thank you again for spoting this for me... I would never had imagined that Simionato would be singing this C6 at studio and not live... I was looking all my live Trovatores
@@LohengrinO Did you know that Horne also sings the C6 in her recording with Sutherland and Pavarotti? Well, she touches on it very briefly but it is there....
@@jmiller05 have you heard her Amneris in pirate recording? everybody else sings and at the back, inaudible, you imagine Horne singing... the price of being overrated and no one telling you you are ridiculous
Giulietta la mezzo que se ganó mí corazón! En el siglo pasado reinaron las grandes mezzo... Imposible escuchar en la actualidad ésta gran calidad de vocês. Viva Simionato!!!!
.. Carriera strepitosa della grande Giulietta Simionato con Lei un valore aggiunto alla Lirica!!! 🌹👋🌹👋🌹👋🌹👋Un grazie enorme a te caro Lohengrin0 🌺🌺🌺🌺🌺🌺🌺🌺Elsa
MIRACULOUS if you take the fact that she hit and sustained huge high Bs and Cs with full force before such hefty chest tones into consideration! This is why i've never bought into Flagstad, Tebaldi and their likes.
@@LohengrinO Never knew this recording. I'll definitely take a look at it! Phenomenal singer, surely one of the greatest. That note is nothing short of miraculous if you know what it takes to sustain a cleanly attacked C6, and then blast those chest tones GALORE. Genetic miracle!
@@shaundudley4576 holes are not necessarily cages, and them little feather balls love sticking to each other in their nests and holes that are on higher grounds, which provide protection and warmth.
Al margen del titanismo vocal de este prodigio, por eso preferimos a los cantantes antiguos... Cada uno tenía su color, su personalidad y, sobre todo, un talento que los hacía únicos. Ahora la mayoría son guapísimos, pero cantan todos igual.
comment peut on parler de meilleures et comparer des chanteuses à un tel niveau de perfection . En écoutant les huguenots on réalise que l'on ne peut faire mieux
Interesting bit of trivia (tea for the gays), but Simionato actually studied and was going to perform Leonora in Il Trovatore and could handle the tessitura was ease. However, a composer talked her out of it as he said she was a great Azucena and if she sang Leonora she would stretch her voice like an envelope.
She was right not to venture into soprano rep. As a mezzo her sudden acuti are thrilling bonuses, as a soprano she would’ve been pushing to stay in a higher tessitura. She wasn’t built for that. Ludwig ventured into the hochdramatisch territory and has said herself that it attributed to vocal problems.
@@manolis.799 Exactly! People think because mezzos have the high notes that they can automatically sing soprano repertoire, but the passagio and tessitura are completely different. Ludwig said everytime she sang Fidelio, she went to the doctors and they showed that her vocal cords were swollen. Like Callas said- the voice is not an elevator.
@@jmiller05 Having sung Brunnhilde and Elvira in the same week, and added Abigaille to her killer repertoire. If Armida is not a turbo-charged elevator, i dont know what else is. And Medea? And isn't it an elevator jumping between octaves? I think what Callas meant by that was "my voice is no longer an elevator" as Callas also said, it's all about the proper technique.
@@alioffe4321 Yes, but these all fall within the 'soprano' repertoire. If Callas had sang Armida then Ulrica in the same week, then it would have been very difficult to maintain the range and consistency of the voice. Callas said every singer must be able to sing every role within the written range for their voice type, ie a soprano should be able to sing Elvira and Medea with the right technique, but I don't think she meant mixing dramatic mezzo roles with high soprano repertoire, although she could sing both.
@@jmiller05 you're forgetting Madame Colbran. You might want to check her performance history ;) that's the problem with the fach system, which is relatively new. There was no such thing as soprano-mezzo distinction in the golden age of bel canto. I'd actually prefer singing a dramatic mezzo role a few days after a high soprano role, rather than jumping from chest to head all night as in Medea, or dropping into the heavy chest voice from stratospheric high notes as in Abigaille.
I think the most interesting was the one from Ugenotti against.. Corelli. Of course a duet with Callas as Norma isn’t “that bad” either 🤭 but her Valentine was near the end of her career which made it even more exciting. Ofcourse she retired in full glory and full singing capacity.. i still think Stignani was the best Azucena and the best Adalgisa and Dominguez the best Amneris. Ofcourse Simionato was a dear colleague with many of the greatest singers back in the day so it is hard to “complain” about her singing or acting capabilities in any way
That Trovatore recording has not got too much attention. It was meant as competition with EMI's recording with Callas.
thank you again for spoting this for me... I would never had imagined that Simionato would be singing this C6 at studio and not live... I was looking all my live Trovatores
@@LohengrinO Did you know that Horne also sings the C6 in her recording with Sutherland and Pavarotti? Well, she touches on it very briefly but it is there....
@@jmiller05 an Azucena with an inaudible voice? No ty
@@LohengrinO Yes, she was not right for the role at all but out of everyone, I was surprised she of all people attempted it lol.
@@jmiller05 have you heard her Amneris in pirate recording? everybody else sings and at the back, inaudible, you imagine Horne singing... the price of being overrated and no one telling you you are ridiculous
Giulia the Great, First of her Name, Queen of Mezzos, Mistress of Chest Voice, and Blaster of the High Cs. Long may she Reign
Giulietta la mezzo que se ganó mí corazón! En el siglo pasado reinaron las grandes mezzo... Imposible escuchar en la actualidad ésta gran calidad de vocês. Viva Simionato!!!!
