June Anderson is SO underrated. 1) her timbre is gorgeous 2) her voice is large and powerful 3) her technique and vocal placement are superb perfect 4) she brings a warm legato line to everything she sings. especially in Rossini, a composer who's work most singers deprive of legato because they're too concerned with getting the runs 5) her high notes are second only to sutherland and "blossom" as they get higher (her singing makes me think of cherry blossoms)
Superb....A shame June never got the acclaim and recognition she so richly deserved....this is a shining example of her art....and what more can one say about Marilyn Horne that has not already been said!
Don Goode I saw June's debut at NYC Opera, and became an instant fan. She did in fact have a big bel canto career in Europe, but she was neglected in America.
I can't understand people saying that say she wasn't recognized and famous in the US. She sang leading roles in dozens and dozens of Met performances opposite the world's most acclaimed singers (such as in this video). She even sang in many galas for the Met and the Philharmonic along with the Met's absolute favorites. Any major opera fan over the age of 40 knows very well of June Anderson. Not to mention, she's featured as the leading soprano in many famous recordings, such as Ophélia in Hamlet opposite Thomas Hampson, and she was Pavarotti's preferred leading soprano for several of his recordings (I Lombardi, Rigoletto, etc.) Believe me, she was definitely famous and lauded in the US. I would venture to say that if her career was bigger in Europe, it's because she only wanted to sing Bel Canto for most of her career.
castodivo .. I think maybe she wasn’t as known and “famous” as other singers like Pavarotti, Sutherland, Callas, Horne etc. She was used and hailed, but mostly just in the opera world. The others were international superstars... and in my opinion, never to be matched again. That standard and level of excellency in opera is unfortunately gone.
Entrambe rallentano?..... perché conoscendo l' Italiano...sfruttano tutta l'armonico valore della fonetica italiana....dando una lettura veramente storica....di quest'opera che è un florilegio elegantissimo....le due Artiste sono due musiciste ...e si capisce che mettono in tavola tutte le loro carte...che sono ...Sublimi.Con ovazione per il direttore d'orchestra...che sotto ricama un suono paradisiaco. Grazie a chi mi ha ricordato questi momenti. Fare dei paragoni è fuori luogo....qui fu tutta l'esecuzione dell'opera che fu un'incanto. Chapeau....
OMG La Horne is AMAZING. I love how she can take the coloratura in a "relaxed, casual manner" but still be able to throw off the fast notes like it's nothing. June Anderson does quite well, and looks stunning.
This is an astounding performance in every way. Whoever intends to sing these two roles should study this true bel canto lesson very carefully. We can't get better than this. Bravissime.
This is like vocal porn! Incredibly accomplished singing by both ladies. And you know what - I was there! It's from Dec 15, 1990, evening performance. I attended the matinee too (Salome with Behrens), both conducted by Conlon. A day never to be forgotten - thank God this was taped for posterity. Horne was already a Rossini legend, and Anderson was imo even greater than Sutherland as Semiramide (brighter voice, clearer diction). Please don't think I'm insulting Joan - she probably had the greatest voice of the 20th century.
Well, what you said could hardly be considered complimentary to Sutherland. But she was a great lady so likely might, I say likely might consider it a left hand. It won’t make her day but won’t drive her mad either.
@@xxsaruman82xx87 The most overrated singer in operatic history! The ugliest wobbly voice. But she’s a goddess to gays who also worship Judy Garland. It’s a very sick obsession.
True Golden Age: we won't hear that again sung in such a glorious way, with intelligent staging, splendid costumes and jewelry (and ... VOICES!) Not the filth we are to come to grips with today.
Serbami ognor sì fido Il cor, gli affetti tuoi, E tutto sperar puoi, E tutto avrai da me. Arsace A te sacrai, regina, La fede, il core, il brando: Vinsi per te pugnando, Saprò morir per te. Semiramide (con tenerezza) No, tu per me vivrai... Arsace Ah! se mi leggi in core... Semiramide Tu dunque... Arsace Ah! sappi omai... M’arde il più vivo amore... Semiramide Spera, sì bell’ardore Oggi otterrà mercé. Semiramide e Arsace Alle più care immagini - Di pace e di contento Già s’abbandona l’anima - In così bel momento; E tra i più dolci palpiti - Ritorna a respirar.
