Birgit Nilsson and Franco Corelli (Turandot 1966)
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- Опубликовано: 21 май 2019
- Giacomo Puccini
TURANDOT
Birgit Nilsson, Turandot
Franco Corelli, Calaf
Mirella Freni, Liu
Bonaldo Giaiotti, Timur
Zubin Mehta, Conductor
Live performance
03 December 1966
Probably the most exciting Riddle Scene ever documented!
[This video was uploaded for educational and historic purposes.]
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Nilsson is a sublime soprano. 🌹Corelli is a magnificent tenor.🌹
🤩☀️😍
Corelli is was and will always be numero uno
Возможно не самый первый, но один из самых самых первых двадцатого века!
Когда его слушаешь, перехватывает дыхание.
This is right, but... I'm sure, Franco Corelli will always be beyond any numbers, and lists, and something like that. He is the one and only.
Qué cantante la Nilsson! Madre mía! La robustez de su linea de canto... excepcional! Una voz wagneriana para Turandot... qué gran creación.
Junto a Corelli la perfección. No hay otra pareja mejor que esta para Turandot, del siglo XX. Lo que hoy se tepresenta en el siglo XXI de esta extraordinaria ópera es una versión pop ópera en casi la totalidad de los teatros. Lamentable.
Impresionante esta versión, magnífica!!! Gracias ❤❤❤
Sono compatriota del Grande Birgit, de Skåne
Birgit Nilsson the MOST GREAT dramatic soprano EVER!!!!
coppia straordinaria, grandiosa, ineguagliabile! E la filatura di Corelli "e all'alba morirò" è magica!!!
I had the privilege of hearing Nilsson live - twice. There is no recording that comes anywhere close to showing how that voice filled even a large hall or opera house...effortlessly!
Her stage presence filled the opera house with electricity, and then came that voice. Unequalled.
So fortunate!!! What I wouldn’t give!!!
I really envy you!
I am SO JEALOUS!
Yup! She always peeled me back in my seat !! A true phenomenon of nature.....
Totally superhuman vocalization. Who can sing like this without a wobble or tonal distortion? Singers at the height of their power! Thank you for sharing this great work.
The best cast for Turandot. Puccini n'aurait pas pu imaginer plus belle interprétation de son opéra. Les deux meilleurs de tous les temps
Now its impossible to listen to others... This is the best masterpiece of the whole opera genre ever - both music and performance!!!
every opera piece on youtube has a commentary like this :))
you put too much boundaries to yourself
How lucky were those who witnessed this live!
The diminuendo at 18:30 is simply out of this world. Nobody from today‘s singers comes even close.
Hélas il y avait un monde avant et un autre aujourd'hui
@@guycondroyer864 Très vrai. Il est impossible aujourd'hui d´écouter quelque chose de semblable. Les rôles semblent êtres composés pour eux.
I think that Franco Corelli is the best dramatic Calaf in opera history.
And Birgit Nilsson is the most ideal Turandot.
no argument
@@stephenlord9 Thank you for your comment.
But then there was Eva Turner. Too bad we don't have comparable recordings, but what a vocally wealthy duo to choose from.
@@LYBASHA
Thank you for your invaluable insight.
@@LYBASHA I like both,and I've also heard Callas's Turandot(which has really nice Italian pronounciation as always and much spirit) buuuut... Nilson's Turandot is always so recognisible in its strenght,clarity and grandness. Sharp notes that hit those heights so effortlessly and without ,,leaning" on lower notes. I love it so much! But respect to Eva,Maria and others who did well as well 😀
Corelli's spectacular high C at about16:54 alone is worth the price of admission...!
It's a remarkable high c, but it breaks the chinese melody Calaf is singing. This is where he finishes Mo li hua, but with that additional ending the story is ruined.
Non si può fare nessun commento, si rischierebbe di rovinare l'immensità di questa spettacolare performance dei due protagonisti.. Che emozione poterli ascoltare e riascoltare una infinità di volte. ❤️❤️
Is this perhaps an ideal cast? The vocal tone of the main protagonists perfectly matches their roles characters. Fabulous singing
Incomparable Birgit. ❤️
Una turandot così potremo riascoltarla solo.........in paradiso!!!!!!!!!!!!!
Imbatibles vocalmente tanto la NILSON como CORELLI!!! Esto nunca mas lo escucharemos en nuestras vidas!!
Wow!!! Such titans!!!!!
