Wonderful to hear this early example of Ms. Sutherland! Thanks for posting.

What a beautiful voice. Always sounds sublime.

È la versione migliore esistente

Brava La Stupenda!

Wonderful. I love her chest voice in this, although she always knew it was weaker than her head voice she makes way with it. the trill: Sutherland pur.

ogni commento è superfluo Stupenda

@fabriziomariagarzi5534

5 жыл бұрын

SI!

IMO Joan was a fabulous singer pre the 1959 Lucia, Enough recordings exist to evaluate that.

just great

Certainly the most pure and clear low G I've listened.

I've never heard anyone sing this aria....thank you for sharing it. Joan sings so richly and with a flourish, and the low notes are very full.

@draganvidic2039

Жыл бұрын

They are not

This is opera seria... of course there should be detachment...and her low register - better exhibited here than in anything else I've heard of hers recorded- is very impressive. She was one of the very best EVER. And her Mozart is pretty darn stupendous. Makes me wish she sang Fiordiligi. You rock, Dame Joan

@Distefano5

8 жыл бұрын

Opera seria in general must NOT be emotionally detached. Mozart is a very different composer, he never cared for drama and emotions, all his concern was beautiful tone and phrasing that's why i think Sutherland best suited Mozart and baroque than anything else she sang. Her Donna Anna is the best example, it's considered the benchmark by almost all critics yet her retarded husband persuaded her to record less suiting bel canto and Verdi repertoire.

@clivepapayanis3121

8 жыл бұрын

Indeed her Donna Anna is perfection, equaled only by Grummer's perhaps. Retarded for Bonynge is a LITTLE harsh, but I agree he did her few favors. Mozart not caring for emotions? Not so sure... he certainly conveys them in Donna Elvira and Pamina's laments, and anger in Gugliemo is hardly masked by a regard only for beautiful tone. But absolutely, wish Dame Joan had recorded more Handel; her recordings of Cleopatra and particularly Alcina are incredible!

@Distefano5

8 жыл бұрын

Clive Papayanis If you go and check who created most of Mozart roles, none of them are known for stage presence and interpretation abilities. That's why i find Mozart very boring as opera composer, he was composing beautiful music more than opera and drama.

@clivepapayanis3121

8 жыл бұрын

Di Stefano To each his own. Don't agree; many consider Don Giovanni the greatest of all operas in all respects, and for that matter the beginning of multi-faceted characterization and themes. But we all have our tastes and opinions. Happy listening!

@Distefano5

8 жыл бұрын

Clive Papayanis Of course it's only my opinion, Mozart is still one of the most performed and loved composers.

Me too. I think she was always worried that if she used too much weight in the lower register that she might lose the flexibility she had in the upper range

@rakellcolotta3675

5 жыл бұрын

Agreed.

@draganvidic2039

Жыл бұрын

A usual mistake

bogdiworksV2 I don't understand what you mean by 'detached'. What is 'detached' emotionally about this performance? How are you judging that? I ask because I'm a singer (and a clarinetist, and have played this), have worked on this aria, though I have not performed it, and I hear engagement in her singing. I'm perplexed by your statement.

So lovely.

Besides, she should have continued singing Countess Almaviva in "Le Nozze di Figaro" in its original Italian (she sang it in English only twice in 1953).

She recorded most of the great roles if she didn't actually perform them on stage. I think she might have relished trying a more unsympathetic character. She always said that she regarded Lucia as bit wet

@kbhprinsesse

3 жыл бұрын

Then she must have enjoyed singing Elettra in "Idomeneo" in 1979 :)

She should have sung Vitellia on stage as well as Fiordiligi and Konstanze.

@draganvidic2039

Жыл бұрын

Without a good lower range?

@angelonicola6081

Ай бұрын

Tempo fa lessi che la ditta Sutherland-Bonynge aveva programmato di fare un disco con " Così fan tutte",ma poi non se ne fece niente,e il motivo non è noto. An

Mellifluous singing laced with Mozartean grace and varying timbres. I prefer this approach with less metal in the more dramatic lower passages. There is nothing "detached" in such a sensitive performance with legato to burn!

It's the middle that needs to be preserved more than anything else, and sadly started wobbling in the late 70's. The top notes were lovely and sparkling as late as the late 80's.

