I sometimes think that her husband's musical temperament (which might at times have led him to make questionable decisions) affected her own musical codification and her ability to merge text and music or to bring life to the performance.
Magnificent instrument, but yes, troppo veloce, sung in the style of an operetta by Franz Lehar. It’s a song of hope that underlies a deep passion, none of which she is able to convey!
It's a recital...no costumes, no sets, no orchestra, so she is singing the piece out of character, as an encore, and out of context to the drama. Secondly, you didn't feel she conveyed anything, which is fine, but you aren't everybody.
@@mistersmith1883 i said magnificent technique, so yes her voice in prime condition, but it doesn’t mean much if you don’t understand true bel canto style. That tempo works for Sempre libera, of course, which she sang masterfully!
@@maxcornise7204also “Sovra il sen” and “Ah non giunge”, which are real sparklers at brisk tempi. This Norma cabaletta is certainly too fast, but she and Ricky NEVER performed it like this in the opera house (well, at least for the 15+ performances I heard them perform together). Those two understood the bel canto style quite thoroughly. Her Bellini performances-I puritani, La Sonnambula, Norma, and Beatrice de Tenda were among the most impressive of the century, which include those of you-know-who. She certainly sang many, many more of them than you-know-who, too.
It is as if he is trying to prove to the world how fast she can sing (which she can no doubt) but the whole character of the aria is totally lost - he obviously thought that was less important
I love Joan and Richard, but he really rushed the tempo in this. Of course she can "do it," but it loses it's emotional intent. I do wish the recording was more clear (audience member?), but it still captures the greatest voice in all of operatic history at its peak.
It's not because you can that you should. Lol. This is way too fast and borderline circus-y. Yes, her voice and agility are absolutely incredible but the musicality itself got lost a bit thanks to Bonynge's choices (again).
It is as if he is trying to prove to the world how fast she can sing (which she can no doubt) but the whole character of the aria is totally lost - he obviously thought that was less important
The best that will ever exist. So incredible!
She was 44 Years old here. Amazing how young she still sounds.
The size and projection were astonishing...Thank you...another wonderful jewel.
Listen to that gorgeous color of a sound!
Simply STUPENDOUS!!
Absolutely magnificent 👏👏👏👏👏 (PS when I saw the pic a few years ago, I thought it was Adele.. lol)
Wow she's really good. I'll have to start listening to her
She is one of the queens of opera..
A true dramatic coloratura soprano
Greatest pure voice ever. Not the most expressive interpreter but for sheer voice and vocal brilliance there has never been anyone better.
Legendary....La Stupenda!!! was the glory of Opera!
Ah bello!
I sometimes think that her husband's musical temperament (which might at times have led him to make questionable decisions) affected her own musical codification and her ability to merge text and music or to bring life to the performance.
Grazie per il video. Anche a me sembra un po’ veloce
Un oo veloce ...no ..eh velocicimo
Que buena voz, Oooooh👏👏👏👏👏👏!!!!
Is Mr. B at the piano? ...
Unfortunately… 🤣🤣🤣he is playing very fast!
Magnificent instrument, but yes, troppo veloce, sung in the style of an operetta by Franz Lehar. It’s a song of hope that underlies a deep passion, none of which she is able to convey!
It's a recital...no costumes, no sets, no orchestra, so she is singing the piece out of character, as an encore, and out of context to the drama. Secondly, you didn't feel she conveyed anything, which is fine, but you aren't everybody.
@@joshuamcpherson007 right about that. That’s why we all get say what we want!
Yes but encores are usually sung w the tempo sped up a little. I think she sounded great
@@mistersmith1883 i said magnificent technique, so yes her voice in prime condition, but it doesn’t mean much if you don’t understand true bel canto style. That tempo works for Sempre libera, of course, which she sang masterfully!
@@maxcornise7204also “Sovra il sen” and “Ah non giunge”, which are real sparklers at brisk tempi. This Norma cabaletta is certainly too fast, but she and Ricky NEVER performed it like this in the opera house (well, at least for the 15+ performances I heard them perform together). Those two understood the bel canto style quite thoroughly. Her Bellini performances-I puritani, La Sonnambula, Norma, and Beatrice de Tenda were among the most impressive of the century, which include those of you-know-who. She certainly sang many, many more of them than you-know-who, too.
Sometimes Bonynge pushed her too far..and this is one case...had he slowed down a bit...her ability to express would have been more evident.
Bonynge did the same in a bis, where she sang the "Quando rapito in estasi". He just want all out like a race horse.
It is as if he is trying to prove to the world how fast she can sing (which she can no doubt) but the whole character of the aria is totally lost - he obviously thought that was less important
I love Joan and Richard, but he really rushed the tempo in this. Of course she can "do it," but it loses it's emotional intent. I do wish the recording was more clear (audience member?), but it still captures the greatest voice in all of operatic history at its peak.
..is she even breathing?......go Joan!
It's not because you can that you should. Lol. This is way too fast and borderline circus-y. Yes, her voice and agility are absolutely incredible but the musicality itself got lost a bit thanks to Bonynge's choices (again).
Totally agree.
It is as if he is trying to prove to the world how fast she can sing (which she can no doubt) but the whole character of the aria is totally lost - he obviously thought that was less important