Good job, but sometimes the effort is hidden in the years of practice and performances leading up to the one we see. Some of these women had to deal with far greater issues than voice control to be able to stand where they are. Sometimes the greatest effort falls short if you don't have the financing or time to practice as much as the best professionals. Any musician could probably achieve more musicality if they have financial and psychological backing helping them in their careers. Some of these women were born into money and were already proficient singers by the time they were 3-5 years old, being taught by the last generation of greats under the financing of their parents/school. Congratulations on achieveing the highest note normally written for female Sopranoes, what an accomplishment!
Atleast you can still hit it but to do it effortlessly like these ladies, yea that's something totally different and could possibly take years or more to master it like these ladies depending on how good you want to be with it.
At 20, I was able to sing a C6. I don't mean I was barely able to screech it, I mean I was able to *sing* it beautifully like these ladies. That was 35 years ago. I'd stopped training and never took it up again, so I can't sing a C6 anymore. I still sing beautifully, though. Just lower.
I defer to expert technical analysis given in "Nilsson:100: An Homage" in which her voice is thoroughly analyzed for its technical attributes. Also, it is noted there, that in Master Classes Callas and a few others mentioned alongside her, emphasized getting into the dramatic qualities of the role, Nilsson went straight into the technique required to make that role memorable. Her teaching was of a different sort altogether. She apparently was solidly in the Grand Tradition. @@lamier4419
@@lamier4419 Indisputably, I think. Nilsson does not have the media exposure Callas did because of antithetical lifestyles and repretoires. Everybody knows Callas because of her popular Italian roles (not hevey Wagner and Strauss roles),and she was a celebrity, and I think her gifts have been exaggerated. I was cutting my opera teeth in the sixties and Callas was getting lamentable reviews for her recordings and Nilsson was universally hailed for her intonation, her technique, her enunciation, and so on and so on. She had Flagstad as her challenge, but ultimately that proved to be a non-issue. They both were golden and had the "voices of the century," but Nilsson ventured where Flagstad did not, in roles such as Turandot, Tosca, Minnie, Aida, Elektra, Turandot, Salome, the Dyer's Wife. Where was her competition in those roles?
And Bing was paying Callas $1,000.00 per performance in one dollar bills while he was paying Nilsoon between thee and four thousand. As Domingo said,"Nobody, nobody compares to Nilsson."
Interesting to see the Leontyne Price example used was from the very end of her opera career, in fact it's from her New York City Metropolitan Opera House farewell Aida performance . She could still produce the perfect dolce high C for O Patria Mia. Wonderful.
@@liedersanger1 You are right. "Chi Il Bel Sogno Di Doretta" from the Blue Album which along with the Price/Karajan "A Christmas Offering" were in my mother's LP record collection. Those recordings made in the very early 1960s captured the voice in pristine condition.. My siblings and I as very young children were fascinated at the beautiful of that sound.
Listening high C's live is one of the most interesting experiences ever! That unique (almost metalic) sound reverberates deep into the body, to the point of causing chills in the spine...
Can't help..Maria Callas is and always will be the number one for me. All those ladies sang beautifully but i was just waiting for Maria really. Haha! The power in her voice is just..it is so amazing and what i've always loved about her. ❤
I agree up to a point with you Misty.. M. C. was QUITE good in her early years.. but, once she let her voice go, and that horrible wobble took over, her high notes were bad and she knew it.. didn't stop her from performing, but, she knew they were bad.
@@hankaustin7091 Maria Callas was not "quite" *good* in her early days. She was the *best* ! The decline was caused by emotional stress from her personal life and the autoimmune disease that took over her throat. Even when she lost her voice, she still defined opera with the amount of emotional and dramatic intensity she added everytime she was on the stage. Maria Callas is *opera* and non of these women with ugly middle voices and non-existent chest registers can match up.
@@hillmiss1736 Thank you Trill. I am WELL aware of Maria Callas, her background, her musical abilities and her health issues. Please tell it some snowflake twink that doesn't understand.
