She's brilliant here; I only wish I could've heard her live. There is no one today even remotely capable of creating a wall of sound with such beauty and accuracy. Thank God for these recordings.
Another example of her unparalleled talent. I love how the audience goes wild before she even finishes the last note; never heard that with any other singer. She was the greatest of all time, IMO.
Agreed and those trills are lovely. She said, as a child, she used to listen to birds singing in the garden. Premature applause, no. If people were absorbed and entranced, they wouldn't intrude like clapping seals to destroy the atmosphere. Callas loathed it as they have to hold the character until the audience stop their noise.
1964 was the year that I saw Sutherland sing Lucia in Detroit as part of the Met tour. I can still picture her with long red hair, beside the fountain. Her voice was huge in a 5000 seat theatre, and amazingly rich. She could color even the highest notes.
Joan was the UNIQUE artist of my time. She would have been 86 on Novemebr 7, 2012. I miss her and latley I listen to her with tears. Bless you Joan !!!!
I saw her sing Lucia in the theater in 1982. And even 18 years after this recording, she still sounded stupendous! And I again saw her in Puritani (1986) and Trovatore (1987), and she was still singing incredibly well. There will never again be a voice like this.
When listening to Sutherland sing, it just sounds so easy that I want to sing along. Even though I know how hard it is to sing those phrases. I never learn my lesson.
When hearing this....who comes even close to La Stupenda anno 2015? No one! Her technique, fenomenal. And those thrills, high notes and flawless lines. Beautiful!
Even though I'm very familiar with Dame Joan's recorded work, I find this particular performance to be outstanding, even by her own impossible standards. The fullness of the voice in every register, the ease, the upper extension, and the sustained tones at the end of each phrase, and the clarity of her diction, makes this performance a miracle. For those of you fortunate enough to be present, I can only say I envy you. I heard her live in Vienna in 1980 and at the Met a few years later in I Puritani. Even then it is difficult to describe the quality of her voice. It was round and golden, and filled the venue without any hint of forcing. The studio couldn't really capture the true quality of her voice. I find the live recordings to be more interesting, even though the sound quality may not be as good.
This is the only one of many performances of this aria I've heard her sing in which she adds trills before the added high D and C at the end of the cabaletta. And even though 1964 is at the time when she started to be criticized for mushy diction, her words here are very clear. A stunning performance!
This is the Best Regnava I have heard her sing. Breathtaking! The size matched with flexibility is literally Incomparable! So strong and yet so feminine. Astonishing and Unique. What A Talent. What A Gift!
I had forgotten what a miraculous performance this was. 'the warmth and fulness of the voice in all registers, the pianistic perfection of every run, every note having its full roundness and beauty, the insanely soaring top, the perfect trills throughout. This is Lucia's SOUL expressed in song: dark and troubled in the cavatina, insanely (I use the word on purpose) radiant in the cabaletta. What a gift from God.
I had the thrill of attending three performances of her Lucia in 1967 here in Vancouver. I was also at the opening nights of her very first Norma, Lucrezia Borgia and Merry Widow - also here in Vancouver. Recordings don't do justice to the size of her voice in a theatre. although the live Huguenots in the Albert Hall - also on YT - does give an idea of her voice in a large hall.
The observation here that recordings do not fully represent the enormous voice of Sutherland heard live is quite accurate. I had the benefit of seeing her in several performances at the Lyric in Chicago and at the Met. She is one of the very few singers who could fill those large houses without appearing to be using even half of the power available to her [Nilsson, Ramey, and Horne were others who gave this impression]. She was an incredible musician and we should be glad to have so much documentation of her great musicality.
@franciscobarn perfecto tu comentario..........de acuerdo contigo totalmente..........su loco amor como dices tu......el color espectacular de la voz...la forma de impostarla.......es un poema total...de amor....que solo podia lograr la estupenda y maravillosa joan sutherland.......la numero uno de las cantantes........un sueño de voz...........una artista inigualable........esto llevo escuchandolo 30 años.......y no me canso........y me mantiene el cuerpo ...como si el tiempo no existiera....
has anyone else noticed that generations after this have lost how to create such beautiful trills? Sutherland, Horne, and Sills had the best trill techniques ever (in my opinion), but today's singers often lack a good trill technique. I remember Sutherland saying one must create a fast vibration of the soft palate, but I feel as though most singers try to simply increase the space of their vibrato?
