How was this woman not a super-star like Cossutto and Ludwig and Verrett? If I were rich, i would send this woman diamonds and gold. A voice from God, matched with intelligence and awesome technique
she has had a marvelous and long career filled with great performances in great places. by her own choice she has concentrated more on lieder and recitals than on grand opera. And as an example 101 performances at the metropolitan over 20 years is not chopped liver. she just never played the public relations game...I am glad you enjoy her singing as I do. And I promise you, she is not unhappy at all about her career.
@@tomsalmon6334 Friend, you do know black opera singers were encouraged and/or told, by the powers that be, to concentrate "more on lieder and recitals than on grand opera" while their white counterparts were told the opposite. Did she tell you that was her choice and not encouraged by her teachers to choose that course? I'm black and would love to hear her tell me face to face why she really leaned "more on lieder and recitals than on grand opera". I don't accept what you said unless she told me the same face to face. There are things a black person will only tell another black person. Her kindness and goodness are all genuine but believe her real story is different from what you suggest.
@@tomsalmon6334 Simon Estes in an interview, I have recorded, said and I'm paraphrasing, if you have two operatic singers (black & white). Both voices are equal the white one would be chosen. If you have two singers (black & white) black voice is twice as good as the the white voice the white singer would be chosen. However, if you have two singers (black & white) the black voice is by far the superior to the white voice the black singer would be chosen but paid less. I haven't heard anything about what's going on from the 1990's to the present. Hopefully, this savage action is long gone.
@@Jake-nk4wg James Levine encouraged and chose for engagements more than a dozen very, very fine young black singers, including Quivar. And many black singers of Quivar’s generation, Roberta Alexander,Simon Estes, and Barbara Hendricks among them, were very busy in Europe.
@@liedersanger1 Was sharing information gotten (paraphrase) from Simon Estes' interview and I have the video recording. It was not George Shirley as I first noted but Simon Estes so I corrected. Thanks for keeping me "on my toes" and I don't wish to give out false information. Now, you are welcome to contact and debate Simon Estes about the experiences of black opera singers; he knows firsthand as to who was paid what and how much (he was there). You may find his accurate comment in the recording, "Aida's Brothers and Sisters" (great lessons in music history). I have the video tape and dvd. Black artists of all genre especially opera, have always gone, had to go to Europe and was readily accepted and welcomed by but not their own country "land of the free, home of the brave". Glad you mentioned the great James Levine; this great director came long after 1955, so, that (respectfully) negates one of your statements. He was director of the Metropolitan Opera from 1976 to 2016 and terminated from all his positions and affiliations with the Met on March 12, 2018 over sexual misconduct allegations; which he denied. Marian Anderson, the first black opera singer ever to perform at the Met, was not permitted there until 1955 and well after her prime (they were not even permitted to audition no matter the talent and training; skin color was the problem). No black opera singer, and there were many great ones (1800's to 1955), was permitted to perform there until the year 1955; three weeks later in 1955 Robert McFerrin was finally permitted to join the Met in the role of Amonasro (first black male). An amazing baritone voice!! Thanks for the communication!!! :)
It is an amazing voice to hear in person! I have been to several of her performances in the past and sat near the stage. The overtones of her voice in person is awesome. Recordings never really give you the full effect of what the human voice sounds like in person.
Good God from On High. Three notes and I am already trembling and welling up. She's wholly committed to this text, and not just showing off the voice. Compelling and beautiful as always. That's why I love her so much. BRAVA, FLORENCE!!!!!!!!!!!!!!!!!!!!!!!!!!!
It's clear to both the eye and ear that Miss Quivar sings with full emotion. Amazing, too, how her facial expressions underscore the emotion. A wonderful singer whose talent I was not aware of, since I've been away from the classics for quite sometime.
She is truly amazing. Have always thought that she should have been won of the stars you speak about when you say Mezzo. If I were a mezzo I would want this sound!!!
Wonderful, spine-chilling, especially at both entries of the "Judex ergo"! And what a facial expression to go with the singing! No one could do this better!
Well said. Most “ lyric mezzos” are sopranos without high notes with low registers that are nothing to write home about. Won’t mention names but many go on and have very successful careers.
oh wow... i do know what you mean. It seems as though she is the last of that old fashioned voice. I know of no other mezzo that has it. Its almost as if the sound isnt coming from her mouth but through her soul. you know... She's a mezzo with this rich and creamy bottom but oh my when she soars into her top, its clearer than most sopranos. and unlike most mezzos the timbre matches through the entire voice. what lucky students she has!!! but you may not be abble to teach that.
Florence Quivar's voice is just PERFECT!!! Finally a singer who really sings this part instead of yelling it. Quivar has such an incredible instrument. Perfect notes from the great lows to those amazing, ringing highs; better then quite a few soprano highs, might I add....Though that is just my personal opinion. Thank you for posting. Can you tell me if there is a full video of this full Verdi Requiem performance? I would love to see/hear this full concert.