Per me sono tutte BRAVISSIME👏👏👏!!!Artisticamente le Amo Tutte👏❤!!!quindi niente classifiche e un Bacione a tutte quelle che ci hanno lasciato,che sono sicuro continuano ad essere Grandissime Artiste👏👏👏!!!!Cheers Art in the WORLD!!!!🌏🌍🌎😊
Quel plaisir d'entendre toutes performances magnifiques ❤ Pour moi Zinka Milanov avec son timbre chaud et puissant, une tendresse pour la noblesse de Kiri Tekanawa
I love crescendoing and leaning into that sustained C in Martern Aller Arten (Gruberova, Rothenberger, and Deutekom in this video). You can be so expressive on just that one note and it feels like the climactic moment of the aria. I put my heart and soul into that one note and you can tell especially Gruberova is feeling the same way.
Thank you for this beautiful compilation. If I had to chose one favorite, it would be Cheryl Studer. I am surprised and delighted by her vocal perfection. 3:52. Eva Turner was wonderful discovery. 9:18.
For me one of the greatest was Nilsson second is Callas. Nilsson is known for her technique, style so and so. While Callas on the other hand had an memorable role in every opera she's onto. Plus Callas was a popular actress in her Era.
When I was about 12 the first properly classical piece my teacher had me learn was the Alleluia from Mozart's Exultate Jubilate. And she fully expected me to hit that C6 properly each time. She'd read me the riot act if I screwed it up and the reason for THAT is the first thing she did on meeting me was test out my range. She knew I could hit it and that's why she was training me the way she did. For a professional soprano, lyric, coluratura, whatever they'll have a solid C6. It's questionable where it will fall in their tessitura or what kind of color it has etc, but yeah, this is a pretty normal note for a soprano to hit. And of course the advantage is that it's so high that it doesn't need to be loud to be heard. So if you want to challenge a soprano have her sing below C4 or above D6. But a C6 for a soprano is child's play. Literally. I was a child playing with that and while I received top notch training, I'm not a pro so the pros will absolutely have no issue here. I'd be much more interested to see how they stack up singing that passage in Deh Vieni that goes - in my mind - super low. Also got read the riot act for that because my lower range is ... not powerful. Upper range? Kablooie-mundo, lower range *sad trombone*.
Very nice video. Thank you for posting. I presume the soprano is the most beautiful musical instrument. Leontyne Price was the first opera voice attracting my attention. I heard her almost 40 years ago in "Il trovatore" - Karajan on the LP record. Her voice touched high notes. I was 14 at that time. I had no idea about opera presuming the operatic singing as ultrasound. But this record attracted my attention. The strange "Bitterness" in her voice shocked me. Her voice appeared to be absolutely beautiful. "My God, she is absolutely amazing. Who is she?" - Leontyne Price. She simply got me. I have many beloved sopranos. But the first opera love is love forever - her name is Leontyne Price.
Все исполнительницы с мироаым именем. Каждая берет предельные ноты ,оч уверенно без тремоляции и занижения интонации. Трудно выделить наилучшую. Подборка исполнителей отличная. В конце конечно самые выдающиеся Сазерленд, Прайс и Каллас. Прайс кстати, любимая певица Карояна. Потрясающее исполнение ею партии сопрано в Реквиеме Верди с Гербертом фон Карояном.
Throughout their careers Price and Sutherland had the best, most beautiful, and most reliable high Cs. Nilsson's was quite amazing for most of her career as well. The rest are also rans. For those who say Callas, all one can do is laugh, unless we are pre 1952, which this wreck of a high C was not.
For me the real issue is who was singing in their right fach. Because all the singers here had the notes per say. However the singers whose high C sounded the best were all singing in the right fach. Thanks for sharing. I had a lot of fun listening and watching!
Lily Pons, Sumi Jo and Joan Sutherland - lovely voices. There was a rather disappointing recording of Maria Callas, and Montserrat Caballe was not shown to best advantage either.
