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Welcome to a buzzing Royal Opera House in London for a unique event. | 0:00:21 | 0:00:25 | |
Some of the world's finest opera stars to grace the world's stages, | 0:00:25 | 0:00:30 | |
all gathered here under one roof tonight to honour Placido Domingo. | 0:00:30 | 0:00:34 | |
Tonight's line up couldn't really get any better. | 0:00:34 | 0:00:37 | |
We have the tenors Rolando Villazon and Joseph Calleja, | 0:00:37 | 0:00:40 | |
the great Wagnerian soprano Nina Stemme, | 0:00:40 | 0:00:42 | |
the mezzo soprano Joyce DiDonato | 0:00:42 | 0:00:44 | |
and the very pick of the next generation of singing stars, too. | 0:00:44 | 0:00:49 | |
They are all joined on stage by the orchestra of the Royal Opera House, | 0:00:49 | 0:00:52 | |
conducted by their charismatic music director Antonio Pappano. | 0:00:52 | 0:00:56 | |
Placido's legacy will be something to cherish | 0:00:56 | 0:01:03 | |
in future years. | 0:01:03 | 0:01:05 | |
Because of its having encompassed | 0:01:06 | 0:01:10 | |
so many different elements in the music business. | 0:01:10 | 0:01:14 | |
From Otello to crossover, and from conducting to administration. | 0:01:14 | 0:01:22 | |
As a leader of a major singing competition. | 0:01:24 | 0:01:29 | |
As a nurturer of new talent, and important talent. | 0:01:29 | 0:01:35 | |
As an ambassador for classical music all over the world. | 0:01:35 | 0:01:39 | |
I mean, the list is just never ending, and I think... | 0:01:39 | 0:01:44 | |
Wow, what an achievement. | 0:01:46 | 0:01:47 | |
A sentiment surely shared by the sell out audience | 0:01:48 | 0:01:52 | |
here at Covent Garden. | 0:01:52 | 0:01:53 | |
And indeed, by opera lovers around the world. | 0:01:53 | 0:01:56 | |
So, to get us off to a flying start, here is the tenor Rolando Villazon | 0:01:56 | 0:02:00 | |
as the poet Hoffmann with The Ballad of Kleinzach. | 0:02:00 | 0:02:04 | |
# Click-clack, click-clack | 0:02:38 | 0:02:42 | |
# Behold, behold Kleinzach! | 0:02:44 | 0:02:50 | |
CHORUS SING | 0:03:00 | 0:03:02 | |
# Crick-clack, crick-clack, crick-clack | 0:03:17 | 0:03:20 | |
-# Crick-clack -Crick-clack -Crick-clack | 0:03:23 | 0:03:27 | |
# Behold, behold Kleinzach! | 0:03:27 | 0:03:35 | |
# As for the features of that face | 0:03:47 | 0:03:55 | |
AUDIENCE LAUGH | 0:05:54 | 0:05:56 | |
# Kleinzach! | 0:05:58 | 0:06:01 | |
# Flick-flack, flick-flack | 0:06:50 | 0:06:52 | |
# Behold, behold Kleinzach! | 0:06:52 | 0:06:55 | |
# Flick-flack, flick-flack, flick-flack | 0:06:55 | 0:07:01 | |
# Behold, behold Kleinzach! # | 0:07:01 | 0:07:08 | |
AUDIENCE APPLAUD | 0:07:12 | 0:07:15 | |
The Ballad of Kleinzach from Offenbach's Tales Of Hoffmann, | 0:07:15 | 0:07:18 | |
sung by Rolando Villazon | 0:07:18 | 0:07:20 | |
and the chorus of the Royal Opera with an unexpected contribution | 0:07:20 | 0:07:23 | |
from Antonio Pappano, music director of the Royal Opera. | 0:07:23 | 0:07:27 | |
AUDIENCE APPLAUD | 0:07:32 | 0:07:34 | |
Next, L'Elisir d'Amore by Donizetti. | 0:07:36 | 0:07:39 | |
