Puccini - Turandot Con Montserrat Caballé, Giacomini, Mitchell; Ozawa 1981 París

[@susannevollmer2347]

Caballé!💫RIP!🌼

[@arboretum1153]

Sans doute la plus extraordinaire production de turandot en tous points

[@sergiosanchezsanchez8712]

Elenco maravilloso.Y Montserrat Caballé: Brillante, Deslumbrante, Espectacular ¡inmejorable!👏🏻👏🏻👏🏻👏🏻👏🏻👏🏻👏🏻👌🏻❤️👍🏻

[@RBP1963]

Sublime Caballé, Giacomini stupendo! Really great Ozawa !!!❤

[@maijacalcagno]

Caballe is just perfection in this production.

[@user-xh5ry8uu9o]

Потрясающая школа у Монтсеррат!

[@charlescoleman5509]

R.I.P. Giuseppe Giacomini.

[@oliverdelica2289]

😔😔😔✊✊✊

[@user-vp5kl8bc1c]

Grandissimo Maestro...😢

[@terryhenson3350]

I love the way the shadows emphasize the separation of her head from neck and the sides of her face, putting so much in focus on her beautiful face with such clarity. That is a work of art in itself. The costume with headdress is just the greatest costume with maximum total effect in this particular Turandot than in any other I've ever seen. There is no better costume of Turandot than this one.

[@angusmcrandy]

La principessa Turandot - Montserrat Caballé Calaf - Giuseppe Giacomini Liù - Leona Mitchell Ping - Michel Philippe Pang - Rémy Corazza Pong - Robert Dumé Timur - Pierre Thau L'imperatore Altoum - Michel Sénéchal Mandarin - Philippe Rouillon

[@michiel1953]

Wow! Oh wow! Discovered this yesterday through Instagram and what a pleasure this production is! Caballe in full voice and with the necessary power but brilliant tone, always!

[@jean-claudecalise7470]

Encore 1 triomphe de la Caballe ! Merci: c est Hollywood à Paris.

[@HJKey]

OMG this is glorious.

[@rodianabuiuc2544]

Stunning Turandot with long Alfano's ending. Thank you.

[@remomazzetti8757]

This is not Alfano's longer first completion: this is the standard published version with all the cuts and changes Toscanini had demanded since Alfano had changed Puccini's sketches in places for no good reason, and substituted his own music in places where Puccini actually left viable sketches.

[@rodianabuiuc2544]

@@remomazzetti8757 Thank you for your little piece of information. Anyway it is a very good performance.

[@hummarstraful]

This is before my time as an opera fan but the two leading rolls here are absolutely fantastically sung! What an experience it must have been to have seen this live. It's a shame there isn't a good quality version of this that survived. I wholeheartedly agree with everyone's praise in the comments.

[@principeturandot4593]

What a stunning production! I know many have sung this part, but Caballé is to me the most regal and believable Turandot. Her singing and acting is transcendental as Princess Turandot.

[@bradleymonroe6443]

I agree and so is Giacomini with his singing and acting being transcendental as Calaf and Nessun Dorma (Pavarotti's signature).

[@gabriellabellochio7518]

Che meraviglia!!❤

[@yvesdekerpoisson7637]

tout simplement sublime!qui a fait mieux depuis? Caballé fabuleuse,Giacominni superbe, ,Mitchell parfaite,et Ozawa au top...mais sans vouloir jouer les vieux chnocks...mais bon... c'est vraiment magnifique ,non? performance vocale de Montserrat,il fallait quand meme oser,...merci ..très emu..love,Montserrat..a tout jamais

[@roberthorn1838]

Simply the best,most complete Turandot Ive heard and I saw Nilsson at her peak..Montserrat never ceases to amaze me,a great singer,and an even greater artist😊💞

[@williammorris584]

This was very enjoyable, but I prefer Nilsson, Turner, Cigna as Turandot. Giacomini was extraordinary when he was at his best.

[@cg4428]

Giuseppe Giacomini is a revelation.

[@jirizika6266]

Why such an ecxellent production is not available commercially in quality corresponding to the time of creation. It is a true shame as the recording is taken proffesionally.....

[@69EBubu]

It was a TV broadcast. There are numerous archives of Paris Opera broadcasts from the Liebermann era, but it's apparently of no interest whatsoever for the INA (Institut National de l'Audiovisuel) to restore these priceless treasures. You would have thought that in this time of pandemic, when the Met has been streaming its treasures EVERY NIGHT since last March, that the Paris Opera could do the same, but no... Welcome to France where culture is the last priority of all.

[@ancamg]

Beautiful Turandot production! Great scenography, costumes, makeup, it's a pity the recording does not do it justice. Monserat may be the real Turandot, she is majestic, and musically sublime. Giacomini is really a great Calf. he almost reminds me of great Corelli in this role. Poor Puccini could not finish it, but still this is among the best operas ever.

[@jsimaeys]

J'ai un fabuleux souvenir de cette mémorable performance. Tout était réuni. La qualité des voix bien sur, mais aussi l'intelligente mise en scène de Margarita Waldman et les somptueux décors de Jacques Dupont. Une des grandes époques de l'opéra de Paris.