Any chance of hearing the whole opera. Just too good for words.
Was für großartige Stimmen❤gibt es heute nicht mehr
Arthur de Silva: We had the pleasure of seeing Nilsson and Corelli in Turandot in 1961 at the Old MET when this production was introduced after an absence of over 30 years. It was stupendous and we went backstage to meet the artists, take photos and get their autographs on our programs. WOW , those were the days indeed. Corelli partnered by Nilsson, Price, Tebaldi Freni, Sutherland were benchmark performances indeed.
ADS.....................Bro , I would call that an Epic Night !!!!!!!
I was at this performance...the audience reaction was eletrifying: huge ovations and endless curtain calls.
Where it was performed?
@@konradottingen7187 The Met
Nilsson, Corelli, Freni, Giaiotti and Zubin Mehta. OMG!!! 😍🥰
Bonjour un superbe duo on ne peut trouver mieux c est le sommet de l opera deux joyaux sublimes immortels merci a vous de nous faire partager cette video inegalable merci vraiment et bravo pour eux
CORELLI IS THE GREATEST TENOR OF ALL TIMES, HI HAD EVERYTHING, GREAT LOOKING GREAT VOICE, NO ONE IS EVEN CLOSE.
CORELLI NEVER CLAIMED THAT “HIII”IS THE GREATEST, so STFU!!!
@@coveryourfarts
He was considered the top tenor for a while in the sixties but his career was short
He lacked the force to endure stressful moments in operatic life
His career wasn’t that short. Keep in mind, he started late, not even studying voice until his mid-20s. I think he retired in 1975, when he was 54. I saw him that year in his joint farewell tour with Renata Tebaldi, and he still sounded great.
Corelli had a lot of pride, and did not want to hang on when he couldn’t meet his own high standards. But his life-long stage fright probably made the decision to retire easier.
Bjorling is the greatest tenor of all time. But Corelli is a close second.
@@SymphonyBrahms Have you people heard Pertile?
If the audience wasn't deafened by Nilsson's 2 high Cs at 16:20, Corelli certainly finished the job.
Incredibly!
I never realized in the year 1966 everything he had thaught me and my brothers and sisters. He had brought a record from his trip with my mother. I heard for the first time "Turandot". On the 24th. of December my father died in a tragedy so deep inside my memories. Opera was my mother, my father. I could cry now again. They were just "Wunderbar",
Well said.
E che si può dire davanti a tutto questo? Solo tacere, forse piangere perché non torneranno mai queste due voci UNICHE!!!!
Vvb JB NV oh jjhhhhhhhhhhgçvggggvvvvvv big gh hah
💖🌹🌹💖
Simply the best!!!!
Birgitta is amazing, as is Corelli, but I’ve never heard a more beautiful diminuendo on Moriro!
Bonjour un vrai grand plaisir d ecouter ces voix sublimesinegales des grandes étoiles qui brillent à jamais mais merci pour ce partage qui nous les rendent tellement presents bravos❤❤❤❤❤❤❤❤
Immense franco ♥️ ♥️ ♥️ ♥️ ♥️ ♥️ ♥️ ♥️ ♥️ ♥️ ♥️ ♥️ ♥️ ♥️ ♥️ ♥️ ♥️ ♥️
16:45 - 17:07 . HISTORIC.
THE BEST PART
I am Dimitrova's fan and she is my preferred Turandot. It's a pity that they didn't sing together with Corelli. She debuted in Italy with Turandot only in 1975 when Corelli retired.
The best for ever…❤
One of the greatest soprano-tenor pairings of all time for Puccini's final opera! Too bad you didn't post photos of Corelli as well...he cut a handsome figure on stage!
Bonjour une splendeur des voix sublimes deux grands inegalables immortels merci pour cette vidéo et bravo
Sublime distribution ! Merci pour le partage !
I think of the legendary Nilsson singing this role with her glorious voice. Then I think of NetrebCow croaking her way through it. And I realize how far opera has fallen.
It was impudence on Netrebko's part to sing Turandot and Lady Macbeth, but thank God it is over, though the damage to the art of opera remains.
@@user-qu1ue5vn7l It´s not over. Netrebko is still singing. And there are others who have "names" and who aren´t any better.
What a cheap comment
Nisson, Corelli, Freni, the age of miracles !
Only the great Franco Corelli could exist in front of her, unforgettable duo !
