@@christophecesar4761 This overratedness regarding Marton has to stop! Grace Bumbry stated that Marton was a lyric soprano and not a dramatic soprano at all and I heard it the very first time I heard her first recording. Opera is never about BLASTING so you wrecked your voice. It actually is about PENETRATING without the least possible amount of effort. And Marton NEVA had a naturally metallic or penetrating sound such as Callas or Nilsson. Very few had it and they were all legends. Now Zajick is not a mezzo, she is a true soprano and to me Zajick is a Spinto soprano and sometimes I hear dramatic soprano qualities in her prime. Being a mezzo is not about singing strong chest tones only BUT it is about having the right color of a genuine mezzo that is EXTREMELY metallic and pure bronze: Christa Ludwig, Ebbe Stignani, Oralia Dominguez are TRUE mezzo voices with the right color of a true mezzo. Christa’s voice is less dark yet that incredible bronze quality is there extremely present!
@@beachfanatic2010 It wasn't my point. I only stated on volume of sound. Marton was known as a big voice but was much less big as Zajick who was the biggest voice I heard since 30 years, except Obraztsova who, even very late in her career had a very amazing impact in big hall like Opera Bastille I was very impressed. That's all. I don't argue about Fach and I'm sorry but didn't heard Callas, Nilsson, Corelli, Del Monaco, Tebaldi or Cossotto live, who supposed to have big, big voices.
A great singer and great artist. Her power is jaw dropping, but her refinement in legato and technical control are even more impressive for such a large instrument. The high D flat is more secure and perfectly placed than many famous sopranos could achieve. Mastery.
Well, what do ya know! No bows, no diva postures, no smiling, no nothing!!! She was in character throughout that ovation!!! What a trooper! What a voice! What a professional!! Brava!!!
I had gone to see the Soprano Jane Eaglen, whose hefty, pristine, Isolde had captivated in a previous season’s Tristan und Isolde at the Metropolitan Opera House, sing the title role in Norma and was so blown away by the exceptional mezzo who was her Adalgisa, that after the phenomenal performance I made a beeline for the now long gone Tower Records one block away and bought absolutely every recording that featured the spectacular Dolora Zajeck and made a point to make sure I saw her in everything she was doing at the Met from that point onwards.
Say hello to her, I was at Leonardo’s restaurant with her when she sang there and a bunch of us did it with the Teacher. Back in the 80’s! She was already great and beautiful!
And I was lucky enough to arrange and witness a private masterclass with a young Spanish soprano. I will never forget her kindness and her coaching abilities!
I am absolutely transported when I listen to the CD I have of hers. I will miss my exit if I'm playing it while driving. She has technique for miles and miles; she's such a complete and powerful singer!
My god how lucky that audience was ! She's astonishing. I've heard her live several times in the later part of her career and you simply can not believe a human being can create that sound. The size, weight, and FULLNESS of her voice get the most attention, but the front half of this performance which shows how absolutely lyric she can be and her fantastic legato are central to her ability to perform characters like Azucena, Amneris, and Eboli as people and not as complete gorgons. She's a brilliant musician and human. Thank you for posting this!
I heard her last Amneris... She had lost some of her vocal beauty, but seemed to have gained more power in her top notes, if that's even possible. Historical performance sums it up perfectly, despite only being 20, I can now count myself as having heard one of the Titans of operatic history.
I am afraid her top notes were no longer really floating when I heard her. But it wasn't floating notes I was there for, it was thunderous ones, and she CERTAINLY still had those.
I love Zajick . I saw her in Trovatore.. where she sings A couple of High C's in her fuet with Manrico... She was 63 years old.. her voice was still very fresh.
Unbelievable... a voice that just smacks you in the face. No, punches a hole through the face 😅 Definitely like you said, this is "Leonora a la Abigaille" 😁 The upper register is herculean, almost reminds me of Astrid Varnay in her youth before she transitioned from soprano.
Sensational. Thank you so much! I was fortunate to see Zajick many times at the Met, but they never mounted La Favorite for her - or anyone else for that matter. I saw a great production starring Jamie Barton and Larry Brownlee in Houston in 2020 - I'm not sure why this opera isn't more popular. It's more gripping than Maria Stuarda!
It takes both a phenomenal Mezzo and a phenomenal tenor, but they are out there if only opera companies would look harder rather than just going to the old standards like Lucias and Toscas. La Favorite or La Favorita either French or Italian version that opera has great drama.
