UN BALLO IN MASCHERA, Paris 1992 Pavarotti-Chung

[@alexj.denton7453]

57 years old with 31 years into his career sounding like this, I think this is evidence of how good it can be when you stay in your repertoire and posses a good technique and a little bit of luck ofc

[@CarlosDaniel-yu9zd]

Di Stefano and Pavarotti, the two best in this role!

[@georgeionita7307]

Such a beutiful music in an unforgettable performance . He shows his big heart .

[@maurovillanelli3636]

❤

[@angusmcrandy]

Riccardo: Luciano Pavarotti, tenor Renato: Alexanru Agache, baritone Amelia: Aprile Milo, soprano Ulrica: Susan Shafer, mezzo soprano Oscar: Nuccia Focile, soprano Samuel: Terry Cook, bass Tom: Henry Runey, bass Silvano: Desmond Byrne, bass A Judge: Robert Dume, tenor A Servant: Enzo la Selva, tenor Act 1 Scene 1: A public audience at Riccardo's palace, attended by his supporters, but also by his enemies who hope for his demise. Riccardo (Gustavo) reviews the list of guests who will attend an upcoming masked ball. He is elated to see the name of the woman he loves on the list - Amelia, the wife of his friend and advisor, Renato (Count Anckarström). (Aria: La rivedrò nell'estasi / "There I will be in ecstasy to see her again"). When Renato arrives, he tries to warn Riccardo about the growing conspiracy against him (aria: Alla vita che t'arride / "Your life, so full of joy and hope"), but Riccardo refuses to listen to his words. Next, Riccardo is presented with a complaint against a fortune-teller named Ulrica (Madame Arvidson), accused of witchcraft. A magistrate calls for her banishment, but Oscar the page defends her (Aria: Volta la terrea / "Turning her eyes from the earth"). Riccardo resolves to investigate for himself and tells the members of the court to disguise themselves and to meet him at Ulrica's lodging later that day. Scene 2: At Ulrica's dwelling Ulrica summons her magical powers: Re dell'abisso, affrettati / "King of the abyss, make haste". Disguised as a fisherman, Riccardo arrives before the others. He makes the fortune of a sailor named Silvano come true by spiriting a document of promotion into his pouch, convincing the crowd of the truth of Ulrica's powers. When he realizes that Amelia is coming to see Ulrica, he hides and watches. Alone with Ulrica, Amelia confesses that she is tormented by her love for Riccardo, and asks for a means to bring peace to her heart. Ulrica tells her to gather a certain herb with magical powers; Riccardo resolves to be there when she does so. Amelia leaves. Now Riccardo presents himself again, along with all of the courtiers, and asks to have his fortune told. (Aria: Di' tu se fedele / "Tell me if the sea awaits me faithfully"). Ulrica reveals that he will be killed by the next man who shakes his hand. He laughingly dismisses her prophecy and offers his hand to the courtiers, who refuse to take it. Renato arrives and shakes Riccardo's hand in greeting. Riccardo's true identity is now revealed and he is acclaimed by the people. Act 2 On the outskirts of the town, at the gallows-place. Midnight Amelia, conquering her fears, has come here alone to pick the herb of which Ulrica told her (Aria: Ma dall'arido stelo divulsa / "But when I have plucked the herb"). She is surprised by Riccardo, who has come to meet her, and the two finally declare their love for each other. Unexpectedly, Renato arrives, and Amelia covers her face with her veil before he can recognize her. Renato explains to Riccardo that the conspirators are pursuing him, and his life is in danger. Riccardo leaves, making Renato promise to escort the veiled woman safely back to town, not asking her identity. When the conspirators arrive, they confront Renato; in the struggle, Amelia's veil drops. Renato assumes that Amelia and Riccardo have been involved in an adulterous love affair. He asks the two leaders of the conspiracy, Samuel and Tom, to meet him the next day. Act 3 Scene 1: Renato's house Death of Gustavo, act 3, sc. 2, by August Pollak Renato has resolved to kill Amelia for the dishonor she has brought on him. She protests her innocence and begs to see her son one last time. (Aria: Morrò, ma prima in grazia / "I will die, but first, a kindness"). Renato relents, and declares that it is Riccardo, not Amelia, who deserves to die (Aria: Eri tu che macchiavi quell'anima / "You were the one who stained her soul"). Samuel (Count Ribbing) and Tom (Count Horn) arrive, and Renato asks to join their plot, pledging the life of his son as proof of his sincerity. They agree to draw lots to decide who will kill Riccardo. Amelia is forced to draw the winning name - Renato. Oscar, the page, arrives with invitations to the masked ball; Samuel, Tom and Renato agree that this is where the assassination will take place. Scene 2: The ball Riccardo, torn between love and duty, has resolved to renounce his love for Amelia and send her and Renato back to England (Aria: Ma se m'è forza perderti / "But if I am forced to lose her"). At the ball, Renato tries to learn from Oscar what costume Riccardo is wearing. Oscar at first refuses to tell (Aria: Saper vorreste / "You want to know"), but he finally answers: a black cloak and a red ribbon. Riccardo manages to identify Amelia and tells her of the decision he has made. As they say goodbye, Renato stabs Riccardo. The wounded Riccardo discloses that though he loved Amelia, she never broke her marriage vows. He pardons all the conspirators, bidding farewell to his friends and his country as he dies.