I absolutely agree. She should be much more famous than Dessay or whoever sings coloratura roles these days. She had a larger voice and with very good technique in her coloratura. Anderson and Moffo are ridiculously underrated, I also agree that her high notes are only second to Sutherland's. And that's saying a lot! Hearing her sing with the great Marilyn Horne here almost reminds me of the golden age pairing of Sutherland/Horne during the last Century. Anderson's voice is beautiful and big!
Realmente, las dos, me parecen, exelentes. Anderson, esta, sorprendentemen- te en muy buena forma; Pero ¡¡¡La Genial Marilyn!!!, esta, todavia, y en que forma, Estrepitosa y Contundente.
It wasn’t a NEW production asshole but a revival of THIS ONE. And this one was with the designs and direction originally planned for Sutherland and Horne in 1980.
The only funny thing about Meade is that they wanted her to wear the same dress as June Anderson, but they had to make a version with four times as much fabric. That looks like a tablecloth on a round table for six.
skitzo: I saw her in Nixon this year and the 2001 Traviata as well, and I don't think there is any point in debating this with you. Lying or uninformed, either way, you shouldn't go about making pronouncements about "no major houses" at mid-40's without your facts, just to make yourself sound superior. She had a big success in Daphne (her debut in that role) at La Fenice in 2005 at the age of 52 or 53; I don't know many sopranos attempting anything similar these days.
keep in mind, opera culture and black culture are VERY different, the number of prominent black opera singers is VERY small, and was even smaller in previous decades, there is very little cultural overlap, forgive the opera conoisseurs if they dont understand ebonics, it doesnt make them ignorant.
WHAT THE TOTAL FUCK ARE YOU EVEN WRITING!?!?!? Yogurt culture is very different too. Ebonics?!? WTF?!? Many African Americans are multilingual and as the bulk-not black-of operas are written to Italian, French or German texts, they have no difficulty performing in said language with clear enunciation, drama and interpretation. Take those fingers and stick them up your nose or ass!
skitzo 429: So much of what you have written is ridiculous, I don't even know where to begin. I'll ignore the comments about "poorly suited to Rossini" since that is at least arguably a matter of taste and opinion. But as for facts, you are simply lying -- unless you don't consider Covent Garden, the Met, La Fenice, or Lyric Opera of Chicago to be major houses. June performed at all of them between the ages of 44 and 52. Just to set the record straight.
The only problem for me is that compared to Sutherland - Anderson sounds like a little girl and not a mature Queen with an adult son (Arsace) But she does a beautiful job...and her coloratura ability is quite excellent. She is so attractive too - I really love her - though I wish the Met had mounted a production for Joan Sutherland in this role....but this is definitely very great!
george prentice George, honestly! It's not like Horne sounds like a young man either! Although I love Sutherland, I think Anderson had clearer tone and far better diction as Semiramide. But you're right, it's like trying to choose between emeralds and rubies.
At this time (1990) Dame Joan was wrapping up her career and wouldn't have been interested in doing a full production of Semiramide at this point. June Anderson was a good fit here. Dame Joan did, however, sing this duet with Ms. Horne on the night she retired December 31/Jan 1 1990/91.
george prentice: Guys (or gays)-This was the production originally planned for Sutherland and Horne for 1980 that the MET scrapped out of fear or hatred that Sutherland backed out of the ABDUCTION FROM THE SERAGLIO. Maybe they thought she would back out of THE MERRY WIDOW they offered her too! They kept the designs and direction and brought them back when it was too late for Sutherland who left the MET after 1987. It was the MET’s loss and those that loved ❤️ Sutherland.
@raigekimaru She was much more famous in Europe than in the Univer States. Shes actually relatively poorly suited to Rossini, this role sounds fine, but most Rossini soprano roles are best suited to assoluta sopranos, and June doesnt have the low notes for them, theres a recording of her singign una voca poco fa thats pretty bad. Her voice also deteriorated pretty early, she was done singing in major houses by her mid 40s.
