This is a joy to hear And humorous that there was no attempt to hide the fact they were reading from scripts... listen to turning of pages! There will never be anyone like either of them and I'm so fortunate to have heard both of them both in concert and opera at their thrilling height.
This is the Best comment I've read in many years... Still laughing! Edita's singing is basically based on scooping... She certainly had talent for coloratura, but her scooping all the time makes it almost impossible for me to listen to an entire aria, its simply annoying all that yelling! Joan Sutherland and Callas and Nilsson for life!!!
@@soundslikeblue only talent? Ultra Talented, Phenomenally talented but yes she was also the Queen of Scoops... and as dame Joan says here: ...WHYYYYYY?!?!?
There was a bit of tension between the two sopranos in this broadcast, and that's because Sutherland was late for recordings due to traffic conditions, which was regarded by Nilsson as intempestive and highly unprofessional. After the broadcast, Nilsson was asked If she thought Sutherland's bouffant hairdo was real. And Nilsson replied "I don't know, i haven't pulled it yet." :)) Two adorable ladies.
@@biancacastafiore8760 Fun challenge: Turandot/Liu; Elettra/Ilia; Donna Anna/Donna Elvira; Leonore/Marzelline. I think Joan did Woglinde to Birgit's Brunnhilde, yes? And recorded the Forest Bird in Siegfried with her Brunnhilde as well.
I heard the incident you are referring to was not related to this broadcast; It would have been very difficult to do due to intermissions. I read that the incident you are referring to was when Nilsson had cooked and invited Sutherland to her NYC residence for dinner. I am not sure she made it to dinner.
Milton Cross who introduces this was a legend in his own way, I listened to him every Saturday afternoon matinee growing up and reading his book on opera which taught me everything I needed to know - what memories...
A wonderful lesson in musical terms, techniques, and individuality of two soprano voices and personalities. Two of greatest ladies of the 20th century opera stage.
The world has changed so much. Sutherland learnt from listening to her mother and then spent decades perfecting her technique, latterly with her husband who was on hand all the time. How many proto-star singers would now spend 7 years as an apprentice in one theatre?
Why so sure? Because these 2 had the most unique and phenomenal voices of our time. And their prime is widely considered the greatest golden age in the history of modern opera.
This is amazing! I hope you can post more and more interviews, as well as those priceless rarities. Thank you! How I wish they could have sung Fledermaus together!
I agree. Nowadays if you go to a live Met screen broadcast another opera singer asks the main soloists idiotic and ignorant questions, breaking their concentration and boring us genuine opera lovers.
One vocal phenomenon that can not be demonstrated over the radio, or even in recordings, is the the "floating" of a note. I witnessed this only once in Sutherland's Mad Scene in "Lucia di Lammermoor" at the MET. The high note seemed not to emanate from the stage but from somewhere above. I don't know how this is achieved, but it is spectacular when presented.
Linnaeus Shecut Zinka Milanov was known for this. She would cross the stage on a high pianissimo which would seem to linger there after having left the stage. A fabulous effect.
Linnaeus Shecut I wonder if they learn it or if it isn’t part of their secret innate vocal possession. I don’t know anyone today, no, who even tries to do it. Perhaps one such singer comes per century or half-century. There was quite a distance between Sutherland & Milanov, for ex.
Sutherland said in interviews that she sort of placed her high notes in the back of her head, and I have read someone singing in the chorus when she was recording (with the chorus behind her) also saying that those massive notes seemed to emanate from the back of her head. Maybe that explains why the notes seemed to come from somewhere else.
The joy in this interview is hearing these two supreme singers in their prime. The cute dialog and joking is rather funny in its artificial 1960s scripted quaintness. Then there is the attempts at "bad" singing where they have such difficulty singing anything in a wrong way such as scooping. When Birgit lets loose with "Straniero" you can hear how she put on her full opera house voice. The warmth of Joan's lower register is really evident already.
