I saw Tucker as Canio in 1974. I was 22. I did not know that 40 years later I would still be obsessed by what this man did on that stage. He will always be unforgettable because the performance, the acting, the fierce fearless commitment to the role was as much part of what I experienced as the singing. Oh God, he literally jumped as he screamed crying LA COMMEDIA ET FINITA. its over the top to listen to, but trust me... please trust me, IT WAS BEYOND BELIEF to see. I wept in my hands after.
I heard Tucker live in virtually all of his major roles.He was always good;you always got a performance from him.The "super-stars" came and went,Tucker remained. Live the voice had much more dimension,color, and roundness - but the recordings are still amazing.Most of all, he was a true professional: he never sang things that were wrong for him, he almost never cancelled, and he understood the responsibilities and seriousness of what he did. There is noone like him in the world today.
once more let me say what I know because I was there. You had to see him. It was a total performance. He captivated me from the minute he appeared on that little wagon. His "un tal gioca", His "Infamia! Infamia!" screamed at the setting sun as he stumbled up the rocky path to that lone flagpole, His Corragio" as he entered the play as Pagliaccio... all unforgetable. And when he lept up off the ground as he screamed the final words it made my tears explode and I put my head into my hands and wept. And 2 months later......he was dead.
My late voice teacher often sang Turiddu during these double-bill performances and said Tucker was an absolute force of nature. Many members of the Cav cast would often watch from the wings.
This is pure madness and before that Corelli and Bumbry sang Cavalleria !!! Those evenings at the Met will never come again, very sad !! What kind of temperament this Tucker had is terrific !!!!! Ridiculous today !!!
Удивительно ! Поёт чистый тенор без баритональных насилий и призвуков ! Тромпете в голосе, звон в верхнем регистре придаёт особенный шик в этой драматической партии ! Великий тенор !
This is either 1971 or 1973, because that is unquestionably Cornell MacNeil snarling Tonio's "Taci, sciocco!" and he was NOT in the 1970 broadcast (Frank Guarrera sang Tonio then). I would lean towards 1971, because of the clarity of the sound (HAS to be a radio broadcast), and because the orchestra plays like seasoned pros for the conductor, who was Fausto Cleva in 1971. Cleva, of course, had conducted this opera MANY times at the Met. (Cillario conducted the 3 Cav-Pag's in June 1973.)
Tucker here is really great but both Corelli and del Monaco were the greatest Canios in history. Both posseded much more beautiful colour of voice and voice possibilities.
Now, I don't go after the sports contest: "Greatest of all times". But it is a voice that gets over the ramp! In this regard it - sort of - matches Maria Callas that had a downright ugly voice; but Sweet Jesus: Did she project? so everybody sat upright? Was Pavarotti the greatest? Well, on what night? He varied a LOT! And for what? For calling von Karajan out and scrapping a whole days recordings - because the harp was FLAT? Is Bartoli the greatest? Hard to say, but the sheer hard work going into and getting behind a piece of music - and few would deny she can project. She probably has the finest contemporary ear. I also don't value "Master Classes" as some of the best artist have a difficulty explaining - simply because what to others is difficult is natural to them. One thing is certain: Talent CANNOT be taught - either you got it or you don't. I abhor those terrible interviews (very necessary sales wise) where an idiot reviewer asks questions that are as relevant as asking a nobel price winner in medicin if sneezing is a good thing.
Tucker had a beautiful voice with a thrilling top. However, he often emoted, turning a beautiful lyric aria into a barked shout fest. It is not so apparent in dramatic arias like this (although the final e finita, for example, is ridiculously shouted and out of place), but it really hurt him in more lyric roles. This was esp. true late in life, when (perhaps driven by his singing style) his splendid voice developed a nasal sound and a distinct vibrato and wobble, which is very much evident here.
I saw Tucker as Canio in 1974. I was 22. I did not know that 40 years later I would still be obsessed by what this man did on that stage. He will always be unforgettable because the performance, the acting, the fierce fearless commitment to the role was as much part of what I experienced as the singing. Oh God, he literally jumped as he screamed crying LA COMMEDIA ET FINITA. its over the top to listen to, but trust me... please trust me, IT WAS BEYOND BELIEF to see. I wept in my hands after.
I heard Tucker live in virtually all of his major roles.He was always good;you always got a performance from him.The "super-stars" came and went,Tucker remained. Live the voice had much more dimension,color, and roundness - but the recordings are still amazing.Most of all, he was a true professional: he never sang things that were wrong for him, he almost never cancelled, and he understood the responsibilities and seriousness of what he did. There is noone like him in the world today.
once more let me say what I know because I was there. You had to see him. It was a total performance. He captivated me from the minute he appeared on that little wagon.
