She was both a great vocalist and a fine actress. I saw her at the Rome Opera as Alceste and she was perfect in that challenging role. Her voice is unique in its range and expressive impact and her technique is second to none.
Leyla was not a assoluta, because she cound't sing contralto repertoire. She always Said that She was a Lyrics Soprano. And that's the reason she improve her pianissimos, in a time where everybody singer sang f. As she began singing heavy roles like Santuzza, her voice took on a darker timbre. Unlike others, Leyla has always had a well-developed chest voice and has always said in an interview that the use of chest voice in singers is something natural and important. The difference is that as her age advanced and her timbre changed, she entered heavier roles where the use of lower tessituras is evident with the use of the chest voice. Apart from that, we have the interpretative power of this great Diva who, for me, was without a doubt the greatest of the century. Different from many who sought to be a character that they didn't sustain for a long time. Leyla was herself, sang and enchanted many people and left a great legacy in music even though she was not a recording artist.
Why, why, why, every time we are before great singers like Madame Gencer, someone LAWAYS has to bring out Callas? Agreed that she was good, but others, like Leyla Gencer, were just as great. I wish people stopped comparing artists. Every single one of them is unique, and most of them are just as good!
К сожалению, никто не отмечает, что у Лейлы Генцер кроме очевидного величия и разнообразия голоса было то, что ее особенно выделяло. Это колоссальная теплота и главное, красота тембра. Радужностью красок ее голоса невозможно насладиться. В каждой секунде ассоциируешь ее голос со своими чувствами. Т.е. в нем была абсолютная красота в сочетании с глубокой человечностью выражения. Это ее отличало от всех великих. Неземная, глубокая притягательность...
I read somewhere that she was in fact a lyrico spinto soprano and did not have a natural chest voice but adopted it later. Her ability to widen her tesittura is mesmerizing...
gencer ist die primadonna assoluta des letzten jahrtausends. ihre intelligente rollengestaltung und der unglaubliche farbenreichtum ihrer stimme macht sie über jede kritik erhaben. ungesungene rollen liegen entweder daran dass man es ihr nicht anbot, oder dass sie einfach kein interesse daran hatte. ich glaube nicht, dass es eine rolle gab, die sie nicht hätte singen können. auch wenn ich leider zu spät geboren bin, um sie noch auf der bühne zu erleben, ich kenne ihr reportoire. phänomenal
@ioSonoCallas I don't understand the reason why you call it aberration. This video shows the vocal color, register and timbre of Gencer. Her ability to adapt her voice to the roles is, for me, interesting. I just tried to show her assoluta soprano voice here.
@gery666 Heavy and powerful are the qualities that make the voice dramatic or lyric. It's the timbre and the color and many other things that qualifies the vocal type. It's difficult to classify Callas's voice as she had a very wide timbre for a soprano. However, I read a book about the voices and it said the assoluta voice is neither lyric nor dramatic, something in the middle; with easy low and high notes and agile as a colorature. Gencer, for me, fits for this description better than Callas.
QUESTO VIDEO E' INCIUSCIATO! LA GENCER NON E' MAI STATA NE UN MEZZO E NE UN CONTRALTO! SEMPLICEMENTE USAVA LE RISONANZE DI PETTO CHE NON SONO DEVI VERI E PROPRI GRAVI.
Infact she was interested in making commercial recordings but the recording companies were not interested in her. It's due to her idiosyncratic quality of her voice (dark and cloudy), the reign of Callas and Tebaldi and she did not have a manager to make contacts with the recording companies... The short parts I used from various operas do not show the real color of her voice as they are recorded with primitive tapes...
@Flaviat57 This what I also wonder very much. Everyone sees Callas ideal for every opera even thoug her voice is not appropriate for them. I hope everyone will see other beauties in the opera history and appreciate them.
They see but are going to listen others, I do the same :) wonder why? after years of listening opera I can clearly tell that Maria Callas had most imperative tonal qualities even when projecting subtlety (not denying that voice was big, agile, versatile or even beautiful) and listener goes down on knees. This is fact I think. I adore them both in the same extent!
Yes, imagine for instance Callas as Norma and Gencer as Adalgisa or vice versa; or alternating as Lady Macbeth; or alternating the soprano and mezzo roles in Roberto Devereux or in Aida or Vanessa. It would have been amazing. I heard both of them live and the dramatic impact of each was due to the voice, the technical mastery, and the extra capacity for dramatic interpretation.
