Kathleen Battle - Zerbinetta's Monologue - R. Strauss: Ariadne auf Naxos (Part 2)
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- Опубліковано 28 вер 2024
- Kathleen Battle sings Zerbinetta's Monologue, "Großmächtige Prinzessin", from the opera Ariadne auf Naxos by Richard Strauss. Metropolitan Opera. James Levine conducting.
For my first night at the opera I attended this one with that cast, most beautiful day of my life, best ticket I've ever purchased.
I saw her in concert at the Sydney Opera House. Her voice has the most beautiful flute-like quality. Gorgeous!
Lovely voice! She is great performer, she acting fantastic! Kathleen is one of the best Zerbinetta!
Definitely
I can describe her voice in one word: exquisite.
The intelligence necessary to sing this aria THIS BRILLIANTLY WELL makes me think of the Matrix of singing reaching its limit
Oh Kathleen....WOW! I am going to see her in May..at the Meyerhoff in Baltimore...taking my mom and one of my best girlfriends....I am truly in HOG HEAVEN!! Thanks for reposting this....this is my favorite!!
Don’t you just love Kathleen when she kinda breaks character, at the end of the aria, gesturing to the audience "don’t applaud! it’s not over yet!" 😍😊
You know what? She did something similar few months ago in her recital at the Met, she was singing Swing Low and someone from the crowd was recording her, and she pointed that person with her finger and said “no no” just with the finger while still singing
I love her!
smallish voice or not, this is some pretty technically amazing singing (and acting) of a difficult part
Wow, splendid! Brava, Kathleen!
Happy 71st Anniversary Of Life
Our Dearest, Kathleen Battle
Tuesday, August 13, 2019
All Love, Honor & Respect
For Your Precious Gift To Us ALL!
❤ she is the best singer of the whole universe
Yes!
I've been looking for this!
What a treat!
Let me say first, that I am not nor have I ever been a huge fan of Battle BUT, I cannot imagine (and neither can any of the "critics" whose nonsense one reads here) the stress and of having to sing this aria - horrendously difficult under the best of circumstances - from the stage of the Metropolitan Opera House in a live telecast before millions of viewers. This is a remarkable performance, and you simply have to respect this woman for pulling it off this well.
👏👏👏👏👏👏👏
She IS a genius.
@@efrainsotomayor399 I most certainly did not mean this condescendingly. How interesting that you should interpret my post that way...
Nobody cares who you are not a fan of or never was a fan of. I don't know why pretentious nobodies in the classical world act as though they deserve an award for declaring that they aren't a fan of Kathleen Battle. Who TF cares?! Make your point and shut up without announcing who you're a fan of, geesh!
I agree!
Thank you.
this is great. i agree, such a treat!!!!
Amazing!
Battle ist Kunst. Immer.
5:27 - for my vocal appreciation class
She has never been bettered in this part.
Reri Grist
You've got to have more than one screw loose to find fault with this exquisite performance.
Despite her being difficult if true , she was a magnificent singer .
Happy 73rd Anniversary Of Life
Friday, August 13, 2021
Our Most Precious Kathleen Battle
You Are Indeed A Special Gift To Us ALL!
@rlee1976 I agree completely. Although she arguably has one of the sweetest lyric voices of all time, she hasn't the effortless high end of, say, Rita Streicht.
@haileysama
It is normal to breathe there. It is composed so because after the breath the singer must trill on the high d. She did not trill but the breath is correkt.
Whatever one thinks of Ms. Battle, I think this was a superb performance. (Also, luv the horny clowns.)
She has a beautiful tone, very sweet and feminine which is very accomplish considering the deep support needed. Many women sound slightly bellowing, or wobbly in a way. Her notes are tight and precise.
She is the reincarnation of Reri Grist here.
