Exquisite! I never listened to Ponselle's "home" recordings, afraid that like Melba and Patti, it would show a sad decline from former greatness. Boy, was I wrong! Now I need to find the rest of her recordings from those sessions!
Rosa has imbued this beautiful art song with absolute magic! Her voice was never more gorgeous, nor more beautifully displayed. Thank you for keeping the glory of Rosa Ponselle alive for new generations.
No other soprano in history comes near the glory that was Rosa Ponselle. Her sound is heart-stopping, her singing just breath taking. Thank heavens we have her recordings to tell future generations about this goddess on earth.
I'd heard of but never heard Rosa Ponselle. Until you tube. After years of lusting after the voice of Callas, now I have a new idol: the incredible Mme. Ponselle. She never struggles to reach a pitch. Every note is like pure glass. Effortlessly she brings each note to a silvery finis. And the emotion can bring one to tears. Brava...bravissima.
I followed you like a rainbow of peace along the paths of heaven; I followed you like a friendly torch in the veil of darkness, and I sensed you in the light, in the air, in the perfume of flowers, and the solitary room was full of you and of your radiance. Absorbed by you, I dreamed a long time of the sound of your voice, and earth's every anxiety, every torment I forgot in that dreaM
bodiloto La Ponselle vocalmente é sempre eccellente e anche qui lo ha dimostrato pur lontana dal palcoscenico da tanti anni dimostra cosa significa saper cantare! Ha fiato elasticità e freschezza da vendere a 57 per giunta! Certo oggi Isoprani di 57 anni che cantano ancora non sono una rarità... Ma qualche volta invece di cantare abbaiano (e non solo i soprani) .
@bodiloto Let's not inflate things out of all reasonable proportions . It was an 18 years career , not 37 . Eighteen years in which she did sing only half as many performances as other singers ,in restricted rep .If you had wanted to say this was recorded 37 years after her operatic debut , it isn't correct either
@@Nangis123Ponselle Sang 306 operatic performances at the Met during an 18 year period, averaging about 17 a year, omitting her 3 seasons at Covent Garden, but the Met was her home base. Her restricted repertoire consisted of Traviata,15 times, Cavalleria,36, Juive17,Norma 29,Gulliame Tell 7, Chenier 16, Trovatore 17, Forza 35, Gioconda 36, Don Carlo 10, Don Giovanni 15,Carmen15, Ernani 19, Africana 35, and Aida 14. About 15 roles with about 2 or 3 less known ones.
@@sugarbist Thanks, this about the gist of it from the Met archives .You have however forgotten an important item ,galas and concerts .Currently the Met archives are a little difficult ,but the number is 88 or thereabouts . Ponselle was IMO ,first and foremost a recitalist , and the Met figure doesn't even take into account the radio concerts in which she sang mostly songs , and fewer arias An average of 17 confirms what I wrote in my comment above . Other singers , employed like her full time by the Met ,would average more than 40 performances per year ,as a rule.Singers who split the season ,singing half season at the Met and the other half in Italy , or used to sing at the Met, in Italy,and in South America , averaged about 25 performances per year .Cheers
Superb beyond mere words-song/piano played with simpatico/lovely voice and very nice visual background. What a voice: what eyes: what lips. Thank you for English sub-titles.
The Absolute Reference. the only Opera singer singing with no Opera tones, no artifacts, no vibrato, no throat voice. just the finest technique and the naturalness of a prime voice.
There are some (film) excerpts of Ms. Ponselle, in TESTing for the title role of Bizet's Carmen. Have you ever seen these? ... In any case THANKS for this upload of Rosa P, from a source.
ohhhhhhhhhhh the home recordings? what a miserable humanity!!!! why don't call rosa for a comeback to the stage! she was perfect here! or record in studio operas and recitales!!!
According to her biography, she worked very hard and allowed herself little authentic rest during her career and suffered very badly from nerves before performances...she also married late and wanted to spend time with her husband...so she decided to retire early from the Met when they did not meet her demands for a production of Adriana Lecouvreur...and a promised Hollywood career never materialized (partly due to her impossible monetary demands for a movie)...she just never got around to returning to the stage and was also troubled in retirement by serious depressions. The voice, however, remained in remarkable shape, as can be heard here and apparently even later in various private recordings.
