She recorded the role with Corelli as Chenier. Her discography includes La Traviata (Di Stefano & Gobbi); Two Don Carlo, la Boheme, Un Ballo in Maschera, Tosca, Linda di Chamounix, etc. the only Italian soprano who performed 💯🙏🌷🏆 ALL Verdi and Puccini Heroines.
Voce facilissima...e tenuta dalla Stella sempre sul fiato---il suo legato di una bellezza adamantina...e nell'equilibro della romanza regge il ruolo...in maniera convincente.
Her artistry is as musical and refined as a woman who has a stall at the fair selling fish, her phrasing like that of a newsboy, more commoner and more cheesy she cannot be and the voice: a chicken. minute 2:00 campy, she is ridiculous
In equal respect I reject your criticiism. This is Verismo singing. TRUTH. Sometimes it is emotional, it isn't equal. It is real, married to the word. Not all singers that are great have one piece voices as you call it. I was very moved by her. Tebaldi is my favorite but this wonderful...do you speak Italian? she is at wits end when she says her young servant in effect sold her beauty to help her be well.
Are we listening to the same recording?She is perfect,an amazing technique,that high note in the end is full of squillo,it may appear to be pointy but its full and big.the voice is so beautiful, and well coordinated(chiaro scuro)the singing is so beautifully expressive,according to the score.an amazing demonstration of great singing.real verismo.real bel canto.
Well Stella, was a unique singer. Can be loved or hated but how she "recita cantando" is really terrific. Only few other singer succeded in being so closed to what they were singing. She is totally credible in all the romanza. That is what verismo means; it is not bel canto. And I don't find her vulgar. Grande antonietta, averne ora di cantanti così!!!
@mariaperrucha You don't want verismo sir or madame. This is excellent, accurate and beautiful story telling. I prefer Tebaldi, but this is a beautiful, lovely, emotional and very exceptional rendering of this aria. What you want is a dainty, detatched version, of which you have ample choice these days... THIS is wonderful.... Brava.
And then listen to and view Taddei’s big aria, can’t break away to get the complete name, “Nemico de la Patria” sorry! I had to watch this over and over.
this is not true, Antonietta Stella is not better than Tebaldi. Antonietta Stella is more a lyrical soprano and her high notes are like coloratura soprano high notes. Tebaldi is a lyrical-drammatic, Tebaldi high notes are spinto soprano type high notes, firm and colorful. Aside that Antonietta Stella timbre is veiled and she has register breaks, Tebaldi has eveness througout the register and infinitely better line of singing than Antonietta Stella
I am sorry, but I totally disagree... I find Antonietta Stella a really good soprano. Excellent technique, perfect diction and pronunciation, and amazing acting. Especially at 2.00. The wording and the music in that passage suggest themselves that something really dreadful is going to happen. And I find her so perfect and conving there.
you demonstrate understanding little of voices or you do not know how to hear a voice well. Antonietta Stella timbre is completely inferior to Tebaldi timbre. Stella voice is a bit veiled and very soon, around 1960 when she was only 30 years old the voice became very veiled and hollow in the middle. Stella has register breaks, the voice is parted in several parts, different colors in the register, the top is completely different from her middle, Stella high notes are like soprano coloratura type high notes because she was more a lyrical soprano than a lyrical spinto but she wanted to sing the drammatic roles, so she lasted short, when she was in her early thirties her support was broken and the voice was hollow and opaque. Stella high notes have too much vibrato and are clear in color. Stella is unable to sing ppp, she has very little dynamics and no good legato line. Tebaldi in the '50s, specially in the period 1947-1957-58 had very good and beautiful high notes, Tebaldi high notes were full bodied and colorful and firm , Tebaldi has infinite dynamic range , she is able to go from the most ethereal ppp to the loudest fff and she has great line of singing and legato line
@@arturoonzari5402 Tebaldi is boring to listen to, since I don't hear emotion when she sings with her choice of 'colours'. Stella on the other hand is full of it, very similar to Clara Petrella.
I have the whole DVD of this with Del Monoco and Tadei . I am interested reading some comments here ; expressing views on voices irrespective of roles . I think Antonietta sings this aria most beautifully and expressively . Do you forget that she is playing the part of a young girl , 18 - 20 ; you need a fresh and piping voice , not that of mature dramatic soprano , covering at the top . I have heard many recordings but this is my favourite .
She is a fine singer (far better than most sopranos today) but unlike Muzio, Callas, Tebaldi, Zeani , Gheorghiu lacks a distinctive timbre. It would be difficult to identify her on a "name that voice" panel..
Je trouve souvent certains commentaires injustes,quand ils ne sont pas carrément déplacés:Pour écouter et interpréter la musique ou le chant ,il faut certes des oreilles ,mais aussi une âme afin de pressentir l'intention et de retransmettre l'emotion .Tout est pourtant dans la partition.Mais combien entendent la parole musicale comme l'on comprend une langue maternelle?
