@@MonogramistaML I dunno. been in hospital twice for kidney stones. Passed them myself the first time, had an endoscopic thingamajig shoved up my #!*# to yank out the second bunch and listening to this made me think fondly of my urologist.
This is ridiculous. Damrau should be paying us to listen to that noise. Compare her to a stock soprano from the Met in 1965 and she would still sound like crap. But that's what passes for singing today. I live 3 blocks from the Met. I'd rather stay home and listen to recordings. The final high note should be considered assault and battery. Sutherland, on other hand, is Sutherland. What more do you need to say? Agility, power, beauty, ringing tone, perfect.
Sutherland was totally unique. I don’t believe there ever was a voice like hers that combined beauty power technique and about a hundred other things. If only Bellini and Rossini had heard her sing!
Si lei ha ragione...la Signora Damrau è il prodotto del teatro odierno,e purtroppo il suo canto fa male alle orecchie!!!!! La signora Sutherland, è una vocalista di prim'ordine,quindi nessun confronto... saluti da Firenze
An old school voice teacher friend of mine told me about a student of his , who upon listening to Joan Sutherland...said "Well, she's no Sumi Jo!"..and he summarily threw her out of of his vocal studio.
Thank You!!! It's the listeners who are comparing the opera singers of today with the even crappier pop singers of today and concluding the opera singers have fantastic voices. Such a pity. The very best people we have singing today can't beat the second string of yesteryear.
luiscar89 Agree 100%! I can't stand it when people act like they are such music lovers, then you find out their idea of great singers is people like Netrebko, Peretyatko, Joseph Calleja and Hvorostovsky, and when you bring up Callas, Simionato, Corelli and Sutherland they make faces! I feel like good taste and true critical expertise are dying, being replaced by venality and idiocy.
@@jasonhurd4379 I guess the only good thing about this situation is that the low standard of singing matches the low standard of production, so all in all it's a dead art. Maybe one day it will be revived.
@@paullewis2413 Let's hope so. The number one thing that must happen is that singers MUST return to a foundation of solid technique, based on Garcia and Vaccai. They must resist the temptation to move too far too fast, and have the patience to build slowly. Then, the directors must return to respect for the libretti, without this mania for novelty and strangeness. Without these two essential reforms, opera as an art form is doomed.
and with Diana, I think dramatic coloratura soprano is a term used rather loosely as she is neither dramatic (she needs to screech to achieve any volume) and is not terribly agile.
The Old School always wins in live recordings and when heard in the theater (I'm not even mentioning mics) it's just another dimension. And it has nothing to do with just voice size. It's a matter of full-bodied technique. If you compare Damrau's Traviata with any other of the great Violetas of the past the result will be the same. It's like comparing Florez's 'Il Ducca' live with Pavarotti's one. Modern 'popish' opera can't stand the comparison. Thanks for not letting forget the modern audiences what real opera used to sound like. Cheers.
You can say that again! It's really sad how much technique and basic vocal support has deteriorated. Now if Sutherland were compared with certain legendary sopranos who preceded her, that would be a fairer comparison.
they do exist! you just have to search for them. Karina gauvin is spectacular in baroque operas, with all the technique and finesse of an old school singer, as is Julia Lezhneva, another baroque singer. I recently heard amber wagner live as Turandot and was very impressed, (though she is not much of a stage presence, short and very fat) especially considering how little known she is. dolora zajick is still singing, and hers is a stunning voice, even at age 65. Granted, we have not had a another great dramatic coloratura soprano yet,I am hopeful. enough with this diana damrau, anna netrebko bullshit! lol
This is ghastly. But Damrau, like almost every other "major" singer in opera today, is vastly overrated and always was. She managed some solid Queens in MAGIC FLUTE early and has been coasting downhill ever since. She has been using this "bronchitis" ruse for a long time to excuse her crappy singing. But, hey, the idiots in the opera house today cheer at what they are told is great, not what their ears tell them.
I'm very sorry - but Damrau is absolutely HORRIBLE!! what is the matter with her voice here? If this is what the new standard of opera singing is nowdays- then something is very very wrong. Damrau is sounding here like she is driving her voice to shreds! Seriously - was she very ill and performing anyway?
In the right repertoire, Damrau is wonderful, but to my ears, she never sounds quite right in Italian roles. Sutherland sang a beautiful Traviata, but she was not able to read the deeper emotional levels of the role, but her voice and her florid technique were so amazing that it's really unfair to compare anyone to her. Perhaps the most amazing of all Sempre Libera's are Callas's 1952 versions, where she sings the role with a voice of a Flagstad and with unbelievable coloratura. And she still manages to bring out every nuance of the role. Even each one of the repeated high Cs at the end of Sempre libera is colored differently than the others, as if each note a manifestations of the different thoughts going through Violetta's head.
I rather doubt that Damrau is miced and amplified when she sings at the Met or Chicago or the treat opera houses of the world. Her voice is focused enough that she doesn't need it. I just don't think her sound and her approach is idiomatic for Italian bel canto roles.
And I agree, her voice has some frequencies ( mostly high frequencies only, not full bodied, the voice is actually thin, despite the effort to make sound thick)that is not inaudible at all, or too small,it might be heard to some extent in the hall, maybe heard till fourth row or whatever, but not a free resounding traveling the theater, just unpleasant shouting strained, tight sound live. But not any of these ones she is recorded by audiences which you hear gargantuan gasp of breathing over and over through the whole opera( meaning that she never sang till now without any sound enhancement as far as what i heard till now), as Sutherland and Callas , Dimitrova, Nilsson had gigantic voice, whenever you hear any recording from the audience, you never heard any , but any slightest breathing at all cutting the orchestra( which is impossible), it doesnt make sense, audience record from which row or whatever and you hear in all clips her neverending cut with her very loud breathing( so unmusical cutting over and over a beautiful phrasing without cabability of finishing a single one, always cut in pieces, while callas cut hold and prolong 3, 4 times and with gigantic free voice , she cuts a single phrasing into 2,3 pieces, let alone, lack of musicality and dynamics, just the histrionic attempt of expression with any humming or slightest sigh is captured by the sound enhancement, this is so easy, with mic, all mice become lion( unlike Caruso, he had to change costume or clothing during the opera or recital due to all the sweating because of the real singing that is athletic, not like nowadays, anybody with no diligent training can sing if they have good connections , coaches, agents and marketing) I want to see these singers without fiato technique sans legato convey nuances and expressions as did tebaldi, nilsson, callas, sutherland, de los angeles, gencer, etc etc etc etc with those gigantic voices traveling all the theaters with real voice.With sound enhancement of nowadays , everything is easy, instead of lifelong of learning like most of the singers of the past( granforte, caruso , callas , sutherland ,even gruberova are/were perfeccionists that studied everyday to reach excellence, and tebaldi with her golden voice had some problem with high notes, which she humblyly took a year off to try to correct and coming back with better high notes) while nowadays, most of them dont even have this right technique and just need to spend more time trying to sound good with the mics strategically set and hidden around than pursuing the real art of singing.
