The first must be the trio from Act III of Alcina, 1960 in Venice. Monica Sinclair is the third voice as Ruggiero. The second is Bradamante's aria from Act I.
Now THIS is a combination to die for. The best soprano in baroque repertoire (among others) of the time, and the best mezzo as well. Joan is so stunning here, voice like a silver bell, and light as air, sailing through the (very complex) musical line with utmost elegance and ease. And Oralia with her stunningly silvery mezzo tone and stunning limpidity and massive power in her reserves, also sailing gaily along through the musical. This may be one of my new favorite recordings. Do you know if the two of them did any more work together? It seems unlikely they would have collaborated on just a single duet. Is this from a full opera with the two of them?
N. Lidar Indeed, especially in this repertoire where Sutherland is streets ahead vocally of most. Dominguez's middle voice is just incredibly solid. She sustains the line against Sutherland's huge sound with no wobbles or lack of legato. This is magnificent singing from both, blended by the gods.
Thank you Lohengrin! What a pleasure to hear such full-voiced ladies in Handel, after the tiny, bleached, 'Early-Musicke' voices that seemed to be all we heard in this repertoire for a long while. And what a marvelous cadenza at 4:32-4:46! Arleen Auger goes up to an E flat at this point on the Hickox set, but I'll take Sutherland's full-throated, plush tones any day. I wish I'd been at La Fenice in 1960 to see this. I'm fairly sure it was the Zeffirelli production, and the stills I've seen from it are gorgeous.
Wow, what a surprise to hear Sutherland singing almost correctly!!! This is so rare!!! That must be very early in her career, right after her initial training in Australia and before she started to work with Bonynge and lost her voice. So interesting the hear that she once had a good chest voice, she once had a good diction with pure vowels and good consonants. She once had a strong middle and low registers … really amazing to discover that. Hearing her gargling as she did for so many years I never thought that she once had a good singing technique.
@@LohengrinO Maybe I am exaggerating …. One thing I should say first is that when I started to listen to opera in 1975 I was a huge fan of Sutherland. I was so impressed by her high notes and her virtuosity. It is only later when I started voice lessons that I became more critical and listened and compared many singers in order to understand my own journey. When I started to develop and master my chest voice I understood the impact it had on my voice: day and night!!! My voice improved so quickly in the coming months. The chest voice does not only improve the quality of your low notes but also it totally frees the voice and allows for pure vowels and explosive consonants within a perfect legato. If you maintain a chest voice participation in the middle and high registers you are in business! I am sure you already know all this. I not only developed my voice but I also developed my ear. When I listen to Sutherland or Horne I hear a very poor chest voice, if any. The sound is always over covered, muffled and the diction is not good. Of course this is what happens in the very high register (over passagio) and it is ok but the problem with Sutherland and Horne is that they kept this placement going down in the middle and low register with barely any proper chest voice. In a way, they started this new way of singing that is the norm nowadays… collapsed, thin and under-developed voices. When I read all the extremely positive reviews about Sutherland and Horne I don’t understand and I realize that I am probably wrong !!! I am probably exaggerating too!!!
@@LohengrinO For example, when I listen to this duet from Norma with these two singers it is day and night compared to Sutherland - Horne. So much better: ua-cam.com/video/T7BXtIXLmHU/v-deo.htmlsi=CeAjQ87C-FQQNNT3
Are you a magician? I could die after listening to this...the most precious rarity I have ever heard. Truly amazing. Sutherland at the bebinning and Oralia in her prime! WHERW WAS THIS?
The great film/operatic director Franco Zeffirelli mentioned this production of Alcina in a long interview for "Joan Sutherland, The Reluctant Prima Donna" (It's on UA-cam). Zeffirelli considered Sutherland and Callas to be the 2 greatest opera singers in his lifetime. He called this performance of Alcina among the greatest operatic evenings of his life.
Unreal Sutherland !
The first must be the trio from Act III of Alcina, 1960 in Venice. Monica Sinclair is the third voice as Ruggiero. The second is Bradamante's aria from Act I.
Now THIS is a combination to die for. The best soprano in baroque repertoire (among others) of the time, and the best mezzo as well. Joan is so stunning here, voice like a silver bell, and light as air, sailing through the (very complex) musical line with utmost elegance and ease. And Oralia with her stunningly silvery mezzo tone and stunning limpidity and massive power in her reserves, also sailing gaily along through the musical. This may be one of my new favorite recordings. Do you know if the two of them did any more work together? It seems unlikely they would have collaborated on just a single duet. Is this from a full opera with the two of them?
it is the complete opera
Ah thanks!
