VIDEO OPERA Umberto Giordano '' FEDORA '' R Scotto, P Domingo, V Sardinero Cond A Gat

Documento muy interesante. La magnífica Renata Scotto, el eterno Plácido y Sardinero. Una noche de 1988 en el Liceo de Barcelona. La imagen es pobre, pero el documento es histórico, como sus intérpretes. Magnífica Renata, una de mis sopranos favoritas, aunque ya tenía voz bailante en esta etapa de su carrera, es innegable su gran clase, timbre inigualable y un precioso color de voz. Gran señora. Plácido... como el día de culto: Domingo

[@RobertoMartinez-eb1bd]

Maravillosa pareja. Grandisima Renata y Enorme Placido. Inolvidables!!!!!

[@josefernando2334]

Pedro Sardinero: Muchísimas gracias por este aporte histórico de gran nivel. Fui uno que estuve en el patio en esta memorable representación con Renata Scotto y Plácido Domingo en el Liceo. Cuando cayó Renata el último acto, sobre las tablas, pareció que se produjo un accidente, tan real fue la caída. Varias personas de las primeras filas se pusieron de pie para ayudarla, porque parecía que se había hecho algo grave y hubo exclamaciones en ese momento por parte de la gente. Pero no, Renata siguió cantando divina y perfectamente. Gracias, un saludo!

[@cashelnd]

Wonderful to have this document, with an incandescent Domingo and a memorable Scotto (whose remarkable plastique and hair-trigger dramatic instincts offer compensation for a voice past its prime).

[@wotan10950]

This is new to me. I saw the great artists Domingo and Scotto together many times (Luisa Miller, Manon Lescaut, many others), but I didn’t know they sang this Fedora together. Fantastic!

[@jorgealbertojoselettera4829]

La Scotto, una SEÑORA ARTISTA. Qué presencia en el escenario!!! Brava!!!!

[@gloriaghionzoli66]

è una gioia infinita, vedere quanto la Spagna e gli spagnoli, amano le opere liriche italiane!!! Vi voglio bene!!! :-))))

[@josefernando2334]

+Gloria Ghionzoli: Ma certo, grazie Signora, gli Italiani e gli Spagnoli siamo la stessa famiglia ;).

[@guillermoelizalde8508]

He querido volver a escuchar esta ópera en la que tuve la suerte de poderla disfrutar en Directo DEP Renatta !!! Has sido una De las grandes !!!

[@juanjoperabilbo]

Me ha sorprendido el gran talento interpretativo de Renata Scotto

[@еленалевченко-м7г]

Очень интересная опера, почти никогда не ставится. Сюжет любопытный, о нем я как россиянка сужу. Хотя несуразностей много, прекрасная музыка Джордано всё сглаживает, получается очень трогательно и человечно. Певцы просто замечательные!

[@angusmcrandy]

Act 1 St. Petersburg, 1881. A winter's night in the palace of Count Vladimir Andrejevich Princess Fedora, who is to marry the Count the following day, arrives and sings of her love for him, unaware that the dissolute Count has betrayed her with another woman. The sound of sleigh-bells is heard, and the Count is brought in mortally wounded. Doctors and a priest are summoned, and the servants are questioned. It is proposed that Count Loris Ipanov, a suspected Nihilist sympathizer, was probably the assassin. De Siriex (a diplomat), and Grech (a police inspector) plan an investigation. Fedora swears on the jeweled Byzantine cross she is wearing that Count Andrejevich's death will be avenged. Act 2 Paris Fedora has followed Loris Ipanov there to avenge her fiancé's death. There is a reception at Fedora's house. Boleslao Lazinski, a virtuoso pianist is playing for the party-goers. Ipanov arrives and declares his love for Fedora. She tells him that she is returning to Russia the following day. Loris is desperate because he has been exiled from Russia and cannot follow her. He confesses to Fedora that it was he who had killed Count Vladimir. Fedora asks him to return after the reception is over to tell her the whole story. When she is alone, Fedora writes a letter to the chief of the Imperial Police in Russia accusing Ipanov of Count Vladimir's murder. Loris returns and confesses that he killed Count Vladimir because he had discovered that he and his wife were lovers. The night of the homicide, Ipanov had discovered them together. Vladimir shot at Ipanov and wounded him. Ipanov returned fire, killing Vladimir. Fedora realizes that she has fallen in love with Ipanov, and that he killed not for political ends, but to defend his honor. They embrace and she convinces him to spend the night with her. Act 3 The Bernese Oberland in Switzerland Loris and Fedora are now lovers and living in her villa. With them is her friend, Countess Olga Sukarev. De Siriex arrives to invite Olga on a bicycle ride. He tells Fedora that as a result of the letter she had written to the police chief, Loris's brother, Valeriano, was arrested for being part of the plot to murder Count Andrejevich and imprisoned in a fortress on the Neva river. One night the river flooded and the young man was drowned. When Loris's mother heard the news, she collapsed and died. Fedora is anguished - she has been the cause of two deaths. Loris receives a letter from a friend in Russia who tells him of the deaths of his mother and brother and that the cause was a woman living in Paris who had written a letter denouncing him to the police. Fedora confesses to Loris that she had written the letter and begs his forgiveness. When he initially refuses and curses her, Fedora swallows poison which she had hidden in the Byzantine cross she always wore around her neck. Loris begs the doctor to save her, but it is too late. Fedora dies in Loris's arms.

