Jonas KAUFMANN and Ludovic TEZIER - Invano Alvaro. LA FORZA DEL DESTINO. Verdi

[@livianadionigi9374]

SONO ENTRAMBI BRAVISSIMI, MA...JONS, JONAS CON LA SUA VOCE FLESSIBILE E PROFONDA ESPRIME TUTTA LA DRAMMATICITÀ CON BASSI E ACUTI CHE COINVOLGONO L' ASCOLTATORE ATTENTO. GRAZIE JONAS , GRAZIE. LIVIA.

[@rauterbergsabine6750]

🙏🙏🙏♥️♥️😃😃😃🤩🤩🤩👏👏👏🎍🎸🎤🎧♟️🦞🦞🦞🦞Bitte keinen Lobster mehr essen. Diese wunderschönen Tiere brauchen 16-20 Jahre, um so schön groß zu werden?!

[@arankaneumann-kd1iv]

Csodálatos felvetel! Csodálatos hangok! Köszönöm, sohasem unom meg őket!👏🎶🌹

[@editamesones9990]

Hermoso dueto!!!👏🌹👏🌹👏🌹👏🌹👏🌹👏🌹👏🌹🌹👏🌹👏🌹👏🌹👏🌹

[@estelalatorreboero3667]

Verdi en su plenitud creativa y dos grandes artistas que lo reviven!

[@JosetteGuilbert]

Incroyable ces deux voix qui s'accorde et se répondent. Inouïe !!!quel bonheur de les avoir vus et entendu à Londres début Avril 2019.Respect❤

[@MariaGraziaDabizzi]

Bellissima opera con due interpreti superlativi. Grazie grazie

[@cassandre6656]

merci de me faire découvrir cette version, deux magnifiques interprètes

[@livianadionigi9374]

QUEST' OPERA È UNA DELLE MIE PREFERITE. GRAZIE A CHI L' HA POSTATA. LIVIA.

[@luzgallardo4320]

Me encanta cada vez que la escucho es cielo puro !!!

[@liliacristinapohl4905]

Toda la emocion y la fuerza dramatica que transmiten Kaufmann y Tezier en este magnifico duo ..👏👏👏👏..

[@GelskeBergsma]

2 krachtige,opwindende emotionele stemmen en 2 PRACHTIGE mannen...I love them both...❤😊❤😊❤😊❤😊

[@szegedification]

This was amazing.

[@janethu9169]

Beautiful. Bravo. Wunderbar! 👍✌️👌🌎❤️💕🎶🦠💤😎😝😇😛😎😊😜

[@janethu9169]

Thank ❤️❤️❤️🎶🎶🎶🎶🎶🎶George UR a wise man! Keep Up your Good Work! ❤️❤️❤️

[@georgesoperaworld5898]

❤️❤️❤️

[@dianaaljadeff2983]

After Dmitri Hvorostovsky death there are few talented verdian baritones and Ludovic Tezier is one of them. Jonas Kaufman is a baritonal tenor as were Plácido Domingo and Jon Vickers .Both were very good in this scene but the best performance I heard of this duet was with Franco Corelli and Etore Bastiani in a 1958 video

[@aliciarealp]

No me canso de escuchar este dúo cantado por Bastianini y Corelli hace casi ¡65 años! La perfección es.

[@ursulapinke5137]

Schon beim ersten Hören liebte ich dieses Duett und mit jedem Wiederhören wird die Liebe größer ......... wie sehr begeisterte schon die ältere Forza d. D. Produktion mit Jonas und Ludovic , die zum Glück auf DVD erhalten ist .........

[@carlfigueiredo2095]

Wonderful singing by both! Kaufmann has a tenor voice that so reminds me of the sublime Jon Vickers. I recommend the recent posting of Kaufmann's moving and powerful Dichterliebe from an empty Bayerische Oper, with the brilliant Helmut Deutsch at the piano.

[@arthurlayne6350]

I guess it is kinda off topic but does anyone know a good place to watch new movies online ?

[@gudrunstein9699]

Thank you so much for sharing this ! Super von beiden ( da konnten sie mal richtig - wie JK so schön sagt - die Sau raus lassen ! Wahnsinn ! ❤️

[@rauterbergsabine6750]

👏👏👏👏❤️❤️❤️ Thank you so much.....Danke, danke, danke!!!!!

[@cyrilletremblay3039]

Deux diamants à l'état pur qui nous font vibrer de bonheur.

[@m.sibyllejungbauer291]

Zwei dicke Freunde und immer Feinde in der Oper❤❤❤

[@waldoraffin1069]

Maravilloso!

[@azaraereryy4909]

Sublime !

[@evakerek5864]

Jonas hangja lenyűgöz!❤

[@rosy3385]

Même si la mise en scène ne me plait guère, la distribution est tellement belle qu'on ne peut qu'aimer !

