Thrilling bravura singing by early Sutherland and Simionato in Semiramide (better sound!)
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- Опубліковано 30 вер 2024
- Joan Sutherland, probably in the best vocal shape she ever had during her glorious and long career, sings a great Semiramide with the Arsace sung by the vibrant and expressive voice of the versatile mezzo, Giulietta Simionato. Gabriele Santini conducts this thrilling performance at La Scala di Milano, 1962. This is how the bravura coloratura singing of Rossini should be sung, no fancy canary tricks here. ;-)
1) Va, non ti lascio!
2) Ebben, a te, ferisci! (3:35)
3) Giorno d'orrore (8:26)
4) Madre, addio! (11:35)
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I totally expected singing of this caliber from Sutherland, but I was shocked at the accuracy and tone of the 52 year old mezzo Simionato. She faces the difficulties of Arsace right on and she delivers a great performance next to Sutherland. Of course Horne was fabulous later, but Simionato was outstanding herself. And remember that the great mezzo was only four years away from retirement when this performance took place. Simionato was truly one of the greats.
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I'd give anything to go back in time and hear that live. Sutherland's singing was beyond what any other soprano could/can do. Thank God for these recordings.
However great this is, what Sutherland and Horne achieved in duets, no one else has touched.
The blending, the dynamics, the surreal pin-point timing, the trills and staccatos, and all in between was and remains untouched.
Amazing duet nonetheless, I always wonder why Sutherland stopped singing at La Scala after 1965. Is it that they didn't want to hire Bonynge?
I think that was part of the reason. She also had some bitter quarrels with the management of the theater during the or right after the 1966 Don Giovanni and, so I read, vowed to never accept a contract from La Scala again. As for Horne vs. Simionato, no doubt that Sutherland blended better with Horne, but I really love the superior expressivity and fierce Italian diction of Simionato.
Homoclassicus What happened exactly regarding Giovanni in 1966?
Certainly the La Scala management recognized that Bonynge was a second rate conductor at best and only important because Sutherland was his wife. I am sure that other things were involved but if you listen to all of Sutherland's recorded work, including non-studio things and early work, you can hear that she was always more rhythmically acute and more dramatic when singing with other conductors. We have to recognize Bonynge for his repetiteur work early In recognizing her potential and helping her find the greatness in her voice but he was a mediocre conductor who robbed us of her greatest potential by letting her demand him as her conductor. She was always better with other conductors because they were better not because she was not always great.
I sometimes find the "perfect" blending of Horne and Sutherland to be a bit sterile. Here I can hear two temperaments both blending and yet distinctive as characters.
@@Twisterjoe I agree, Horne lacked so much, & there's no point in going into that issue. Dame Joan was always better with great conductors. Arnold Bourbon Amaral
For some moments ,in the rehearsals,she turned her back to the maestro.Santini....had his own.. character.And he said..
Non posso vedere questo culo inglese!!!!!!!😀Non maestro ,e un culo.....australiano.....she answered😂
Absolutely incredible! To think Simionato was so close to retirement is really miraculous she does an amazing job!! And early Sutherland is well, Sutherland at her best. I find her diction really nice here as well compared to later.
To hear anything half as good on stage today! **sigh**😪
Second time I come to listen although I have the complete recording... the sound is enormously improved here and that helps a lot Simionato's sound that sounded a bit dim in my recording... and indeed this is Glorious singing by both singers... and it always amazes me how easily Sutherland without the slightest vocal strain could rise above the volume of the singer next to her...
Divine Simionato and dame Joan in one of her Signature roles
Two great singers at their unbelievable vocal and dramatic glory.
Now this really IS INCREDIBLE!
I can't imagine being witness to this much glory. I think I would implode. Oh my Lord!
Bravissima Simionato, una mezzosoprano tan ágil como dramática.
I love Ms Simionato's warm low notes - famed for them, of course!
La Scala in the late 50's/early 60's surely the apogee in the history of opera, by comparison today is absolute garbage. IMO Joan Sutherland consistently sounds better in her live recordings (despite inferior audio quality) Could it be that she was more inspired by the live occasion or maybe by other conductors other than her husband? I never heard Simionato live but consider by her recordings as one of the greatest of mezzos.
It really is a thrilling performance. Thank you very much.
Simionato has a warmth and vigor here that is truly remarkable. Thank you!
Simionato tiene la voz perfecta para Arsace...
Wow! Simionato!!!!
The incomparable Joan Sutherland.
Debbie Woodburn gurl...
Thank you my friend. Excellent sound. 💎 They both sound great. Arnold Bourbon Amaral
@Barone Vitellio Scarpia You tell them HIJO!!! VIVA L.A OPERA !!!
@Barone Vitellio Scarpia Hello good morning, What do you think of the Tenor Fabiano. He just sang Rodolfo in Traviata with Marina Rebaka. Actually what do you think of both of them? Talk to you soon my friend Arnold
Her diction in the 60s was excellent.
Her Italian diction is much better here than in other performances. Probably because of singing in Italy and without Bonynge.
Vejo no título: Sutherland e Simionato, dou like antes de ouvir.
Why rush the end so ridiculously..
Conductors..
I prefer Horne with "La Stupenda". Because it seems to me, She could sing rings around Simionato and she's holding back.
Horne signing with so much nasality that you wonder if it is singing or sneezing
Horne makes a comically hideous sound, though...
Horne better than Simionato? We don’t think so, dear!