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To report some titles that were more successful than others seems an impossible task, because though the program was assorted and varied, this huge artist was able to handle masterfully the different atmospheres giving the same, high dose of passion, from Secreto to Terra e Mare, da Sole e Amore that always reminds us the third act of La Bohème to the irresistible languor of Íntima, passing through Catalonia, with a more poignant L'emigrant and the irresistible T'estimo, and through Naples with successful pair made of Passione and Vurria. Carreras was able to reciprocate such generosity keeping a very high intensity throughout the official program, and went even further in the endless sequence of songs with a final crescendo. Such a great opening was matched by the enthusiastic thunder of the audience, which they repeated over again throughout the whole concert, sometimes even overlapping with the first notes of many songs, a sign that such choices were extremely appreciated. The string quartet also performed Puccini's Crisantemi, and then Elgar's Salut d'amour together with Lorenzo Bavaj.Ĭarreras beautifully started with a solemn rendition of Scarlatti's O cessate di piagarmi, for sure something more challenging than any piece just to warm up the voice. In facts, Leoncavallo's Valse Coquette and the Intermezzo from Mascagni's Cavalleria Rusticana, respectively in the first and second part, were particularly appreciated because of the refinement of the arrangement. He was accompanied by his talented pianist, Maestro Lorenzo Bavaj, and the string quartet of the Teatro alla Scala made by Maestri Francesco Manara, Daniele Pascoletti, Simonide Braconi and Massimo Polidori, whose presence gave additional originality to the recital. On this occasion, Josep Carreras had decided to offer a program based on a type of repertoire suitable to him, not too rigorous, putting together the songs he loves most, therefore authors like Scarlatti, Tosti and Puccini, but also Costa, Gustavino, Nacho, Rendine, Valente, Vives and Grieg. Another triumph was not necessary to fire up the public, but once again this wonderful tenor did not fail in his responsibilities, overcoming even the best expectations. In our memory were flowing his memorable portraits of Riccardo, Don Carlo, Alvaro, Chénier and Don Jose, and not least his Loris and his Stiffelio: due to such dear, indelible and nostalgic memories, the Teatro alla Scala did not need to wait for the first songs or the end of the concert to honour him with such devotion. The thunderous ovation and the excited cries of "welcome back" that welcomed the tenor as he first joined the stage were just one proof: even before he started singing, La Scala was making him a thrilling tribute imbued with that kind of affection, gratitude and nostalgia of a glorious past that only one of the brightest stars in the history of opera can deserve in Milan.Ī deep emotion was already there in our eyes, and especially Josep Carreras' look, who seemed not to expect such a warm, enormous welcome from the very first moment. Last night, July 30, 2015, forty years after his debut at the Teatro alla Scala with a historical representation of Verdi's Un Ballo in Maschera, the situation was the same. " La Scala went wild for Carreras": on one occasion, an article in the Italian press reported this very title.