And it is not even fair comparing a recording with obsolete technology taken by someone in the audience of a huge , gigantic voice as Sutherlands ( which is better live when the singers voice has all frequencies and harmonics, but might sound shrill in recording , either live or studio, good voice has to be heard live)to a recording of tight , strained pushy small voice already enhanced in the house by someone in the audience( it is deceiving because any mic or recording favors small one dimensional vertical voices that barely cut the orchestra, making them gargantuan, and since the voice is not deep and devoid of chiaro scuro and full harmonic, only the high frequency ones, there is not too much harmonics for the mic to filter which has less disparity comparing to a real good voice on recording. Summing up, they enhance those small, thin shouted voices making them sounding gargantuan) with better technology and advanced recorders of nowadays, make any open , not fully connected or natural emitted voice; screaming incomplete sounding big and good or/and more " velvety",but live these voices just sound generic, choir like and not distinctive with recognizeble timbre without sound enhancement, on the contrary, the very condensed, focused, big pressurized voice of the good ones of past are not captured fully and fidedignally, so, the clip even favors DD...people dont have idea how big and resonant and squilante sutherland ,nilsson,dimitrova, de los angeles ,tebaldi and callas voice( etc , etc) could be...if you compares the both voices featured in the video live without sound enhancement, and listening in the audience live, then yes, it would be more realistic and fair,in this case the comparison would be like heaven and he....
Ian 1856, so agree with you, Ruth Ann swenson has way way better voice than a lot there....I dont know why they ditched her, the voice is way more free resounding, beautiful , not forged to sound velvety but so small live like a lot there.Those that has no any other skills or resources and can not even do the crescendo, decrescendo or mezza di voce, just small voice sounding good on recording, and live neverending shouting forte to compensate the non projecting voice....and some self indulgent expressiveness, some even too histrionic....nothing else.,and the sheeplike audience think, it is Met, it must be good, this is why the world is how it is nowadays Ruth Ann Swenson is very good, pretty and natural, too bad they dismissed her.... the problem is often the ones knowing and saying king is naked are the first one to be criticized , silenced or discriminated in the name of hypocritical politic correctness and peer pressure ....you just have bow to whatever the elite and establishment want people to think, react and behave...and this is very evident in opera world as well, people worshipping mediocrity and dumping the real talented ones, inversion of values.
Damrau i ill?? again?? It's more than a year... She has big technique problems... It's not an illness...she destroyed her voice with too many roles....Sutherland's technique is perfect.... I think she has to rest for a period and restart to study... She has worldwide premieres but if she continues in this "path"...she will destroy definitely her voice and her health!! Health is more important than money...and she has a lot of money.... With no voice, no more money and no more concerts, if she thinks only from a commercial point of view..... but i hope she is a clever person... I hope.
What is it you don't like about Sutherland's Violetta? Vocally it was phenomenal! I would agree though that dramatically it at best was quite bland. The character certainly didn't come to life like it did with Callas.
Damrau has always been mostly always a joke, especially in high coloratura roles that herself and her idiotic fans convinced themselves she was a goddess in. Even her Queen of the Night was off pitch lol. And that wobble. It's like her body is rejecting so much vocal ugliness.
I find her greatest problem to be her voice. Its small and thin, but she forces it to be big resulting in a shrill, forced sound, lacking any brilliance, resonance or beauty of tone, and still to small for the repertoire she sings! I do suspect though she MIGHT POSSIBLY sound nice if she was singing lower, much more lyric pieces. and of course worked on her technique.
And I agree, her voice has some frequencies ( mostly high frequencies only, not full bodied, the voice is actually thin, despite the effort to make sound thick and dark, artificially)that is not inaudible at all, or too small,it might be heard to some extent in the hall, maybe heard till fourth row or whatever, but not a free resounding traveling the theater, just unpleasant shouting strained, tight sound live. But not any of these ones she is recorded by audiences which you hear gargantuan gasp of breathing over and over through the whole opera( meaning that she never sang till now without any sound enhancement as far as what i heard till now), as Sutherland and Callas , Dimitrova, Nilsson had gigantic voice, whenever you hear any recording from the audience, you never heard any , but any slightest breathing at all cutting the orchestra( which is impossible), it doesnt make sense, audience record from which row or whatever and you hear in all clips her neverending cut with her very loud breathing( so unmusical cutting over and over a beautiful phrasing without cabability of finishing a single one, always cut in pieces, while callas cut hold and prolong 3, 4 times and with gigantic free voice , she cuts a single phrasing into 2,3 pieces, let alone, lack of musicality and dynamics, just the histrionic attempt of expression with any humming captured by the sound enhancement, this is so easy, with mic, all mice become lion, I want to see these singers without fiato technique sans legato convey nuances and expressions as did tebaldi, nilsson, callas, sutherland, de los angeles, etc etc etc etc with those gigantic voices traveling all the theaters with real voice.With sound enhancement of nowadays , everything is easy, instead of lifelong of learningship like most of the singers of the past( granforte, caruso , callas , sutherland ,even gruberova are/were perfeccionists that studied everyday to reach excellence, and tebaldi with her golden voice had some problem with high notes, which she humblyly took a year off to try to correct and coming back with better high notes) while nowadays, most of them dont even have this right technique and just need to spend more time trying to sound good with the mics strategically set and hidden around than pursuing the real art of singing.
And I think as long as world nowadays is as it is, like all the elite all over the world wanting to impose their agenda of big control fomenting chaos, crisis to justify their intent and with all the hypocrisy and political correctness imposed by them, the world wont have room for meritocracy and it wont have fairness in opportunities, like so many good singers like Lucia Mazzaria and all the good ones complaining all the stage directors of nowadays made kings not understand anything about opera, nor do they understand about operas musical style , and have no reference of the good voices of the past. As long as they keep improving the sound enhancement and trying to use nudity and other controversial production( i m not even that purist )to disguise lack of talent and artistry,as long as there are nepotism, favoritism,ass kissing, and most of singers without proper technique, material, musicality, style,artistry( just having right contact, marketing, good pr, knowing right people, nepotism, favoritism and outside enhancement as surgeries or whatever for outside look , instead of diligent study as in the past ) and tiny one dimensional voice that barely cut orchestra , they might not have room for talented ones with real big full bodied resonant voice with as much harmonic as possible, I been heard lots of good singers complaining about this.The world is just not fair, especially nowadays, meritocracy is rare.
