The voice was so extraordinary, with beautiful sound evenly produced in every register. You can tell she has tons of power in reserve, to be called upon when needed; it's almost too much voice for this aria, if that makes sense. She will never be surpassed; I adore her and thank Richard for pushing her into the bel canto repertoire, which she dominated for 25 years.
And I don't thank him: She should have kept Verdi and Puccini in her repertoire. Notice how good her diction is in this. And she follows Puccini's phrasing in the lest "perchè Signor".
Extraordinary, especially since she sang very little Puccini in her career. Just the studio Turandot and Suor Angelica, plus a few performances as Angelica in Australia. One of the absolute greatest prima donnas, and I'm glad to say I saw her quite a few times in the opera house and in recital.
I know I am one of tens of millions of Sutherland fans who will be forever grateful for her glorious recording legacy but I still dream of hearing her do Tosca,Butterfly,Mimi (and Musetta) on disc.If only she had been granted the time and energy to do it all.Thanks.
I am amazed. I expected this to be a very beautiful but not especially remarkable "Vissi d'arte" like her 1968 rendition for the Bell Telephone Hour, but here she is a lot better especially in terms of style, phrasing and diction. And her voice was at its most powerful and creamy bloom of her early prime, what helps her to make a thrilling expressive effect in the higher passages. Amazing interpretation!
Joan was 37 when this was recorded.It has to be said that there wasn't much that Joan couldn't sing.However,thanks to Richard Bonynge she restricted her repertoire to that which showed off her amazing voice,and technical talents.
you prolly dont give a shit but if you're bored like me during the covid times you can stream all of the new movies on InstaFlixxer. I've been streaming with my girlfriend for the last couple of months =)
This was very well sung....especially considering she was called a coloratura soprano...she had opulent voice here....SUPERB breath control and didn't shy away from the climax!! A VERY satisfying rendition.
Although all opera fans must be thankful for her marvelous explorations of the coloratura literature, here she demonstrates that she certainly could also have done much of the leter Italian repertoire and probably Wagner as well had she chosen to do so.
While the style and technique are there and in abundance, I think the very quality of Sutherland's voice works against the effectiveness of her performance. What I mean is that there is a certain relaxed character to the voice which diminishes the edginess of the aria according to the circumstances of the aria. Both Callas and Tebaldi have more of a metallic quality to their voices, which serve this aria better. However, the emotion toward the end due in part to Sutherland's full-throated tone and pinpoint intonation are quite thrilling. She does not need any extra-musical sighs or gasps to convey the pathos of the situation.
I understand every word, nothing wrong with her diction. Or the Italians would not have called her La Stupenda. Only callas freaks like you will bitch about it because they know Sutherland is a superior singer.
You just described Callas, who ALWAYS sounded like she was singing through a can. "But Callas was so expressive," people say. Well she had to do something with that ugly voice other than sing.
Really? I understand every word she says (and you can't call that delusion, perhaps some people are better at grasping words than you - i.e linguistic intelligence -, what about that?). Hers was not the most accurate pronunciation of Italian, but the clarity of diction in this video specifically is a lot more than adequate.
Seeing how this aria is written in Eb, I'm very surprised she didn't ever try and interpolate a high Eb, which she did very often just to show off, almost always compromising the musical integrity of whatever piece she was singing, and all this to satisfy Bonynge and his lack of taste. Her singing abilities were remarkable indeed, but the fact is that Bonynge didn't do her any good apart from getting her to try belcanto...
The voice was so extraordinary, with beautiful sound evenly produced in every register. You can tell she has tons of power in reserve, to be called upon when needed; it's almost too much voice for this aria, if that makes sense. She will never be surpassed; I adore her and thank Richard for pushing her into the bel canto repertoire, which she dominated for 25 years.
And I don't thank him: She should have kept Verdi and Puccini in her repertoire. Notice how good her diction is in this. And she follows Puccini's phrasing in the lest "perchè Signor".
Extraordinary, especially since she sang very little Puccini in her career. Just the studio Turandot and Suor Angelica, plus a few performances as Angelica in Australia. One of the absolute greatest prima donnas, and I'm glad to say I saw her quite a few times in the opera house and in recital.
+Dave Glo And also Giorgetta in Il Tabarro as her first main role in London, during her early professional career.
Dave Glo you are so fortunate to have seen here. I'm a great Sutherland fan from Brasil.
I believe she sang Butterfly in concert in Hamburg in the mid fifties.
