With the exception of Forza del Destino early on, I never really thought of her as a Verdi singer. She was better in Puccini and verismo. My favorite rep in her voice was Strauss.
Marton's troublesome wobble had started to emerge here. After numerous Turandots, her voice was rather ravaged and heavy. The coloratura is clumsy, she can't sing the ascending scale to the High C, and it all sounds rather laboured. Trovatore has a very difficult vocal line that requires a lot of technical finesse.
I don’t care what anybody says. Eva was NOT a dramatic soprano!! She was a fabulous authentic Spinto in her prime. Her voice was far from being a Turandot voice at all.
I love Marton in dramatic or spinto roles suitable for her strong voice, but Leonora is not for her, sorry. I much admire her great artistry but this music is completely inadequate for her.
I like Marton.. but this is a mess.. of tremulo... of flatted and missed high notes.. By this time, in her career.. she was in real vocal trouble.. and it is obvious from this performance. She still had a trill.. and some coloratura.but she cannot even make the High C;s on a scale in the caballetta.
I have a hard time with Marton. Maybe she was good in the seventies but already in the mid-eighties we've in trouble... Wobble, unfocused tone for example. Fascinating with such career when voice is no longer good. I never thought her voice was beautiful either. She though had an easy top and could act.
OUT OF BREATH, choked up, tired, wobble, poor phrasing, absolutely no vocal freedom whatsoever. The sound doesn’t flow, not even in the middle voice. She is flat in the top notes, no trill. Her voice is not too heavy for Trovatore, in fact her voice is too light for the part. Leonora is written for a dramatic soprano trained in the school of true Bel Canto. Marton is NOT A DRAMATIC SOPRANO and neither did she have Bel Canto schooling. Marton naturally was a lyric soprano.
I am a violinist. I can heir mistakes here and there. The cadenza starting note yes was flat. But you should criticize all the idiot pop singers with their saucepan voice and not too mention they earn 100 times more !
That’s false, Marton is a dramatic through and through. The problem here is not the size of the voice but it’s flexibility! She doesn’t have the ease of coloratura/fioratura. But that voice is MORE than ample in size for the role. She literally a career Turandot/Elektra
Eva Marton had a big, beautiful voice, and I like her in this role.
Me too!
Bravissima
My God!!.... She's fabulous!
Lovely Ms. Eva Marton as Leonore (Il Trovatore) 💟
Very nice!
The cabaletta is too light for her voice.
Bravissima soprano Eva Marton.
Nice, but no one can touch Leontyne Price in this role. Compare them.
not to compare....:) two great artists in her own.....
With the exception of Forza del Destino early on, I never really thought of her as a Verdi singer. She was better in Puccini and verismo. My favorite rep in her voice was Strauss.
Marton's troublesome wobble had started to emerge here. After numerous Turandots, her voice was rather ravaged and heavy. The coloratura is clumsy, she can't sing the ascending scale to the High C, and it all sounds rather laboured.
Trovatore has a very difficult vocal line that requires a lot of technical finesse.
I don’t care what anybody says. Eva was NOT a dramatic soprano!! She was a fabulous authentic Spinto in her prime. Her voice was far from being a Turandot voice at all.
Truth. There was a dearth of true dramatic sopranos, so she filled that void.
chosentenore I agree!
Pretty much! I do not consider her voice to be big either. Cause she has to work really hard to produce halfway bigish sounds. But it is not natural.
I love Marton in dramatic or spinto roles suitable for her strong voice, but Leonora is not for her, sorry. I much admire her great artistry but this music is completely inadequate for her.
The cabaletta is a disaster.
I like Marton.. but this is a mess.. of tremulo... of flatted and missed high notes.. By this time, in her career.. she was in real vocal trouble.. and it is obvious from this performance. She still had a trill.. and some coloratura.but she cannot even make the High C;s on a scale in the caballetta.
Oh stop - I was there and she sang very well
I have a hard time with Marton. Maybe she was good in the seventies but already in the mid-eighties we've in trouble... Wobble, unfocused tone for example. Fascinating with such career when voice is no longer good. I never thought her voice was beautiful either.
She though had an easy top and could act.
Heard her live many times. A most beautiful voice.
OUT OF BREATH, choked up, tired, wobble, poor phrasing, absolutely no vocal freedom whatsoever. The sound doesn’t flow, not even in the middle voice. She is flat in the top notes, no trill. Her voice is not too heavy for Trovatore, in fact her voice is too light for the part. Leonora is written for a dramatic soprano trained in the school of true Bel Canto. Marton is NOT A DRAMATIC SOPRANO and neither did she have Bel Canto schooling. Marton naturally was a lyric soprano.
We wish we could have a voice like hers to sing the role today
@@KmwAmg Sondra Radvanovsky is much better than this in Trovatore and I am not a fan but she really is.
I am a violinist. I can heir mistakes here and there. The cadenza starting note yes was flat. But you should criticize all the idiot pop singers with their saucepan voice and not too mention they earn 100 times more !
That’s false, Marton is a dramatic through and through. The problem here is not the size of the voice but it’s flexibility! She doesn’t have the ease of coloratura/fioratura. But that voice is MORE than ample in size for the role. She literally a career Turandot/Elektra
DISASTER