Just today I was listening to the entire 1953 London Aida with Callas and I was so amazed at Simionatto’s amazing proweful voice. So much bronze and a real mezzo.
She actually viewed herself as a dramatic soprano and upon further listening of her voice, especially in higher rep (soprano roles included - which she did quite a few) I wouldn't be shocked if it was true.
@@beachfanatic2010 I’m not really sure. In live setting (bootlegs etc. which generally capture the size better) she was more often than not drowning dramatic sopranos she sang with at the same pitches. Her Cavalliera Rusticana also showcases the soprano tessitura along with a brassier, colder timbre. She sounds far more lyrical and brighter in something like La Cenerentola where she sounded like soprano most of the time. Keep in mind the quality you speak of ‘coldness’ has a lot to do with the approach as well. Take Elena Obraztsova for one who has that quality rather commonly (in my opinion anyways) but if you listen to her sing Mozart or even the German operettas material, she outright sounds like a different fäch (and different person too might I add). Same thing I noticed with Simionato depending on the repertoire she sang. Callas too. I suppose a good way to describe it is a vocal chameleon. Callas sounding like a proper dramatic in Nabucco or La Vestale or La Gioconda and then like a real lyric in Manon Lescaut, Il turco in Italia or I pagliacci. Marvelous control in terms of tonal quality.
@@KajiVocals Elena Obraztsova was NEVA EVA a real mezzo voice EVA! The fact that she chose burn all her horses in her low register does NOT make you a mezzo whatsoever. What makes you a mezzo is the COLOR of the metal of your voice. Even a lyric coloratura can chose to be a mezzo of they wanted to if they adore low notes so much. Now, for me the color of Simionatto is STRAIGHT up mezzo and the reason why mezzos sound louder in duets with dramatic sopranos is because the tesitura is much higher for them as a result they have to put more effort to reach those notes while the soprano is not pushing as hard since they are singing together with them in a not so high tesitura at all for them.
She was my absolute favorite when I started listening to opera singers in the 80s as a voice major at the U of Illinois. I had the most amazing gift of being able to tell her what an inspiration she was to me and to hug her!! She was being honored at a gala at the Lyric Opera of Chicago when I was a supplementary chorus member - I couldn't let the chance pass me by! She patted my cheek and said "Bambina" - I'll never forget it!!
She is so passionate, and yet, she never lets you forget that she is a princess and not a fishwife. And this was recorded near the very end of her performing career, and there still isn’t anyone today who can hold a candle to her.
@@manolis.799 The trick to Amneris is that she is not a villainess, but just another girl who is desperately and madly in love. A great interpreter makes you weep at the end of the opera as much--and often more--for Amneris as they do for Aida.
@@Shahrdad You are one hundred percent correct. Amneris is also the most three-dimensional of the characters, the only one who grows emotionally over the course of the opera. Had Verdi and Ghislanzoni titled the work 'Amneris' rather than Aïda', it would not have seemed out of place.
The ideal Amneris-voice. Perfect integration of the three registers; firm, seamless emission with no hint of forcing or wobble; a chest register that is strong yet has an attractive sheen that prevents it from becoming crude or harsh, and a top register that would be the envy of any soprano. In addition, her insistence on conveying the desperate princess' variety of moods through vocal means alone ensures that her physical acting does not go over the top, but retains the dignity and restraint suitable to the character. An aristocratic portrayal, as is apt, and one for the ages. Thank you, Manoli!
And look how relaxed her jaw looks as she pours out floods of sound, even on the highest notes. Nowadays, we get singers whose jaws or tongues shake as they sing, as if they're chewing or something.
What a great mezzo.. I first heard Simionato on her 1959 recording with Tebaldi/Karajan Though very young I was immediately captivated by this amazing voice.
I loved her in La Scala singing Ohime morir mi sento .It was 1956 and she was still lavigny beautiful.Dramatic mezzo or soprano.Metallic.Who cares. Maria and her were godesses from another planet.Large voiced , exquisitely tasted.Both of them made history we will never,ever relive.They made us CRY with sorrow and delight.I think we can't ask for anything more.Thr only terrible thing for opera lovers is to have to live permanently in the past.
We forget (I do anyhow) that while the title is Aida, this is really Amneris's opera. Simionato owns the role. (Though I heard Cossotto live in Verona in the early 80s, and she was equally, differently amazing, really chewed up the scenery.)
there seems that originally Verdi indeed wanted to focus on her role first, but later on as she was a very much complex and antiheroic role yet tragic and hard to empathize when having the Aida role in contrast, and also being for a mezzo to properly conveying all that complexities in psychological buildup of character more remarkable than on sopranos, he went into a safer way to avoid controversy for conservative audience and critics, henceforth the focurs was slightly changed for the Ethiopian former princess now slave girl, however seems that he kept the key-core turning point on focus at this whole scene and the previous one which are the great time for Amneris role so at the end both audience and critics weren´t so sure after all to label her as a true villainess as she was buid-up before this, so the ending ends being more bittersweet for double tragedy because though both Radames and Aida died at least they did together, but Amneris has to remain above atoning and weeping over her failled love, and it´s kinda sad because she indeec LOVED him!
