You had to be there to judge this and I was. Ross made a very unexpected debut subbing for Nilsson who never cancelled! She TORE the house down with In Questa Reggia. While Nilsson's voice was a laser beam, Ross' was much warmer and all encompassing. It just filled the Met which is hard to do. You really can't judge her voice or the impact she had that evening unless you were there. I am VERY GRATEFUL for this posting, however. It brings back a very special Met evening to me. Thank you!
I never tire of hearing this voice sing almost anything . Beauty of voice, strength of sound, excellent musician, ..is there anything else that matters? Yes, there is no one to fill those shoes at this time.!
I am just stumbling upon this now. It was my great good fortune as a young singer in 1974 to be a super in the Met production of "Turandot" at Wolf trap Farm Pak in Vienna, Virginia. I was put in a bald cap and saffron robes, and stood in the back holding an urn whilst Elinor Ross, Franco Corelli, Lucine Amara, and Paul Plishka sang the leading roles. I stood not ten feet from them as they sang the riddle scene. It was wonderful to hear voices of that size for the first time...and that close up! Later that week, I played the Priest that blessed Escamillo before the final bullfight in "Carmen" with McCracken and Horne. Loft Mansouri found me afterwards and asked me to do a small super role opposite Beverly Sills in "Daughter of the Regiment," and by the end of that summer, I was singing in the ensemble of the Sarah Caldwell production of "War and Peace." This began my opera career.
As a grade schooler I was present at almost every one of the shows you mentioned, along with Scotto /Bergonzi TROV, Scotto/Shicoff BOHEME, Evelyn Lear Marschallin, .....
Eleanor Ross Ross was a vocal treasure- a true dramatic soprano capable of extensive shading and coloring of tone as well as control of dynamics. Thrilling !
Me too!!but from. Havana. Cuba!! I met her years later i told her how great she was. She was very moved by my words. That. Turandot remain in my mind still!!after so many years!! Am glad that i met her in person i told her How great and magnificent she was.
Turandot was the third opera I ever saw. I had the privilege of seeing Ms. Ross in this role. It was on the Met's annual tour in Atlanta, GA in 1974. I was six years old. I loved opera even as a small child. The nostalgia is beyond beautiful. It is even painful, in a great and profound way. Every live opera experience is an incredible moment in time, that happens only once. How blessed I was, and all who may experience such beauty.
ENGRAMAS DA ANCESTRALIDADE Na ária In questa reggia, da ópera Turandot, de Puccini, o grito Desesperador soou na ressonância magnética que veio passar, De geração a geração e ancorou na alma da mulher em atrito, Vida da princesa Lou Ling que o rei dos tártaros veio devassar. Engramas do passado são forças coercitivas que recrudescem Situações que delineiam dificuldades do infrator se beneficiar, Interlocutor carrega os pensamentos de cargas que crescem Sempre na dificuldade remota que o faz sucumbir ou elevar. As amarras, em que o coração foi retido, é algo em remessa À reflexão que dê luz na expectativa de um novo caminhar. Somente ser profundo, que todos nós somos, pode ter essa Visão da realidade da existência, o que temos são os indícios Que podem nos levar a esse caminho, numa decisão de amar Que nos dê o paraíso, no sentido de horizonte, sem vícios. (*) (*) FERNANDO PINHEIRO, presidente da Academia de Letras dos Funcionários do Banco do Brasil. - ENGRAMAS DA ANCESTRALIDADE (poesia), de Fernando Pinheiro. - in O mundo de Morfeu, de Fernando Pinheiro.
In my ears this is a too softgrained voice for this icy cruel princess. She sounds like a bigger voiced Leontyne Price. Did Ross have enough technique for Verdi or did she sing mostly verismo?
Well, she was making her Met debut that night, stepping in for Birgit Nilsson, who had decided not to come to NYC for 2 Turandots in June. As far as being behind the beat, I don't hear it but then Kurt Adler was not a very good conductor so she may have had trouble following him. Interestingly, when Nilsson heard of Ross's highly successful debut, she got on a plane and flew to NYC to sing the second TURANDOT, plus one Tosca a week later, which I attended.
There was some yelling in this - Quel Grido - Of course the Conductor does not control the dynamics in the orchestra. Listen to MARIA CEBOTARI, TESCHEMACHER, NILSSHN
You had to be there to judge this and I was. Ross made a very unexpected debut subbing for Nilsson who never cancelled! She TORE the house down with In Questa Reggia. While Nilsson's voice was a laser beam, Ross' was much warmer and all encompassing. It just filled the Met which is hard to do. You really can't judge her voice or the impact she had that evening unless you were there. I am VERY GRATEFUL for this posting, however. It brings back a very special Met evening to me. Thank you!
I never tire of hearing this voice sing almost anything . Beauty of voice, strength of sound, excellent musician, ..is there anything else that matters? Yes, there is no one to fill those shoes at this time.!
Sweet Fancy Moses! That voice sounds huge! How wonderful to hear a voice like that without all the wobble of the singers today!