We're going to hear a duet in which the peasant Nemorino | 0:07:39 | 0:07:42 | |
has taken a draught of love potion. | 0:07:42 | 0:07:45 | |
Actually, it's only red wine. | 0:07:45 | 0:07:46 | |
But his increasing indifference provokes the village beauty Adina | 0:07:46 | 0:07:50 | |
to find him just a little more fascinating that she bargained for. | 0:07:50 | 0:07:53 | |
Joseph Calleja sings the part of Nemorino | 0:07:53 | 0:07:56 | |
and he's joined by Bulgarian soprano Sonya Yoncheva who sings Adina. | 0:07:56 | 0:08:01 | |
# La la la la la la la la | 0:09:18 | 0:09:21 | |
HE HICCUPS | 0:09:21 | 0:09:22 | |
# La la la la la la la la | 0:10:21 | 0:10:26 | |
# La la la la la la la la | 0:10:33 | 0:10:39 | |
# La la la la la | 0:10:39 | 0:10:44 | |
# La la la la la la la la | 0:10:49 | 0:10:56 | |
# La la la la la la la laaaaah | 0:10:56 | 0:11:03 | |
SHE LAUGHS | 0:11:16 | 0:11:18 | |
# Tomorrow she'll be in love with me | 0:11:38 | 0:11:46 | |
THEY HARMONISE | 0:12:22 | 0:12:25 | |
THEY SING TOGETHER | 0:12:43 | 0:12:46 | |
THEY HARMONISE | 0:13:28 | 0:13:31 | |
# Yes, tomorrow she will love me | 0:13:31 | 0:13:39 | |
# La la la la la la | 0:13:50 | 0:13:52 | |
# My lesson has succeeded | 0:13:57 | 0:13:59 | |
# All that was so upsetting | 0:14:06 | 0:14:09 | |
# I hope to be forgetting | 0:14:09 | 0:14:11 | |
# My suffering will not make her laugh much longer | 0:14:33 | 0:14:38 | |
THEY SING TOGETHER | 0:15:02 | 0:15:05 | |
# Tomorrow will be different, tomorrow she'll love me | 0:15:11 | 0:15:16 | |
# The more he tries to break away, the stronger love will be | 0:15:16 | 0:15:20 | |
-# Tomorrow she will love me -The stronger love will be | 0:15:20 | 0:15:24 | |
-# Tomorrow she will love me -The stronger love will be | 0:15:24 | 0:15:31 | |
-# Tomorrow she will love me -The stronger love will be. -# | 0:15:31 | 0:15:36 | |
AUDIENCE APPLAUD | 0:15:36 | 0:15:39 | |
Quanto Amore from Donizetti's comic opera L'Elisir d'Amore. | 0:15:41 | 0:15:46 | |
The Elixir Of Love. Sung by Sonya Yoncheva and Joseph Calleja. | 0:15:46 | 0:15:50 | |
AUDIENCE APPLAUD | 0:15:53 | 0:15:55 | |
Next, Che Gelida Manina from Puccini's opera La Boheme. | 0:15:57 | 0:16:02 | |
It's mid-winter and the poverty-stricken poet Rodolfo, | 0:16:02 | 0:16:05 | |
writing alone in his garret, | 0:16:05 | 0:16:07 | |
is interrupted by the entrance of a young girl, Mimi. | 0:16:07 | 0:16:11 | |
Her beauty overwhelms him and in the moonlight their hands touch, | 0:16:11 | 0:16:15 | |
he opens his heart. | 0:16:15 | 0:16:17 | |
Rodolfo is sung by the Romanian tenor Stefan Pop. | 0:16:17 | 0:16:20 | |
# Please do. # | 0:20:58 | 0:21:06 | |
AUDIENCE APPLAUD | 0:21:16 | 0:21:19 | |
Che Gelida Manina from La Boheme by Puccini. Performed by Stefan Pop. | 0:21:24 | 0:21:29 | |
Now, a soprano aria as brilliant as it is challenging. | 0:21:34 | 0:21:39 | |
Ah! Non Credea Mirarti from La Sonnambula by Bellini. | 0:21:39 | 0:21:43 | |
In this scene, Amina mourns the lost love of her fiance Elvino. | 0:21:43 | 0:21:48 | |
