Beverly Sills, "Santo di Patria", Odabella from ATTILA.wmv
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- Опубліковано 1 лип 2010
- Beverly Sills from "The Art of Beverly Sills, Album 2" 1985, Angel Records. Verdi, Attila -- Santo di Patria. Philharmonic Orhestra and members of the Ambrosian Opera chorus as soloists. Aldo Ceccato. The voice and orchestra counterpoint in the second part is unmatched in other recordings of this aria. Beverly sings with fire and passion in beautiful voice.
She knew full well she could never do this in the theater, but what a ballsy recording! Brava!
Do not forget that she did sing Aida earlier in her career! I was told by the wonderful soprano Pauline Tinsley, who performed Maria Stuarda with Miss Sills, that Ms Sills voice was so well placed that it carried every where in a large auditorium.
But in essence, it was a light soubrette voice much more suited to Manon than Odabella.
VERY TRUE !!!!
Agreed with poster...Robert Donkers, there is a reason she then abandoned Aida, obviously. She simply didn’t have the hardware for this more dramatic repertoire. In our current operatic climate it’s easy to become nostalgic for an instrument with the requisite virtuosity to handle the vocal gymnastics of this incredible role and the ones like it...This is obviously intended for a dramatic voice and Sill’ light lyrical instrument is just not capable of this without the recording booth, and even with the recording booth, she is at her vocal limits. It’s just one color and one volume and entirely too carefully sung....I am sorry, I don’t find this at all exciting. I think that things are now in such an awful state (take one listen to the recording of the Attila from La Scala from the 2018 season if you need an example...) because resonance-this wonderful phenomena where even a lyric voice USED to be able to fill a theater-is confused with weight and color and vocal power. I believe the talent is present in the world today, it is unfortunately, not being trained properly to handle the rigors of singing such demanding repertoire LIVE in a theater. The intended place for this music. The recording industry has brought us so many wonderful and delectable gems that we all treasure...but has it ultimately undone our beloved art form? Certainly this is an example of a singer singing entirely beyond their vocal means and it’s celebrated and alright because it is a recording...we are all accustomed to a certain sound from recording, where knobs and buttons and microphones can be employed to even the playing field so to speak. This is one example where opera and it’s true demands are done a disservice in my opinion. Again, just my opinion. I also don’t care for the Donizetti queens in this voice for the same reasons. Again, personal taste. I didn’t hear Beverly Sills sing live, but I have heard enough live opera to know that this is just not remotely appropriate casting...
When I want my heart moved it has to be Sills. She uses her gorgeous voice and fabulous technique and imbues it with emotion and pathos that has never been equaled. Southerland, of course, is a completely different instrument. Just as great in her own way. I can and do admire the fireworks but she rarely moves my soul.
This shows the difference between a 'lyric coloratura" with great dramatic abilities and a true "dramatic coloratura". Sills certainly takes on the music and the character and does a marvelous but uses every bit of her vocal capacity to do so. Sutherland, on the other hand, blows this one out of the water with her larger voice and similarly magnificent coloratura technique. Both are fascinating but entirely different.
@wisonwatt9283 vero ma la Sills ha anche una chiarezza ed una incisività d'espressione che alla Shutherlan mancava completamente senza contare che come voce è più adatta a questo repertorio
Sutherland of course, but Sills was 'fantastique'!
This was recorded in the U.K. way back in the early 1970's. Beverly was so ill that she had to be flown back to the United States. The recording was forgotten about until the mid 80's and released under Beverly Sills sings Verdi. Such a pity that her planned recording of Rossini arias at the same time fell through, that would have been an eye opener!! Brava Beloved Beverly and thank you" emartlop" for this upload!
Stupenda interpretazione . Fantastici acuti. Bella voce. Grande incisività eroica.
Anche se la voce è di volume limitato, l " incisività dell"accento moltiplica il volume. Voce non grande ma "penetrante" Bravissima!
Bravissima Beverly Sills- Odabellas Arie einfach grandios gesungen --
Brawississimo ! Brawississimo ! Wundere und Perle - Damme !
Ma che brava! Chi lo avrebbe mai detto che in ruolo apparentemente al di fuori delle sue possibilità avrebbe saputo fare tanto!