But I dont think Reri Grist is dead yet, so can't be....lol
And not, actually Grist never understood the international fonetics of german... Too bad, great singer though
***** dude, it is not the same thing to e well spoken in deutsch than to sing it right, it is more about fonetics
***** right... ok, yes
***** yes, right, i still thing battle is better xd
so when did you sing this role at the Met?
@nyc11104 I don't care for BAttle's lyric rep vut her coloratura was so crisp. Have you ever listened to Diana Damrau's version? I love her sharpness to her voice especially for this aria.
Where are the know it alls here performing? 😁
she chose to be "safer" and slur into that high E just before 4 minutes, which sounds sort of awkward. I have heard recordings where she sings it correctly stacatto, she just chose not to I guess.
Grandiosa como siempre .muchos éxitos en su carrera maravilloda.Los Ángeles Chile.
@Robert Lee, Countertenor I believe the commenter referred to Battle's slurring of the staccato arpeggio to E6, not the later legato B6-E6. Battle never, in my experience, sang the arpeggio staccato as written.
Do you happen to have her first Zerbinetta, from 83 in Carnegie Hall?
@@jasonhurd4379 In the recordings of her Zerbinetta in Covent Garden, Ravinia, Vienna and the studio one, she sang the stacatto as written. I do not, however, know if she did do so in any other recordings, as I've not heard them. But, so far, this is the only one in which she did not.
@FoggyRoad81 yes i've also met people who were at this performance who heard her fine
her e's are very weird and a bit flat, she didn't trill on high d to high e, she breathed in the middle of high d...but i love it! ♥ her voice is so beautiful
I was a kid when I heard on the radio an interview with the soprano Alda Noni, personally chosen in 1944 by Strauss to play Zerbinetta, in his Ariadne in Naxos (Strauss had drastic opinions on the voices. For the first of his Vier Letze Lieder he wanted Kirsten Flagstad and he let her choose orchestra and conductor. She chose Furtwaengler the Philharmonia Orchestra - it is said to have the horn solo played by Barry Tuckwell). Noni's interpretation of Zerbinetta is remarkable. When he met Strauss he told him that the air was in fact impossible. Strauss apparently recognized him and allowed her to simplify her - she simplified but less than the Battle does -. Then Noni said she went to Salzburg incredulously, because they had told her that a soprano, named Gruberova, was singing Zerbinetta as Strauss had written it. She said she was speechless and applauded Gruberova until she peeled her hands. ua-cam.com/video/SLqIEDobqMk/v-deo.html
ah finally, i've been wanting to hear this like no other!
and at 3:54....that was weird
Who knew a black woman from the US could sound like her native language was German? She is a marvel!
Marcus Williams, as one who struggles to make French my second language, Battle's language skills impress me very much.
Well, Jessye Norman in the same performance really sounds like a native speaker, same for Troyanos (as the composer), and Reri Grist, who sang Zerbinetta many times at the Met, too, was flawless as well.
Just stumbled upon this. I love Battle and she was responsible for one of the greatest nights I've ever heard at the met ("Giulio Cesare") in 1988. However, those who say there was no problem with her volume in this opera are completely incorrect. She was inaudible through most of this. I was there twice. And even the New York Times remarked on her "half voice" singing. It was completely disappointing and not worthy of her. So if you weren't there, don't comment on that. Thanks.
Then, save your comment for those who suffered from her half-voice, which doesn't matter at all here.
Jonathan Wallach well how big is her voice? I'm curious...
latinfreestylesoulvinyl Her voice was drowned out in this opera at the Met is all I can say. In other operas I heard her in, which was practically all of them, she was loud enough and the beauty of her voice carried the day. In this video she sounds as powerful as Norman was in same performance. Jesse Norman's voice was at least 3 times the size, if not ten times the size of Battle's. And please don't call me a hater. Battle is one of my favorite singers of all time but her Zerbinetta on stage was disappointing.
latinfreestylesoulvinyl That being said, I can understand why people love this. It sounds amazing even though it wasn't quite accurate.
