Every singer - male or female,, solo or choral - should listen to this, & Ponselle's technique - and her musical artistry. I have to disagree with jsanin's comment. Similarly, I still enjoy Kathleen Ferrier's magnificent recording of Brahms' Alto Rhapsody. even though her vocal technique is "incorrect" by today's standards, & her musical interpretation too.
As her biographer I can confirm that Ponselle detested not only this recording but almost every recording she made for Columbia from 1918-1923. The only ones she could bear hearing were her “Selva opaca” from “William Tell,” her “Trovatore” duets with Riccardo Stracciari, and her duets with her sister Carmela from their vaudeville act. To see the conditions under which these were recorded, go to this UA-cam link: ua-cam.com/video/sQ6KmeLjLCs/v-deo.html
Me pareció una versión de 33 r.p.m. pasada en 45 r.p.m. El.tiempo no se ajusta a la languidez suplicante del texto. Representa el.estilo de una época en que se valoraba el despliegue de efectos de coloratura y sobreagudos contrastantes con la línea general de la melodía. Prefiero la versión de la Callas mil veces, la de la Caballé y de muchas otras sopranos que "interpretaban" a la protagonista orando a la luna. Hay despligues vocales que no pegan con el tenor del texto. ¿Quién podrá igualar el decrecimiento perfecto sobre el final hecho.por la Callas? Ojalá surgiera alguien de la talla interpretativa de ésta, y tal vez con un color más parejo en todas las escalas como.no.lo tenia María. Entonces sí, estarîamos ante una absoluta perfecta. Esta soprano ligera habrá sido muy buena para el gusto de la época pero dista del ideal realmente clásico atemporal. De todos modos hay que felicitar y reconocer a quienes han podido rescatar del anonimato y el olvido interpretaciones antológicas que nos permiten conectarnos con el pasado. GRACIAS. SIGAN EN TAL LÎNEA PORQUE VUESTRO TRABAJO ES MUY VALIOSO.
Un manque de subtilité...La coloratura est parfois fort bien exécutée bien que l'on y sente toutefois un manque d'expérience artistique,un parfum de débutant;mais il faut bien débuter...L'orchestre est épouvantable:J'imagine que le temps été compté...
All you can hear anymore is the brass section. sounds like a German oompah band, lol. This is either so degraded that you can't tell what she sounded like, or, more likely, she's waaaaay overrated. Hmmmm. I'll have to listen to some other recordings. What is UP with this weird tempo?? Where's the fire? Really small voices often need tempi like this to get through the long lines.
Small voice? Ponselle? OMG! Now that IS lol. She was 22 here, eight years before she did the complete "Norma" at the Met. This is one year after her Met debut in "Forza". This was at the beginning of her operatic career. To say she is "waaaay overrated" would therefore be rather ridiculous, would it not? This technique at this stage? A marvel.
Meravigliosa Stupenda Unica Innarrivabile chi più ne ha più ne metta L'ultima delle grandissime dopo di lei solo grandi
Mio Romano
parole sante .
One of the finest singers to have ever graced a stage. TY James,and jfsanin for posting.
someone confused dislike with "dis I like"
Every singer - male or female,, solo or choral - should listen to this, & Ponselle's technique - and her musical artistry. I have to disagree with jsanin's comment. Similarly, I still enjoy Kathleen Ferrier's magnificent recording of Brahms' Alto Rhapsody. even though her vocal technique is "incorrect" by today's standards, & her musical interpretation too.
@CanadaPisces
Beautiful.Thank you, James.
As her biographer I can confirm that Ponselle detested not only this recording but almost every recording she made for Columbia from 1918-1923. The only ones she could bear hearing were her “Selva opaca” from “William Tell,” her “Trovatore” duets with Riccardo Stracciari, and her duets with her sister Carmela from their vaudeville act. To see the conditions under which these were recorded, go to this UA-cam link:
ua-cam.com/video/sQ6KmeLjLCs/v-deo.html
Ujhelyi Éva! Mindig Rád gondolok!
The coloratura in this is perfect.
*Fioritura
@CanadaPisces angelic voice! thank you James!
& thanks to jfsanin for posting this beautiful song & the imformative text !
magnifica
bravissima! non la conoscevo! razie a You tube che la diffonde. W YT
The definitive Norma for me.
Hi, do you know the name of the cd the 1919 recording comes from? Thanks
Me pareció una versión de 33 r.p.m. pasada en 45 r.p.m. El.tiempo no se ajusta a la languidez suplicante del texto. Representa el.estilo de una época en que se valoraba el despliegue de efectos de coloratura y sobreagudos contrastantes con la línea general de la melodía. Prefiero la versión de la Callas mil veces, la de la Caballé y de muchas otras sopranos que "interpretaban" a la protagonista orando a la luna. Hay despligues vocales que no pegan con el tenor del texto. ¿Quién podrá igualar el decrecimiento perfecto sobre el final hecho.por la Callas? Ojalá surgiera alguien de la talla interpretativa de ésta, y tal vez con un color más parejo en todas las escalas como.no.lo tenia María. Entonces sí, estarîamos ante una absoluta perfecta. Esta soprano ligera habrá sido muy buena para el gusto de la época pero dista del ideal realmente clásico atemporal. De todos modos hay que felicitar y reconocer a quienes han podido rescatar del anonimato y el olvido interpretaciones antológicas que nos permiten conectarnos con el pasado. GRACIAS. SIGAN EN TAL LÎNEA PORQUE VUESTRO TRABAJO ES MUY VALIOSO.
Definitely too fast, but at least It's the only recording I've heard so far that ends the cavatina as written (Bb: nel A: ciel)
True
Un manque de subtilité...La coloratura est parfois fort bien exécutée bien que l'on y sente toutefois un manque d'expérience artistique,un parfum de débutant;mais il faut bien débuter...L'orchestre est épouvantable:J'imagine que le temps été compté...
The 'Golden Age' sounds a bit tarnished 'eh wot?
Это запись, очень некачественная.
All you can hear anymore is the brass section. sounds like a German oompah band, lol. This is either so degraded that you can't tell what she sounded like, or, more likely, she's waaaaay overrated. Hmmmm. I'll have to listen to some other recordings. What is UP with this weird tempo?? Where's the fire? Really small voices often need tempi like this to get through the long lines.
Small voice? Ponselle? OMG! Now that IS lol. She was 22 here, eight years before she did the complete "Norma" at the Met. This is one year after her Met debut in "Forza". This was at the beginning of her operatic career. To say she is "waaaay overrated" would therefore be rather ridiculous, would it not? This technique at this stage? A marvel.
Too fast. Notes Bellini never wrote. She sings through her nose too much. Listen to Claudia Muzio. Much better.