*This is stunning! My favorite singers together 💗 Hear Joan speaking directly to Nilsson "I wanna like to hear Birgit's fio de voce" is priceless ❤❤❤ It's my birthday again hahaha*
Fantastic! Two musical geniuses at work. Nilson seems so down to earth. Would loved to have had coffee with her and just let her talk and teach!... Nilson was naughty as well. She once had a disagreement with Joan and was asked if she thought Joan's bouffant hairdo was real. She answered. ."I don't know, I haven't pulled it yet." Priceless! ...
god!!! it's a shame they didn't let her do the messa di voce at the end. I love this audio, glad it was uploaded again. both sound HUGE, particularly sutherland
Cristian Ha I still wonder who had the largest voice - or if they were comparable. We all know Birgit’s voice shot through you and Joan’s was surround sound.
SHICOFF1 if you don’t me could I ask you a few qn... 1. If one uses say modern singers as a measure, how big was say Nilsson’s voice. I don’t mean to say that any singer today could compare but just want to understand how loud Nilsson actually was 2. Of the tenors you heard, A. Did Del Monaco or Corelli had the bigger voice? B. How did The size of voices compare to say modern singers like Domingo or Kaufmann.. How many times bigger were they? 😀
Shaun Lee Well, Joan sounds more formal, & more polite to me, as nice as she is. Nilsson could be those, ofc, but was naturally quite goofy, v funny, & yes, down to earth.
I remember hearing this broadcast. One of Dame Joan's bios mentions that she was late for the recording session because of heavy traffic. NIlsson was not pleased with being kept waiting and was rather rude to Sutherland. Sutherland's 'Birgit dear' was a bit forced. Haha!
I know Pavarotti loved Joan Sutherland, and I'm sure she was great live, but just listening to these two, I much prefer Birgit Nilsson's very natural sound.
@SHICOFF1 Nilsson's voice cut through steel. Sutherland's voice filled open spaces. Nilsson's voice was larger but not by much, as Sutherland's was fuller after about 1963. I've heard them both in the theater. The largest voice I've ever heard bar nobody was Jesse Norman. From the bottom to the top it was unbelievably big.
It was huge. The first time I heard her sing live, I nearly choked on my own saliva, and that was towards the end of her career. But there’s one voice that hasn’t been mentioned here, and that’s Eileen Farrell. Corelli famously remarked after having sang with her did the first time “ where did you find this woman? She’s making me deaf”.
What an amazing master class! Thank you for posting this. Was there ever a follow up broadcast to complete the explication of musical terms used by singers?
Scotto could generate great floated notes…sometimes we’re not so much as floated as seemingly “Hear it as is she were just floating the note right beside your ear” even though I was at the balcony…it was an incredible experience
Oh god this is hilarious! I know they are both brilliant but it’s as if they can’t possibly imagine a use for using incongruously different or exaggerated articulations on respective arias. Joan’s declaration “why?” It’s so funny and edited hilariously too. “”WHY?”” Lol
ok I'll explain. Great artists rely on their art and talent, not diva behavior, not publicity, not autotune tech. Just the real goods. I sang opera for 20 years. The greatest directors and artists I worked with left their ego at the door.
vigwig I agree with everything you say. I guess I'm just puzzled, as I don't see the connection to this vocal demonstration by Miss Nilsson and Miss Sutherland.
Having had the privilege of seeing both these artists at the MET many times, I was commenting on how they approach their vocal technique and their consummate skill and dedication. They dedicated their talent to serve the art, not everyone on stage does.
SHAME I SAID! SHAME, SHAME, SHAME!!! Dear God in Heaven, listen to these two! And i know that they devoted their lives and sacrificed much to hone their skills. But they make it sound so easy! I guess when you're as talented as these two, singing is no longer work, but fun. Just incredible.
@@mckavitt13 when singing is just like breathing my friend. According to my father that's how I would describe his voice and my voice the passion we had for the human voice and singing singing singing. 🇫🇷🎶🎼🍷 Arnold Bourbon Amaral
Да, собралась воистину неплохая компания. Разговор, сопровождаемый такими замечательными иллюстрациями, не имел право, на мой взгляд, быть таким коротким и потому столь неполным. Впрочем, спасибо и за это.
@@MrQwerty88 Sutherland never once criticized her sound, she criticized her diction which was rounded in order to create a better sound. So no, it wasn't. Meanwhile, other singers who enunciate every vowel are singing the wrong one 50% of the time, and that includes Callas, who regularly sang, among other phrases, Il lino di nahtsuh, instead of il lino di nozze (procounced noh-stay). ALL singers choose vowels that are easier for them or that improve the sound. Sutherland under enunciated consonants, but so did Moffo, because she spoke Italian as a native tongue and her way with the language was looser than many others.
