I will never stop loving her smoky voice. She is responsible for my obsession with opera. She was the first opera voice I've ever heard. It was a crazy coincidence. Trovatore - Karajan. She got me for her incredible voice. It's been about 40 years. She would get me again whenever. Only later did I find out that Karajan was there and that whole incredible recording - with Bonisolli and other stars. I heard her singing Antonín Dvořák 's Rusalka. It's just a recording, but Czech. I would never expect such a Czech -language level from an American woman. She rolls me over and over and over again. The first opera love - love forever.
So much pathos from the very first note. Her upper register is entirely pure. The smoky sound at the end of her phrases sends thrills down my spine every time. Priceless: besides Leontyne, Margaret is my favorite in this role.
💖💖💖💖🌹🌹🌹🌹 A Great Opera Artist my favourite since Childhood And lovely Person Blessed to have seen Met her and heard her many times Paved the way for so many!!
How many of you critics could come anywhere near offering a performance like this? How sad that you feel the need to criticize an artist of Ms. Price’s magnitude. Y’all need to get lives.
David Perkins rispetto l’artista, la grande dedizione che ha messo nel suo lavoro e rispetto la donna. Ci sono molte sue interpretazioni che mi piacciono molto, specie di quando era più giovane, ma qui è davvero in serie difficoltà.
I have always adored Leontyne Price, but I have also always felt that the Forza Leonora was a size too large for her and probably precipitated the issues she had with the middle and lower registers. The last great exponent of this role was Zinka Milanov, who had the right weight of voice and fullness in the middle and low. All that being said, I'm grateful that Price sang the role and commend her fearlessness. Leonora di Vargas is a "king size" Verdi role and I always found Price at her weakest in this music and in the scene that follows, despite the lovely things she was often able to do with the aria. The scene needs a voice of greater weight, mass and scope and a temperament that can deal with the extreme vehemence of the vocal writing. There is lots of big, heavy singing in the middle and lower register and Price never managed to be fully convincing in this music for me. But who of her contemporaries could sing the role better?
@@MrLuis85698 Can you show us how Milanov takes the crown in this role ? In all the '50s Forzas recordings of Milanov she is bad in all of them Met 1952, New Orleans 1953, Met 1956, on the contrary Tebaldi is excellent in all her "live" Forzas Florence 1953, La Scala 1955, Naples 1958, Met 1960
@@ginopietracupa4305 I love Tebaldi in la Forza , she is my second close favorite behind Milanov ..Unfortunately, the recording of Milanov that I am referencing , is in the CMBF radio studios in Havana , Cuba .. I don't know where Or when was that recorded , but I can tell you ; it is not a live recording .. I have searched for it in google , haven't found it , if I ever return to Havana , that recording will be my top priority, Milanov managed to edge Tebaldi that day , and that's too much to say because Tebaldi literally sets the bars in a place imposible to reach in Leonora , thus as you noticed I am nearly partially agree with you .. until .. you hear the Milanov's recording and then .. it makes you to take a deep breath in what could have been a very easy answer about who was the best Leónora..I would have given to Tebaldi without hesitation if it was not for those few Milanov's moments
Agreed. It’s just too labored even in the 1970’s seeking the lyric line versus being able to tilt into the Italianate fullness of this repertoire. In Aida there always were problems in the enormous ensemble as well. This role is a flooding, torrential role with a mid ranging lyric declamatory line. But the top in Price was always silky versus full. As far as Milanov she possessed everything and sang everyone off the stage.
@@MrLuis85698 @Gino Pietracupa I like Renata Tebaldi, but her technique just wasn't ever solid or versatile enough for her to be really convincing in Verdi for me. I'm partial to Milanov, but I prefer her in any repertoire she and Tebaldi share except maybe Maddalena di Coigny and Tosca. Tebaldi just isn't a disciplined enough singer for Verdi. I like her in Verdi, but never prefer her. Puccini is another story. For me, Tebaldi is a perfect Mimi, Butterfly and Tosca. She really gets the musical idiom of Puccini. Luis, are you talking about the full recording Previtali? That has di Stefano and Warren. There is also an excerpt disc from five years before that with Jan Peerce and Warren.