[@Dylonely42]

Old but gold.

[@normanzurich2781]

Pavarotti souffrait du dos à l'époque c'est pour cela qu'il ne s'assoit jamais et s'appuie ça et là sur l'épaule des choristes... Voix exceptionnelle, timbre unique, l’aigu est toujours d'une facilité déconcertante, aucune grimace ❤

[@musettina6adina224]

C etait son genou droit qui lui faisait mal et l empêchait de s asseoir, rendant aussi les mouvements sur scène très limités. À la Scala pour Don Carlo il n arrivait presque pas à bouger . Mais en grand professionnel il prenait sur lui.

[@user-lf8lf3ft3x]

sehr schön bravissimo

[@raulfernandezg]

Music conpanies should turn these gems into HD with AI...they would be a best seller!!!

[@normanzurich2781]

J’y étais 🎵 🎶 🕺🏻🇫🇷💙🤍❤️

[@gergelycsallo5133]

great performance :) with the fantastic Aprile Millo, and the grat Alexandru Agache as Renato...I saw him as Scarpia few months ago, and he is still great. Riccardo is a role was written for Pavarotti

[@nedhopkins897]

"Riccardo is a role was written for Pavarotti." Indeed. And it was Pavarotti's favorite role.

[@musettina6adina224]

One of his three favourite roles- Nemorino in Elisir, Riccardo/Gustavo in Ballo and Rodolfo in his first and ever beloved Bohème.

[@CharlesdeBernardy]

Vu avec Pavarotti au Grand Théâtre de Genève en 1986.

[@jhl416]

Atto primo Preludio 4:10 [N. 2 ­ Coro d'introduzione] 5:52 [N. 3 ­ Scena e sortita di Riccardo] 7:16 -La rivedrà nell'estasi (Riccardo) 9:10 [N. 4 ­ Scena e Cantabile di Renato] 11:32 -Alla vita che t'arride (Renato) 14:24 [N. 5 ­ Scena e Ballata di Oscar] 15:42 -Volta la terrea (Oscar) 17:36 [N. 6 ­ Seguito e Stretta dell'introduzione] 20:57 [N. 7 ­ Invocazione] 22:30 -Re dell'abisso affrettati (Ulrica) 24:42 [N. 8 ­ Scena] 27:04 [N. 9 ­ Scena] 30:19 [N. 10 ­ Scena e Terzetto] 35:56 [N. 11 ­ Scena e Canzone] 36:40 -Di' tu se fedele (Riccardo) 40:01 [N. 12 ­ Scena e Quintetto] 42:16 -È scherzo od è follia (Tutti) 45:57 [N. 13 ­ Scena ed Inno ­ Finale I] Atto secondo 50:31 [N. 14 ­ Preludio, Scena ed Aria] 53:04 -Ecco l'orrido campo (Amelia) 1:00:49 -Teco io sto / Gran dio! / Ti calma (Riccardo e Amelia) 1:10:49 [N. 15 ­ Scena e Terzetto] 1:15:37 [N. 16 ­ Scena, Coro e Quartetto, Finale II] Atto terzo 1:23:00 [N. 17 ­ Scena ed Aria] 1:25:25 -Morrò, ma prima in grazia (Amelia) 1:30:43 -Alzati...Eri tu che macchiavi quell'anima (Renato) 1:37:01 [N. 18 ­ Congiura. Terzetto e Quartetto] 1:45:10 [N. 19 ­ Scena e Quintetto] 1:49:17 [N. 20 ­ Scena e Romanza. Finale III] -Forse la soglia attinse (Riccardo) 1:54:34 [N. 21 ­ Festa da ballo e Coro] 1:55:55 [N. 22 ­ Coro e Scena] 1:57:58 -Saper vorreste (Oscar) 2:01:46 [N. 23 ­ Scena e Duettino] 2:07:02 [N. 24 ­ Scena finale] - Ella è pura, in braccio a morte (Riccardo)

[@ThrivingJean]

Merci! Thank you!