I'm quite surprised, she sings this wonderfully, especially the end.
I love this woman's voice!
I love Sills in so many arias but not sure about this! Ofcourse the spirit she imbued is there, but this is really dramatic soprano territory. Have very happy memories of her in Lucia in London, both in her singing and acting.
After reading most of the comments, I'm sure glad Beverly Sills didn't put out a questionnaire asking who thought she should do a studio recording of this aria! Ha! Most of these comments, while just personal opinion, are truly hilarious!
Triple AMEN to that! Everyone is such an expert but fails to recognise Beverly was singing ONE aria from the opera and had no intention of singing the role in her career. Just like her Bellini and Donizetti arias.
This recording made my day!I did not know Sills was capable of singing as dramatic and involved asCallas. What a fantastic singer she was, one of the great!
Neither did I....very special. Thank you emartlop...
Very few sopranos have ever attempted this role, or even this aria, recorded or live. It takes everything the voice can give. Sills manages it because of her extremely precise control of her voice and her willingness to go to the edge in a recording. Sutherland gives perhaps one of her greatest performances in her recording because she fully uses her lower voice as the aria really demands. Callas certainly could have given a performance beyond belief if she had recorded this in her prime. A very few other singers have attempted it but it is not an aria or a role that is kind to the soprano who chooses to sing it.
I'm sure that is the reason Callas never recorded it. She didn't want to go near Roberto Devereux either...
Now were comparing Calllas to an aria she never recorded or sang live. Give me a break!
Define "very few".
@@Feisenbach
bravissima bev !! and thanks very much for the marveillous recording.
Обожаю Беверли Силлз. Она прекрасна. Имея легкий голос, могла создавать образы предельной драматичности!
Да, действительно, в неё невозможно не влюбиться! Ведь Беверли - это воплощенная музыкальность и она сама наслаждается музыкой, которую исполняет. И она всегда была такая, и когда в девятилетнем возрасте с недетским мастерством исполняла взрослые арии, и на вершине своего блестящего мастерства, и на закате своей карьеры, - всегда её пение трогало и согревало и волновало души множества людей, её верных поклонников. Какая счастливая судьба! Покойся с миром, великая и незабвенная!
And Giselda from "I Lombardi" was no walk in the park either! Sills sings this beautifully with the impassioned rage and fire required but I can't help but wonder what if... I guess her Norma was the closest we'll get
I am surprised of certain comments by people with a total lack of objectivity or totally partial to other great singers. This is a complex role and no question that Sills gives the character needed with supreme musicality and nuances, even though the Giselda demands a more dramatic and voluminous voice. It’s not true that just “a few” sopranos have attempted “I Lombardi”. Scotto (as lyrical as Sills) sang it live with tremendous success. Deutekom had a huge voice and plenty of coloratura but lacked the dramatic punch. Dimitrova sang the role with Carreras at La Scala with the huge Arsenal of a true dramatic soprano, besides amazing pianissimos. Chiara, Studer, Mancini, Anderson, Ricciarelli, and Gencer(the great Turkish diva) sang Giselda wonderfully. In my modest opinion, the greatest Giselda has been the Hungarian Sylvia Sass. It was the role that made her famous all over the world. She recorded it for Hungaroton and there are various live recordings to support what I’m hereby stating. But if I have to choose between the Great Sutherland and Sills, I opt for the queen of Brooklyn because to me temperament, commitment and EXPRESSION are the qualities I look for in opera singers.
I meant to say BRAVA Bev!!
Bellissimo grazie
¡Grande!🎶💞😱👏👏👏👏👏👏👏👏👏👏👏👏
This is extraordinarily beautiful, but her voice does sound a bit labored. Her technique and coloratura are brilliant, as usual. My favorite recording of this extremely difficult aria is by Sutherland (on UA-cam); it's never been surpassed, but I love the Sills as well.
Yes, the Sutherland recording is absolutely the benchmark for this aria.
She writes in her autobiography that she made a record of early and rare Verdi arias, but that she had zero recollection making the record because she was knocked out by an illness for two weeks or so soon after. Someone at Angel phoned her up years later saying that he had found this unreleased record of hers. She responded that no such record existed, to which he said that it was "definitely her voice." This performance must be from that aria. Yeah, her voice is light for the role, but whatever. This is spectacular singing.
