วีดีโอ

I agree that Bjoner is magnificent as Donna Anna. Her precise understanding of the music style, excellent mastery of her voice in all registers, and remarkable breath control are truly impressive. Most importantly, she managed to infuse the music with meaning and absolute vocal perfection.

Demasiado vibrato... o no?.

può essere anche Caruso, che non è, ma se l'orchestra va da una parte e lui da un'altra, non si riesce ad ascoltare.

Finalmente un tenore spinto

I saw Niska in this run of Makropoulos Affair in 1981 and in Salome around 1977, both at City Opera - she was fantastic.

I assume this is from her late "come back" in Vienna in the 1930s? Well past her prime. The top is still penetrating but a bit shrill

Molto, molto, molto bravo, una splendida voce. 👏👏👏👏👏

This is so beautiful. The late M/S Niska is in the front rank of Angelicas. It is just a pity that the audience spoils the long scene. It kills what has already been built up. R.I.P. dear lady. ❤❤❤❤❤.

❤Bravissimo ❤

First range❤🎉🎉🎉

scusi, isn’t it Zimmerman, not Rimmerman?

Sottovalutato solo dalle grandi case discografiche, anche se qualcosa ha inciso per la EMI. Ma di fatto ha cantato tante produzioni alla Scala dove era di casa voluto e stimato sia da Abbado che da Muti, il che non mi sembra affatto poco . Dalla fine degli anni 60 ai primi anni 80 e' stato artista molto versatile per gli autori che ha affrontato ma a mio avviso eccellente nel verdiano eroico risorgimentale dove il tenore deve essere particolarmente smagliante, lucente e squillante , oltre ad un' apprezzabile mezza voce sopratutto in zona di passaggio che sapeva utilizzare con dovizia di particolari

❤❤❤❤❤

One of the greatest griefs is that there's no full recording of Salome with Jeritza 😭

After binge-watching Verrett's 1979 LaScala Macbeth with Piero Cappuccilli , I now a have a good idea what an extraordinary experience this must have been for the audience; and this is in the original French, it sure as hell works for me. In my world Verrett and Callas are on equal footing where Medea is concerned.

wait why isn’t this in Italian???? French doesn’t work

Steber is such an underrated soprano! But, like Sills, she was an American product at a time where the European singer was heralded.

Isn't this usually dated to 1933?

I love Cherubini's use of the chorus. My impression is that the choral parts must be quite difficult.

Thank you mr hough.

I listened to Emils wonderful music yesterday and it brought about feelings . . . . unbelievable. It also makes me so sad, that germany - the home country of Emil v. Sauer - has been on the road of utterly artistical decay since those days. 2 Worlds wars have destroyed almost everything, this previous g r a n d cultural nation (Goethe ! Schiller ! Beethoven ! Nietzsche !) has achieved before 1914 . . . The exodus of intelligent people after 1933 has been unprecedented in history ! I will never EVER overcome that grieve in my heart . . . (me personally, I am h a l f german of ancestry)

March 29, 1969, Tucker and Rysanek. Colzani was Scarpia Met. opera NY. taped in the opera house.

Obviously taped in house and both sound very good here, probably 1969 as said, Tucker died in Jan. 1975.

I dare say that outside of the Callas versions (sorry for bringing her up...), this is the probably one of the most satisfying versions of the scene available on TH-cam, if not the most satisfying version. A terrific voice used intelligently and dramatically! I do wish however that Bartoletti made the standard cuts beginning around 10:30. The momentum stops.

I played her older son at this performance!!! Before doing this at the NYCO, we did 2 performances in Carramoor, NY and one performance in Wolf Trapp, Va. The person who played her younger son was William Ledbetter Jr. Do you have the complete recording of this? She was also Madama Butterfly when I debuted as Trouble. I remember her nephew, Stuart visited her around this time also. He lived in Sacramento at the time.

The sopranos today are sheer nonsense, their tones are ingolata, no brilliance, just shouting, This is singing

Am reading a new biography on von Sauer by Anita Crocus. A fascinating read by someone who knew Sauer's youngest child. Highly recommended for insight into this wrongly neglected titan. 'Emil von Sauer: Liszt's Forgotten Protege' is the title. The inestimable Mr. Hough himself weighs in on the author's notes section. Highly recommended!

As much as she is adorable and phenomenal, to list on one hand's fingers artist, she seems to has missed essence of Medea as everyone else in this rep. except M.C and, at least artistically, L.G . The mood, purpose and dynamics. Medea remains as most sacramental and in the same time demonic protagonist of the womankind (and mankind IMHO). Just artistry and vocal perfection can't help here. In some "fine" performances one can mess Cherubini with Mozart and in other cases it just sucks.

OTTIMA ESECUZIONE DI UN TENORE SOTTOVALUTATO

My cousin! He lived with my grandparents. So great to hear this.

wonder if there are any recordings of him in Butterfly from his Royal Opera House debut in 72/73.. I was there and have never forgotten the impact his voice made on me. I could never understand why he was not up there with at least two of the three great tenors?

What a pity there wasn't a better recording. She sounds amazing in the role.

Efficient lyric soprano! Why on earth did she take on so many heavier roles?

Che accoppiata fantastica! Bravissime entrambi.

Absolutely nobody after her has sung this better ever. Not with this steely but rounded tone full of chiaroscuro and a developed chestvoice. Rather similar to Birgit Nilsson actually.

Ugly cut around 6:14 :/ The laughter and screeching doesn't suit the music.

Two power-house singers flinging vocal barbs in this most intense of duets! Brava

Csodálatos hang

Always admired and enjoyed her. Got to see her with orchestra in a recital and she was wonderful. However, this role, in my opinion, is just not suited for her voice. She gives an admirable effort, but it leaves me flat.

Meraviglioso quanti colori, quanti armonici, timbro di altissima qualità.

She sang this with the Santa Fe Opera in the summer of 1968. She was fantastic!

Fantastic!

Az elfeledett magyar "Gigli"

Although this sounds very much like Gigli.. This is definitely Gafni.. Critiques at the time stated that his voice was a cross between Gigli and Caruso. I have played Giglis recordings of this Aria (and I have 4) simultaneously with this recording.. And the timing the approach and the ring at the top of his voice are definitely different.. So this is Most Definitely Gafni.. I will post Gafni's E lucevan le Stella soon so you can hear another example of his Artistry.. BTW.. It might be of interest to you.. That Gigli helped pay for Gafni's Voice Lessons..

This recording is B. Gigli, not Gafni

As it would have been easy enough to ascertain, her aria is called "In questa reggia".

Love Steber and Siepi so much!!!

All of this is live with her husband sitting up in the wings with the little recorder that he had. and so was it in the proformances of her a miracle that was happening in front of you. do not forget that this is live from the 3rd floor. Edward Arckless

This is not a voice of a devil or evil person but still good singing even if on the lighter side.

Great, strong tenor! I love this aria and the opera. It’s a shame it’s not done more. To think it was Puccini’s first entry into opera! I would also love to hear di Stefano sing this aria/role 😊❤️