TURANDOT - Puccini - Final: Padre augusto conosco il nome dello straniero! Placido Domingo 1988

TURANDOT
¡Padre augusto,
conozco el nombre del extranjero!
¡Su nombre es... Amor!
(Calaf abraza a Turandot)

MULTITUD
¡Amor!
¡Oh sol! ¡Vida! ¡Eternidad!
¡Luz del mundo es el amor!
¡Ríe y canta en el sol
nuestra infinita felicidad!
¡Gloria a ti! ¡Gloria a ti! ¡Gloria!

Placido Domingo - Metropolitan Opera - 1988
Personajes
TURANDOT
Princesa China
Soprano
ALTOUM
Emperador de China
Tenor
TIMUR
Rey Tártaro Destronado
Bajo
CALAF
Hijo de Timur
Tenor
LIÙ
Esclava de Timur
Soprano

[valentinoproduction]

Ricordiamo che questo finale è di franco Alfano perché Puccini era morto purtroppo ma questo finale è magistrale!!!

[gianni]

Che meraviglia. Un finale degno di infinita ammirazione che il mondo intero ci invidia.

Se me llegan a parar los pelos con la calidad de los solistas... En especial Eva Marton, Leona Mitchell y mi siempre ídolo Plácido Domingo, infartantes. 

[carlospolo]

Admito y admitiré toda mi vida que la ópera es esa creación humana que hace que quién nació para oír y ver conozca realmente que la música, el arte, la belleza no solo es material y física sino que sale y vive en nuestra alma. Extraordinario Puccini, tan joven escuchando estas grandes óperas y me doy cuenta que todos los que crearon estas maravillas fueron realmente lo mejor que le pudo pasar a la humanidad, mientras estos creadores contribuyeron a la vida nosotros contribuyamos con nuestra alma.

[fuentesocultas]

Creo que estos breves minutos resumen todo aquello por lo que el mundo de la Ópera nos ha hecho vibrar en cada historia y en cada final, unos tristes, otros trágicos, otros (como éste) felices. Es una lástima que ya no pude compartir todo este mundo con una amiga a la que las pequeñas cosas llevaron muy lejos de mi.

[alanikari]

46 Tandas Comerciales De Pelicula Febrero 2019

[SymphonyBrahms]

One of the most powerful endings in all opera. Magnificent!

[carlosmuller]

Las veces que escucho esta obra me emociono. Hecho por los Dioses.

[carlosmbacaicoahualde]

Sólo por este final de Turandot, Alfano merece la inmortalidad y que el Señor le acoja en la Gloria. ?Como no amar al pueblo italiano después de escuchar esto???

[Andrey]

Eva Marton is one of the best Turandot

[camiloernestohernandezrinc]

Hace treinta años, a mis veintidos, la escuche completa con la traducción al español... y las lagrimas, como ahora, fueron inevitables. Cuando lo humilde y a veces despreciado, cobra valor de merecida grandeza y recompensa finales. Eso significa Turandot para mi. Por algo "Nessum Dorma" es la gran cancion de mi vida

[johnpsychogios]

Two decades have elapsed since the Metropolitan Opera opened its new house at Lincoln Center with a production of Samuel Barber's ''Antony and Cleopatra'' so ornately designed and overbearingly directed by Franco Zeffirelli that the night went down as an unforgettable fiasco. Since then, Mr. Zeffirelli has gone from excess to excess, most recently giving the Met such glittering shows as his inflated ''Boheme'' and his elephantine ''Tosca, '' both of which seem to delight Met audiences with their extravagance. In fact, Mr. Zeffirelli's is one of the great excess stories of our time.

The newest Zeffirelli, his ''Turandot, '' had its premiere Thursday evening and proved to be one of the few operas in the standard repertory that precisely suit his massive style. ''Turandot'' can be something more than a gelid fairy tale held together by gaudy pageantry, but Mr. Zeffirelli chooses here to stress razzle-dazzle rather than any emotional substance. As a result, this version of Puccini's last, unfinished opera has the emotional impact of a night at the Ice Capades. His designs and Dada Saligeri's costumes, apparently drawn from the Charlie Chan Dynasty, are sumptuously executed - in fact, ludicrously so at times. At one point in the riddle scene, courtiers begin to pull long colored streamers out of Turandot's costume, symbolizing, somehow, Calaf's correct answers. Laughter broke out in the house. Perhaps this scene is not meant as pure camp, but it comes perilously close.

