Thank you for listing all this!

An extraordinary performance with the one and only..grandiose pavarotti! So moving.. Thank you for sharing !!!

Loll/

@@user-gq2uc5ly9y ¿?

Es maravilloso! Todo mis sueños son para este gran astro. Su talento traspasa los corazones y el infinito!

❤

Ma è lei? Carreras il magnifico che scrive qui?

❤pragteg

Sans pose !

Такие прекрасные комментарии ценителей Паваротти,плачу и наслаждаюсь пением.И легче перенести свою участь.Пой мой родненький, в небеса пусть летит моя любовь к тебе Лучано.Валентина Россия.

Que voz tan bella y Que potncia aun en los pianisimos I

YES INDEED, just a piano, so we can hear each variation and tone and that clear, rich golden sweet voice.

Yeah, with Wustman playing like a boss!

@@neilconrad1767 I agreee with that, just a piano, then you can hear all his various manipulations of the components of the performance . he had unusually large resonating chambers . another reason why he will never be equalled.

Si è un' emozione così profonda che non senti più nemmeno dove sei tu e dove il resto del mondo, si resta così, immobili e increduli

He must some wonderful stories.

@@Operafiend22 He does indeed have wonderful stories about many very great singers.

Sempre nel mio cuore Luciano

I will wonder you. All tenors are lyric. There are no any dramatic, heroic, leggero timbers they are not exists. Some tenors got a forza, some not, we can say it also a spinto, but not a lyricodramatico, cause of word dramatico, dramatics are not exists, i think that chiaroscuro is also a wrong word in describing a vocal. So, pavaroti was a tenor di forza, but cause of reason that he didnt coloured his voice, he cant using a forza in his voice. I know on what i am talking. His volume said it for him, he got enough power in his voice, but to use a whole power needs a train U vowels. Pavaroti was also flat, constricted as i said many times, but he was a tenor. I cant believe that i was obsessed on a myth, on a big fakes. Big timbers are not exist in vocal, its a big mistake. No one of the list of "the greatest operatic tenors" have a clear tenors top like luciano. They have ruined many tenors voices, forbiden to them sing and opera was a full of baries, like mezzos popular in verismo style. Do you realize how many a real tenors have been cracked cause of a new style and wave? Baries were glad with that and verdi, who adore listen a throat rippers like caruso or tomango, they were have been without any top. Melocchi is one of the worsest vocal coach of that period of time, his tape with a bari limarili proved that he teached his students to scream, not more. Awful period we have in operatic history and after that luciano with his band and friends transformed opera to a pop, bring fancy, its awful, he did too much bad for opera too. Made from nessun dorma a pop song, which are bad, cause it ruins many voices, especially pop "singers", pavaroti also made a bad example on how not to sing a drama and spintos roles but people think that its a great example. 52:52 pavaroti in that time was already cracked, forced note, he didnt even try to go on top, micro helps to him so much

@@Monnarchmonnarchy I must differ with you. Caruso sang over 900 operatic performances at the Met alone and many aria encores, from lyric to dramatic operas, to great reviews from different independent critics. You are hearing Tomagno on records between 1900 and 1905 at the end of his career on old technology recordings. But historic writings do compliment him on his piercing tenor voice and high notes. The lower larynx method of singing did not originate with the Melocchi School. You may have a good point with Pavarotti transforming opera to pop, but many in his audience would never go see a complete opera. Pavarotti like Lanza actually made opera more popular or appealing by singing a few arias and songs at concerts. Pavarotti had a great ear for music and did not know how to read music. We can almost criticize any tenor who ever sang, but the overall interpretation of a role and how the singer reaches your emotions is what is true, however being different from individual to individual. I like MDM for fierce singing, impetus phrasing and heroic manner, demonstrating anger and rage in I Pagliacci, Carmen and Otello, but I do not prefer him in Lucia Traviata and Boheme of course.