Realising that her love for him is true, | 0:21:48 | 0:21:50 | |
Elvino advances and places a ring on her finger, her joy is boundless. | 0:21:50 | 0:21:55 | |
Amina is sung by Julia Novikova. | 0:21:55 | 0:21:58 | |
# You faded like the love that lasted a single day | 0:23:10 | 0:23:18 | |
# You faded like the love that lasted a single day | 0:23:33 | 0:23:40 | |
# You faded like the love that lasted a single day | 0:23:54 | 0:24:01 | |
# You faded like the love that lasted a single day | 0:25:03 | 0:25:11 | |
# You faded like the love that lasted a single day | 0:25:18 | 0:25:24 | |
# You faded like the love that lasted a single day... | 0:25:25 | 0:25:31 | |
THE CHORUS SING | 0:28:13 | 0:28:16 | |
SHE HITS HIGH NOTE | 0:28:30 | 0:28:32 | |
# We will make this place a paradise of love... | 0:29:11 | 0:29:18 | |
THE CHORUS SINGS | 0:30:10 | 0:30:12 | |
SHE HITS HIGH NOTE | 0:30:18 | 0:30:20 | |
AUDIENCE APPLAUD | 0:30:37 | 0:30:40 | |
Ah! Non Credea Mirarti from La Sonnambula by Bellini. | 0:30:42 | 0:30:46 | |
The Russian soprano Julia Novikova | 0:30:46 | 0:30:49 | |
with the chorus of the Royal Opera House. | 0:30:49 | 0:30:51 | |
Not surprisingly, bringing the house down. | 0:30:51 | 0:30:54 | |
AUDIENCE APPLAUD | 0:30:54 | 0:30:57 | |
The showcase aria now from La Donna Del Lago by Donizetti. | 0:31:04 | 0:31:08 | |
Based on Sir Walter Scott's poem The Lady Of The Lake. | 0:31:08 | 0:31:11 | |
This demands a wide range and a very flexible voice. | 0:31:11 | 0:31:15 | |
Who better to perform it than the American mezzo soprano | 0:31:15 | 0:31:18 | |
Joyce DiDonato? | 0:31:18 | 0:31:19 | |
Tanti Affetti is sung by the heroine, Elena, | 0:31:20 | 0:31:23 | |
who expresses her happiness and gratitude to the king | 0:31:23 | 0:31:26 | |
who has given his blessing to her forthcoming marriage. | 0:31:26 | 0:31:30 | |
AUDIENCE APPLAUD | 0:31:30 | 0:31:32 | |
# You have restored my happiness | 0:33:30 | 0:33:38 | |
# You have restored my happiness | 0:33:41 | 0:33:49 | |
# You have restored my happiness | 0:34:00 | 0:34:08 | |
# You have... | 0:34:15 | 0:34:21 | |
# Restored... | 0:34:21 | 0:34:24 | |
# My... | 0:34:36 | 0:34:42 | |
# Happiness | 0:35:02 | 0:35:08 | |
# Now you can live in happiness | 0:35:29 | 0:35:36 | |
# Now you can live in happiness | 0:35:36 | 0:35:44 | |
# Now you can live in happiness | 0:35:44 | 0:35:51 | |
# Now you can live in happiness | 0:35:56 | 0:35:59 | |
# Fate's cruelty | 0:37:11 | 0:37:14 | |
# Between my father and my lover | 0:37:14 | 0:37:19 | |
# Oh, what a blessed time... | 0:37:19 | 0:37:27 | |
# Ah, who could have hoped | 0:37:38 | 0:37:43 | |
# Ah, who could have hoped | 0:37:43 | 0:37:46 | |
# For such happiness | 0:37:46 | 0:37:53 | |
# Now you can live in happiness | 0:37:54 | 0:37:58 | |
# Now you can live in happiness | 0:37:58 | 0:38:02 | |
# In happiness | 0:38:02 | 0:38:04 | |
# In happiness | 0:38:04 | 0:38:06 | |
# In happiness | 0:38:06 | 0:38:09 | |
# Between my father and my lover | 0:38:09 | 0:38:12 | |
# Oh, what a