Her lustful look at the diamond while he is singing to her is cool... she must have been /is great fun to work on the acting with... let alone the technically unsurpassed vocal projection!
I saw that production and It is always stuck in my mind ! Baltsa was the queen of the night beauty acting and projection of the voice unbelievable ! I think Domingo was not at his best here in this role but on stage his charisma was still playing.
True babs22h. His high notes are driven which is what works for him. That's what he was paid to do which was to drive his notes. He somehow lasted with this type of singing despite critics predicting he wouldn't last 2 years. He however has a beautiful voice which is why he became a very successful Opera Singer.
@@richardfallon5507 She was so good, it's too bad she didn't do anything more, like, more roles or more productions of roles she already did like Giulietta.
03:08 the duet of Hoffmann and Giulietta was so good that it's such a pity they shortened it; they should have used the original version, which was longer
@Layla Hatchet But they always do that whenever the Giulietta act is presented as Act 2. The only two versions where the Giulietta act is Act 2 and the full duet is used are those recorded with Joan Sutherland and Beverly Sills.
Mil gracias. Uno de mi operas favoritos. Gracias al gran Domingo, John Schlesinger y los tres sopranos. El hace la papel tan bueno que el es Hoffman por mi por siempre. Y Robert Lloyd ya tiene 80 y el todavia trabaje en operas enscenario. Este escena y aria es tan fabuloso. Y ese vestido de Giulietta que pelea con el, lol, tipo de problemo que existe solo por Hoffman.
Pobres los que sólo notan la tensión de domingo en las notas altas , no pueden ver al gran artista , prefiero esas notas tensas llenas de emociones a los grandes agudos vacíos y sin llegar a ningún lado , domingo es y será un grande de todos los tiempos ,
Funny question! I don't think she refused kissing the leading men or refused Domingo exceptionally. She kissed Jose Carreras in Carmen, and Domingo in Samson and Delilah. Hmmm but as i recall it now, i'm not sure whether those were the real kiss on the lips though. I remember that she used her hand a bit or changed her angle while kissing (to conceal fake kissing probably). I mean she could just pretend to kiss because singers might have some sensitive problems in using their mouth and lips, especially on the stage. Those vocal organs are the very part of their instrument(their singing voice). And i guess singing for a long time may cause dry lips and breath odor which people would be reluctant to kiss someone with. Hahaha:) Here, they might pretend to kiss, but i could feel their chemistry for sure which cannot be faked. Both are stunning and passionate like real lovers in this scene.
Do not feel sorry, saying poor. Rather, envy him by calling him great, it's a good interpretation, the sound of his voice is clear, with a beautiful color .... You do not see their stage presence, their performance, the sound quality of their voice, their unique timbre, their way of moving on stage, etc ... do not stay with a high note, the opera is not just that. For example, Corelli, a great voice, but constantly dragged the notes, with a somewhat personal melodic / dramatic concept, exaggerated gestures to act to ridicule (Roberta Peters who worked several times with him, said he was the real Diva wanting to steal protagonism from his stage companions, good voice but bad companion and that shows in the live performance), and also exaggerated a lot with the voice in some dramatic passages. The opera is the work as a whole and for that Plácido is simply the best, if you are looking for a person with a beautiful voice, good bearing, good stage presence, good actor and great musical knowledge, that is Plácido Domingo, and his name will always be written with golden letters in the history of world lyric, as one of the best tenors in history. That is not subjective, that is already a reality evident.
And let it be known that Franco Corelli is one of my favorite tenors, a great tenor and I admire him, but I have set him as an example, because nobody is perfect, everything is a matter of taste, although there are verifiable and irrefutable facts.
two world class singers at the height of their game
I've seen many performances of this opera, as it's my favorite. But Baltsa is the sexiest I've seen. Great singing.
Her lustful look at the diamond while he is singing to her is cool... she must have been /is great fun to work on the acting with...
let alone the technically unsurpassed vocal projection!
The best performance ever
I saw that production and It is always stuck in my mind ! Baltsa was the queen of the night beauty acting and projection of the voice unbelievable ! I think Domingo was not at his best here in this role but on stage his charisma was still playing.