Sometimes we hear a very good Turandot (there was, there is), and then we listen to Birgit Nilsson, and we know there is only one, there will be never but one, the goddess from the North, the star that shines in the sky and will always dazzle us, Lady Birgit Nilsson, the unique, the splendid, the irreplaceable.
Hyperbole regarding Nilsson--but justified!!
Direzione tellurica,esplosiva,fantastica.......oggidobbiamoaccontentarci diesecuzioni. Al vin de pom!!!!!!!!!!!!!!
16:45 "No, no, principessa altera, ti voglio...ardeeeeeeeeeeeeeente d'amor!"
Due grandi interpreti di Turandot. Se non i migliori!
Nilsson OWNS this role. No other Soprano has the steely focus is f her piercing dramatic Soprano!
Eva Marton?
@@francescobertoli8580 not even 2nd
@@francescobertoli8580 you're kidding, right?
In questa reggia and the three enigmas.
The lovely Nilsson as Princess Turandot. 🌷 🌹.
Beautiful soprano 💟😍☀️🤩.
Nilsson Corelli Scotto 1965 Rome is a good cast too Both are aBlessing to listen to .
Corelli era una bestia.
Two titans of opera, paired together, in an opera designed to highlight each one's strengths, both at the height of their powers. How often does THAT occur?
My god, how sublime!!!
Très grande soprano bravo 👏 💕 💕
...imagine one of the current tenors would have to sing with Nilsson. Drowned by sound...
Mi piace moltissimo
16:52 Ti voglio ar-DEEEEEEEEEEEN-te d'amor!!!
Terrifying as she IS here, it's nothing compared to what one heard, live... in the house. Simply amazing. Orch and chorus pretty ragged.
Absolutely right! I was on stage with her once and another time in the audience...there are no recordings that come close to the phenomenon of that voice filling a huge hall with no visible effort!
Semplicemente INARRIVABILI!!!
5,30. 12,40 16,40 e seguire la voce che scompare su " morirò" Forse per completezza l ultimo Calaf di riferimento
Sorry for Corelli's fan club...... But I always say that "A WELL TRAINED AND POWERFUL DRAMATIC SOPRANO WILL NEVER EVER BE OVERSHADOWED BY A TENOR", as good as he can be. And the truth is: Corelli's voice is powerful enough to not be vanished by Birgit Nilsson, and not the other way around...
well she was a Wagnerian-but having heard this many time, but not recently,I did say to myself-that he really was the only tenor in the same league-but there was so much more to his singing
True
Opera and dancing belong to great female performers
In this recording, his voice does not overpower hers.
I don’t think his voice was necessarily bigger or more powerful than hers. However, in those days higher female voices(especially gigantic ones) didn’t record as well as male voices, which are lower.
They had to place the mic quite far from them, otherwise the quality would’ve been horrendous on the higher notes. In fact, it’s well-known that recordings didn’t do Birgit’s voice justice and that it sounded even fuller and rounder live.
All who I know who heard her live have attested to this as well.
@@bonotoon5273 The mic at the Old Met was about 50 feet front of the curtain line and about 35-40 feet up from the orchestra seats. It was far from the performers. Also in this production, Nilsson started "In questa reggia" 3/4s the way up the staircase. During the aria she came down the stairs. Also as I know from experience, a small crowd of opera lovers would gather by the 7th Avenue scenery door (which was 3 stories high) to hear Nilsson's high Cs during her song of protest after the question scene. We were never disappointed. She had a gigantic voice! But that said, she knew how to duet. There is a broadcast performance from the 1961 season under the direction of Stokowski- - very great and very interesting.
@@tobiolopainto
Se mi avessero chiesto di assistere ad un unica recita d opera in vita mia , avrei scelto questa del Met ! Non avrei chiuso occhio tutta la notte ! Due quercia secolari Birgit e Franco/ Dario
Forse la più grande Turandot, certo il più grande Calaf della storia operistica e poi qualcuno viene a dirci che oggi non ci sono più cantanti come una volta. Bella scoperta anche ai tempi di Corelli e Nilson non c'erano cantanti come loro.
Il Calaf preferito di Birgit Nilsson era Giuseppe Di Stefano, lo disse lei alla radio in una intervista. Anche se gli stava un po stretta la parte trovo anche io Di Stefano il piu' bel Calaf, poetico e sognante. Corelli subito dopo.