Io? ... che parli! Al cor che geme Questo affetto è sola speme ... Senza Edgardo non potrei Un istante respirar ... Egli è luce a' giorni miei, E conforto al mio penar Quando rapito in estasi Del più cocente amore, Col favellar del core Mi giura eterna fe'; Gli affanni miei dimentico, Gioia diviene il pianto ... Parmi che a lui d'accanto Si schiuda il ciel per me!
Sutherland was the greatest Lucia of our time, surpassing even Callas, Devia, Sills, Pons, and Moffo, all of whom were excellent in the role. Thanks so much for posting!
Perhaps she was, but we don't really know. There were legendary singers of the past who made the role their own, nightingale sopranos such as Adelina Patti, Marcella Sembrich, Nellie Melba, Luisa Tetrazzini, and Amelita Galli-Curci, among several others. Sutherland's voice was, to be sure, different from that of any of these great sopranos, as was Callas'.
I have always found the quality of Callas' voice a little too dark for this role. Her singing is, as always, beyond comparison on an interpretive level and of a high technical ability, together with its customary shortcomings in the uppermost register. Sutherland is nearly superhuman, technically speaking. She is no birdlike nightingale, unlike, by most accounts, the creator of the role, Fanny Persiani, or, if anything, a very large one (vocally, of course). Still, Sutherland made the role her own and was the finest Lucia in my lifetime. Callas, on the other hand, was the finest Norma, in my opinion, and it was one of her two favorite roles, along with Violetta.
I find that once you hear her trill or her acuti, it's impossible to un-hear. It immediately stands out when another singer skips it - even on passages that normally don't have the trill or acuti. Somehow, it sounds incomplete. Her Care Selve, for instance, makes me long for the trills even though the score doesn't seem to have it and even though other singers sing it beautifully too. And her ringing top is just the best and noticeable for its absence in almost all other singers' renditions of any aria.
What makes the young Sutherland the geatest coloratura ever (possibly) is the shere ease and confidence which she exhibits in these most difficult arias - just listen as a comparison to todays wanabes, Dessay, Netrebko etc., they sound as if every note is an insurmountable challange, and I;m afriad for them, it;s just that!!
Well Joan was not a delicate lady,she was tall and had a sort of Amazonian physique.Just look at that strong jaw,that must have helped as well as having a larger lung capacity maybe than most of the more delicate singers around today.
Imagine that 50 years after this, the Metropolitan audience had to make do with Anna Netrebko as Lucia. That is a perfect example of how much vocal standards have deteriorated, and I'm guessing that this deterioration has a lot to do with the omnipotence of the director...
REINAVA NO SILÊNCIO Lucia di Lammermoor - Regnava nell silenzio, a linda cavatina De Donizetti, narra o cenário à noite em que aparece a lua alta E escura, com a presença de um homem, cumprindo a sina, Chega a uma fonte e a lembrança de um terno amor em falta. Na lembrança, uma sombra se aproxima dela, e ela comovida Vê os lábios dele, em silêncio, e pediu-lhe uma comunicação. Os planos distintos, físico e extrafísico, estavam numa só vida. Ela sente algo sublime e a sua dor está em fase de erradicação. Ela começa a chorar, sentindo que ao lado dele, o céu aberto, O céu, aqui revelado, é mais do que um lugar, é um horizonte. Um belo sonho realizado, o enigma de sua vida foi descoberto. Nos tempos da pandemia, esses amores mal consagrados vem Se juntar nos sonhos, pois é a presença da lembrança da fonte Onde se irradia a luz dos amores eternos que juntos convivem. (*) (*) FERNANDO PINHEIRO, presidente da Academia de Letras dos Funcionários do Banco do Brasil. - REINAVA O SILÊNCIO (poesia), de Fernando Pinheiro. - in O mundo de Morfeu, de Fernando Pinheiro.