His "un tal gioca", His "Infamia! Infamia!" screamed at the setting sun as he stumbled up the rocky path to that lone flagpole, His Corragio" as he entered the play as Pagliaccio... all unforgetable. And when he lept up off the ground as he screamed the final words it made my tears explode and I put my head into my hands and wept. And 2 months later......he was dead.
My late voice teacher often sang Turiddu during these double-bill performances and said Tucker was an absolute force of nature. Many members of the Cav cast would often watch from the wings.
Wow, just wow, i can't get over the raw emotion he pours into this scene
Insieme al Del Monaco e Correli il miglior Canio di sempre!
Но такого компактного и собранного звука особенно в в верхнем регистре ,на мой взгляд ,ни у Монако ,ни у Корелли не было !
BRAVO!!!! Tucker was so talented and inteligent for singing as the best of the best!!!Bravo!!!
Amazing! One of the greatest operatic tenors of all time.
I too performed at this time and as I sit her now listening my eyes are tearing...We probably worked together...
This performance has few rivals.Terrific
Che Artista meraviglioso,una vocalità che definirei rocciosa.
Splendido
best tenor ever i love him -- great man also
No doubt he was exciting to listen to on stage though. I wish I was born in that generation.
This is pure madness and before that Corelli and Bumbry sang Cavalleria !!! Those evenings at the Met will never come again, very sad !! What kind of temperament this Tucker had is terrific !!!!! Ridiculous today !!!
He was sensational and age 57 here, but still rock solid .
Espetacular performance!!
Удивительно ! Поёт чистый тенор без баритональных насилий и призвуков ! Тромпете в голосе, звон в верхнем регистре придаёт особенный шик в этой драматической партии ! Великий тенор !
Fenomeno.
Un leone della lirica.
Immenso.
❤️
il vecchio
5:36 LA COMMEDIA E FINITAAAAAAA!!!!!!
No doubt Emily Greene dislikes Richard Tucker.
Yes I think this was a 1973 production.
E la Stratas non e di meno!
Voice possibilities????
This is either 1971 or 1973, because that is unquestionably Cornell MacNeil snarling Tonio's "Taci, sciocco!" and he was NOT in the 1970 broadcast (Frank Guarrera sang Tonio then). I would lean towards 1971, because of the clarity of the sound (HAS to be a radio broadcast), and because the orchestra plays like seasoned pros for the conductor, who was Fausto Cleva in 1971. Cleva, of course, had conducted this opera MANY times at the Met. (Cillario conducted the 3 Cav-Pag's in June 1973.)
It is 71. Good detective work
Was your late voice teacher, perhaps, Franco Corelli? Or maybe Barry Morell?
is this stratas as nedda?
Tucker here is really great but both Corelli and del Monaco were the greatest Canios in history.
Both posseded much more beautiful colour of voice and voice possibilities.
Now, I don't go after the sports contest: "Greatest of all times". But it is a voice that gets over the ramp! In this regard it - sort of - matches Maria Callas that had a downright ugly voice; but Sweet Jesus: Did she project? so everybody sat upright?
Was Pavarotti the greatest? Well, on what night? He varied a LOT! And for what? For calling von Karajan out and scrapping a whole days recordings - because the harp was FLAT?
Is Bartoli the greatest? Hard to say, but the sheer hard work going into and getting behind a piece of music - and few would deny she can project. She probably has the finest contemporary ear.
I also don't value "Master Classes" as some of the best artist have a difficulty explaining - simply because what to others is difficult is natural to them.
One thing is certain: Talent CANNOT be taught - either you got it or you don't.
I abhor those terrible interviews (very necessary sales wise) where an idiot reviewer asks questions that are as relevant as asking a nobel price winner in medicin if sneezing is a good thing.
Tucker had a beautiful voice with a thrilling top. However, he often emoted, turning a beautiful lyric aria into a barked shout fest. It is not so apparent in dramatic arias like this (although the final e finita, for example, is ridiculously shouted and out of place), but it really hurt him in more lyric roles. This was esp. true late in life, when (perhaps driven by his singing style) his splendid voice developed a nasal sound and a distinct vibrato and wobble, which is very much evident here.
Why jewish why!!! in the music there is not jewish,muslim,christian...there are a human sing,it is just amazing and wonderful.