so many singers born in 1900-1920 is so underrated and almost forgotten, except probably for Milanov. This include Maria Pedrini. The probable reason is they are outshine by Ponselle, Tebaldi, & especially Callas. Callas career outshine Mancini & Cerquitti, although, in my very own opinion, these three are interchangeable, although Mancini had a darker voice. Anyway, my point is not to underestimate Callas. Callas is a legend, but hollywood seems stuck in using her voice for every "opera included" background music. lol. Especially that La Mamma Morta playing in one of movies of Washington. They can use Bruna Rasa or Pedrini, why it is always Callas? Lol
Bruna Rasa's life was truly a tragic one. From a vocal analysis standpoint, it would have been fascinating had she been able to persist longer. Her use of the chest register is so aggressive. I wonder if she would've lasted.
@@alexanderskarin9895 I agree that chest is important, but I have never heard anyone drag it up so high so consistently. Not even Caballe in Ballo or Tebaldi in Gioconda.
@ER1CwC Precisely, that is what makes it so exciting. Bruna Rasa had so much chest participation in her voice and her coordinated chest voice was impeccable. Mascagni considered her the best Santuzza he'd ever heard.
There's an opera legend that she was released from a mental institution in order to make the commercial recording with Gigli. I wonder if that is true?
@@matOpera There is nothing in my cd booklet, but a lot of information on Wikipedia. She started having mental problems in the early 1930's. Shortly after this live performance she went into a mental asylum. She made the commercial recording in 1940. Gino Bechi - the baritone in that recording - said that during the recording sessions she imagined there were white horses in the wings waiting to take her away! But curiously - as soon as she started to sing she became completely lucid. Her last live performance was in 1942 and she spent the last 36 years of her life in mental institutions.
![Callas as Lucia - Act 1 aria + duet (LIVE ‘STEREO’ Sound) [1956]](http://i.ytimg.com/vi/-9l8SsaB_lQ/mqdefault.jpg)
![Callas as Lucia — Act 1 aria + duet (LIVE ‘STEREO’ Sound) [1956]](/img/tr.png)
![Signore, ascolta (Vishnevskaya) & Non piangere (Corelli) - 1964 La Scala [BEST SOUND]](http://i.ytimg.com/vi/aunokYAvpwQ/mqdefault.jpg)
Great soprano. Great aria. Great composer❤
Divina .
❤
So sad to hear her career was so tragically cut short! At least we have this glorious example of her talent.
Mascagni's definitive Santuzza indeed! 👏👏👏
Thank you for posting this, giving us all the opportunity to hear past all the static, etc. that interfered with the recordings from this era.
I’m glad you enjoyed! The original recording was thankfully already excellent for a live broadcast from 1938.
so many singers born in 1900-1920 is so underrated and almost forgotten, except probably for Milanov. This include Maria Pedrini. The probable reason is they are outshine by Ponselle, Tebaldi, & especially Callas. Callas career outshine Mancini & Cerquitti, although, in my very own opinion, these three are interchangeable, although Mancini had a darker voice.
Anyway, my point is not to underestimate Callas. Callas is a legend, but hollywood seems stuck in using her voice for every "opera included" background music. lol. Especially that La Mamma Morta playing in one of movies of Washington. They can use Bruna Rasa or Pedrini, why it is always Callas? Lol
Bruna Rasa's life was truly a tragic one.
From a vocal analysis standpoint, it would have been fascinating had she been able to persist longer. Her use of the chest register is so aggressive. I wonder if she would've lasted.
With the right technique she would. The use of her chest voice may seem aggressive, but is visceral and exciting - they way opera should be
@@alexanderskarin9895 I agree that chest is important, but I have never heard anyone drag it up so high so consistently. Not even Caballe in Ballo or Tebaldi in Gioconda.
@ER1CwC Precisely, that is what makes it so exciting. Bruna Rasa had so much chest participation in her voice and her coordinated chest voice was impeccable. Mascagni considered her the best Santuzza he'd ever heard.
Agnes Baltsa used it just as much. And as high.@@ER1CwC
4:04
She and the composer seem to have different ideas about tempo.
From what I’ve read, Mascagni took slower and slower tempi in _Cavalleria_ the older he got. Needless to say, the singers found it challenging.
Although, funnily enough, Bruna Rasa seems to be the one dragging here.
There's an opera legend that she was released from a mental institution in order to make the commercial recording with Gigli. I wonder if that is true?
Now that you mention it, I vaguely remember reading something similar. It may be worth checking the CD insert. I should have it somewhere.
@@matOpera There is nothing in my cd booklet, but a lot of information on Wikipedia. She started having mental problems in the early 1930's. Shortly after this live performance she went into a mental asylum. She made the commercial recording in 1940. Gino Bechi - the baritone in that recording - said that during the recording sessions she imagined there were white horses in the wings waiting to take her away! But curiously - as soon as she started to sing she became completely lucid. Her last live performance was in 1942 and she spent the last 36 years of her life in mental institutions.
Why so many GOOD sopranos of the past struggle with the high notes in this piece. Litterally 90% of them are flat up there.
She's great nonetheless