Callas would have disgareed with Joan's argument on vocal freedom in the Bel Canto repertory. Some Bel Canto singers have the tendency to do overdo the coloratura notes to show off and neglect expression.
Callas dijo una vez "champain" o "coca-cola", evidentemente este audio tiene mucho de eso. Sutherland ha cantando lo que ha querido y de la forma que ha querido, en una insolente posición de modificar la partitura "a piacere" todo el tiempo. El entrevestidor la coloca frente a recursos vocales propios del bel canto y aunque Sutherland no haya sido una belcantista, no puede hacer lo que quiera cuando se trata de responder al requerimiento solicitado. No sabe lo que es stecatto y legato, no tiene la menor idea ni capacidad de hacer "mesa di voce", continuó haciendo lo que hizo toda su vida en el escenario. Encima la ponen a la par de Nilson como si fuera posible comparar precisamente el champain con la coca-cola.
In my Opinion NILSSON is not Dramatic but a Wagnerian Soprano : Dramatic was GHENA DIMITROVA (But GHENA was not Wagnerian) ! As a matter of fact, the Low Register of Mrs NILSSON was not dramatic at all : her best was on the High Register !! DIMITROVA, BRUNA RASA and Maria CANIGLIA were really Dramatic Sopranos : their skill were Composers like Verdi, Puccini !! In an Interview , Mrs NILLSSON her self said : In Bayreuth compared with other DRAMATIC Sopranos I was considered just a LYRIC SOPRANO with with an Enormious Power but LYRIC ....
You are quite ridicoulous! Nilsson did sing many many times Turandot, often Tosca, Aida, Lady Macbeth, and ind the Wagner field Many many Brünnhildes, Färberin and finally about 500 times Isolde!!! All these roles are for dramatic soprano. She was without any doubt a dramatic soprano and only joking , when saying, they called her a lyric. She has a flawless technique (not like the colleagues mentioned in Bayreuth), this made her survive all these Isoldes and Turandots. and a more bright colour thats is. All Genas and other sopranos together wouldnt have survived as many Isoldes like her. If you are singing more dramatic roles than your voice is, you can not sing them often without hurting your voice. Nilsson sounded even in her 80 well!
You realize of course that the Wagnerian soprano is the LARGEST vocal fach for all soprani, right? So, your original post basically reads 'Nilsson didn't have a huge voice, she had the hugest". That's entirely true of course - Nilsson had a GREAT dramatic chest register, and was always audible over massive orchestras (60-90 players), most notably for her low F#3 in R. Strauss' Salome.
The messa di voce isn’t done because Sutherland couldn’t do it. The one flaw of her voice (aside from diction) is lack of dynamic subtlety. She never floats any high notes.
![Lp. Сердце Вселенной #60 РОЖДЕНИЕ ЛОЛОЛОШКИ [Финал] • Майнкрафт](http://i.ytimg.com/vi/YoR0pAV9FVQ/mqdefault.jpg)
![[RARE] BIRGIT NILSSON - MASTERCLASS (FULL)](/img/n.gif)
This is a joy to hear
And humorous that there was no attempt to hide the fact they were reading from scripts... listen to turning of pages!
There will never be anyone like either of them and I'm so fortunate to have heard both of them both in concert and opera at their thrilling height.
Sutherland and Nilsson--two of the world's greatest operatic sopranos! (And they both recorded "Turandot".)
They both recorded "Don Giovanni" (Donna Anna) as well.
12:52 woooooooooooow dame Joan and Birgit intentionally scooping .... (Edita in the back door faints)
Hahahahaha
They both sound plastered 🍷🍷🍷😜 HAHAHA Arnold Bourbon Amaral
This is the Best comment I've read in many years... Still laughing! Edita's singing is basically based on scooping... She certainly had talent for coloratura, but her scooping all the time makes it almost impossible for me to listen to an entire aria, its simply annoying all that yelling! Joan Sutherland and Callas and Nilsson for life!!!
@@soundslikeblue only talent? Ultra Talented, Phenomenally talented but yes she was also the Queen of Scoops... and as dame Joan says here: ...WHYYYYYY?!?!?
I met and heard these divas several times in both recital and in roles. Ever exquisite.