In my opinion Gencer never was a dramatical soprano she said herself been a lyrical Soprano able to sind dramatical and coloratura I think she was a great artist who uses coloring her voice depending what she sang.Here very good Technics allowed her to sind all this different roles. If she would felt tobe a dramatic soprano I m sure she would have accepted offers like Turandot which she always declined Just my opinion I love here most right after Callas !!!
Madam Leyla Gencer was one very great artist whom I like very much, but this video is an aberration! You should not confuse color, and vocal register! Leyla Gencer was unquestionably what we call big lyric soprano but his artistic temperament allowed him to approach a vast repertory!
@harpguy18 And that makes her an assoluta singer. She was not a mezzo or contralto but used her chest voice and had a large timbre while singing low note. Just compare her low notes and Beverly Sills's low notes and you'll understand what I mean ;)
i didnt mean that she can sing mezzo soprano or contralto roles. i just meant that she can sing the low notes quite clearly in soprano roles which are mostly require an assoluta voice.
I think you are confusing a type of technique with the type of soprano voice. Just because a lyric soprano sings with an open lower register (Which all should in my opinion) doesn't mean that the voice gets heavier or automatically able to encompass different roles.
@sezgin86 I agree, this video is interesting but it's false to say when her voice is dark she's "contralto", in the middle she's "mezzo", when it's clear she's "lyric", when she vocalizes she's "coloratura".... Leyla Gencer had a soprano voice with dark and clear colors. She was "assoluta" yes, but she would never have been able to sing Dalila, Azucena, Ulrica or the queen of the night, Zerbinette, Blondchen.... Sorry if I was impolite, it wasn't my intention.
Instead of quarelling about her voice type - lyrica, coloratura, spinto, drammatica or whatever you must accept that a well-trained voice together with the natural gift can sing in many shades. It all depends on the mood of the singer versus the part to be sung.
This is great...but it's too much of a teaser!! Please post the full recordings in the future if possible...especially the Idomeneo at the beginning! I'm dying to hear her sing that!!
it wouldnt be wise to call her a total mezzo or contralto. however she was able to sing the lower registers easily as heavy as a mezzo or sometimes even as a contralto. so she was a assoluta. of course she could not sing carmen as a mezzo.
@sezgin86 I agree. callas could sing spinto and dramatic soprano and mezzo/contralto quite well, but she was never a coloratura. the first recording of Callas I heard was her Tosca with Gobbi. I was new to opera and she actually made me think that Tosca was a contralto role! she had agility, but she was not coloratura soprano. Gencer is more balanced. all parts of her voice sound natural and easy. Callas could do it, but not naturally, hence her extremely short career
Maybe you are a little confused about soprano “assoluta “, she was never a dramatic soprano, neither a really a “ coloratura “ she was a great “ lirico d’agilta’ ” spinto like Caballe in her prime
Callas was not a coloratura? Who was a better dramatic coloratura than Callas? Not even Sutherland whose voice had more lyric qualities. Callas was a solid dramatic assoluta soprano!
+Sezgin Çetinkaya I applaud this retrospective. Well done -- and this shows why Gencer should be viewed as a genuine Assoluta. I also agree on your citation here of the link for her Lady Macbeth entrance aria. Yes, that entrance scena is plainly beyond the capacities of a traditional dramatic soprano. On the one hand, there is heroic declamation there that is eminently suited to the traditional dramatic soprano, granted. But on the other, there is also heroic and intricate coloratura passagework there that only an authentic specialist in bel canto could pull off. Gencer does just that, and brilliantly, showing, in addition, superbly resonated tones across a two-and-a-half-octave range. I did a bit of digging around and found another YT video of that same Macbeth track in somewhat finer sound, at /watch?v=raDegluLr8k . That link and your assembly of phrases in this video (which seem to match all the colors of the rainbow) form a potent and instructive combination that together demonstrate just what is involved in being a genuine Assoluta. Together, both videos also show that Gencer was one of the very, very few who fully qualify for this super-rare title, Assoluta, in every respect.
Madame Leyla Gencer était une très très grande artiste que j'adore, mais ce montage vidéo est une aberration! Il ne faut pas confondre couleur et registre vocal! Leyla Gencer était sans conteste ce qu'on appelle soprano grand lyrique mais son tempérament artistique lui permettait d'aborder un vaste répertoire!
I think sfogato or assoluta defines range, namely a soprano whose lower range is so fully developed they also comfortably encompass a contralto range. They usually call them "soprano sfogatos" or "soprano assolutas" but I don't know why they don't say "contralto sfogato" unless such singers always start out as natural sopranos....? I don't know if there is a comparable male range, such as tenor assoluto.