I have never heard a bigger voice with such a perfect technique. I was lucky enough to see her Leonora twice as well as her Amneris, Azucena and Dalilah and will never ever foeget her.
Fantastica! This is a masterful example about how to execute extreme notes that are not written by the composer: they should be done only and exclusively if you are able to deliver them extremely well, otherwise just follow the score, please!
No one has sung this aria as well as Zajick and no one every will. She stays in character throughout the thunderous ovation. No diva posturing, no smiles, no bows. If this had been Cosotto... Bravissima!
@@nathandavis3002 I think Ebe in her early years had all the way to dramatic top but I also think it wasnt descent those days for dramatic mezzos to sing soprano notes that is why Giulieta who had the easiest Db6 was not singing top notes in her early days... in her 1950 Norma with Callas she touches the C6 in Oh rimembranza for a sec while 5 years later she jumps to it and sustains it causing Callas to comment: It always surprised me why people gave me credit for that C6 while none to Giulietta's (I think they didnt know Adalgisa sings the SAME note with the soprano in that duet)
“Zajick is not a true mezzo but a soprano” is THE BIGGEST BUNCH OF BS IVE EVER HEARD! She most certainly has the rich colors and tone associated with being a great Mezzo. Her and Stephanie Blythe are two of my favorite Mezzos that I have had the privilege of hearing and seeing live on multiple occasions. Her Adalgisa was fantastic, it was the first time I saw her and she captivated me, I have been a devout fan ever since
I tend to agree w/ Christine. There's far too much formulaic, stylistically vague singing these days by "big" voices who think they're ready for the supremely challenging parts. But here we have a singer who does justice to the composer. Dolora's performance is the kind one hears from the great seasoned bel canto specialists of the 50s and 60s. She's also a fine fiery Ortrud!
I got to hear Dolora quite a bit at Lyric in Chicago in her prime. I'm telling you that was voice was huge and had all kinds of colors. It was still the only voice I heard live where my head vibrated from her voice. Her co stars had to be deaf... I got to sit through a dress rehearsal of Trovatore and in the big duet with DiLuna. there was a little sticking point with the baritone and the orchestra, and the Dolora would come in and unleash a monster note. Well they went through it a number of times and everyone looked a little perturbed after a while. For the last time. when it came time for Dolora to sing, she let out a mountain of sound and everyone erupted in applause. I wish I had a recording of that!
The reason she can do this speaks to her vocal training and that this is a mezzo aria, with mezzo tessitura. The reason she is not a soprano is that she herself says while she has lots of high notes, she cannot "hang" with the sopranos.. meaning handle their tessitura
This is the essence of why she is a mezzo. I wish more people would realise this on here. Every other comment of Dolora on UA-cam is 'I think she's a soprano!!'.
Well it's obvious when you hear her that her mezzo range is the richest, but her soprano range is so beautiful and strong. She has a very balanced range. I love her voice, it has a sweetness and feminity . When I hear her, I feel this calm come over me.
@@stefanocautavera They are the true fanatics on here ha. How many times do I come into a video of a mezzo and see 'undeveloped soprano' or 'no chiaroscuro'. Give me a fucking break.
It's a thing now that if you voice isn't so dark to the point of being muffled you are not recognized as being a mezzo. Most houses today would call her voice to "bright" and she's a "soprano without high notes". I don't understand it
Apparently Dolora could sing the Queen of the Night aria in full voice too.... her upper register was a marvel and undimmed pretty much based on the last time I heard her sing.
That's not straight chest voice - her voice stays solidly on the breath which allows her midrange to blend in smoothly. A great artist has a voice like a string of pearls - she is one great example.
She is legendary - I saw her once sing O don falale in concert at the Royal Albert Hall - an enormous arena which sucks up and swallows most singers' sound. Not Dolora's - she filled the place with huge, luscious and dramatic tone and the place went bananas!
same experience I had with Edita, (yes Gruberova!) at Herodous Atticous theater in 1991, a place which literally devours Sound (Horne had left the recital 1min after she began singing because no one including herself could not hear nothing)... Edita not only filled that black hole of theater but as she moved her head from right to left u could actually hear her Cone of Sound change direction... 30mins before Barbara Hendricks on same stage was being covered by some Pigeons who were vulgarly screaming at the rocks behind her :D
@@LohengrinO ua-cam.com/video/L7cICl7o5ls/v-deo.html At 4:14 June Anderson kind of creates the same effect here. A huge column of sound that comes your way as she turns around.
