...and since I always wondered if dame Joan's is a real trill or a fluctuation of sound I used my Voice Pitch Digital Analyzer and on her trills it always show the two tones she bounces between... it is AMAZING
@@LohengrinO I love it! Callas may have my entire heart when it comes to operatic soprani, (despite my being born almost 20 years after her death) but Sutherland was just marvelous for sitting back and listening. And she shows a LOT more character here than I'm used to - a pity that she sacrificed drama for vocal safety and beauty in her later career, but boy was the young instrument a marvel.
When I worked in the Opera Wardrobe at Covent Garden,(1963~2007) I had the honour to stand in the wings and listen to Joan close up on many occasions.She never cancelled,and even if she had flu or a cold she went on.You would never know she was not 100% healthwise,she always gave it her all.She said she owed it to her audience,who had spent good money (and hard earned) to listen to her.
5 років тому+19
A Paradox Thanks for your words. I will love Sutherland forever.
Sheer Aussie grit had a lot to do with it. This was a lady who made her New York debut in a concert performance of "Beatrice di Tenda" the night of her mother's funeral an ocean away in London. When the impresario offered to cancel the performance, she said "Mum'd kill me" if she did that. This was also the first time she shared a stage with Marilyn Horne.
@@davidallen508 True. She was very proud of her Scottish heritage. If I'd been planning her farewell gala at the Sydney Opera House I'd have included skirling bagpipers marching down the aisles.
I envy you in a good way for the many great performances of the great artists of opera's second golden age you got to enjoy at Covent Garden. You're a very lucky person indeed and thank you for relating this observations on the very much missed La Stupenda.
Heaven - I’m always stunned by her trill, I’ve never heard more accurate trills before or since! This particular Sempre is just magnificent in every aspect!
Lohee! This is really wonderful - thank you!!! Dbs are all so well sung -- and I love this tempo -- it gives a tremendous sense of how Violetta is torn between staying Always Free, or giving in to this new man who has loved her for a year. The excitement, the almost bi-polar shifting of emotions and thoughts between Ah forse and Sempre Libera! Thanks again! 😎😎😎
@@LohengrinO well, that is it in a nutshell. Just like the other greats. People love to hate the greats. They have their favourites and that's it. Not you though. God, you have led me to so much pleasure. ❤️
@@highbaritone also quite often they "love" someone only in order to BASH another... I mean I dont think all these fans who curse me to die when I write Tebaldi was singing off pitch all the time or Ponselle and Flagstad never hit a C6 in their lives (omitted 99% of them) have actually listened to their "favourite" singers at all
@@LohengrinO God, you are probably right. I don't read many who disagree with you. Not many who dare. I've spent my life singing. Very lucky. Would have preferred opera, but my carrying power was ever good enough. I did get to hear many greats and they were all unique. In opera where you can't hide something has to be right for you to last. I know some didn't but their flame was fantastic. A few of the greats I first heard through you. I'm an old man now, and am so appreciative if your posts. What else is new. Ha! ❤️👍🇦🇺 🇬🇷
Immaculate legato considering the frenetic conducting, the easiest upper extension possible (flawless forte High C#6's) and pin-point precision in the staccato. So rare to hear this aria sang effortlessly. Only Callas and Sutherland could do it.
@@LohengrinO The LIVE 1963 Traviata from Philadelphia has a similar Herculean "Sempre Libera". If you think Sutherland was spectacular with her astonishingly powerful high notes in her 1963 Puritani with Gedda, the 1963 Traviata(Live from Philadelphia), shows Sutherland at her stratospheric bestl. This link has the full Traviata. But "Sempre Libera" is @ minute 25:00. Truly inhumanly spectacular high notes. And miked far away from the celing. So you hear the full Sutherland sound in her prime. ua-cam.com/video/TjjOPgGEpOQ/v-deo.html
Most of her interpretations, after the long C6 stacatti, she stops after saying "libera" just like Maria Callas, they're not always a human machine. They also pause or preserve if needed.