There is not. One of the reasons male singers does not have many hybrid fachs is that male singer use almost only one register (chest register) while female use the three registers (head, mixed and chest) in every role which gives them more space for supporting both edges of the range. As for why it's called soprano assoluta not a contralto because in the mid of the 19th century mezzo soprano was not yet a fach, it was still called a soprano. Sfogato is a mezzo soprano (regarding the passagio and vocal color) that could sing both soprano coloratura range and contralto (in the chest register) in same ease and power, yet it is not necessary to be as heavy as pure contralto. Pure contralto is a very heavy voice and the passagio is very low, it rarely can go as high as Bb5 and B5 and to sustain a high C6 is quite impossible for an operatic singer.
james Parker the problem is that you don't make Art with power, you make Art with expressivity and nuances. And Gencer has it all --a way more than Callas, i suppose..
Power and Agility, nice. Is this alla we gotta find in Art? Crocian aesthetics explains how art is mainly expressivity. And in music expressivity is parameter n°1
Callas was a fine singer in roles that fit her voice, but saying she was a better coloratura than Sutherland? ....NO =) Callas's high notes and coloratura technique couldn't hold a candle to Sutherland's effortless singing. Sutherland's voice had "lyrical qualities" because all opera is supposed to be sung lyrically (even Wagner, just listen to Flagstad). singers today forget this and think that dramatic = belting, vocal wobbling and lack of legato and elegance.
no, I recognize her voice is very steely. I don't think I'm describing it properly. its a sound that only makes an appearance on every few notes. as if she swallowed a pigeon. I don't like it. most people are okay with it. some of the more crazy callas fans insist it doesn't exist but it does.
@@nathandavis3002 I think I understand what you are saying. To me, I always described that sound almost like a hollow sound that is covered with a big piece of cellophane. Is that it? And I'm describing it like that as a HUGE Callas fan. She's actually been my all time favorite singer for over 40 years. Prior to that though, I couldn't stand listening to her, for the exact same reason. So I do understand. For me, hearing her Medea and her Lady Macbeth is what "converted" me, and have loved her ever since.
Leyla Gencer is the example of how to sing badly in any repertoire she sings.Actually she was a coloratura soprano, who cheated the public singing all the repertoire, she said herself she did all her career using the falsetto
She was both a great vocalist and a fine actress. I saw her at the Rome Opera as Alceste and she was perfect in that challenging role. Her voice is unique in its range and expressive impact and her technique is second to none.
Une magnifique artiste ,un grand talent ,une technique vocale et une étendue de registre phénoménale .Comme Callas .
Leyla was not a assoluta, because she cound't sing contralto repertoire. She always Said that She was a Lyrics Soprano. And that's the reason she improve her pianissimos, in a time where everybody singer sang f. As she began singing heavy roles like Santuzza, her voice took on a darker timbre. Unlike others, Leyla has always had a well-developed chest voice and has always said in an interview that the use of chest voice in singers is something natural and important. The difference is that as her age advanced and her timbre changed, she entered heavier roles where the use of lower tessituras is evident with the use of the chest voice. Apart from that, we have the interpretative power of this great Diva who, for me, was without a doubt the greatest of the century. Different from many who sought to be a character that they didn't sustain for a long time. Leyla was herself, sang and enchanted many people and left a great legacy in music even though she was not a recording artist.
Why, why, why, every time we are before great singers like Madame Gencer, someone LAWAYS has to bring out Callas? Agreed that she was good, but others, like Leyla Gencer, were just as great. I wish people stopped comparing artists. Every single one of them is unique, and most of them are just as good!
I completely agree with you. Someone call them "Callas Widows".
Agreed
It's amazing, and more than sheer volume, it's the intensity, the pathos, the high-voltage commitment that one can feel. And her almighty class.
К сожалению, никто не отмечает, что у Лейлы Генцер кроме очевидного величия и разнообразия голоса было то, что ее особенно выделяло. Это колоссальная теплота и главное, красота тембра. Радужностью красок ее голоса невозможно насладиться. В каждой секунде ассоциируешь ее голос со своими чувствами. Т.е. в нем была абсолютная красота в сочетании с глубокой человечностью выражения. Это ее отличало от всех великих. Неземная, глубокая притягательность...
Gran soprano Turca // A great Turkish soprano.
