Un caro nome da antologia... Studiassero questa tecnica eccelsa i soprani pigolanti o vocianti di oggi... Fiati superbi e una limpidezza inarrivabile... Coloratura da favola
My late aunt told me about the time when she attended a recital by Galli-Curci in Chicago in the 1920's. She said that the theater caught fire during the performance and panic ensued. She told how Galli-Curci stepped to the front of the stage and sang "The Star Spangled Banner," at which time everyone stopped in their tracks, put their hands over their hearts, and stood until the end of the anthem at which time the Maestra was able to direct an orderly evacuation of the building. Amazing!
I fell in love with her voice when I was about 18. And I still love the voice, 40 years on. And I hope people will continue to love this voice 400 years hence.
That is the most amazing comment I found here. Thank you so much for sharing this, because it shows how powerful the intention of a singer is and how much love voice can transport. The voice is a connection to the angels indeed. Thank you.
Gualtier Maldè...nome di lui sì amato Gualtier Maldè...name of my beloved, scolpisciti nel core innamorato! Caro nome che il mio cor festi primo palpitar, le delizie dell' amor mi dêi sempre rammentar! Col pensiero il mio desir a te ognora volerà, e pur l' ultimo sospir, caro nome, tuo sarà
I recommended her duet with father. Germont in La traviata!!from 1922 with the great Italian baritone. Giuseppe de. Luca!! Both of them are Very good!!!!!!!!
Thank you for the comment to my comment. The Avanti Position can be reached with a training to free lips, jaw, high pallet and tongue from getting stiff. They all have to work smoothly as a team and not trying to make pressure on the voice box. In my new book "Singing like Callas and Caruso" which is now published in the German version, I describe precisely the exercises to do this body- and voice-work to get into balance. Then it is easy to produce Coloratura Arias like a nightingale.
Thank you so much for your wonderful comment. I believe that indeed. What makes her sound so special is her head voice and her ability to trill like a bird. The technique behind this is to hold the imagination to breathe in through the nose while you go from the breast sounds to the head sounds. At the same time the bridge to the breast resonance has to remain in place. Maria Callas shows a technical skill for this which is amazing. She would have been able to sing heavy metal as well....
Your comment is very interesting. Thank you. I think you misunderstood the mechanism I describe here for the frontposition of the voice. It is a very natural way to open the back of the pallet and to lift up the high pallet. She does it very well. You can read more in my book about this technique.
She made her American debut in Chicago in this role, remaining with the company for many years until a falling out with the management. She was a sensation as Gilda, unlike anything previously seen in Chicago.
By today's standards you're correct. But she absolutely had declined by this time due to the terrible goiter tumor in her neck. She's just a few years from early retirement here. Check out her 1917 recording of the same and you'll hear Galli-Curci at her best.
She was a fan of Sutherland and vice-versa; GC was an amazing coloratura. One of the few early singers whose voice recorded very well and very accurate.
She could produce lovely trills. She also had what I consider one of the defining qualities of the timbre of a true coloratura: a clear, bright voice. Something I would argue Sutherland ( at least in the recordings I have heard) and many modern singers lack.
Arbiter Veritatis Coloratura is often mistaken to mean a high light soprano voice who can do trills, runs & staccato with ease. It is actually a description of the type of embellishment I've just described. There are Mezzo Coloraturas, Dramatic Coloraturas, etc. Sutherland's voice was an example of the latter; Galli-Curci was a light Lyric Coloratura who apparently had a very small voice, in comparison with Sutherland's very large one, which was clear and bright only in the top octave, and had, what was to my ear almost a mezzo quality below there.
Not really. Coloratura has two meanings. One is short for soprano coloratura, as outlined by Arbiter. The other is for florid singing, the name deriving from the fact that the score appears "coloured" by many notes. All voices were adept at florid singing up to the early nineteenth century.
Sutherland was not a truly coloratura soprano!! She follow the orders of her demanding husband Rather than her own instict,she didn't like to argue With him. Her true voice was an spinto soprano.