Bonjour merci pour cette belle vidéo une voix exceptionnelle qui vous fait frissonner un joyaux de l opera merci vraiment pour ce partage et une ovtion pour la soprano bravo
Ted Puffer must be looking down from Heaven each time his prize pupil is heard. A phenomena of anatomy, strength, talent, and a lot of courage. The last of the great singers of the 20th century.
And the year and venue of the performance too. I don' know why people post things in youtube, great things we marvel at, with NO exposition or amplifying information. It shouldn't be like anthropology. Tell us something about what we're seeing/hearing
Y cuando pienso que Dolora ya me impresionó, veo otro video de ella y lo vuelve hacer. Es increíble como aquí yo no sé si es una soprano o una mezzo hasta dudo de lo poco que se en 15 años escuchando ópera, si hubo bis?? Porque la gente está enardecida!!!
I love her upper register, it's still quite huge and untroubled to this day. Her lower voice is also very clear and well developed. My issue with her is how she handles the notes in the lower middle, especially around the passaggio: she has always had to distort the vowels to pull through, and her sound in that area is noticeably smaller compared to the rest of her voice.
Controversy over whether she is or not because her top is so strong and at times she sounds like a dramatic soprano. To me she is a mezzo. The voice is so dense, heavy, brassy in the middle. I dont think she'd like singing high notes all day
Είναι κι αυτή μία μεσόφωνος, που έχει την δυνατότητα να προεκτείνει την φωνή της σε ψηλές νότες, όπως η Σιμιονάτο, αλλά δεν ξέρω αν το κάνει (έκανε, διότι τώρα μάλλον δεν τραγουδά πια) συνειδητά και συτηματικά, όπως εκείνη, ή εντελώς τυχαία. Όπως και να έχει το πράγμα, είναι εξαιρετικά εντυπωσιακή και το μέγεθος/όγκος τής φωνής της εκπληκτικός. Ευχαριστώ, φίλε μου.
C'est censé être du français... On ne comprend aucun mot, c'est de la bouillie vocale. Mauvaise actrice et aucune finesse. Voilà le résumé de ce qui a détourné le public de l'opéra : ça hurle fort, on ne comprend rien mais pour faire bien et intello il faut dire qu'on adore!!!
❤️ ❤️ ❤️ ❤️ ❤️ O mon Fernand!, Léonore's aria from La Favorite L'ai-je bien entendu? Qui... lui... Fernand, l'époux de Léonore! Lui... Tout me l'atteste et mon coeur doute encore de ce bonheur inattendu. Moi, l'époser! ah! ce serait infâme! Moi, lui porter en dot mon déshonneur! Non, non; dût-il me fuir avec horreur, il connaîtra la malheureuse femme qu'il croit digne de son coeur. O mon Fernand! tous les biens de la terre, pour être à toi mon coeur eût tout donné; mais mon amour, plus pur que la prière, au désespoir, hélas! hélas! est condamné. Tu suras tout, et par toi méprisée, j'aurai souffert tout, tout ce qu'on peut souffrir. Ah! Si ta justice est alors apaisée, mon Dieu! fais-moi mourir, mon Dieu! mon Dieu! fais-moi, fais-moi mourir. Venez, cruels! qui vous arrête? venez, cruels, venez! Mon arrêt descend du ciel. Venez tous, c'est une fête! de bouquets parez l'autel. Qu'une tombe aussi s'apprête! Et jetez un voile noir sur la triste fiancée qui, maudite et repoussée, sera morte avant ce soir. Pour bandeau de fiancée, qu'on me jette un voile noir. Venez, venez cruels! Mon arrêt descend du ciel. Venez tous, c'est une fête! de bouquets parez l'autel. Qu'une tombe aussi s'apprête! Et jetez un voile noir sur la triste fiancée qui, maudite et repoussée, sera morte avant ce soir.
So that´s how a real great singer brings the house down. And then listen to the poor reactions of audiences all over the world to the stupid sort of opera productions you can see everywhere with third class comprimari like Miss Anna N. or Elina G. and how their names all are....
@@LohengrinO well I accept your opinion anyway this two (I only took as an example) are so far away from that what Dolora is doing here and what other great mezzos or surely also Sopranos where doing in earlier times since she is far away from any technical problems and using here voice perfect in any register so she has squillo and focus and based on the use of her chest voice and voix mixed great acuti which is the simple base where you can start making music and I'm sorry but Miss A. N. Or the other lady cannot deliver this.
