Відео

Maria Chiara ❤❤❤❤❤❤❤❤❤❤❤

Sutherland, Gencer, Price and Caballé are the most impressive. Price makes the most of the low register plunge to ‘le pene’ that follows the high-lying passage. Forced to choose, I’d get Sutherland or Price.

Moffo should have never recorded the Bell Song

La Stignani by a long shot

Leontyne is stunning. But where is Caballé, Nilsson…?

Callas and Suliotis

I'm glad you included Price who did the piece remarkably well at almost 50.

Birgit Nilsson, Maria Callas, Leonie Rysanek, and Elena Souliotis are my personal favorites.

Beniamino Gigli, Georges Thill, Jussi Björling, Mario del Monaco, Franco Corelli, Giuseppe Di Stefano, Mario Lanza, Carlo Bergonzi, Alfredo Kraus, Fritz Wunderlich, Luciano Pavarotti, Franco Bonisolli, and Giuseppe Giacomini for the win!

I love Leonard Warren, Ettore Bastianini, Cornell McNeil, and Sherrill Milnes the most.

All of these tenors chosen here are unbeatable!

My seven favorite Rosalindes here are Anneliese Rothenberger, Joan Sutherland, Leontyne Price, Cristina Deutekom, Anna Moffo, Edda Moser, and Barbara Daniels.

Doesn’t bother me! It is written short because it is traditionally how it ends but…

ua-cam.com/users/shortsrMFPGsFPAzE?si=iZMR9MEPuxcXySgW You missed this amazing woman :')

Thank you for highlighting Mr Brownlee.

Bumbry and verrett

This is crazy. Those sopranos with less technical confidence realy struggles. Some sounds just bad.

What about including pavoratti?

Where is Hallstein?

The two first ones…😊 Also Cossotto and Barbieri really knew how to sing in middle voice with chestvoice participation…

Emmy Destinn and Rosa Ponselle are two of the best voices ever…

Had forgotten that Netrebko could sound decent back in the days…😂

Some actually don’t really have this note sung correctly. Some just ”make a sound”.

Odabella is a warrior role and demands some authority. Written for a drammatico d’agilità. All female singers need to use a good chestvoice. Preferably a dark timbre and doesn’t have to sound sweet in this role (neither do Lady Macbeth or Abigaille need that). A lyric like Varady could sing this because of her fantastic development of the voice. Sutherland was a big canarybird in studio without, diction, attitude or chestvoice so obviously ruled out. Stapp, Galvany, Roark-Strummer, Dimitrova, Gulin usually deliever in these roles.

It seems they all want to sleep in the ocean eternally.

It’s stylish not to sustain that note. Following the score can never be wrong.

Não ouvi um único contralto!

No Callas, no Scacciati, no Roselle, no Grob Prandl. Ok I’m out.

Verdi ha scritto morendo per cui va eseguito morendo e non un fortissimo come frequentemente si ascolta...basta leggere la partitura

Urmana. E basta.

Some had trouble with the high note, but most had trouble landing the bottom at the end of that scale. Violeta Urmana had he most even from top to bottom. Varady impressed me too, though her bottom range is not rich.

I’d exclude singers who break the line. I’s supposed to be taken in a single breath. Also those who arrive to the high C under the note or hint at a flatness (Chiara is worst in that regard) . Also those with a prominent vibrato (quite a few of them). And those who need to pump up the volume when it’s clearly marked ‘dolce’ (Tebaldi - yucch). Even Callas is imperfect. That leaves Milanov (?) and Price, but neither are heard at their best. Price’s final performance at the Met had no hint of flutter. And where is Caballé ???

I'm not understanding Zajick and Baltsa doing this...they're mezzos! This is a high D flat!

Only two achieved "un fil di voce."

Norman was great truly, but that high note was not.

Morendo is better

Caballe, Scotto, and Callas are the few that did the D flat 6 fil di voce as written by Verdi. Zajick was quite good as well

The score already has pp on the lead up to the Bb - Verdi was clear that he wanted the high note to also be soft, and getting softer as per the morendo marking. How do you do this vocally? It should be a mixed sound - or as Rosvaenge does - a mostly falsetto sound. The orchestration doesn't support a fortissimo Bb. Del Monaco is awful - flat, loud and forced.

Anderson had the easiest G.

I enjoyed Bardi the best. There are better versions of Gedda.

Wow Moffo made a huge mistake recording the Bell Song

Moser hands down

They showed Edda Mosers picture for Gruberova.

For me the first bass was the best.

Verrett! Bridges and Larmore are quite good...Kasarova sounds like she's throwing up...oy.

Dessay is the greatest coloratura of all time!!

Gorr for me, followed by Verrett and Bumbry. The poignant first half of the aria is more difficult to sing because it requires the storytelling talent of a natural diseuse. Viorica Cortez and Gorr (francophones both) are best at this. Callas would have been pure magic.

Rysanek and Bumbry.

Ezio Pinza, Mihaly Szekel, and Martti Talvela are the greatest of all time!

Corelli the best...!!!!