ASSOLUTA - ASSOLUTA INTERPRETAZIONE --- ASOLUTO GRANDE VOCE -- J.ANDERSON + GRANDE DAME -- MIA CARA -- DIVINA, DIVINA -- GRANDE ---- MARYLIN H O R N E.....!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!
la Horne è sempre spettacolare. Una voce unica. Questa versione mi piace di più nell'esecuzione Sutherland-Horne; la Anderson sembra avere una voce "meno matura" rispetto a quella della Joan
'lying' is a bit extreme, "mid 40s" vs "late 40s" is a minor detail. I dont know what engagement youre referring to when she was 52 off hand, she last appeared at the MET in 2001 (at 48/9) in Traviata and was poorly reviewed vocally. The point is the same, she suffered a vocal decline and is not a major figure anymore, and hasnt been for about 10 years. I did hear something of her in Nixon in China this year and was pleasantly surprised, she just hasnt been good in coloratura rep for years.
June Anderson is SO underrated.
1) her timbre is gorgeous
2) her voice is large and powerful
3) her technique and vocal placement are superb perfect
4) she brings a warm legato line to everything she sings. especially in Rossini, a composer who's work most singers deprive of legato because they're too concerned with getting the runs
5) her high notes are second only to sutherland and "blossom" as they get higher (her singing makes me think of cherry blossoms)
No.
Yes.
Superb....A shame June never got the acclaim and recognition she so richly deserved....this is a shining example of her art....and what more can one say about Marilyn Horne that has not already been said!
June Anderson really is one of the Top Sopranos in her fach ever!
Don Goode I saw June's debut at NYC Opera, and became an instant fan. She did in fact have a big bel canto career in Europe, but she was neglected in America.
I can't understand people saying that say she wasn't recognized and famous in the US. She sang leading roles in dozens and dozens of Met performances opposite the world's most acclaimed singers (such as in this video). She even sang in many galas for the Met and the Philharmonic along with the Met's absolute favorites. Any major opera fan over the age of 40 knows very well of June Anderson. Not to mention, she's featured as the leading soprano in many famous recordings, such as Ophélia in Hamlet opposite Thomas Hampson, and she was Pavarotti's preferred leading soprano for several of his recordings (I Lombardi, Rigoletto, etc.) Believe me, she was definitely famous and lauded in the US. I would venture to say that if her career was bigger in Europe, it's because she only wanted to sing Bel Canto for most of her career.
This production was mounted for her at the Met!
castodivo .. I think maybe she wasn’t as known and “famous” as other singers like Pavarotti, Sutherland, Callas, Horne etc. She was used and hailed, but mostly just in the opera world. The others were international superstars... and in my opinion, never to be matched again. That standard and level of excellency in opera is unfortunately gone.
Entrambe rallentano?..... perché conoscendo l' Italiano...sfruttano tutta l'armonico valore della fonetica italiana....dando una lettura veramente storica....di quest'opera che è un florilegio elegantissimo....le due Artiste sono due musiciste ...e si capisce che mettono in tavola tutte le loro carte...che sono ...Sublimi.Con ovazione per il direttore d'orchestra...che sotto ricama un suono paradisiaco. Grazie a chi mi ha ricordato questi momenti. Fare dei paragoni è fuori luogo....qui fu tutta l'esecuzione dell'opera che fu un'incanto. Chapeau....
Un spectacle splendide avec une distribution divine !
Ça s'appelle perfection.
OMG La Horne is AMAZING. I love how she can take the coloratura in a "relaxed, casual manner" but still be able to throw off the fast notes like it's nothing. June Anderson does quite well, and looks stunning.
Horne is SOOOO BAD. Nasal and masky.
Amazing duet by Rossini
This is an astounding performance in every way. Whoever intends to sing these two roles should study this true bel canto lesson very carefully. We can't get better than this. Bravissime.
Monumentale... un momento di storia del melodrama....
stunning~! Love the 'play' betweent them in the last 1min+. Two greats do what they do best!
Sensacional! dos voces fantásticas, acopladas y armónicas.