I prefer not to pick on older singers who are generously giving of themselves in their 50s a year or two before they retire. Most don’t last that long!
Claude Michaud. Not her young self, she was 57-that’s 20 years older than Ponselle when she retired, by the way-but still making a beautiful sound in shapely, urgent phrases.
David Perkins actually 55 yes but who really cares. The PITY if it all the MET decides to make this sub-par performance available in DVD$?$? SHE deserves better !!
Arnold Amaral This was 1984. She was born in 1927. Do the math. And the Met has no more to release. This was the first and one of only two Live from the Met performances she gave, with the Aida of the following year.
Perfection! Leontyne owns the two Verdi Leonora roles IMHO
Happy 95th Life Anniversary
February 10, 2022
To Her Royal Highness,
Leontyne Price
Grandest Of Them All!
She will live forever.
This is phenomenal singing. Yes in the 1970's she sang it with more control
But this is still amazing singing!
Unsurpassable, beautiful and full of soul.
I will never stop loving her smoky voice. She is responsible for my obsession with opera. She was the first opera voice I've ever heard. It was a crazy coincidence. Trovatore - Karajan. She got me for her incredible voice. It's been about 40 years. She would get me again whenever. Only later did I find out that Karajan was there and that whole incredible recording - with Bonisolli and other stars. I heard her singing Antonín Dvořák 's Rusalka. It's just a recording, but Czech. I would never expect such a Czech -language level from an American woman. She rolls me over and over and over again. The first opera love - love forever.
This is magnificent!
Stupenda interprete grande voce
So much pathos from the very first note. Her upper register is entirely pure. The smoky sound at the end of her phrases sends thrills down my spine every time. Priceless: besides Leontyne, Margaret is my favorite in this role.
ian caldeian Margaret Price sang Pace, pace in concert, never the entire role.
💖💖💖💖🌹🌹🌹🌹
A Great Opera Artist my favourite since Childhood
And lovely Person
Blessed to have seen Met her and heard her many times
Paved the way for so many!!
Gran voce bravissima
How many of you critics could come anywhere near offering a performance like this? How sad that you feel the need to criticize an artist of Ms. Price’s magnitude. Y’all need to get lives.
Brava! Leontyne Price was the best Verdi and Mozart Soprano ever!
❤🇱🇨!!!
Mil gracias por compartir. Un gema de documento del artista performando! Bellisima voz.
Mi spiace ma qui non è affatto in forma. Gli acuti presi tutti dal basso. La dizione lascia a desiderare. Comunque grande rispetto
Mirko Pirrone E perche?
David Perkins perché grande rispetto?
Mirko Pirrone Yes because you were so critical, I wondered exactly what you respected? I certainly admire her, and I hear a lot of beauty in this.
David Perkins rispetto l’artista, la grande dedizione che ha messo nel suo lavoro e rispetto la donna. Ci sono molte sue interpretazioni che mi piacciono molto, specie di quando era più giovane, ma qui è davvero in serie difficoltà.
E dai! Ci aveva 56 anni. Cantava a quell’età meglio di molti cantanti giovani oggi.
I have always adored Leontyne Price, but I have also always felt that the Forza Leonora was a size too large for her and probably precipitated the issues she had with the middle and lower registers. The last great exponent of this role was Zinka Milanov, who had the right weight of voice and fullness in the middle and low. All that being said, I'm grateful that Price sang the role and commend her fearlessness. Leonora di Vargas is a "king size" Verdi role and I always found Price at her weakest in this music and in the scene that follows, despite the lovely things she was often able to do with the aria. The scene needs a voice of greater weight, mass and scope and a temperament that can deal with the extreme vehemence of the vocal writing. There is lots of big, heavy singing in the middle and lower register and Price never managed to be fully convincing in this music for me. But who of her contemporaries could sing the role better?