ES LA UNICA CANTANTE DEL MUNDO QUE NO ESTABA PARA TONTERIAS...........ELLA QUISO CANTAR COMO LA GLORIA DE DIOS.......Y DIOS LE DIO EL HONOR DE HACERLO..........NI VERISMO........NI PURISMO...NI NADA DE NADA.......ELLA ERA EN SI LA GLORIA DE DIOS.....LA PERFECCION ABSOLUTA.....Y PRIMA DONNA ABBSSOLUTA.........EL ANGEL EXTERMINADOR DE CONCEPTOS TERRENALES........LA VOZ DE LA ESTRATOSFERAAAAAAAAAAAA
This is the greatest Lucia I've ever heard. So many sopranos singing this role today are just lazy and undisciplined, lacking the proper technique to handle this coloratura. As I've been preparing this aria for the Met competition, I've meticulously practiced every run and made sure that it is polished. Why are singers today singing this role without respect for the composer or the work itself (never mind respect for themselves and their audience by singing mediocre renditions)?
@andreasscholl The tempo seems to bring out her dramatic side doesn't it? I wish her experiences with other conductors hadn't been as bad as they were rumoured to be, there could have been some amazing collaborations considering the operatic europe of the 60s Still she left a wonderful legacy and will be sorely missed
Since moving to Italy I've become aware of how I use the language and how important it is to enunciate it properly. Unfortunately I'm even more aware of how other non-italians use this language...some better than others and some not as well.
el sentimiento es mayor que el de la callas..................DIGA LO QUE DIGA ALGUIEN.........................pues su voz...........aparte de potente..es totalmente incrustada en el personaje..................y encima........SUPER.ENGROSADA POR SU FUERZA................
Don't singers in general seem to be a little more spontaneous in live performance than recordings? Though they're worked out in advance, but are prepared to change embellishments according to health and other issues
I wouldn't consider Sill's trills among the best ever, but this is only my personal opinion, and she did trill very beautifully. However, while I totally agree that today most singers seem to have lost the technique to sing a good trill, I'd say this problem started much earlier than now, and some current singers have sung great trills, as well (Fleming, DiDonato, Garanca and Netrebko have sung amazing trills, I recommend listening to them). ;-)
You are very kind. Personally, I don't care for Sills' trills at all; they sound more like gargling to me. Sutherland's trills are indeed beautiful. However, if we listen to singers of the past, such as Melba and Selma Kurz, their trills are just as fine as Sutherland's, if not better. Even the great basso, Pol Plancon, has beautiful trills. The art of trilling has certainly declined.
![Joan Sutherland sings "Quando Rapita in Estasi" Live in 1979 (NYO) [Excellent Sound]](http://i.ytimg.com/vi/yY1KU70AOag/mqdefault.jpg)
![Joan Sutherland sings "Quando Rapita in Estasi" Live in 1979 (NYO) [Excellent Sound]](/img/tr.png)
Am a pure callas fan, but who can deny such eloquence? Bravo sutherland.
Callas didnt have the nicest voice but her singing was never boring.
She gave opera life and joy
She's brilliant here; I only wish I could've heard her live. There is no one today even remotely capable of creating a wall of sound with such beauty and accuracy. Thank God for these recordings.
The singing naturally is unapproachable;but i LOVE these beautiful photos of charming,youngish La Stupenda!
Another example of her unparalleled talent. I love how the audience goes wild before she even finishes the last note; never heard that with any other singer. She was the greatest of all time, IMO.
Agreed and those trills are lovely. She said, as a child, she used to listen to birds singing in the garden. Premature applause, no. If people were absorbed and entranced, they wouldn't intrude like clapping seals to destroy the atmosphere. Callas loathed it as they have to hold the character until the audience stop their noise.
@@dawnadriennetaylor970 Poor Maria. People clapping for her. How tragic.
