This is a TRULY GREAT voice, and a ravishing performance of O Patria Mia. I've never heard it sung as beautifully, nor so well, and I am sure I never shall. Thank you so much
I absolutely love Gwyneth's singing here, it's so beautiful. I would also recommend looking for a video of Aprile Millo in the role at the Met, wonderful as well!
Hey guys! I am a huge fan of Jones. This is an amazing performance of this aria from a dramatic soprano -- or one that turned into the reigning Elektra, Brunnhilde and Turandot. READ THE SCORE: The top C is marked Dolce or sweet. Listen to Caballe, Milanov, Rethberg, Price and others who have really mastered that note and sing it piano or pianissimo. (Softly, sweetly.) That is the litmus test here.
If you want to have your mind truly blown, check out Dame Gwyneth’s recording of Elijah. Her “Hear ye, Israel/Be Not Afraid” is absolutely astonishing.
My god, I never knew she ever sang Aida! That was wonderful! Who cares about the high "c"? There are VERY few who can sing it soft like Cabballe did (and she was DEFINITELY NOT Aida). Listen to the final "A" though! Dame Gwyneth never ceases to amaze me. It's true what they used to say about her: Like the girl with the curl in the middle of her forehead, "when she was good, she was very very good, but when she was bad, she was horrid!" A true artist.
There are no microphones for making the sound loud at the Met. All of you are mistaken. The mikes are only used to record sound. One would say that all of the performances, Jones, Tebaldi and Price would be eqally miked for the videos or film that you watch here on youtube.
Not really the biggest fan of Dame Jones, but this is a truly glorious rendition of an infamously difficult aria. There are a few too many straight-tones for my taste, but the incredible solidity of the voice is remarkable.
There's a 1973 recording from Vienna where she takes her friend Birgit's advice: "You'll never get applause if you sing the high C forte". And she was clearly right.
@moghedien13 AMEN to that.. you are so right about both Tebaldi and Jones.. Tebaldi did have to shout her high notes, and then they weren;t always on pitch either, (often flat).
You'd be hard pressed to find a singer whose voice DIDN'T change over the span of 36 years... But agreed, it's amazing how well she did lighter repertoire early in her career.
I think Maestro Verdi knew a thing or 2 about the human voice.Are u suggesting he wrote DOLCE for the recording studio?Milanov and Price sang SEVERAL broadcast Aidas and acheived a DOLCE high C time and again.I suggest you listen to the great Aidas on tape since the 30's to hear how they followed Verdi COME SCRITTO.By the way I never said that a DOLCE was always a PIANO.You refer to Price's broadcast?Which one?Also, microphoningdistorts the sound that one hears liveand can amplify the "C".
You just ignored my entire message. Not once did I say that Verdi wrote a p or pp. He wrote dolce. Jones delivers non of the above. Nevertheless it is still a great performances with a perfunctory high C that, to me, comes close to a blast - to use your own language. BTW, singing a piano there is no gimmick. It is called remarkable breath control and technique. It is, by its very nature, also dolce.
well,when. aida and otello were blacks!!thats not important anymore!!in the world of opera today with fake,diminutive voices slender voices!!i should say!!who cares if aida or otello is black or white?or mullatto ?who cares? today lets face the reality of the opera world today!!they do not have sopranos of the ciber of dame. gwyneth jones!!for ej. not a decent spinto or dramatic to begin with!!this is a very fine rendition of this extremely!!very difficult area to sing. the exposure to a high c!!was anatema to ponse lle,and tebaldi had so many pro blems with this area!!. eilen fa rrell when asked why she is not singing aida!!she said;too many high c!!honey!!brava. gwyneth jones!!brava!!
I have been attending opera for over 40 years and have been "exposed" to Ms. Price's Aida about 6 or 7 times in the theater. You have made this into nothing more than a pissing contest. Please don't give instructions to someone who teaches voice. Also, please don't tell ME what I need. Pace, pace - although I am sure you must have the last say in this, which as before will be all about assumptions and presumptions. Again, Pace, pace.
This is a TRULY GREAT voice, and a ravishing performance of O Patria Mia. I've never heard it sung as beautifully, nor so well, and I am sure I never shall. Thank you so much
It's amazing to hear this. If you listen to her today or even a few years earlier you don't even recognize the voice. Changed completely.
I absolutely love Gwyneth's singing here, it's so beautiful. I would also recommend looking for a video of Aprile Millo in the role at the Met, wonderful as well!
Truly amazing from a singer who went on to specialize in Wagner and Strauss. Gwyneth was always on her best vocal behavior in Italian roles.