I believe this is Muti/Philadelphia at the Cathedral of Sts Peter & Paul. If so, I'm in the choir. Quivar was a substitution, because the other mezzo was under personal contract to Karajan. Quiver showed up in a cab with two dresses, asking which color they wanted. Such a pro.
I had the distinct pleasure of hearing Ms. Quivar sing in this work with the Houston Symphony back in the late 1980's, and she was superb! The other soloists were soprano Alessandra Marc and bass Paul Plishka. I cannot now recall who the tenor was, sorry to say.
Ms Quivar’s voice has remarkable richness! Her high, middle and lower registers are equally impressive! She sings with strength, power, brilliance and beauty. Her sound technique and confident delivery are perfect for this performance!!
I saw her sing this live. Her spirituals are just the best out there. Only Jessye Norman is in her league in this piece And she also has all those rich low mezzo notes.
Powerful stuff. Proper for judgement day. Nice also to see a young Muti. Factoid: I've noticed that she makes a mistake with the text: instead than "unde mundus iudicetur" she says the second time "unde mundus remanebit". Remanebit belongs to a later line ("nil inultum remanebit").
I have to say, the more I watch Florence the more I am a convert that she is a Goddess. Not Cossoto nor Ludwig nor even Shirley who is my darling can come close in terms of dramatic effect mixed with THE VOICE. Special. Truly Special. Now go watch her do 'Don Fatale'...........DAAAAAMN
@@golden-63 Friend, those are sopranos you named not mezzo-sopranos who made their careers as mezzos but could sing soprano; only two allowed at a time. At one time only one was allowed. George Shirley, operatic tenor, said and I'm paraphrasing, if you have two operatic singers (black & white). Both voices are equal the white one would be chosen. If you have two singers (black & white) black voice is twice as good as the the white voice the white singer would be chosen. However, if you have two singers (black & white) the black voice is by far the superior to the white voice the black singer would be chosen but paid less.
@@1393PVWWO You are right Mr. Lawrence; color of skin definitely had a lot to do with everything. George Shirley, operatic tenor, said and I'm paraphrasing, if you have two operatic singers (black & white). Both voices are equal the white one would be chosen. If you have two singers (black & white) black voice is twice as good as the the white voice the white singer would be chosen. However, if you have two singers (black & white) the black voice is by far the superior to the white voice the black singer would be chosen but paid less.
She didnt really ever go into that heavy dramatic Verdi stuff. There is a a video of Don Fatale ua-cam.com/video/8DxMMErJSd0/v-deo.html but I dont think she ever sang the role (nor Amneris or Azucena)
How was this woman not a super-star like Cossutto and Ludwig and Verrett? If I were rich, i would send this woman diamonds and gold. A voice from God, matched with intelligence and awesome technique
she has had a marvelous and long career filled with great performances in great places. by her own choice she has concentrated more on lieder and recitals than on grand opera. And as an example 101 performances at the metropolitan over 20 years is not chopped liver. she just never played the public relations game...I am glad you enjoy her singing as I do. And I promise you, she is not unhappy at all about her career.
@@tomsalmon6334
Friend, you do know black opera singers were encouraged and/or told, by the powers that be, to concentrate "more on lieder and recitals than on grand opera" while their white counterparts were told the opposite. Did she tell you that was her choice and not encouraged by her teachers to choose that course?
I'm black and would love to hear her tell me face to face why she really leaned "more on lieder and recitals than on grand opera". I don't accept what you said unless she told me the same face to face. There are things a black person will only tell another black person.
Her kindness and goodness are all genuine but believe her real story is different from what you suggest.
@@tomsalmon6334
Simon Estes in an interview, I have recorded, said and I'm paraphrasing, if you have two operatic singers (black & white). Both voices are equal the white one would be chosen. If you have two singers (black & white) black voice is twice as good as the the white voice the white singer would be chosen. However, if you have two singers (black & white) the black voice is by far the superior to the white voice the black singer would be chosen but paid less.
I haven't heard anything about what's going on from the 1990's to the present. Hopefully, this savage action is long gone.
@@Jake-nk4wg James Levine encouraged and chose for engagements more than a dozen very, very fine young black singers, including Quivar. And many black singers of Quivar’s generation, Roberta Alexander,Simon Estes, and Barbara Hendricks among them, were very busy in Europe.
@@liedersanger1
Was sharing information gotten (paraphrase) from Simon Estes' interview and I have the video recording. It was not George Shirley as I first noted but Simon Estes so I corrected. Thanks for keeping me "on my toes" and I don't wish to give out false information. Now, you are welcome to contact and debate Simon Estes about the experiences of black opera singers; he knows firsthand as to who was paid what and how much (he was there). You may find his accurate comment in the recording, "Aida's Brothers and Sisters" (great lessons in music history). I have the video tape and dvd.