Having written two biographies of her, I can tell you that the first one, though advertised as an “as told to” autobiography published a year after her death, was heavily edited by her estate representatives. In 1997, on the occasion of the 100th anniversary of her birth, I wrote the real story of her life and career (“Rosa Ponselle: A Centenary Biography”) using her own words to me and other interviewers, plus the testimony of those who were closest to her at each stage of her life, and all surviving documentation pertinent to the evolvement of her phenomenal career.
Recorded privately at her hom e Villa Pace in Baltimore in 1954 when she was 57 and had been singing for over 40 years -very simply pure vocal gold -THE voice of the 20th century without a doubt. At the same time she privately recorded many of the songs of Stephen Foster .
@@ronnieince4568 These were recorded professionally by RCA Victor and were issued on 2 LPs. They were indeed recorded in her private home, but they are professionally recorded.
@@michaeldelos2863 yes when do said "recorded privately "I was referring to the location -not the recording quality And could there be such a thing as a bad recording of Ponselle -never in.my book..
Andre Weinberger: Igor Chichagov accompanied her in all but a few of her 1954 LP selections. In the few others in which he did not, Ponselle accompanied herself, as in her emotional performance of “Amuri, amuri.”
Even in this informal intimate late recording Ponselle is typically aloof and almost totally lacking in true intimacy and personality. I suspect much of the worship is from Americans who idolise their own, or those they adopt (like Callas or even Caruso). It goes further than that; a singer has only made it or is of interest if he or she appeared at the Metropolitan. many are the European opera singers ignored in respected text books written by Americans. Please realise, my American friends, that there is a world outside your shores.
This is an evaluation entirely personal, to which you are always entitled. Many of us (Americans and many, many others) find Ponselle’s voice loaded with personality, as well as with every other quality one would want in a voice. And we evaluate voices by their sound, not by where the individual sang -- if we even know that history, which often we do not. As for no “true intimacy” - so...she has “false intimacy”?...no intimacy? What in the world are you trying to say? You appear to be groping for something negative to say about her. As to your second point, it may very well be that America has overlooked some other singers. As I am sure you have overlooked some also, wherever you live. But for this remark to be significant, could you please list at least ten or so who are of first-rate stature that we have allegedly overlooked? Then we can all try to correct the error of our ways.
John Pattillo Thanks so much for replying to my perhaps rather forthright opinion; I will say that my views were not about everyday American music lovers, but the establishment. I understand everything you say. We have the same thing in my native England, where English singers can do no wrong! That said, personally, I do find Ponselle's commercial records strangely sexless and lacking humanity. There is something very spooky about them almost like a machine. But, as you say, that is a personal European view. Thanks so much for taking the time to reply thoughtfully. I really mean that.
I seem to recall that Ponselle, although her career was centered at the MET had quite successful appearances in Italy and at Covent Garden (in Norma). Callas's career was mostly not in the USA. Caruso's career was indeed centered at the MET but he really was fairly international.
RCA Victor came to her home and and set up professional recording equipment in her home. So it's a 'formal' recording in that sense. There are others that Ponselle self-recorded over the years, in fairly dreadful sound, including arias. All of the Victor recordings from this period are of songs only.
The legato is spellbinding. She sings this like a prayer and result is beyond belief! It brings one to their knees.
Bellísima e inigualable 💪👏
Exquisite! I never listened to Ponselle's "home" recordings, afraid that like Melba and Patti, it would show a sad decline from former greatness. Boy, was I wrong! Now I need to find the rest of her recordings from those sessions!
Meravigliosa!!La più "moderna"delle cantanti del suo tempo.Adorata Rosa Ponselle
Rosa has imbued this beautiful art song with absolute magic! Her voice was never more gorgeous, nor more beautifully displayed. Thank you for keeping the glory of Rosa Ponselle alive for new generations.
Lewis Ashcliffe
Well said.
For me, she remains in the top rank of sopranos. There is nobody else I'd rather hear....from the time I was 11.
No other soprano in history comes near the glory that was Rosa Ponselle. Her sound is heart-stopping, her singing just breath taking. Thank heavens we have her recordings to tell future generations about this goddess on earth.
Simply vocal gold.
I'd heard of but never heard Rosa Ponselle. Until you tube. After years of lusting after the voice of Callas, now I have a new idol: the incredible Mme. Ponselle. She never struggles to reach a pitch. Every note is like pure glass. Effortlessly she brings each note to a silvery finis. And the emotion can bring one to tears. Brava...bravissima.
You are right, she is incredible. I think she is above Callas!
@@rolo6932
Callas admired Ponselle very much !
@@rolo6932We can enjoy both great sopranos
Age 57!!!!! Unbelievable!!! Gorgeous as ever was! Grazi, grazi! Brava!