Wow--what an incredible display of the human voice. This is Sutherland at her best. I am especially struck by her clear diction here. Such a shame it deteriorated over time. Thank you, Lohengrin O! Btw, who is the conductor? And the Alfredo?
Her trill. I think no one ever told her trills and florid music were hard. She had a most clean smooth coloratura, and a trill like a violinist. She was amazing.
This is the best I have ever heard Sutherland sing. Absolutely extraordinary vocalising as we expect, but here we actually get an alive sense of character and drama, and the diction is not bad at all. I presume this was pre Bonynge and it shows the artist she could have become rather than the one she did become. Thanks for this.
+great moments of opera There never was a pre Bonynge. He was her constant companion and husband' A noted music historian, he found long forgotten music, to enhance her wonderful tone encouraged her to broaden her range. They lived together and subsequently married years before her great success in Lucia. The artist she could have become? Ye gods! How young are you? Read a proper bigraphy and don't go on believing that he somehow jumped on her bandwagon after she was famous.
@@maximillian6222 One of her first teachers in australia . His name was john dickens and his wife aida taught her too as a mezzo ..also her mother (who was a singer) told her she was a mezzo...but it was her husband who taught her to sing the coloratura roles it was in her official auto biography. Same happened with Kiri Te Kanawa.
Ah, the early studio recording with Bergonzi as Alfredo. You can hear that she had to take a step back from the microphone for the top E-flat at the end so that it didn't distort! A rarity for her to get to have a first class tenor in an early recording; usually she got stuck with great baritones but second-rate tenors like Cioni, Duval, Monti, which is one of the reasons discovering Pavarotti was such a coup!
I think u are referring to an extremely special ornament Sutherland would add here that if it is sung with a bit less accuracy it sounds like a Glitch of Pitch...
can't really tell. i have that problem with trills in the sixth octave. i go up and down over and over, but it's really difficult to lock the trill. that's why i made that assumption. if that's the case, congrats to her. any lesser vocalist would screw up big time.
she herself screws up this extremely difficult ornament in one of her live performances and it sounds as if she cracks (glitches off pitch center then goes back to it)
I was just listening to Callas' 51 version of this most difficult aria. Her trills sounded gigantic. And the separate notes could be clearly heard. I've run to this to hear Sutherland's trills. Much to my surprise, Callas' trills are bigger and more free and pronounced than Sutherland's despite the heaviness of her voice. I thought it would be the other way around. Also, the mezza forte E flat at the end is gorgeous. I wonder if it was intentional, though.
Callas' trills were an actual alteration of two tones or a tone and a semitone... exact same applies for Schwarzkopf's trills. I never understood if Sutherland trills or flutters very fast (tone-pause-tone-pause-tone-pause instead of tone-other tone-tone-other tone)... what is for sure is that Sutherland could do it extremely easy as if she clicked a button but I will never understand if her trills were tonically accurate as real alterations of tonality
Lohengrin O , I have a question to ask . Why do you think there are many screamy coloratura sopranos today ? No matter what they sing : baroque , bel canto , German repertoire, operetta , Mozart ? When did this trend start and why do people love it ?
they are not natural coloraturas, they are lyrical soprani with ultra forced coloratura technique, best example of this category: Diana Damrau, she never had true coloratura soprano agility / fluidity There have been soprani with much greater coloratura technique who never claimed to be true coloraturas (eg Edda Moser... if u listen to her Kostanze, it is very screamish, thank God I read recently she herself had claimed that she was not a coloratura soprano). Furthermore and curiously enough quite many succesful Queens of the Night were not true coloraturas, the role is not a test of the agility, only of the ability to produce a clean F6
the technical ease is mind blowing. It is a pity somebody misguided her into thinking bel canto roles were meant to be sung with a soft weightless voice similar to sopranos much lighter than her. She could have been the next Pasta-Malibran-Callas if she had been mentored by a musical mind like Callas was by Serafin and de Hidalgo
Early Joan was a great singer. Her Traviata was fantastic. Luckily she is being conducted here by Prichard and not by Bonynge. He was not a great conductor. If he hadn't been married to Joan he would never have achieved the status that he did. After her retirement he went nowhere. Joan was his meal ticket.