[@juanjoperabilbo]

Su canto no tanto. Un tanto tremolona y no era tan mayor. 58 ? mas o menos

[@rodrigodaoliveira312]

Sino equivoco, en esa serie de representaciones reapareció públicamente José Carreras, luego de su enfermedad. Domingo, siempre Domingo, hizo un aparte para que el público lo saludara.

[@carlosmbacaicoahualde8752]

Increíble opera, increíble Domingo.

[@jesusmunoz2400]

Sardinero magnifico.

[@clefnoteproductions6695]

The latter part of the act 2 duet was cut or is missing. What happened ?

[@johnmangels5572]

Yes! The great climax of the opera is missing. Ruins everything

[@johnmangels5572]

Where is the climax of act II? This renders this performance useless! What a shame¡

[@giannipomella5048]

Entrambi bravissimi

[@vincebossi46]

Bella questa Fedora,domingo appassionato,scotto elegante,interpretazione coinvolgente.B RAVI!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!

[@marziacattani2925]

excellent exemplum of italian musician genius Umberto Giordano.

[@carlosmbacaicoahualde8752]

Giordano, un genio absoluto. La historia ha sido muy injusto con él.

[@operadoc]

It is amazing how compelling scotto is even in vocal decline. She knows how to convey emotion and cover her vocal flaws to create a compelling performance

[@vera7949]

Браво, браво, браво, Великие Артисты!!!

[@Samuel6969ify]

Scotto grande artista ma più attrice che cantante qui dato che ormai era alla frutta.

[@fabriziomariagarzi5534]

Samuel6969ify, attrice...molte mosse e mossuzze...anche la frutta era di plastica...finta.

[@aliciarealp]

Sardinero, qué buen barítono!

[@lisahouben8376]

Thank You Sooo Moving and Beautiful ❤❤❤

[@jeffreymiller4814]

What????? You skipped the climax of Act 2!!! Her high C couldn’t have been THAT bad!!

[@uppityglivestockian]

Mejor calidad video que otros pero si, debil; al menos el video es completo hasta la primera llamada de telón de Scotto y Domingo. Dirigente Armando Gatto, 1988, Barcelona. Scotto y Domingo trabajaron juntos muchas veces, y con muchos exitos. Excelente baritono Sardinero, tambien un Scarpia buenisimo. El papel de Loris podria ser no tan importante en actuacion de otro de menos talento, pero en los manos de el, involvidable. Gracias, paz.

[@giancarloparis1759]

che opera orrenda. ll''ha citata Kornold in Die Tote Stadt. Però l'esecuzione è eccellente. la signora Scotto è davvero una Principessa nel portamento, nelle movenze. due grandi canatiti e un ottimo cast.

[@gloriaghionzoli66]

Bella.... fino alle lacrime!!!!

[@jordifuentesandres226]

VER:Acto son gente risolut,,,-ACTO ii. aria, el recitativo y arieta.el dúo.el intermezzo.-el relato.-acto III.DÚO.Y EL FINALE.

[@federicovazzola_]

Ha distrutto un finale splendido con una direzione soporifera.

[@marcomicheletti9957]

35:34, dimmi dunque, che fu? 1:31:18, tutto tramonta

[@Abigayl1950]

Renata SCOTTO é ipnotica : after OLIVERO , SCOTTO is the best Fedora of ever !! UNICA , DIVINA ........ la vera PRIMADONNA !!!

[@robertdonkers1937]

Surely Magda Olivero owns this role. Scotto a good second!

[@carlosmbacaicoahualde8752]

Mucho mejor Freni.

[@jesusmunoz2400]

Scotto es una maravilla técnicamente.

[@BrianJosephMorgan]

Brava, La Scotto!

[@jesusmunoz2400]

Domingo lo canta todo igual, incapaz de hacer reguladores, medias voces. Vociferante.

[@carlosmbacaicoahualde8752]

Totalmente incierto, Jesús.

[@jesusmunoz2400]

@@carlosmbacaicoahualde8752 Precisamente su variedad en el canto no es su fuerte. A todo le imprime un carácter verista. Me parece que ha escuchado poco en vivo a Domingo.

[@jesusmunoz2400]

@@carlosmbacaicoahualde8752 Precisamente su técnica ha sido siempre poco ortodoxa.

[@jesusmunoz2400]

@@carlosmbacaicoahualde8752 Canta igual a Donizetti que Puccini. Y lógicamente el belcanto no es verismo.

[@carlosmbacaicoahualde8752]

@@jesusmunoz2400 Es que aunque el hable mucho de Verdi, le apasiona el verismo. Yo le he escuchado en vivo pocas veces, es cierto, pero en DVD lo he escuchado cientos de veces. Al final, el verismo es el verismo, no puedes huir de él, cuando te atrapa no hay escapatoria.