Agree .. Milanov takes the crown here
@@MrLuis85698 Can you show us how Milanov takes the crown in this role ? In all the '50s Forzas recordings of Milanov she is bad in all of them Met 1952, New Orleans 1953, Met 1956, on the contrary Tebaldi is excellent in all her "live" Forzas Florence 1953, La Scala 1955, Naples 1958, Met 1960
@@ginopietracupa4305 I love Tebaldi in la Forza , she is my second close favorite behind Milanov ..Unfortunately, the recording of Milanov that I am referencing , is in the CMBF radio studios in Havana , Cuba .. I don't know where Or when was that recorded , but I can tell you ; it is not a live recording .. I have searched for it in google , haven't found it , if I ever return to Havana , that recording will be my top priority, Milanov managed to edge Tebaldi that day , and that's too much to say because Tebaldi literally sets the bars in a place imposible to reach in Leonora , thus as you noticed I am nearly partially agree with you .. until .. you hear the Milanov's recording and then .. it makes you to take a deep breath in what could have been a very easy answer about who was the best Leónora..I would have given to Tebaldi without hesitation if it was not for those few Milanov's moments
Agreed. It’s just too labored even in the 1970’s seeking the lyric line versus being able to tilt into the Italianate fullness of this repertoire. In Aida there always were problems in the enormous ensemble as well. This role is a flooding, torrential role with a mid ranging lyric declamatory line. But the top in Price was always silky versus full. As far as Milanov she possessed everything and sang everyone off the stage.
@@MrLuis85698 @Gino Pietracupa I like Renata Tebaldi, but her technique just wasn't ever solid or versatile enough for her to be really convincing in Verdi for me. I'm partial to Milanov, but I prefer her in any repertoire she and Tebaldi share except maybe Maddalena di Coigny and Tosca. Tebaldi just isn't a disciplined enough singer for Verdi. I like her in Verdi, but never prefer her. Puccini is another story. For me, Tebaldi is a perfect Mimi, Butterfly and Tosca. She really gets the musical idiom of Puccini. Luis, are you talking about the full recording Previtali? That has di Stefano and Warren. There is also an excerpt disc from five years before that with Jan Peerce and Warren.
Price was a fake spinto all her career, her voice is a soprano lirico
She was the best Verdi soprano of her era.
Not her best
She sound awful, lack of clarity in her voice.
HER VOICE IS TOO HEAVY AND SHE LACK CLARITY.
Why repeat yourself? And in caps? Got you the first time.
Go to Tebaldi her voice is soo heavy.
Why? Have you heard Tebaldi's La Traviata? all the top notes screeched...
Claude Michaud my dad would have called her then big mouth he would say I cannot stand to listen to her. He much preferred zinka milanov.
David Perkins TEBALDI!! who else 🍷😱🌚☝ she was very limited etc. PER my DAD. 👴👱
Claude Michaud will that is true ???
Vulgar. One of the most overrated opera singers of all times. Listen to Anja Harteros in this aria. She is the best.
Not the greatest, her voice is too heavy, also her diction is bad.
I prefer not to pick on older singers who are generously giving of themselves in their 50s a year or two before they retire. Most don’t last that long!
Wheres the emotion? Its so bland
You must be dead.
She sounds awful, voice past her prime.
Claude Michaud. Not her young self, she was 57-that’s 20 years older than Ponselle when she retired, by the way-but still making a beautiful sound in shapely, urgent phrases.
David Perkins actually 55 yes but who really cares. The PITY if it all the MET decides to make this sub-par performance available in DVD$?$? SHE deserves better !!
Arnold Amaral This was 1984. She was born in 1927. Do the math. And the Met has no more to release. This was the first and one of only two Live from the Met performances she gave, with the Aida of the following year.