Superbe malgré son "cor" final. Pour le "...cosi", il faut remonter avant 94. Mais cela n'enlève rien à la beauté, et le "cor" permet le maintien du pianissimo sans coupure.
@@liguten Je comprends !.... mais Montserrat étati coutumière de ne pas canter le texte qund ça l'arrangeait 🤣 mais avec une voix pareille tout lui était pardonné !... je ne l'ai entendue qu'une fois en grande forme (et c'était ne surprise tout à fait inattendue vu nombreux récitals assez pénibles auxquels elle nous avait habitués dans les années 90...) ... et ce soir là (à Pleyel avec orchestre) on a eu droit à un miracle !.... et je ne m'en suis pas remis ! .... 🙃
llllllllooooooolllllll that was Montserrat !.... once she forgot completely the words and started to sing the name of her husband 'barnabe barnabe baaaaaarnabe' :::))))))) .... (there is a recording ...) .... yes BUT ...
Coupla thangs. Why can't opera audiences wait 5 seconds between the end of such an aria and the yells of "Brava!"? IT always feels so selfish, as if that jerk in row 12 just HAS to let everyone know he approves. Could we let the aria settle before breaking the mood? (it's kind of related to the opposite problem in orchestral movements: you might listen to the first movement of, say, Brahms Concert #1 and then give NO response, when clearly one is warranted... but that's another matter.) The other thing, has anyone out there ever seen a Tosca performed where she's a tigress full of fury--at Scarpia, God, the world-- rather than a dainty artiste-type? Just imagine how brilliant it would be if she were full of strength and rage throughout. It'd enhance the whole dynamic with Scarpia. This aria would be changed from a pity-party to an accusation against the Almighty. Has no one ever performed it that way?
Thank you! I love Tosca every time I see it, but I keep waiting for someone to sing this as if she were raging in a furious helplessness: Why is this happening to me?! Why did God let this happen?
@@smallworld1624 Right? Wouldn't that be great? And she could be that kind of tigress throughout! I was asked last month if I might be interested in being the fight choreographer for a pro production of Tosca. I had to tell the folks running it that I hadn't done THAT kind of stage combat but that I HAD choreographed Don Giovanni's duel at the beginning of the opera. They went with someone else, but I thought it might have been interesting.
LLLLOOOOLLL that's Montserrat !!! :))))))) but my Goodness her breath control is out of this world !... who ever dared to NOT breathe after the 'signor' fff and make the 2 next diminuendi pianissimo in a single breath ???? how is that possible ???
@@ClassicvideofanI've never heard anyone else do this, she was unique. Another example of her phenomenal breath control can be heard in the RCA La Boheme. At the end of Act I she sings "Amor, amor... amor" in one breath, without a break before the pianissimo high C (thus upstaging her tenor, who of course DOES need to take a big breath there).
Really? I agree with the 'cosi' but we'll never know why she sang that. The h between vowels I couldn't hear at all and I doubt it was actually there. The voice though is sublime and the control impeccable.
@robertmcnamara5407 Yes, unfortunately that h was there everywhere. A lot of Italian and Spanish singers have that bad habit of adding an h between vowels often especially when doing fast notes. The worst culprit of them all is Cecilia Bartoli. German and French singers avoid that in general. The sound is then much cleaner and elegant. Another big culprit was Carlo Bergonzi. Check that out and you'll see.
@@giacomovallati3104 No bad feelings. 🙂 I actually saw Bergonzi in Munich in 1989, when I was very young, and he sang like a god. The public went crazy applauding, including me, and he had to give about 5 encores. It's just the h between vowels. That's all I don't like. And it's a matter of taste mostly.
The diminuendo is exquisite but unfortunately the "Signor" preceding it is really ugly. That's the problem with Caballe (except in her prime). Queen of pianissimi but definitely not Queen of fortissimi.
@zbynekvydra8210 a long slow decline indeed, but there was still music she served beautifully, even past her prime. Others sounded finished within 5 or ten years.
@@Orfeus80 What fan2jrnc says is absolutely correct, Caballé forte was never beautiful, not only did she pass the prime but she has always had that defect, listen to her here in 1966 or 1967 in the high notes in forte or in full voice the voice loses quality 2:28 , 2:43 ruclips.net/video/F95enYO3yiY/видео.html
CHECK ABOVE IN DESCRIPTION SECTION : MANY OTHER EXCLUSIVE/RARE VIDEOS YOU MAY ENJOY :))))
Superbe malgré son "cor" final. Pour le "...cosi", il faut remonter avant 94. Mais cela n'enlève rien à la beauté, et le "cor" permet le maintien du pianissimo sans coupure.