@@fabriziomariagarzi5534 Di Stefano aveva una voce stupenda per alcuni ruoli ma non per Calaf . B. Nilson può dire quello che vuole ma solo Corelli poteva competere con lei.
@@lz43p15 ognuno ha le sue opinioni. Lei li ha visti in teatro? Le posso dire che Di Stefano aveva piu'volume di voce di Corelli e di Del Monaco, cosa che non e' mai stata messa in rilievo.
I assume that this is a pirate or radio broadcast because you really get a better idea of how sounded in the house as opposed to studio recordings. Amazing, thrilling singing.
🎼🎶"Stranierooooo... AAAAAAASCOLTA!"🎶
(Calaf wets his pants a little.)
GLORIOUS BIRGIT!!!!!
It is the other way around. Given Corelli's " voice and looks, Birgit wetted her pants a lot.
Maybe another Calaf, not Corelli.
@@PragueImport it's called "a joke". No one is diminishing Corelli.
@@user-qu1ue5vn7l why does no one have a sense of humor?
@@danafripp4120 Corelli was not funny. He was a very serious artist - for his own detriment. It is not easy to make jokes about him.
Imagine the curtain calls...
I was there...incredible atmosphere in the House. Mirella Freni was a radiant Liu, and the great Bonaldo Giaiotti was Timur. The vocal impact Nilsson and Corelli made in the House was incredible.
18:33 Corelli's pianissimo takes your breath away! Never heard a tenor extending it as long as he did.
Extended 7 or 8 I’d say! I think this a MET broadcast from their inaugural season at Lincoln Ctr.
Giuseppe di Stefano and even more beautiful....
Fleta.
@@johnpickford4222
There's no Miguel Fleta recordings about Calaf......
I wish !!!!!
Great artists at their peeks! Absolute greatness throughout !
Peaks
💚In Questa Reggia.
Loving the gowns as much as the singing! Thank you for the video!
I KNOW, right??? Absolutely gorgeous! True grand opera couture! ❤❤❤❤❤
Bellissimo!!!
On reconnais bien la tessiture de B.Nilsson et ses pointes mélodramatiques , portée par une immense voix .
Elle est à l’aise dans les rôles les plus exigeants ´ Salomé ´R.Strauss .
Au sommet dans ces années 60 .
Это чудо❤Сколько раз слушаю и каждый в восхищении! 👏👏👏💐💐💐
*Ti voglio AR-DEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEENTE D'AMOR!!!!!*
Sublime distribution et quelles voix !
magnifici!
UNPARALLELED!
El aria culminante del gran segundo acto de Turandot es éste, en que el Príncipe le dice que adivinó sus tres enigmas, y ahora es ella quien tiene que adivinarle uno tan sólo: que le diga sólo su nombre antes del alba, o él morirá.
Nowhere is it mentioned that this is from the Metropolitan Opera!
Нильссон навсегда останется величайшей Турандот, как и Гена Димитрова, как и Ирина Гордей. Жаль, что эту партию никогда не исполняла великая Астрид Варнай, обладавшая огромным вулканоподобным голосом с роскошным грудным регистром.
¡¡¡Versión insuperable!!!
Absolutely god-like, Corelli and Nilsson. Too bad it was Mehta as conductor: he rushes through passages at the end that should be conducted allargando.
I AGREE WITH YOUR COMMENT, A MOST OVERRATED CONDUCTOR. I HEARD THE MET TROVATORE HE CONDUCTED IN BOSTON IN 1968 0R 69. HE CONDUCTED WITH ONE HAND IN HIS POCKET FOR MOST OF THE PERFORMANCE AND LOOKED BORED! MCCRACKEN AND ARROYA PUT HIM TO SHAME. REGARDS FROM OLD CANTOR IN FLORIDA
Puccini died before completing his crowning masterpiece. He wrote his last note shortly after Lui’s heart wrenching final aria in the final act. It was left to several of Puccini’s young protégés to complete the opera. When the production debuted at La Scala, Arturo Toscanini ( a personal friend of Puccini) was the conductor. When he reached Puccini’s final note, he abruptly silenced the orchestra, turned to the audience and said, “This the moment that artistry died.” (I would give anything to be transported back in a time machine to witness that immortal moment.)
They are The God & The Goddess….höchstpersönlich!
At the premiere Toscanini stopped the performance where Puccini had written the last notes and said, "This is the moment that the maestro laid down his pen".
Great! But big mistake is that there is not any picture of Corelli!