She had a much better C6 than most of the contemporary Sopranos. An actual musical explosion everytime she hit that note, natural and effortless.
.. Carriera strepitosa della grande Giulietta Simionato con Lei un valore aggiunto alla Lirica!!! 🌹👋🌹👋🌹👋🌹👋Un grazie enorme a te caro Lohengrin0 🌺🌺🌺🌺🌺🌺🌺🌺Elsa
(Off topic) Each time I hear Azucena I think about Ernestine Schumann-Heink, who began in this role in Dresden, in 1878, aged 17... Crazy.
Grande Simionato
Grandissima Giulietta, anche Lei nella grande STORIA della musica lirica,
Fantastic chest voice too in the third clip!
MIRACULOUS if you take the fact that she hit and sustained huge high Bs and Cs with full force before such hefty chest tones into consideration! This is why i've never bought into Flagstad, Tebaldi and their likes.
@@alioffe4321 Tebaldi had great chest voice too, especially early in her career. She just had less good high notes than a mezzo!
First Class.
"Pigeon-holes are only comfortable for pigeons."
Jessye Norman
been searching her Azucena C6 for sometime and I was looking in all her live Trovatores, surprise came in this studio Trovatore
@@LohengrinO Never knew this recording. I'll definitely take a look at it! Phenomenal singer, surely one of the greatest. That note is nothing short of miraculous if you know what it takes to sustain a cleanly attacked C6, and then blast those chest tones GALORE. Genetic miracle!
@@alioffe4321 to my ears it sounds Db6 and it is so clean and acute.... spectacular
@@shaundudley4576 holes are not necessarily cages, and them little feather balls love sticking to each other in their nests and holes that are on higher grounds, which provide protection and warmth.
Quale estensione e purezza...!!!
She simply kicked ass. That's all I have to say.
throughout her entire career...
@@LohengrinO non ho compreso il commento e la risposta
Cossotto never have that high note so beautiful like Guillettta Simionato but also great lady
Theo, This is great my friend. GRAZIE Arnold
Καταπληκτική περίπτωση. Οι εξαιρέσεις τής φύσης.
Ευχαριστώ, φίλε Τεό.
Superb C6!
Al margen del titanismo vocal de este prodigio, por eso preferimos a los cantantes antiguos... Cada uno tenía su color, su personalidad y, sobre todo, un talento que los hacía únicos. Ahora la mayoría son guapísimos, pero cantan todos igual.
comment peut on parler de meilleures et comparer des chanteuses à un tel niveau de perfection . En écoutant les huguenots on réalise que l'on ne peut faire mieux
Interesting bit of trivia (tea for the gays), but Simionato actually studied and was going to perform Leonora in Il Trovatore and could handle the tessitura was ease. However, a composer talked her out of it as he said she was a great Azucena and if she sang Leonora she would stretch her voice like an envelope.
She was right not to venture into soprano rep. As a mezzo her sudden acuti are thrilling bonuses, as a soprano she would’ve been pushing to stay in a higher tessitura. She wasn’t built for that. Ludwig ventured into the hochdramatisch territory and has said herself that it attributed to vocal problems.
@@manolis.799 Exactly! People think because mezzos have the high notes that they can automatically sing soprano repertoire, but the passagio and tessitura are completely different. Ludwig said everytime she sang Fidelio, she went to the doctors and they showed that her vocal cords were swollen. Like Callas said- the voice is not an elevator.
@@jmiller05 Having sung Brunnhilde and Elvira in the same week, and added Abigaille to her killer repertoire. If Armida is not a turbo-charged elevator, i dont know what else is. And Medea? And isn't it an elevator jumping between octaves? I think what Callas meant by that was "my voice is no longer an elevator" as Callas also said, it's all about the proper technique.
@@alioffe4321 Yes, but these all fall within the 'soprano' repertoire. If Callas had sang Armida then Ulrica in the same week, then it would have been very difficult to maintain the range and consistency of the voice. Callas said every singer must be able to sing every role within the written range for their voice type, ie a soprano should be able to sing Elvira and Medea with the right technique, but I don't think she meant mixing dramatic mezzo roles with high soprano repertoire, although she could sing both.
@@jmiller05 you're forgetting Madame Colbran. You might want to check her performance history ;) that's the problem with the fach system, which is relatively new. There was no such thing as soprano-mezzo distinction in the golden age of bel canto. I'd actually prefer singing a dramatic mezzo role a few days after a high soprano role, rather than jumping from chest to head all night as in Medea, or dropping into the heavy chest voice from stratospheric high notes as in Abigaille.
Love her. And her Amneris is The Best.
Totally agree!
oh, such C6 is more effective than a brick in a handbag
🤔 🤕
ok Azucena is power girl
Wondering what software do you use to convert an audio to video?
windows movie maker
I think the most interesting was the one from Ugenotti against.. Corelli. Of course a duet with Callas as Norma isn’t “that bad” either 🤭 but her Valentine was near the end of her career which made it even more exciting. Ofcourse she retired in full glory and full singing capacity.. i still think Stignani was the best Azucena and the best Adalgisa and Dominguez the best Amneris. Ofcourse Simionato was a dear colleague with many of the greatest singers back in the day so it is hard to “complain” about her singing or acting capabilities in any way
What’s the name of the first aria?
Perigliarti ancor languente
5:13