Brings back great memories. After the performance, my wife and I trudged backstage in our snow boots to meet Dame Gwyneth. She was lovely, very soft-spoken and rather petite. When we left, my wife was so confused; she asked, “was that the lady who just obliterated the entire chorus and orchestra?” I just realized that the “Love Theme” of this opera must’ve gotten to us: our first child was born 9 months later, almost to the day😊
I’m curious: did you first encounter Jones live or on recordings? Similarly for Scotto? I ask because I know you don’t like Callas, but people tend to have similar complaints about all three (wobbles, strident high notes, etc.). I wonder if it might have made a difference had you heard Callas live. I’m just wondering. It is ok to not like Callas!
In person you didnt notice the wobble ,or you got used to it quickly. The impact of her enormous voice cant be described , but the "in questra reggia" here gives an idea. Occasionally i can hear the echo as hits the back of the hall. I adored her. Wonderful person too.
I saw her in Die Frau Ohne Schatten around the same time as this performance and I don't remember hearing a wobble in the theater even though I'm sure she did. Her voice was so huge and impactful that I think the wobble, at least in person, was overshadowed by all her other qualities.
Despite her wobble which was always an aspect of the voice itself and not of a decadent or declining voice DAME G's was probably one of the biggest on the international stage for decades. It was huge. ... a real windstorm, yet she unfailingly articulated the great depth and emotion of her characters. It- the voice, was heavy equipment and she handled it with total masterful integrity. Such voices rarely mine the riches of recital venue but here too she bravely excelled.
Let's leave aside Dame Gwyneth's technical problems here - one can hear, even with only one ear, this energy that she is able to capture in tones, while the tenor next to her is so pale, as I have unfortunately always experienced Bartolini. Regardless, I still have her top notes in my ear. They went like arrows through marrow and leg, whether as Brünnhilde, Elektra or Turandot. A wonderful singer, made for the stage, not so much for CDs.
Exciting conducting from Santi!
It 's very nice to hear the voice of the legendary Peter Allen.... :)
Brings back great memories. After the performance, my wife and I trudged backstage in our snow boots to meet Dame Gwyneth. She was lovely, very soft-spoken and rather petite. When we left, my wife was so confused; she asked, “was that the lady who just obliterated the entire chorus and orchestra?” I just realized that the “Love Theme” of this opera must’ve gotten to us: our first child was born 9 months later, almost to the day😊
I’m curious: did you first encounter Jones live or on recordings? Similarly for Scotto? I ask because I know you don’t like Callas, but people tend to have similar complaints about all three (wobbles, strident high notes, etc.). I wonder if it might have made a difference had you heard Callas live. I’m just wondering. It is ok to not like Callas!
In person you didnt notice the wobble ,or you got used to it quickly. The impact of her enormous voice cant be described , but the "in questra reggia" here gives an idea. Occasionally i can hear the echo as hits the back of the hall. I adored her. Wonderful person too.
I saw her in Die Frau Ohne Schatten around the same time as this performance and I don't remember hearing a wobble in the theater even though I'm sure she did. Her voice was so huge and impactful that I think the wobble, at least in person, was overshadowed by all her other qualities.
Thank you for posting this!
Act 1: 0:00
"Signore, ascolta": 24:18
Act 2, s.1: 31:59
Act 2, s.2: 46:19
"In questa reggia": 53:18
Act 3, s.1: 1:17:05
"Nessun dorma": 1:20:28
"Tu che di gel sei cinta": 1:34:45
"Principessa di morte!": 1:42:55
Act 3, s.2: 1:53:25
Curtain Calls: 1:56:35
Brava, Dame! Bravo, Plishka and Anthony!
wow the Dame was almost 60 when she belted this out
THANK YOU !!!!!!!!!!!!!!!!
Despite her wobble which was always an aspect of the voice itself and not of a decadent or declining voice DAME G's was probably one of the biggest on the international stage for decades. It was huge. ... a real windstorm, yet she unfailingly articulated the great depth and emotion of her characters. It- the voice, was heavy equipment and she handled it with total masterful integrity. Such voices rarely mine the riches of recital venue but here too she bravely excelled.
Well said.
We attended this as well. I never read acknowledgements of her superb Electras of that same period- she was shattering effective.
Let's leave aside Dame Gwyneth's technical problems here - one can hear, even with only one ear, this energy that she is able to capture in tones, while the tenor next to her is so pale, as I have unfortunately always experienced Bartolini. Regardless, I still have her top notes in my ear. They went like arrows through marrow and leg, whether as Brünnhilde, Elektra or Turandot. A wonderful singer, made for the stage, not so much for CDs.
He was…adequately loud, I guess. I find him to be a monochromatic, boring singer.
Who is the tenor?
open.spotify.com/album/2hLoDc0gYRhBIKklFwI9It?si=-bvFHI1PQp6pa-t_x2NNeA&
Lando Bartolini