wow... interesting
Non esaggeriamo! Non è una registratione di ottima qualità, ma insomma - il tedesco è ben studiato. Non trovo un fiato falso. È utile di prendere un piccolo fiato in questo punto. Forse acuti un po' gridati, ma la voce in generale è dolce e piacevole. Non sono molti soprani capace di cantare così. Il bei momenti della Gruberova sono minimo venti anni fa. E una voce differente si deve trovare un stile proprio. E parzialmente riuscito. Non si vuole delle copie gruberesche!
no, trill unfortunately
I know it must incredibly difficult for singers in opera (and musical) to adapt songs in a foreign language. She's a remarkable singer but she has a very strong accent. Makes it difficult to follow.
I haven't sung at the Met. But I do have ears and despite not being an opera singer I can still be knowledgeable about the music. Is your claim that unless you make movies you're not allowed to have opinions about movies Or act in TV shows means you can't have an opinion about acting. That's just silly and opera is no different. I am a big fan of hers and I don't think this is a great performance. Deal.
Many compromises. Breathe, high notes taken to the limit, simplifications. Nothing to do with the great sopranos who masterfully performed this role - Gruberova, Dessay - but she is popular. Especially in America. In Italy he would have made only soubrette parts. Stop there.
Ideally, one must never offend anyone. Let alone offend the performance of great talents such as Battle, Gruberova and Dessay. In particular when the intent is to shed praise in some of them. That said, this was not a particularly good night for Battle.
There are many (at least 5) recordings here in YT, that show Battle as Zerbinetta in spectacular voice. Maybe, check them out. The recording from London in '85 is, to my taste, unsurpassed.
As far as precision goes, Gruberova's technique as a whole, specially her tackling of high notes is very debatable, and has been often regarded as a matter of taste.
And, despite her great agility, Dessay cannot properly trill, or do chromatic scales. And, many times, she has a hard time being on pitch.
None of this disregards them as great, truly great, sopranos.
Hence, I do not think it is fair to so harshly dish Battle based on one great, albeit not her best, performance.
@@PensadorProfundo42 Thanks for the reply. Very balanced. I certainly believe you when you say that Battle has sung the part of Zerbinetta better in other circumstances. My opinion, as possible as many others, is that in any case, the Battle is not a great talent - like Gruberova and Dessay - and, above all that her voice has nothing spectacular, if not a certain velvet, a certain legacy and a certain grace. For the rest, I keep wondering how she could make the career he has made. I am sorry that this judgment may be offensive. I am a teacher and always try to encourage and bring out the best in my students. I assure you that I have nothing against Battle, I am not a singer, I do not suffer from envy. But it is also true that in Italy we have very popular but mediocre vocal phenomena - such as Bocelli. It is not popular who is good. Popularity is tied to more varied factors that often have little to do with real talent. Then I would like to add that every judgment is always personal: the director of the conservatory where I studied placed the beauty of sound as an absolute value. He told me that he had listened to Flagstad and that had even been a shocking experience for him. He considered Callas a mediocre singer. It is a heresy for me, but his judgment is understandable. Callas' voice did not correspond to my director's canons. Callas was a very particular voice and its greatness lies in having used a very singular vocal material for interpretative purposes that in my opinion have never been equaled. It's been a pleasure to write to you. I apologize for my English.
@@KathleenFerrier I see the points you've made. Nonetheless I simply cannot understand why you do not see Battle as a great artist. She has been always regarded, from a technical standpoint as a paragon of singing.
She has a real trill, can perform even baroque embellishments in a pristine manner, has no problems whatsoever with pitch or tempo. I honestly don't see the flaws that would degrade her from being a first class artist.
For instance, here are a few examples of her superb singing:
1. /watch?v=4FwZKjFJ-qo Use of rubato, intelligent embellishments, great scales (both up and down), beautiful high Eb, and no shrill whatsoever.