blessed time | 0:38:12 | 0:38:16 | |
# Ah, who could have hoped | 0:38:33 | 0:38:37 | |
# Ah, who could have hoped | 0:38:37 | 0:38:41 | |
# For such happiness | 0:38:41 | 0:38:47 | |
# Happiness | 0:38:47 | 0:38:48 | |
# Between my father and my lover | 0:38:48 | 0:38:52 | |
# Oh, what a blessed time | 0:38:52 | 0:38:55 | |
# Ah, who could have hoped | 0:38:55 | 0:38:59 | |
# For such happiness | 0:38:59 | 0:39:03 | |
# Between my father and my lover | 0:39:03 | 0:39:09 | |
# Oh, what a blessed time | 0:39:09 | 0:39:13 | |
# Ah, who could have hoped | 0:39:13 | 0:39:15 | |
# For such happiness | 0:39:15 | 0:39:17 | |
# Now you can live in happiness | 0:39:17 | 0:39:22 | |
# Now you can live in happiness | 0:39:22 | 0:39:28 | |
# Now you can live in happiness | 0:39:28 | 0:39:34 | |
# Happiness | 0:39:34 | 0:39:36 | |
# Happiness | 0:39:36 | 0:39:38 | |
# Happiness. # | 0:39:38 | 0:39:44 | |
AUDIENCE APPLAUD | 0:39:59 | 0:40:01 | |
Tanti Affeti from Donizetti's opera La Donna Del Lago, | 0:40:05 | 0:40:08 | |
sung by Joyce DiDonato. | 0:40:08 | 0:40:11 | |
AUDIENCE CHEER | 0:40:13 | 0:40:16 | |
And now one of opera's all time hits, | 0:40:21 | 0:40:24 | |
The Pearl Fishers' Duet by Bizet. | 0:40:24 | 0:40:26 | |
Set in ancient Ceylon, | 0:40:26 | 0:40:28 | |
two friends reminisce about a beautiful girl with whom they | 0:40:28 | 0:40:31 | |
were both in love, but renounced so as to remain loyal to each other. | 0:40:31 | 0:40:35 | |
Here is the great man himself, Placido Domingo, | 0:40:36 | 0:40:39 | |
joined by Joseph Calleja. | 0:40:39 | 0:40:41 | |
AUDIENCE APPLAUD | 0:40:42 | 0:40:44 | |
# I can still see her | 0:41:20 | 0:41:24 | |
# No, nothing | 0:44:44 | 0:44:46 | |
# Nothing must part us | 0:44:46 | 0:44:48 | |
# No, nothing | 0:44:48 | 0:44:51 | |
# Let us swear to be friends | 0:44:52 | 0:44:55 | |
# Let us swear to be friends | 0:44:55 | 0:44:59 | |
# I shall cherish you as a brother | 0:45:26 | 0:45:33 | |
AUDIENCE CHEER AND APPLAUD | 0:46:01 | 0:46:03 | |
CHEERING AND APPLAUSE | 0:46:07 | 0:46:10 | |
Au Fond Du Temple Saint by Bizet, from his opera The Pearl Fishers. | 0:46:10 | 0:46:15 | |
Joseph Calleja with Placido Domingo, there, singing the baritone parts. | 0:46:15 | 0:46:19 | |
Antonio Pappano conducted the orchestra of the Royal Opera House. | 0:46:19 | 0:46:25 | |
It is remarkable that even now, aged 71, | 0:46:55 | 0:46:58 | |
Placido Domingo's energy and zeal for everything associated with Opera | 0:46:58 | 0:47:03 | |
remains undimmed. | 0:47:03 | 0:47:05 | |
Let's take a moment to hear from some of tonight's stars | 0:47:05 | 0:47:08 | |
on what this truly great artist means to them. | 0:47:08 | 0:47:10 | |
Well, there's only one Placido Domingo | 0:47:13 | 0:47:16 | |
and I honestly don't know any other singer in history | 0:47:16 | 0:47:19 | |
that have managed that kind of schedule, | 0:47:19 | 0:47:22 | |
that kind of hectic life without... | 0:47:22 | 0:47:26 | |
diminishing the, the... | 0:47:26 | 0:47:28 | |
quality of the output. | 0:47:28 | 0:47:31 | |