Dame Joan Sutherland, too many of the others are thin and almost scratchy, shrill or short at the top end. The full, round, controlled, sound for this 'ear'. Great compilation and variety of comments. Thanks+
I think the final note in the love duet from “Madama Butterfly” is a C# instead of only a C (Lisa Della Casa), as well as the high note in “Oh patria mia “ from Aida (Leontyne Price)
wouldn’t make sense for the period; high c sharps were rarely written for after the bel canto era and the voice types required for a successful Butterfly or Aida have a more limited upper extension, and thus a high c sharp would be a bit implausable
The Galli-Curci is a red herring because back that far almost universally tuned to a 436 hrz A rather than a well tempered 440 A. When the recording was transferred to modern equipment they pitch adjusted, and yes it makes a difference. Many smaller European Opera Houses and some American regional companies still tune to the 436 A. Also its Lisa della Casa.
Honestly I can only tolerate high seas when they’re sung by amazing operatic Sopranos like these ladies so thank you for this also out of the ladies and this is just my opinion I think Diana Damrau is my absolute favorite.
Thank you, Rafael, for uploading this. It's interesting to draw comparisons. Hitting high notes depends a lot on having very short vocal chords, which usually means short sopranos are at an advantage. I have seen all of the leading sopranos of the last 40 years, including the greats, like Caballé, Te Kanawa, Devia, Fleming and Netrebko but the two who hit the highest notes were the tiny Korean soprano, Sumi Jo and the ultimate Queen of the night, Albina Shagimuratova.
I liked Lily Pons' high C best, I liked the control she had with her messa di voce. I'd put Rosa Ponzell last, her intonation sounded off in places. I'd rate the others similarly to your list.
C6 это верхняя нота для сопрано. Но для колоратур это далеко не верхняя нота а на записи представлены как сопрано так и колоратуры Как можно сравнивать Зинку Миланову и Мадо Робин по верхним нотам
La personalissima classifica non ha nessun senso, per un solo motivo...bisogna vedere come e da dove ci arrivi al do sopracuto, mentre qui mettiamo a paragone chesso' una Traviata con una Rondine... Arrivare al Do consequenzialmente da una scala in picchettato è sempre e comunque più facile che arrivarci da suoni sospesi, appesi solitari nel registro acuto. Un' emissione filata ( una messa di voce) è un prodigio tecnico superiore a un suono " semplice" etc... La classifiche si posson fare a parità di condizioni ( aria identica, tutte dal vivo, o tutte registrate etc...) così non ha senso. Poi: manca la Olivero errore gravissimo. Secundis: è vero che il fine giustifica i mezzi, ma se un suono sembra bellissimo ma è emesso con una postura facciale orribile a vedersi, beh...vedete voi! Qui sono in tre o quattro a sapere cosa sia la maschera anche sugli acuti ( che non prevede la dentatura cavallina in fuori come qualcuna crede...).
Bonney e Áurea não fazem força para atingir a nota.Miklosa tbm. Não conhecia essas 3.Continuo preferindo a Deutekom!Ponselle era referência.Eu era fã da Leontine.E a Bidu Sayão?
_Rafael ! Thank you for your Time & Effort !_ _( Do we really have to see & hear Sills -- TWICE ? )_ _The High-C's must be a daunting vocal issue for all the singers, except Robin & especially men; but high notes are not everything. The Trill that comes After the High-C in ' Martern aller Arten ' from the_ _" Die Entfuhrung aus dem Serail " Adds the Exquisite Sound that makes that aria what it has become; unfortunately, you Stopped the recordings just as the individual singers were about to demonstrate their Technical Skill ( ? ) in " The Shake "._ _I really like the sound of Price & some of the others, but Anneliese Rothenberger's voice was a Radiantly Beautiful Sound, w / OR w /o high notes._ _Lastly, I admire your balls for putting Callas at " 24 "._ _Do you need a Body-Guard ?!!_
Of course, perception comes into it, there are "fashions" in music, dance, whatever. If people are popular they are often scoffed at until a new generation brings a reappraisal. As a "beginner" in the opera scene, I have to say, many of these were very uncomfortable to listen to, sharp and piercing, although I appreciate these are possibly qualities needed for dramatic effect. Interestingly, the two singers that fitted most into my "comfort zone" were Lilly Pons (Before even my time) and Maria Callas.
I used to have a school teacher who would reach a high C when she screamed at us.