Beautiful! This song guarantees its own success: It is a true masterpiece!!!
Yes, the music is beautiful by its lack of pretentiousness: the words touch anyone whose love has departed from him/her-possibly never to return.
Gorgeous! It reminded me a lot of a great aunt of mine who loved this song as much as I did, and liked the soprano Rosa Ponselle.
She recorded it in 18 October 1954. What a miracle that she have had in her 57.age so clear voice...
fenomenal...☆!
Meravigliosa voce, limpida ed appassionata !
I followed you like a rainbow of peace along the paths of heaven; I followed you like a friendly torch in the veil of darkness, and I sensed you in the light, in the air, in the perfume of flowers, and the solitary room was full of you and of your radiance. Absorbed by you, I dreamed a long time of the sound of your voice, and earth's every anxiety, every torment I forgot in that dreaM
The teacher sets by example, and what an example! Che brava!
The colour of her voice is very unique and nice to listen to.
Dopo 37 anni di una carriera gloriosa !
Che bellezza artistica infinita !
È semplicemente divina .
bodiloto La Ponselle vocalmente é sempre eccellente e anche qui lo ha dimostrato pur lontana dal palcoscenico da tanti anni dimostra cosa significa saper cantare! Ha fiato elasticità e freschezza da vendere a 57 per giunta! Certo oggi Isoprani di 57 anni che cantano ancora non sono una rarità... Ma qualche volta invece di cantare abbaiano (e non solo i soprani) .
@bodiloto Let's not inflate things out of all reasonable proportions . It was an 18 years career , not 37 . Eighteen years in which she did sing only half as many performances as other singers ,in restricted rep .If you had wanted to say this was recorded 37 years after her operatic debut , it isn't correct either
@@Nangis123Ponselle Sang 306 operatic performances at the Met during an 18 year period, averaging about 17 a year, omitting her 3 seasons at Covent Garden, but the Met was her home base. Her restricted repertoire consisted of Traviata,15 times, Cavalleria,36, Juive17,Norma 29,Gulliame Tell 7, Chenier 16, Trovatore 17, Forza 35, Gioconda 36, Don Carlo 10, Don Giovanni 15,Carmen15, Ernani 19, Africana 35, and Aida 14. About 15 roles with about 2 or 3 less known ones.
@@Nangis123FLY DOWN, then dig a pit hole and stay silent.
@@sugarbist Thanks, this about the gist of it from the Met archives .You have however forgotten an important item ,galas and concerts .Currently the Met archives are a little difficult ,but the number is 88 or thereabouts . Ponselle was IMO ,first and foremost a recitalist , and the Met figure doesn't even take into account the radio concerts in which she sang mostly songs , and fewer arias
An average of 17 confirms what I wrote in my comment above . Other singers , employed like her full time by the Met ,would average more than 40 performances per year ,as a rule.Singers who split the season ,singing half season at the Met and the other half in Italy , or used to sing at the Met, in Italy,and in South America , averaged about 25 performances per year .Cheers
Superb beyond mere words-song/piano played with simpatico/lovely voice and very nice visual background.
What a voice: what eyes: what lips.
Thank you for English sub-titles.
Wonderful
Torna Caro Ideale....
Thank you for your wonderful postings of Rosa Ponselle! What a delightful voice...
Gorgeous voice and singing. Meaningful to the lyrics!
The Absolute Reference. the only Opera singer singing with no Opera tones, no artifacts, no vibrato, no throat voice. just the finest technique and the naturalness of a prime voice.
The voice and artistry always astound me.
Thank your for posting-John
angelic voice! I was new to her singing. Must try more
Mesmerizing !
Beautiful.....
Che emozione!
BEAUTIFUL!!!!!!!!!!!!!!
meravigliosa!
Three .months ago I was right. The molten silver tones floating above. Bravissima.
So beautiful, magical
Extraordinaria
Sorry to take up so much space on you tube but to Gjilda thank you for the English lyrics. How incredibly bittersweet.
Very emotional!!!
And to think She and her sister started out in vaudeville. She obviously looked after her voice as this rendition confirms.
Wow - absolute beauty. Like Caruso !
Thanks, Tom.
Sie war nicht aus dieser Welt,nur hatte ein kurzer Besuch sie ist ewig als die stimme der Ewigkeit.Gottes Segen.
Ineffable!
a te Rene resterai nel mio cuore .....
DE LAS MÁS GRANDES SOPRANOS DEL SIGLO XX.
