My channel tries to show the known and unknown aspects of the Art of the great Shirley Verrett, through Live and personal recordings. And videos of the artists I revere, singers and dancers.
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Viva my beloved Radvanovsky, she always amazes me! Millo is great as usual. Varnay is very very good. Callas sings with uncomparable emotional complexity. Sorry for the great Price, but I cannot listen any other Aida after Maria!
Excellent!
The complete soprano: slender and beautiful, powerful voice with dramatic emotion. A legend!
Impresionante interpretación.!!
Love Stignani
❤️🇱🇨!!!
kzread.info/dash/bejne/k4lmqpWtmqmzn9Y.html
Класс, 👍♥️♥️♥️💯🇷🇺💎☝️👑💐💐💐🎼🎶💎💎💎💎💎👆✨🤲. Елена 🦅🇷🇺♐💯.
Beautiful! Thank you!❤
Claudia Muzio (7 February 1889 - 24 May 1936). Muzio personally produced and financed a set of 26 recordings for Columbia in 1934 and 1935. By 1935, there is some noticeable weakening of the top of her voice but her expressive powers are well-displayed, especially in "Addio del passato" from Verdi's La traviata. They are the recordings by which she has been best remembered. On May 24, 1936, after a short illness, she died in a hotel in Rome of what was officially described as heart failure, at the age of 47. Nessun altro soprano ha cantato quest'aria con la stessa emozione e bellezza. La Divina Claudia. Bravissima. May her memory be a blessing.
I have always been of the opinion, that a good Fiordiligi can become a good Norma... I would rather like to hear her in that repertoire, than some present sopranos. She doesnt fake the chest notes as some other sopranos...
With Caballé, studio or live, it would be the same ! No différence !!!
Gorgeous!!!!😊
Was this live or studio?
In Studio 1975
Such pain coming from the guts and the soul. The greatest singing actress ever.
Are you sure that the Semiramide performance in Berlin was in 1980? As far as I know: Berlin 1983
@@claudiaweber8123 possible.
And one of the best ''o non tremare'' I've ever heard
People forget what an accomplished Mozart and Strauss singer she was. Her bel canto expertise serves her well as Fiordiligi
She has been so trashed for singing with Freddy Mercury. Their loss.
The best!
Que ce soit avec Anderson ou Caballé, Ramey "assure" dans ce rôle.
Haha
MARAVILLOSOS
Callas above all the others - and I love Price!
Just amazing!!!
Quelles que soient les conditions d'enregistrement de ces extraits (!?!), on "mesure" l'infini, l'ineffable et ... l'évident dont ces voix, portées par la musique verdienne, sont les médiums éphémères. Elles en ont les ressources techniques, elles-mêmes décuplées par "l'abandon" à cet infini que Shirley Verrett comme James MacCracken ont l'audace et la confiance de Vivre ! Cela, c'est du grand Art. Il fut proposé aux amateurs d'opéra, aux amateurs de la forme vraiment populaire d'opéra ! Et je ne dis pas combien notre époque peureuse et "fakiste" nous en sépare !!!
Meravigliosi entrambi!! Ramey fantastico!
❤❤❤🎉🎉🎉😊😊😊
I witnessed her in a concert in Florence in 1990 and she sang this an encore. In the chorus section she danced. It was both endearing and funny because of her regal posture.
Une Mireille Delunsch à son sommet, c'est à dire déjà un peu en déclin, au timbre passablement élimé, mais d'une intelligence musicale et dramatique de chaque instant.
As good as Lehmann's. Greater praise I cannot imagine.
Los mejores!!!!!
For me Sherley Verret was(retired)the singer who came closest to Callas in Macbeth…
Pietro Ballo (born October 2, 1952, in Palermo), is an Italian operatic tenor singer. He came from a family of laborers, and he himself worked in a quarry in Sicily before changing his professional orientation toward music. He enrolled in the school of singing at the Teatro Massimo in Palermo, then his operatic career started near the end of the 1980s, mostly in Italy, at various opera stages as well as concert halls. This is his debut in the United States.