[@ariasemusicaslegendadas7657]

4:48 só de ele ter um Bb2 audivel mesmo ingolato é impressionante

[@jakethewoz]

The phrase at 3:22 is absolutely breathtaking. You can almost hear the gasps from the audience! That whole section starting around 3:00 is simply sublime. What an artist.

[@provvidenzaferrante2375]

Grande bravura ❤

[@707evelyn]

Wunderschön 🥰

[@ghislaineaerts2330]

O! Zo zalig mooi'een woord s splendide!

[@joemcbob9688]

Bravi!

[@7H7GRm8jm4QCnjuQ]

Is this a performance or a rehearsal?

[@juanaluisapinasosa4102]

Cantar y actuar, difícil trabajo. Grande.

[@janethu9169]

The Force of Destiny (in Italian)

[@giovannievangelista6218]

Non avevo mai sentito questo duetto fatto da due baritoni.

[@FabioColasante-ht3jg]

Pessimo, infatti. Qui sono diventati tutti di bocca buona.

[@commandert5]

I mourn for the state of modern opera

[@operacat1]

I was THERE!! It was one of the best interpretations of FORZA DEL DESTINO that I've seen. Kaufmann and Tezier are a splendid team.

[@Nangis123]

@@operacat1 No amount of exclamation marks and caps in your comment can make what we hear here acceptable for those under us who weren't born yesterday .

[@somerandomguy84]

Finally an actually dramatic slap in this scene LOL

[@Mousy677]

tézier really Gets it, huh

[@janethu9169]

Dear Sir George : Take Good Care of Yourself First, then Your Loved Ones during viral infection seasons, the weather will be hot. Some Sts start to open every where. But, there maybe second or third waves coming. Do not take this dreadful disease lightly! Do not over work, drink lots of water & follow health guidelines & tips!

[@rauterbergsabine6750]

👏👏😀😀🙏🙏🦋🦋🦋😍😍😎😎😎😍😍😍

[@ivanbendana551]

En esta escena, no compiten con las combinaciones Tucker-Warren, Tucker-Merrill, del Monaco-Bastianni, Corelli-Bastianini y muchas otras combinaciones del pasado. Las voces de ambos suenan oscilantes (trémolo o wobble en inglés) y lo más destacado que se aprecia es la nota ¡Finalmente! de Ludovic Tezier, que suena potente, brillante prolongada como la emitían Bechi, Tagliabue, Warren, Merrill, Bastianini y otros grandes barítonos de antaño.

[@FabioColasante-ht3jg]

Perfetta analisi.

[@44kattis]

I prefer the 2013 performance from Munich

[@44kattis]

So do I, these two and the wonderful Anja Harteros!

[@Nangis123]

totally misses the point .The point is to have contrast between the two voices .Alvaro was premiered by Tamberlik who used to sing Arnoldo in Guillaume Tell ,a role full of high C's and D's not by someone who sounds like a baritone and struggles above the passagio.Povero Verdi

[@Nangis123]

​@Matvey Kurlyand I know his former voice , I wasn't born yesterday .My comment wasn't about his "natural" voice (though how can you be so sure his former voice is his "natural" voice? Maybe this voice is his "natural" voice , or maybe none of them is .Speculation aside ,his actual voice does sound artificial in the middle and low range . ) Back to my first comment , that was about *the contrast needed between the two voices singing this scene* . Kaufmann's voice as we hear it here (and as we have heard it for about two decades ) , artificial or not , is NOT what's needed here , period .

[@Nangis123]

​@Matvey Kurlyand Totally wrong . The Bb2 is JUST ONE NOTE ,preceded by one lone C3 . On the other side , PLENTY of A4, and a few Bb4 . The Bb2 is just Verdi's dirty joke at the tenor's expense . If anything , *Verdi was signaling the role needs a tenor with a solid top* . Tamberlik premiered Don Alvaro .Tamberlik , who had a Do di petto and whose signature roles were Arnold in Guillaume Tell and Manrico in Trovatore . Heck ,he was singing even Faust and the odd Arturo . The other tenor who premiered the revised version , Mario Tiberini , was making a living singing Edgardo , Arturo ,and Raoul .