🤣🤣🤣
This is funny. Makes me reevaluate raising my voice at my students.
Alistair Wright and her class had the best results among other teachers every year 😂
😂
Alistair Wright 🤣🤣🤣🤣
I'm able to hit a C6, but not nearly as effortlessly as these ladies can. Stunning
Good job, but sometimes the effort is hidden in the years of practice and performances leading up to the one we see. Some of these women had to deal with far greater issues than voice control to be able to stand where they are. Sometimes the greatest effort falls short if you don't have the financing or time to practice as much as the best professionals.
Any musician could probably achieve more musicality if they have financial and psychological backing helping them in their careers. Some of these women were born into money and were already proficient singers by the time they were 3-5 years old, being taught by the last generation of greats under the financing of their parents/school.
Congratulations on achieveing the highest note normally written for female Sopranoes, what an accomplishment!
Смею утверждать, что "были уже опытными певицами в возрасте трех-пяти лет" - это сильное преувеличение, чтобы не употребить более резкое слово...
I could if I were warmed up but it wouldn't sound very nice (and I don't sing classical)
Atleast you can still hit it but to do it effortlessly like these ladies, yea that's something totally different and could possibly take years or more to master it like these ladies depending on how good you want to be with it.
Are you getting confused with cricket?
6:56-7:05 Sounded Amazing!!! That Volume Control Is Impressive!!!
Blessed64 S easy when done wrong
she is my favourite soprano，what a wonderful voice!!!
Yes, a gorgeous messa di voce
Wow
What is the song?
At 20, I was able to sing a C6. I don't mean I was barely able to screech it, I mean I was able to *sing* it beautifully like these ladies. That was 35 years ago. I'd stopped training and never took it up again, so I can't sing a C6 anymore. I still sing beautifully, though. Just lower.
When someone breaks my car window: 1:32
Angelyn Domingo 😂 that vibrato
gccwang24 that was a trill, not vibrato lmao
My son broke a highball glass as he sat in his highchair, 4 months old. He is quite the baritone at age 24. I wish I had saved that glass
EXTRAORDINÁRIO
Omg hahaha 😂
I’ts not possible campare dramatic sopranos with lyric or coloratursopranos.
Agree
Thinking the same
Absolute correct
Avarce cajimani
Get the context, the video selected the high C key to compare. Some coloratura were less brighter than others. It has some ways to explaing the music.
Nobody had the high notes of Nilsson. She pinned you against the theater walls. Totally breathtaking. Very physical impact.
Who is better between Callas and Nilsson technically?
I defer to expert technical analysis given in "Nilsson:100: An Homage" in which her voice is thoroughly analyzed for its technical attributes. Also, it is noted there, that in Master Classes Callas and a few others mentioned alongside her, emphasized getting into the dramatic qualities of the role, Nilsson went straight into the technique required to make that role memorable. Her teaching was of a different sort altogether. She apparently was solidly in the Grand Tradition.
@@lamier4419
operafreak9 So. Nilsson is better than Callas in terms of vocal development?
@@lamier4419
Indisputably, I think. Nilsson does not have the media exposure Callas did because of antithetical lifestyles and repretoires. Everybody knows Callas because of her popular Italian roles (not hevey Wagner and Strauss roles),and she was a celebrity, and I think her gifts have been exaggerated. I was cutting my opera teeth in the sixties and Callas was getting lamentable reviews for her recordings and Nilsson was universally hailed for her intonation, her technique, her enunciation, and so on and so on. She had Flagstad as her challenge, but ultimately that proved to be a non-issue. They both were golden and had the "voices of the century," but Nilsson ventured where Flagstad did not, in roles such as Turandot, Tosca, Minnie, Aida, Elektra, Turandot, Salome, the Dyer's Wife. Where was her competition in those roles?
And Bing was paying Callas $1,000.00 per performance in one dollar bills while he was paying Nilsoon between thee and four thousand. As Domingo said,"Nobody, nobody compares to Nilsson."
That is the most comprehensive list I've ever seen or heard. Thanks a million! Lily Pons stood out, but many were amazing.
Lily Pons. The best. Great Video. Thanks.