@Cissy97 even at this point, it's clear from the way the voice opens up from G5 up that she is no mezzo. though I wish Bonynge had not encouraged her to neglect her lower register. a singer has to make decisions though, and she chose not to risk it for the sake of preserving her top (which she did, not many sopranos have brunnhilde sized high Ds in their 60s)

@barbaranorthwood

7 жыл бұрын

She began as a mezzo like her mother. It wasn't until she began formal training that her voice was pushed higher by her discerning teachers. Bonynge had no input at that stage.

@drtslim

5 жыл бұрын

@@barbaranorthwood I think that the original poster was remarking on the choice that Sutherland and Bonynge made to neglect the development of her lower register in order to preserve her top. A lot of the belcanto repertoire that she decided to sing required a strong, or at least well-developed lower register which was somewhat lacking in her performances, despite the well-maintained upper register.

The incomparable Joan Sutherland.

@ofiammasoave Grande commento, sopratutto nella parte finale veramente un'aria da concerto. Mi piace particolarmente la versione della Ashley Putnam, cosa ne pensi? Grazie

Réponse à @Destefano 5 Je vous réponds encore, cher collègue mélomane. Ainsi Mozart ressemble pour vous, dans les mélodies de ses airs d'opéras, à Justin Bieber et Mylei Cirus, célèbres et aimés por rien? Franchement, je trouve que vous y allez trop fort! Et de même, d'après vous, la note dominante de ses opéras est le manque de sens dramatique? Savez vous que Don Giovanni était considéré par les grands maîtres Romantiques, Verdi, Berlioz et Wagner comme "l'Opéra des Opéras", c'est à dire comme l'oeuvre la plus réussie du XVIIIème. siècle? Berlioz disait que la Scène du Cimetière, par exemple, était un chef d'oeuvre, tout à fait moderne pour son époque, avancée d'un siècle dans son style et conçue déjà dans un esprit nettement Romantique. Que pourrait-on dire alors de tout le reste de l'insurpassable musique écrite pour cet opéra monumental? Je tiens à vous signaler qu'en ce cas ce qui vous trahit est votre sensibilité. Car au lieu de retenir la profonde expressivité réussie par Mozart au moyen de la retenue et de la nuance, vous vous ennuyez à cause d'une apparente sécheresse et manque d'expressivité de sa part. Donc pour vous les sentiments doivent-ils être exprimés toujours au "hauts de hurle-le-vent" et à tambour battant? Vous comprennez sans doute de quels musiciens je parle. Eh bien, vous me permettrez d'exprimer encore une fois mon désaccord, restant toujours fidèle à la subtilité et la nuance de Mozart. C'est au moyen de cette modalité contenue et sensible que nous développons nos dialogues au quotidien. On n'aurait pas idée de se mettre à hurler pour se déclarer l'amour, le partage de la joie et les situations de bonheur. Dans la seconde moitié du XVIIIème. siècle, Mozart et Lorenzo Da Ponte, ainsi que ses autres auteurs de livret, Emmanuel Schikaneder et Caterino Mazzolà, ont sû exprimer une vision de la vie à la fois savante, espiègle et réaliste , qui est un clin d'oeil complice dirigé aux spectateurs et auditeurs. Ils étaient plus avertis sur la vie et ses détours que bien d'autres auteurs ultérieurs à eux. C'est bien pour cela que les opéras de Mozart sont toujours si rafraîchissants et nous mettent à l'aise. A les écouter, on se sent chez soi. Et encore plus : à travers ses personnages on revient toujours à la jeunesse, car la musique de Mozart est un art essentiellement jeune et vital. La profondeur des propos traités n'exclut sous aucune forme la joie de vivre.

I really love this recording. Does anyone know who the basset horn player is?

@kbhprinsesse

3 жыл бұрын

Gervase de Peyer.

@90lysander that's usually the case. opera singers are not like pop singers. they become famous after consistent displays of excellence (take Devia for instance, she didn't start to get really famous until her 50s). another good example is Cecilia Bartoli, whom I just heard a wonderful duet with June Anderson when she was only 26 and sounded like a, strong 40 year old contralto. people tend to forget sutherland had been an opera singer for 10 years before Lucia =)

@kbhprinsesse

3 жыл бұрын

Bartoli?? You must be joking!

@williammaddox3339

Жыл бұрын

Devia was famous by the age of 40, if not earlier.

It is unfortunately somewhat tame but what impeccable diction she had then - Dicky beat that out of her!

I'd love to find this album, but an online search has rendered nothing. Can you please post the record label, details, etc? Thank you so much for posting!