[@dilbaralieva9149]

P

[@Dylonely42]

Thank you very much.

[@avallifrederic3455]

J étais place de la bastille :un souvenir inoubliable ! Grazie luciano.

[@mohsenarambon]

Thanks

[@lucianopavarotti2843]

Often overlooked how good Pav was in ensembles as shown in this opera

[@susannevollmer2347]

Overlooked Pavarotti? Is that possible? He never stands in front and in the middle, he was artist too much.

[@lucianopavarotti2843]

in vocal ensembles @@susannevollmer2347

[@baritono1974]

UN BALLO IN MASCHERA - Millo- Pavarotti- Agache- Focile- Shafer; Chung. 1992 Paris

[@MOV1983]

That generation of singers was the last bastion of good singing. Now we have the likes of Ana Netrebko and Yusif Eyvasov.

[@estatisticando]

One chooses where to put his eyes and attention. Many things have changed since those times, and this includes media attention and mith making. Nowadays there are many very good singers.

[@MOV1983]

@@estatisticando True. Regarding good singers today, any suggestions? Thank you and best wishes.

[@laprimmadonna2341]

Ah¡ yo estaba pensando en Saioa Hernández….❤❤❤

[@philippeclement8140]

J'avais des places pour la première: ni Lucciano, ni Millo n'ont chanté!!!!!

[@bodiloto]

philippe clément c'est vrai .

[@raphaelpisano5462]

Pavarotti et Millo ont bien chanté à la première (31 mars 1992)

[@philippeclement8140]

@@raphaelpisano5462 Merci de me rafraîchir la mémoire raphael, effectivement la première avait eu lieu et c'était bien la seconde. Mais j'étais terriblement déçu, d'autant plus qu'en 85 je crois Pavarotti avait annulé toutes les représentations du même opéra à Garnier, remplacé par Taho Ichiara. Merci encore!

[@raphaelpisano5462]

@@philippeclement8140 oui il avait effectivement annulé les représentations au printemps 1985, remplacé par Ichihara mais aussi Luis Lima et Giuliano Ciannella

[@Dylonely42]

1:33:24 D’une grande beauté

[@lilianadupan2820]

En effet d'origine roumaine mais affirmés partout en Europe ou à Met ces deux frères - Alexandru Agache comme son petit frère George Petean ont su enchanter nos âmes amoureuses du vrai belcanto avec des voix et techniques d’interprétation incomparables 13.37 -kzbin.info/www/bejne/n4balYJnhKeXoqMsi=uevotsDym0HgwACT

[@liedersanger1]

Who is the excellent baritone please?

[@gergelycsallo5133]

Alexandru Agache

[@Dylonely42]

1:02:17

[@user-ex9nj1wm6u]