2. /watch?v=b44Asvgwi8k Perhaps the most precise execution this piece has ever seen. Listen to it with the score in hand. It's outstanding. The embellishments are also perfectly executed and very tasteful.
3. /watch?v=4sKBFghitEo To me, and to many critics, this is one of her definitive roles, Cleopatra. Dessay has also sung this role, and her interpretation of this particular piece, in all fairness, cannot even be compared to Battle's. What Battle achieved in this piece is truly great artistry. You can feel what she is feeling. I find it very moving.
4. /watch?v=b_WzUHWi8Ok A beautiful chromatic scale up to an F# above high C, and then another chromatic, perfectly sung, all the way down. From this on she starts the aria and sings it into history. I have never listened to a more impressive Blondchen: she has the poise, the sass and is in perfect command of the music.
5. /watch?v=PNr-FuFG5tU Incredible precision, great pitch, intonation and diction.
I hope this small sample is able to help you change your view of Battle as an artist.
Dear Pedro, am attaching some executions of Zerbinetta's aria. I think the comparison with the Battle - even more established than some of them - helps to explain.
ua-cam.com/video/dNVOUSQALjg/v-deo.html
ua-cam.com/video/MUFnAIWaFZg/v-deo.html
ua-cam.com/video/VSs-H5JmbKc/v-deo.html
ua-cam.com/video/o_0KD2PIJbg/v-deo.html
ua-cam.com/video/T8jKnZdygMw/v-deo.html
But I asked a big name in opera (forgive anonymity: the person doesn't want to be mentioned), to give more support to my theories (I graduated in piano and composition and I know that the competence of an opera singer is quite another thing than mine). This is her opinion: "Mainly for vocal thickness. Gruberova and Dessay have a specific gravity and a vocal turning that have nothing to do with those of the Battle. The high notes of the Battle are pushed, for two reasons: 1) as much as her voice is a light soprano voice, the high register isn't very extensive or easy; 2) but above all hers is a little voice, polite but affected, she has no body and she has to force to give more than she can". But stop speaking about Battle. Since you love opera, I prefer to share with you some listenings that are engaging for me. We come out of the ego, always very present in the singers - "it is I who sing: feel how good I am!" - to enter the Self - "I put myself at the service of something bigger than me that I love deeply" -. First of all Kathleen Ferrier, mysterious voice and synthesis of an extraordinarily beautiful soul and its destiny. The great director Bruno Walter, G. Mahler's friend wrote: "in my life I had two fundamental experiences: the meeting with Kathleen Ferrier and the one with G. Mahler, in this order! ".
ua-cam.com/video/bzfJnT84-Yc/v-deo.html
Then the voice par excellence: the most beautiful, powerful and homogeneous (Birgit Nilsson;" I wonder how I could make the career I made coming after Flagstad: my voice was a flute compared to the Flagstad pipe organ." I don't like singers who use to show their satisfaction for their vocal "muscles" but the Flagstad was the only true ally of Furtwangler in outlining a Wagner populated by divinities and not human beings. Besides, she could sing very softly, still covering the orchestra
ua-cam.com/video/YC6f8FbnVMQ/v-deo.html
Finally the most disconcerting (Marian Anderson): the singing schools no longer follow similar approaches.
ua-cam.com/video/4Qq4XsBswAk/v-deo.html
with high notes easier than Battle's ones...
ua-cam.com/video/xPGEiWAPm1M/v-deo.html
Happy listening.
@@KathleenFerrier I was already familiar with all of those recordings, but thank you for the suggestion. It was very nice.
Regarding Battle's high notes, it is not reasonable to judge her "easiness" with her top notes based on one single off performance. It makes no sense.
To me, this is the definitive recording of Zerbinetta. It is marvelous. She is in great voice, and performs beautifuly.
