Shirley Verrett, Una voce poco fa- An unsual voice in Rosina's aria - 1970
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- Опубліковано 20 жов 2018
- My Facebook Page about Shirley Verrett
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"Una voce poco fa", in an outdoor concert, surrounded by honking cars!
Shirley Verrett (at that time Eboli, Dalila, Orfeo, Didon) sings multiple high B's, and lightens her voice enough to perform "Rosina", with quite a good agility. A better version than the Philadelphia's one in 1975.
This is damn good. The voice is soooooo agile. Nothing wrong with a chesty Rosina like that when the tops ring out so clearly!
....sempre lei...magnifica..classe unica..infinita...
I think she`s great. Dramatic or lyric coloratura she had them nailed.
God rest her soul, yet another reason I feel like she should have so much higher a place in the legendary opera singers that are mentioned. She had everything..the low, middle, high..and her agility was second to none…she was a Carmen, Rosina, lady Macbeth, tosca, and an Aida…got to see her instruct in her later years and it was wonderful
What was it like having her as a masterclass teacher?
This was a very pleasant discovery for me, Thank you for all your wonderful post keeping her memory alive for generations to come, Shirley Verrett was truly a singer that could sing whatever she wanted and do a Great job. BRAVA Brava ❤❤❤❤❤❤
One of the greatest sopranos of all time
One of my favorite opera pieces, it was a real surprise to find this voice, I enjoy it 🎆🥰
The great amazing diva ❤
surprising this "modern style" of interpretation in 1970 !!! very great Shirley Verrett' Rosina !!!
Such masterful control of a powerful voice!! Her Rosina is one of confidence, strength, and independence. LOVE IT!!! Brava Diva!!
Sempre unica, fantastica.
Absolutely amazing. Unique in her kind.
Diva!
nel ricordarla a 9 anni dalla scomparsa, una interessantissima testimonianza di repertorio diverso dal consueto
My Mezzo...my loving Mezzo.
Wonderfull recording
In this repertoire , she exhibited something special!
Just amazing ! Wish there was a visual 😭
Terrific👋👋👋👍
Thank you very much 👍😊
BRAVA!
Art Danks
Both she and Marilyn Horne were the best BEL CANTO mezzos of their generation.
@@eduardobraivein8496 AMEN! They were always my 2 favorite mezzos, and I was fortunate enough to see them both live in concerts. Phenomenal!
Art Danks
Lucky you!
As a fervent admirer of Verret, I've always regretted she didn't take into her repertoire TANCREDI (title-role), SEMIRAMIDE ("Arsace") and LA DONNA DEL LAGO (Malcolm). They would have been perfectly for her, don't you think so?
@@eduardobraivein8496 ABSOLUTELY! Her Bel Canto singing was perfection personified! 😀
Art Danks
Once thing's for sure: her interpretation of those roles would've been entirely different from Horne's!
you go Shirley!! .This is the classic meaning of Prima Donna Assoluta Not since the great Lillian Lehman.......
Manrico Currington you mustn't forget Renata Scotto!!??
You must be referring to Callas then, who sang Isolde, Brunnhilde and Kundry, and also sang Lucia, Puritani, Norma, and Sonnambula., as well as Macbeth and Nabucco. Verrett was a great mezzo, but only a passable soprano.
@@Shahrdad Her Lady Macbeth was exceptional.
Jose Latorre Agreed. She was the best of her generation in the role, though the standard Callas set in the role in 1952 has yet to be equaled.
@@arnoldamaral7406 Renata Scotto? Her voice was extremely poor.
Yaas! 4:57, that credenza tho!
This is wonderful, though Verrett is nont the only dramatic voice to sing this. Callas recorded a definitive version of this aria in 1954, when she was performing the most demanding dramatic repertory.
I didn't say she was "the only one". Fassbaender, and Ludwig were also good heavy voices able to sing coloratura. I just propose some material to a larger audience, because Verrett didn't record a lot when her voice was evolving. Many American people for exemple don't know her French period, and think she just stop singing in the 80's. I saw her in Sinaïde, Alceste, Iphigénie, Macbeth, Médée at that time.
The definitive version of this cavatina was recorded by the great Giulietta Simionato, Callas (although good), his Coloratura is very rigid and the voice is not homogeneous, quite the opposite of the Rossinian Belcanto.
@@victorberistain9536 No - the definitive one for me is Eugenia Mantelli, who was a genuine contralto Rosina as Rossini intended.
@@EmilyGloeggler7984 It is true that Rossini wrote it for a contralto, but Callas' Rosina is still great
@@xxsaruman82xx87 In your subjective opinion.
Il suo Neocle e immenso.
Il suo Rossini e immenso.Shirley manda la Marilyn ancora una volta...al conservatorio.Peccato che non ha voluto fare la grande aria e la cabaletta di Fides.Sarebbe la migliore.La sua vera natura da 1000%,le dynamiche delle sue sonorita come mezzo.Quanto per la tessitura di soprano ,allegerische ,e calcola troppo ,per un orecchio che conosce ce la fa ,ma si sente ,che c e uno sforzo .La sua Azucena con Pavarotti tocca la perfezione.