And it is not fair comparing a recording with obsolete technology taken in audience with a huge , gigantic voice( which is better live when has all frequencies and harmonics, but might sound shrill in recording , live or studio, good voice has to be heard live)to recording a voice already enhanced in the house in the audience( it is deceiving because any mic or recording favors small one dimensional vertical voice, making it gargantuan, and since the voice is not deep without chiaro scuro and full harmonic, only the high frequencied ones, there is not to much harmonics for the mic to not select, summing up, they enhance those small, thin shouty voices making them sound gargatuan) with better technology of recorders of nowadays, make any open , not fully connected natural emitted shouty voices sound good or more " velvety"but live sounding generic, choir like and not distinctive or having recgnizeble timbre without sound enhancement, whilst the very condensed, focused, big pressurized voice of the good ones of past are not captured fully, so, the clip even favors DD...people dont have idea how big, squilante and resoant sutherland ,nilsson,dimitrova, de los angele callas and tebaldis voice( etc , etc) could be...if you compares the both voices featured in the video live without sound enhancement, and being in the audience live, the result, then , would be like heaven and h.....
I read rave reviews of Damrau, and then I check videos of the performance and shake my head. Much of the singing is embarrassingly bad. Singers like her perform at the Met, while singers like Oropesa who can truly sing this are left out.
Probably unfair comparing Damrau's worst performance with Sutherland's regular performance, but honestly Sutherland never messed up that horribly so many times in such a short period of time.
A cruel but realistic comparison of the two. It's painfully clear that Sutherland had it light and easy at the high tessitura without all that wobble, and breathlessness. The last high E flat (although not written) said it all....
Detesto questi confronti. Ogni artista ha qualcosa da donare al pubblico. A mio avviso entrambe poco adatte al ruolo. Il fraseggio e l’interpretazione per me sono importantissimi e fondamentali. Le acrobazie vocali non bastano per fare dell’Opera vera Arte, anzi rischiano di tramutarla in circo.
ah ok ok then... the Met accepts singers Meada or whats her name... or the new coloratura Nadine Siera who screams her guts out to sing a very faulty coloratura... Met is by no chance criterion of the Opera in the world... and they keep interviewing each other backstage like Imbeciles...
@ Lohengrin O ,The first one you mentioned has no sense of legato, you dont feel the beautiful musical melody phrasing , just the punched note by note pushed all over the opera( why does she even bother singing bel canto,she might have good material, I dont know)and caprino vibrato like tremolo, well, she has a good influential coach....
Lohengrin O I can't believe what I'm hearing here. I don't know what to say and remain even a bit polite. The audience cheered after that screech. Oh what has happened Lohengrin ?
+ Donald Cant People do not realize how unique the Voice of dame Joan was... I hope my reincarnation, in 100 years from now, will make a channel for only the greatest of the greatest... dame Joan and Maria will be there for sure... and the 1-2 best of the 21st century which Im afraid I wont be there to witness their marvel... :D
Verdi wrote the Sempre libera in a very specify way, with a lot of trills, staccatos, portamenti and ornements, but most singers don’t actually sing what Verdi wrote.
The great Dame Joan Sutherland was one of the greatest voice already registered in the history! Diana Damrau is a mad lady with high notes guessing she knows how to sing.
Damrau sounds like she's having a lot of vocal problems here: sloppy coloratura, singing slightly off-key and all with a "wobble"' that usually only happens to singers who've been singing for 30-40 years (as voices age the vibrato loosens; no getting around it). I hope this was just a bad night for her, because if not her career is over.
How can anybody ever compare the terrible Damrau with one of the best sopranos that ever lived. Sutherland is absolutely fantastic and Damrau absolutely terrible.
fantastico comentario comparativo....................y no es porque sea asi o no por parte de usted o de mi es que esla realidad tal cual...............
It's to be expected. People are still out there buying tickets to go see her and opera houses are still convinced that this is the best they can do. If you guys want to see any kind of change i.e. if you want to see opera get better and not worse, stop supporting singers that sound bad.
Абсурд Sutherland можно сравнивать с теми, кто находится на ее вокальном уровне либо рядом с ним: Tebaldi, Nilsson, Callas, Milanov, Simionato, Caballe и так далее. Какой смысл сравнивать с Damrau, если последняя даже в лучших ее выступлениях - никогда не дотягивала даже до уровня средних певиц эпохи 50-70 годов ? Тем более она не может конкурировать с одной из главных певиц XX столетия, которой является Joan Sutherland. Можно на примере этого ролика только посетовать на то - куда скатилось оперное пение XXI века.
Damrau never sang well; always short breaths and hysterical singing; but now she's insecure and has pitch issues, often cracks etc. Most of her belcanto was horrid, but Stuarda is a real disaster.
@sambaranenko Damrau never sounded good at all. She's always been a terrible singer, which is why she sounds like this now! It's what happens to most "modern trained" "singers" now. They never learn how to sing correctly, so they are bad to start with, and end up like this!
Maybe the art of opera is dead. No leading singers today could even match up to yesterday's star. Diana would be inaudible if she sings next to Sutherland. Sutherland's voice will cover Diana's. A sad end for the art that lasts for ceuntries.
VERDI JUST CALLED ME !!!! HE IS COMING BACK JUST TO STOP MISS DAM(ED)RAU!!! The legendary Dame Joan is coming also to help Verdi ! PLEASE STOP THIS PERSON FROM MURDERING OPERAS !!! ITS JUST UNBELIEVABLE , she is always under pitch , no legato , no breath , no taste , no high notes anymore , terrible coloratura , over the top bad interpretation ... SHE SOUNDS IN PAIN !! PLEASE JUST PUT HER DOWN OUT OF HER MISERY !!!!! i know a good vet !!!! LOL
+CRAZY COW I agree with you... But I thought you said never to be a hater? That is pretty hypocritical because you just insulted Damrau. (Now I don't like her either). So people can criticize Damrau but not Mosuc? What is wrong with you?
Jesus fuck that Damrau sounded like she'd been stabbed. Terrible singing, so clumsy, strained, and off pitch. Sutherland, on the other hand, made it sound so effortless and natural.
@@eberlinpascal2837 If you listen to the "art of the prima donna" album's one and two. It will tell all you need to know about the art of singing. It still remains unrivalled.