- ua-cam.com/video/XlDKIv5OlW4/v-deo.html
Grossmachtige Prinzessin begins at 1:12:30, and to my ear it is far better than any of the above. Technically, it is the only one along with Devieilhe that sings perfectly come scritto. All the other either cheat by having no trill, aspirating the fioritura, doing high notes in pianissimo, or simply by missing a lot of notes.
Another spectacular version of her Zerbinetta can be found here:
- ua-cam.com/video/qZFR6yNHbm4/v-deo.html
This one performance earned her the prestigious Lawrence Olivier. None of the above mentioned singers earned theirs, despite most of them singing Zerbinetta in new opera productions at the ROH.
From 00:06 to 00:12 Battle does a spectacular glissando up to a F#6, and down again. At 03:33 she produces some of the most beautiful E6s on record. And throughout the entire piece, her lyricism is gorgeous. The legato is truly beautiful.
- ua-cam.com/video/b_WzUHWi8Ok/v-deo.html
One of Mozart's most beautiful and difficult concert arias, done perfectly. 3 gorgeous E6's, and another beautiful D6.
- ua-cam.com/video/CJ1ktNxTgGA/v-deo.html
In 1999, a 51 year-old Battle sings a full bodied D6 over the entire Chicago Symphony Orchestra for 10 seconds. 10 seconds, indeed.
- ua-cam.com/video/E_8mqcbZ4bM/v-deo.html
Here we have Battle singing Rosina in the original mezzo-soprano key. A ressonant low G. Same high flying soprano singing a low G. How? Technique is how.
ua-cam.com/video/DkKMTWw-t5k/v-deo.html
At 01:11:59 starts a very joyfull and unusually high flying, even for a high soprano, Una voce poco fa.
- ua-cam.com/video/HHH4KjqR9O8/v-deo.html
From 01:17:46 to 01:18:02 she does what is probably one of the most musical scales I heard.
Happy listening!
That skirt looks like it was made from grandma's bedspread.
I'd give my soul to see a video of her infamous performance at the Met.
The electrician in charge of on-stage lighting "forgot" to turn on
Battle's spotlight and she sang the entire aria in total darkness. The
electrician was married to the company's wardrobe mistress who had grown
tired of being the target of Battle's unhinged histrionics. In 1994, Joe Volpe, the Met's managing director fired her for unprofessional behavior. The announcement received a standing ovation from the entire company. Since then, Battle has been absent from the world of opera. A criminally over-rated singer, she got what she deserved.
She is a great artist, and it is your loss that you choose to fixate on the tabloid BS. You're missing some great work.
There is genuinely nothing more silly than to refuse to enjoy such a beautiful voice, have you heard her sing una voce poco fa? Your loss dude, take a second to think about what you're doing
IDRATHERBREADINGMYDX - The electrician’s behavior was more unprofessional than anything you haters have accused Ms. Battle of exhibiting. Hi behavior actually affected a live performance.
IDRATHERBREADINGMYDX - Apparently those here did not experiance her - I DID and can attest your assertions are spot on and accurate!! How dare they attack you for truths about someone elses behavior!!?? - I know FULL well her histronics, witnessed and suffered them (*and I only a fan and audience member*) - I can only imagine the stories of her collegues. "Tabloid BS"!!?? ... Was it not Carol Vaness who famously refused to ever share the stage with her? - Entire company gave a standing ovation to her termination? - People, these things don't happen over gossip/inuendo - note every other opera house in the world eagerly joined in and followed suit! Yes, the voice was beautiful, she was beautiful - but an innocent that does not make her and you can't fault this man for knowing so!?? And, OH, MrOu83 - I only WISH I had filmed HER behavior affecting a live performance/audience - don't be too hard on the electrician - in fact I applaud him for in effect what he really did was to shed light on her!
