# Round One: Duet. Lontano,Lontano. Various Artists After Mid 20th Century



## Seattleoperafan (Mar 24, 2013)

Someone in our group suggested this duet and there are some nice versions.


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## MAS (Apr 15, 2015)

For some reason, I found the Tebaldi/Bergonzi pair the most “right” for this music.


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## Seattleoperafan (Mar 24, 2013)

MAS said:


> For some reason, I found the Tebaldi/Bergonzi pair the most “right” for this music.


I didn't put her in the L'atra notte contest but I thought she was also very good in the soprano aria. I think it was a good role for her.


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## MAS (Apr 15, 2015)

Seattleoperafan said:


> I didn't put her in the L'atra notte contest but I thought she was also very good in the soprano aria. I think it was a good role for her.


She was in my first and only recording of *Mefistofele*.


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## Shaafee Shameem (Aug 4, 2021)

Seattleoperafan said:


> I didn't put her in the L'atra notte contest but I thought she was also very good in the soprano aria. I think it was a good role for her.


She made her debut in this opera, but as Elena.


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## Tsaraslondon (Nov 7, 2013)

Not much I can say about this short duet other than I thought all three sang it well and sensitively. Tebaldi and Bergonzi appealed to me the most, though.


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## Seattleoperafan (Mar 24, 2013)

Tsaraslondon said:


> Not much I can say about this short duet other than I thought all three sang it well and sensitively. Tebaldi and Bergonzi appealed to me the most, though.


I agree. It is nice for Renata to have her day in this forum.


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## Woodduck (Mar 17, 2014)

Pavarotti and Freni drag the tempo to no purpose. It doesn't heighten the mood of the piece, as Bergonzi and Tebaldi show. The latter two and their conductor get tempo and mood just right, and purely as singing they aren't quite equaled by the other pairs. Kristine Opolais tends to disappear behind Calleja - it's partly the writing - but I'd rather hear him than her anyway.


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## ColdGenius (9 mo ago)

All tree interpretations are good. But in third one there is too much Pavarotti compared to his character. A characteristic voice as such is not bad at all but to certain limits. Opolais sounds hear better than in most videos I've seen, but sometimes she is not heard behind Calleja. Tebaldi and Bergonzi sang perfectly.


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## nina foresti (Mar 11, 2014)

Much as I have always preferred the Olivero/Campora version, I must admit that hearing these 3 versions Bergonzi/Tebaldi easily took the prize. It has been said that Cilea preferred the soprano voice to take precedence over the tenor sound. I also feel that the Bergonzi/Tebaldi voices blended the most beautifully together.


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## Seattleoperafan (Mar 24, 2013)

nina foresti said:


> Much as I have always preferred the Olivero/Campora version, I must admit that hearing these 3 versions Bergonzi/Tebaldi easily took the prize. It has been said that Cilea preferred the soprano voice to take precedence over the tenor sound. I also feel that the Bergonzi/Tebaldi voices blended the most beautifully together.


I LOOKED for the Olivero one but it didn't come up, Nina. Don't know why.


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## nina foresti (Mar 11, 2014)

Seattleoperafan said:


> I LOOKED for the Olivero one but it didn't come up, Nina. Don't know why.


Because it is a private taping from Newark Opera and only the entire opera of "Mefistofele" can be found I believe on you-tube.


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## nina foresti (Mar 11, 2014)

nina foresti said:


> Because it is a private taping from Mefistofele.
> Try this:


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## nina foresti (Mar 11, 2014)

Go to 5:27


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## Seattleoperafan (Mar 24, 2013)

nina foresti said:


> Go to 5:27


It will be in the next round for you!!!!!


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## nina foresti (Mar 11, 2014)

Seattleoperafan said:


> It will be in the next round for you!!!!!


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## The Conte (May 31, 2015)

Calleja/Opolais is very good with not much wrong with it (and I love the way they end the duet). However, there is little sense of mood with the whole thing couched in the same dynamic.

Tebaldi/Bergonzi is better, same about the sound, but these are much more luxurious voices than the first two. I don't like the dramatic changes of tempo, but this has everything you would want in this duet.

Pavarotti/Freni is the one that I am most familiar with and is my pick here. The use of careful dynamics to create a mood is superbly done and their voices blend whilst still retaining their individual timbres.

N.


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