Sorry Steven Ford I thought it was a joke, is la favorita of the great Donizetti. BTW other great mezzo singing this aria is Oralia Dominguez, our dear friend Lohengrin O has a lot of videos about her. Saludos!
@@LohengrinO If a voice is not well produced then it is automatically ugly. Her money notes are her top notes and I’ll say it again. She has the weight to sing mezzo but that does not make her one. This is a clear soprano and to me she is a spinto.
@@LohengrinO Her chest is suppose to be so as a soprano as well. To me it is a matter of color. Her voice has nothing of the vocal color of a true mezzo.
I was there and the Db un the middle of the cabaletta was one if my big chocks of 30 years in opera.
How big was the sound live?
@@mugrad25 You could hear her in the toilets of the lobby 😜
Obraztsova was the only one I hear with more power, even Marton had less voice.
@@christophecesar4761 This overratedness regarding Marton has to stop! Grace Bumbry stated that Marton was a lyric soprano and not a dramatic soprano at all and I heard it the very first time I heard her first recording. Opera is never about BLASTING so you wrecked your voice. It actually is about PENETRATING without the least possible amount of effort. And Marton NEVA had a naturally metallic or penetrating sound such as Callas or Nilsson. Very few had it and they were all legends. Now Zajick is not a mezzo, she is a true soprano and to me Zajick is a Spinto soprano and sometimes I hear dramatic soprano qualities in her prime. Being a mezzo is not about singing strong chest tones only BUT it is about having the right color of a genuine mezzo that is EXTREMELY metallic and pure bronze: Christa Ludwig, Ebbe Stignani, Oralia Dominguez are TRUE mezzo voices with the right color of a true mezzo. Christa’s voice is less dark yet that incredible bronze quality is there extremely present!
@@beachfanatic2010 It wasn't my point. I only stated on volume of sound. Marton was known as a big voice but was much less big as Zajick who was the biggest voice I heard since 30 years, except Obraztsova who, even very late in her career had a very amazing impact in big hall like Opera Bastille I was very impressed. That's all. I don't argue about Fach and I'm sorry but didn't heard Callas, Nilsson, Corelli, Del Monaco, Tebaldi or Cossotto live, who supposed to have big, big voices.
@@beachfanatic2010 I like Eva Marton's voice. I like her Turandot and her Brunnhilde. So there. Take that!
6:29 The sustained Db6 that decrescendos to a piano. Truly incredible. I was already a longtime fan, but WOW.
OMG…..this woman is nothing short of amazing. BEAUTIFUL voice.
A great singer and great artist. Her power is jaw dropping, but her refinement in legato and technical control are even more impressive for such a large instrument. The high D flat is more secure and perfectly placed than many famous sopranos could achieve. Mastery.
he is a soprano, no doubt
❤❤❤😊😊😊❤❤❤
Well, what do ya know! No bows, no diva postures, no smiling, no nothing!!! She was in character throughout that ovation!!! What a trooper! What a voice! What a professional!! Brava!!!
Perfection, thy name is Dolora.
Unreal! I wonder what the members of the orchestra thought the first time they heard that. Just fantastic!
Leonora: Shirley Verrett, Fiorenza Cossotto, Dolora Zajick, Giulieta Simionato... Bravas 👏🏿👏🏿👏🏿👏🏿🤩😍
I had gone to see the Soprano Jane Eaglen, whose hefty, pristine, Isolde had captivated in a previous season’s Tristan und Isolde at the Metropolitan Opera House, sing the title role in Norma and was so blown away by the exceptional mezzo who was her Adalgisa, that after the phenomenal performance I made a beeline for the now long gone Tower Records one block away and bought absolutely every recording that featured the spectacular Dolora Zajeck and made a point to make sure I saw her in everything she was doing at the Met from that point onwards.
I am lucky enough to be receiving live coaching from her at UNR
Say hello to her, I was at Leonardo’s restaurant with her when she sang there and a bunch of us did it with the Teacher. Back in the 80’s! She was already great and beautiful!
And I was lucky enough to arrange and witness a private masterclass with a young Spanish soprano. I will never forget her kindness and her coaching abilities!
I am absolutely transported when I listen to the CD I have of hers. I will miss my exit if I'm playing it while driving. She has technique for miles and miles; she's such a complete and powerful singer!
My god how lucky that audience was ! She's astonishing. I've heard her live several times in the later part of her career and you simply can not believe a human being can create that sound. The size, weight, and FULLNESS of her voice get the most attention, but the front half of this performance which shows how absolutely lyric she can be and her fantastic legato are central to her ability to perform characters like Azucena, Amneris, and Eboli as people and not as complete gorgons. She's a brilliant musician and human. Thank you for posting this!