@Jerf Hankell - Not sure where you got your information but Battle was certainly NOT screwed by Levine!?#! You've definitely gotten the WRONG story! I heard of NO sex scandal associated with Battle (nor did I witness) - it was purely her behavior that broke the camels back. She earned that naturally, but I can't allow you to believe she was also a victim of Levine's sexual proclivities (I SHUDDER to even contemplate!).
Orrenda!!! Insopportabile!! Prende fiato in mezzo alla frase (6:26) , pronuncia tedesca pessima, voce acidula, rimpicciolita, acuti gridati!! Brutta comunque. Non puó fare nemmeno la cameriera alla fantastica Gruberova.
intanto la carriera l'ha fatta invidioso
è vero. Ha fatto una grande carriera con una voce e una tecnica che nulla hanno a che vedere con le vere fuoriclasse - Gruberova, Dessay - rispetto alle quali è persino più popolare in America dove è adorata. Personalmente non credo di essere invidioso. Misteri della popolarità. In Italia abbiamo casi di "miti" ancora più clamorosi
Wtf is that gaping breath in the middle of the phrase at 6:27?
I think she ran out of air (it happens).
It's natural / composed that way. :)
@@one.k5373 no it isn‘t
I actually know several people that were actually at this particular performance, most of which had bad seats, and they all say they heard her just fine. I think it may be more an issue of the balance between singer and orchestra by the sound engineers for this video. Out in the house, she was heard perfectly fine.
SILENCE! The black Barbie of opera is singing...
her voice is very different from other sopranoes. like a child singing. nice to hear
like a little songbird. I've always liked her
Her voice timbre should be classified as "Soubrette Soprano", which is light and youthful voice of soprano! It's like the younger voice of Lyric Soprano, with warm and round middle register, but with soft low and upper registers!
The strength and brightness in Soubrette Soprano's voice is centred in her middle register!
Soubrette Soprano is a soprano category/fach that was mostly registered in french opera school!
Her voice sounds similar to Dawn Upshaw's, who is pointed as Soubrette Soprano!
@@lipeSBdir right indeed.. more of a "Koloraturasoubrette" from what the Germans call it ..a voice that has a coloratura facility but has a specific "Soubrette" timbre
It is normal to breath there and it is so composed by Strauss.
This breath exists there because after it she has to trill the rest of the high D
She did not trill, but the breath is correct.
It might be normal to breathe there (and it's understandable why so), but it's against the composer's intention due to the score.
Genius. I love her.
Happy 72nd Life Anniversary
August 13, 2020
Our Dearest Soprano, Kathleen Battle
Perfection.
the way she stopped them from applauding before she ended, haha!!
This is adorable.
This is so underdirected - if she wasn't such a naturally engaging and charming performer it would be boring.
02:03
PURE GOLD!!!!!
Luv the little upraised ankle at the end,,,
What a stupid comment. As if you're only allowed to have an opinion if you're a singer yourself...?! Not only singers have ears.
Exquisite
Просто ачумительно!!!
How sweet is that? She tweeted adorably, didn't she? Horrible person, however. She could sing.
I love her but..she's struggling to be heard throughout. This is *with* recording microphones right by the stage. The sound isn't as rich as it normally is, high notes sound spread, kind of an airy sound. I think she sounded amazing in the prologue but the aria is off...
Great soprano but bat shit crazy diva!
You obviously have no knowledge of the blatant diva tantrums and notorious drunken conflicts with maestros all over the world by the QUEEN of "bat shit crazy", Maria Callas!!!
Battle really is not a very convincing Zerbinetta. She is struggling far too much with simply producing the right notes. She takes so many extra breaths and is still slightly flat on more than one top note. I do not question her intelligence or musicianship, but Zerbinetta is clearly not for her.
Maybe she is not the best in the world, but that doesn't mean it's not a role for her... If you just chose the perfect actor/singer to the roles u could never watch Ariadne Of Naxos, 'cause just born one perfect singer for the composer and Zerbinetta in a whole generation...
