Pavarotti & Domingo - Puccini - La Boheme - O Mimi tu Piu No
Posted on August 27, 2008
Filed Under Express Operator Of The Year
Filed Under Express Operator Of The Year
“O Mimi tu Piu Non Torni”
Metropolitan Opera Gala 1991
- 25th Anniversary at Lincoln Center
Conducted by James Levine.
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25 Responses to “Pavarotti & Domingo - Puccini - La Boheme - O Mimi tu Piu No”
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Thank you for your answer. I have to read the literature. I find too that not all roles conform to his voice, but I like it as voices of other singers. And first of all his timbre. But you real know that our feelings are individual thing.
Singing 130 roles is called artistic prostitution. If the only idea is to get on stage and do a pedestrian job, which is typical of Domingo, then it is a matter of relentless memorization. If one’s purpose is to create excellence, then so many roles is physically impossible to perfect. In a 40 year career, one needs to perfect 3 new roles per year! Impossible by any stretch of the imagination. Get real people.
Sundrider-Which ones did Domingo transpose? Pretty much anything which contained anything above a B4 in his first 20 years, and anything which contained anything above a A4 in the next 15-20 or so. And recently, he’s avoiding the A4’s. For instance, he never sung La Boheme in key as early as 1967 if not earlier. He never attempted to sing the role in Manrico although most don’t…then again he sucked at the B4. Forza is another one. The list is too long. Read up in the literature.
Escuchaste cualquiera querido, como va a decir eso!!!
Domingo Said PENDEJO???
Domingo Dijo Pendejo??
1:16
Pavarotti: Que Pena Infame
Domingo: Que Infame Pendejo
MAGNIFICOOOO!!!!
Nadie como ellos!!! sera Dificil olvidarlos!!! xD
Sorry may be I meddle in your dispute. About 130 roles: Tito Gobbi had sang about 100 roles and his career was 42 years. Can you say that this fact is too fantasy. This is not argument. Could you show which Domingo roles were transposed? Sorry your sharp ear is really not an argument to believe.
But in this clip both sing perfect.
Fisher: I don’t care how many roles he sang if he transposed most of them. He was favored by publicity but to me and many others with an sharp ear, he (Domingo) has used the opera like a pimp uses a prostitute, as plain as that. He sucks.
Fisher-Having a very large repertoire has nothing to do with artistic excellence -a concept which MINGO never understood or refused to understand. Singing 130 roles (as of recently) is a sign of artistic prostitution. In fact, it is physically impossible to excel under such circumstances as one would be spread too thin! But then again artistic excellence was never MINGO’s purpose. He was the operatic used car salesman for the unsuspecting or ignorant masses. Get a clue!
Fisher-Your limited first hand experience and your lack of knowledge becomes blatantly obvious in your comment. Acting in the Italian repertoire is really done by superb singing which was never MINGO’s cup of tea. Further, Pava’s acting was measured but just fine, especially his younger years when he did not suffer from health problems. MINGO’s excessive stage movement is a feeble attempt to overcompensate his mediocre singing, which in turn is a futile endeavor…Part I
TenoreDramatico-You’re an idiot for having been sold on an inferior product which happens to be MINGO (where’s the Do?)’s pedestrian artistry. It was aggressively marketed and you swallowed it at face value!
Respect, plese! Thanks.
Beautiful,bravissimo per i due maestri,ma preferizco a Pavarotti…troppo bello per me!
all you domingo bashers are fuckin idiots.
Unless you close your eyes during the opera performance. Of course.
I am sure when most of us attend the opera performance. We pay little attention on who can perform the perfect high C or who did not transpose the opera score or who cracking here and there. Perhaps more on who give you that touch of the music and who give you the most enjoyable performance. I have to say is Domingo because Pav has limited reportoire and hardly move on the stage.
Singing La Boheme in key distinguishes the talented tenors from the not-so-talented ones. I am sure Pava cracked here an there by accident but MINGO’s cracking is systemic and due to overextending his vocal range as well as poor technique.
Frissons et Larmes… Le Poète n’est plus…
enough with this versus bullshit. this isnt soccer dumbass. besides, pav was the better technician and place the better musician. so whats your point? no point at all. we have pav cracking like a duck in TECO with voight and we have placi cracking too. whats your point? nothing. go away shit for brains
INCREIBLE…..
I have to agree with you, Pavarotti had high quality voice, Domingo will kill to have those high notes….
Damn damn damn…why are they laughing. Should have learned Italian… Que pena.
Domingo must be thrilled to sing with a real tenor…!
due grandissimi
Just would like to reply to the comment from ‘TheInquisitive4Ever’. If you are talking about ‘Che gelida manina’. Singing a tone lower is traditional, normal and acceptable in Professional Opera world.