Callas was magnificent in Vestale, but this is a wonderful reading by a marvelous artist. I feel this is not an imitation at all, despite comments to the contrary, but rather Scotto's own individual take on it.
She's really pushing her lyric voice to sound dramatic. And near the end she has to drop whole phrases to rest up for the high C. I wish she had stuck to the lyric repertoire in which she was so wonderful.
Her, Freni, Caballe, Sutherland, Price (to some degree) all tried to sound like Callas. Others succeed doing their own things (Sutherland in the French repertoire is good and Price singing Puccini and Middle era Verdi is pretty good). Scotto should've stuck to the Donna Anna's, Susanna, Countess roles. Her voice is not a voice that can bring justice to this lyric-dramatic role of Julia like Callas did.
This *is* lyric repertoire. And for 99% of it she sounds fabulous and is 100% artistic. It is not at all unusual for singers to drop a few phrases of repeated words in the coda in this style. Frankly, it is expected by today’s audiences before the final cadence. Think of “Largo al factotum” or “Sempre libera” or any of the famous cabalette. This scene is very long and taxing, and the finale with its high tessitura can test the limits of any soprano. The great Callas chose not to sing the expected (though unwritten) high C at the end in the famous 1959 Hamburg concert. Scotto had a lot to say through repertoire that some considered wrong for her. So did Beverly Sills. So did Callas. Because they were great artists. Thank goodness they didn’t stick to the “right” roles.
@@arambarsamian6312 it’s best not to respond to trolls who attack Scotto. They rarely use a normal metric and take her on her own terms. They ignore her fidelity to the markings and the words, her general accuracy (if not ease). All they use is Callas. And they pretty willfully ignore than Callas her own limitations and flaws, just like every other singer. Shardad just goes to different Scotto videos and reposts the same thing. One wonders why they bother listening to Scotto at al if she repulses him so much.
Scotto is fine if over parted here...and in nearly all her rep. All the lyrical singing is lovely and shes very musical. Gotta give props to Maestro Gui AGAIN. Love everything ive heard from him.
@@fabriziogarzi9892 la Gencer quando cantava teneva il teatro nelle mani, alla Scottina se la beveva a bocca chiusa..... Ricordo quando ascoltai la Gencer in Norma, nel '65...... Cantava con il sangue nella voce, quanto ho pianto quella sera....
She has a beautiful voice but she couldn’t handle this... she tried so many times to do roles the way callas did, you can se Don Carlo, Gioconda and she always tried to sound like Callas but it was too much for her!
Brava Scotto!!
nobody can double Callas as la Vestale!
Callas was magnificent in Vestale, but this is a wonderful reading by a marvelous artist. I feel this is not an imitation at all, despite comments to the contrary, but rather Scotto's own individual take on it.
She's really pushing her lyric voice to sound dramatic. And near the end she has to drop whole phrases to rest up for the high C. I wish she had stuck to the lyric repertoire in which she was so wonderful.
Her, Freni, Caballe, Sutherland, Price (to some degree) all tried to sound like Callas. Others succeed doing their own things (Sutherland in the French repertoire is good and Price singing Puccini and Middle era Verdi is pretty good).
Scotto should've stuck to the Donna Anna's, Susanna, Countess roles. Her voice is not a voice that can bring justice to this lyric-dramatic role of Julia like Callas did.
@@deadwalke9588 Even Donna Anna I feel is too heavy for her natural lyric voice. Zerlina would be perfect.
lol. this coming from a devoted Callas fan eh? Shouldn't Maria have stuck to coloratura as well? Renata Scotto just did the same thing.
This *is* lyric repertoire. And for 99% of it she sounds fabulous and is 100% artistic. It is not at all unusual for singers to drop a few phrases of repeated words in the coda in this style. Frankly, it is expected by today’s audiences before the final cadence. Think of “Largo al factotum” or “Sempre libera” or any of the famous cabalette.
This scene is very long and taxing, and the finale with its high tessitura can test the limits of any soprano. The great Callas chose not to sing the expected (though unwritten) high C at the end in the famous 1959 Hamburg concert.
Scotto had a lot to say through repertoire that some considered wrong for her. So did Beverly Sills. So did Callas. Because they were great artists. Thank goodness they didn’t stick to the “right” roles.
@@arambarsamian6312 it’s best not to respond to trolls who attack Scotto. They rarely use a normal metric and take her on her own terms. They ignore her fidelity to the markings and the words, her general accuracy (if not ease). All they use is Callas. And they pretty willfully ignore than Callas her own limitations and flaws, just like every other singer.
Shardad just goes to different Scotto videos and reposts the same thing. One wonders why they bother listening to Scotto at al if she repulses him so much.
She sings this difficult scena well despite a voice that is too light for this role.
Scotto is fine if over parted here...and in nearly all her rep. All the lyrical singing is lovely and shes very musical. Gotta give props to Maestro Gui AGAIN. Love everything ive heard from him.
Renata Scotto, frente a uno de los roles más potentes de Callas, con similar bravura y su Voz bella tan personal.
La Scottina si risparmia nelle ultime battute dell'Allegro conclusivo per poi emettere un Do acuto stridulo e piuttosto inelegante.
Il pubblico infatti reagì freddamente..... A ognuno il suo!!
@@fabriziogarzi9892 la Gencer quando cantava teneva il teatro nelle mani, alla Scottina se la beveva a bocca chiusa.....
Ricordo quando ascoltai la Gencer in Norma, nel '65...... Cantava con il sangue nella voce, quanto ho pianto quella sera....
@@fabriziogarzi9892 Anche Muti fece piangere parecchio.....
She has a beautiful voice but she couldn’t handle this... she tried so many times to do roles the way callas did, you can se Don Carlo, Gioconda and she always tried to sound like Callas but it was too much for her!
what a train wreck. a Mosquito drowned by the Orchestra. the bitter Callas wanna be