What joy! The greatest soprano of all time singing in the greatest opera of all time!! I was lucky enough to see her perform Norma along with the wonderful John Alexander at the Met in 1969. It was the the most wonderful performance of any kind that I have ever seen. Rest with the angels Joan and John. And the whole thing was made even better by the incomparable Marilyn Horn. No one today compares.
And Dame Joan’s first NORMA recording features both John Alexander as Pollione and Marilyn Horne as Adalgisa. PS: There was a new production of the opera when Horne made her Met debut, with Carlo Bergonzi and Cesare Siepi, in 1970.
@@tyxikosgatopoulos3094 Marilyn Horne made her debut in 1970 with JS in Norma. Also I don't think John Alexander sang in Norma at the MET with Sutherland.
At 52, she delivers! Not a role for the faint of heart--, arduous, intense..who will not be tired by this point?; Sutherland has stamina. Many have tried, few have succeeded. Caballe, Callas, Sutherland...different interpretations..take your pick, I am appreciative of all three for their nuances..we are not here for cookie cutter roles.
DEH! NON VOLERLI VITTIME "Deh! non volerli vittime", a ária da cena final Do 1º Ato da ópera Norma, de Bellini, traz O coro que recita: vá agora para a pira, sinal Que o seu sacrifício limpe o altar, em cartaz. Somos contra amaldiçoar alguém na morte Porque as dores do sofredor irão aumentar, Pois não devemos condenar nenhuma sorte. Norma, a alta-sacerdotisa, é de só se amar. Os tempos Covid - 19 são de muitas dores Que tudo é efêmero e o acerto de contas Vem por aí, é o Miserre dos compositores. Oportunidade rara de se olhar ao horizonte Onde luz vem a cada dia e esquecer afrontas. Mensagem inspirada em palavras do monte. (*) (*) FERNANDO PINHEIRO, presidente da Academia de Letras dos Funcionários do Banco do Brasil. - DEH! NON VOLERLI VITTIME (poesia), de Fernando Pinheiro. - in O mundo de Morfeu, de Fernando Pinheiro.
Antony Lias, you are too kind to ‘Arnie ASSHOLE Amoral.’ He isn’t worth responding to when using the costume to describe the singing and not knowing if the photo was for this performance. But you are correct that every singer has strengths and weaknesses which allows for many to interpret and subsequently record different roles. And yes, she would be tired by this time in the performance. I don’t think her character would happy over her fate of being burned alive. Does anyone have more stats on where this performance took place or who else was in the cast? Willard White was one of Julliard students Maria Callas taught.
@Antony Lias Indeed. Why just watch a video of a singer you want to criricise again and again all over YT. Yes we get it, she got it, Bonynge got it: Sutherland's diction can be really poor. So what! While I'm about it I'm also fed up with all the body-shaming of Sutherland out here on YT. Honestly trawling through the comments on a Sutherland upload is revealing about mindsets and attitudes. Enjoy it or move on. Covid-19 self-isolating rant over!
No bad diction here at all. Not exemplary, either, but perfectly adequate. I understand every word, which is not what you can say about many other performers of this role, some of whom actually did not even make the slightest effort to pronounce the words in harder phrases, turning them into meaningless vowels. Instead here phrases like "abbi di lor pietà" sound very clear and expressive, each syllable given its due dramatic weight. As for her voice, I think it sounds more aged as you would expect from a 52 years old soprano after 32 years of career, but not tired at all. It's ringing and sounds appropriately dramatic, full-toned and metallic for this scene.
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What joy! The greatest soprano of all time singing in the greatest opera of all time!! I was lucky enough to see her perform Norma along with the wonderful John Alexander at the Met in 1969. It was the the most wonderful performance of any kind that I have ever seen. Rest with the angels Joan and John. And the whole thing was made even better by the incomparable Marilyn Horn. No one today compares.
And Dame Joan’s first NORMA recording features both John Alexander as Pollione and Marilyn Horne as Adalgisa. PS: There was a new production of the opera when Horne made her Met debut, with Carlo Bergonzi and Cesare Siepi, in 1970.
@@johnpickford4222 I have it. But I think you made a mistake because Marilyn Horn was already in the Met before 1970.
@@tyxikosgatopoulos3094 Marilyn Horne made her debut in 1970 with JS in Norma. Also I don't think John Alexander sang in Norma at the MET with Sutherland.
At 52, she delivers! Not a role for the faint of heart--, arduous, intense..who will not be tired by this point?; Sutherland has stamina. Many have tried, few have succeeded. Caballe, Callas, Sutherland...different interpretations..take your pick, I am appreciative of all three for their nuances..we are not here for cookie cutter roles.
Very poignant and moving rendition. Sutherland's breath control is fantastic.
Divina e commovente
DEH! NON VOLERLI VITTIME
"Deh! non volerli vittime", a ária da cena final
Do 1º Ato da ópera Norma, de Bellini, traz
O coro que recita: vá agora para a pira, sinal
Que o seu sacrifício limpe o altar, em cartaz.
Somos contra amaldiçoar alguém na morte
Porque as dores do sofredor irão aumentar,
Pois não devemos condenar nenhuma sorte.
Norma, a alta-sacerdotisa, é de só se amar.
Os tempos Covid - 19 são de muitas dores
Que tudo é efêmero e o acerto de contas
Vem por aí, é o Miserre dos compositores.
Oportunidade rara de se olhar ao horizonte
Onde luz vem a cada dia e esquecer afrontas.
Mensagem inspirada em palavras do monte. (*)
(*) FERNANDO PINHEIRO, presidente da Academia de Letras dos Funcionários do Banco do Brasil. - DEH! NON VOLERLI VITTIME (poesia), de Fernando Pinheiro. - in O mundo de Morfeu, de Fernando Pinheiro.
She sounds tired.I think the head dress is too tight. BAD DICTION PER USUAL. Arnold Bourbon Amaral
Antony Lias, you are too kind to ‘Arnie ASSHOLE Amoral.’ He isn’t worth responding to when using the costume to describe the singing and not knowing if the photo was for this performance. But you are correct that every singer has strengths and weaknesses which allows for many to interpret and subsequently record different roles. And yes, she would be tired by this time in the performance. I don’t think her character would happy over her fate of being burned alive. Does anyone have more stats on where this performance took place or who else was in the cast? Willard White was one of Julliard students Maria Callas taught.
@Antony Lias Indeed. Why just watch a video of a singer you want to criricise again and again all over YT. Yes we get it, she got it, Bonynge got it: Sutherland's diction can be really poor. So what!
While I'm about it I'm also fed up with all the body-shaming of Sutherland out here on YT. Honestly trawling through the comments on a Sutherland upload is revealing about mindsets and attitudes. Enjoy it or move on.
Covid-19 self-isolating rant over!
No bad diction here at all. Not exemplary, either, but perfectly adequate. I understand every word, which is not what you can say about many other performers of this role, some of whom actually did not even make the slightest effort to pronounce the words in harder phrases, turning them into meaningless vowels. Instead here phrases like "abbi di lor pietà" sound very clear and expressive, each syllable given its due dramatic weight. As for her voice, I think it sounds more aged as you would expect from a 52 years old soprano after 32 years of career, but not tired at all. It's ringing and sounds appropriately dramatic, full-toned and metallic for this scene.
@@ygorcoelhos never mind. He wrote the comment before even listening.