[@69EBubu]

J'y étais aussi. Quelle époque ! Si l'INA pouvait restaurer ces bandes pour les conserver intactes pour les prochaines générations !

[@FranciscoFerrerGaliana1930]

SENCILLAMENTE MARAVILLOSO

[@gerontius3]

Let's face it, you will not hear singing this good today, there's nobody in the class of Caballe in this role, nor in Giacomini's come to think of it. If I can't have Franco Corelli, Giacomini is pretty darn close. A fabulous production

[@enthusedtosing9655]

Fascinating. Why did they have to put Turandot 20 metres back for Figlio del cielo is beyound me. Amazing still.

[@germanquintero10121946]

maravillosa

[@ahava77]

❤

[@PABLOGARCIA-gb5ih]

Entra Caballe en escena y los demás pasan a un segundo plano... La Superba!!!

[@gregoryen]

Bonjour, je voudrais savoir comment vous avez eu l’opéra ? Existe t-il une cassette VHS ou une version DVD ? Un ami passionné d’opéra la recherche. Merci à vous !

[@michellemaout5284]

Mai 1981, Opéra de Paris, un drôle et émouvant souvenir pour moi, jeune stagiaire en fin d'études de Technicien des Métiers de la Musique à la régie de l'Orchestre de l'Opéra de Paris. J'étais présent à toutes les répétitions et représentations de cette production déjà très vieillissante que je pensais oubliée à tout jamais et à juste titre tellement elle était représentative d'une façon de produire de l'Opéra d'une autre époque proche du moyen âge, même en 1981 ! Reprise d'une ancienne production de 1968 de Margarita Wallmann , qui pendant les répétitions sortait des coulisses comme une furie hurlant dans un patois "franco-germano-viennois" après les figurants et les choristes effrayés qui devaient tenir le tableau immobile après chaque scène. Avec un Seiji Ozawa extraordinaire, qui face à cette harpie, restait bienveillant avec tous les artistes, une Montserrat Caballe sûre de sa technique, qui ne se laissait pas impressionner ni par cette furie autrichienne sans talent ni par cette mauvaise musique de Puccini insipide et facile, musique à l'image des costumes qui se délabraient et tombaient en lambeaux que l'on ramassait à la pelle à la fin de chaque représentation. Une solide formation pour moi car j'ai beaucoup appris de ce que l'on ne doit pas faire dans ce domaine. Essayer à tout prix de faire du neuf avec du réchauffé nuit réellement à la création. Oublions ces productions d'un autre âge et laissons ces vieilleries dans leur poussière.

[@jsimaeys]

Evidemment moi je n'était "que" dans la salle et ne voyais pas l'envers du décor que vous décrivez avec talent. C'est intéressant à lire même si je ne partage pas votre jugement sur cette production que j'ai trouvée magnifique en tous points et pour la partition de Puccini, alors vive la facilité qui donne du bonheur. Je vous trouve un peu snob si je peux me permettre.

[@jvdesuit1]

It was a fantastic performance I was lucky to attend; that night Placido Domigo was singing the part of Calaf. Unfortunately here the poor quality of the video spoils the beauty of the whole sets which Dupont had created. it is said that for the final the crown of Caballe was so heavy that it was suspended over her head with cables following her movements. Is it true that is the question.

[@bradleymonroe6443]

What about Giacomini's interpretation of Calaf. Giacomini was hitting a high C with Caballe.

[@jvdesuit1]

For me to hit a high C is not what makes a performance memorable; an opera is a whole work which involves of course good singing, but also good acting as one must not forget that it is theater too, great sets and not the actuel minimalistic stupidities performed today, a respect of the action and text of the libretto so that the staging is in accordance with it. In a recent performance of Magic Flute in Salzburg the queen was accompanied by tanks and her ladies were using machine guns! I'm probably stupid but have not understood where the stage director found reasons to do so.

[@SilfredoSerrano]

Are you saying Domingo sang one of the performances of this production? This is Giuseppe Giacomini.

[@hocbes]

D'après le site Mém'Opéra (archives de l'Opéra de Paris), Domingo n'a jamais chanté dans cette production; Franco Bonisolli, par contre, alternait avec Giacomini. Vous devez confondre.

[@zayvier69]

In questa Reggia 56:39

[@zayvier69]

Nessus dorma 1:23:00

[@zayvier69]

Signore ascolta 26:00

[@zelimircabraja7529]

Great Ozawa choose wrong tempi in most of the chorus parts. Too fast.

[@user-qw6mw6kg1i]

01:23:29

[@user-jy5ce6bq5z]

1:14:30 No no principessa altera

[@tarektomei546]

I expected him to sing the high C... He seemed to be in perfect shape

[@Caruso_is_king]

Maybe your tablet realized you know nothing about singing or opera.

[@davidgould9431]

Less than half an hour in. So far, so mixed. The Liu makes a nice noise but forgets the words at the beginning and end of her act 1 aria. Bless! Live is always awkward. The tenor sounds like a cardboard cut out. The bass has a stupid glue-on beard but, well, it's that kind of production. I'm only here for Caballé, really. Obvs still waiting. [edit: I must have hit something on this dim tablet that made it think I was finished.]