Black artists of all genre especially opera, have always gone, had to go to Europe and was readily accepted and welcomed by but not their own country "land of the free, home of the brave". Glad you mentioned the great James Levine; this great director came long after 1955, so, that (respectfully) negates one of your statements. He was director of the Metropolitan Opera from 1976 to 2016 and terminated from all his positions and affiliations with the Met on March 12, 2018 over sexual misconduct allegations; which he denied.
Marian Anderson, the first black opera singer ever to perform at the Met, was not permitted there until 1955 and well after her prime (they were not even permitted to audition no matter the talent and training; skin color was the problem). No black opera singer, and there were many great ones (1800's to 1955), was permitted to perform there until the year 1955; three weeks later in 1955 Robert McFerrin was finally permitted to join the Met in the role of Amonasro (first black male). An amazing baritone voice!!
Thanks for the communication!!! :)
It is an amazing voice to hear in person! I have been to several of her performances in the past and sat near the stage. The overtones of her voice in person is awesome. Recordings never really give you the full effect of what the human voice sounds like in person.
I wish I have had an opportunity to witness/hear in person as well. Luckily you...
The color of her voice is magnificent and certainly under-rated Gorgeous!
This is what a mezzo should be strong , full , pharyngeal and well developed in all registers
Good God from On High. Three notes and I am already trembling and welling up. She's wholly committed to this text, and not just showing off the voice. Compelling and beautiful as always. That's why I love her so much. BRAVA, FLORENCE!!!!!!!!!!!!!!!!!!!!!!!!!!!
It's clear to both the eye and ear that Miss Quivar sings with full emotion. Amazing, too, how her facial expressions underscore the emotion. A wonderful singer whose talent I was not aware of, since I've been away from the classics for quite sometime.
She is truly amazing. Have always thought that she should have been won of the stars you speak about when you say Mezzo. If I were a mezzo I would want this sound!!!
She is one of the most exciting and deep singers of my lifetime - and here you can see why
God, I would love to see the full performance!
Sue is one of the greatest mezzos I've ever heard! Live her coice!
Wonderful, spine-chilling, especially at both entries of the "Judex ergo"! And what a facial expression to go with the singing! No one could do this better!
I wish more singers were taught that old fashioned technique.
It is wonderful to hear a real mezzo-soprano, not a soprano who cannot sing high notes anymore.
Yes!!!!!
Well said. Most “ lyric mezzos” are sopranos without high notes with low registers that are nothing to write home about. Won’t mention names but many go on and have very successful careers.
Such a mezzophobic thing to say. Mezzos are not lesser sopranos
@@joseabraham8038 Exactly!!
Thank you so much for sharing this amazing rendition, what with her voice and Riccardo Muti's conducting I am really shattered.
Amazing technique and What a chest voice!!!! Thank you for posting it. A little treasure in the middle of an ocean of mediocrity.
oh wow... i do know what you mean. It seems as though she is the last of that old fashioned voice. I know of no other mezzo that has it. Its almost as if the sound isnt coming from her mouth but through her soul. you know... She's a mezzo with this rich and creamy bottom but oh my when she soars into her top, its clearer than most sopranos. and unlike most mezzos the timbre matches through the entire voice. what lucky students she has!!! but you may not be abble to teach that.
wedidntknow Spot on !!!
I absolutely LOVE this voice. Gorgeous !!!!
Florence Quivar's voice is just PERFECT!!! Finally a singer who really sings this part instead of yelling it. Quivar has such an incredible instrument. Perfect notes from the great lows to those amazing, ringing highs; better then quite a few soprano highs, might I add....Though that is just my personal opinion. Thank you for posting. Can you tell me if there is a full video of this full Verdi Requiem performance? I would love to see/hear this full concert.
I cannot get enough of this!
Superb! I agree she should have had a bigger career. I love everything she sings.
This is how a big natural vibrato sounds like! (0 wobble)
And stellar velvety timbre and secure everything...
Even that is an understatement... This woman was a gift from the gods.
I believe this is Muti/Philadelphia at the Cathedral of Sts Peter & Paul. If so, I'm in the choir. Quivar was a substitution, because the other mezzo was under personal contract to Karajan. Quiver showed up in a cab with two dresses, asking which color they wanted. Such a pro.
Curious to know who the other mezzo was, if you remember. Either way, Quivar would have been my choice.
@@JaySmith-rw5kj Agnes Baltsa.
@@presbyterosBassI Thank you! Very interesting.
I had the distinct pleasure of hearing Ms. Quivar sing in this work with the Houston Symphony back in the late 1980's, and she was superb! The other soloists were soprano Alessandra Marc and bass Paul Plishka. I cannot now recall who the tenor was, sorry to say.