@@MrMin316 ok je l'ai chez moi cet album et il y a des choses admirables que chante Joan Sutherland ,en particulier des airs Français et italiens pour coloratures , où elle est étourdissante.Pour moi mes réservés ne concernent pas sa voix où sa technique ( qui est parfaite ) mais le style en réalité .
Obviously you mean killing in a bad way! Too bad, she's interesting but like with many singers today they get caught up in doing something different rather than trusting the music and the composers intent, add a disrespectful director and it's a recipe for humiliation!
è ingeneroso paragonare Diana Damrau a Joan Sutherland, che pure non era nel suo ruolo migliore come Violetta. Diana Damrau non mi piace nemmeno quando canta correttamente.
shameless listeners spoil shameless opera singers, what kind of people would yell "bravo!" to this screeching Diana Dumbrau? I had a chance to listen to Sumi Jo in 2019 Summer in her masterclass in London, where she was still able to sing a floating Db6 (of course she didn't sing anything beyond C6 very often now, she was 55 that time and not vocally athletic as she used to be). Diana Dumbrau is 8 years younger than Sumi Jo and this 2018 screeching Dumbrau where she was only 46 isn't surprising and actually serves her right. Exceptionally early vocal decline is the best karma to Dumbrau. She could have nasal jamming party with Natalie Dessay now.
Lo so che molti mi uccideranno. Premetto che Diana Damrau mi piace moltissimo come attrice... a livello di voce, invece, non credo sia così dotata. Ha il fiato corto, e lo spreca tutto per muoversi ed agitarsi in scena per la mimica del personaggio a discapito della voce (ad esempio ne "Il flauto magico" di Mozart, quando interpreta Astrifiammante, si vede proprio che non ce la fa, che ha l'affanno, perché è troppo impegnata a mettere terrore a Pamina ed al pubblico -e ci riesce bene-, agitandosi e saltando da un lato all'altro del palcoscenico... è normale, o fai ginnastica o canti: non si possono fare contemporaneamente le due cose).
Damrau par rapport à Sutherland fait pitié ,car son niveau de technique de chant est précaire et le timbre est ingrat et laid .Bien sûr qu'ici le niveau de Sutherland est infiniment supérieur et en plus Damrau rate complètement son contre mi bémol .Mais la la plus grande dans cet air reste Maria Callas ,et personne ne peut s'en approcher jusqu'à maintenant .
pero como se puede comparar un monstruo del canto inigualable..con cualquier otra......cantante que mas bien es un monstruo..............cantando................
...kann man nicht vergleichen. Sutherland hatte die bessere Technik. Schon jetzt hat Damrau einen ordentlichen Wackler drauf. Sie sollte die Kopfstimme besser anwenden.
The first excerpt sort of scared me for a moment. Couldn't stop squinting my eyes throughout Damrau's excerpts. Sounds like a drunk Queen of the Night🤭😳
![Joan Sutherland [Walks Out!] & Lamberto Furlan Booed in Traviata (Genova, 1983)](http://i.ytimg.com/vi/ZkiXeFo9WO0/mqdefault.jpg)
I've passed kidney stones that didn't hurt as bad as listening to Damrau in this recording.
It's hard on the ears. No doubt.
@@MonogramistaML I dunno. been in hospital twice for kidney stones. Passed them myself the first time, had an endoscopic thingamajig shoved up my #!*# to yank out the second bunch and listening to this made me think fondly of my urologist.
that has made be cackle with laughter!
This is ridiculous. Damrau should be paying us to listen to that noise. Compare her to a stock soprano from the Met in 1965 and she would still sound like crap. But that's what passes for singing today. I live 3 blocks from the Met. I'd rather stay home and listen to recordings. The final high note should be considered assault and battery. Sutherland, on other hand, is Sutherland. What more do you need to say? Agility, power, beauty, ringing tone, perfect.
Sutherland was totally unique. I don’t believe there ever was a voice like hers that combined beauty power technique and about a hundred other things. If only Bellini and Rossini had heard her sing!
Si lei ha ragione...la Signora Damrau è il prodotto del teatro odierno,e purtroppo il suo canto fa male alle orecchie!!!!! La signora Sutherland, è una vocalista di prim'ordine,quindi nessun confronto... saluti da Firenze
@@radames5855 Saluti dalla Svizzera. Sono cresciuto a Milano ma sono di New York. Come canta mi spaventa. LOL.
An old school voice teacher friend of mine told me about a student of his , who upon listening to Joan Sutherland...said "Well, she's no Sumi Jo!"..and he summarily threw her out of of his vocal studio.
Thank You!!! It's the listeners who are comparing the opera singers of today with the even crappier pop singers of today and concluding the opera singers have fantastic voices. Such a pity. The very best people we have singing today can't beat the second string of yesteryear.
luiscar89 Agree 100%! I can't stand it when people act like they are such music lovers, then you find out their idea of great singers is people like Netrebko, Peretyatko, Joseph Calleja and Hvorostovsky, and when you bring up Callas, Simionato, Corelli and Sutherland they make faces! I feel like good taste and true critical expertise are dying, being replaced by venality and idiocy.
@@jasonhurd4379 I guess the only good thing about this situation is that the low standard of singing matches the low standard of production, so all in all it's a dead art. Maybe one day it will be revived.
@@paullewis2413 Let's hope so. The number one thing that must happen is that singers MUST return to a foundation of solid technique, based on Garcia and Vaccai. They must resist the temptation to move too far too fast, and have the patience to build slowly. Then, the directors must return to respect for the libretti, without this mania for novelty and strangeness. Without these two essential reforms, opera as an art form is doomed.
You would be correct.@@jasonhurd4379
And a 'person' said to me that her voices are equal in every sense, tone, vocal type....poor human.
and with Diana, I think dramatic coloratura soprano is a term used rather loosely as she is neither dramatic (she needs to screech to achieve any volume) and is not terribly agile.
Gordon Ramsay is yelling:" It's DAM RAU!!! PUT IT BACK TO OVEN AND BURN IT!!!!"
I see what you did there 😎
Dam Raw ??
The Old School always wins in live recordings and when heard in the theater (I'm not even mentioning mics) it's just another dimension. And it has nothing to do with just voice size. It's a matter of full-bodied technique. If you compare Damrau's Traviata with any other of the great Violetas of the past the result will be the same. It's like comparing Florez's 'Il Ducca' live with Pavarotti's one. Modern 'popish' opera can't stand the comparison. Thanks for not letting forget the modern audiences what real opera used to sound like. Cheers.