Magnificent! Thanks
Bis! Applause... marvelous.
Tears flow.
There are some (film) excerpts of Ms. Ponselle, in TESTing for the title role of Bizet's Carmen. Have you ever seen these? ... In any case THANKS for this upload of Rosa P, from a source.
@mradkova
Thank you for listening her.
R.
ohhhhhhhhhhh the home recordings? what a miserable humanity!!!! why don't call rosa for a comeback to the stage! she was perfect here! or record in studio operas and recitales!!!
According to her biography, she worked very hard and allowed herself little authentic rest during her career and suffered very badly from nerves before performances...she also married late and wanted to spend time with her husband...so she decided to retire early from the Met when they did not meet her demands for a production of Adriana Lecouvreur...and a promised Hollywood career never materialized (partly due to her impossible monetary demands for a movie)...she just never got around to returning to the stage and was also troubled in retirement by serious depressions. The voice, however, remained in remarkable shape, as can be heard here and apparently even later in various private recordings.
Having written two biographies of her, I can tell you that the first one, though advertised as an “as told to” autobiography published a year after her death, was heavily edited by her estate representatives. In 1997, on the occasion of the 100th anniversary of her birth, I wrote the real story of her life and career (“Rosa Ponselle: A Centenary Biography”) using her own words to me and other interviewers, plus the testimony of those who were closest to her at each stage of her life, and all surviving documentation pertinent to the evolvement of her phenomenal career.
TRAUMHAFT
Do you know what year she recorded this?
Recorded privately at her hom e Villa Pace in Baltimore in 1954 when she was 57 and had been singing for over 40 years -very simply pure vocal gold -THE voice of the 20th century without a doubt. At the same time she privately recorded many of the songs of Stephen Foster .
@@ronnieince4568 These were recorded professionally by RCA Victor and were issued on 2 LPs. They were indeed recorded in her private home, but they are professionally recorded.
@@michaeldelos2863 yes when do said "recorded privately "I was referring to the location -not the recording quality And could there be such a thing as a bad recording of Ponselle -never in.my book..
TRAUMHAFT
Who was the pianist
Andre Weinberger: Igor Chichagov accompanied her in all but a few of her 1954 LP selections. In the few others in which he did not, Ponselle accompanied herself, as in her emotional performance of “Amuri, amuri.”
what would Maria be without her..
Unerreicht. Mal schauen: Vielleicht in tausend Jahren.
Even in this informal intimate late recording Ponselle is typically aloof and almost totally lacking in true intimacy and personality. I suspect much of the worship is from Americans who idolise their own, or those they adopt (like Callas or even Caruso). It goes further than that; a singer has only made it or is of interest if he or she appeared at the Metropolitan. many are the European opera singers ignored in respected text books written by Americans. Please realise, my American friends, that there is a world outside your shores.
You re 100% right.
This is an evaluation entirely personal, to which you are always entitled. Many of us (Americans and many, many others) find Ponselle’s voice loaded with personality, as well as with every other quality one would want in a voice. And we evaluate voices by their sound, not by where the individual sang -- if we even know that history, which often we do not. As for no “true intimacy” - so...she has “false intimacy”?...no intimacy? What in the world are you trying to say? You appear to be groping for something negative to say about her.
As to your second point, it may very well be that America has overlooked some other singers. As I am sure you have overlooked some also, wherever you live. But for this remark to be significant, could you please list at least ten or so who are of first-rate stature that we have allegedly overlooked? Then we can all try to correct the error of our ways.
John Pattillo Thanks so much for replying to my perhaps rather forthright opinion; I will say that my views were not about everyday American music lovers, but the establishment. I understand everything you say. We have the same thing in my native England, where English singers can do no wrong! That said, personally, I do find Ponselle's commercial records strangely sexless and lacking humanity. There is something very spooky about them almost like a machine. But, as you say, that is a personal European view. Thanks so much for taking the time to reply thoughtfully. I really mean that.
I seem to recall that Ponselle, although her career was centered at the MET had quite successful appearances in Italy and at Covent Garden (in Norma). Callas's career was mostly not in the USA. Caruso's career was indeed centered at the MET but he really was fairly international.
Are you mental?
You do know this was informally recorded at her home... some time after she retired...
RCA Victor came to her home and and set up professional recording equipment in her home. So it's a 'formal' recording in that sense. There are others that Ponselle self-recorded over the years, in fairly dreadful sound, including arias. All of the Victor recordings from this period are of songs only.