Une voix illimitée ,comme Callas .Quelle grande artiste .C'était l'époque bénie où l'on pouvait entendre de grandes divas .
Absolutely amazing vocal range!!!
I read somewhere that she was in fact a lyrico spinto soprano and did not have a natural chest voice but adopted it later. Her ability to widen her tesittura is mesmerizing...
She trained with Apollo Granforte for a time. If it wasn't there before, it would be there after!
gencer ist die primadonna assoluta des letzten jahrtausends. ihre intelligente rollengestaltung
und der unglaubliche farbenreichtum ihrer stimme macht sie über jede kritik erhaben.
ungesungene rollen liegen entweder daran dass man es ihr nicht anbot,
oder dass sie einfach kein interesse daran hatte. ich glaube nicht, dass es eine rolle gab,
die sie nicht hätte singen können.
auch wenn ich leider zu spät geboren bin, um sie noch auf der bühne zu erleben,
ich kenne ihr reportoire. phänomenal
Sa Lucia est la meilleure de toutes les cantatrices du 20 e siècle .
her vissi d'arte is stunning!
@ioSonoCallas I don't understand the reason why you call it aberration. This video shows the vocal color, register and timbre of Gencer. Her ability to adapt her voice to the roles is, for me, interesting. I just tried to show her assoluta soprano voice here.
@gery666 Heavy and powerful are the qualities that make the voice dramatic or lyric. It's the timbre and the color and many other things that qualifies the vocal type. It's difficult to classify Callas's voice as she had a very wide timbre for a soprano. However, I read a book about the voices and it said the assoluta voice is neither lyric nor dramatic, something in the middle; with easy low and high notes and agile as a colorature. Gencer, for me, fits for this description better than Callas.
QUESTO VIDEO E' INCIUSCIATO! LA GENCER NON E' MAI STATA NE UN MEZZO E NE UN CONTRALTO! SEMPLICEMENTE USAVA LE RISONANZE DI PETTO CHE NON SONO DEVI VERI E PROPRI GRAVI.
Infact she was interested in making commercial recordings but the recording companies were not interested in her. It's due to her idiosyncratic quality of her voice (dark and cloudy), the reign of Callas and Tebaldi and she did not have a manager to make contacts with the recording companies... The short parts I used from various operas do not show the real color of her voice as they are recorded with primitive tapes...
@Flaviat57 This what I also wonder very much. Everyone sees Callas ideal for every opera even thoug her voice is not appropriate for them. I hope everyone will see other beauties in the opera history and appreciate them.
They see but are going to listen others, I do the same :) wonder why? after years of listening opera I can clearly tell that Maria Callas had most imperative tonal qualities even when projecting subtlety (not denying that voice was big, agile, versatile or even beautiful) and listener goes down on knees. This is fact I think. I adore them both in the same extent!
wow. her lyric coloratura sound is even bright.
A marvellous representation of a very great and underrated soprano. Though your vocal categorisations are very inaccurate.
I didn't to be the one but Callas should've performed with Ms. Gencer. Both are some grand assolutas.
Yes, imagine for instance Callas as Norma and Gencer as Adalgisa or vice versa; or alternating as Lady Macbeth; or alternating the soprano and mezzo roles in Roberto Devereux or in Aida or Vanessa. It would have been amazing. I heard both of them live and the dramatic impact of each was due to the voice, the technical mastery, and the extra capacity for dramatic interpretation.
@@wilsonwatt9283 Or together in Maria Stuarda, alternating as Maria / Elisabetta.
Concordo.
Sentendole sembrano quasi due sorelle.
Meraviglioso
In my opinion
Gencer never was a dramatical soprano she said herself been a lyrical Soprano able to sind dramatical and coloratura
I think she was a great artist who uses coloring her voice depending what she sang.Here very good Technics allowed her to sind all this different roles.
If she would felt tobe a dramatic soprano I m sure she would have accepted offers like Turandot which she always declined
Just my opinion
I love here most right after Callas !!!
Madam Leyla Gencer was one very great artist whom I like very much, but this video is an aberration! You should not confuse color, and vocal register! Leyla Gencer was unquestionably what we call big lyric soprano but his artistic temperament allowed him to approach a vast repertory!
She is surely rated as dramatic colaratura. and I agree with Cetinkaya's comments.
@raigekimaru Her voice had a great feature at the beginning of her career(when she sang mostly lyric coloratura). It had a blooming beauty.
Let’s just say Gencer was great, Callas was great, Milanov was great , as were many others. Why does one have to be greater than another?