I have the von Karajan recording of Aida with Tebaldi, Bergonzi and Simionatto which I have played endless times and Miss Simionatto remains the standard for playing Amneris, with Dolora Zajick coming close
Absolutely sang this like it's easy. Many singers sound spent by the end of the curses, but she sounds like she could and would go longer 😅 I don't know the correct terminology probably, but compared to mezzos of today, her sound is so... "true"? Rich chest voice that is almost masculine, then full and open sound in her stentorian upper register. Truly an ideal Amneris❗️
ENORME ARTISTA GIULIETTA SIMIONATO BRILLÓ EN TODOS LOS ROLES QUE AFRONTÓ , Bellini, Bizet, Cilea, Donizetti, Gluck, Mascagni, Masenet, Meyerbeer, Mozart, Puccini, Rossini, Thomas, Verdi, etc. todos los autores estuvieron estupendamente "servidos" con esta artista excepcional, única, imperecedera en su arte. Armando Nazareno Cerutti Gasperi - barítono.
She was sensational. It makes me think though - Why are there no video recordings of Callas? It just doesn’t make sense that the biggest star of the era never had a live production professionally recorded. It’s bizarre.
That’s something I’ve wondered for years. The closest thing we ever got was the studio Tosca from 1964 which was recorded with the intention of it being a soundtrack for a film. There was also a Tosca from the 70s in Japan with di Stefano that was filmed live that I read was originally meant to star Maria as well. I’ve also read that there were tapes of broadcasts from Mexico that were destroyed in an earthquake but who knows how true that is. Regardless it’s sad.
@@manolis.799 There's a lot of Callas in concert setting. I guess the reason was that Callas performances become more infrequent by the time of the advent of regular operatic telecasts.
From the biographies I have read, Callas didn’t want to be remembered by videos of her performances as she thought it would put her in ‘amber’ so to speak and that everyone would imitate. She was probably right.
@@jimbobwaye1 Hmmm...that doesn't quite make sense. After all, she made several studio recordings, which are also a way of putting someone 'in amber' so to speak. I'm not sure why she was reluctant to be filmed.
@@80Mrmirko ...Simeonatto tutto di peto ...además llena de abrigos de pieles de animales asesinados para ella pavonearse con sus pieles ...Cossotto la escuché Teatro Colon de Buenos Aires ! Grandiosa !
@@osvaldoscilingo7564appunto! La cossotto aveva un timbro sopranile peccato che la parte di Amneris è scritta per mezzo-soprano. La Simionato è un mezzo-soprano drammatico
I'm a Japanese, let me make a comment from a different viewpoint. I'm surprised at Simionato's performance with NHK Symphony Orchestra in Japan of the sixty years ago. She was at the peak of her career t but Japan was a small, poor country which couldn't produce automobiles. Some years before, Karajan came to Japan with Berlin Philharmoniker and my father listened to Eroica Symphony. His impression was the symphony was different, meaning a Japanese orchestra couldn't perform correctly and appropriately. What did she see and what did she think of Japan?
I appreciate your question my friend but I’m afraid I am very incapable of answering. Several great artists from Simionato to Gobbi to Del Monaco performed well here in Tokyo more than many who did not
I noted your comment regarding the situation in Japan when this performance took place in Tokyo. But I think you are not taking into account a very important fact. So was Italy, in 1961, a very poor country. They could not produce automobiles either. Although Italy had lost the war, just like Japan, it did not lose to produce the ability to produce art, in opera in other aspects as well. Art is something Italy had studied for more than a couple of thousand of years and I think, Japan had also. That is one of the reasons, I think, why this performance took place and why it was so highly appreciated in Tokyo. You can listen to the full opera, if you want, it also features Mario del Monaco, who is non pareil and Gabriella Tucci....who is also quite spectacular.
The only part which I hate of this epic scene, but seems to tend be changing on stage recently on, is doing something more awesome on the bitter angry epic outburst rage curse words of Amneris at the very end of the scene against the Priests and even Ramfis which they totally deserved and well doing more havoc breakup physical anger expression destroying everything on the temple settings and decorations and attacking even the Priests injuring some with some spear or trowing things at them, before leaving out the scene, to better explain why she is later on a kind of reclusive nun at the Ptah temple along the priestesssed both for on her own will but because after being to much unstable emotionally for her own sake and others approaching her outside of that contemplative contentious place. The final outburst of music allows to do a lot of creativity as how Amners kinda could set a big of havoc apocalypse within the Temple and the unsuspected Priests pretty shocked and stunned by the previous scary curse on them which actually is a foretelling on how Egyptian religion of Isis will be doomed over time into oblivion. So far indeed there are some productions which allow some of the Priests or at least Ramfis to stay while Amneris still has a proper audience to shout out rightfully the rage outburst against them and foretelling their doom, whichever if the remaining priest remain unaffected by it or indeed had some reactions of it, and well... Amneris indeed should do more as the music is ending in to something quite doom impending.