...and led her career to very wrong directions... when u get one Voice of the Century (which is one Voice in around 8 billion human beings)... you dont make her sing silly pop songs some Baroque composer wrote... she was born to sing the No1 roles and she spent her voice on not more than 10 great roles... at least she could have sung half the Handel catalogue (not even that)
Indudablemente hermosa voz, técnica impoluta, sus trinos y melismos son de antología, pero eso que hace, primero no es Verdi lo que canta y segundo desfiguró a Violeta, las exageraciones son chocante y no se termina disfrutando de una de las páginas más hermosas hecha música. Advierto admiro a la Stupenda, pero en muchos roles o funciones estaba descontextualizada, no sé puede ser Lucia en todos los roles.
Yes, I can, and I speak only basic Italian (of course speaking a closely related language as my native tongue helps). It is just obvious that you do not speak Italian at all. Her diction may have been bad in many of her recordings, but here it's actually very good, as good as you should expect from a soprano singing a high-lying coloratura aria. And I get all the words. Sorry, but I think you're complaining about something (understanding the Italian text) that you know fully well that you wouldn't grasp even if she had flawless diction.
Callas' I think is way better. Sorry. Though Sutherland's such a good singer with her effortless singing I just couldn't compare it with early Callas' sempre libera. THAT was intense, this one seems tamed.
Honestly who cares? A fantastic performance won't become an inch less wonderful if Callas' is "way better" (and, no, from a strictly musical point of view it just isn't, but perceptions of drama and emotion are much more subjective and even more prone to personal tastes than musical/vocal appreciation of a performer). This "comparison-mania" has become so tiresome and frankly childish, these singers are not toys ("My toy is bigger than yours"). I can fully appreciate and enjoy a performance even if I know that it's not the best ever in my opinion. That's what people who love opera and music as a whole do, but some people seem to be just diva fans, not opera fans.
Jim Buxton Callas's professional career began in 1938 und until 1959 she had good voice, that are 21 good years not 5. Und her last performance until 1965, then 1965-1938=27 years. Obviously not with the same voice than when she was younger, but Sutherland had wobble problems 10-15 after her first performance. Read biographies of both, and listen all recordings before talk please. Don’t believe all what fans write in comments about singers.
Jim Buxton please read correctly, I’m talking about professional debut, callas also sang on radio when was a child. Her professional debut was in 1938. As I’ve said read her biography.
dios santo a quien se le ocurre comparar esto con callas? solo a alguien que no haya estudiado o escuchado lo suficiente puede cometer la bochornosa torpeza de querer porner a esta mujer en al mismo nivel del genio que fue maria callas.
Then your ears should be checked, because her diction is definitely very adequate here. I can understand everything perfectly, and I only speak basic Italian.
Sorry, if you can't understand what she is saying then your knowledge of Italian or your familiarity with operatic singing is very low (or both). Her diction is actually pretty remarkable here not just for her, but for any soprano singing a high-flying aria like "Sempre libera". Do you actually speak Italian or a Romance lanuage, are you used to listening to Italian operatic singing? I doubt anyone can listen to this with a good knowledge of Italian and claim the words can't be understood. Oh, and this does have more than enough passion, the music does the rest of the trick on its own (as Verdi wanted it, he hated performers who added "too much imagination" to his score). She's just not hysterical and going for easy histrionic effects on the verge of bad taste, which is what some misguided singers take as "expressivity".
I love hearing a soprano who actually sings the written trills 😌. So refreshing.
...and since I always wondered if dame Joan's is a real trill or a fluctuation of sound I used my Voice Pitch Digital Analyzer and on her trills it always show the two tones she bounces between... it is AMAZING
@@LohengrinO I love it! Callas may have my entire heart when it comes to operatic soprani, (despite my being born almost 20 years after her death) but Sutherland was just marvelous for sitting back and listening. And she shows a LOT more character here than I'm used to - a pity that she sacrificed drama for vocal safety and beauty in her later career, but boy was the young instrument a marvel.