Historical performance
I also LOVE her hairdoodoo :p I will wear it some point
I heard her last Amneris... She had lost some of her vocal beauty, but seemed to have gained more power in her top notes, if that's even possible. Historical performance sums it up perfectly, despite only being 20, I can now count myself as having heard one of the Titans of operatic history.
@@nathandavis3002 I'm jealous I wish I could hear her live...she can also really float the top notes
I am afraid her top notes were no longer really floating when I heard her. But it wasn't floating notes I was there for, it was thunderous ones, and she CERTAINLY still had those.
What an interesting response to the audience- just standing there like a statue!
I love Zajick . I saw her in Trovatore.. where she sings A couple of High C's in her fuet with Manrico... She was 63 years old.. her voice was still very fresh.
Got to hear her at the Met. She was phenomenal!
She's retired !! Too late.
Un chant assez vulgaire !
Des sons graves fort laids !
Great technique, great singing and beautiful voice 👏🏻👏🏻👏🏻👏🏻👏🏻
The great Dolora Zajick.
Thank you Lohengrin for this great find. Ms. Zajick is stupendous.
Unbelievable... a voice that just smacks you in the face. No, punches a hole through the face 😅 Definitely like you said, this is "Leonora a la Abigaille" 😁 The upper register is herculean, almost reminds me of Astrid Varnay in her youth before she transitioned from soprano.
Amazing, simply unique singing. What an ease when changing registers, superb legato and expressiveness. Brava!!!
a Goddess (booboo Goddess)
Now THAT is how it's done! Sing an aria like a champ, bring down the house, and stand proud and take that applause! YAS!
Sensational. Thank you so much! I was fortunate to see Zajick many times at the Met, but they never mounted La Favorite for her - or anyone else for that matter. I saw a great production starring Jamie Barton and Larry Brownlee in Houston in 2020 - I'm not sure why this opera isn't more popular. It's more gripping than Maria Stuarda!
I think it is phenomenally difficult to sing for all singers
I agree I think La Favorita is an excellent opera and it’s terrible we don’t see it more often.
It takes both a phenomenal Mezzo and a phenomenal tenor, but they are out there if only opera companies would look harder rather than just going to the old standards like Lucias and Toscas. La Favorite or La Favorita either French or Italian version that opera has great drama.
I have never heard a bigger voice with such a perfect technique. I was lucky enough to see her Leonora twice as well as her Amneris, Azucena and Dalilah and will never ever foeget her.
I have NEVER heard a voice like this!!!!
Fantastica! This is a masterful example about how to execute extreme notes that are not written by the composer: they should be done only and exclusively if you are able to deliver them extremely well, otherwise just follow the score, please!
No one has sung this aria as well as Zajick and no one every will. She stays in character throughout the thunderous ovation. No diva posturing, no smiles, no bows. If this had been Cosotto... Bravissima!
Up to Db6 with such Volume??? Unbelievable
I like Ebe sStignani's version as much, or more, but it doesn't have a high D
@@nathandavis3002 I think Ebe in her early years had all the way to dramatic top but I also think it wasnt descent those days for dramatic mezzos to sing soprano notes that is why Giulieta who had the easiest Db6 was not singing top notes in her early days... in her 1950 Norma with Callas she touches the C6 in Oh rimembranza for a sec while 5 years later she jumps to it and sustains it causing Callas to comment: It always surprised me why people gave me credit for that C6 while none to Giulietta's (I think they didnt know Adalgisa sings the SAME note with the soprano in that duet)
I agree, I think it must have been the style. I never had the sense that her voice had a ceiling.
@@nathandavis3002 exactly!!!
6:29 is where the Db happens.
“Zajick is not a true mezzo but a soprano” is THE BIGGEST BUNCH OF BS IVE EVER HEARD! She most certainly has the rich colors and tone associated with being a great Mezzo. Her and Stephanie Blythe are two of my favorite Mezzos that I have had the privilege of hearing and seeing live on multiple occasions. Her Adalgisa was fantastic, it was the first time I saw her and she captivated me, I have been a devout fan ever since
if only her middle voice wasnt so shallow and flat... that was her one lethal weakness
You don't hear this level of singing now - too much focus on advancing the careers of thin, pretty singers.
Not true. The overweight ones can’t sing either.