@KarinWettig Finally I hear the term "high position"! It is absolutely right, the singers today and even after Caruso are/were darkening their voices. They don't have high position and thus it's not bel canto anymore. But is it so easy to try, without learning the technique? I think many would like to sing higher and more in the mask but don't know how.
Astonishing, especially considering how much she was suffering physically at this point. Equally astonishing is that 9 people don't like this. The Age of Stupidity.
Your observation is correct. The reason is simple, but not acknowledged so much. In former times the Belcanto technique was more correctly in use than today or after the death of Caruso. She uses constantly the correct AVANTi - position which means she produces her tones without loosing the high position in combination with the breast resonance - called in technical terms - appoggiare in petto. If a person is able to use this technique today, it sounds also like a bird. Try it, you'll like it.
Wasn't she a little nuts too? The slight dissonance in the opening chords of the orchestra seem to portend of her unhinged state: giving her life for a man who does not love her.
Un caro nome da antologia... Studiassero questa tecnica eccelsa i soprani pigolanti o vocianti di oggi... Fiati superbi e una limpidezza inarrivabile... Coloratura da favola
My late aunt told me about the time when she attended a recital by Galli-Curci in Chicago in the 1920's. She said that the theater caught fire during the performance and panic ensued.
She told how Galli-Curci stepped to the front of the stage and sang "The Star Spangled Banner," at which time everyone stopped in their tracks, put their hands over their hearts, and stood until the end of the anthem at which time the Maestra was able to direct an orderly evacuation of the building.
Amazing!
Amazing Love 💕
I fell in love with her voice when I was about 18. And I still love the voice, 40 years on. And I hope people will continue to love this voice 400 years hence.
It must have been an incredible experience to have heard her live in an opera house love to you Amelita
good Lord: she sang this 100 years ago-- what a wonder-- what a pure voice.
yes, thats really truth!
The most beautiful voice ever and superb control and mastery. Very few in same class, only Tetrazzini, maybe one or two others.
Cristallina e tonante !! Meravigliosa ,adorabile Amelita ❤
That is the most amazing comment I found here. Thank you so much for sharing this, because it shows how powerful the intention of a singer is and how much love voice can transport. The voice is a connection to the angels indeed. Thank you.
Her voice makes me cry ! What a wonderful voice. I would love a girl like that !
Absolutely gorgeous.
Gracias mil por tanta maestria y belleza. Que voz!
What a beauty...I love it!
marvelous... love her
Simply stunning ... her notes are crystal clear.
Truly amazing. And unsurpassed
Beautiful singing ! Thank you for uploading :)
Gualtier Maldè...nome di lui sì amato Gualtier Maldè...name of my beloved,
scolpisciti nel core innamorato!
Caro nome che il mio cor
festi primo palpitar,
le delizie dell' amor
mi dêi sempre rammentar!
Col pensiero il mio desir
a te ognora volerà,
e pur l' ultimo sospir,
caro nome, tuo sarà
divina .
I'm speechless........ 😍😍😍😍😍😍😍😍👏👏👏👏👏👏👏👏👏👏👏👏👏👏👏👏👏
Божественная грация и лёгкость в голосе! Фантастика.
I recommended her duet with father. Germont in
La traviata!!from 1922 with the great Italian baritone. Giuseppe de. Luca!! Both of them are
Very good!!!!!!!!
Galli-Curci recorded the duet twice with De Luca, in 1918 and again in 1927.
a.calli-curci gehört zu den größten koleratursopranen der Schallplatte. ein wunderbarer hörgenuß dieser Partie
I meant Gilda, not Amelita Galli-Gurcci. She was quite sane and wonderfully talented.
Remember in her day she was so famous, sang with Caruso in the
Rigoletto quartet and in the Lucia sextet....and Traviata.
She just opens her mouth... and the notes come floating out
Even in her vocal decline, Galli-Curci was still exponentially better than any of today's sopranos.
She was the gift given by The Glory God.
yes indeed
Sound from cosmos
For sure! And a devotee of Paramahansa Yogananda.
