Shirley Verrett's Superb Dramatic Instincts in her Most Stunning Eboli
Вставка
- Опубліковано 5 вер 2024
- Disclaimer - I own nothing
Happy Independence Day to my fellow Americans!
At 4:10, the parlando effect is stunning! One really gets the sense of an internal dialogue going on with Eboli
Verdi: Don Carlo, Act 3 - "O Don Fatale" Dir. Horst Stein, Live from the Wiener Staatsoper (1970)
She was truly magnificent. Thank God we live in an age where we can still listen to her and other giants in their time
Wow - hearing this explains why I can still remember her Eboli at the ROH/London way back in 1968. I was very young at the time and memories fade but not Shirely Verrett's performance which has remained with me ever since. The now legendary Visconti production with Claudio Abbado on top form it was probably the greatest night at the opera in my life and I've heard many many famous artists. Sensational singer, no one this great today unfortunately.
What a great memory! How lucky you are, thanks for sharing.
I have heard so many great Ebolis, but she is still the best to my ears. There's something regal and passionate about her timbre that lends itself so well to the character. Plus she also manages to capture the urgency in this aria perfectly. You can hear Eboli's heart thumping throughout.
Vulnerable yet dignified, a real masterclass of characterization
Obratsova and Troyanos for me are right up there. Acting wise Troyanos is unsurpassed.
@@pureffm I did not hear Obrastova in this, but yes, Troyanos was superb in the role, eye patch and all.
@@glendadafonseca8284 I didn't say they sounded alike, I said they were equally impressive.
It is increíble,beautiful voice,well nuanced,deeply felt,total understanding of the parte superlative diction,a top register able to engulf the whole bay of new york, stunning
The one and only singer for this! Absolutely slays it. You could not find a singer today who would/could perform this aria to this standard, even if you were to threaten them with death. Brava!
The one and only and incomparable Verrett.
Today's singers have lost the ability to integrate chest to their bottom and mid register, so they could never sing those lower and mid parts with as much power. it is really annoying to listen to today's singers, you only get very weak heady low notes from them.
I agree. Todays singers would be better singing on Broadway. I wonder if they ever listen.
This is far more than singing. This is an intense dramatic portrayal, showing blazing commitment to the character and her dilemma. It is like 'Method' acting through the singing voice alone. Renditions of such power and brilliance are what opera is all about, or should be, at any rate. Thank you, Manoli!
In my (admittedly short) 20 years, I have NEVER heard such an Eboli. With three registers of magnificent vocalism and upmost devotion to Verdi’s drama. With Verrett, you really get the sense that Eboli was real (and she was!) I can safely say that, in my humble opinion, this O don fatale will never be matched
@@manolis.799 The art of singing Verdi having seemingly been lost forever, along with that of Bellini, Rossini and Donizetti, I think your assumption is correct.
exactly....what is called that rarest of them...even among GREAT VOICES..she was the GREAT SINGING ACTRESS!!!
I've just been quarreling a little about Verret as Lady Macbeth.When I see this amongst your publishings.
She is phenomenal in all dramatic roles.She was born for them.And Abbado is key directing her because exactly how to get the nectar from the flower.The tessitura is also the correct one as in Lady Macbeth.And above all she acts well,she moves well,even when she has to walk side to side a scenery wearing a long cape or gown.
Verret you are delightful and have performed very difficult parts with the same level of perfection from the fifties up to the seventies.Which isn't easy AT ALL.❤
WOW! Powerhouse!
Brava! One thousand times brava!
Prima absoluta...
I've been searching for a clearer version of Verrett's Eboli, and oh boy, now I know why many prefer her over other Ebolis, some of which are great artists, too. That 5-second C6, wow... That's haunting. Thanks for this.
C-flat, but, yes, haunting, indeed. 😉
@@arambarsamian6312 Yeah, I misheard that. In the score, it's really a B5 (or yes, a C-flat 6).
IT S probably impossible to find something as Great...both as VOCAL prowess...expression..directness..intensity...overwhelming power of expression and vocalism.
absolutely PHENOMENAL !!!
Her voice is so incredibly beautiful 4:40.....
Thank you Manoli S. This is truly beautiful. I've always liked Caballe's version of this aria very much but now I think I have a new favorite. Thanks to you!
Ofc my friend!
Caballe never sang this.
@@liedersanger1 Sorry my mistake. I was thinking of Oralia Dominguez.
People always carp about her American accent. Really? She’s absolutely spectacular here.
For what it’s worth. I can’t hear an accent. Then again I’m from the American south so maybe I don’t have an ear. However if my input is worth nothing, the La Scala audience seemed to have no issue with her, her raucous ovations as Lady Macbeth should show that.
Also, some people will ALWAYS find something to complain about. They can’t let anyone else enjoy something without taking a shit on their happiness.
Wonderfully sung!
Thanks, dear Manoli.
Ofc my friend!
Sesso puro
Whenever Ebolis do that high note just before the slow section, it's always screamed. Not with Verrett. And her Italian diction is wonderful. Accent? What are they even talking about.
It IS always screamed isn’t it? I’ve found that many people want Eboli to just holler and scream the whole time like she’s “calling for help from another planet.” Verrett was a pro
@@manolis.799 Barton literally screams every high note in this role. It's a travesty. This is liquid silver singing and acting. Musicianship. I also love Troyanos.
Listen to Troyanos high C in Bluebeard's Castle. Not screamed. And she was a lyric mezzo. U gotta go listen to it
And at that time the Bing administration at the Met still didn't like her....How is it possible?
Bing never had particularly good taste. Real first class singers there under his rule were somewhat an anomaly. Their loss!
SV was such a talented and flexible singer. If you haven’t heard her sing “non temer, d’un basso affetto” from Rossini’s Siege of Corinth have a listen ua-cam.com/video/iUJ8LD4ZGxg/v-deo.html.
An example of her adaptability.
❤️🇱🇨!!!
Marked as soprano in the score but they seldom sing it after the 60’. So it has become a vehicle for dramatic mezzos and nowadays for bad developed mezzos (usually without chestvoice and an unclear middle)…
She is amazing but the famous orchestra is a mess!
Love Shirley, but - This is way too "Slow".
The slow section and the ending is too slow, I agree