@@MartyMusic777 She never sacrificed a thing, not ever...sorry... In fact she grew more dramatically compelling through the years..
@@photo161please...!
When I worked in the Opera Wardrobe at Covent Garden,(1963~2007) I had the honour to stand in the wings and listen to Joan close up on many occasions.She never cancelled,and even if she had flu or a cold she went on.You would never know she was not 100% healthwise,she always gave it her all.She said she owed it to her audience,who had spent good money (and hard earned) to listen to her.
A Paradox Thanks for your words. I will love Sutherland forever.
Sheer Aussie grit had a lot to do with it. This was a lady who made her New York debut in a concert performance of "Beatrice di Tenda" the night of her mother's funeral an ocean away in London. When the impresario offered to cancel the performance, she said "Mum'd kill me" if she did that. This was also the first time she shared a stage with Marilyn Horne.
@@davidallen508 True. She was very proud of her Scottish heritage. If I'd been planning her farewell gala at the Sydney Opera House I'd have included skirling bagpipers marching down the aisles.
That's seriously impressive!
I envy you in a good way for the many great performances of the great artists of opera's second golden age you got to enjoy at Covent Garden. You're a very lucky person indeed and thank you for relating this observations on the very much missed La Stupenda.
I never tire of this. John Sutherland being awesome. Absolutely ❤
Oh that trill...sends shivers down my spine. I miss Joan Sutherland
Isnt she forever alive?
@@LohengrinOshe most certainly is!
Heaven - I’m always stunned by her trill, I’ve never heard more accurate trills before or since! This particular Sempre is just magnificent in every aspect!
The voice of an angel indeed, La Stupenda. I was so thrilled to attend Lucia di Lammermoor and Anna Bolena in Covent Garden
and THAT top Eb by which others are judged. ⭐️⭐️⭐️⭐️⭐️⭐️
There is still no living soprano (as far as I've heard) who could fly through the trills of this song like Dame Sutherland.
This is beautiful, possibly the best version of this I have heard.
これは私の一番好きなプリチャード指揮のバージョンではないでしょうか。
サザランドの技術と声の美しさが最高潮なヴィオレッタ!!
アルフレードが端正な声のベルゴンツィでまた完璧でした。
Lohee! This is really wonderful - thank you!!!
Dbs are all so well sung -- and I love this tempo -- it gives a tremendous sense of how Violetta is torn between staying Always Free, or giving in to this new man who has loved her for a year. The excitement, the almost bi-polar shifting of emotions and thoughts between Ah forse and Sempre Libera!
Thanks again!
😎😎😎
The best, ever. Thank you Ma'am.
Ho sempre amato Joan Sutherland, è il mio modello di canto ❤️🌺❤️
The resonance 🤩
It's very 'trilling!...as well as thrilling..
Perfection
AMAZING... GOD BLESS FOREVER
I read a comment that Dame Joan was 'robotic'. I'm not sure if that was a compliment or not. Simply stunning.
Her digital accuracy and perfection described as an indication of emotion-less performance, if I were someone as rare as dame Joan I wouldnt care less
@@LohengrinO well, that is it in a nutshell. Just like the other greats. People love to hate the greats. They have their favourites and that's it. Not you though. God, you have led me to so much pleasure. ❤️
@@highbaritone also quite often they "love" someone only in order to BASH another... I mean I dont think all these fans who curse me to die when I write Tebaldi was singing off pitch all the time or Ponselle and Flagstad never hit a C6 in their lives (omitted 99% of them) have actually listened to their "favourite" singers at all
@@LohengrinO God, you are probably right.
I don't read many who disagree with you. Not many who dare.
I've spent my life singing. Very lucky. Would have preferred opera, but my carrying power was ever good enough.
I did get to hear many greats and they were all unique.
In opera where you can't hide something has to be right for you to last.
I know some didn't but their flame was fantastic.
A few of the greats I first heard through you.