Esta Ópera que ES PRECIOSA, ¡¡UN BALLO IN MASCHERA!! de Verdi, la Representación hay que decir que es muy agradable, pero aquí se ve que hay algún punto en el que mejorar la Ópera de Paris. ¡¡ME REFIERO A LA LUMINOSIDAD!!. Al parecer bien el director de la orquesta o bien el director de Coreografía, no se pararon a mirar o estudiar las Luminosidades de las Instalaciones de la Ópera, a la que también durante la representación de la Ópera, también sería cosas de estudiar también ¡¡"Cómo Evitar Las Sombras de la Persona en el Escenario"!!. Quizás, con un algo más de luz, la Representación Sería Más Agradable, Ganando Mucho Color y estilo en el tipo de Vestimenta, en la Visibilidad de las Personas y Rostros de las personas, al igual que su estilo. Que en los momentos de mayor oscuridad porque lo exige el papel, y me refiero a momentos en los que la Bruja Dña URRACA le anuncia a Pavarotti (en el papel del Rey Guastavo III), cuando le anuncia que su mejor amigo le matará, lo que ocurre y ocurrirá como lo veremos en el Acto III, que Son Momentos Que Requieren mucha Luminosidad, se percibe que las instalaciones, andan muy justas de luz. La Luz, no sólo hay que ponerla o reflejarla en los laterales del escenario, como ocurre en las Iglesias, sino que hay que reflejarlas POR ENCIMA DE LA PARTE SUPERIOR Y TRASERA DE LOS CORTINONES DEL TELÓN. De ésa forma y una vez Viéndose el Escenario, PONER MÁS FOCOS DE LUZ así como ya empezada la Representación, se pueden Regular la Luminosidad del Escenario, ¡¡LO QUE YA DE POR SÍ, Y SIENDO DIFÍCIL, GANA MUCHO EN DICHA LUMINOSIDAD LA PERSONA ENCARGADA DE LA ILUMINACIÓN, ¡¡QUE YA DE POR SÍ, ES ALGO DIFÍCIL!!!!. Si analizáramos otros escenarios europeos en donde pudiéramos observar ésta misma representación de Un Baile de Máscaras y estando Pavarotti, Piero Cappuccilli, Leonna Lenner y bajo la dirección de Claudio Abbado y de Ricardo Chaylli, veríamos Cómo en Viena como en Milán, hay una Luminosidad Extraordinaria, y cómo la vestimenta de Pavarotti y Cappuccilli ganan muchísimo en la Representación Operística, con ésa luminosidad y color de la vestimenta. Así reflejando datos de representaciones, quiero facilitar al encargado de la Luminosidad, una pista de cómo poner mayor Estilo y Mayor Elegancia de Luminosidad, dando así mayor prestigio a la representación. Si por un momento analizáramos más la Ópera, podríamos decir y ahí, lo recalco, en el momento del Único DUO de Amelia y el Rey Gustavo, repito, ¡¡EL ÚNICO MOMENTO DEL ÚNICO DUO, Y QUE ES ¡¡PRECIOSO!!, quizás ahí se pudiera iluminar más a la persona, al tiempo que demostrar que siendo ése momento tan extraordinario, y haciendo destacar mucho a la pareja de Pavarotti y su mujer Amelia, con todo el resto del escenario un algo más oscuro. En Pavarotti, si nos fijamos por un momento en su persona en el escenario, Es Una Personas a La Que Por Su Barba y su Pelo, no le Conjunta Nada Bien un Elemento para Cubrir su Cabeza. En cambio, la Acústica está bien, y más aún con estas voces como Pavarotti, que teniendo un timbre de voz muy claro y muy Alto, se le oye una voz Extraordinaria. La Acústica está muy bien, y es muy agradable. Es una Ópera Preciosa.

[@giampierone010]

splendida Millo...Pavarotti buono tecnicamente,non è altrettanto convincente come interprete...direzione incalzante con un finale mozzafiato

[@xXFedericoChannel]

Comunque Pavarotti adorava questo ruolo e lo cantava perfettamente

[@massimocassano2545]

Insieme ad altri 5/6 ruoli di elezione, vedi Boheme, elisir, Miller, Lucia, oltre ai ruoli iper acuti dei primi anni di carriera. Quando affronto ' lo spinto, a mio avviso rimase un po' impersonale

[@musettina6adina224]

Suo parere,francamente non condiviso da militarismi tra pubblico e critica . Riccardo/Gustavo Pavarotti lo ha molto cantato e riteneva la vocalità perfetta per la propria voce . Per averlo ascoltato in molti teatri il suo Ballo era indimenticabile . Quanto alla parte scenica, in quegli anni soffriva molto con il ginocchio. Non a caso le regie limitavano i suoi movimenti.

[@bodiloto]

La Millo era semplicemente divina . Luciano Pavarotti - grande nome poca voce. Agache aveva una bella voce del baritono purtroppo la sua vocalità non era italiana e non correva molto nella sala... Un usignolo /La Millo/ non bastava per festeggiare l'arrivo della Primavera... questa recita era una delusione totale .

[@misterx6863]

ma che dici , paraculo

[@esterbruno8604]

@@misterx6863 Come sei simpatico.

[@esterbruno8604]

@bodiloto Sì, la Millo era fantastica! Anche la sua Aida mi piace molto 😍

[@theogoldberg8919]

After all ( I'm baritone so take it the right way) Opera is much ado about nothing, all that noise for one good fuck ahahahahahahahahaah

[@Bumblebeebeebee]

Are you always the only one to laugh about your jokes?

[@Dylonely42]

54:50