Frank Furter That's sad though. I'm young myself and I feel like I'll never get to listen to a truly good singer live.
You can say that again! It's really sad how much technique and basic vocal support has deteriorated. Now if Sutherland were compared with certain legendary sopranos who preceded her, that would be a fairer comparison.
they do exist! you just have to search for them. Karina gauvin is spectacular in baroque operas, with all the technique and finesse of an old school singer, as is Julia Lezhneva, another baroque singer. I recently heard amber wagner live as Turandot and was very impressed, (though she is not much of a stage presence, short and very fat) especially considering how little known she is. dolora zajick is still singing, and hers is a stunning voice, even at age 65. Granted, we have not had a another great dramatic coloratura soprano yet,I am hopeful. enough with this diana damrau, anna netrebko bullshit! lol
@@blahblah-pg1ny go for B casts, those usually are casted by voice, not name
I don't think Damrau's singing is "new school" (as compared to "Old School"). I think her singing just bad singing. She sings badly here.
This is ghastly. But Damrau, like almost every other "major" singer in opera today, is vastly overrated and always was. She managed some solid Queens in MAGIC FLUTE early and has been coasting downhill ever since. She has been using this "bronchitis" ruse for a long time to excuse her crappy singing. But, hey, the idiots in the opera house today cheer at what they are told is great, not what their ears tell them.
That magic flute performance was somewhat flawed to be honest
They don't have ears!!!!!!!!!!!!!
Diana Damrau was an acceptable light coloratura soprano but she decided to attack too much heavy roles and completely out of style.
La Stupenda straordinaria..
Which one??
Why is Diana always so forced, so brutal? Horrible! It is absurd to compare her to Dame Sutherland.
I'm very sorry - but Damrau is absolutely HORRIBLE!! what is the matter with her voice here?
If this is what the new standard of opera singing is nowdays- then something is very very wrong.
Damrau is sounding here like she is driving her voice to shreds! Seriously - was she very ill and performing anyway?
What the problem with her voice is, is that she's Diana Damrau. That explains everything.
In the right repertoire, Damrau is wonderful, but to my ears, she never sounds quite right in Italian roles. Sutherland sang a beautiful Traviata, but she was not able to read the deeper emotional levels of the role, but her voice and her florid technique were so amazing that it's really unfair to compare anyone to her. Perhaps the most amazing of all Sempre Libera's are Callas's 1952 versions, where she sings the role with a voice of a Flagstad and with unbelievable coloratura. And she still manages to bring out every nuance of the role. Even each one of the repeated high Cs at the end of Sempre libera is colored differently than the others, as if each note a manifestations of the different thoughts going through Violetta's head.
I rather doubt that Damrau is miced and amplified when she sings at the Met or Chicago or the treat opera houses of the world. Her voice is focused enough that she doesn't need it. I just don't think her sound and her approach is idiomatic for Italian bel canto roles.
And I agree, her voice has some frequencies ( mostly high frequencies only, not full bodied, the voice is actually thin, despite the effort to make sound thick)that is not inaudible at all, or too small,it might be heard to some extent in the hall, maybe heard till fourth row or whatever, but not a free resounding traveling the theater, just unpleasant shouting strained, tight sound live. But not any of these ones she is recorded by audiences which you hear gargantuan gasp of breathing over and over through the whole opera( meaning that she never sang till now without any sound enhancement as far as what i heard till now), as Sutherland and Callas , Dimitrova, Nilsson had gigantic voice, whenever you hear any recording from the audience, you never heard any , but any slightest breathing at all cutting the orchestra( which is impossible), it doesnt make sense, audience record from which row or whatever and you hear in all clips her neverending cut with her very loud breathing( so unmusical cutting over and over a beautiful phrasing without cabability of finishing a single one, always cut in pieces, while callas cut hold and prolong 3, 4 times and with gigantic free voice , she cuts a single phrasing into 2,3 pieces, let alone, lack of musicality and dynamics, just the histrionic attempt of expression with any humming or slightest sigh is captured by the sound enhancement, this is so easy, with mic, all mice become lion( unlike Caruso, he had to change costume or clothing during the opera or recital due to all the sweating because of the real singing that is athletic, not like nowadays, anybody with no diligent training can sing if they have good connections , coaches, agents and marketing) I want to see these singers without fiato technique sans legato convey nuances and expressions as did tebaldi, nilsson, callas, sutherland, de los angeles, gencer, etc etc etc etc with those gigantic voices traveling all the theaters with real voice.With sound enhancement of nowadays , everything is easy, instead of lifelong of learning like most of the singers of the past( granforte, caruso , callas , sutherland ,even gruberova are/were perfeccionists that studied everyday to reach excellence, and tebaldi with her golden voice had some problem with high notes, which she humblyly took a year off to try to correct and coming back with better high notes) while nowadays, most of them dont even have this right technique and just need to spend more time trying to sound good with the mics strategically set and hidden around than pursuing the real art of singing.
Luciana Jeny Gruberova sounded vinegary on recording but much more lush in the house.
And it is not even fair comparing a recording with obsolete technology taken by someone in the audience of a huge , gigantic voice as Sutherlands ( which is better live when the singers voice has all frequencies and harmonics, but might sound shrill in recording , either live or studio, good voice has to be heard live)to a recording of tight , strained pushy small voice already enhanced in the house by someone in the audience( it is deceiving because any mic or recording favors small one dimensional vertical voices that barely cut the orchestra, making them gargantuan, and since the voice is not deep and devoid of chiaro scuro and full harmonic, only the high frequency ones, there is not too much harmonics for the mic to filter which has less disparity comparing to a real good voice on recording. Summing up, they enhance those small, thin shouted voices making them sounding gargantuan) with better technology and advanced recorders of nowadays, make any open , not fully connected or natural emitted voice; screaming incomplete sounding big and good or/and more " velvety",but live these voices just sound generic, choir like and not distinctive with recognizeble timbre without sound enhancement, on the contrary, the very condensed, focused, big pressurized voice of the good ones of past are not captured fully and fidedignally, so, the clip even favors DD...people dont have idea how big and resonant and squilante sutherland ,nilsson,dimitrova, de los angeles ,tebaldi and callas voice( etc , etc) could be...if you compares the both voices featured in the video live without sound enhancement, and listening in the audience live, then yes, it would be more realistic and fair,in this case the comparison would be like heaven and he....