Ever perfect. Ever gorgeous.
Wonderful memories.
Whose voice do you think was bigger?
is that a question? of course nilsson's@@aaronkei92
There was a bit of tension between the two sopranos in this broadcast, and that's because Sutherland was late for recordings due to traffic conditions, which was regarded by Nilsson as intempestive and highly unprofessional. After the broadcast, Nilsson was asked If she thought Sutherland's bouffant hairdo was real. And Nilsson replied "I don't know, i haven't pulled it yet." :)) Two adorable ladies.
but what would these two have sung together?
@@biancacastafiore8760 Fun challenge: Turandot/Liu; Elettra/Ilia; Donna Anna/Donna Elvira; Leonore/Marzelline. I think Joan did Woglinde to Birgit's Brunnhilde, yes? And recorded the Forest Bird in Siegfried with her Brunnhilde as well.
I heard the incident you are referring to was not related to this broadcast; It would have been very difficult to do due to intermissions. I read that the incident you are referring to was when Nilsson had cooked and invited Sutherland to her NYC residence for dinner. I am not sure she made it to dinner.
Milton Cross who introduces this was a legend in his own way, I listened to him every Saturday afternoon matinee growing up and reading his book on opera which taught me everything I needed to know - what memories...
Arlene Hathaway I grew up w him too. Loved the guy.
A wonderful lesson in musical terms, techniques, and individuality of two soprano voices and personalities. Two of greatest ladies of the 20th century opera stage.
Another gem which I'd never heard before. Both singers at their considerable peaks! No voices before the public now can match these divas.
A Hogbin Nor will they ever!
Michael Miller why so sure?
The world has changed so much. Sutherland learnt from listening to her mother and then spent decades perfecting her technique, latterly with her husband who was on hand all the time. How many proto-star singers would now spend 7 years as an apprentice in one theatre?
Why so sure? Because these 2 had the most unique and phenomenal voices of our time. And their prime is widely considered the greatest golden age in the history of modern opera.
I can’t even imagine these two legends in the same recording studio! Talk about the decibel level! A true piece of history!
Они дружили
This is amazing! I hope you can post more and more interviews, as well as those priceless rarities. Thank you! How I wish they could have sung Fledermaus together!
In the previous century, Met broadcast intermission features often sought to educate the public, as illustrated here. That's all over now.
I have a public viewable playlist on my page, a collection of 'Met Broadcast Intermission Features'. I'm slowly putting them all together
Not only "over" but replaced by shit. Thank you.
They still do...its called the opera quiz.
I agree. Nowadays if you go to a live Met screen broadcast another opera singer asks the main soloists idiotic and ignorant questions, breaking their concentration and boring us genuine opera lovers.
philipc67 How terrible. I have been away for some time & had no idea. I left in 1988.
These programs are what I grew up with. Oh how I miss them and the wonderful Saturday afternoon broadcasts.
One vocal phenomenon that can not be demonstrated over the radio, or even in recordings, is the the "floating" of a note. I witnessed this only once in Sutherland's Mad Scene in "Lucia di Lammermoor" at the MET. The high note seemed not to emanate from the stage but from somewhere above. I don't know how this is achieved, but it is spectacular when presented.
I doubt very much the singer feels it as floating, but as the result of very hard work.
Linnaeus Shecut Zinka Milanov was known for this. She would cross the stage on a high pianissimo which would seem to linger there after having left the stage. A fabulous effect.
@@mckavitt13 How do such singers learn the technique? It remains a mystery. Are there any present-day singers who can do it?
Linnaeus Shecut I wonder if they learn it or if it isn’t part of their secret innate vocal possession. I don’t know anyone today, no, who even tries to do it. Perhaps one such singer comes per century or half-century. There was quite a distance between Sutherland & Milanov, for ex.
Sutherland said in interviews that she sort of placed her high notes in the back of her head, and I have read someone singing in the chorus when she was recording (with the chorus behind her) also saying that those massive notes seemed to emanate from the back of her head. Maybe that explains why the notes seemed to come from somewhere else.
BRAVO!!!!
Textbook PERFECT.
THANK YOU!!!!