She also sang Aida
и Турандот и Тоска великолепные. Хотя Пуччини она и мало пела. Зато Пуччини с огромным упорством уродовала Каллас
I know I am one of tens of millions of Sutherland fans who will be forever grateful for her glorious recording legacy but I still dream
of hearing her do Tosca,Butterfly,Mimi (and Musetta) on disc.If only she had been granted the time and energy to do it all.Thanks.
I am amazed. I expected this to be a very beautiful but not especially remarkable "Vissi d'arte" like her 1968 rendition for the Bell Telephone Hour, but here she is a lot better especially in terms of style, phrasing and diction. And her voice was at its most powerful and creamy bloom of her early prime, what helps her to make a thrilling expressive effect in the higher passages. Amazing interpretation!
Homoclassicus I agree with you
Homoclassicus I agree!
Joan was 37 when this was recorded.It has to be said that there wasn't much that Joan couldn't sing.However,thanks to Richard Bonynge she restricted her repertoire to that which showed off her amazing voice,and technical talents.
you prolly dont give a shit but if you're bored like me during the covid times you can stream all of the new movies on InstaFlixxer. I've been streaming with my girlfriend for the last couple of months =)
@Dillon Adrien Yea, I've been using InstaFlixxer for since december myself :D
I loved hearing Ms. Joan singing outside her "box" and it was wonderful. It actually reminded me of Nilsson's (both bright, large voices).
Just stupendous! The most beautiful 'Perchè Signor...' touching voice.
Vinicius Soaris Joan Sutherland, our love !
Thank you so much. I love this aria. A wonderful performance from Joan Sutherland.
This was very well sung....especially considering she was called a coloratura soprano...she had opulent voice here....SUPERB breath control and didn't shy away from the climax!!
A VERY satisfying rendition.
Although all opera fans must be thankful for her marvelous explorations of the coloratura literature, here she demonstrates that she certainly could also have done much of the leter Italian repertoire and probably Wagner as well had she chosen to do so.
Well, remember, she is the Forest Bird in Solti's Ring
A real treasure
Beautiful singing ! Thank you so much :)
Extraordinary!
A most beautiful and touching performance.
65attila It brings me to tears every time I listen to it.
Nothing like her… in any repertoire…. Stunning
Divina
si callas es la voz misteriosa.............Sutherland.es la voz nebulosica..............una pasada..........de belleza............ampulosa...........
Beautiful
MAGNIFICENT !!!!
мне куда больше понравилась запись 1968 года
While the style and technique are there and in abundance, I think the very quality of Sutherland's voice works against the effectiveness of her performance. What I mean is that there is a certain relaxed character to the voice which diminishes the edginess of the aria according to the circumstances of the aria. Both Callas and Tebaldi have more of a metallic quality to their voices, which serve this aria better. However, the emotion toward the end due in part to Sutherland's full-throated tone and pinpoint intonation are quite thrilling. She does not need any extra-musical sighs or gasps to convey the pathos of the situation.
Чудо Джоан
Superb but also listen to Deanna Durbin.
Loved it when she sang in Moldavian
Nilsson, Sutherland, Callas, Caballe nailed it. But this aria belongs to Ponselle.
@Nicholas Ennos let mw hear what's that not out of tune.
Agree Ponselle owns this area, everyone else inherited it. But this is about Joan. She's awesome.
Ponselle es grandiosa, pero esta aria perteneció a la divina, desde que la cantó nadie la destronó.
I came to enjoy sutherland.... To all the fanboys go fight somewhere else about mariah calas or sutherland being better thansk
She has the voice, but it lacks drama.
Sutherland in her prime, but the diction is still extremely sloppy and smudgy.
I understand every word, nothing wrong with her diction. Or the Italians would not have called her La Stupenda. Only callas freaks like you will bitch about it because they know Sutherland is a superior singer.
Lol, if you can pretend you can hear her pronounce 'Vissi d'arte' as anything other than 'Vinnnay d'arte' then you are more deluded than I thought.
She sounds as if her mouth were full of marbles; her voice was pure gold, but her diction was mediocre at best.
You just described Callas, who ALWAYS sounded like she was singing through a can. "But Callas was so expressive," people say. Well she had to do something with that ugly voice other than sing.
Really? I understand every word she says (and you can't call that delusion, perhaps some people are better at grasping words than you - i.e linguistic intelligence -, what about that?). Hers was not the most accurate pronunciation of Italian, but the clarity of diction in this video specifically is a lot more than adequate.
Seeing how this aria is written in Eb, I'm very surprised she didn't ever try and interpolate a high Eb, which she did very often just to show off, almost always compromising the musical integrity of whatever piece she was singing, and all this to satisfy Bonynge and his lack of taste. Her singing abilities were remarkable indeed, but the fact is that Bonynge didn't do her any good apart from getting her to try belcanto...