EXACTLY!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!
Well, let's say that the scene belongs more to Turandot than to Calaf; doesn't it?
Певица внешне заметно проигрывала Корелли... Может, в этом причина? ))
@@user-ix6ry3cu7i Не думаю, что Корелли беспокоила ее или своя внешность, тем более соревновательный аспект в данном контексте)) Они часто работали вместе и очень дружили, приглашая друг друга в различные телепроекты.
@@georgioverini2299 Согласна. )) Просто я - большая поклонница Франко Корелли. Мне нравится не только его великий голос, но и очень привлекательная внешность. ))
The great riddle of 'Turandot' is not Calaf's name, but WTF Puccini could possibly have done to top the end of Act 2. The Devil took GP out before he could finish it: he hates mortals, and he has exquisite taste.
Puccini himself was stumped as to how to end it. I personally think it's best if the opera ends as Liu dies.
@@absdyna BINGO. Good call! I've taken to leaving at that point. Sort of like The Art of Fugue when Bach dies before the end.
Il più grande Calaf che sia mai esistito !!!!!!
@@francogimelli8150 Si! Assolutamente si!
I think Puccini always had a problem with the conclusions of his opera. The end of both Tosca and Boheme both lose their dramatic edge. It takes Tosca too long to figure out that Cavardossi is dead and most performances of Boheme leave me laughing at the end as Rudolfo is the only one in the room who doesn't knows what is going on. Usually the Rodolfo is wandering around the stage at the end of the opera trying to figure out what has happened. Compare that with how Verdi concludes Traviata (which BTW is a fair depiction of death from lung disease - as the body dies, it still tries to push oxygen to the brain and there is a degree of euphoria because the body is not feeling pain and the last part of it to die is the brain hence the temporary euphoria, well captured by Verdi, not by Puccini). Maybe Fancuilla should have ended as follows - Mr. Johnson sings Ch'ella mi Creda, gets shot, Mini rides in on horse back and they sing a farewell duet as he dies. Oh, BTW, it is hard to ride off from San Francisco into the sunset going East and there are not too many deserts in Louisiana.
maravillosos
Maestro. Puccini would have been delighted to hear them and said his Turandot was composed solely or htem only
gab es eine bessere besetzung zu der zeit?
MITICI. INSUPERABILI
Buonasera Carmela, ho avuto modo di apprezzarti quando ero nel Coro del San Carlo dalla prima metà degli anni 80 in poi? Non ricordo Grazie Cordiali saluti
@@massimocassano2545 Grazie per le tue parole ❤
Perdonami, se insisto, appunto, non ricordo le produzioni in cui sei stata impegnata 36 anni nel Coro..... Non è facile, nho visto e sentito tanti artisti
@@massimocassano2545 in nessuna produzione . Avrai sentito il Concorso Callas nell'88 Semifinale e Finale .
@@carmelaapollonio8041 ah ecco, ricordavo qualcosa del genere C era forse anche la Antonacci e la ex collega Esposito Tanti e tante brave Bel concorso il Callas Mi ricordo c erano non so se in giuria Cappuccilli, Kraus e presentava Corrado Augias, ma ho vaghi ricordi
Superb performance! The cast and conductor are mentioned, but does anyone know where this performance took place?
metropolitan, according to the living stage booklet
💖💖🌷🌷
💖🌹🌹💖
Che dire CORELLI NILSSON...coppia da PARADISO...ho avuto la fortuna di ammirarli all Arena di Verona...in verità separatamente...in Turandot Calaf era un giovane Placido Domingo,bello in carne con voce generosa e vigorosa
What the hell happened there’s got to be people out in the far corners of the earth who can sing like this ? People say they start to young but I have seen biographies of the greats from the 1800’s and they started singing at major houses 15,16, 17, is it the teaching? is it the singers who don’t take risks? Or are they taking to many risks ? Who were the teachers of these two great singers? What was their teaching method,? Do they need to start looking for talent in grade school and nurturing that talent. We need to do something soon or this great art form will die but I guess everything must die in the end.
Just to possess the vocal ability to sing high C's is not enough. The complete voice is a special gift that comes from God, though it must (as you say) be realised at an early age. The talent can then be fulfilled to it utmost. I have sung and studied music professionally for 55 years and I have heard them all - and yes, there may be that undiscovered God-given voice somewhere, but odds are, we have heard 99% of the best voices from Caruso to this present day. Some to me are special and others to me are ordinary, but other music lovers will obviously disagree. However, a voice such as Franco Corelli's will never be heard again. This man comes as close to perfection to any voice I have ever heard. His counter-part is Maria Callas - also unique. Makes me sad that Corelli's voice is not appreciated by more.