[@Nangis123]

​@Matvey Kurlyand I think you're trolling . No ,Manrico and Arnoldo weren't sung by heavy dark voiced tenors . *These roles were sung by tenors who could cope with the tessitura , the top notes ,and the agility demands , LIKE EVERY OTHER ROLE* . Notable Arnolds in the 19th century were Nourrit ,Duprez , Tamberlik , Tamagno . I have yet to see any of them described as having a dark voice , and because of that qualified to sing Arnold . All of them had good head voice , Nourrit had excellent head voice . None of them darkened their voice artificially by pushing their larynx down . Are you a tio and barone creature? I can smell the likes of you from half a mile away when you begin with the dark voice nonsense . Arnold is a Nourrit role . Arnold is ROSSINI .Since when is Rossini in general and Arnold in particular sung by HEAVY voiced tenors who can't cope with the agility demands? Even the Nozzari roles have lots of agility demands . If you believe Bonisolli and Filippeschi did respect the score you can't read music . Both could cope with the Arnold tessitura but not with the agility demands . Couldn't care less whom you have heard in Forza and who amazed and didn't amaze you , and who you consider did well and who didn't . To judge from your Bb2 fetish , this is probably your only criterium . Dear me . I have heard Giacomini in Otello , and he was darker than Jago and more inflexible than a rock . Made a total mess of the dynamics of the work ,such a travesty . I can't wait for JK to sing Arnold , that should be fun .

[@Nangis123]

​@Matvey Kurlyand We actually have many recordings of Tamagno , not just Arnold (19 ,if memory serves ) . He was retired from singing full roles , chronically ill , and dead two years after the recordings . Proof Gaetano Fraschini sang his roles in key? Proof he sang predominantly chest with a lowered larynx? I bet you don't have any . In those days singers used a lot of head voice , this is the bel canto technique , exposed in all singing manuals , and this is what singers were taught in the 19th century , and even more so in the 18th century . They weren't taught to push their larynx down as far as humanly possible and produce an unclean unfocused sound , artificially dark , which can be mistaken for a baritone in color if not in theft , and devoid of nuance and dynamics . Kaufmann isn't able to sing audible piani and pianissimi . Unless he's close to the mic , these dynamics aren't audible .For all the other shortcomings apparent in Tamagno's recordings (and to bash on a singer because of cuts in 1903? Really ? Do you have any idea about various disc/cylinder capacities? Many arias were cut in those days . ) , the sound Tamagno produced was clarion , focused , clean , unmistakable tenor ,and , considering his age , pretty youthful sounding . He is not for a moment to be confused with the baritone in the only scene he did record (the others were arias) , despite the fact his partner was a *high* baritone . *My original comment , despite your best efforts to sidetrack this discussion , was about Kaufmann producing a sound which is in color very much like a baritone , about this sound being wrong for a scene calling for contrast between voices ,and about him struggling about the passagio* .It was NOT about your speculations regarding Gaetano Fraschini technique , NOT about your unproved speculations regarding Fraschini's singing roles in key ,NOT about your wishful thinking dark voices were the norm in the 19th century . It was about Kaufmann making a mess of Verdi's intentions in this scene . Give me proof Verdi had wanted a "tenor" with artificially darkened, woofy unfocused voice ,struggling above the passagio ,to sing in a scene with a baritone . Give me proof Verdi had EVER favored singers unable to sings dynamics , now that should be fun . Give me proof tenors of the 19th century were taught to push their larynx down and sound in their 30's like baritones in their 50's . Until then , all this pitiful struggle of yours is just the typical wishful thinking of the Cult of Collapsed Chest living in Cloud Cuckoo County . My compliments to the fraternity , LOL .

[@Nangis123]

​@Matvey Kurlyand Wrong to you maybe , but I didn't expect anything else from you . I am going to repeat myself . *My original comment , despite your best efforts to sidetrack this discussion , was about Kaufmann [...]* KEEP YOUR REPLIES TO KAUFMANN . THIS IS A KAUFMANN VIDEO . I have had enough of your sidetracking . I humored you in the beginning but you don't know when to stop , and you don't take polite hints . I'm past polite hints . *I am NOT interested in your name dropping . I'm not interested in your opinion about MDM , Giacomini , Merli , Fraschini , and heaven knows who else* . Do you understand English?

[@zs1968]

Kaufmann would be great in the character of Padre Guardiano....he has the voice and the look!

[@ottischwenk]

Clear Your ears

[@zs1968]

@@ottischwenk Cut off yours, they are far too long!

[@cristin-95]

The director who put them to act like this is a shame. Great singing but i did not enjoy the acting one bit.

[@rnerse]

Kaufmann is always flat, and the voice is very small. the tempo is also horrible, too slow... bravo tezier.

[@bodiloto]

Kaufmann - calante, gusto interpretativo orrendo . entrambi - ingolati ,strangolati . canto moderno purtroppo poco adatto a questo capolavoro . questa e' la mia modesta opinione . il vecchio

[@beniaminocampora4698]

Giusto.

[@marcocavagnis1707]

Propongo l'ascolto di questa versione: kzbin.info/www/bejne/al6pgIiKm5WMm5Y Nonostante non fossero più giovanissimi Tucker e Merril asfaltano impietosamente Kaufman & c

[@pedromotta9324]

Kauffman suona con timbro di barítono , molto male.