1964 was the year that I saw Sutherland sing Lucia in Detroit as part of the Met tour. I can still picture her with long red hair, beside the fountain. Her voice was huge in a 5000 seat theatre, and amazingly rich. She could color even the highest notes.
her voice is magnificent, truly the greatest opera singer of all time ....
Joan was the UNIQUE artist of my time. She would have been 86 on Novemebr 7, 2012.
I miss her and latley I listen to her with tears.
Bless you Joan !!!!
I've never heard this version, with the trills before the high D and C. Amazing. Thanks so much for the post.
I saw her sing Lucia in the theater in 1982. And even 18 years after this recording, she still sounded stupendous! And I again saw her in Puritani (1986) and Trovatore (1987), and she was still singing incredibly well. There will never again be a voice like this.
+Dave Glo I am so jealous :D
Ringrazio Dio per avercela donata! Il Belcanto deve moltissimo a questa grande artista!
When listening to Sutherland sing, it just sounds so easy that I want to sing along. Even though I know how hard it is to sing those phrases.
I never learn my lesson.
2:33 is an absolute miracle in beauty.
Joan at her best with this difficult aria.
Grandissima interprete delle opere dei nostri grandi compositori: Rossini, Donizetti, Bellini, Verdi ...
La Stupendissima!
When hearing this....who comes even close to La Stupenda anno 2015?
No one!
Her technique, fenomenal. And those thrills, high notes and flawless lines.
Beautiful!
Mariella Devia is the only one I believe comes close. Perhaps the underrated Ruth Ann Swenson?
@@gayoperadude63 Having heard Swenson sing this at the Met, in a word, no.
No-one will come anywhere like this.
Well,not in my lifetime.
Joan Sutherland had a monster in his voice! will be very difficult to find a soprano who has a vocal technique as refined as sutherland!
Even though I'm very familiar with Dame Joan's recorded work, I find this particular performance to be outstanding, even by her own impossible standards. The fullness of the voice in every register, the ease, the upper extension, and the sustained tones at the end of each phrase, and the clarity of her diction, makes this performance a miracle. For those of you fortunate enough to be present, I can only say I envy you. I heard her live in Vienna in 1980 and at the Met a few years later in I Puritani. Even then it is difficult to describe the quality of her voice. It was round and golden, and filled the venue without any hint of forcing. The studio couldn't really capture the true quality of her voice. I find the live recordings to be more interesting, even though the sound quality may not be as good.
Sublime! La Stupenda! Per me una tra le più grandi interpreti di questo ruolo. Divina.
The one and only Joan Sutherland.
La Stupenda was in SPECTACULAR voice here! Could you imagine being in the audience with that high D ringing through your skull...
those trills are so unexpected
This is the only one of many performances of this aria I've heard her sing in which she adds trills before the added high D and C at the end of the cabaletta. And even though 1964 is at the time when she started to be criticized for mushy diction, her words here are very clear. A stunning performance!
That trill,,,,,,,,,,🙀🙀🙀🙀
@@josephhapp9 there is only one true trill
Simply sublime.
That is impossible.
The best ,,,and effortless.
This one is even better than the recording, and you hear more goodies in this one
Now! That's how you do that! The one and only genuine Lucia for me, "all other kinds are sham!" Brava!
The Great Dramatic colouratura soprano Dame Joan Sutherland "La Stupenda".
😘😜
You can't ask for anything better than this!!! You really can't, I would like to see one of today's so called coloraturas do this so beautifully!
This is the Best Regnava I have heard her sing. Breathtaking! The size matched with flexibility is literally Incomparable! So strong and yet so feminine. Astonishing and Unique. What A Talent. What A Gift!
"So strong and yet so feminine" - very good description of Sutherland's Bel Canto singing, indeed! ;-)
Get a hold of the live performance from the Met in 1970. It's unsurpassed even by Dame Joan.
I had forgotten what a miraculous performance this was. 'the warmth and fulness of the voice in all registers, the pianistic perfection of every run, every note having its full roundness and beauty, the insanely soaring top, the perfect trills throughout. This is Lucia's SOUL expressed in song: dark and troubled in the cavatina, insanely (I use the word on purpose) radiant in the cabaletta. What a gift from God.
