LUCIANO PAVAROTTI e BEVERLY SILLS in VERRANNO A TE SULL'AURE da Lucia di Lamermoor

ECCEZIONALE: alla fine del duetto Luciano e Beverly lanciano insieme un inedito e sorprendente Mi bemolle sovracuto .

[@sergiosanchezsanchez8712]

Magistrales y con dos Voces de Belleza absoluta👌❤👍

[@MrAndredekock]

Mr Pavarotti was 34 years old in this performance and still a relatively trim young man and the colour his voice had here was just superb, coupled to his impeccable technique and innate ability to interpret it was pretty much one of the finest tenors heard in centuries! Unfortunately as the kilograms became packed on, this marvelous colour diminished markedly and we were left with a still remarkable voice, but nothing like the absolute beauty heard here and in his early, young recordings. Ms Sills is her superb self as always with her crystal clear diction, impeccable technique and wonderfully sensitive interpretation and at the age of 40 as she is here, she was in total command of her awesome instrument! What a pleasure and how spoiled we are to hear the two of them together at the very pinnacles of their careers! BRAVISSIMI!!!

[@lsmart]

Couldn't agree more on Pavarotti. During that first decade, not only was the combined beauty and sweetness of his voice as good as any tenor I've ever heard (including Bjorling and Gigli), and the extraordinary ring/squillo of his high notes utterly thrilling (listen how he soars above Sills in the final note), but he was also a remarkable singer. He always had great taste/feeling in his performances (something you are born with and cannot learn in conservatory). But his later performances (esp. in concert) sometimes became perfunctory and lazy, not only due to his health but also due to his wealth and superstardom. However, in his early years, his singing was invested not only with tremendous heart and feeling, but also with elegance, individuality and nuanced perfection - combining Corelli-like warmth and fire that made you feel like he was living the words rather than singing them, with Caruso-like music-specific singing that matched the tempo, volume and emotion of the singing to the words, allowing you to fully "understand" what he was singing even without knowing the meaning of the words or the story behind it.

[@Domani02]

@@lsmartVous dites n’importe quoi

[@lsmart]

@@Domani02 Sorry, but the Google translation of your French doesn't make much sense to me.

[@pavarotti744]

Amazing....astounding.

[@maurarosati4649]

Chapeau!

[@tklogan111809]

magnificent.

[@sellaholding9205]

Thrilling!!

[@castelsantangelo]

Quegli acuti non sono affatto inediti, anzi sono in partitura! Tradizionalmente non vengono mai eseguiti, ma in questa versione è meraviglioso sentirli da parte di interpreti meravigliosi come la Sills e Pavarotti. A onor di cronaca, va detto che il soprano dovrebbe avere il do diesis e il tenore il mi bemolle. Evidentemente qui se li sono scambiati!😅

[@veneral1000]

Tutte le esecuzioni di questo pezzo mancano dell'elemento fondamentale richiesto, cioè mancano di slancio emotivo, è come demotivare e nullificare la vitalità di un pezzo così bello, un farlo morire.Manca in tutto slancio, espansione

[@fabriziogarzi9892]

Questa e' l'ultima cretinata che ho letto sull'esecuzione di questo duetto.

[@MrDiabo76]

Non vorrei sbagliare ma ad orecchio, su quell'acuto Luciano fa un Do diesis e la Sills un Re sopracuto. Tra l'altro Luciano non ha mai eseguito un mi bemolle a voce piena, solo in falsetto e in registrazione. Grazie

[@sergiobuccianti4224]

Per favore in quale registrazione Pavarotti avrebbe emesso il mi bemolle in falsetto?...su questo finale del duetto non mi pronuncio in quanto è difficile percepire perfettamente l'acuto di Luciano essendo predominante in primo piano la voce della Sills.