She came to Pittsburgh, Pa. When it was a choking mill town and hi k
She sang at the Temple of Music and Art in Tucson, Arizona.
Thank you for the comment to my comment. The Avanti Position can be reached with a training to free lips, jaw, high pallet and tongue from getting stiff. They all have to work smoothly as a team and not trying to make pressure on the voice box. In my new book "Singing like Callas and Caruso" which is now published in the German version, I describe precisely the exercises to do this body- and voice-work to get into balance. Then it is easy to produce Coloratura Arias like a nightingale.
Thank you so much for your wonderful comment. I believe that indeed. What makes her sound so special is her head voice and her ability to trill like a bird. The technique behind this is to hold the imagination to breathe in through the nose while you go from the breast sounds to the head sounds. At the same time the bridge to the breast resonance has to remain in place. Maria Callas shows a technical skill for this which is amazing. She would have been able to sing heavy metal as well....
Your comment is very interesting. Thank you. I think you misunderstood the mechanism I describe here for the frontposition of the voice. It is a very natural way to open the back of the pallet and to lift up the high pallet. She does it very well. You can read more in my book about this technique.
How can we trust the teaching of someone who doesn't know the difference between "palate" and "pallet?"
She made her American debut in Chicago in this role, remaining with the company for many years until a falling out with the management. She was a sensation as Gilda, unlike anything previously seen in Chicago.
You think she had "declined" when ship did this recording? It's perfection!
By today's standards you're correct. But she absolutely had declined by this time due to the terrible goiter tumor in her neck. She's just a few years from early retirement here. Check out her 1917 recording of the same and you'll hear Galli-Curci at her best.
it seems that older singers sound more like birds than now singers do... could it be for the recording.. or just the techinique has change?
This is arguably the best recording of the aria in the history of opera
For that check out her 1917 recording of the same.
She was a fan of Sutherland and vice-versa; GC was an amazing coloratura. One of the few early singers whose voice recorded very well and very accurate.
She could produce lovely trills. She also had what I consider one of the defining qualities of the timbre of a true coloratura: a clear, bright voice. Something I would argue Sutherland ( at least in the recordings I have heard) and many modern singers lack.
Arbiter Veritatis Coloratura is often mistaken to mean a high light soprano voice who can do trills, runs & staccato with ease. It is actually a description of the type of embellishment I've just described. There are Mezzo Coloraturas, Dramatic Coloraturas, etc. Sutherland's voice was an example of the latter; Galli-Curci was a light Lyric Coloratura who apparently had a very small voice, in comparison with Sutherland's very large one, which was clear and bright only in the top octave, and had, what was to my ear almost a mezzo quality below there.
Not really. Coloratura has two meanings. One is short for soprano coloratura, as outlined by Arbiter. The other is for florid singing, the name deriving from the fact that the score appears "coloured" by many notes. All voices were adept at florid singing up to the early nineteenth century.
Sutherland was not a truly coloratura soprano!!
She follow the orders of her demanding husband
Rather than her own instict,she didn't like to argue
With him. Her true voice was an spinto soprano.
Such an interesting comment.
@KarinWettig Finally I hear the term "high position"! It is absolutely right, the singers today and even after Caruso are/were darkening their voices. They don't have high position and thus it's not bel canto anymore. But is it so easy to try, without learning the technique? I think many would like to sing higher and more in the mask but don't know how.
Astonishing, especially considering how much she was suffering physically at this point. Equally astonishing is that 9 people don't like this. The Age of Stupidity.
4:36 omfg bro wtf thats so hard
Your observation is correct. The reason is simple, but not acknowledged so much. In former times the Belcanto technique was more correctly in use than today or after the death of Caruso. She uses constantly the correct AVANTi - position which means she produces her tones without loosing the high position in combination with the breast resonance - called in technical terms - appoggiare in petto. If a person is able to use this technique today, it sounds also like a bird. Try it, you'll like it.
E6
Wasn't she a little nuts too? The slight dissonance in the opening chords of the orchestra seem to portend of her unhinged state: giving her life for a man who does not love her.
Gilda was not "nuts", just quite naive and very innocent.