Brava!
Braca Bev!!
Wonderful in every way, very moving and colorful rendition, but Sutherland remains unsurpassed in this aria.
Agreed there is a richness to Sutherland voice that is unique…. Or course both are superb … hard to believe human voices can produce such beauty… in Our ugly uncivilized world…
Un artista che non Aveva nulla da invidiare ...poichè usava tutta la sua splendida tecnica...in maniera egregia e differenza di un australiana " amatissima"... tornendo un italiano non svizzero...la cabaletta poi è tenuta con una leggerezza che forza la belcanista senza strapparsi dalla gola note inusuali per lei;che hanno stroncato Carriere sul nascere...e con un dominio degli acuti ...lucenti come stelle e mai forzati...oltremodo in scena so che fosse molto Carismatica...allora chapeau!!!Alla fine i suoi difetti li fa diventare pregi...e non ruba niente a nessuno.
Carmelo Serafin, l'amata australiana aveva una voce dal colore stratosferico e chi se ne frega della pronuncia svizzera. Avendola piu' volte ascoltata in teatro, era l'ultima cosa di cui ne avvertivamo la mancanza. Pur adorando la Sills dico che la Beverly cantava invece in un italiano con l'accento newyorkese. 1 a 1.
@@fabriziomariagarzi5534 la Sutherland non aveva una pronuncia svizzera aveva un farfuglio guarnito da un timbro ed una tecnica spettacolare ma sempre un fatfuglio...
@@numetutelare , adesso invece abbiamo la Feola, la Pratt, la Damrau...la Svizzera e' molto lontana...
@@fabriziogarzi9892 oddio non è che se abbiamo gente mediocre questo scusa un difetto piuttosito evidente... È una questione di studio e siccome era tanto meticolosa nella tecnica poteva sforzarsi di più... Dame Joan aveva molte concorrenti americane con ottima dizione... La Price, la Anderson, la Sills, la Horne e tante altre recenti... Poi se ci contentiamo di volate, gorgheggi, fioriture, roulades sopracuti e acrobazie a volte a braccio agevolate dal marito Boninge... Ok allora è la migliore, ma appunto anche per quelle licenze autonome... Sui virtuosismi acrobatici allora davvero stratosferica è la Bartoli, piaccia o no...
@@numetutelare , saro' banale ma quando canta la Joan non ci faccio caso..la prima volta che l'ho ascoltata credo fu alla radio che avevo 10 anni..tanto tempo fa..i bambini non fanno caso a tante cose anche se io cantavo nel coro di voci bianche della rai e conoscevo gia' mezza produzione di Mahler, Verdi, Puccini..ero nel disco di Turandot e Tosca con Corelli..ho partecipato al Ballo RCA con la Price...poi Anna De Cavalieri, Stella...le ho sentite tutte. Non mi facevo problemi di dizione e non me li faccio adesso alla mia età. La Bartoli non mi piace e non la considero. Un falso mito.
I love Violeta Urmana and Sutherland and Deutekom, but Beverly Sills is like Bette Davis she brings to the role everything it requires
Violeta Urmana sounds amazing... and she's a mezzo... I never expected it to sound that good but yeah she kills this.
@@arthurfilemon6038 this is my opinion, of course.
I also love Violeta Urmana for her line of singing (no one note out of place)
But I love Sills in every role she sang, for her interpretation and approach to the character (sorry for english!)
It is interesting to hear the differing interpretations of Sutherland and Sills in this extremely difficult aria. Sutherland brings a sense of the warrior princess, so to speak, challenging a tyrant in a battle of wills. Sills, with her lighter voice and more varying emotive emphases, brings the young woman who knows she may be sacrificing herself for her country and her people. Both interpretations are completely valid and fit the dramatic situation. It would complete the interpretive trio if only Callas had recorded this aria. Which would she have been or could she, with her dramatic powers, have brought both aspects of Odabella into full integration.
She wisely chose to stay away from it for obvious reasons.
Sutherland totally smashes this. Sills sings it very competently but she doesn't create the Sherman tank effect that Sutherland does with a much bigger voice.
