@@Antonio-qm3bi I can hear it in this piece, so I see it as developed. The characters of her repertoire were not as inclined toward dark thunder as they were toward lightning. She uses just enough in this piece to keep the voice at a proportional volume in the lower sections.it is there and tasteful. Maybe one could also wish to hear her emphasize it, but her measured use of it also makes musical sense.
I love the richness she got in her middle and lower voice over 50 and here she was around 60 singing above High C with beauty and power that no one else on the opera stage can match today. I in general prefer the slowed down vibrato and steelier quality of her late high notes. No one has replaced her in a over a generation. I spoke to someone in the audience and he said out of all the great singers she and Nilsson had the biggest voices live that evening. That is saying something for a coloratura soprano.
Rubbish, I was there too. I simply mailed in my ticket request (for $25), and got a Family Circle seat, to my surprise. For a singer specializing in bel canto, Sutherland had a big voice. Nilsson, to many people’s surprise, did not have an especially big sound; but it was so well-produced, so focused, like a laser beam that could cut through any orchestra. The biggest voice - although I’m not attracted to decibels - Eva Marton. A tsunami of sound. But she didn’t last long.
Brava~! Thank you again for your work on these videos. I don't want to know how you do it (don't ruin the magic! :P) but also, don't stop doing it! haha ^_^. Many Thanks :D
Interesting to hear this late version transposed so that she avoids the top E. She still had the note though as she touched it in Esclarmonde at Covent Garden later that year!
"very special occasion": What an understatement! MET Centennial Gala! A true Golden Age vocal two-day jamboree never to be repeated. I was there.
Ah La Estupenda!!! el timbre mas bello del siglo!.... ese dia en el MET le dieron el mas ruidoso y caluroso aplauso y afecto.
1983, l'année de ma naissance. Cette femme est un cadeau❤
Maravilhosa. Transposto, sim, mas sempre é Sutherland.
Some mud in the eye of those who say she did not have a solid lower voice. Thank you.
@@Antonio-qm3bi I can hear it in this piece, so I see it as developed. The characters of her repertoire were not as inclined toward dark thunder as they were toward lightning. She uses just enough in this piece to keep the voice at a proportional volume in the lower sections.it is there and tasteful. Maybe one could also wish to hear her emphasize it, but her measured use of it also makes musical sense.
I love the richness she got in her middle and lower voice over 50 and here she was around 60 singing above High C with beauty and power that no one else on the opera stage can match today. I in general prefer the slowed down vibrato and steelier quality of her late high notes. No one has replaced her in a over a generation. I spoke to someone in the audience and he said out of all the great singers she and Nilsson had the biggest voices live that evening. That is saying something for a coloratura soprano.
Rubbish, I was there too. I simply mailed in my ticket request (for $25), and got a Family Circle seat, to my surprise. For a singer specializing in bel canto, Sutherland had a big voice. Nilsson, to many people’s surprise, did not have an especially big sound; but it was so well-produced, so focused, like a laser beam that could cut through any orchestra. The biggest voice - although I’m not attracted to decibels - Eva Marton. A tsunami of sound. But she didn’t last long.
Eva Martín, estuvo gloriosa esa noche. Una soprano Dramática, maravillosa y fantástica
Heavenly!!
Brava~! Thank you again for your work on these videos. I don't want to know how you do it (don't ruin the magic! :P) but also, don't stop doing it! haha ^_^. Many Thanks :D
You're welcome!!
Interesting to hear this late version transposed so that she avoids the top E. She still had the note though as she touched it in Esclarmonde at Covent Garden later that year!
Yes, the E flat still featured as late as 1986
Here the cabaletta is in Gflat after a very florid cadenza.
Ella mantuvo la agilidad y la belleza única de su timbre hasta el final realmente LA STUPENDA!!
Love it...Thank you very much!
Is this considered to be in Gb major or F#?
My guess, Gb.
La más célebre soprano belcantista del siglo puede darse el deseo transportar lo que quiera.