The joy in this interview is hearing these two supreme singers in their prime. The cute dialog and joking is rather funny in its artificial 1960s scripted quaintness. Then there is the attempts at "bad" singing where they have such difficulty singing anything in a wrong way such as scooping. When Birgit lets loose with "Straniero" you can hear how she put on her full opera house voice. The warmth of Joan's lower register is really evident already.
So glad to hear such a wonderful memento from two Legendary Singers of the Operatic Realm!
My two favorites at their absolute PEAK! I think these two were the two greatest singers on Earth!
A very fine broadcast thankyou .
My god! Am listening right now to Sutherland's scooping demonstration and her scooping is better than just about all the portamenti singers try today!
*This is stunning! My favorite singers together 💗 Hear Joan speaking directly to Nilsson "I wanna like to hear Birgit's fio de voce" is priceless ❤❤❤ It's my birthday again hahaha*
Vinicius Soaris I LOVE hearing Joan at 5:40 singing from Sonnambula! These two are my favorite two singers also.
I completely understand..could you imagine the 3 Sopranos together Joan, Birgit and Callas..
@@roblessusan19 And our Montse. 👑👑👑👑🎶🎼 Arnold Bourbon Amaral
Great Gruberova impression at 13.15. Queen of the scoops!
Hahaha! Sooo true!
It's also a Milanov impression
Merrily I scooped along 🍷🎶🎼🍷🍷 Arnold Bourbon Amaral
She wishes to sound that _"bad"_ hahah
15:50 Yes Lord.
Namarea Randolph I dont think there will ever be another Turandot like Nilsson!
Yes God!!!
very interesting !!! a precious document !!!
12:55 Gruberova!
What a treasure this is! Thank you for sharing!
Fantastic! Two musical geniuses at work. Nilson seems so down to earth. Would loved to have had coffee with her and just let her talk and teach!...
Nilson was naughty as well. She once had a disagreement with Joan and was asked if she thought Joan's bouffant hairdo was real. She answered. ."I don't know, I haven't pulled it yet." Priceless! ...
PianissimoForte A good story! PS. Birgit’s surname was Nilsson.
god!!! it's a shame they didn't let her do the messa di voce at the end. I love this audio, glad it was uploaded again. both sound HUGE, particularly sutherland
Cristian Ha I still wonder who had the largest voice - or if they were comparable. We all know Birgit’s voice shot through you and Joan’s was surround sound.
Chris Stockslager birgit probably had a bigger voice, but much less flexible and warm than Joan's
SHICOFF1 if you don’t me could I ask you a few qn...
1. If one uses say modern singers as a measure, how big was say Nilsson’s voice. I don’t mean to say that any singer today could compare but just want to understand how loud Nilsson actually was
2. Of the tenors you heard,
A. Did Del Monaco or Corelli had the bigger voice?
B. How did The size of voices compare to say modern singers like Domingo or Kaufmann.. How many times bigger were they? 😀
Cristian Ha Her mezza voce was so good too. Agree w you!
Both sound like such down to earth ladies... of course it goes without saying they were both legendary
Shaun Lee Well, Joan sounds more formal, & more polite to me, as nice as she is. Nilsson could be those, ofc, but was naturally quite goofy, v funny, & yes, down to earth.
Sutherland's pitch is astonishingly accurate here. I really love the younger Sutherland --- pre 1970 I guess.
thank you!!
Fascinating! Thank you so much!!!
Thanx sir for uploading this rare stuff!
Birgit certainly improved her English over time
2 out of my 3 I have tied for #1 of the all time greatest opera singers.
My goodness.Joan and Birgit are great.
I remember hearing this broadcast. One of Dame Joan's bios mentions that she was late for the recording session because of heavy traffic. NIlsson was not pleased with being kept waiting and was rather rude to Sutherland. Sutherland's 'Birgit dear' was a bit forced. Haha!
The hackles were definitely raised..
Sutherland is the best soprano of the two!
Both are great. "Sutherland is the greatest Bel Canto singer of all the times."...So say Pavarotti...
John Michael Rodriguez well, she definitely acted better and more refined than you manage to write
John Michael Rodriguez you bet! :-)
John Mitchell I feel sad to read this. Nilsson should have given Sutherland the benefit of the doubt.
brilliant posting
I know Pavarotti loved Joan Sutherland, and I'm sure she was great live, but just listening to these two, I much prefer Birgit Nilsson's very natural sound.