I think that, by that alone, and, of course, | 0:47:31 | 0:47:34 | |
the fact that he sang a gazillion different roles, is extraordinary. | 0:47:34 | 0:47:37 | |
Placido stands for a very holistic | 0:47:37 | 0:47:42 | |
and almost a divine concept where acting and musicality, | 0:47:42 | 0:47:47 | |
singing beautifully and, I mean, in Placido's case, he even conducts. | 0:47:47 | 0:47:52 | |
It's the music, it's the... | 0:47:52 | 0:47:54 | |
visual thing, it's everything in one beautiful entity, so to say. | 0:47:54 | 0:48:01 | |
It's, it's fantastic. I... | 0:48:01 | 0:48:04 | |
I'm not sure we will have anyone like him ever again. | 0:48:04 | 0:48:09 | |
Placido has created this legacy | 0:48:09 | 0:48:12 | |
of defining what our generation of singers is and what we are about. | 0:48:12 | 0:48:18 | |
And I think we all, knowing that we carry the title of a competition | 0:48:18 | 0:48:23 | |
with his name on it, I think we know that we need to be committed artists | 0:48:23 | 0:48:28 | |
and we need to be committed performers to the public. | 0:48:28 | 0:48:31 | |
We watch him giving back to us, as young artists, and we think, | 0:48:31 | 0:48:35 | |
"OK, not only are we, hopefully, lucky enough to have a career | 0:48:35 | 0:48:38 | |
"but there's also an afterlife to that. | 0:48:38 | 0:48:41 | |
"We need to make sure that we're bringing along the next | 0:48:41 | 0:48:44 | |
"generation behind us, and the next generation." | 0:48:44 | 0:48:46 | |
This isn't just a gift that is given to you, that you get to shine in the | 0:48:46 | 0:48:50 | |
spotlight, but there's also a sense of civic duty that follows as well. | 0:48:50 | 0:48:54 | |
He has certainly blazed that path. | 0:48:54 | 0:48:57 | |
We all, my generation of singers, | 0:48:57 | 0:49:00 | |
are a consequence of this incredible artist. | 0:49:00 | 0:49:04 | |
We have learnt from his way of performing, just as he is, | 0:49:04 | 0:49:09 | |
obviously, the consequence of a great history that, you know, | 0:49:09 | 0:49:15 | |
has Caruso, has Di Stefano, has Maria Callas in it | 0:49:15 | 0:49:18 | |
but, to me, he really is the great example | 0:49:18 | 0:49:23 | |
of the complete opera artist. | 0:49:23 | 0:49:27 | |
So, on with the gala, here at the Royal Opera House, Covent Garden. | 0:49:27 | 0:49:31 | |
Next, Nina Stemme ecstatically in love | 0:49:31 | 0:49:35 | |
in Richard Wagner's opera Tannhauser. | 0:49:35 | 0:49:38 | |
# Wie jetzt mein Busen hoch sich hebet | 0:51:54 | 0:52:00 | |
# So scheinst du jetzt mir stolz und hehr | 0:52:00 | 0:52:04 | |
# Der mich und dich so neu belebet Nicht weilt er ferne mehr! | 0:52:04 | 0:52:12 | |
# Sei mir gegrusst! | 0:52:32 | 0:52:35 | |
# Sei mir gegrusst! | 0:52:35 | 0:52:38 | |
# Du, teure halle | 0:52:38 | 0:52:43 | |
# Sei mir gegrusst! # | 0:52:43 | 0:52:50 | |
CHEERING AND APPLAUSE | 0:53:03 | 0:53:06 | |
Dich, Teure Halle from Tannhauser by Richard Wagner. | 0:53:11 | 0:53:16 | |
Now an aria that needs no introduction - | 0:53:22 | 0:53:25 | |