This is like vocal porn! Incredibly accomplished singing by both ladies. And you know what - I was there! It's from Dec 15, 1990, evening performance. I attended the matinee too (Salome with Behrens), both conducted by Conlon. A day never to be forgotten - thank God this was taped for posterity. Horne was already a Rossini legend, and Anderson was imo even greater than Sutherland as Semiramide (brighter voice, clearer diction). Please don't think I'm insulting Joan - she probably had the greatest voice of the 20th century.
agreed
Caballe and Verrett are better, especially Verrett compared with Marilyn Horne.
Callas had the greatest voice of the 20th century.
Well, what you said could hardly be considered complimentary to Sutherland. But she was a great lady so likely might, I say likely might consider it a left hand. It won’t make her day but won’t drive her mad either.
@@xxsaruman82xx87 The most overrated singer in operatic history! The ugliest wobbly voice. But she’s a goddess to gays who also worship Judy Garland. It’s a very sick obsession.
Brave
True Golden Age: we won't hear that again sung in such a glorious way, with intelligent staging, splendid costumes and jewelry (and ... VOICES!) Not the filth we are to come to grips with today.
Horne is nasal and masky. Anderson is great.
Fantastic
Pure heaven!!!!!
For me definitely one of tge very greats
Serbami ognor sì fido
Il cor, gli affetti tuoi,
E tutto sperar puoi,
E tutto avrai da me.
Arsace
A te sacrai, regina,
La fede, il core, il brando:
Vinsi per te pugnando,
Saprò morir per te.
Semiramide
(con tenerezza)
No, tu per me vivrai...
Arsace
Ah! se mi leggi in core...
Semiramide
Tu dunque...
Arsace
Ah! sappi omai...
M’arde il più vivo amore...
Semiramide
Spera, sì bell’ardore
Oggi otterrà mercé.
Semiramide e Arsace
Alle più care immagini - Di pace e di contento
Già s’abbandona l’anima - In così bel momento;
E tra i più dolci palpiti - Ritorna a respirar.
This is almost unbearably gorgeous!
I absolutely agree. She should be much more famous than Dessay or whoever sings coloratura roles these days.
She had a larger voice and with very good technique in her coloratura.
Anderson and Moffo are ridiculously underrated,
I also agree that her high notes are only second to Sutherland's. And that's saying a lot!
Hearing her sing with the great Marilyn Horne here almost reminds me of the golden age pairing of Sutherland/Horne during the last Century.
Anderson's voice is beautiful and big!
I agree with you about Moffo and Anderson!
Holy crap Marilyn Horne, Brava ~! I love her ^_^ Who else can so comfortably run through Rossini coloratura? June keeps up well and looks stunning.
au moins ca fait rêver! pas comme les mises en scène d'aujourdhui...du moins la plupart!
Marylin Horne has got a splendid low voice, but June Anderson is very good too.
Realmente, las dos, me parecen, exelentes. Anderson, esta, sorprendentemen-
te en muy buena forma; Pero ¡¡¡La Genial Marilyn!!!, esta, todavia, y en que forma,
Estrepitosa y Contundente.
You have not the complete performance? it is fantastic....
Yes, that’s what DVDs are for. Buy it!!
can't found in Italy
I like this duet so much more than the other (more famous) one
and now compare this to the Met’s new production with soprano Meade....
:(
It wasn’t a NEW production asshole but a revival of THIS ONE. And this one was with the designs and direction originally planned for Sutherland and Horne in 1980.
The only funny thing about Meade is that they wanted her to wear the same dress as June Anderson, but they had to make a version with four times as much fabric. That looks like a tablecloth on a round table for six.
Escalofriantes!!!
@Operaman41 I love her too!!! She's THE BEST
skitzo: I saw her in Nixon this year and the 2001 Traviata as well, and I don't think there is any point in debating this with you. Lying or uninformed, either way, you shouldn't go about making pronouncements about "no major houses" at mid-40's without your facts, just to make yourself sound superior. She had a big success in Daphne (her debut in that role) at La Fenice in 2005 at the age of 52 or 53; I don't know many sopranos attempting anything similar these days.
A dir poco, stupende
this is a concert, not theatre.
Ass, this WAS a performance.
keep in mind, opera culture and black culture are VERY different, the number of prominent black opera singers is VERY small, and was even smaller in previous decades, there is very little cultural overlap, forgive the opera conoisseurs if they dont understand ebonics, it doesnt make them ignorant.
skitzo429 so ?