That’s because you’ve never heard Sutherland in person when she was in her prime!
she is in her prime here@@annettefallon1652
Recuerdo.una función.en.Bellas Artes en México.con.el papel.de Turandot algo.inolvidable y que recuerdo.con cariño
Great video! Thanks for sharing!
Thanks so much!!
This was amazing!
Sutherland´s voice sounds HUGE, and she´s next to Nilsson.
Shicoff, and may I add, two of the greatest singers of all time. Sadly, today, we are left with mediocrity at the Met!
@SHICOFF1 Nilsson's voice cut through steel. Sutherland's voice filled open spaces. Nilsson's voice was larger but not by much, as Sutherland's was fuller after about 1963. I've heard them both in the theater. The largest voice I've ever heard bar nobody was Jesse Norman. From the bottom to the top it was unbelievably big.
It was huge. The first time I heard her sing live, I nearly choked on my own saliva, and that was towards the end of her career. But there’s one voice that hasn’t been mentioned here, and that’s Eileen Farrell. Corelli famously remarked after having sang with her did the first time “ where did you find this woman? She’s making me deaf”.
Nilsson’s microphone-breaking voice was definitely bigger though!
SHICOFF1 best way to judge. Yes, I agree.
It's back! Thanks
What an amazing master class! Thank you for posting this. Was there ever a follow up broadcast to complete the explication of musical terms used by singers?
I don't think there was, nope
MrQwerty88 Thanks for increasing our admiration for this rarity!
Scotto could generate great floated notes…sometimes we’re not so much as floated as seemingly “Hear it as is she were just floating the note right beside your ear” even though I was at the balcony…it was an incredible experience
Can anyone tell the difference between the scooping and portamento they demod? I can't...
Poderosas! Amadas! y admiradas por y para siempre por mí... Agradecido por el Maravilloso legado que nos dejaron. Diosas!!!!
Brava divina donnas!
Aloha from Hawaii
Edward having the time of his life with the two of them not being able to sing wrong hahaha
Two great women!
Oh god this is hilarious! I know they are both brilliant but it’s as if they can’t possibly imagine a use for using incongruously different or exaggerated articulations on respective arias. Joan’s declaration “why?” It’s so funny and edited hilariously too. “”WHY?”” Lol
So great! :-D
Omg the straniero ascolta was soooo brilliant
Люблю обеих.
due voci meravigliose .
purtroppo nel repertorio italiano preferisco delle altre vocalità ...
Great artists don't need to play games.
in what way sorry?
vigwig p What an opaque remark. I have no idea what you meant by this.
ok I'll explain. Great artists rely on their art and talent, not diva behavior, not publicity, not autotune tech. Just the real goods. I sang opera for 20 years. The greatest directors and artists I worked with left their ego at the door.
vigwig I agree with everything you say. I guess I'm just puzzled, as I don't see the connection to this vocal demonstration by Miss Nilsson and Miss Sutherland.
Having had the privilege of seeing both these artists at the MET many times, I was commenting on how they approach their vocal technique and their consummate skill and dedication. They dedicated their talent to serve the art, not everyone on stage does.
The attacks on scooping are an attack on legitimate performing style, I think.
What is the word Sutherland is singing at the beginning of "Casta Diva?"
The immortal words "blub blub blub blub blub blub"
SHAME I SAID! SHAME, SHAME, SHAME!!! Dear God in Heaven, listen to these two! And i know that they devoted their lives and sacrificed much to hone their skills. But they make it sound so easy! I guess when you're as talented as these two, singing is no longer work, but fun. Just incredible.
tom ericson Being nice was harder than singing, that’s for sure.
@@mckavitt13 when singing is just like breathing my friend. According to my father that's how I would describe his voice and my voice the passion we had for the human voice and singing singing singing. 🇫🇷🎶🎼🍷 Arnold Bourbon Amaral
They sound like they are reading a script, this is not a free discussion.
haha scoops one believes to hear inSutherlands version Edita Gruberova.
Да, собралась воистину неплохая компания. Разговор, сопровождаемый такими замечательными иллюстрациями, не имел право, на мой взгляд, быть таким коротким и потому столь неполным. Впрочем, спасибо и за это.
Anybody who complains about the middle of Sutherland's voice is deaf.
