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Turandot
Birgit Nilsson is in blazing form as Turandot, delivering one of her most commanding performances at the very height of her formidable powers. Her voice soars effortlessly above the orchestra, cutting with steel but never losing its regal poise. Few sopranos have matched the combination of vocal amplitude, precision, and authority she brings to the role, and this performance stands as a testament to her unmatched stature in this role.
A young Montserrat Caballé impresses as Liù, revealing astonishing control and expressive shading that hint at the legendary career ahead of her.
A fun side note: the administration reportedly wanted to fire Caballé, but Nilsson intervened, saying, "You can find another Liù, but you can't find another Turandot..."
Track List
Act I
1. Popolo di Pekino!
2. Il mio vecchio è caduto!
3. Gira la cote! Gira!
4. O giovine! Grazia! Grazia!
5. Figlio, che fai?
6. Fermo! che fai? T'arresta!
7. Signore, ascolta!
8. Non piangere, Liù!
2. Il mio vecchio è caduto!
3. Gira la cote! Gira!
4. O giovine! Grazia! Grazia!
5. Figlio, che fai?
6. Fermo! che fai? T'arresta!
7. Signore, ascolta!
8. Non piangere, Liù!
Act II
9. Olà, Pang! Olà, Pong!
10. Ho una casa nell'Honan
11. Non v'è in Cina per nostra fortuna
12. Diecimila anni al nostro Imperatore!
13. Un giuramento atroce mi costringe
14. In questa Reggia
15. Straniero, ascolta!
16. Figlio del cielo!
17. Tre enigmi m'hai proposto!
10. Ho una casa nell'Honan
11. Non v'è in Cina per nostra fortuna
12. Diecimila anni al nostro Imperatore!
13. Un giuramento atroce mi costringe
14. In questa Reggia
15. Straniero, ascolta!
16. Figlio del cielo!
17. Tre enigmi m'hai proposto!
Act III
18. Così comanda Turandot
19. Nessun dorma!
20. Tu che guardi le stelle
21. Principessa divina!
22. Tanto amore, segreto
23. Tu, che di gel sei cinta
24. Principessa di morte!
25. Diecimila anni al nostro Imperatore!
19. Nessun dorma!
20. Tu che guardi le stelle
21. Principessa divina!
22. Tanto amore, segreto
23. Tu, che di gel sei cinta
24. Principessa di morte!
25. Diecimila anni al nostro Imperatore!
BONUS
26. In quelle trine morbide
Manon Lescaut — Manon
Buenos Aires, 1966
Richard Tucker, Des Grieux
27. Tu, tu, amore? Tu?
Manon Lescaut — Manon
Buenos Aires, 1966
Richard Tucker, Des Grieux
28. Sola, perduta, abbandonata
Manon Lescaut — Manon
Buenos Aires, 1966
Richard Tucker, Des Grieux
Manon Lescaut — Manon
Buenos Aires, 1966
Richard Tucker, Des Grieux
27. Tu, tu, amore? Tu?
Manon Lescaut — Manon
Buenos Aires, 1966
Richard Tucker, Des Grieux
28. Sola, perduta, abbandonata
Manon Lescaut — Manon
Buenos Aires, 1966
Richard Tucker, Des Grieux
Customer Reviews
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5.0
Based on 2 reviews
✓ Top Reviewer
France
Historical version of Turandot
Thank you so much for that great version of Turandot !!!!Monserrat Caballé and Birgit Nilsson together !!!!! Amazing !!!!!One of the greatest Turandot with Birgit Nilsson with the most beautiful Liu that we ever heard : Montserrat Caballé
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✓ Top Reviewer
United States
White Hot Performance in Very Good Sound!
The exact dates are not provided, but I think this was the first of two broadcast performances of this opera from Buenos Aires in 1965. The other performance had the same cast except Gladys Kuchta sang the title role. Nilsson is magnificent as the icy, angry princess. Kuchta isn't quite as impressive vocally, but brings greater depth of character to the role. Both should be heard and studied by Puccini fans. Caballe sings like an angel here though I find her even more impressive in the later performance. I can't imagine why the Teatro Colon management wanted to replace her. The audience adores her as well they should. Uzunov always had ringing high notes, so important in this role, but his lack of vocal beauty makes one long for Corelli. I was surprised he didn't sing the optional top C towards the end of the Riddle Scene, especially since he sang it so well with Nilsson ten minutes earlier!Victor De Narke contributes a strong Timur, the Minister trio is excellent and the Mandarin very solid. Italo Pasini as Altuom has a more attractive voice than Uzunov. The chorus does splendid work as does the orchestra. Previtali conducts dutifully. Was there no gong for the end of Act One? It's not heard in the later broadcast either.The sound is excellent. Fans of the singers and/or of the opera should get both of the Buenos Aires performances.
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