I am just stumbling upon this now. It was my great good fortune as a young singer in 1974 to be a super in the Met production of "Turandot" at Wolf trap Farm Pak in Vienna, Virginia. I was put in a bald cap and saffron robes, and stood in the back holding an urn whilst Elinor Ross, Franco Corelli, Lucine Amara, and Paul Plishka sang the leading roles. I stood not ten feet from them as they sang the riddle scene. It was wonderful to hear voices of that size for the first time...and that close up! Later that week, I played the Priest that blessed Escamillo before the final bullfight in "Carmen" with McCracken and Horne. Loft Mansouri found me afterwards and asked me to do a small super role opposite Beverly Sills in "Daughter of the Regiment," and by the end of that summer, I was singing in the ensemble of the Sarah Caldwell production of "War and Peace." This began my opera career.
Scommetto che voci del genere non le ha più risentite in teatro,specialmente un tenore come CORELLI!!! Lei è ancora in carriera??? Saluti
As a grade schooler I was present at almost every one of the shows you mentioned, along with Scotto /Bergonzi TROV, Scotto/Shicoff BOHEME, Evelyn Lear Marschallin, .....
Eleanor Ross Ross was a vocal treasure- a true dramatic soprano capable of extensive shading and coloring of tone as well as control of dynamics. Thrilling !
She was amazing. I've just learned that she died on March 6th and her carrer was shortened by facial palsy. So sad.
😢😢😢💙💙💙🎶🎵👑👑👑 Arnold Bourbon Amaral
Quite a voice! She deserved more fame than she was afforded.
True,she was great!!!
@R. Banus: Existe edición completa de esta representación, con Pilar en una emotiva Liu.
I would have sold my grandmother to be at this! Franco, Elinor, and Pilar!!!! damn!
Kurt Adler is the conductor, not the Timur. And the picture you show for him is a picture of Richard Tucker!!!
non è poi così grave...saluti
I heard Ross in the seventies at the Met in Turandot with Corelli and Edda Moser.Ross was superb.
Me too!!but from. Havana. Cuba!! I met her years later i told her how great she was. She was very moved by my words. That. Turandot remain in my mind still!!after so many years!! Am glad that i met her in person i told her
How great and magnificent she was.
Now this is a role for her voice.
jmiller05
For how long did she sing Turandot?
Ross is a fantastic Turandot. I love her voice. Thanks a lot.
Pity there's no testimony from Lorengar's Liù!
Turandot was the third opera I ever saw. I had the privilege of seeing Ms. Ross in this role. It was on the Met's annual tour in Atlanta, GA in 1974. I was six years old. I loved opera even as a small child. The nostalgia is beyond beautiful. It is even painful, in a great and profound way. Every live opera experience is an incredible moment in time, that happens only once. How blessed I was, and all who may experience such beauty.
Although Ross as superb as ever!
ENGRAMAS DA ANCESTRALIDADE
Na ária In questa reggia, da ópera Turandot, de Puccini, o grito
Desesperador soou na ressonância magnética que veio passar,
De geração a geração e ancorou na alma da mulher em atrito,
Vida da princesa Lou Ling que o rei dos tártaros veio devassar.
Engramas do passado são forças coercitivas que recrudescem
Situações que delineiam dificuldades do infrator se beneficiar,
Interlocutor carrega os pensamentos de cargas que crescem
Sempre na dificuldade remota que o faz sucumbir ou elevar.
As amarras, em que o coração foi retido, é algo em remessa
À reflexão que dê luz na expectativa de um novo caminhar.
Somente ser profundo, que todos nós somos, pode ter essa
Visão da realidade da existência, o que temos são os indícios
Que podem nos levar a esse caminho, numa decisão de amar
Que nos dê o paraíso, no sentido de horizonte, sem vícios. (*)
(*) FERNANDO PINHEIRO, presidente da Academia de Letras dos Funcionários do Banco do Brasil. - ENGRAMAS DA ANCESTRALIDADE (poesia), de Fernando Pinheiro. - in O mundo de Morfeu, de Fernando Pinheiro.
Magnificent high C from Corelli! Is there any soprano that could drown him?
Eileen Farrell
Birgit Nilsson
Phenomenal singer.
@premiereopera1 You're right. But to correct it, will give much work. Let it be. I hope people read our comments to discover the truth...
In my ears this is a too softgrained voice for this icy cruel princess.
She sounds like a bigger voiced Leontyne Price.
Did Ross have enough technique for Verdi or did she sing mostly verismo?
She sang both Leonora‘a with great success, Desdemona, Amelia, NORMA (video on YT), Tosca, Santuzza, Madelina, Lady Macbeth, and Donna Anna.
David Simmons Yes have heard her singing more now and great singer!
I heard her in the title-role of Handel's ATHALIA at Carnegie Hall and she stopped the show with her "vengeance" aria.
This is a real true huge dramatic soprano & not like Hernandez a lirico - constructed harsh singer
She sings constantly behind the beat. Good enough voice and intonation. A solid C+.
Well, she was making her Met debut that night, stepping in for Birgit Nilsson, who had decided not to come to NYC for 2 Turandots in June. As far as being behind the beat, I don't hear it but then Kurt Adler was not a very good conductor so she may have had trouble following him. Interestingly, when Nilsson heard of Ross's highly successful debut, she got on a plane and flew to NYC to sing the second TURANDOT, plus one Tosca a week later, which I attended.
She screams
There was some yelling in this - Quel Grido - Of course the Conductor does not control the dynamics in the orchestra. Listen
to MARIA CEBOTARI, TESCHEMACHER, NILSSHN