It was mushy by her own admission
MrQwerty88 the sound wasn’t mushy the diction was. And her comment was in regards to DICTION.
@@MrQwerty88 Sutherland never once criticized her sound, she criticized her diction which was rounded in order to create a better sound. So no, it wasn't. Meanwhile, other singers who enunciate every vowel are singing the wrong one 50% of the time, and that includes Callas, who regularly sang, among other phrases, Il lino di nahtsuh, instead of il lino di nozze (procounced noh-stay). ALL singers choose vowels that are easier for them or that improve the sound. Sutherland under enunciated consonants, but so did Moffo, because she spoke Italian as a native tongue and her way with the language was looser than many others.
I hate all registers of her voice, tbh. Her coloratura is amazing, though.
@John Michael Rodriguez oh shut up already
Callas would have disgareed with Joan's argument on vocal freedom in the Bel Canto repertory. Some Bel Canto singers have the tendency to do overdo the coloratura notes to show off and neglect expression.
Callas dijo una vez "champain" o "coca-cola", evidentemente este audio tiene mucho de eso. Sutherland ha cantando lo que ha querido y de la forma que ha querido, en una insolente posición de modificar la partitura "a piacere" todo el tiempo. El entrevestidor la coloca frente a recursos vocales propios del bel canto y aunque Sutherland no haya sido una belcantista, no puede hacer lo que quiera cuando se trata de responder al requerimiento solicitado. No sabe lo que es stecatto y legato, no tiene la menor idea ni capacidad de hacer "mesa di voce", continuó haciendo lo que hizo toda su vida en el escenario. Encima la ponen a la par de Nilson como si fuera posible comparar precisamente el champain con la coca-cola.
Sutherland no sabía lo que es un stacatto??? No me hagas reir :)
Sutherland no sabía lo que es un staccato? Sutherland "coca-cola"? Guao!! Increíbles sus apreciaciones 😲
Que buen humorista!
In my Opinion NILSSON is not Dramatic but a Wagnerian Soprano : Dramatic was GHENA DIMITROVA
(But GHENA was not Wagnerian) !
As a matter of fact, the Low Register of Mrs NILSSON was not dramatic at all : her best was on the High Register !!
DIMITROVA, BRUNA RASA and Maria CANIGLIA were really Dramatic Sopranos : their skill were Composers like Verdi, Puccini !!
In an Interview , Mrs NILLSSON her self said : In Bayreuth compared with other DRAMATIC Sopranos I was considered just a LYRIC SOPRANO with with an Enormious Power but LYRIC ....
so much bullshit! nilsson had great low notes, but she sounded always bright. She shows for example in Salome great chest notes.
A spinto then if not dramatic
You are quite ridicoulous! Nilsson did sing many many times Turandot, often Tosca, Aida, Lady Macbeth, and ind the Wagner field Many many Brünnhildes, Färberin and finally about 500 times Isolde!!! All these roles are for dramatic soprano. She was without any doubt a dramatic soprano and only joking , when saying, they called her a lyric. She has a flawless technique (not like the colleagues mentioned in Bayreuth), this made her survive all these Isoldes and Turandots. and a more bright colour thats is. All Genas and other sopranos together wouldnt have survived as many Isoldes like her.
If you are singing more dramatic roles than your voice is, you can not sing them often without hurting your voice. Nilsson sounded even in her 80 well!
You realize of course that the Wagnerian soprano is the LARGEST vocal fach for all soprani, right? So, your original post basically reads 'Nilsson didn't have a huge voice, she had the hugest". That's entirely true of course - Nilsson had a GREAT dramatic chest register, and was always audible over massive orchestras (60-90 players), most notably for her low F#3 in R. Strauss' Salome.
Non si capisce UNA parola nel canto della grande Sutherland. La Nielsen le scolpisce.
He's so off. Vocal terminology means the terms describing the technique of singing.
Si somigliano ma non sono la stessa cosa
The messa di voce isn’t done because Sutherland couldn’t do it. The one flaw of her voice (aside from diction) is lack of dynamic subtlety. She never floats any high notes.
Sounds scripted.......... wonderful to hear them nevertheless
Metropolitan Opera broadcast intermission features were generally all scripted
Give me Beverly Sills any day of the week.. never liked J.S. that much.. just my own opinion..