All of them!!! My special love and tenderness to Montserrat Caballè and Cristina Deutekom.
Cannot rank them. Just appreciate the art. Beautiful.
Interesting to see the Leontyne Price example used was from the very end of her opera career, in fact it's from her New York City Metropolitan Opera House farewell Aida performance . She could still produce the perfect dolce high C for O Patria Mia. Wonderful.
The first is also Leontyne.
@@liedersanger1 You are right. "Chi Il Bel Sogno Di Doretta" from the Blue Album which along with the Price/Karajan "A Christmas Offering" were in my mother's LP record collection. Those recordings made in the very early 1960s captured the voice in pristine condition.. My siblings and I as very young children were fascinated at the beautiful of that sound.
Mirella Freni always for me 💕💕💕🥺🥺RIP LEGEND
This is interesting but, for me, it’s only a fair comparison if the singers are all singing the same piece and either all live or all recorded.
Amen haha
For most of these sopranos a C6 is nothing, hehehehe...(Heard a few of them doing a E6 or higher) nice compilation tho. :)
Yep c6 isn't really high for sopranos
Ram875 higher than C is fischio register, completely different, but yep, some can reach A6 also
I am alto but my high nota d6 Ehehe
@@lyayukajanice vsscm
Hell I’m a countertenor and can sing D6 reliably. So for a woman C6 isn’t that difficult.
Listening high C's live is one of the most interesting experiences ever! That unique (almost metalic) sound reverberates deep into the body, to the point of causing chills in the spine...
Can't help..Maria Callas is and always will be the number one for me. All those ladies sang beautifully but i was just waiting for Maria really. Haha! The power in her voice is just..it is so amazing and what i've always loved about her. ❤
I agree up to a point with you Misty.. M. C. was QUITE good in her early years.. but, once she let her voice go, and that horrible wobble took over, her high notes were bad and she knew it.. didn't stop her from performing, but, she knew they were bad.
some beautiful voices here but nobody lived it or took the risks that Callas took - she was so much more than just an opera singer
@@hankaustin7091 Maria Callas was not "quite" *good* in her early days. She was the *best* ! The decline was caused by emotional stress from her personal life and the autoimmune disease that took over her throat. Even when she lost her voice, she still defined opera with the amount of emotional and dramatic intensity she added everytime she was on the stage. Maria Callas is *opera* and non of these women with ugly middle voices and non-existent chest registers can match up.
@@hillmiss1736 Thank you Trill. I am WELL aware of Maria Callas, her background, her musical abilities and her health issues. Please tell it some snowflake twink that doesn't understand.
That's what i was doing, too. Just too polite to skip the others. I learned, though, that La Callas is still my best pick. 😍😍😍
I have never heard any better arpeggios like Christina Deutekom..🔥
Per me sono tutte BRAVISSIME👏👏👏!!!Artisticamente le Amo Tutte👏❤!!!quindi niente classifiche e un Bacione a tutte quelle che ci hanno lasciato,che sono sicuro continuano ad essere Grandissime Artiste👏👏👏!!!!Cheers Art in the WORLD!!!!🌏🌍🌎😊
Sono in accordo ernesto,, hanno lasciato un segno indelebile,🍷👋
Sono tutte straordinarie👋👋👋👋👋👋👋❤️❤️❤️❤️❤️🌹🌹🌹🌹🌹🌹
Mais do que a bela voz que elas emitem, a beleza de ser mulher com um poder tão grande de cantar dessa forma. São deusas, divas, seres especiais.
Quel plaisir d'entendre toutes performances magnifiques ❤ Pour moi Zinka Milanov avec son timbre chaud et puissant, une tendresse pour la noblesse de Kiri Tekanawa
As far as I'm concerned.. they're ALL fabulous!!!
Agrees
I love crescendoing and leaning into that sustained C in Martern Aller Arten (Gruberova, Rothenberger, and Deutekom in this video). You can be so expressive on just that one note and it feels like the climactic moment of the aria. I put my heart and soul into that one note and you can tell especially Gruberova is feeling the same way.