@@sugarbist i am speaking on reality, with some examples on bad singing, but you still on a potatoes. You are really on your mind, you ignored everything. How 10000 perfomances will help to caruso with his bari timbre? How delusional reviews can deny a fact that on a records he screamed and struggled? tomagno? But how about volpi, caruso, monaco, martinelli, melchoir, etc. When you find out another excuse? Too much bad perfomances against for them. Again you using a myth. I already said that melocchi is a throat ripper teacher. I reasoned that by writting to you on his limarili lesson. You still playing with ignoring, like i dont know on what i am talking and dont know what it is low larynx. You abusing me to write to you again the same. Limarili screamed all in tape with melocchi, its not a low larynx. Now you continue your fantasy with pavaroti that he got notes cause of his unique ears. Its so rediculous "argument". I dont care on monacos lyric parts, he was a bari, like caruso, volpi, etc .... How can you deny this? Fake reviews, fake career cant help to you in your "arguments". You dont even try to listen, you like a fancy, obsessed, you are speaking on a feelings, not on a roots. Whats up with you? You transformed into a praising with flattery words, you didnt see how your fakes are bad

@@Monnarchmonnarchy I'm trying to understand your point. Caruso, whether you like him or not, brought forward a new way of singing which was followed by most tenors going forward. Prior to or during Caruso's time, there was Fernando De Lucia and Alessandro Bonci, Mc Cormack, and Antonio Cortis to name a few, who were stylist of bel canto singing. Tenors who sang beautifully by caressing the music. Is this the type of tenor or singer you prefer? You are telling me what you don't like, but can you give me an example of a tenor's singing that you like, so I can understand what your point?

@@sugarbist you trying to show it like its a "new style". Its not a belcanto, you are praising him too much, giving to him a fake legacy. Reality is that caruso was a typical bari, like many others like bonci, cormak, cortis. Its not opera, there is no any belcanto in there. Again, its not a taste, there are their clear high notes? Not exist

Ｐandeぉしえ

Trying to enjoy this lovely concert but UTube kept interrupting it with advertisements even in the middle of songs /arias to do so! Unbelievable!! Nonetheless, l love Luciano enough to put up with it.

do you recall any information that was on the VHS? was it a commercially produced VHS? Thank you.

Those with Wustman were among his best recitals .

I have sung with Wustman too. He recorded a lot of Music Minus One piano part discs!

Watch his Lincoln Center concert in 1980 with Zubin Mehta conducting. Their chemistry that night was like none I've seen. In particular, E Lucevan Le Estelle and Vesti La Giubba, Also, during Le Donna E Mobile, which LP sang twice, you can see the relationship. LP surprised Mehta during the first rendition, after which he gave Mehta an "Ah, gotcha" exchange. In all this, E Lucevan Le Stelle stands above all. Never has a conductor shown such passion during any aria I'm aware of. Peace.

eugene kohn was no slouch either, nor was james levine at the met recital

@@copelandtenn isn't that the concert where perlman sang the intro to e lucevan le stelle?

I recorded it (on Betamax) when it was bradcast by Swedish TV in the mid-1980’ies …

Other great tenors, other great singers would have taken breaks between every third piece or perhaps more often.

@@Artiej0hn0 he was in his 50s here -and his voice was so velvety, arias sung in a breeze.A few years later, with longer and more frequent performances, it became necessary to have breaks ( orchestra or flute ) during his recitals

@@Musettina6 the voice should still be near peak in ones 50's.....it was his weight that harmed his voice more than anything else

@@jadezee6316 oh really. His voice was so " harmed" that he could still sing high Cs in his late 50s. And theatres he sang in were sold out all over the world - surely to masochist listeners there-:) . He was a blessing to so many, his voice was the window to his soul. It s the crossover concerts that made him so popular, that were probably not the best choice to make.

@@Musettina6 I agree this is beyond flawless, his voice pierces the air and is of such a beautiful texture and color. It is heartrendingly sweet and powerful at the same time, I could go on and on, I think If I had been here I would have wept through the whole thing.

I've never seen it, no ...

Henrik Engelbrecht - opera og klassisk musik i øjenhøjde Thank you for posting this for us!

This id from la Scalla in 1983

E bulacio, thanks

Yes, it was, at one concert, the audience would not stop applauding, he had the house lights dimmed, and walked to the apron of the stage, gave a big belly laugh, and said, You Go Home Now!