@intelegentable She sang at almost every big opera house
around the world except the Met.
Based on these audio clips, I can tell her voice changed its color for different vocal approaches.
Oui c'est exact .On entend la même chose chez Callas.
@harpguy18 And that makes her an assoluta singer. She was not a mezzo or contralto but used her chest voice and had a large timbre while singing low note. Just compare her low notes and Beverly Sills's low notes and you'll understand what I mean ;)
i didnt mean that she can sing mezzo soprano or contralto roles. i just meant that she can sing the low notes quite clearly in soprano roles which are mostly require an assoluta voice.
I think you are confusing a type of technique with the type of soprano voice. Just because a lyric soprano sings with an open lower register (Which all should in my opinion) doesn't mean that the voice gets heavier or automatically able to encompass different roles.
@sezgin86 I agree, this video is interesting but it's false to say when her voice is dark she's "contralto", in the middle she's "mezzo", when it's clear she's "lyric", when she vocalizes she's "coloratura".... Leyla Gencer had a soprano voice with dark and clear colors. She was "assoluta" yes, but she would never have been able to sing Dalila, Azucena, Ulrica or the queen of the night, Zerbinette, Blondchen....
Sorry if I was impolite, it wasn't my intention.
❤❤❤😊😊😊❤❤❤
yeah right...
Gencer : soprano lirico leggero. (she said that herself, many times)
Instead of quarelling about her voice type - lyrica, coloratura, spinto, drammatica or whatever you must accept that a well-trained voice together with the natural gift can sing in many shades. It all depends on the mood of the singer versus the part to be sung.
This is great...but it's too much of a teaser!! Please post the full recordings in the future if possible...especially the Idomeneo at the beginning! I'm dying to hear her sing that!!
It would be really helpful to list the arias included in this compilation.
You can find most of the arias on youtube and Idomeneo is one of them ;)
@sezgin86 I agree with you, totally.
it wouldnt be wise to call her a total mezzo or contralto. however she was able to sing the lower registers easily as heavy as a mezzo or sometimes even as a contralto. so she was a assoluta. of course she could not sing carmen as a mezzo.
Ah! All right, i understands now! ;)
@sezgin86
I agree. callas could sing spinto and dramatic soprano and mezzo/contralto quite well, but she was never a coloratura. the first recording of Callas I heard was her Tosca with Gobbi. I was new to opera and she actually made me think that Tosca was a contralto role! she had agility, but she was not coloratura soprano. Gencer is more balanced. all parts of her voice sound natural and easy. Callas could do it, but not naturally, hence her extremely short career
лучший комиентарий. :-)
Can you put the list of the arias?
Impressionnant répertoire! même si du coté colorature les limites sont flagrantes.
Could anyone tell me what is the aria at 3.28?
Non so, Monte Ivnor
Hello! What is the aria that starts around 1:07? It sounds beautiful!
la danza
Can anyone name the opera from which the part 0:40 - 1:06 is from? I think I've heard it before, just can't remember the name! Thanks!
whats the name of the secon aria in the vid? starting 14 seconds in
don carlo, tu che le vanita
A la baronessa.
Scrivi correttamente nella lingua di Dante.
Grazie
Maybe you are a little confused about soprano “assoluta “, she was never a dramatic soprano, neither a really a “ coloratura “ she was a great “ lirico d’agilta’ ” spinto like Caballe in her prime
Callas was not a coloratura? Who was a better dramatic coloratura than Callas? Not even Sutherland whose voice had more lyric qualities. Callas was a solid dramatic assoluta soprano!
what's the aria before la danza?
un extrait d'un des airs de La Vestale de Ponchielli
How come madame macbeth is a dramatic colouratura？
Guess why. /watch?v=ukJCkxvsvgM
This is beyond the capabilities of a dramatic soprano.
+Sezgin Çetinkaya I applaud this retrospective. Well done -- and this shows why Gencer should be viewed as a genuine Assoluta.
I also agree on your citation here of the link for her Lady Macbeth entrance aria. Yes, that entrance scena is plainly beyond the capacities of a traditional dramatic soprano. On the one hand, there is heroic declamation there that is eminently suited to the traditional dramatic soprano, granted. But on the other, there is also heroic and intricate coloratura passagework there that only an authentic specialist in bel canto could pull off. Gencer does just that, and brilliantly, showing, in addition, superbly resonated tones across a two-and-a-half-octave range.
