el único que se pone a su lado es Pavarotti

esa Fille du Regiment (Sutherland-Kraus 1973) junto a la de Pavarotti en la Scala (con Freni y en italiano, aunque la del estreno del MET es maravillosa también) son los dos great achievements de la opera donizettiana.

respecto a esa versión del 73, la tristeza que transmite Sutherland en su despedida del I acto, las coloraturas, los sobreagudos, la comicidad es casi insuperable (y desde luego no será Dessay quien lo haga). Lo de Kraus es un derroche de absolutamente todo, el único que se pone a su lado es Pavarotti

She was often genuinely funny, and seemed to be having a good time, but there was none of the self-parody that one had feared. She showed that she was a good mimic, she moved with more grace than she has done in any role at the Metropolitan (she even did a few elegant dance steps in the second act) and she had a few deadpan routines that brought down the house.

And she sang beautifully. Her voice was under fine control. As always, she threw out many notes in alt, but those D's and E flats, impressive as they may be, are not the real glory of the Sutherland voice. The rich sound, coupled to extraordinary flexibility, is the real glory. Miss Sutherland spun out arch after arch of pure tone. What is more, it was expressive tone. There has not been more beautiful or expressive singing in any opera house than in Miss Sutherland's second-act romance, "Il faut partir." This was bel-canto at its best - secure in technique, melting in tone, delicately shaded, long-breathed.

In the last two years Luciano Pavarotti has come up fast, and today he is the reigning tenor in the lyric side of the Italian repertory. God has kissed his vocal cords, as he has said. This is a voice on the Gigli order, though used with more taste and musicianship. He sings the B's and C's as though he is not afraid of them, and the voice has an absolutely unbroken scale.

For a man of his bulk, he moved surprisingly well through the role of Tonio. And with such a ring in his voice, such an easy and focused projection, he worked beautifully with Miss Sutherland. The first act duet, "De cet aveu si tendre," showed two virtuosos, two gorgeously matched voices, making music together rather than trying to outdo each other. Pavarotti's last-act romance, too, was as stylish an example of bel-canto as one is going to encounter from any tenor today.

Yo he estado escuchando el "Parsifal" de Kubelík. Todo en orden, casi que demasiado (sobre todo unos Kundry y Amfortas que cantan muy bien pero sin mordida)

la de New Orleans no tengo catada ¿hubo broadcast?
yo de esa gira tengo la grabación del MET que por cierto...

Completamente de acuerdo sobre esos dos, pero cómo está Moll y qué belleza la dirección de Kubelik.

¿Y la transición en el Acto I a la escena del Grial?

sobre todo en el aria del 2º acto, a que sí? no sólo está a su lado, es que hasta le pisa