I tend to agree w/ Christine. There's far too much formulaic, stylistically vague singing these days by "big" voices who think they're ready for the supremely challenging parts. But here we have a singer who does justice to the composer. Dolora's performance is the kind one hears from the great seasoned bel canto specialists of the 50s and 60s. She's also a fine fiery Ortrud!
Phenom indeed. I marvel at her focus!
Unbelievable performance. Exquisite perfection.
I got to hear Dolora quite a bit at Lyric in Chicago in her prime.
I'm telling you that was voice was huge and had all kinds of colors.
It was still the only voice I heard live where my head vibrated from her voice. Her co stars had to be deaf...
I got to sit through a dress rehearsal of Trovatore and in the big duet with DiLuna. there was a little sticking point with the baritone and the orchestra, and the Dolora would come in and unleash a monster note.
Well they went through it a number of times and everyone looked a little perturbed after a while.
For the last time. when it came time for Dolora to sing, she let out a mountain of sound and everyone erupted in applause.
I wish I had a recording of that!
Dolora be sanging
The reason she can do this speaks to her vocal training and that this is a mezzo aria, with mezzo tessitura. The reason she is not a soprano is that she herself says while she has lots of high notes, she cannot "hang" with the sopranos.. meaning handle their tessitura
This is the essence of why she is a mezzo. I wish more people would realise this on here. Every other comment of Dolora on UA-cam is 'I think she's a soprano!!'.
Well it's obvious when you hear her that her mezzo range is the richest, but her soprano range is so beautiful and strong. She has a very balanced range. I love her voice, it has a sweetness and feminity . When I hear her, I feel this calm come over me.
@@jmiller05 That "This is opera" loony bin may have disappeared lately, but its sycophants are still out there parroting their bullshit.
@@stefanocautavera They are the true fanatics on here ha. How many times do I come into a video of a mezzo and see 'undeveloped soprano' or 'no chiaroscuro'. Give me a fucking break.
Thank you!
Stupenda!!!!!
We’ve seen this sensational singer at the Met many times, never disappoints her fans. Bravissima👏👏👏👏👏
Amazing. Superlativ technique
When I listen to this aria sung by most modern mezzos I feel so sorry for them. That is how this music has to be sung. Wonderful in every way.
It's a thing now that if you voice isn't so dark to the point of being muffled you are not recognized as being a mezzo. Most houses today would call her voice to "bright" and she's a "soprano without high notes". I don't understand it
@@thesoubretteoftheopera7313 That sounds like TIO talk haha. They were always extremists about dark sound and laryngeal depth
not so sure that Leonora is supposed to be sung like Abigaile but... nevertheless this is Monumental
Apparently Dolora could sing the Queen of the Night aria in full voice too.... her upper register was a marvel and undimmed pretty much based on the last time I heard her sing.
Zajick’s voice is one that reaches out and punches you right in the kisser. And I mean that in a good way
Astonishing voice
This is an absolute, canonical performance.
Volumen de voz inmenso, extensión en el agudo fácil pocas como ella!!!
Semplicemente insuperabile!
That's not straight chest voice - her voice stays solidly on the breath which allows her midrange to blend in smoothly. A great artist has a voice like a string of pearls - she is one great example.
She is legendary - I saw her once sing O don falale in concert at the Royal Albert Hall - an enormous arena which sucks up and swallows most singers' sound. Not Dolora's - she filled the place with huge, luscious and dramatic tone and the place went bananas!
same experience I had with Edita, (yes Gruberova!) at Herodous Atticous theater in 1991, a place which literally devours Sound (Horne had left the recital 1min after she began singing because no one including herself could not hear nothing)... Edita not only filled that black hole of theater but as she moved her head from right to left u could actually hear her Cone of Sound change direction... 30mins before Barbara Hendricks on same stage was being covered by some Pigeons who were vulgarly screaming at the rocks behind her :D
@@LohengrinO ua-cam.com/video/L7cICl7o5ls/v-deo.html At 4:14 June Anderson kind of creates the same effect here. A huge column of sound that comes your way as she turns around.
Goosebumps. This is other-worldly.
Sublime !!!!!!!
Sing Queen!!!!!!
Fantastic! She is phenomenal......
Se me acaba de saltar el corazón. Qué cabaletta!!!!
Bonjour merci pour cette belle vidéo une voix exceptionnelle qui vous fait frissonner un joyaux de l opera merci vraiment pour ce partage et une ovtion pour la soprano bravo
Simply wow!
