I liked both versions. I've loved Cuberli ever since I first heard Il Viaggio a Reims. But I also liked Ms. Jicia. I like her voice and I didn't have a problem with her coloratura. It was no better or worse than Renee Fleming'in Armida at the Met.
JUST ADORE CUBERLI! Highly underrated-I know she was a "European" singer, therefore maybe a bit under U.S.A. radar-but one of the best of her time. Love her Fiordiligi on the Barenboim recording of "Cosi"! Thanks for reminding me of her artistry
Ho voluto ascoltare ...per pura curiosità:Ma che bisogno inconfessato c'è in persone di fare i Pirati della tastiera; che Traumi avete subito per mettere alla gogna il Bel canto in maniera così Maldestra... ...A parte la signora Salome Jicia che resta una volenterosa mestierante...La signora Cuberli al contrario resta una signora del Teatro lirico dove ha sempre dato il meglio...in una carriera dove è sempre stata ...una sicurezza di prestigio. Chi ha interesse a postare questi confronti di così cattivo gusto e Cattiveria...da sentirmi in Dovere di chiedere scusa ad entrambe.Non si fa così ...troppo facile. Vergognatevi.
I think the battle is long lost, nowadays nobody cares as long as it's thrilling and dramatic and everybody acts conspicuously. No, no and thrice no I do not mean we should return to stand and deliver icy vocal perfection, a glimpse of it wouldn't go amiss, but an artistic balance seems to have gone. There is far too much vague screech and wobble which is seen as "dramatic". It isn't drama it's just horrible screaming, the kind of racket which people make fun of when they deride Opera. But everybody cheers, claps and fills the seats so maybe I'm just an out of touch old dinosaur.
It’s entirely true. The stagings and antics have taken over virtually every production. The seats however are not full. It is hit miss as far as audience attendance and people are disenchanted with the clown singing and ugly modernist sets.
Cuberli was contracted to record Norma for Deutsche Grammophon under the direction of Herbert von Karajan, a project that unfortunately was aborted due to the conductor's untimely death.
She was asked, but never contracted, as far as I know from her... She was contracted to sing Contessa in Le nozze di Figaro , conducted by Karajan in Salzburg in 1990 or 1991, but he died...
Jicia is awful here, but to be fair, she isn’t any worse than Damrau, Peretyatko, Netrebko, or virtually any other modern soprano. It’s like some time in the early 2000’s, opera students heard a parody of how a female opera singer is “supposed” to sound-loud, unsubtle, heavy vibrato-and just went with it.
I liked both versions. I've loved Cuberli ever since I first heard Il Viaggio a Reims. But I also liked Ms. Jicia. I like her voice and I didn't have a problem with her coloratura. It was no better or worse than Renee Fleming'in Armida at the Met.
in comparison to Cuberli, Salome Jicia seems to walk on eggs!
Cuberly was astonishing in the Met broadcasts of Semiramide. Her coloratura was fully expressive and reminiscent of Sills.
JUST ADORE CUBERLI! Highly underrated-I know she was a "European" singer, therefore maybe a bit under U.S.A. radar-but one of the best of her time. Love her Fiordiligi on the Barenboim recording of "Cosi"! Thanks for reminding me of her artistry
Cuberli.....great voice, great singer.....first time I've heard her (to my shame)... lovely!...
Always been a fan of Cuberli, since I heard her in the 1978 recording of Trancedi. Almost 35 years ago now when I bought the records.
Stupenda la Cuberli!
FANTASTIC !!!!!!!
Ho voluto ascoltare ...per pura curiosità:Ma che bisogno inconfessato c'è in persone di fare i Pirati della tastiera; che Traumi avete subito per mettere alla gogna il Bel canto in maniera così Maldestra... ...A parte la signora Salome Jicia che resta una volenterosa mestierante...La signora Cuberli al contrario resta una signora del Teatro lirico dove ha sempre dato il meglio...in una carriera dove è sempre stata ...una sicurezza di prestigio. Chi ha interesse a postare questi confronti di così cattivo gusto e Cattiveria...da sentirmi in Dovere di chiedere scusa ad entrambe.Non si fa così ...troppo facile. Vergognatevi.
Fabulous Cuberli!!!
The comparison is glaring. The second is singing as if it is Verismo. All over the place.
I think the battle is long lost, nowadays nobody cares as long as it's thrilling and dramatic and everybody acts conspicuously. No, no and thrice no I do not mean we should return to stand and deliver icy vocal perfection, a glimpse of it wouldn't go amiss, but an artistic balance seems to have gone. There is far too much vague screech and wobble which is seen as "dramatic". It isn't drama it's just horrible screaming, the kind of racket which people make fun of when they deride Opera. But everybody cheers, claps and fills the seats so maybe I'm just an out of touch old dinosaur.
It’s entirely true. The stagings and antics have taken over virtually every production. The seats however are not full. It is hit miss as far as audience attendance and people are disenchanted with the clown singing and ugly modernist sets.
Cuberli was contracted to record Norma for Deutsche Grammophon under the direction of Herbert von Karajan, a project that unfortunately was aborted due to the conductor's untimely death.
She did a good Adalgisa instead together with Bumbry as Norma.
She was asked, but never contracted, as far as I know from her... She was contracted to sing Contessa in Le nozze di Figaro , conducted by Karajan in Salzburg in 1990 or 1991, but he died...
Holy crap! She even skips notes in the coloratura passages just to keep up with the orchestra!!!
Art Danks Where did she do that?
Coloratura di forza as Rossini wrote it? Never heard of it? Conductor: hello?!
The sopranos herself isn't that bad. But the conductor?! That is a catastrophy!
Krowa Paulinka I’ve heard much worse
Jicia is awful here, but to be fair, she isn’t any worse than Damrau, Peretyatko, Netrebko, or virtually any other modern soprano. It’s like some time in the early 2000’s, opera students heard a parody of how a female opera singer is “supposed” to sound-loud, unsubtle, heavy vibrato-and just went with it.
The top notes of the first one were not always crystal clear. The second one almost hit the notes. Please come back, Joan.
What is she singing? It’s certainly not what Rossini composed. She has no sense of the over arching line of the aria.
Bravissime entrambi...anzi la Salome è leggermente più precisa
She’s terrible