Ms Quivar’s voice has remarkable richness! Her high, middle and lower registers are equally impressive! She sings with strength, power, brilliance and beauty. Her sound technique and confident delivery are perfect for this performance!!
And very criminally underrated
Quivar had a spectacular instrument! Sheer beauty and power!!!
Stunning, what a fabulous interpreter and magnificent voice. A fine singer who is worthy to stand beside the greatest mezzo- sopranos in this part.
I saw her sing this live. Her spirituals are just the best out there. Only Jessye Norman is in her league in this piece And she also has all those rich low mezzo notes.
this is freakishly great!!!
The best performance of this piece I've ever heard....Florence is magnicfiecent. Do you have anymore video from this concert?
CRIMINALLY UNDERRATED
magistrale interprétation !
100% agree with you!
Beautiful voice and a nice person too.
This is such good singing! What a voice
A very rare voice, but oh! What a fabulous instrument!!!!
What a voice!!!!!!
I heard Ms. quivar at Carnegie Hall with Robert Shaw(his last performance) in the Verdi Requiem. She was remarkable!!!
Even from top to glorious bottom. One of the greatest of all time, truly. And a very nice lady.
ESTE VIDEO E MARAVILHOSO, ONDE CONSEGUIR A GRAVAÇÃO COMPLETA? QUIVAR E MARAVILHOSA!! BRAVO!
A mezzo with squillo.
BLESS.
I know amazing - so much ping in her voice. I have seldom heard this so extraordinarily well sung. And what a timbre she had........
Amazing voice...
Amazing!!!!
I wish they had her Lacrimosa up here!
She was also one of the finest Ebolis I've ever heard.
wonderful
Ms. Quivar does full justice to one of the greatest and most demanding mezzo arias Verdi ever wrote.
Are you talking about this Liber Scriptus? It's not a difficult piece at all.
(Florence has an amazing voice and sings it incredibly.)
Qué voz maravillosa.
Powerful stuff. Proper for judgement day. Nice also to see a young Muti.
Factoid: I've noticed that she makes a mistake with the text: instead than "unde mundus iudicetur" she says the second time "unde mundus remanebit". Remanebit belongs to a later line ("nil inultum remanebit").
I have to say, the more I watch Florence the more I am a convert that she is a Goddess. Not Cossoto nor Ludwig nor even Shirley who is my darling can come close in terms of dramatic effect mixed with THE VOICE. Special. Truly Special. Now go watch her do 'Don Fatale'...........DAAAAAMN
Faaa! El mejor liber Scriptus !! Que versión impecable!!
Where was this? Where can I find the full video?
Hey handsome.
Magnificent
BRAVAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAA!
Great performance. Florence is one of the greatests. Do I see Italian soprano Katia Ricciarelli behind her?
OMG - Sheer beauty- a real mezzo luscious.
Bravaaaaa!!!!!
So badly underrated
where did you guys perform together?
Fantastic, why is she not up there with Grace Bumbry and Shirley Verrett?
Only two blacks allowed.
@prolong: Did you forget about Leontyne Price , Martina Arroyo, Jesse Norman, Kathleen Battle, Denyce Graves, etc?
@@golden-63
Friend, those are sopranos you named not mezzo-sopranos who made their careers as mezzos but could sing soprano; only two allowed at a time. At one time only one was allowed.
George Shirley, operatic tenor, said and I'm paraphrasing, if you have two operatic singers (black & white). Both voices are equal the white one would be chosen. If you have two singers (black & white) black voice is twice as good as the the white voice the white singer would be chosen. However, if you have two singers (black & white) the black voice is by far the superior to the white voice the black singer would be chosen but paid less.
@BellePaix I don't think by the time Florence Quivar came on the scene her skin colour would have held her back one iota. :)
jd7x7jd It’s sad to say but that is untrue.
@@1393PVWWO
You are right Mr. Lawrence; color of skin definitely had a lot to do with everything.
George Shirley, operatic tenor, said and I'm paraphrasing, if you have two operatic singers (black & white). Both voices are equal the white one would be chosen. If you have two singers (black & white) black voice is twice as good as the the white voice the white singer would be chosen. However, if you have two singers (black & white) the black voice is by far the superior to the white voice the black singer would be chosen but paid less.
I want to hear her sing O Don Fatale in her prime like this!! Does anybody know where I can hear that? Did she record Eboli??
She didnt really ever go into that heavy dramatic Verdi stuff. There is a a video of Don Fatale ua-cam.com/video/8DxMMErJSd0/v-deo.html
but I dont think she ever sang the role (nor Amneris or Azucena)
Acacia Bloom She did sing Eboli. I saw her sing it at Seattle Opera in 1993. Amazing.
Magnificent