Bosie Wilder Agreed. I wish I could have heard Sutherland live in her prime...Listening to her sing this aria from Attila is a tantalizing glimpse only of what we would have in store if she had been truer to her natural voice- clearly a dramatic instrument that wasn’t allowed to “move on” when it was ready to do so....She talks about not being “allowed” to develop her chest voice....I mean, sing Lucias with her voice in her late 50’s? Poor dear...This recording is completely fabricated and silly. Sill’s soft grained lyric soprano instrument is absolutely not up to the demands of this incredibly difficult Verdi heroine of the early period. She would have lost her voice entirely in the first phrases singing this in a theater....I know divas sometimes sing things only for recording sake...but...no.
@OperaMystery80
Callas is an assoluta, the rest you mentioned are dramatic sopranos except for Deutekom. that being said, I think Sills sounds great here. considering she was severely ill when this was recorded and is totally out of fach, she gives an epic and moving performance
I know that divas sometimes record things just to fill space on albums...However, Sill’s soft grained lyrical instrument was just not equal to the task of singing this early Verdi heroine....It is quite clear from the opening of this aria that this was only made possible because there was a microphone directly in front her face in the relative safety of a recording booth. She is clearly singing this at her limits, because it is all sung at one volume with one color. There is no way the great and fearsome warrior Attila would bother to even look up to note such a weak exclamation-never mind put aside his sword for a moment and pay heed to the courageous character of Odabella...I think that it is exactly recordings such as these that create a false sense of what the proper instrument should sound like that sings this repertoire in a theater...and at that can sing the entire role! There is just no way Sills could have managed Odabella’s Second Act cavatina-with it’s broad, demanding, expansive cantilena all centered in the middle register. As with so many of Verdi’s operas, the aria doesn’t belie the true nature of the entire role. This recording just leaves me wanting more....more of everything! More color, more power (with control and virtuosity of course, as this aria requires). To each his/her own I suppose...It’s just not my cup of tea. Not even on a recording.
I think Joan is your answer, then!
Sills really gives Joan Sutherland a run for her money here!😊
As much as I love Sills' voice, I don't think Odabella was right for her. The role is not suited to her lyrica coloratura.
She's not singing the role. She's singing an aria from the opera.
Ascoltate Ghena Dimitrova
Ma per carita'.
Come si possono paragonare voci così diverse? Cerchiamo di limitarci a commentare voci dalle stesse caratteristiche, p.f. Trovo che comunque qui la Sills dimostra tutte le sue qualità di grande artista con la sua inconfondibile voce (che non sempre mi piace, intendiamoci)
Nonostante il suo non sia un timbro adatto, tecnicamente é molto agguerrita ed ha un piglio volonteroso, ma se volete capire come si canti quest'aria ascoltate la Orlandi Malaspina o meglio ancora la Maraglìano, qui non servono solo i gorgheggii, serve il piglio di una vergine guerriera con un timbro mediterraneo...
!!!!!
wei cawnay 0w+++
Is she slightly out of tune?
I think if that's your only comment, the answer wouldn't really matter...
of course, she is. Beverly specialised in being "out of tune" as only people who are gifted like you can hear! Congratulations on being a stupid complete asshole.
@@garygreen3845 hahahah 👍
Although I love Beverly Sills and admire her very much this is completely out of her league. This is the domain of the one and only great Joan Sutherland.
I've always wondered why, when you fine the definitive recording of something, you listen to anybody else. This sounds like Maria from the Sound of Music trying to sing Odabella. Sutherland's recording of this aria might be the greatest recorded 6 minutes of opera by a soprano in history. This is comedy. But then again, Sills said Norma was easy. Yes, easy if you're satisfied sounding like a mosquito.
Зиночка blah blah blah. Get a hearing aid.
Sutherlands recording of this aria is fantastic but so too is Sill's. She demonstrates that even a smaller voice can deliver the goods and give a compelling dramatic performance. Her singing is accurate and precise and without some of the coloratura failings of some others with larger voices attempting this aria. Brava.
Bite your tongue, Jonathan!
Валлах, ты и есть валлах, вислоухий рыгаллох!
Валлах, ты негодяй! Превознося свою фаворитку не смей оскорблять другую великую певицу!
Not up to it I’m afraid.