@@sdi1111 so no more great voices then opera will die.
@@notnek202 Opera will not die if we take the time to educate our children. My 15 son was into Heavy Metal until he heard Franco Corelli. Now his passion for classical and Opera is greater than mine.
@@sdi1111 it warms my heart seeing that. I'm 17 years old and Corelli's voice might be the greatest that I've heard.
I started listening to opera a few months ago and even if I'm still into rock/metal (you can love several genres at a time) I certainly grew a passion for opera and classical music generally.
I just hope you didn't force him ;-; but if I may ask: is he going to start taking singing lessons? It would be so great to grow a new generation of singers based on the great tenors of the 20th century!
@@user-cy6xl3vd3f Hi Arashi. My son loves to sing, but unfortunately he does not have the dedication or is prepared to sacrifice what is needed in order to become an outstanding artist. Hopefully one day - before it's not too late - he will see the light!
Absolutely thrilling. Thank you so much for posting it. Is there a complete recording of this performance?
Hello Harry! This performance is available on Orfeo CD (2014).
Try the Met 1961's with Corelli directed by Stokowski. IS REALLY GREAT. I think that is the first Turandot that they sang together.
@@alca4697 I prefer it as well.
The Met released this performance as part of a boxed set featuring performances from the first season at the New Met, 1966-67. The Liu is none other than Mirella Freni. The 22 cd set opens with the first performance ever at the new Met, Barber’s Anthony and Cleopatra starring Leontyne Price. Some of the other operas in the set include the extraordinary performance of Die Frau ohne Schatten conducted by Karl Bohm with Leonie Rysanek, James King, Christa Ludwig and Walter Berry, Lucia di Lammermoor with Richard Tucker and Joan Sutherland, Aida with Leontyne Price and Carlo Bergonzi, Verdi’s Otello with James McCracken, Montserrat Caballe and Tito Gobbi. Check out the set on the Met Opera website.
@@alca4697 no they sang Turandot alla Scala 1958 and 1959
Where was this?
MET
この2人はほんとによく喉が開いてる
Wundervoll und unvergessen! Und heute? Eine Wüste der Erbärmlichkeit!
Eine Wüste der Erbärmlichkeit ist wahr. Ich habe Netrebko gehört und sie ist eine Turanditinissima. Beschämend.
Did this take place at the Met ?
The Old Met
@@tobiolopainto Sorry, no. This was apparently December, 1966. The new Met opened in September, 1966.
@@rogerwhite95 My mistake. Sorry.
@@tobiolopainto Long time ago. Perfectly understandable!
@@rogerwhite95 It's history. A good subject. I was/am/will be a fan of the Old Met. It had fine-almost perfect acoustics for a wide variety of music, from solo piano to grand opera a la mode. Its relation to the New Met (I hate giving that building capital letters) is interesting. The Old Met could seat 3600 and stand 350. The New Met seats 3600 and stands about 300. The thing that differentiates between the two is that the Old Met's auditorium had 680,000 cubic feet. The Old Met, grand as it was, had a smaller number of cubic feet than Carnegie Hall which comes in at about 850,000 c.f. The extra cubic feet in that hall show time and again that Carnegie Hall isn't a good place to listen to opera in. - - And I have heard everybody in that hall. The New Met has 1.2 million c.f. People are more comfortable- no one doubts this. But the size of the auditorium which combines the "intimate" design of an Italian opera house with the stadium design (the upper balconies having stadium seating (I remember when Carnegia Hall had wooden bleachers in the top two balconies. When the new "restored" Carnegie was opened there were seats in the top two balconies). This design was popular in England, not so much in France, Italy, Russia and Germany. The hall that the New Met was based on is the Auditorium in Chicago by Louis Sullivan, Dankmar Adler, and Frank Lloyd Wright, who was the head draftsman in Sullivan's studio. (Adler was the acoustical consultant of Carnegie Hall) Study the plans of both theatres and you'll see how similar they are. The seating in Chicago using C19 ideas, could be over 5000. The proscenium arch in the New Met is about the same as that of the Old Met 54x50. And due to that, the ceiling has to be very high over the orchestra and the lower balconies. The ceiling of the New Met angles up so as to accommodate an open space for the denizens of the top balcony to revel in. Up there, the acoustics are okay, the there's a sense of being far away from the stage (and they are). At the Old Met, the stadium part was much