..... Bravissima e vocalità stupenda... Grazie caro Lohengrin0 🇮🇹👏🇮🇹👏🇮🇹👏🇮🇹Elsa
Excuisit! Very strong chest voice! Brava!
Is it any wonder Nilsson considered Zajick to be her only true successor? Hugely different singers, but their voices were cut from the same cloth.
Ted Puffer must be looking down from Heaven each time his prize pupil is heard. A phenomena of anatomy, strength, talent, and a lot of courage. The last of the great singers of the 20th century.
Aw! You knew Ted & Deena too?! They were great mentors to me, changed my life... My musical 'parents' for many years...
Absofreakinglutely Awesome!!!!!
😎😎😎
Historical
Rita Gorr dans sa meilleure époque était capable de projeter sa voix telle une soprano dramatique avec des aig¨¨us trés puissants !
Et sa diction était toujours impeccable !
I wish you would include the title of the opera / aria in the description for those of us woh aren't quite as knowledgeable about opera. Thank you.
This is "O mon Fernand" from Donizetti's LA FAVORITE. An Italian version ("O mio Fernando"/LA FAVORITA) can also be found.
@@exploringopera1150 Thank you!
@@willcwhite You're most welcome. I happen to teach opera appreciation classes; happy to help. :-)
@@exploringopera1150 Thank you, I was looking through the comments to see if someone had mentioned the title!
And the year and venue of the performance too. I don' know why people post things in youtube, great things we marvel at, with NO exposition or amplifying information. It shouldn't be like anthropology. Tell us something about what we're seeing/hearing
Just to make it clear, I love her.
Wow
Oh!
👏🏼👏🏼👏🏼👏🏼 Brava !
Does anyone know where and what year was this performance? Exquisite!
Sping 2002 (April or beginning of May) in Barcelona.
my goodness
A SHOW STOPPER...
🎼🎶❤
Grande❗
Y cuando pienso que Dolora ya me impresionó, veo otro video de ella y lo vuelve hacer. Es increíble como aquí yo no sé si es una soprano o una mezzo hasta dudo de lo poco que se en 15 años escuchando ópera, si hubo bis?? Porque la gente está enardecida!!!
definitely a mezzo but blessed with a powerful soprano register, this is the type of voice perfect for soprano falcon roles
@@LohengrinO Ya había leído el término de soprano falcón, pero ahora me queda claro y si coincido contigo!
I love her upper register, it's still quite huge and untroubled to this day. Her lower voice is also very clear and well developed. My issue with her is how she handles the notes in the lower middle, especially around the passaggio: she has always had to distort the vowels to pull through, and her sound in that area is noticeably smaller compared to the rest of her voice.
I am sorry you have those issues.
Esto es la verdad. Yo cantaba con ella. Es estupenda, pero está pequeña problemita si que tiene.
Wow!!!
A SHOW STOPPER !!!
whats the work?
She is a soprano...
Controversy over whether she is or not because her top is so strong and at times she sounds like a dramatic soprano. To me she is a mezzo. The voice is so dense, heavy, brassy in the middle. I dont think she'd like singing high notes all day
So what if she is? She still sings this masterfully.
Люблю.
Is this by any chance our strange old Liceu production?
That's absolutely awesome singing! I totally adore and worship her! But please can anybody tell what's the name of the opera??
La favorite by Donizetti
Could some kind person tell me what this aria is? Please excuse my ignorance 😶 thank you....
what aria is this?
aria is O mio Fernando. From the opera La Favorita.
10:13 Oh, you guys aren't done yet?
Not sure where a Db is in the piece or C is in the piece, being that it is in the key of E and the final note is a B natural
Ah, it's a C#. Same note as Db, but because it's written in sharps it is expressed as a C#
Είναι κι αυτή μία μεσόφωνος, που έχει την δυνατότητα να προεκτείνει την φωνή της σε ψηλές νότες, όπως η Σιμιονάτο, αλλά δεν ξέρω αν το κάνει (έκανε, διότι τώρα μάλλον δεν τραγουδά πια) συνειδητά και συτηματικά, όπως εκείνη, ή εντελώς τυχαία. Όπως και να έχει το πράγμα, είναι εξαιρετικά εντυπωσιακή και το μέγεθος/όγκος τής φωνής της εκπληκτικός.
Ευχαριστώ, φίλε μου.
Περιμενα απο τη Λεονορα της Σιμιονατο αυτες τις ψηλες αλλα μπα... ποιος ξερει γιατι
Not a good as verrett but still quite good
She could've tried a little harder. Maybe applied herself a little more.