just think carefree duke, his roguish take on the fairer sex | 0:53:25 | 0:53:29 | |
and one of the most catchy tunes ever written. | 0:53:29 | 0:53:33 | |
Here again is the tenor Stefan Pop. | 0:53:33 | 0:53:35 | |
# La donna e mobile | 0:54:13 | 0:54:16 | |
# Qual piuma al vento | 0:54:16 | 0:54:19 | |
# Muta d'accento | 0:54:19 | 0:54:26 | |
# E di pensiero | 0:54:26 | 0:54:28 | |
# E di pensiero | 0:54:31 | 0:54:34 | |
# E di pensiero | 0:54:34 | 0:54:41 | |
# La donna e mobile | 0:55:14 | 0:55:17 | |
# Qual piuma al vento | 0:55:17 | 0:55:20 | |
# Muta d'accento | 0:55:20 | 0:55:26 | |
# E di pensiero | 0:55:26 | 0:55:29 | |
# E di pensiero | 0:55:32 | 0:55:34 | |
# E di pensiero. # | 0:55:37 | 0:55:52 | |
CHEERING AND APPLAUSE | 0:55:52 | 0:55:56 | |
That was Verdi's famous aria La Donna e Mobile from Rigoletto. | 0:55:58 | 0:56:03 | |
Stefan Pop, a new kid on the block and surely one to watch out for. | 0:56:03 | 0:56:08 | |
The composer Puccini was a master of nostalgia, | 0:56:14 | 0:56:17 | |
never more so than in this next duet, | 0:56:17 | 0:56:19 | |
which opens this last act of La Boheme. | 0:56:19 | 0:56:22 | |
Marcello, sung by Placido Domingo, | 0:56:22 | 0:56:24 | |
and Rodolfo, by Rolando Villazon, are unable to work. | 0:56:24 | 0:56:28 | |
They are haunted by memories of happiness | 0:56:28 | 0:56:31 | |
and yearn for their girlfriends to return. | 0:56:31 | 0:56:33 | |
THEY SING WITH EACH OTHER | 0:58:50 | 0:58:53 | |
The duet O Mimi, Tu Piu Non Torni from La Boheme by Puccini. | 1:01:14 | 1:01:19 | |
An aria, now, from Andrea Chenier by Giordano, Nemico Della Patria. | 1:01:26 | 1:01:31 | |
# E in un sol bacio e abbraccio | 1:05:30 | 1:05:35 | |
# Tutte le genti amar! # | 1:05:35 | 1:05:46 | |
CHEERING AND APPLAUSE | 1:05:46 | 1:05:50 | |
Nemico Della Patria from Andrea Chenier by Giordano, | 1:05:58 | 1:06:02 | |
sung by the inimitable Placido Domingo. | 1:06:02 | 1:06:05 | |
Now another showcase aria - | 1:06:16 | 1:06:18 | |
Depuis le jour from Charpentier's opera, Louise. | 1:06:18 | 1:06:21 | |
Our heroine has returned to the Paris she adores | 1:06:21 | 1:06:24 | |
and into the arms of her lover. | 1:06:24 | 1:06:26 | |
She sings of the joys of being together | 1:06:26 | 1:06:28 | |
and the realisation this love is not merely a dream. | 1:06:28 | 1:06:32 | |
Here again is Sonya Yoncheva. | 1:06:32 | 1:06:35 | |
APPLAUSE | 1:06:35 | 1:06:37 | |
# Ah! | 1:10:48 | 1:10:53 | |
# Je suis heureuse... | 1:10:53 | 1:11:00 | |
# Trop heureuse | 1:11:06 | 1:11:14 | |
# Et je tremble delicieusement... | 1:11:14 | 1:11:21 | |
# Au souvenir charmant | 1:11:29 | 1:11:35 | |
# Du premier jour | 1:11:43 | 1:11:50 | |
# D'amour! # | 1:11:50 | 1:12:00 | |
APPLAUSE | 1:12:02 | 1:12:06 | |
Depuis le jour from Charpentier's opera, Louise. | 1:12:20 | 1:12:23 | |
performed by Sonya Yoncheva. | 1:12:23 | 1:12:26 | |
Well, no gala would be complete without this next piece. | 1:12:26 | 1:12:29 | |
Surely the most recognisable of all opera arias, | 1:12:29 | 1:12:32 | |