Ian 1856, so agree with you, Ruth Ann swenson has way way better voice than a lot there....I dont know why they ditched her, the voice is way more free resounding, beautiful , not forged to sound velvety but so small live like a lot there.Those that has no any other skills or resources and can not even do the crescendo, decrescendo or mezza di voce, just small voice sounding good on recording, and live neverending shouting forte to compensate the non projecting voice....and some self indulgent expressiveness, some even too histrionic....nothing else.,and the sheeplike audience think, it is Met, it must be good, this is why the world is how it is nowadays Ruth Ann Swenson is very good, pretty and natural, too bad they dismissed her.... the problem is often the ones knowing and saying king is naked are the first one to be criticized , silenced or discriminated in the name of hypocritical politic correctness and peer pressure ....you just have bow to whatever the elite and establishment want people to think, react and behave...and this is very evident in opera world as well, people worshipping mediocrity and dumping the real talented ones, inversion of values.
Damrau i ill?? again?? It's more than a year... She has big technique problems... It's not an illness...she destroyed her voice with too many roles....Sutherland's technique is perfect.... I think she has to rest for a period and restart to study... She has worldwide premieres but if she continues in this "path"...she will destroy definitely her voice and her health!! Health is more important than money...and she has a lot of money.... With no voice, no more money and no more concerts, if she thinks only from a commercial point of view..... but i hope she is a clever person... I hope.
It's waay too late for re-study. She blew it. She didn't know what she was doing, something her fans love about her.
I don't like Sutherland's Violetta, but Damrau is a complete disaster. I can't understand people's reaction.
What is it you don't like about Sutherland's Violetta? Vocally it was phenomenal! I would agree though that dramatically it at best was quite bland. The character certainly didn't come to life like it did with Callas.
Oh brother! Joan’s vocal production, control, and intonation win hands down!
ugh. merde! singing is dead. but don't they all look pretty now?
2 words: *J O A N S U T H E R L A N D!*
Damrau has always been mostly always a joke, especially in high coloratura roles that herself and her idiotic fans convinced themselves she was a goddess in. Even her Queen of the Night was off pitch lol.
And that wobble. It's like her body is rejecting so much vocal ugliness.
it isnt Damrau... it is Diana Damnher! :D
I find her greatest problem to be her voice. Its small and thin, but she forces it to be big resulting in a shrill, forced sound, lacking any brilliance, resonance or beauty of tone, and still to small for the repertoire she sings! I do suspect though she MIGHT POSSIBLY sound nice if she was singing lower, much more lyric pieces. and of course worked on her technique.
And I agree, her voice has some frequencies ( mostly high frequencies only, not full bodied, the voice is actually thin, despite the effort to make sound thick and dark, artificially)that is not inaudible at all, or too small,it might be heard to some extent in the hall, maybe heard till fourth row or whatever, but not a free resounding traveling the theater, just unpleasant shouting strained, tight sound live. But not any of these ones she is recorded by audiences which you hear gargantuan gasp of breathing over and over through the whole opera( meaning that she never sang till now without any sound enhancement as far as what i heard till now), as Sutherland and Callas , Dimitrova, Nilsson had gigantic voice, whenever you hear any recording from the audience, you never heard any , but any slightest breathing at all cutting the orchestra( which is impossible), it doesnt make sense, audience record from which row or whatever and you hear in all clips her neverending cut with her very loud breathing( so unmusical cutting over and over a beautiful phrasing without cabability of finishing a single one, always cut in pieces, while callas cut hold and prolong 3, 4 times and with gigantic free voice , she cuts a single phrasing into 2,3 pieces, let alone, lack of musicality and dynamics, just the histrionic attempt of expression with any humming captured by the sound enhancement, this is so easy, with mic, all mice become lion, I want to see these singers without fiato technique sans legato convey nuances and expressions as did tebaldi, nilsson, callas, sutherland, de los angeles, etc etc etc etc with those gigantic voices traveling all the theaters with real voice.With sound enhancement of nowadays , everything is easy, instead of lifelong of learningship like most of the singers of the past( granforte, caruso , callas , sutherland ,even gruberova are/were perfeccionists that studied everyday to reach excellence, and tebaldi with her golden voice had some problem with high notes, which she humblyly took a year off to try to correct and coming back with better high notes) while nowadays, most of them dont even have this right technique and just need to spend more time trying to sound good with the mics strategically set and hidden around than pursuing the real art of singing.
And I think as long as world nowadays is as it is, like all the elite all over the world wanting to impose their agenda of big control fomenting chaos, crisis to justify their intent and with all the hypocrisy and political correctness imposed by them, the world wont have room for meritocracy and it wont have fairness in opportunities, like so many good singers like Lucia Mazzaria and all the good ones complaining all the stage directors of nowadays made kings not understand anything about opera, nor do they understand about operas musical style , and have no reference of the good voices of the past. As long as they keep improving the sound enhancement and trying to use nudity and other controversial production( i m not even that purist )to disguise lack of talent and artistry,as long as there are nepotism, favoritism,ass kissing, and most of singers without proper technique, material, musicality, style,artistry( just having right contact, marketing, good pr, knowing right people, nepotism, favoritism and outside enhancement as surgeries or whatever for outside look , instead of diligent study as in the past ) and tiny one dimensional voice that barely cut orchestra , they might not have room for talented ones with real big full bodied resonant voice with as much harmonic as possible, I been heard lots of good singers complaining about this.The world is just not fair, especially nowadays, meritocracy is rare.
And it is not fair comparing a recording with obsolete technology taken in audience with a huge , gigantic voice( which is better live when has all frequencies and harmonics, but might sound shrill in recording , live or studio, good voice has to be heard live)to recording a voice already enhanced in the house in the audience( it is deceiving because any mic or recording favors small one dimensional vertical voice, making it gargantuan, and since the voice is not deep without chiaro scuro and full harmonic, only the high frequencied ones, there is not to much harmonics for the mic to not select, summing up, they enhance those small, thin shouty voices making them sound gargatuan) with better technology of recorders of nowadays, make any open , not fully connected natural emitted shouty voices sound good or more " velvety"but live sounding generic, choir like and not distinctive or having recgnizeble timbre without sound enhancement, whilst the very condensed, focused, big pressurized voice of the good ones of past are not captured fully, so, the clip even favors DD...people dont have idea how big, squilante and resoant sutherland ,nilsson,dimitrova, de los angele callas and tebaldis voice( etc , etc) could be...if you compares the both voices featured in the video live without sound enhancement, and being in the audience live, the result, then , would be like heaven and h.....
Diana's last clip... with the high "note"... DAAAMN
Sutherland,Sutherland ,Sutherland ...La Stupenda !!!!
Sutherland liberates the sound Damrau constricts it!!!! I vote for freedom.