C'est censé être du français... On ne comprend aucun mot, c'est de la bouillie vocale. Mauvaise actrice et aucune finesse. Voilà le résumé de ce qui a détourné le public de l'opéra : ça hurle fort, on ne comprend rien mais pour faire bien et intello il faut dire qu'on adore!!!
❤️ ❤️ ❤️ ❤️ ❤️
O mon Fernand!, Léonore's aria from La Favorite
L'ai-je bien entendu? Qui... lui... Fernand,
l'époux de Léonore!
Lui... Tout me l'atteste et mon coeur doute encore
de ce bonheur inattendu. Moi, l'époser!
ah! ce serait infâme!
Moi, lui porter en dot mon déshonneur!
Non, non; dût-il me fuir avec horreur,
il connaîtra la malheureuse femme
qu'il croit digne de son coeur.
O mon Fernand! tous les biens de la terre,
pour être à toi mon coeur eût tout donné;
mais mon amour, plus pur que la prière,
au désespoir, hélas! hélas! est condamné.
Tu suras tout, et par toi méprisée,
j'aurai souffert tout,
tout ce qu'on peut souffrir. Ah!
Si ta justice est alors apaisée, mon Dieu!
fais-moi mourir, mon Dieu! mon Dieu!
fais-moi, fais-moi mourir.
Venez, cruels! qui vous arrête?
venez, cruels, venez!
Mon arrêt descend du ciel.
Venez tous, c'est une fête!
de bouquets parez l'autel.
Qu'une tombe aussi s'apprête!
Et jetez un voile noir
sur la triste fiancée qui, maudite et repoussée,
sera morte avant ce soir.
Pour bandeau de fiancée,
qu'on me jette un voile noir.
Venez, venez cruels!
Mon arrêt descend du ciel.
Venez tous, c'est une fête!
de bouquets parez l'autel.
Qu'une tombe aussi s'apprête!
Et jetez un voile noir
sur la triste fiancée qui, maudite et repoussée,
sera morte avant ce soir.
So that´s how a real great singer brings the house down. And then listen to the poor reactions of audiences all over the world to the stupid sort of opera productions you can see everywhere with third class comprimari like Miss Anna N. or Elina G. and how their names all are....
I dont consider those two third class... but in opera productions where singers are forced to wear toilet cans around her necks yes!
@@LohengrinO well I accept your opinion anyway this two (I only took as an example) are so far away from that what Dolora is doing here and what other great mezzos or surely also Sopranos where doing in earlier times since she is far away from any technical problems and using here voice perfect in any register so she has squillo and focus and based on the use of her chest voice and voix mixed great acuti which is the simple base where you can start making music and I'm sorry but Miss A. N. Or the other lady cannot deliver this.
that doesnt make neither Anna or Elina third class, maybe a bit overrated but third class no no no...
8:01 ... what is that...
two Ab5s and finally at 8:09 C6
@@LohengrinO awwh...
Sound like Turandot to me ;$
@@TheWiseMonkey8888 not that much but Abigaile yes!!
Mercadante?
Is this piece from the Ring cycle?
Jajajaja jajajaja
Hi! Is from "La Favorite" by Donizetti
The Ring cycle? La Favorita.
@@samueljaramillo4221 I thought it sounded like something that would come from the ring cycle from Wagner
Sorry Steven Ford I thought it was a joke, is la favorita of the great Donizetti. BTW other great mezzo singing this aria is Oralia Dominguez, our dear friend Lohengrin O has a lot of videos about her. Saludos!
Jazik est bien. Mais... n’égale ni Ébè Stignani, ni Giulietta Simionato, (ma préférée ?), ni Elena Obratsova.. très bel aria ! Salut Lohengrin 😄
What year was this?
2002
April 2003
I see why you used the word "heavy" here..
She sings very ugly in her middle voice. Why?
not ugly but that was always her flaw, the middle voice
@@LohengrinO If a voice is not well produced then it is automatically ugly. Her money notes are her top notes and I’ll say it again. She has the weight to sing mezzo but that does not make her one. This is a clear soprano and to me she is a spinto.
@@beachfanatic2010 the chest is HUGE though
@@LohengrinO Her chest is suppose to be so as a soprano as well. To me it is a matter of color. Her voice has nothing of the vocal color of a true mezzo.
@@beachfanatic2010 so, you have not heard her low register. It is best in the world now a days