Nessun Dorma from Puccini's opera, Turandot. | 1:12:32 | 1:12:36 | |
It is night and the people of Peking are hunting down Prince Calaf. | 1:12:36 | 1:12:40 | |
Meanwhile, he dreams of thawing the Princess Turandot's icy heart | 1:12:40 | 1:12:43 | |
and claiming a kiss. | 1:12:43 | 1:12:45 | |
Joseph Calleja sings the part of Calaf. | 1:12:45 | 1:12:47 | |
# Vincero | 1:15:40 | 1:15:43 | |
# Vincero... # | 1:15:44 | 1:15:51 | |
APPLAUSE | 1:16:09 | 1:16:11 | |
I must say, that never fails. | 1:16:14 | 1:16:16 | |
Nessun Dorma from Turandot by Puccini, | 1:16:16 | 1:16:18 | |
sung quite magnificently by Joseph Calleja, | 1:16:18 | 1:16:21 | |
along with the chorus of the Royal Opera House. | 1:16:21 | 1:16:24 | |
More Verdi now, and the Act II duet from Rigoletto, | 1:16:26 | 1:16:29 | |
sung by Julia Novikova and Placido Domingo. | 1:16:29 | 1:16:33 | |
Here, Gilda opens heart to her father, the court jester, Rigoletto, | 1:16:33 | 1:16:38 | |
and she confides how the charlatan Duke has dishonoured her, | 1:16:38 | 1:16:41 | |
but begs her father nevertheless to forgive him. | 1:16:41 | 1:16:43 | |
Rigoletto, though, swears vengeance. | 1:16:43 | 1:16:46 | |
# Il cor parlo | 1:18:31 | 1:18:39 | |
# Tutto ora scompare l'altare si rovescio | 1:20:54 | 1:21:01 | |
# Ah | 1:21:01 | 1:21:05 | |
# Piangi | 1:21:42 | 1:21:46 | |
# Piangi fanciulla piangi | 1:21:46 | 1:21:58 | |
# Scorrer | 1:21:58 | 1:22:02 | |
# Scorrer fa il pianto sul mio cor | 1:22:02 | 1:22:12 | |
# Piangi, fanciulla piangi | 1:22:12 | 1:22:21 | |
# Compiuto pur quanto a fare mi resta | 1:22:21 | 1:22:28 | |
# Piangi, fanciulla piangi | 1:22:30 | 1:22:39 | |
# Scorrer fa il pianto sul mio cor | 1:22:39 | 1:22:47 | |
# Piangi, fanciulla... | 1:22:47 | 1:22:52 | |
APPLAUSE | 1:23:40 | 1:23:42 | |
# Come fulmin scagliato da Dio | 1:26:04 | 1:26:09 | |
# Te colpire il buffone sapra | 1:26:09 | 1:26:16 | |
# Mi tradiva, pur l'amo, gran Dio! | 1:26:16 | 1:26:23 | |
# Per l'ingrato ti chiedo pieta! | 1:26:23 | 1:26:31 | |
# Ah! | 1:26:31 | 1:26:36 | |
APPLAUSE | 1:26:47 | 1:26:49 | |
Julia Novikova as Gilda and Placido Domingo as Rigoletto, | 1:27:00 | 1:27:04 | |
joined by Jihoon Kim as the Count Monterone | 1:27:04 | 1:27:08 | |
and Nigel Cliffe as the Usher. | 1:27:08 | 1:27:11 | |
And Placido Domingo joined now by this most remarkable line-up | 1:27:24 | 1:27:28 | |
of opera stars. | 1:27:28 | 1:27:31 | |
Just how often do they all get to share the same stage? | 1:27:31 | 1:27:34 | |
And the chorus and orchestra of the Royal Opera House, | 1:27:37 | 1:27:41 | |
conducted by their music director, Antonio Pappano. | 1:27:41 | 1:27:44 | |
And the chorus director, Renato Balsadonna. | 1:27:55 | 1:28:00 | |
All here to honour one of the world's greatest living artists, | 1:28:00 | 1:28:05 | |
Placido Domingo. | 1:28:05 | 1:28:07 | |
But sadly that is all we have time for. | 1:28:07 | 1:28:09 | |
So, from me, Katie Derham, goodbye. | 1:28:09 | 1:28:12 | |
Subtitles for the deaf and hard of hearing by Red Bee Media Ltd | 1:28:23 | 1:28:27 |