Agreed. The security and beauty of her singing are unbeatable.
Beautiful performance.
Hey guys! I am a huge fan of Jones. This is an amazing performance of this aria from a dramatic soprano -- or one that turned into the reigning Elektra, Brunnhilde and Turandot. READ THE SCORE: The top C is marked Dolce or sweet. Listen to Caballe, Milanov, Rethberg, Price and others who have really mastered that note and sing it piano or pianissimo. (Softly, sweetly.) That is the litmus test here.
If you want to have your mind truly blown, check out Dame Gwyneth’s recording of Elijah. Her “Hear ye, Israel/Be Not Afraid” is absolutely astonishing.
My god, I never knew she ever sang Aida! That was wonderful! Who cares about the high "c"? There are VERY few who can sing it soft like Cabballe did (and she was DEFINITELY NOT Aida). Listen to the final "A" though! Dame Gwyneth never ceases to amaze me. It's true what they used to say about her: Like the girl with the curl in the middle of her forehead, "when she was good, she was very very good, but when she was bad, she was horrid!" A true artist.
but even if off form with her voice she was a passionate and involving performer, on form stupendous.
There are no microphones for making the sound
loud at the Met. All of you are mistaken.
The mikes are only used to record sound.
One would say that all of the performances, Jones, Tebaldi and Price would be eqally miked for the videos or film that you watch here on youtube.
Unbelievable,amazingly beautyfull
Not really the biggest fan of Dame Jones, but this is a truly glorious rendition of an infamously difficult aria. There are a few too many straight-tones for my taste, but the incredible solidity of the voice is remarkable.
** Dame Gwynneth **
@sorobji it is marked "dolce", meaning sweetly, which is different than softly.
There's a 1973 recording from Vienna where she takes her friend Birgit's advice: "You'll never get applause if you sing the high C forte". And she was clearly right.
And Rhadames will never get applause if he sings it piano.
@moghedien13 AMEN to that.. you are so right about both Tebaldi and Jones.. Tebaldi did have to shout her high notes, and then they weren;t always on pitch either, (often flat).
❤❤❤❤❤❤❤❤❤❤❤❤❤❤❤❤❤❤❤❤❤❤❤❤❤❤❤❤
Beatyfull,just beautyfull
You'd be hard pressed to find a singer whose voice DIDN'T change over the span of 36 years...
But agreed, it's amazing how well she did lighter repertoire early in her career.
The high C was perfect!!! I HATE it when singers try and do it pianissimo, it destroys an otherwise climactic moment
I think Maestro Verdi knew a thing or 2 about the human voice.Are u suggesting he wrote DOLCE for the recording studio?Milanov and Price sang SEVERAL broadcast Aidas and acheived a DOLCE high C time and again.I suggest you listen to the great Aidas on tape since the 30's to hear how they followed Verdi COME SCRITTO.By the way I never said that a DOLCE was always a PIANO.You refer to Price's broadcast?Which one?Also, microphoningdistorts the sound that one hears liveand can amplify the "C".
You just ignored my entire message. Not once did I say that Verdi wrote a p or pp. He wrote dolce. Jones delivers non of the above. Nevertheless it is still a great performances with a perfunctory high C that, to me, comes close to a blast - to use your own language. BTW, singing a piano there is no gimmick. It is called remarkable breath control and technique. It is, by its very nature, also dolce.
well,when. aida and otello were
blacks!!thats not important anymore!!in the world of opera
today with fake,diminutive voices
slender voices!!i should say!!who
cares if aida or otello is black or
white?or mullatto ?who cares?
today lets face the reality of the
opera world today!!they do not
have sopranos of the ciber of
dame. gwyneth jones!!for ej.
not a decent spinto or dramatic
to begin with!!this is a very fine
rendition of this extremely!!very
difficult area to sing. the exposure
to a high c!!was anatema to ponse
lle,and tebaldi had so many pro
blems with this area!!. eilen fa
rrell when asked why she is not
singing aida!!she said;too many
high c!!honey!!brava. gwyneth
jones!!brava!!
Hello everyone, u r all taking about Aida, and the first word out of ur mouths is not Leontyne Price. What the..?
I have been attending opera for over 40 years and have been "exposed" to Ms. Price's Aida about 6 or 7 times in the theater. You have made this into nothing more than a pissing contest. Please don't give instructions to someone who teaches voice. Also, please don't tell ME what I need. Pace, pace - although I am sure you must have the last say in this, which as before will be all about assumptions and presumptions. Again, Pace, pace.
disturbing to see her in blackface. Glad thats no longer widely accepted, it should not be done anywhere.