Brilliant.
LA STUPENDA SEMPRE!
The entire opera is being broadcast on the Sirius chnnel this week,Wonderful I had to pull over driving so I could listen.
Truly the best!
We take sutherland for granted. We have so much of her legacy available. But she was the best in all her repertoire.
She raised the bar so high almost impossible for anyone to compete...I was at these performances
Exhilarating, period!
In the 60’s she could really do no wrong.
7.19 to the end is breathtaking.
I had the thrill of attending three performances of her Lucia in 1967 here in Vancouver. I was also at the opening nights of her very first Norma, Lucrezia Borgia and Merry Widow - also here in Vancouver. Recordings don't do justice to the size of her voice in a theatre. although the live Huguenots in the Albert Hall - also on YT - does give an idea of her voice in a large hall.
The observation here that recordings do not fully represent the enormous voice of Sutherland heard live is quite accurate. I had the benefit of seeing her in several performances at the Lyric in Chicago and at the Met. She is one of the very few singers who could fill those large houses without appearing to be using even half of the power available to her [Nilsson, Ramey, and Horne were others who gave this impression]. She was an incredible musician and we should be glad to have so much documentation of her great musicality.
The goddess singing in the temple of the Opera.
@franciscobarn perfecto tu comentario..........de acuerdo contigo totalmente..........su loco amor como dices tu......el color espectacular de la voz...la forma de impostarla.......es un poema total...de amor....que solo podia lograr la estupenda y maravillosa joan sutherland.......la numero uno de las cantantes........un sueño de voz...........una artista inigualable........esto llevo escuchandolo 30 años.......y no me canso........y me mantiene el cuerpo ...como si el tiempo no existiera....
Straordinaria!!! La voce del secolo
Friends ask me why I don't listen to Netrebko and Dessay amongst other sopranos. This is why.
My sentiments exactly!
tell him it's because you ain't deaf
that's the only way l could possibly listen to them XD
Marly Harris I know people who will not listen to recordings prior to digital technology because they think that the clarity of recording is primary.
+Marc Allen And yet the new remastered Callas box-set is amazing.
+Marly Harris Well said. Although, evidently, Dessay is already done.
Without a doubt, she is the greatest of all time to the end of time. I am too young to hear her in person. I envy you.
Simplemente maravillosa.
has anyone else noticed that generations after this have lost how to create such beautiful trills? Sutherland, Horne, and Sills had the best trill techniques ever (in my opinion), but today's singers often lack a good trill technique. I remember Sutherland saying one must create a fast vibration of the soft palate, but I feel as though most singers try to simply increase the space of their vibrato?
La maxima Lucia de toda la historia
SI SEÑOR...TOTALMENTE DE ACUERDO
tremenda............................imparable.....................TOTALLLLLLLLLLLLLLLLLLLLLLL
Voce
Stupenda intramontabile
Io? ... che parli! Al cor che geme
Questo affetto è sola speme ...
Senza Edgardo non potrei
Un istante respirar ...
Egli è luce a' giorni miei,
E conforto al mio penar
Quando rapito in estasi
Del più cocente amore,
Col favellar del core
Mi giura eterna fe';
Gli affanni miei dimentico,
Gioia diviene il pianto ...
Parmi che a lui d'accanto
Si schiuda il ciel per me!
well put!
Sutherland was the greatest Lucia of our time, surpassing even Callas, Devia, Sills, Pons, and Moffo, all of whom were excellent in the role. Thanks so much for posting!
+meltzerboy Well, there's an opinion.
+meltzerboy Most likely of all time.
Of course it is. But it is an informed opinion.
Perhaps she was, but we don't really know. There were legendary singers of the past who made the role their own, nightingale sopranos such as Adelina Patti, Marcella Sembrich, Nellie Melba, Luisa Tetrazzini, and Amelita Galli-Curci, among several others. Sutherland's voice was, to be sure, different from that of any of these great sopranos, as was Callas'.