How much better can one sing?
En su mejor momento domingo...
This production to me, remains my firm favorite and I have seen many performances.
Absolutely.
it is - perfection from start to finish
I was there, so many years later I still think it was one of the best performances I ever saw.
Amazing!!
Great Great Great!
agnes on fire
True babs22h. His high notes are driven which is what works for him. That's what he was paid to do which was to drive his notes. He somehow lasted with this type of singing despite critics predicting he wouldn't last 2 years. He however has a beautiful voice which is why he became a very successful Opera Singer.
Immensi
Was Agnes Baltsa never being recorded as Giulietta?! I cried during their duet!!!
Baltsa was simply the best at everything she did.
@@richardfallon5507 She was so good, it's too bad she didn't do anything more, like, more roles or more productions of roles she already did like Giulietta.
03:08 the duet of Hoffmann and Giulietta was so good that it's such a pity they shortened it; they should have used the original version, which was longer
@Layla Hatchet
But they always do that whenever the Giulietta act is presented as Act 2. The only two versions where the Giulietta act is Act 2 and the full duet is used are those recorded with Joan Sutherland and Beverly Sills.
Mil gracias. Uno de mi operas favoritos. Gracias al gran Domingo, John Schlesinger y los tres sopranos. El hace la papel tan bueno que el es Hoffman por mi por siempre. Y Robert Lloyd ya tiene 80 y el todavia trabaje en operas enscenario. Este escena y aria es tan fabuloso. Y ese vestido de Giulietta que pelea con el, lol, tipo de problemo que existe solo por Hoffman.
Pobres los que sólo notan la tensión de domingo en las notas altas , no pueden ver al gran artista , prefiero esas notas tensas llenas de emociones a los grandes agudos vacíos y sin llegar a ningún lado , domingo es y será un grande de todos los tiempos ,
I'm getting Baltsa wood watching this.
I'm 11 years late, but. Nice.
formidabili
Grandissima la Baltsa
4:41
Does anyone know why Baltsa would not kiss Domingo on the lips? Did she refuse to kiss all her leading men? Inquiring minds.
Funny question! I don't think she refused kissing the leading men or refused Domingo exceptionally. She kissed Jose Carreras in Carmen, and Domingo in Samson and Delilah. Hmmm but as i recall it now, i'm not sure whether those were the real kiss on the lips though. I remember that she used her hand a bit or changed her angle while kissing (to conceal fake kissing probably). I mean she could just pretend to kiss because singers might have some sensitive problems in using their mouth and lips, especially on the stage. Those vocal organs are the very part of their instrument(their singing voice). And i guess singing for a long time may cause dry lips and breath odor which people would be reluctant to kiss someone with. Hahaha:)
Here, they might pretend to kiss, but i could feel their chemistry for sure which cannot be faked. Both are stunning and passionate like real lovers in this scene.
it was made for her. He also sings great but I never believe him
I don't care if you're 100 years old.......
poor Domingo.. every high note strained and forced
Do not feel sorry, saying poor.
Rather, envy him by calling him great, it's a good interpretation, the sound of his voice is clear, with a beautiful color ....
You do not see their stage presence, their performance, the sound quality of their voice, their unique timbre, their way of moving on stage, etc ... do not stay with a high note, the opera is not just that.
For example, Corelli, a great voice, but constantly dragged the notes, with a somewhat personal melodic / dramatic concept, exaggerated gestures to act to ridicule (Roberta Peters who worked several times with him, said he was the real Diva wanting to steal protagonism from his stage companions, good voice but bad companion and that shows in the live performance), and also exaggerated a lot with the voice in some dramatic passages.
The opera is the work as a whole and for that Plácido is simply
the best, if you are looking for a person with a beautiful voice, good bearing, good stage presence, good actor and great musical knowledge, that is Plácido Domingo, and his name will always be written with golden letters in the history of world lyric, as one of the best tenors in history. That is not subjective, that is already a reality
evident.
And let it be known that Franco Corelli is one of my favorite tenors, a great tenor and I admire him, but I have set him as an example, because nobody is perfect, everything is a matter of taste, although there are verifiable and irrefutable facts.