It seems that she was not in perfect voice during this particular production. She cancelled other concerts from the same period, and a few of the performances in this opera.
Since her first Zerbinetta (in concert with Lausanne Orchestra), in '83, she sang the role many many times, always to the highest praise.
Her performance in '85 made her the first (and only, so far) american to be awarded a Lawrence Olivier for debuting a role in a new opera production in the UK. The same performance made TIME Magazine entitle her "the best lyric coloratura soprano in the world".
She sang the role sucessfully after this MET run, from '89 to '93. And still sang the aria in concert many times after that.
All of this being said, I strongly disagree that this role is not for her. It suits her very high and very light voice perfectly.
A bit of interesting information is that she changed vocal coaches in '88. She wanted to be able to sound "rounder", "bigger", in order to tackle Bel Canto roles with a more "mature" voice. Her characteristic girlish sound wound't fit properly in many Bel Canto roles. Perhaps such period of "off voice" could be caused, or explained, by this change in technique.
This difference in sound is very clear when one compares the same music sung before and after '88. Particular pieces that illustrate this difference very clearly are her recordings of "Endless Pleasure, Endless Love" (any of Semele, in fact), Exsultate Jubilate, BWV 51, and "Una voce poco fa".
'85 Semele - /watch?v=FIzmBDzon_E&t=8244s - from 00:57:15 to 01:02:00
'92 Semele - ua-cam.com/video/kMVuA8F0Ppc/v-deo.html
She sounds gorgeous in both recordings, but the later has a clear "rounder sound". This is exactly what she wanted with the change in technique.
@@PensadorProfundo42 Very true Pedro. From '75 to around early '88, her voice was very forward, in the "Mask"-Hence, her voice was a very low audible sounding bottom, concrete middle, and a piercing top. She did change her voice teacher, and vocal coaches in order to achieve what you mentioned-a "mature" sound. Interesting enough, after the change, her placement in how she produced notes-particularly in her high register of notes after G5, were very different-of her extending her lower mouth (lip) over her lower teeth, back to lift the back tongue forward, while her upper mouth (lip) exposed the upper teeth, which was placed in a forward-like position in order to "throw" the higher sound and notes forward towards performing. It's almost like a sawtooth-like production in producing the sound that must be done correctly because although a much bigger sound is produced, if not done properly can be damaging to the voice. Just an observation :) I have all of her recordings...including private recordings of recitals, opera broadcasts and concert of rare arias and opuses that she has sung that aren't heard here on youtube. I have noticed the change in her sound significantly throughout the years though the recordings.
@@baritoneblazzin1965 Exactly! The videos of her performances before and after '88 show very clearly that "sawtooth" technique was developed. It is true, she was able to sing really louder, and indeed rounder, but this made a few of her recordings in '88 show this "spread" in notes higher than D6. Up to D6, even in '88 she sounded louder, but not "spread", from this on up, the spread clearly shows.
It is interesting, however, that from '89 on, she was able to master this technique, and to sound solid from top to bottom. There is a recording of her in '96, for her french opera arias cd, doing a very high scale and it is scary solid and huge in volume.
- ua-cam.com/video/qkBy2qYyF2c/v-deo.html
On the point of possible voice damage, it is very good to see that she has employed the technique properly, hence, not damaging her beautiful soprano. This is 2014, and it is gorgeous:
- ua-cam.com/video/yqsGiRAyU9E/v-deo.html
Oh wow, you have such a precious collection! Have you shared any of them on youtube? If not, it would be so awesome if you were to do so! Battle has many admirers that would be delighted to hear them.
@@PensadorProfundo42 I did share some on my old page called "kathleenbattlefan". I have since forgotten the password and even the login I am trying to remember the credentials for that account so I can upload more videos on there. Check it out and have a visit.
Natalie Dessay is on a higher level.Miss Battle always sounds shallow to me.I cannot hear a great singer,but a very fine one.
Divine!