I have always found the quality of Callas' voice a little too dark for this role. Her singing is, as always, beyond comparison on an interpretive level and of a high technical ability, together with its customary shortcomings in the uppermost register. Sutherland is nearly superhuman, technically speaking. She is no birdlike nightingale, unlike, by most accounts, the creator of the role, Fanny Persiani, or, if anything, a very large one (vocally, of course). Still, Sutherland made the role her own and was the finest Lucia in my lifetime. Callas, on the other hand, was the finest Norma, in my opinion, and it was one of her two favorite roles, along with Violetta.
I find that once you hear her trill or her acuti, it's impossible to un-hear. It immediately stands out when another singer skips it - even on passages that normally don't have the trill or acuti. Somehow, it sounds incomplete.
Her Care Selve, for instance, makes me long for the trills even though the score doesn't seem to have it and even though other singers sing it beautifully too. And her ringing top is just the best and noticeable for its absence in almost all other singers' renditions of any aria.
Lovely bell canto.
ESTA VOZ ES TAN CLARA POTENTE Y PUDIENTE...QUE LA MENOR DUDA SERIA NO TENIDA EN CUENTA NI POR SOLO UN SEGUNDO........EN TERMINOS HUMANOS....
As an instrumentalist I can say: *Oh my god, those trills!*
La Stupenda
grande!
+stefano pillitteri
ma le le hai le orecchie???? la devia gli da un pisto in questo ruolo che johan se lo sogna di farla in quel modo!!!!
What makes the young Sutherland the geatest coloratura ever (possibly) is the shere ease and confidence which she exhibits in these most difficult arias - just listen as a comparison to todays wanabes, Dessay, Netrebko etc., they sound as if every note is an insurmountable challange, and I;m afriad for them, it;s just that!!
Well Joan was not a delicate lady,she was tall and had a sort of Amazonian physique.Just look at that strong jaw,that must have helped as well as having a larger lung capacity maybe than most of the more delicate singers around today.
@@amybaker4654 Joan worked hard and was blessed to have Richard guiding her.
Imagine that 50 years after this, the Metropolitan audience had to make do with Anna Netrebko as Lucia. That is a perfect example of how much vocal standards have deteriorated, and I'm guessing that this deterioration has a lot to do with the omnipotence of the director...
You could not be more correct.
Best Lucia ever
Oh to have been there!
Divina.
❤
God, how I envy you!!!!!!!!!!!!!!!!!!!!!!! :D
Grazie ! Stupenda ! Unica ! La più grande !
REINAVA NO SILÊNCIO
Lucia di Lammermoor - Regnava nell silenzio, a linda cavatina
De Donizetti, narra o cenário à noite em que aparece a lua alta
E escura, com a presença de um homem, cumprindo a sina,
Chega a uma fonte e a lembrança de um terno amor em falta.
Na lembrança, uma sombra se aproxima dela, e ela comovida
Vê os lábios dele, em silêncio, e pediu-lhe uma comunicação.
Os planos distintos, físico e extrafísico, estavam numa só vida.
Ela sente algo sublime e a sua dor está em fase de erradicação.
Ela começa a chorar, sentindo que ao lado dele, o céu aberto,
O céu, aqui revelado, é mais do que um lugar, é um horizonte.
Um belo sonho realizado, o enigma de sua vida foi descoberto.
Nos tempos da pandemia, esses amores mal consagrados vem
Se juntar nos sonhos, pois é a presença da lembrança da fonte
Onde se irradia a luz dos amores eternos que juntos convivem. (*)
(*) FERNANDO PINHEIRO, presidente da Academia de Letras dos Funcionários do Banco do Brasil. - REINAVA O SILÊNCIO (poesia), de Fernando Pinheiro. - in O mundo de Morfeu, de Fernando Pinheiro.
si señorrrrrrrrrr...........eso es tan cierto como que la mecanica cuantica existe..........es una voz de otro mundo.....
brilliant
7:10 I almost sh*t my pants
ES LA UNICA CANTANTE DEL MUNDO QUE NO ESTABA PARA TONTERIAS...........ELLA QUISO CANTAR COMO LA GLORIA DE DIOS.......Y DIOS LE DIO EL HONOR DE HACERLO..........NI VERISMO........NI PURISMO...NI NADA DE NADA.......ELLA ERA EN SI LA GLORIA DE DIOS.....LA PERFECCION ABSOLUTA.....Y PRIMA DONNA ABBSSOLUTA.........EL ANGEL EXTERMINADOR DE CONCEPTOS TERRENALES........LA VOZ DE LA ESTRATOSFERAAAAAAAAAAAA
brava !bravissima
INOLVIDABLE
una pasada total.....................