I did a bit of digging around and found another YT video of that same Macbeth track in somewhat finer sound, at /watch?v=raDegluLr8k . That link and your assembly of phrases in this video (which seem to match all the colors of the rainbow) form a potent and instructive combination that together demonstrate just what is involved in being a genuine Assoluta. Together, both videos also show that Gencer was one of the very, very few who fully qualify for this super-rare title, Assoluta, in every respect.
@@grig035 Madame Verett was not a " bel conto specialist" but she is arguably the greatest Lady Macbeth of all time.
Madame Leyla Gencer était une très très grande artiste que j'adore, mais ce montage vidéo est une aberration! Il ne faut pas confondre couleur et registre vocal! Leyla Gencer était sans conteste ce qu'on appelle soprano grand lyrique mais son tempérament artistique lui permettait d'aborder un vaste répertoire!
is there an assoluto voice type?
I think sfogato or assoluta defines range, namely a soprano whose lower range is so fully developed they also comfortably encompass a contralto range. They usually call them "soprano sfogatos" or "soprano assolutas" but I don't know why they don't say "contralto sfogato" unless such singers always start out as natural sopranos....?
I don't know if there is a comparable male range, such as tenor assoluto.
There is not. One of the reasons male singers does not have many hybrid fachs is that male singer use almost only one register (chest register) while female use the three registers (head, mixed and chest) in every role which gives them more space for supporting both edges of the range. As for why it's called soprano assoluta not a contralto because in the mid of the 19th century mezzo soprano was not yet a fach, it was still called a soprano. Sfogato is a mezzo soprano (regarding the passagio and vocal color) that could sing both soprano coloratura range and contralto (in the chest register) in same ease and power, yet it is not necessary to be as heavy as pure contralto. Pure contralto is a very heavy voice and the passagio is very low, it rarely can go as high as Bb5 and B5 and to sustain a high C6 is quite impossible for an operatic singer.
Where is contralto part from?
Die Kaiserin Adriana Lecouvreur-Giusto Cielo, Roberto Devereux-Alma infida, Norma-In mia man, a song of Chopin
Thanks!
Haha so Tosca and Forza Leonora is lyric roles?
Or is it examples of lyric soprano singing regerdless of role?
I think the whole point of of the video is to show examples of singing regardless of the role
She's got it all. No, neither Callas or Sutherland comes near sorry.
Darkness, piani, expression, longevity and emotion...
+James Parker It's ok to have different opinions
Dragan Vidic Her voice does lack the power of Maria Callas. And she doesn't come close to Sutherland's agility. Those are facts.
Onigbajamo ZZzzzz.... ZZZzzzz....
james Parker the problem is that you don't make Art with power, you make Art with expressivity and nuances. And Gencer has it all --a way more than Callas, i suppose..
Power and Agility, nice. Is this alla we gotta find in Art? Crocian aesthetics explains how art is mainly expressivity. And in music expressivity is parameter n°1
no trills?
Callas was a fine singer in roles that fit her voice, but saying she was a better coloratura than Sutherland? ....NO =)
Callas's high notes and coloratura technique couldn't hold a candle to Sutherland's effortless singing. Sutherland's voice had "lyrical qualities" because all opera is supposed to be sung lyrically (even Wagner, just listen to Flagstad). singers today forget this and think that dramatic = belting, vocal wobbling and lack of legato and elegance.
I am sorry I hate callas' voice. she sounds so nasal
that strange hollow nasaly tone is present inn all her recordings. doesnt make her a bad singer. but some of us just dont enjoy that tone...
no, I recognize her voice is very steely. I don't think I'm describing it properly. its a sound that only makes an appearance on every few notes. as if she swallowed a pigeon. I don't like it. most people are okay with it. some of the more crazy callas fans insist it doesn't exist but it does.
yeah I dont think nasal is the right way to describe it. sort of a hollow tone, similar to the whir of a pigeon.
@@nathandavis3002 I think I understand what you are saying. To me, I always described that sound almost like a hollow sound that is covered with a big piece of cellophane. Is that it? And I'm describing it like that as a HUGE Callas fan. She's actually been my all time favorite singer for over 40 years. Prior to that though, I couldn't stand listening to her, for the exact same reason. So I do understand. For me, hearing her Medea and her Lady Macbeth is what "converted" me, and have loved her ever since.
There's is definitely metal in her voice, plus I can't stand her overly slow vibrato especially when she got older.
Leyla Gencer is the example of how to sing badly in any repertoire she sings.Actually she was a coloratura soprano, who cheated the public singing all the repertoire, she said herself she did all her career using the falsetto