All of this was unnecesarily brutal to poor damrau, yikes
Poor are the audiences who pay to see and hear this disgrace to Opera!
I read rave reviews of Damrau, and then I check videos of the performance and shake my head. Much of the singing is embarrassingly bad. Singers like her perform at the Met, while singers like Oropesa who can truly sing this are left out.
Sometimes in this business, it's not only how well you sing, it's who you know and connections, a lot of PR and agent's work.
Probably unfair comparing Damrau's worst performance with Sutherland's regular performance, but honestly Sutherland never messed up that horribly so many times in such a short period of time.
Does anybody have this full 1970 recording by Joan? It was on UA-cam before but not anymore.
A cruel but realistic comparison of the two. It's painfully clear that Sutherland had it light and easy at the high tessitura without all that wobble, and breathlessness. The last high E flat (although not written) said it all....
Detesto questi confronti. Ogni artista ha qualcosa da donare al pubblico. A mio avviso entrambe poco adatte al ruolo. Il fraseggio e l’interpretazione per me sono importantissimi e fondamentali. Le acrobazie vocali non bastano per fare dell’Opera vera Arte, anzi rischiano di tramutarla in circo.
Ma si deve avere l'abilità di cantare bene. La gente paga!!
Karen Stears permettersi di pagare un oneroso posto in platea o in palchetto non rende automaticamente esperti estimatori di belcanto, anzi.
Ma purtroppo si sente che la voce della Damrau è rovinata e tecnicamente non riesce più a reggere il ruolo...
Se lo dici tu. Forse sordo?
Diana Damnher vs Joan Sutherland? are u nuts? disgrace to the legend of dame Joan... your next post should be Katy Perry vs Joan Sutherland
Lohengrin O: I just want to say how this opera has become today vocally!! And at the MET the y applauded her like crazy!!! Really embarassing!!
ah ok ok then... the Met accepts singers Meada or whats her name... or the new coloratura Nadine Siera who screams her guts out to sing a very faulty coloratura... Met is by no chance criterion of the Opera in the world... and they keep interviewing each other backstage like Imbeciles...
@ Lohengrin O ,The first one you mentioned has no sense of legato, you dont feel the beautiful musical melody phrasing , just the punched note by note pushed all over the opera( why does she even bother singing bel canto,she might have good material, I dont know)and caprino vibrato like tremolo, well, she has a good influential coach....
Lohengrin O I can't believe what I'm hearing here. I don't know what to say and remain even a bit polite. The audience cheered after that screech. Oh what has happened Lohengrin ?
+ Donald Cant People do not realize how unique the Voice of dame Joan was... I hope my reincarnation, in 100 years from now, will make a channel for only the greatest of the greatest... dame Joan and Maria will be there for sure... and the 1-2 best of the 21st century which Im afraid I wont be there to witness their marvel... :D
Verdi wrote the Sempre libera in a very specify way, with a lot of trills, staccatos, portamenti and ornements, but most singers don’t actually sing what Verdi wrote.
The great Dame Joan Sutherland was one of the greatest voice already registered in the history! Diana Damrau is a mad lady with high notes guessing she knows how to sing.
Damrau sounds like she's having a lot of vocal problems here: sloppy coloratura, singing slightly off-key and all with a "wobble"' that usually only happens to singers who've been singing for 30-40 years (as voices age the vibrato loosens; no getting around it). I hope this was just a bad night for her, because if not her career is over.
@@ian1856 Excellent point!
How can anybody ever compare the terrible Damrau with one of the best sopranos that ever lived. Sutherland is absolutely fantastic and Damrau absolutely terrible.
Someone actually shouted bravo after that performance???
Sutherland of course! Damrau is like a matronly mosquito compared to Sutherland
fantastico comentario comparativo....................y no es porque sea asi o no por parte de usted o de mi es que esla realidad tal cual...............
The Queen Joan and the apprentice !!
It's to be expected. People are still out there buying tickets to go see her and opera houses are still convinced that this is the best they can do. If you guys want to see any kind of change i.e. if you want to see opera get better and not worse, stop supporting singers that sound bad.
babydrane...Very true! The exact same thing happened with Gruberova! They kept buying tickets, LONG after she should have stopped singing!
JS is always perfection!!!
A bit unfair comparison. Like putting a sick cat up against La Stupenda. Maybe Damrau was nervous about going to the Vet.
Абсурд
Sutherland можно сравнивать с теми, кто находится на ее вокальном уровне либо рядом с ним: Tebaldi, Nilsson, Callas, Milanov, Simionato, Caballe и так далее.
Какой смысл сравнивать с Damrau, если последняя даже в лучших ее выступлениях - никогда не дотягивала даже до уровня средних певиц эпохи 50-70 годов ?
Тем более она не может конкурировать с одной из главных певиц XX столетия, которой является Joan Sutherland.
Можно на примере этого ролика только посетовать на то - куда скатилось оперное пение XXI века.
Damrau never sang well; always short breaths and hysterical singing; but now she's insecure and has pitch issues, often cracks etc. Most of her belcanto was horrid, but Stuarda is a real disaster.
What happened to my dear Damrau in that recording??? She is better than that :'(
@sambaranenko Damrau never sounded good at all. She's always been a terrible singer, which is why she sounds like this now! It's what happens to most "modern trained" "singers" now. They never learn how to sing correctly, so they are bad to start with, and end up like this!
As far as DD. Thank the Lord we don't have creepy cutesy vusuals accompaning this mess!!!
3:12 I'm just bookmarking this time stamp so that I can play that passage over and over and over again.
I wonder how Sutherland would sound with recording technology of today.
Maybe the art of opera is dead. No leading singers today could even match up to yesterday's star. Diana would be inaudible if she sings next to Sutherland. Sutherland's voice will cover Diana's. A sad end for the art that lasts for ceuntries.
Needless to say DD a won’t be around much longer .
What a stupid idea. Dame Joan! The other is awful!
This comparing Sutherland in her prime to Diana many years past her prime. In her day, Diana was a fine singer. Joan is in her own hemisphere.
The recordings are at their exactly same age!! It’s a fair comparison!!
Damarau is horrendous in this. Diana Damarau sounds horrendous her E flat is worst I've ever heard
VERDI JUST CALLED ME !!!! HE IS COMING BACK JUST TO STOP MISS DAM(ED)RAU!!! The legendary Dame Joan is coming also to help Verdi ! PLEASE STOP THIS PERSON FROM MURDERING OPERAS !!! ITS JUST UNBELIEVABLE , she is always under pitch , no legato , no breath , no taste , no high notes anymore , terrible coloratura , over the top bad interpretation ... SHE SOUNDS IN PAIN !! PLEASE JUST PUT HER DOWN OUT OF HER MISERY !!!!! i know a good vet !!!! LOL
+CRAZY COW I agree with you...