La sua prima Selika anche.i due do acuti di......trema per te felon......non c erano.
Ma anche fisicamente si vede la mezzo.
Come la Grace era soprano e non mezzo.
Eleusis' Midnight Sun
It's also a pity she didn't Arsace ("Semiramide"), Malcolm (" La Donna del Lago') and the title-role of "Tancredi" to her repertoire.
However I consider it unfair to establish comparisons between her and Marilyn Horne to see who sings better: both singers are equally gifted despite their vocal differences and must be accepted the way they are.
"Didn't add." Correction.
@@eduardobraivein8496: Arsace was considered too low by Horne herself, and I don't think Verrett could relax in these roles with fat medium notes needed. In addition, she did not enjoy play pants parts on stage. She had to sing in the best part of her voice which was her high medium and high notes. When you hear her "Chimène" in le Cid you hear her real Fach, she is herself.
foropera
Thx for your information. Do you think she could have sung RACHEL ('La Juive") and VALENTINE ("Lea Huguenots")?
foropera
If ARSACE was too low for Horne herself, who could really sing it as it is written!
Besides, I'd like to know whether ARSACES' cabaletta ends in a low note (just like Horne, Bernadette Manca di Nissa and Ewa Podles have sung it) or a high note (eg Simionato, Valentini-Terrani and Martine Dupuy). Finally, Romanian mezzo Elena Cernei finishes the whole scene in a high-note lenghty cadenza (her countrywoman Viorica Cortez does the same).
PS: did Marianna Paunova ever attempt this role (at least on records)?
...e fa le acciaccature a "Io sono docile"...
4:00 Was that a fire alarm?
It's a car, the concert is outdoors at Hollywood Bowl. ua-cam.com/video/A1IHt_Rv4R8/v-deo.htmlsi=o3wD97OrhDph-Eae
I think she was better than Horne in this repertoire. Her coloratura is more legato and the tone doesn’t have that gritty quality that Horne had.
This is nice, a bit rushed though...
si conferma ancora una volta una delle più grandi di tutti i tempi ma Rossini non è per lei.
Samuel6969ify E che pensa della Rosina della Cossotto?
Personalmente trovo la Cossotto in questo ruolo troppo secca, anzi gelida. Né la Callas né la Verrett hanno parlato molto bene di lei.
@@joselatorre1696 , e vorrei vedere. Hanno fatto benissimo a dire cosi. Sono le portavoci di molti. Callas e Verrett sono due anime simili e si vede e si sente dai risultati. Shirley poteva avere di piu' e spesso e' stata sprecata in cose inutili.
Wonderful rendition from Verrett. Too bad the orchestra is so heavy and dull, lacking any brightness or wit. Seeing as they are the magnificent Los Angeles Philharmonic, I must put it down to the prosaic, po-faced direction of Frühbeck de Burgos.
👽🙊🙉🙈🤔
Hello Jason, Did you have a chance to listen to Saioa Hernandez?? Your thoughts my friend. 💙🇫🇷 Arnold
Shirley è meragliosa....in altri ruoli.
Qui non c'è quasi nulla di Rosina a partire dalle precisissime colorature dei mezzosoprano moderni e sue contemporanee, per arrivare al fraseggio: non c'è innocenza, civetteria, dispetto, furbizia, sorrisetto....non c'è Rossini. ..
Si, penso che il personaggio gli sfugga in parte perché non la affascina. E che è la sua stessa voce che è troppo "tragica" e contrastante, con queste tinte scure nel profondo grave dato dipetto, e questi accuti affilati come una lama, niente "medium" per accarezzare le parole beffardi e maliziose. Penso che la veda un po come un esercizio, questa melodia, che dimostra la sua capacità di assumere la chiave di soprano, e mostrare la sua agilità abbastanza importante per una voce resa piùtosto per Eboli e Fidelio.
Cherubello, ma certo, ma s'e' voluta divertire...se pensi a quello che passa oggi il convento..se pensi alla Bartoli...Shirley voleva accontentare il pubblico, non ha mai affrontato Rosina. Una tantum. Tornasse....
Hai probabilmente ragione. Ma se pensiamo a quello che troviamo quando cerchiamo l'aria su UA-cam...
@@DiomedesDioscuro Shirley era una Dea, quindi di Lei possiamo fare paragoni solo nel mondo delle divinità
@@cherubello9340 Un mondo già estinto, ahimé!
Grandísima artista, voz maravillosa, pero el carácter de la misma es "DRAMÁTICO" se reconoce el esfuerzo interpretativo que realiza, pero el timbre de su voz no responde a las sutilezas del "estilo giocoso de Rossini" Armando Cerutti .