véritable massacre .....
People forget she suffered a benign brain tumor in 1985 and spent 3 months in hospital and had to learn speech. Fortunate, she could do this at all...it also shows what a lovely friend she was to throw caution to the wind to help her friend, Jose
MAGNIFICA INTERPRETACION
La cosa più brutta mai ascoltata dalla Caballé : note calanti, parole dimenticate, tempo optional. Davvero orribile.
Allan, ma e' spaventosa. Di recite cosi, di sole vocali ne ha fatte spesso, troppe.
Anche sua Ermione (Pesaro 1987) era un incubo.
Ay no, que horror! Prefiero recordar a Caballe como Maria Stuarda, Mimí, joven Aida, etc etc.
Caballe : Medea = Callas : Zerlina
orribile
Это совсем не для неё, не её образ и не её масштабы. После 10 минут становится скучно. Не удачный выбор
non è per lei callas e gencer sono insuperrabili
Caballé igualó a Callas con su personal estilo en su Medea del '76 y superó a una simplona leggera como Gencer aquí también.
+christieheathert0n Simplona leggera la Gencer? la Gencer fue una sfogato al nivel de la Callas, con un dramatismo y fuerza excepcional, empezó como ligera en su juventud y poco a poco se fue haciendo mas oscura y dramática, fue una grande, una dama de la lírica, no veo porque hablar así de alguien como Leyla gencer. Deberías informarte antes de criticar.
+siglinde86 povera siglinde se non capisci l'italiano studialo - da come parli o sei pazza o stronza!
+christieheatherton povera demente curati la nevrastenia
+christieheatherton HAHAHAHAHA DX
What an embarrassing performance.
No me gusta ni un poco!
She's a terrible Medea. Completely unsuitable for the role in all respects. Her voice and technique are totally ludicrous for this role.
Caballé, but also Carreras are miscast. And Caballé's lack of style here is blatant. Producing sound isn't enough for such gruelling role!
Wo ist der ganze Schluss ? Alles gestrichen !!!!! 👎🏻👎🏻
I feel sorry of caballe, it was 1989 when she is not at the peak, she shouldn't try this dramatic role, maybe in the 1970s,she could fulfill it better.
qué horror..
manel AYE DIOS MIO!! PORQUE E JOSE TAMBIEN!!😫💩👂🏃🏃🏃💞 ARNOLD BOURBON AMARAL
This is just appalling.
Adoro a Caballé pero realmente creo que nunca debió cantar Medea , es una bella voz que no puede sostener la partitura es horrible su canto aqui .
alvenerio AYE DIOS MIO. Porque CANTO MEDEA EN 1990 CON JOSE 👎 ARNOLDO BOURBON AMARAL
Katia Ricciarelli is much better in Medea, in Bonn from 1985!
Caballé is atrocious here, but Ricciarelli? Please!
@@kbhprinsesse ruclips.net/video/ZSMhoF2b2GU/видео.html
AWFUL