It takes years of love and practice to ever come close to singing like that! Congratulations!
explain yoself, @"alto"pride
Thank you for this beautiful compilation. If I had to chose one favorite, it would be Cheryl Studer. I am surprised and delighted by her vocal perfection. 3:52. Eva Turner was wonderful discovery. 9:18.
For me one of the greatest was Nilsson second is Callas. Nilsson is known for her technique, style so and so. While Callas on the other hand had an memorable role in every opera she's onto. Plus Callas was a popular actress in her Era.
Love them all! Thank you Mr Araujo.
Like Placido Domingo said, there never was and there never will be again a singer like Birgit Nilsson.
It's just a matter of taste
When I was about 12 the first properly classical piece my teacher had me learn was the Alleluia from Mozart's Exultate Jubilate. And she fully expected me to hit that C6 properly each time. She'd read me the riot act if I screwed it up and the reason for THAT is the first thing she did on meeting me was test out my range. She knew I could hit it and that's why she was training me the way she did. For a professional soprano, lyric, coluratura, whatever they'll have a solid C6. It's questionable where it will fall in their tessitura or what kind of color it has etc, but yeah, this is a pretty normal note for a soprano to hit. And of course the advantage is that it's so high that it doesn't need to be loud to be heard. So if you want to challenge a soprano have her sing below C4 or above D6. But a C6 for a soprano is child's play. Literally. I was a child playing with that and while I received top notch training, I'm not a pro so the pros will absolutely have no issue here. I'd be much more interested to see how they stack up singing that passage in Deh Vieni that goes - in my mind - super low. Also got read the riot act for that because my lower range is ... not powerful. Upper range? Kablooie-mundo, lower range *sad trombone*.
who asked
@@hello-rq8kf lmao
Very nice video. Thank you for posting. I presume the soprano is the most beautiful musical instrument. Leontyne Price was the first opera voice attracting my attention. I heard her almost 40 years ago in "Il trovatore" - Karajan on the LP record. Her voice touched high notes. I was 14 at that time. I had no idea about opera presuming the operatic singing as ultrasound. But this record attracted my attention. The strange "Bitterness" in her voice shocked me. Her voice appeared to be absolutely beautiful. "My God, she is absolutely amazing. Who is she?" - Leontyne Price. She simply got me. I have many beloved sopranos. But the first opera love is love forever - her name is Leontyne Price.
Lily pond control is slayful
Renata Tebaldi 👏🏻👏🏻👏🏻
They're each so beautiful, in their own way!
I LOVE JOAN SUTHERLAND THE MOST ... SHE HAS A MAGNIFICENT VOICE ..
Not sure why Renata Scotto and Renée Fleming weren't among these voices.
Все исполнительницы с мироаым именем. Каждая берет предельные ноты ,оч уверенно без тремоляции и занижения интонации. Трудно выделить наилучшую. Подборка исполнителей отличная. В конце конечно самые выдающиеся Сазерленд, Прайс и Каллас. Прайс кстати, любимая певица Карояна. Потрясающее исполнение ею партии сопрано в Реквиеме Верди с Гербертом фон Карояном.
My favorites are Maria Callas, Anna Netrebko, Anna Moffo and Diana Damrau. Thank you so much for this video.
Lily Pons, Edita Gruberova, Ingelborg juegan muy bien con el volumen en esa nota 😃
Natalie Dessay is just the best😍
Il Do della bravissima Ghena, in teatro, era un tuono sceso dal cielo.⚡⚡
Throughout their careers Price and Sutherland had the best, most beautiful, and most reliable high Cs. Nilsson's was quite amazing for most of her career as well. The rest are also rans. For those who say Callas, all one can do is laugh, unless we are pre 1952, which this wreck of a high C was not.
For me the real issue is who was singing in their right fach. Because all the singers here had the notes per say. However the singers whose high C sounded the best were all singing in the right fach. Thanks for sharing. I had a lot of fun listening and watching!
they all are. what a wonderful art opera is.
This is how Crit1kal screams when he sees a cockroach
All the full lyric soprano ringing very well and i love it ... i prefer rounded not thin .