WHAT THE TOTAL FUCK ARE YOU EVEN WRITING!?!?!? Yogurt culture is very different too. Ebonics?!? WTF?!? Many African Americans are multilingual and as the bulk-not black-of operas are written to Italian, French or German texts, they have no difficulty performing in said language with clear enunciation, drama and interpretation. Take those fingers and stick them up your nose or ass!
I don't know the exact date, but it was in 1990, Marilyn was only 56!!!!!!!!!!!!!
skitzo 429: So much of what you have written is ridiculous, I don't even know where to begin. I'll ignore the comments about "poorly suited to Rossini" since that is at least arguably a matter of taste and opinion. But as for facts, you are simply lying -- unless you don't consider Covent Garden, the Met, La Fenice, or Lyric Opera of Chicago to be major houses. June performed at all of them between the ages of 44 and 52. Just to set the record straight.
The only problem for me is that compared to Sutherland - Anderson sounds like a little girl and not a mature Queen with an adult son (Arsace) But she does a beautiful job...and her coloratura ability is quite excellent. She is so attractive too - I really love her - though I wish the Met had mounted a production for Joan Sutherland in this role....but this is definitely very great!
george prentice George, honestly! It's not like Horne sounds like a young man either! Although I love Sutherland, I think Anderson had clearer tone and far better diction as Semiramide. But you're right, it's like trying to choose between emeralds and rubies.
At this time (1990) Dame Joan was wrapping up her career and wouldn't have been interested in doing a full production of Semiramide at this point. June Anderson was a good fit here. Dame Joan did, however, sing this duet with Ms. Horne on the night she retired December 31/Jan 1 1990/91.
Well, rubies are one step up on the Mohs scale....but emeralds are more expensive....I see what you mean!
I agree with you David Glo - In fact, I think I just about always agree with what you post!
george prentice: Guys (or gays)-This was the production originally planned for Sutherland and Horne for 1980 that the MET scrapped out of fear or hatred that Sutherland backed out of the ABDUCTION FROM THE SERAGLIO. Maybe they thought she would back out of THE MERRY WIDOW they offered her too! They kept the designs and direction and brought them back when it was too late for Sutherland who left the MET after 1987. It was the MET’s loss and those that loved ❤️ Sutherland.
@raigekimaru She was much more famous in Europe than in the Univer States. Shes actually relatively poorly suited to Rossini, this role sounds fine, but most Rossini soprano roles are best suited to assoluta sopranos, and June doesnt have the low notes for them, theres a recording of her singign una voca poco fa thats pretty bad. Her voice also deteriorated pretty early, she was done singing in major houses by her mid 40s.
.....um....No!
😎😎😎
4'35''
EXQUISITAS
ASSOLUTA - ASSOLUTA INTERPRETAZIONE --- ASOLUTO GRANDE VOCE -- J.ANDERSON + GRANDE DAME -- MIA CARA -- DIVINA, DIVINA -- GRANDE ---- MARYLIN H O R N E.....!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!
la Horne è sempre spettacolare. Una voce unica. Questa versione mi piace di più nell'esecuzione Sutherland-Horne; la Anderson sembra avere una voce "meno matura" rispetto a quella della Joan
She's no Sutherland by any means.
Sutherland's diction is terrible.
You're right, she's better.
@@dudeforcaster8630 Your right, La Stupenda is far better.
@@MrMin316 1. You're. 2. Your reply makes no sense. 3. Sutherland was a boring and unmusical at best. 4. Loud high notes do not make great artistry.
dude forcaster Well you’ve made me laugh. 😂😂😂
molto bello, ma tanto tanto lento....
'lying' is a bit extreme, "mid 40s" vs "late 40s" is a minor detail. I dont know what engagement youre referring to when she was 52 off hand, she last appeared at the MET in 2001 (at 48/9) in Traviata and was poorly reviewed vocally. The point is the same, she suffered a vocal decline and is not a major figure anymore, and hasnt been for about 10 years. I did hear something of her in Nixon in China this year and was pleasantly surprised, she just hasnt been good in coloratura rep for years.