The problem of this clip is that Stella is doing the verismo acting for a large operahouse on TV. For the people without many experiences with this type of acting, her acting is a little too much. However, if you are visually able to translate this clip into a large opera house, it will work well. For the size of her voice, her voice did not work well on a microphone, especially in a studio. In a house, it was loud enough to be heard over the chorus and the orchestra in Aida's Triumphal scene.
Stella a dreadful and vulgar singer? Rubbish. There were no shortage of very fine Italian lyrics at her time: Tebaldi and Tucci amongst them, and yet she continually recorded. So how did that happen if she was so bad? Not like today, when there are very few fine lyrics around.This role is a size too large for her; but then it's a size to large for almost everyone. The only recording where the singer owns it emotionally and vocally is Tebaldi's.
She is describing one of the most horrifying events. It was a Holocaust for the French upper classes. People were running getting killed right, left and center and their homes burned. Some burned with people trapped inside.
Meravigliosa! Piango ascoltando.
Another worthy and forgotten and overshadowed Italian soprano.
Surly not forgotten it’s her Birthday todayMarch 16❤️
She is excellent by any standard. 'Greatness' is the word that comes to mind.
She recorded the role with Corelli as Chenier. Her discography includes La Traviata (Di Stefano & Gobbi); Two Don Carlo, la Boheme, Un Ballo in Maschera, Tosca, Linda di Chamounix, etc. the only Italian soprano who performed 💯🙏🌷🏆 ALL Verdi and Puccini Heroines.
Are you all deaf? She's wonderful, fabulous, in this role.
Voce facilissima...e tenuta dalla Stella sempre sul fiato---il suo legato di una bellezza adamantina...e nell'equilibro della romanza regge il ruolo...in maniera convincente.
Esecuzione di una eleganza e raffinatezza unica voce meravigliosa artista eccellente
She looks and sounds fantastic!
Her artistry is as musical and refined as a woman who has a stall at the fair selling fish, her phrasing like that of a newsboy, more commoner and more cheesy she cannot be and the voice: a chicken. minute 2:00 campy, she is ridiculous
Antonietta Stella è morta oggi, 23 febbraio 2022: non la dimenticheremo mai.
Eterna la sua memoria
😢😢😢😢😢😢😢😢😢😢
I didn’t know this.
Sublime La Stella Grazie .
Stunning. Heartbreaking! A true treasure!!!
I don't know this soprano, but am always on a UA-cam hunt for this aria. She sings very well and is retelling a profoundly traumatic event.
A wonderful soprano!!
Absolutely superb!
antonietta è fantastica in questo ruolo
DIVINA.
Gradiosa , Maestra Stella !!!
C'est extraordinaire... !!! Braissima! Grazie!
She’s a truly great soprano !
really beautiful.
Stupenda !!!
WOWW!!!!! One of the best Maddalenas I´ve ever heard!!!!
Come now, don't be so mean. She is excellent by todays standards.
Vulgar? Try some todays "superstars"....
C'est super! merveilleuse.
Requiescat in pace.
Grande Stella... oggi baceremmo a terra ad avere simili voci...dalle stelle... alle galline
Quante belle serate a teatro con la grande Stella...
meraviglioso !
In equal respect I reject your criticiism. This is Verismo singing. TRUTH. Sometimes it is emotional, it isn't equal. It is real, married to the word. Not all singers that are great have one piece voices as you call it. I was very moved by her. Tebaldi is my favorite but this wonderful...do you speak Italian? she is at wits end when she says her young servant in effect sold her beauty to help her be well.
i do not know why i still love her singing.
Are we listening to the same recording?She is perfect,an amazing technique,that high note in the end is full of squillo,it may appear to be pointy but its full and big.the voice is so beautiful, and well coordinated(chiaro scuro)the singing is so beautifully expressive,according to the score.an amazing demonstration of great singing.real verismo.real bel canto.
Auguri ! Grandissima ANTONIETTA
Well Stella, was a unique singer. Can be loved or hated but how she "recita cantando" is really terrific. Only few other singer succeded in being so closed to what they were singing.
She is totally credible in all the romanza. That is what verismo means; it is not bel canto.
And I don't find her vulgar.
Grande antonietta, averne ora di cantanti così!!!
Schöner, gefühlvoller kann man diese Arie kaum singen. Ebenbürtig mit Callas und Tebaldi!
@mariaperrucha You don't want verismo sir or madame. This is excellent, accurate and beautiful story telling. I prefer Tebaldi, but this is a beautiful, lovely, emotional and very exceptional rendering of this aria. What you want is a dainty, detatched version, of which you have ample choice these days... THIS is wonderful.... Brava.
And then listen to and view Taddei’s big aria, can’t break away to get the complete name, “Nemico de la Patria” sorry! I had to watch this over and over.