But I thought you said never to be a hater? That is pretty hypocritical because you just insulted Damrau. (Now I don't like her either).
So people can criticize Damrau but not Mosuc? What is wrong with you?
he phoned me too... he said: Tell that Diana Damnher to God damn stop singing my God damn Operas or Im gonna God damn her!
it would be the merciful thing to do. Listen to her, shes obviously in a great deal of pain, she wont stop screaming!
Funny
wow that's already an insult not criticizing in a mannerly way
My god, Damrau is simply awful! This is the difference between a good and a bad technique!
Jesus fuck that Damrau sounded like she'd been stabbed. Terrible singing, so clumsy, strained, and off pitch.
Sutherland, on the other hand, made it sound so effortless and natural.
Here once again "La Stupenda" showing how it's done...
Oui elle est la stupenda ,mais ni la superba ,ni la divina !
@@eberlinpascal2837 Would not make a difference. Sutherland had the greater command on high than either one of them.
@@MrMin316 oui ,un registre aigu et une facilité incomparable .Mais un art du chant c'est aussi quelque chose de plus !
@@eberlinpascal2837 If you listen to the "art of the prima donna" album's one and two. It will tell all you need to know about the art of singing. It still remains unrivalled.
@@MrMin316 ok je l'ai chez moi cet album et il y a des choses admirables que chante Joan Sutherland ,en particulier des airs Français et italiens pour coloratures , où elle est étourdissante.Pour moi mes réservés ne concernent pas sa voix où sa technique ( qui est parfaite ) mais le style en réalité .
Sutherland, la stupenda, única, una voz así se da una vez en el siglo. Damrau, canto histérico
Viva la Stupenda! Joan Sutherland is the greatest of them all.
One sounds like a cheese grater, the other is Sutherland.
Oh my!
Joan ❤️
Obviously you mean killing in a bad way! Too bad, she's interesting but like with many singers today they get caught up in doing something different rather than trusting the music and the composers intent, add a disrespectful director and it's a recipe for humiliation!
è ingeneroso paragonare Diana Damrau a Joan Sutherland, che pure non era nel suo ruolo migliore come Violetta.
Diana Damrau non mi piace nemmeno quando canta correttamente.
impodibles de comparar. le entraste
Damrau's o zittre nicht also leaves much to be desired
La voce della Damrau purtroppo è rovinata...per reggere il business odierno della lirica ci vuole una tecnica vocale infallibile...
Oof poor Diana. That recording is really a travesty.
Damrau is great, she just had a bad day.
Damrau is an example of what liberalism has done to opera.
Damrau is irritating to the point of being creepy.
shameless listeners spoil shameless opera singers, what kind of people would yell "bravo!" to this screeching Diana Dumbrau?
I had a chance to listen to Sumi Jo in 2019 Summer in her masterclass in London, where she was still able to sing a floating Db6 (of course she didn't sing anything beyond C6 very often now, she was 55 that time and not vocally athletic as she used to be). Diana Dumbrau is 8 years younger than Sumi Jo and this 2018 screeching Dumbrau where she was only 46 isn't surprising and actually serves her right. Exceptionally early vocal decline is the best karma to Dumbrau. She could have nasal jamming party with Natalie Dessay now.
JOAN Sutherland is better
Lo so che molti mi uccideranno. Premetto che Diana Damrau mi piace moltissimo come attrice... a livello di voce, invece, non credo sia così dotata. Ha il fiato corto, e lo spreca tutto per muoversi ed agitarsi in scena per la mimica del personaggio a discapito della voce (ad esempio ne "Il flauto magico" di Mozart, quando interpreta Astrifiammante, si vede proprio che non ce la fa, che ha l'affanno, perché è troppo impegnata a mettere terrore a Pamina ed al pubblico -e ci riesce bene-, agitandosi e saltando da un lato all'altro del palcoscenico... è normale, o fai ginnastica o canti: non si possono fare contemporaneamente le due cose).
Damrau par rapport à Sutherland fait pitié ,car son niveau de technique de chant est précaire et le timbre est ingrat et laid .Bien sûr qu'ici le niveau de Sutherland est infiniment supérieur et en plus Damrau rate complètement son contre mi bémol .Mais la la plus grande dans cet air reste Maria Callas ,et personne ne peut s'en approcher jusqu'à maintenant .
pero como se puede comparar un monstruo del canto inigualable..con cualquier otra......cantante que mas bien es un monstruo..............cantando................
je préfère Joan... chanté et pas crié, respiration bien...aigus assurés
...kann man nicht vergleichen. Sutherland hatte die bessere Technik. Schon jetzt hat Damrau einen ordentlichen Wackler drauf. Sie sollte die Kopfstimme besser anwenden.
The first excerpt sort of scared me for a moment. Couldn't stop squinting my eyes throughout Damrau's excerpts. Sounds like a drunk Queen of the Night🤭😳
Ni al caso una simple cantante con una de las pioneras del Bel Canto 😅
Perché sempre questi paragoni stupidi?
Awful. All around. Awful.
La Stupenda per sempre. Damerau was terrible from the beginning of her career.
Non è la miglior recita della damrau che è una delle migliori del nostro tempo
Joan is superior obviously
Damrau is terrible!
Disgrace! Damrau was ill during this performance and she is an amazing interpreter who unlike some singers expresses so much in the text
Anyone who adds this (3:41) to "Sempre Libera" is just showing off how they can sing better than anyone.
Yes because they can! Tetrazzini used these staccatos!
And she could.
R.Pariente Magnifique voix ; malheureusement peu intelligible dans cet enregistrement.
I mean no disrespect to Miss Sutherland and I know I’m going to be in the minority, but I personally prefer Diana.
I’m embarrassed for you. An appointment with the doctor might be in order.
Diana is an AMAZING singer!!! I love her voice!
You’re embarrassing yourself.
La Stupenda ❤️❤️❤️
I prefer Damrau!
WHAT???? WHY????? HOW?????
Because she is of today not yesterday... comparing 2 totally different Sopranos would be like comparing Bach and Mozart...stupid
Me too..I see to many haters here😂
Better to Compare Sutherland and Callas. It would be a gem than this horrible damrau.
At the same age would be about the same. Need to get Callas before she turns 35.
Diana damrau
I prefer Damrau!