I'm an old man now, and am so appreciative if your posts. What else is new. Ha!
❤️👍🇦🇺 🇬🇷
Where the heck I'd this performance from. I would love to have it. Sutherland was my first love. Thanks. Jim
dame joan and bergonzi...perfect recording.
That thrill....
Divina! 🔥💖💖💖
Stupefacente
The bell song the world, Bravo mileeee
Immaculate legato considering the frenetic conducting, the easiest upper extension possible (flawless forte High C#6's) and pin-point precision in the staccato.
So rare to hear this aria sang effortlessly. Only Callas and Sutherland could do it.
0:10 and 0:27 Brilliant... and indeed so effortlessly
No one is "Ranking" the performance(s)
This is a post about Joan
😎😎😎
@@LohengrinO
The LIVE 1963 Traviata from Philadelphia has a similar Herculean "Sempre Libera". If you think Sutherland was spectacular with her astonishingly powerful high notes in her 1963 Puritani with Gedda, the 1963 Traviata(Live from Philadelphia), shows Sutherland at her stratospheric bestl. This link has the full Traviata. But "Sempre Libera" is @ minute 25:00. Truly inhumanly spectacular high notes. And miked far away from the celing. So you hear the full Sutherland sound in her prime.
ua-cam.com/video/TjjOPgGEpOQ/v-deo.html
@@judynelson5038 ty ty ty I wll post...
That picture looks like Sutherland holds a mobile phone.
Perfection!!!
Nobody compares to Joan
*Correct me if I'm wrong,* but many sopranos have a break here 5:22 to breathe or something. Joah doesn't!
She's a machine!
*La Stupenda!*
Most of her interpretations, after the long C6 stacatti, she stops after saying "libera" just like Maria Callas, they're not always a human machine. They also pause or preserve if needed.
The stop happens at 5:18, you can see and hear how Callas and Sutherland does it pretty often.
Sometimes, they also pause a little between those C6 stacatti, I mean it's kinda hard to hold but they do.
My god.
That power.
Superb! Thank you for uploading.
que voz tan bella!
Wow--what an incredible display of the human voice. This is Sutherland at her best. I am especially struck by her clear diction here. Such a shame it deteriorated over time. Thank you, Lohengrin O!
Btw, who is the conductor? And the Alfredo?
John Pritchard is conducting and Carlo Bergonzi is the Alfredo.
bravo.......
Ah! La Stupenda!!!
I love her trill❤️
Her trill. I think no one ever told her trills and florid music were hard. She had a most clean smooth coloratura, and a trill like a violinist. She was amazing.
@@highbaritone A flute!
This is the best I have ever heard Sutherland sing. Absolutely extraordinary vocalising as we expect, but here we actually get an alive sense of character and drama, and the diction is not bad at all. I presume this was pre Bonynge and it shows the artist she could have become rather than the one she did become. Thanks for this.
doubtful it is pre Bonynge as she was a dramatic soprano prior to him.
Since it’s Bergonzi it sounds like the 1963 decca set in which the first act was the best
+great moments of opera There never was a pre Bonynge. He was her constant companion and husband' A noted music historian, he found long forgotten music, to enhance her wonderful tone encouraged her to broaden her range. They lived together and subsequently married years before her great success in Lucia. The artist she could have become? Ye gods! How young are you? Read a proper bigraphy and don't go on believing that he somehow jumped on her bandwagon after she was famous.
Adoro !!!
Amazing!!!
Amazing!
La Stupenda!!!
to think ..someone once thought she was a mezzo and they never thought she had a colatura range
Who?
@@maximillian6222 One of her first teachers in australia . His name was john dickens and his wife aida taught her too as a mezzo ..also her mother (who was a singer) told her she was a mezzo...but it was her husband who taught her to sing the coloratura roles it was in her official auto biography. Same happened with Kiri Te Kanawa.
@@silverkitty2503 i read about te kanawa, it suprises me because she has light Voice to sound as mezzo
@@maximillian6222 probably because she worked really hard to get it. :)
I think she prefered Norma but she sang Violetta gloriously.