Mr. Zeffirelli's staging is fashioned closely after one he produced at La Scala (with some of the bad taste taken out, he told an interviewer the other day). It inevitably drew gasps of delight and astonishment, which are not trivial goals but not the highest level that operatic art can attain either. The biggest splash came in the second scene of Act II, with a brilliant silver and gold throne room that used every square inch of the Met's capacious stage. Here we have another of those purely visual coups that the Met evidently demands now from designers of all new productions.

The principal roles were cast about as strongly as may be possible today, with Eva Marton as a convincingly icy Turandot and Placido Domingo as her importunate Calaf. Miss Marton made a somewhat tremulous and metallic sound at first, but firmed up quickly and gave a powerful account of such stentorian moments as ''In questa reggia.'' Mr. Domingo, though less heroic of tone, held his own vocally and struck plausible dramatic attitudes, even if he did not persuade one at any time that this was a princess he could not live without. Most of the time, Mr. Zeffirelli had the stage seething with mobs of people, as if trying to depict China's overpopulation problem. However, he let Mr. Domingo have it all to himself for ''Nessun dorma'' and that proved to be the tenor's finest moment.

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Leona Mitchell's ''Signore, ascolta'' was tentative and her characterization of Liu was a little pallid at first, but both the voice and the portrayal blossomed in her suicide scene. A special triumph was registered by the 84-year-old tenor Hugues Cuenod, who made his Met debut with a firmly and expressively sung Emperor Altoum. In his few lines, Mr. Cuenod managed to create a sharply drawn character. Paul Plishka also brought Timur to life briefly after Liu's death. Brian Schexnayder, Allan Glassman and Anthony Laciura were unusually tolerable as the boring councilors Ping, Pang and Pong.

For this production, Franco Alfano's standard short ending to Puccini's unfinished score is used. THE CAST - TURANDOT, opera in three acts by Giacomo Puccini; libretto by Adami and Simoni based on Gozzi's fable; conducted by James Levine; production by Franco Zeffirelli; sets designed by Mr. Zeffirelli; costumes designed by Dada Saligeri; lighting designed by Gil Wechsler. Performed by the Metropolitan Opera. Turandot...Eva Marton Liu...Leona Mitchell Calaf...Placido Domingo Timur...Paul Plishka Ping...Brian Schexnayder Pang...Allan Glassman Pong...Anthony Laciura Emperor Altoum...Hugues Cuenod Mandarin...Arthur Thompson

A version of this article appears in print on March 14, 1987, Section 1, Page 10 of the National edition with the headline: OPERA: MET'S 'TURANDOT'. Order Reprints | Today’s Paper | Subscribe

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[edwardjgutman]

I cannot stop listening to this!!! It is magical.

[getsemani]

Recuerdo que antes esta versión estaba completa en YouTube y subtitulado al español pero no sé que haya pasado.

[SleepDisorderedBreathing]

Where is the scene right before!!! Principessa di morte!! one of best renditions of that scene that I have ever seen. Its deleted from youtube :(

[phantasm]

Leona Mitchell was absolutely stellar.

[brasilroad]

Mission Impossible: Nation Rogue bring Me Here! Hahaha

[carlosmbacaicoahualde]

!Qué pena que Plácido fallase, el final del N. Dorma!

[MariaLuiza-dvhh]

Plácido sings well good but cannot Sing nessun Its to high for his Voice he cannot Sing the final note b
Unfortunately its much better Domingo made his carrer only with a b flat

[DavidAsset]

Eva Marton's high notes were overdubbed for the final scene. She recorded them after the taping in a studio and they were overdubbed. Domingo's final high notes in Nessun Dorma were lifted from the Von Karajan audio recording. You can clearly hear it. He never made the notes during the entire run at the Met.