Thank you for sharing this great presentation of the origins and evolution of the Lucia cadenza. I am putting together a video compilation myself for my channel of sopranos who pass on these more-or-less standard cadenzas, and choose to take the cadenza in a more unusual direction entirely, or to alter Marchesi's foundation considerably. Your video was helpful as some background research and I will link back to it from mine as a reference point. I would add that Estelle Liebling, the soprano who was a student of Marchesi's and also teacher of Beverly Sills, published her "Book of Coloratura Cadenzas" in 1943. It's chock full of ornaments, cuts, and cadenza options for all the major coloratura soprano arias and concert pieces. She writes in the introduction that she compiled all of these from singers of the Patti, Melba, Tetrazzini era, and from her own studies with Marchesi. Liebling includes three flute cadenzas for the Lucia mad scene that seem to follow Marchesi's very closely, but she breaks each of the three down into sections with letters (A, B, C, etc.), Doing this, she writes, "enables the singer to choose and combine the passages she prefers" -- so it sort of cadenza DIY mix-and-match approach!
Fascinating history on this!! I have wondered for YEARS where the tradition originated and about its many alterations over the years, so this is much appreciated. Another interesting one was Sills. Very similar to Sutherland's but with yet additional variations.
@Barone Vitellio Scarpia Callas is by far my favorite as well. And I agree that Sills had no core. But I think the main reason I liked her Lucia so much was because in spite of the lightness / brightness of her voice, she still managed to capture the mental state of Lucia, with great vocal expression and drama, plus the virtuosity. I felt she far excelled Sutherland in her dramatic understanding of the role, and effectively used the type of voice she had to do that. But of course, the pinnacle will always be La Callas.
Excepcional documento !!!! Impresionante viendo la partitura y escuchando a esas divas se transporta el alma hacia la más pura contemplación. Muchas Gracias !!!!!
In my opinion Toti Dal Monte's cadenza is the most perfect. The clearness of her voice is astonishing as well as the pureness of the high notes which are never harsh to your ear. And the last Eb note is unique. Just wonderful.
Melba 's is not exactly the same. Her first phrase she sings a D not an F and some of the articulations that are staccato she holds longer. Also she doesn't sing the triplet pattern as written. A great collection however. Every diva makes it her own.
No one has surpassed Tetrazzini’s staccato. Interesting that Toti dal Monte’s version is the first to have the voice and flute change directions at one point (which everybody will recognize but is hard to describe verbally). This variation is almost always heard now. Is there anything in the original score, or does it just indicate ‘cadenza’?
Caballe sings something close to what is written in the Riccordi score (but in the higher key, oddly). The cadenza as usual is set to a V or V7 chord: whereas the written high note in the score is on the 7th, Caballe goes up to the root. You’ll know what I mean when you hear it.
Many gangous voices, dull, without sharpness, and poor technique (they sound like chicken) the best for my taste are: Tetrazzini, dal Monte, and Callas. Dame Sutherland has great technique, but I don't like his pit-swallowed voice.
bravo,a interesting episode of bel canto's history.Donizzetti wrote for a rare instrument glassa armonica.
Thank you for sharing this great presentation of the origins and evolution of the Lucia cadenza. I am putting together a video compilation myself for my channel of sopranos who pass on these more-or-less standard cadenzas, and choose to take the cadenza in a more unusual direction entirely, or to alter Marchesi's foundation considerably. Your video was helpful as some background research and I will link back to it from mine as a reference point. I would add that Estelle Liebling, the soprano who was a student of Marchesi's and also teacher of Beverly Sills, published her "Book of Coloratura Cadenzas" in 1943. It's chock full of ornaments, cuts, and cadenza options for all the major coloratura soprano arias and concert pieces. She writes in the introduction that she compiled all of these from singers of the Patti, Melba, Tetrazzini era, and from her own studies with Marchesi. Liebling includes three flute cadenzas for the Lucia mad scene that seem to follow Marchesi's very closely, but she breaks each of the three down into sections with letters (A, B, C, etc.), Doing this, she writes, "enables the singer to choose and combine the passages she prefers" -- so it sort of cadenza DIY mix-and-match approach!
VERY interesting! Do you know if Liebling's book is still in print and available? I wonder how much of it Sills must have used.
That was an excellent and fascinating video!
I need more videos like this, I do not know why, but I just do
Fascinating history on this!! I have wondered for YEARS where the tradition originated and about its many alterations over the years, so this is much appreciated. Another interesting one was Sills. Very similar to Sutherland's but with yet additional variations.
@Barone Vitellio Scarpia Callas is by far my favorite as well. And I agree that Sills had no core. But I think the main reason I liked her Lucia so much was because in spite of the lightness / brightness of her voice, she still managed to capture the mental state of Lucia, with great vocal expression and drama, plus the virtuosity. I felt she far excelled Sutherland in her dramatic understanding of the role, and effectively used the type of voice she had to do that.
But of course, the pinnacle will always be La Callas.
Callas sounds so like a theremin around 12:52 it's almost uncanny
Thank you Marx for educating me on these various cadenza's. The ones sung by Siems and Sembrich are a first for me.
Excepcional documento !!!! Impresionante viendo la partitura y escuchando a esas divas se transporta el alma hacia la más pura contemplación. Muchas Gracias !!!!!
It is absolutely fantastic! How wonderfull. Thank you for posting this.
In my opinion Toti Dal Monte's cadenza is the most perfect. The clearness of her voice is astonishing as well as the pureness of the high notes which are never harsh to your ear. And the last Eb note is unique. Just wonderful.
We want more "documentarys" about opera.
Melba has a great trill! For me it’s only Melba, Tetrazzini and Callas.
Super interesting!!! Congratulations, good job!!
Sutherland and, one not heard here, Galli-Curci are both virtuosi beyond compare.
Amazing!!! Thanks!
Great video.
Bravo. did Pagliughi and Galli Curci use Melba's or did Pagulighi use Toti del Monte's as she was the main coloratura Italy after del Monte?
Melba 's is not exactly the same. Her first phrase she sings a D not an F and some of the articulations that are staccato she holds longer. Also she doesn't sing the triplet pattern as written. A great collection however. Every diva makes it her own.
Very interesting!
Thanks
.....love the Callas, but would prefer the final Eb in tune (as Sutherland was)
😎😎😎
No one has surpassed Tetrazzini’s staccato. Interesting that Toti dal Monte’s version is the first to have the voice and flute change directions at one point (which everybody will recognize but is hard to describe verbally). This variation is almost always heard now. Is there anything in the original score, or does it just indicate ‘cadenza’?
Caballe sings something close to what is written in the Riccordi score (but in the higher key, oddly). The cadenza as usual is set to a V or V7 chord: whereas the written high note in the score is on the 7th, Caballe goes up to the root. You’ll know what I mean when you hear it.
Interesante
Sutherland es lo más!!!!
Me quedo con la versión de joan Sutherland…
Many gangous voices, dull, without sharpness, and poor technique (they sound like chicken) the best for my taste are: Tetrazzini, dal Monte, and Callas. Dame Sutherland has great technique, but I don't like his pit-swallowed voice.
Imagine judging someone based on a recording in wich even the flute souds distorted 🤡🤣