🇧🇬💐WOW, WONDERFUL MOMENTS WITH ALL THIS DIVAS!!!🐘
🌹EVERYONE IS MAGNIFIC!!!🍀
🏵BRAWISSISSISSIMO MAESTRI!!!🐞🦉🏡🌞🌈
Lily Pons, Sumi Jo and Joan Sutherland - lovely voices. There was a rather disappointing recording of Maria Callas, and Montserrat Caballe was not shown to best advantage either.
Sutherland will always be my favorite, but there are too many gorgeously-produced high Cs here to name just one.
Beverley Sills was shown twice and the top C was flat both times
My favourite was Callas - La Divina
I can reach C6 when i get tantrum
Heard many of these singers. To me, Nilsson and Sutherland were the best
Dame Joan Sutherland, too many of the others are thin and almost scratchy, shrill or short at the top end. The full, round, controlled, sound for this 'ear'. Great compilation and variety of comments. Thanks+
This is a wonderful clip. Thanks for putting this selection of superb voices together. Extremely interesting.
No doubt the older recordings were hampered by older technology.
Early Leontyne Price the most beautiful instrument God ever created...
But here it is Late Leontyne, age 58, and she still sounds like God's special angel...
Tetrazzini and Ponselle sound like my plumbing before I had it replaced.
Diana damrau its my favorite soprano ! I love her !
Eu queria ter voz🎶🎵 para entrar nesse páreo, cantar é tudo de bom!!!! Parabéns👏 sopranos.
Вообще-то пение существует не для гонок, поверьте...
Soprano C we like to keep it on a high note.
I love opera❤❤❤❤
I think the final note in the love duet from “Madama Butterfly” is a C# instead of only a C (Lisa Della Casa), as well as the high note in “Oh patria mia “ from Aida (Leontyne Price)
wouldn’t make sense for the period; high c sharps were rarely written for after the bel canto era and the voice types required for a successful Butterfly or Aida have a more limited upper extension, and thus a high c sharp would be a bit implausable
Natália Aurea ,Natalie dessay Maria Callas e Diana Damarau 👏👏👏👏
Dessas citadas somente Callas e Aurea
The Galli-Curci is a red herring because back that far almost universally tuned to a 436 hrz A rather than a well tempered 440 A. When the recording was transferred to modern equipment they pitch adjusted, and yes it makes a difference. Many smaller European Opera Houses and some American regional companies still tune to the 436 A. Also its Lisa della Casa.
Honestly I can only tolerate high seas when they’re sung by amazing operatic Sopranos like these ladies so thank you for this also out of the ladies and this is just my opinion I think Diana Damrau is my absolute favorite.
Birgit Nilsson e seu poderosíssimo dó 6 nos três enigmas de "In questa reggia", o terror dos tenores que "duelassem" com ela! Hehehe
Thank you, Rafael, for uploading this. It's interesting to draw comparisons. Hitting high notes depends a lot on having very short vocal chords, which usually means short sopranos are at an advantage. I have seen all of the leading sopranos of the last 40 years, including the greats, like Caballé, Te Kanawa, Devia, Fleming and Netrebko but the two who hit the highest notes were the tiny Korean soprano, Sumi Jo and the ultimate Queen of the night, Albina Shagimuratova.
Cristina Deutekom... simply THE BEST.
Price, Moffo, Sutherland, Hallstein, Deutekom, Rothenberger, Gruberova, Dimitrova, Caballe
I liked Lily Pons' high C best, I liked the control she had with her messa di voce. I'd put Rosa Ponzell last, her intonation sounded off in places. I'd rate the others similarly to your list.
Sutherland. Perfect.
Tetrazzini Luisa, Rosa Ponselle, Amelita Galli Curci, Cristina Deutecom
My top 3:
1. Beverly Sills
2. Lily Pons
3. Joan Sutherland
Renata Tebaldi sublime
l'Ut est complètement faux, écoutez bien
Tebaldi, sublime and beautiful
1:52 feels like a christmas disney show
Very difficult to choose, all if them wonderful.
Lily Pon's ❤👏👏
I really liked Joan Sutherland.
God, I love Amelita Galli Curci's voice.