Ah, the early studio recording with Bergonzi as Alfredo. You can hear that she had to take a step back from the microphone for the top E-flat at the end so that it didn't distort! A rarity for her to get to have a first class tenor in an early recording; usually she got stuck with great baritones but second-rate tenors like Cioni, Duval, Monti, which is one of the reasons discovering Pavarotti was such a coup!
Don't agree about Cioni, he possessed that true Italianate tenor sound of the old school and is much under rated IMO.
4:01 Suddenly "The Pirates of Penzance" comes to mind.
What do you think Sullivan was parodying when he wrote "Poor wand'ring one?"
I agree, what was that?????
@@ThomasDawkins88 Yes, Sullivan did that in his own work. Here Sutherland makes the same parody in an actual Traviata performance!
2:09, sempre libera
2:23, sempre lieta, senza pausa di tradizione
awesome
So much spinto power
I think she goes for a tsunamic trill at 3:54, but decides not to.
I think u are referring to an extremely special ornament Sutherland would add here that if it is sung with a bit less accuracy it sounds like a Glitch of Pitch...
can't really tell. i have that problem with trills in the sixth octave. i go up and down over and over, but it's really difficult to lock the trill. that's why i made that assumption. if that's the case, congrats to her. any lesser vocalist would screw up big time.
she herself screws up this extremely difficult ornament in one of her live performances and it sounds as if she cracks (glitches off pitch center then goes back to it)
Es la mejor de todos los tiempos
I was just listening to Callas' 51 version of this most difficult aria. Her trills sounded gigantic. And the separate notes could be clearly heard. I've run to this to hear Sutherland's trills. Much to my surprise, Callas' trills are bigger and more free and pronounced than Sutherland's despite the heaviness of her voice. I thought it would be the other way around. Also, the mezza forte E flat at the end is gorgeous. I wonder if it was intentional, though.
Callas' trills were an actual alteration of two tones or a tone and a semitone... exact same applies for Schwarzkopf's trills. I never understood if Sutherland trills or flutters very fast (tone-pause-tone-pause-tone-pause instead of tone-other tone-tone-other tone)... what is for sure is that Sutherland could do it extremely easy as if she clicked a button but I will never understand if her trills were tonically accurate as real alterations of tonality
It’s a studio recording, I think they pulled back the level on the last Eb to stop it saturating the recording ....
😘
Lohengrin O , I have a question to ask . Why do you think there are many screamy coloratura sopranos today ? No matter what they sing : baroque , bel canto , German repertoire, operetta , Mozart ? When did this trend start and why do people love it ?
they are not natural coloraturas, they are lyrical soprani with ultra forced coloratura technique, best example of this category: Diana Damrau, she never had true coloratura soprano agility / fluidity There have been soprani with much greater coloratura technique who never claimed to be true coloraturas (eg Edda Moser... if u listen to her Kostanze, it is very screamish, thank God I read recently she herself had claimed that she was not a coloratura soprano). Furthermore and curiously enough quite many succesful Queens of the Night were not true coloraturas, the role is not a test of the agility, only of the ability to produce a clean F6
@@jimbuxton2187 as Mariah said: I don't know who she is :D
@@LohengrinO As Mariah said 10 years later: I still don't know her :D
the technical ease is mind blowing. It is a pity somebody misguided her into thinking bel canto roles were meant to be sung with a soft weightless voice similar to sopranos much lighter than her. She could have been the next Pasta-Malibran-Callas if she had been mentored by a musical mind like Callas was by Serafin and de Hidalgo
Excelente en este acto, pero no en los restantes.
Bergonzi as Alfredo
u can recognize Bergonzi's timbre?
@@LohengrinOdefinitely
Early Joan was a great singer. Her Traviata was fantastic. Luckily she is being conducted here by Prichard and not by Bonynge. He was not a great conductor. If he hadn't been married to Joan he would never have achieved the status that he did. After her retirement he went nowhere. Joan was his meal ticket.