[@golden-63]

INGOLATA!

[@eliascastillorivera7130]

Horribile. Specially noted when in 5:16 says vowel i (ee), Uscite. Sounds truly strangled. That's a clear sign of bad technique. And not talking about his muddy sound.

[@PedroZamagna]

No. The overall problem of Kaufmann is that he doesn't put effort. Personally, I can't figure if that is a fundamental defect dating from all the way back from training or if that his own choice.

[@eliascastillorivera7130]

@@PedroZamagna well, I'm referring to the tuning of the vowels, not necessarily the input of strength/effort into the sound. Because finally, the better the technique, the less effort/input/subglottic pressure required to a greater perception of loudness/squillo (apparent volume). And he obviously doesn't seem to have a good technique at all

[@PedroZamagna]

@@eliascastillorivera7130 I knew I had seen your face before. Are you another "aspiring singer" with drunken diction that can only shout air pressure or just a youtuber "voice expert"? Not interested in discussing with a keyboard voice expert.

[@eliascastillorivera7130]

@@PedroZamagna oh, none of that. In first place, I'm not a youtuber, I merely have a normal account. In second place, I hope, just as many people, to be able to sing properly, so, in that sense yes, I'm an aspiring singer, but I couldn't consider myself as somebody who only believes into blowing air strongly against a "full closed vocal folds", nop, i'm not a TIO follower. Diction (aka vowel tuning, an acoustic concept essential in modern vocal science) is very important for me. And yes, more of the things I know I've learned them in internet, but not merely by reading them and accept them as truth, but contrasting information, changing my mind several times, in order to stablish at least an enough strong foundation of knowledge to built over it a good method of singing, that could work for me, and, hopefully, for others, if they maybe are interested. Nothing I say cannot be confronted with real science and with historical information, or at least that's what I try. Happily I'm still relatively young -24yo- so, if I'm wrong again, I can change my mind again to learn more. So, more than a mere "keyboard expert" (actually everybody who communicates by chatting, even being with a properly sustented knowledge, can be considered one), I'm somebody who tries to learn and to teach, or even more, to share and be shared with more knowledge, so all of us could happily learn more of this art. Maybe in some months -or even years- I could be showing how I'm singing. For an additional information, I'm more advocate to singers like Lauri Volpi, Masini, Merli, Schmidt, Lázaro, Jadlowker, Kraus, Pertile, Granda, Kraus, Gedda, Fleta, and some more. My main references.

[@Nangis123]

​@@eliascastillorivera7130 Thumb up to you Elias .Don't mind Pedro ,he is just a cranky tio follower with too much time on his hands and an insulting mindset . You find him everywhere springing the tio garbage on the unsuspecting and itching for a fight . If someone's a keyboard or armchair expert ,that's Pedro and his tio buddies , barone scarpia , georgia tryfonia , and the rest of them .Do they have a REAL singing career ,as in singing main roles in opera houses ? Nope . Just making noise on utube

[@maxmustermann7903]

Sorry, but this is awful. Tezier is no Verdi bariton at all. The high notes are neither dramatic nore intense. Kaufmann is producing piano where it is not suitable at all and always sounds like Kermit. PLEASE listen to Tucker/Merrill at Bing Gala (both far beyind their prime but still FAR better than this recording). Josef Metternich, the great german baritone, was right: nowadays singers are called "stars" who used to sing 3rd tenor in Brunswick before the war. Of course he referred to René Kollo.

[@salvoferraro6976]

Come rovinare un capolavoro, vocalità ingolata .

[@salvoferraro6976]

Solito commento stupido da incompetente.

[@salvoferraro6976]

@Aldo Pieri mi sta minacciando?

[@salvoferraro6976]

@Aldo Pieri quindi continua a minacciare?

[@KmwAmg]

Once again Jonas fails at this dramatic role ! Ludovic voice soars because it is free from throat and tongue production ! One can hear the audience gasping after Jonas sang the high note at the end because it looked like his vocal cords fell across the stage with all the tension in his singing 1

[@alexingresss2420]

Terrible. Best proof all 'talent' one needs is good looks and willingness to take one's clothes off in his youth. After that, it doesn't matter anymore. Why aren't we calling pole dance 'opera'? The way modern productions are headed to it isn't much of a difference anyway. Then the powers that be could brag about bringing 'opera' to the masses, thus relieving it of the stench of elitism, which, despite their best efforts to lower the art form in the gutter, still clings to it. Let's have pretty boys and girls doing something on stage, it doesn't matter what. Yay! Who needs voices? Only the old foggies who believe opera is a vocal art form, but not the masses who believe whatever television and social media is telling them.

[@ivansperanza]

Preferisco di piu Giacomini e Nucci...

[@cristianionita8359]

voce ingolata....