less wide than that of the New Met. The acoustics in that part of the theatre were amazing, Loud, immediate, and lush when needed. This is generally true in stadium planned theatres everywhere. (e.g Covent Garden). When a singer starts a note, that note comes out of the mouth in a sphere, not a straight line. The sphere hits the wood of the apron immediately,(at the speed of sound), also the sides of the proscenium, and part of a second later, the ceiling. It is important to have lively broken up surfaces in elements closest to the stage. The Old Met had these characteristics galore! Consequently the sound was reflected very efficiently from the stage. The New Met lacks any kind of reflective surface on the proscenium arch, except for the horrible sculpture above the arch that looks like entangled stegosaurus tails. The reflective qualities of the box-faces is evidentially minimal- - the sound is reflected primarily from the apron and the ceiling. There are 2 seats with Great acoustics at the New Met. They are at each side of the auditorium in the family circle. They are the seats closest to the proscenium. You can't really see the stage, as the angle of displacement is too severe, but the sound is fantastic. If you walk back toward the stadium, you can hear the sound fall off with each step and distance.
16:51, ti voglio ardente
I heard that NetrebCow is destroying Turandot now. What next? Brunnhilde?
Electra!
Don't tempt fate like that - she is a cruel mistress.
Queen of the night? Erda?
Rude - ignorant - Not Clever
.....no matter how much I'd pleased you.
.....totally unnecessary.
I'm not a fan of Anna either, but that kind of crap shows you to have no artistic sense/sensitivity. Sad man you are.
😎😎😎
No sigue nada, Netrebcow ya acabó con su poca voz y su carrera
Nielson always won
Simpaticissimo Corelli col far vedere a tutti di essere in grado di tenere la nota più lunga della Nilsson. Un bambino ueee. Si sente l'odio feroce fra loro due ad ogni secondo.
Ma evitare certi commenti no eh?
@@matteogritani1635 no
@@michelegiovetti6678 beh. Pensala come vuoi, ma hai sbagliato. Sappilo.
@@matteogritani1635 pensala come vuoi. Ho altro da fare
@@michelegiovetti6678 Ok. Bye bye.
Horrible is that all talks about how loud they sang, but not about how professional, thoughtful and realistic they sang... I guess, they loudest, but not the most thoughtful singers...
This is Turandot not La Boheme. This orchestra is practically the size of a Wagnerian opera, the size of voice is actually quite important here. Turandot is an incredibly cold, cruel and over privileged princess, who loves to see her suiters die. She is not a kind Disney princess, she has no remorse for killing Liu. Calaf is an extremely arrogant, egotistical and heroic prince, who has just fought in a war, he wants Turandot and a new kingdom. Arrogant people are not usually associated with being very nuanced people. Calaf is not a poor and witty poet. This is an exciting battle of wills, where the outcome is death, it is not the silly courtly games of Rigoletto for example. Nilsson and Corelli can basically just sing these roles, their voices alone already fit the characters perfectly. Of course, this is live it is not a studio recording where they are using lyrical voices, and where they increase the volume and size of the voice electronically. This is how powerful singers with dramatic voices sound, when they are performing their own dramatic repertoire. If someone doesn't enjoy dramatic voices, singing their own repertoire, then there are many great lighter and more lyrical operas to enjoy.
You are wrong. Both Nilsson and Corelli were known for always striving to find deeper aspects of their characters. This was the reason, for example, that Callas requested EMI to get Corelli for her second Norma recording. She knew that he could match her vocally and also in finding the meaning in the music of Pollione. I saw Nilsson in one of the last roles she took on [The Dyer's Wife]. That is a role that requires great characterization and conveying of a broad range of emotions. She was spectacular. Finally, it is not clear what you mean by using the term "realistiic" about their singing. No operatic singing is realistic.
@@user-gt7xs1fc6g Yes, they were also very good displaying the deeper though and feeling of their characters. But for Turandot is something slightly colder is required. Corelli does a diminuendo on the ending of moriro actually showing a bit vulnerability there.
By comparison, today's dramatic sopranos are pathetic.......
Today's dramatic tenors is even worse than the dramatic sopranos.