...and led her career to very wrong directions... when u get one Voice of the Century (which is one Voice in around 8 billion human beings)... you dont make her sing silly pop songs some Baroque composer wrote... she was born to sing the No1 roles and she spent her voice on not more than 10 great roles... at least she could have sung half the Handel catalogue (not even that)
Indudablemente hermosa voz, técnica impoluta, sus trinos y melismos son de antología, pero eso que hace, primero no es Verdi lo que canta y segundo desfiguró a Violeta, las exageraciones son chocante y no se termina disfrutando de una de las páginas más hermosas hecha música. Advierto admiro a la Stupenda, pero en muchos roles o funciones estaba descontextualizada, no sé puede ser Lucia en todos los roles.
Yes,she knows how to trill. But can anybody hear what she is singing? The words?
If you cant understand her singing here then you obviously know little Italian... Her diction here is crystalline ad near perfect.
Yes, I can, and I speak only basic Italian (of course speaking a closely related language as my native tongue helps). It is just obvious that you do not speak Italian at all. Her diction may have been bad in many of her recordings, but here it's actually very good, as good as you should expect from a soprano singing a high-lying coloratura aria. And I get all the words. Sorry, but I think you're complaining about something (understanding the Italian text) that you know fully well that you wouldn't grasp even if she had flawless diction.
@@nathandavis3002 Lmao that's just not true... it is Italian with cotton balls in the mouth. Do not joke...
Every word is there. Have your hearing checked.
Callas' I think is way better. Sorry. Though Sutherland's such a good singer with her effortless singing I just couldn't compare it with early Callas' sempre libera. THAT was intense, this one seems tamed.
Once you go Callas, you can never come back :)
Honestly who cares? A fantastic performance won't become an inch less wonderful if Callas' is "way better" (and, no, from a strictly musical point of view it just isn't, but perceptions of drama and emotion are much more subjective and even more prone to personal tastes than musical/vocal appreciation of a performer). This "comparison-mania" has become so tiresome and frankly childish, these singers are not toys ("My toy is bigger than yours"). I can fully appreciate and enjoy a performance even if I know that it's not the best ever in my opinion. That's what people who love opera and music as a whole do, but some people seem to be just diva fans, not opera fans.
@@jimbuxton2187 one might also argue that the actual difference is being able to sing Abigaile and Medea along with Violetta ;)
Jim Buxton Callas's professional career began in 1938 und until 1959 she had good voice, that are 21 good years not 5. Und her last performance until 1965, then 1965-1938=27 years. Obviously not with the same voice than when she was younger, but Sutherland had wobble problems 10-15 after her first performance. Read biographies of both, and listen all recordings before talk please. Don’t believe all what fans write in comments about singers.
Jim Buxton please read correctly, I’m talking about professional debut, callas also sang on radio when was a child. Her professional debut was in 1938. As I’ve said read her biography.
dios santo a quien se le ocurre comparar esto con callas? solo a alguien que no haya estudiado o escuchado lo suficiente puede cometer la bochornosa torpeza de querer porner a esta mujer en al mismo nivel del genio que fue maria callas.
So it's all about trilling? She has a nice voice but i can't understand what she is saying and it is flat i cannot feel the passion.
Then your ears should be checked, because her diction is definitely very adequate here. I can understand everything perfectly, and I only speak basic Italian.
Sorry, if you can't understand what she is saying then your knowledge of Italian or your familiarity with operatic singing is very low (or both). Her diction is actually pretty remarkable here not just for her, but for any soprano singing a high-flying aria like "Sempre libera". Do you actually speak Italian or a Romance lanuage, are you used to listening to Italian operatic singing? I doubt anyone can listen to this with a good knowledge of Italian and claim the words can't be understood.
Oh, and this does have more than enough passion, the music does the rest of the trick on its own (as Verdi wanted it, he hated performers who added "too much imagination" to his score). She's just not hysterical and going for easy histrionic effects on the verge of bad taste, which is what some misguided singers take as "expressivity".
I am italian and I can confirm that her diction in this recording is flawless