@williammaddox3339

7 жыл бұрын

I believe this is from a live performance and the full recording is not available. I would love to hear a recording of her as Aida from the mid 50's but apparently one does not exist.

@eduardobraivein8496

4 жыл бұрын

William maddox It is a live recording from a radio broadcast.

Her bottom sounds solid. I wish she would have used it more often.

Molt bé. I Mozart sempre tan mesurat.....

Mirabile curiosità. La giovane Sutherland canta superbamente, linea e legato impeccabili, musicalità eccelsa, grande controllo perfino dei gravi, gracili ma composti. Inoltre l'emissione è meno tubata del solito, il timbro più puro e perfino la dizione italiana è curata e generalmente comprensibile. Pero' è pura musicalità, senza un'ombra di relazione con la situazione drammatica, veramente un'aria da concerto, quasi di tenera malinconia. Non proprio una Vitellia credibile.

Sorry, I meant to say I've never heard anyone this aria like this....not anyone at all.

This is insanely good. I wish she had sing it with a bit more emotion, but perfection comes at a cost I suppose.

@draganvidic2039

Жыл бұрын

She never had much emotion

If she just had developed her voice differently. Yes I know people love coloratura and canarybird singing… Hers was a spinto but she never trained her lower part of the voice and it’s obvious here.

@paullewis2413

4 ай бұрын

Joan Sutherland’s voice was far too powerful to be associated with “canary bird” singing. It was anything but that. Yes the middle and lower register deteriorated dramatically by the late 70’s however before that she displayed to the World one of the most incredible coloratura techniques imaginable .

@jondavwal13

2 ай бұрын

@@paullewis2413 Yes the reviewers in the 70s and she herself said the lower notes gave her less trouble at that point. I think I'll believe them.

Sutherland could [and perhaps should] have sung many more roles than she did. She blamed this in part on opera houses wanting her for the roles only she could sing [once Callas retired]. However, it was also Bonynge who kept her from repertoire in which his mediocre conducting would have been compared to the great conductors who made magnificent theatre in the opera house. Think for example how a great conductor helps her create a great [perhaps even the greatest] recorded Turandot. What might she have accomplished with Solti, Karajan, Mehta and other great conductors.

@williammaddox3339

Жыл бұрын

She did a fine Verdi Requiem with Solti.

@jondavwal13

2 ай бұрын

You do know she sang more roles than Callas, right? Like not even close, and she recorded more operas, like not even close.

I don't like this recording. If you didn't know the words, would you know by her bland fraseggio that she is singing about death approaching? I agree however that her low register is (relatively) stronger than later in her career. But I have never been a big Sutherland fan, anyway.

...no tiene la presencia, ni en lo vocal, ni en lo artistico, para abordar este rol; que a decir verdad, su tessitura total, toca, casi bastante, a una mezzo; y ella, una lirica, y gracias, con coloratura, no puede abordar un tessitura, bien, bastante, ajena, a su, verdadero registro...

@pedromiguel2675

9 ай бұрын

Respuesta a @eduardodaniel3353 Joan Sutherland nunca fue una Soprano Lírica, sino una formidable Soprano Dramática Colloratura. Sí que tenía presencia, tanto en lo vocal como en lo artístico. Estaba magnífica.

Who said that she lost her low notes in the 70’s …. Ahahah… she never had any as we can hear in this video. As we all know a good low-middle register is the fondation of singing. If you do not master it, it has an impact on the entire voice: nothing is clear, bad vowels, bad consonants and the high register is weak. Yes’ I KNOW you will say that her high notes were very loud! But loud does not mean good singing. The high notes are WEAK. This aria was way too difficult for her limited technique. Let’s listen to a good soprano singing this aria; so different : kzread.info/dash/bejne/oqRoyLyKk5e1orA.htmlsi=5ZdKwtlsnVsIZwue

Too much beauty too little spirit!

Interessante curiosità della Sutherland, ma per una tessitura come quella di Vitellia, voce inadatta, inconsistente: mortificata da una linea di canto fondamentalmentre mezzosopranile, accusa un palese disagio. Le note basse sono brutte, artificiose e francamente ridicole: bene ha fatto a non affrontare mai più, neppure nei recital uffiaciali, questa pagina.

@jondavwal13

2 ай бұрын

Stupidaggini.

as usual with her - technique over feeling. She's almost laughably detached. Her tone is beautiful, though.