The best Maddalena ever, punto e basta.
per me e bravissima antonietta
SHE IS AMAZING- VERY UNDER RATED- SHE IS FLUID LIKE SILK IN HER UPPER REGISTRY, MUCH BETTER that Tebaldi.
this is not true, Antonietta Stella is not better than Tebaldi. Antonietta Stella is more a lyrical soprano and her high notes are like coloratura soprano high notes. Tebaldi is a lyrical-drammatic, Tebaldi high notes are spinto soprano type high notes, firm and colorful. Aside that Antonietta Stella timbre is veiled and she has register breaks, Tebaldi has eveness througout the register and infinitely better line of singing than Antonietta Stella
I am sorry, but I totally disagree... I find Antonietta Stella a really good soprano. Excellent technique, perfect diction and pronunciation, and amazing acting. Especially at 2.00. The wording and the music in that passage suggest themselves that something really dreadful is going to happen. And I find her so perfect and conving there.
I'm convinced she would have eclipsed Tebaldi in popularity had she made her splash first. She sounds much like Tebaldi, except for a much easier top.
you demonstrate understanding little of voices or you do not know how to hear a voice well. Antonietta Stella timbre is completely inferior to Tebaldi timbre. Stella voice is a bit veiled and very soon, around 1960 when she was only 30 years old the voice became very veiled and hollow in the middle. Stella has register breaks, the voice is parted in several parts, different colors in the register, the top is completely different from her middle, Stella high notes are like soprano coloratura type high notes because she was more a lyrical soprano than a lyrical spinto but she wanted to sing the drammatic roles, so she lasted short, when she was in her early thirties her support was broken and the voice was hollow and opaque. Stella high notes have too much vibrato and are clear in color. Stella is unable to sing ppp, she has very little dynamics and no good legato line. Tebaldi in the '50s, specially in the period 1947-1957-58 had very good and beautiful high notes, Tebaldi high notes were full bodied and colorful and firm , Tebaldi has infinite dynamic range , she is able to go from the most ethereal ppp to the loudest fff and she has great line of singing and legato line
@@arturoonzari5402 Tebaldi is boring to listen to, since I don't hear emotion when she sings with her choice of 'colours'. Stella on the other hand is full of it, very similar to Clara Petrella.
I have the whole DVD of this with Del Monoco and Tadei . I am interested reading some comments here ; expressing views on voices irrespective of roles . I think Antonietta sings this aria most beautifully and expressively . Do you forget that she is playing the part of a young girl , 18 - 20 ; you need a fresh and piping voice , not that of mature dramatic soprano , covering at the top . I have heard many recordings but this is my favourite .
LA MAMMA MORTA NON MORTE....
La mamma morta...
i really love her singing.
i won't be surprised if callas felt threatened by her.
She is a fine singer (far better than most sopranos today) but unlike Muzio, Callas, Tebaldi, Zeani , Gheorghiu lacks a distinctive timbre. It would be difficult to identify her on a "name that voice" panel..
Je trouve souvent certains commentaires injustes,quand ils ne sont pas carrément déplacés:Pour écouter et interpréter la musique ou le chant ,il faut certes des oreilles ,mais aussi une âme afin de pressentir l'intention et de retransmettre l'emotion .Tout est pourtant dans la partition.Mais combien entendent la parole musicale comme l'on comprend une langue maternelle?
The problem of this clip is that Stella is doing the verismo acting for a large operahouse on TV. For the people without many experiences with this type of acting, her acting is a little too much. However, if you are visually able to translate this clip into a large opera house, it will work well. For the size of her voice, her voice did not work well on a microphone, especially in a studio. In a house, it was loud enough to be heard over the chorus and the orchestra in Aida's Triumphal scene.
Stella a dreadful and vulgar singer? Rubbish. There were no shortage of very fine Italian lyrics at her time: Tebaldi and Tucci amongst them, and yet she continually recorded. So how did that happen if she was so bad? Not like today, when there are very few fine lyrics around.This role is a size too large for her; but then it's a size to large for almost everyone. The only recording where the singer owns it emotionally and vocally is Tebaldi's.
@caleche78 Oh great! CONSTRUCTIVE criticism. I am SO impressed. Not!
i almost died on 2:00! so campy!
She is describing one of the most horrifying events. It was a Holocaust for the French upper classes. People were running getting killed right, left and center and their homes burned. Some burned with people trapped inside.
@Elisabetta611 : crap
Not the best Maddalena I've heard; Claudia Muzio version is my favorite even that her voice by the time were damaged by age.
che brutta voce e che l'arte più ordinario
Federico Mastrangelo Brutta voce? Ordinary ? How so? I think that this is exquisite ; Filled with a depth beyond a person of 26 years.
@mastrangelo: Quiero muchas voces feas como ésta y de arte ordinario.
Brutta voce? Probabilmente senti come scrivi
Bruto e triste e il suo conento,credo che la lírica non sia il fatto suo
Ma bevi??? Se questa é Brutta, quale sarebbe Bella, quella della Callas?