This is the greatest Lucia I've ever heard. So many sopranos singing this role today are just lazy and undisciplined, lacking the proper technique to handle this coloratura. As I've been preparing this aria for the Met competition, I've meticulously practiced every run and made sure that it is polished. Why are singers today singing this role without respect for the composer or the work itself (never mind respect for themselves and their audience by singing mediocre renditions)?
Diana Amati best wishes for your audition. I got to work with her and was always amazed at what poured out of her.
Thank you so much! I greatly admire Joan and the legacy she left us. She will forever be loved and missed.
Brava
@andreasscholl The tempo seems to bring out her dramatic side doesn't it? I wish her experiences with other conductors hadn't been as bad as they were rumoured to be, there could have been some amazing collaborations considering the operatic europe of the 60s
Still she left a wonderful legacy and will be sorely missed
brava
@conmaleta Nay, great loss to the world at large.
Since moving to Italy I've become aware of how I use the language and how important it is to enunciate it properly. Unfortunately I'm even more aware of how other non-italians use this language...some better than others and some not as well.
Timmy ,,,when you can sing opera you will realise vocal diction is different from spoken diction.
Joey,,,, I do sing opera and I think I know the difference 😊
@@TimothyJonSarris nice to know , I do too.
Keep working.
@@josephhapp9Thanks!
I hope to keep working, covid permitting 🤞
I heard Sutherland live and she was never poetic in her diction. The voice was cold. Her Italian was mediocre and her French horrible.
2:52
💗💗💗💗💗💗💗💗🥰💗💗💗🥰
❤️❤️❤️❤️❤️❤️
JAMAS SE HA PODIDO OIR ALGO PARECIDO.A LA FUERZA INTERPRETATIVA DE LA FUERA DE SERIE..........QUE ES LA GRAN JOAN SUTHERLAND...................
stew-fucing-pen-dus....omg.....
el sentimiento es mayor que el de la callas..................DIGA LO QUE DIGA ALGUIEN.........................pues su voz...........aparte de potente..es totalmente incrustada en el personaje..................y encima........SUPER.ENGROSADA POR SU FUERZA................
Don't singers in general seem to be a little more spontaneous in live performance than recordings? Though they're worked out in advance, but are prepared to change embellishments according to health and other issues
Live is the real experience.
Sometimes live becomes an out of world experience.
A confronto i cantanti lirici di oggi fanno davvero ridere 😂
@Richiesutherland Sooo true
And to think that this great voice was almost lost to Wagner. ;)
Thank the Gods for her wonderful husband Richard.
Just wondering: a few people have this 1964 Met recording here on UA-cam. Any idea on where to find it, anyone? :)
is this human singing!?
E morta, e piango :'(
best
The entire performence was released on Gala-GL100614
💖🎼💐💐
Come ĺei nessuna
I wouldn't consider Sill's trills among the best ever, but this is only my personal opinion, and she did trill very beautifully. However, while I totally agree that today most singers seem to have lost the technique to sing a good trill, I'd say this problem started much earlier than now, and some current singers have sung great trills, as well (Fleming, DiDonato, Garanca and Netrebko have sung amazing trills, I recommend listening to them). ;-)
You are very kind. Personally, I don't care for Sills' trills at all; they sound more like gargling to me. Sutherland's trills are indeed beautiful. However, if we listen to singers of the past, such as Melba and Selma Kurz, their trills are just as fine as Sutherland's, if not better. Even the great basso, Pol Plancon, has beautiful trills. The art of trilling has certainly declined.