Vous voulez dire quoi 'avant 94' ? 94 l'année ? je n'ai pas compris :)
@@Classicvideofan Non je voulais dire 1974, pas 1994
@@liguten Je comprends !.... mais Montserrat étati coutumière de ne pas canter le texte qund ça l'arrangeait 🤣 mais avec une voix pareille tout lui était pardonné !... je ne l'ai entendue qu'une fois en grande forme (et c'était ne surprise tout à fait inattendue vu nombreux récitals assez pénibles auxquels elle nous avait habitués dans les années 90...) ... et ce soir là (à Pleyel avec orchestre) on a eu droit à un miracle !.... et je ne m'en suis pas remis ! .... 🙃
@@Classicvideofan Je dois avouer que de "miracles" il y en a eus plus d'un.
Perchè me ne rimuneri cooooooooooooo.
llllllllooooooolllllll that was Montserrat !.... once she forgot completely the words and started to sing the name of her husband 'barnabe barnabe baaaaaarnabe' :::))))))) .... (there is a recording ...) .... yes BUT ...
Coupla thangs. Why can't opera audiences wait 5 seconds between the end of such an aria and the yells of "Brava!"? IT always feels so selfish, as if that jerk in row 12 just HAS to let everyone know he approves. Could we let the aria settle before breaking the mood? (it's kind of related to the opposite problem in orchestral movements: you might listen to the first movement of, say, Brahms Concert #1 and then give NO response, when clearly one is warranted... but that's another matter.)
The other thing, has anyone out there ever seen a Tosca performed where she's a tigress full of fury--at Scarpia, God, the world-- rather than a dainty artiste-type? Just imagine how brilliant it would be if she were full of strength and rage throughout. It'd enhance the whole dynamic with Scarpia. This aria would be changed from a pity-party to an accusation against the Almighty. Has no one ever performed it that way?
Coz it adds to the sense of drama and excitement? It happens especially in Latin countries.
Thank you! I love Tosca every time I see it, but I keep waiting for someone to sing this as if she were raging in a furious helplessness: Why is this happening to me?! Why did God let this happen?
@@smallworld1624 Right? Wouldn't that be great? And she could be that kind of tigress throughout!
I was asked last month if I might be interested in being the fight choreographer for a pro production of Tosca. I had to tell the folks running it that I hadn't done THAT kind of stage combat but that I HAD choreographed Don Giovanni's duel at the beginning of the opera. They went with someone else, but I thought it might have been interesting.
I was waiting for the "....si" but it never came lol
LLLLOOOOLLL that's Montserrat !!! :))))))) but my Goodness her breath control is out of this world !... who ever dared to NOT breathe after the 'signor' fff and make the 2 next diminuendi pianissimo in a single breath ???? how is that possible ???
🤣🤣🤣🤣
@@ClassicvideofanI've never heard anyone else do this, she was unique. Another example of her phenomenal breath control can be heard in the RCA La Boheme. At the end of Act I she sings "Amor, amor... amor" in one breath, without a break before the pianissimo high C (thus upstaging her tenor, who of course DOES need to take a big breath there).
If you want to hear dolphin-like breath, check out the aria at the last act of Don Carlo. My goodness, she holds that note for forever!
You mean the Orange video ?
Don't say co-o, say così! And there's no need for h between vowels, both bad habits. Everything else, just perfect!
Really? I agree with the 'cosi' but we'll never know why she sang that. The h between vowels I couldn't hear at all and I doubt it was actually there. The voice though is sublime and the control impeccable.
@robertmcnamara5407 Yes, unfortunately that h was there everywhere. A lot of Italian and Spanish singers have that bad habit of adding an h between vowels often especially when doing fast notes. The worst culprit of them all is Cecilia Bartoli. German and French singers avoid that in general. The sound is then much cleaner and elegant. Another big culprit was Carlo Bergonzi. Check that out and you'll see.
@@lmf5299 Certainly that's real life performance practice that should be studied!
@@lmf5299 Ah, se tutti i "colpevoli" cantassero come Bergonzi e la Bartoli!
@@giacomovallati3104 No bad feelings. 🙂
I actually saw Bergonzi in Munich in 1989, when I was very young, and he sang like a god. The public went crazy applauding, including me, and he had to give about 5 encores. It's just the h between vowels. That's all I don't like. And it's a matter of taste mostly.
Sorry...for me, Maria Callas is the best Tosca ever!
I understand that 's why I did not include her ...
No...
The diminuendo is exquisite but unfortunately the "Signor" preceding it is really ugly.
That's the problem with Caballe (except in her prime). Queen of pianissimi but definitely not Queen of fortissimi.
Who doesn't have problems when they sing past their prime?
@@Orfeus80 She was singing past her prime twenty years, alas. But she was great in 1960s and 70s
@zbynekvydra8210 a long slow decline indeed, but there was still music she served beautifully, even past her prime. Others sounded finished within 5 or ten years.
@@Orfeus80 What fan2jrnc says is absolutely correct, Caballé forte was never beautiful, not only did she pass the prime but she has always had that defect, listen to her here in 1966 or 1967 in the high notes in forte or in full voice the voice loses quality 2:28 , 2:43 ruclips.net/video/F95enYO3yiY/видео.html
@@walteranibal8425 Its easy to nickpick.