❤❤❤😊😊😊🎉🎉🎉🎉🎉🎉
Those melismas are *endlessly flawless* .
Dios... Cuanto tiempo esperando oír esta grabación, creí que era un mito, gracias, no cabe duda, ambas eran grandiosas.
Such free, gorgeously refined singing. Dominguez undercuts the soprano line so beautifully with her mezzo.
jmiller05 A mezzo who has enough talent to sing next to Joan..
and in the second Bravura aria... she dives into deep chest after the coloratura at the end... a Titanic Amneris singing a Magnificent Bradamante
N. Lidar Dominguez is certainly a welcome relief from Huguette Tourangeau!
N. Lidar Indeed, especially in this repertoire where Sutherland is streets ahead vocally of most.
Dominguez's middle voice is just incredibly solid. She sustains the line against Sutherland's huge sound with no wobbles or lack of legato. This is magnificent singing from both, blended by the gods.
Thank you Lohengrin! What a pleasure to hear such full-voiced ladies in Handel, after the tiny, bleached, 'Early-Musicke' voices that seemed to be all we heard in this repertoire for a long while. And what a marvelous cadenza at 4:32-4:46! Arleen Auger goes up to an E flat at this point on the Hickox set, but I'll take Sutherland's full-throated, plush tones any day. I wish I'd been at La Fenice in 1960 to see this. I'm fairly sure it was the Zeffirelli production, and the stills I've seen from it are gorgeous.
I think the left photo is from dame Joan's Alcina
Lohengrin O Yes, correct.
This was a real treat. Big surprise for me here was Dominguez performance.
Wow, what a surprise to hear Sutherland singing almost correctly!!! This is so rare!!! That must be very early in her career, right after her initial training in Australia and before she started to work with Bonynge and lost her voice. So interesting the hear that she once had a good chest voice, she once had a good diction with pure vowels and good consonants. She once had a strong middle and low registers … really amazing to discover that. Hearing her gargling as she did for so many years I never thought that she once had a good singing technique.
you are exaggerating... and that comes from the the King of Exaggeration (me)... she did lose the diction later on but that was all
@@LohengrinO Maybe I am exaggerating …. One thing I should say first is that when I started to listen to opera in 1975 I was a huge fan of Sutherland. I was so impressed by her high notes and her virtuosity. It is only later when I started voice lessons that I became more critical and listened and compared many singers in order to understand my own journey. When I started to develop and master my chest voice I understood the impact it had on my voice: day and night!!! My voice improved so quickly in the coming months. The chest voice does not only improve the quality of your low notes but also it totally frees the voice and allows for pure vowels and explosive consonants within a perfect legato. If you maintain a chest voice participation in the middle and high registers you are in business! I am sure you already know all this. I not only developed my voice but I also developed my ear. When I listen to Sutherland or Horne I hear a very poor chest voice, if any. The sound is always over covered, muffled and the diction is not good. Of course this is what happens in the very high register (over passagio) and it is ok but the problem with Sutherland and Horne is that they kept this placement going down in the middle and low register with barely any proper chest voice. In a way, they started this new way of singing that is the norm nowadays… collapsed, thin and under-developed voices. When I read all the extremely positive reviews about Sutherland and Horne I don’t understand and I realize that I am probably wrong !!! I am probably exaggerating too!!!
@@LohengrinO For example, when I listen to this duet from Norma with these two singers it is day and night compared to Sutherland - Horne. So much better: ua-cam.com/video/T7BXtIXLmHU/v-deo.htmlsi=CeAjQ87C-FQQNNT3
Are you a magician? I could die after listening to this...the most precious rarity I have ever heard. Truly amazing. Sutherland at the bebinning and Oralia in her prime! WHERW WAS THIS?
...don't remember really
Simplemente: una joya
Great post TY
I've never been a fan of Sutherland but this is very nice indeed....early Sutherland I'm assuming?.....
too early :D Sutherland is gorgeous in Handel... imo the best Handelian ever
Lohengrin O .... clarify too early please 😶
The great film/operatic director Franco Zeffirelli mentioned this production of Alcina in a long interview for "Joan Sutherland, The Reluctant Prima Donna" (It's on UA-cam). Zeffirelli considered Sutherland and Callas to be the 2 greatest opera singers in his lifetime.
He called this performance of Alcina among the greatest operatic evenings of his life.