Two legends of last century with high professionalism in artistry. They did have in common a dramatic projection of the voice and an exiting presence on stage. I saw the both Callas in 64/65 in Norma and Tosca, and twenty years later Verrett in Macbeth and Moïse. But here in this example of Medea/ Medée I do sincerely find Callas characterisation of the role musically and artistically much more efficient. As always she finds out the style of the musician in studying the score and finally giving us an electrical and dynamical architecture of her singing which is unique and entirely hers. Recitatives and arias are strongly tightened in an endless nd captivating speech.
@@angalafan I wonder if we should listen to these 2 versions while comparing them. It's more of a juxtaposition. First there is the question of language. Verrett didn't really speak French. And what's more, French doesn't sound as sharp as Italian. So we will never have the result of the Italian version, with its cuts... Callas brings all her well-known finesse and strength, her geniality, her grammar, and her vocal kaleidoscope, although worn in places. But it is a well-established Medea, revisited several times. Verrett is 55 years old, sings it for the first time, at an age when Callas was alas no longer, and shows us that she can sing this work that she did not want to hear about. Despite a lower, and more raw instrument (and at the same time very well preserved in the high register) she amazed us, from the wings. We believed her unable, at this stage of her career, to sustain this tessitura which was so tense, in certain places. And she amazed us with her beautiful legato too. She should have tried it earlier.
@@foroperayou are perfectly right. I think it would have been better to choose Macbeth for example. I saw her with Bruson in this opera, and there is an example which is the signature of e great artiste. In the banquet scene is the famous brindisi which is a true brain teaser for the singers. Verrett chose a slow tempo probably more confortable for her. And what should have been interpreted as ease on the part of the audience, she transformed it into a masterful demonstration of her artistry. I love them both for their huge professionalism.
It seems as if the whole cast was on FIRE!!! BRAVI BRAVI BRAVA
Waw I am so envious!
Simplemente notable.
La Verrett is one of the century’s best Lady Macbeth. The way Verdi wrote this role, few singers can execute the power, heights and coloratura. Brava!!
This is my favorite opera. The timeless lyric beauty of the melodic lines are so very glorious. The drama from Shakespeare emboldens the inventiveness of the melodic, and rich harmonic elements. Maestro Abbado is a master craftsman here.
@@divox9pqr Mine too, maybe with Don Carlo in a different way. So inventiv, theatrical, dazzling, unique, mysterious, grandiose. And obviously Abbado always has a sense of the right balance, never heavy, with a sense of feline acceleration during certain passages, inspiring his performers.
This woman was possessed with a voice of indescribable beauty and versatility. How she went from Aczucena to Lady Macbeth to Tosca is beyond me. I was singing in the Washington Opera Chorus during her Tosca. She was just amazing, and as a person, she so down to earth. We all loved her.
Brava La Verrett!!! Do you have the entire 1978 Verdi “Pace mio dio?”
does anyone know if she is algerian? Khalfouni sounds algerian/arabic
Her roots are from Kabylie
@@jean-paulgravier5870 oh cool!
She was one of the greatest mezzos in American vocal culture. Also her Lady Macbeth is paralyzing...
Direi unica
I was in the audience that March 1978. It was a glorious day.
Inmensa.!! Espectacular interpretación de ""Shirley Verrett.!!
It is as if it was written for her! I remember listening to the the broadcast of this opera from San Francisco and enjoying it very much. Was slightly disappointed that she did not sing the D-flat in the Sleepwalking Scene, but by that time it was getting late in the evening for La Verrett. Love hearing this once more. Thanks so much for posting.
Maravillosa ❤
BRAVAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAA!!!!!!!!!!!!!!!!!
Великолепно...
Bliss
В эти годы балерины танцевали...,были лёгкими,воздушными,пластичными.Сейчас-в танце,выполняют отдельные па...,а ноги,как циркули,музыку не слышать и очень костлявые.