Joan Sutherland, Anna Moffo, Monserrat, Kathleen Battle, Diana Damrau.
Always Joan Sutherland and Birgit Nillson ❤️
C6 это верхняя нота для сопрано. Но для колоратур это далеко не верхняя нота а на записи представлены как сопрано так и колоратуры Как можно сравнивать Зинку Миланову и Мадо Робин по верхним нотам
Joan Sutherland for ever !
Oh please add a clip of Renata Scotto singing: L'ora o Tirsi e vaga e bella from Manon Lescaut at the Met.
I play this ocasionally to annoy my brother
La personalissima classifica non ha nessun senso, per un solo motivo...bisogna vedere come e da dove ci arrivi al do sopracuto, mentre qui mettiamo a paragone chesso' una Traviata con una Rondine...
Arrivare al Do consequenzialmente da una scala in picchettato è sempre e comunque più facile che arrivarci da suoni sospesi, appesi solitari nel registro acuto.
Un' emissione filata ( una messa di voce) è un prodigio tecnico superiore a un suono " semplice" etc...
La classifiche si posson fare a parità di condizioni ( aria identica, tutte dal vivo, o tutte registrate etc...) così non ha senso.
Poi: manca la Olivero errore gravissimo.
Secundis: è vero che il fine giustifica i mezzi, ma se un suono sembra bellissimo ma è emesso con una postura facciale orribile a vedersi, beh...vedete voi! Qui sono in tre o quattro a sapere cosa sia la maschera anche sugli acuti ( che non prevede la dentatura cavallina in fuori come qualcuna crede...).
Cristina Deutekom and Joan Sutherland and Lily Pons were my favourites that order.,
Why no credit line for the first voice? It’s Leontyne Price.
Stupefacente!
Sono tutte regine,ma io preferisco la sig.raCaballe'.
Wow, Lily Pons was so good! Also Edita 😍
My top two picks, along with Rothenberger and Galli-Curci.
i think edita high piano B
Sumi jo💖
É difícil saber qual das cantoras tem o melhor agudo! É preciso ouvir várias vezes!
Renata Tebaldi
Why couldn’t you list the names of the singers under the video in the order that they appear in the video? And the arias they sing?
Bonney e Áurea não fazem força para atingir a nota.Miklosa tbm. Não conhecia essas 3.Continuo preferindo a Deutekom!Ponselle era referência.Eu era fã da Leontine.E a Bidu Sayão?
Amazing video! 🎻🎼⚘
Да, только советских великих сопрано я здесь не наблюдаю! Автор видео ограниченный и слабо владеет предметом! А Вы, Патриция, о них знаете?
I hope you do one for coloratura and include Maria Remolá.
Thanks! Thanks! Thanks!
Callas
Lily Pons, Mariah Callas, Joan C6 powerful, sweet luxury
_Rafael ! Thank you for your Time & Effort !_
_( Do we really have to see & hear Sills -- TWICE ? )_
_The High-C's must be a daunting vocal issue for all the singers, except Robin & especially men; but high notes are not everything. The Trill that comes After the High-C in ' Martern aller Arten ' from the_
_" Die Entfuhrung aus dem Serail " Adds the Exquisite Sound that makes that aria what it has become; unfortunately, you Stopped the recordings just as the individual singers were about to demonstrate their Technical Skill ( ? ) in " The Shake "._
_I really like the sound of Price & some of the others, but Anneliese Rothenberger's voice was a Radiantly Beautiful Sound, w / OR w /o high notes._
_Lastly, I admire your balls for putting Callas at " 24 "._
_Do you need a Body-Guard ?!!_
Y La Gran Callas No Puede Faltar....
Viva ella viva la grande María Callas
Amazing.
Of course, perception comes into it, there are "fashions" in music, dance, whatever. If people are popular they are often scoffed at until a new generation brings a reappraisal. As a "beginner" in the opera scene, I have to say, many of these were very uncomfortable to listen to, sharp and piercing, although I appreciate these are possibly qualities needed for dramatic effect. Interestingly, the two singers that fitted most into my "comfort zone" were Lilly Pons (Before even my time) and Maria Callas.