Mme Cossotto was a lazy soprano, a vulgarian without an ounce of musicality and possessing a charwoman's notion of how a princess behaves. Miss Simionato was as if to the manner born, an aristocrat by nature if not by birth, and a superlative vocal artiste who phrased like a master violinist and never made an ugly sound in her life. The other was a tuna six-inch from Subway; Miss Simionato was a prime rib dinner at '21'.
@@manolis.799 Clearly someone who might have heard her once in 1986. Simionato’s temperament was never suited for parts like Amneris and Azucena. The voice is quite harmonious, but it is no wonder she languished in the chorus for years.
@@ransomcoates546 I never heard Callas in the flesh either, but I needn't have done: her recordings tell me everything I need to know about her preëminence in legato, fioritura, shading, embellishments and all the rest of it. And my acumen has been shaped largely by the artists I HAVE heard in the flesh, who include Söderström, Jurinac, Gwyneth Jones, Hermann Prey, Augér, Norman, te Kanawa, von Stade, Hampson, Robert Lloyd, Siepi, Taddei, Vaness, Dernesch, Silja, Cuberli, Horne, Ameling, Caballé, Morris, Kollo, Vickers, Rysanek, Waltraud Meier, Winbergh, McNair, Cossutta and many others. I didn't like them all, but I learned something from each of them. An armchair critic lacking in real world experience, I am not.
Aida (Gabriella Tucci), Radamès (Mario del Monaco), Amonasro (Aldo Protti), Tokyo Broadcasting Chorus, NHK Italian Opera Chorus, NHK Symphony Orchestra. Franco Capuana, conductor. NHK, Nippon Hoso Kyokai (Japan Broadcasting Corporation), is Japan's only public broadcaster. Non sentiremo mai un'altra voce come la sua. Brava Simionato.
![[Great sound] Maria Callas & Giulietta Simionato, a perfect blend in "Oh! rimembranza" (Norma)](/img/n.gif)
When singers could sing. Magnificent.
Without a doubt, the greatest Italian mezzo EVER.
I do not agree, the greatest was Ebe Stignani
Just today I was listening to the entire 1953 London Aida with Callas and I was so amazed at Simionatto’s amazing proweful voice. So much bronze and a real mezzo.
Big time thunder my friend ⚡🌪⚡🌪⚡ 🌩🌩 Arnold 🇫🇷
She actually viewed herself as a dramatic soprano and upon further listening of her voice, especially in higher rep (soprano roles included - which she did quite a few) I wouldn't be shocked if it was true.
@@KajiVocals A real dramatic soprano has more voice and a COLDER type of metal and also a bigger voice in my opinion.
@@beachfanatic2010 I’m not really sure. In live setting (bootlegs etc. which generally capture the size better) she was more often than not drowning dramatic sopranos she sang with at the same pitches. Her Cavalliera Rusticana also showcases the soprano tessitura along with a brassier, colder timbre. She sounds far more lyrical and brighter in something like La Cenerentola where she sounded like soprano most of the time. Keep in mind the quality you speak of ‘coldness’ has a lot to do with the approach as well. Take Elena Obraztsova for one who has that quality rather commonly (in my opinion anyways) but if you listen to her sing Mozart or even the German operettas material, she outright sounds like a different fäch (and different person too might I add). Same thing I noticed with Simionato depending on the repertoire she sang. Callas too. I suppose a good way to describe it is a vocal chameleon. Callas sounding like a proper dramatic in Nabucco or La Vestale or La Gioconda and then like a real lyric in Manon Lescaut, Il turco in Italia or I pagliacci. Marvelous control in terms of tonal quality.
@@KajiVocals Elena Obraztsova was NEVA EVA a real mezzo voice EVA! The fact that she chose burn all her horses in her low register does NOT make you a mezzo whatsoever. What makes you a mezzo is the COLOR of the metal of your voice. Even a lyric coloratura can chose to be a mezzo of they wanted to if they adore low notes so much. Now, for me the color of Simionatto is STRAIGHT up mezzo and the reason why mezzos sound louder in duets with dramatic sopranos is because the tesitura is much higher for them as a result they have to put more effort to reach those notes while the soprano is not pushing as hard since they are singing together with them in a not so high tesitura at all for them.
She was my absolute favorite when I started listening to opera singers in the 80s as a voice major at the U of Illinois. I had the most amazing gift of being able to tell her what an inspiration she was to me and to hug her!! She was being honored at a gala at the Lyric Opera of Chicago when I was a supplementary chorus member - I couldn't let the chance pass me by! She patted my cheek and said "Bambina" - I'll never forget it!!
100000000000 keer hartelijk dank... we love youtube❤❤❤❤❤
Whether a mezzo-soprano, or a Falcon one, she was/is wonderful. A true legend in the history of the opera.
Thank you, dear friend.
10:06 voo-iii She clearly changes the vowel and the posture of her mouth without losing the perfect position and projection of the sound. Masterful!!
You can do that kind of thing when you’re a vocal genius though !
Complete independence between her jaw and her tongue! A supreme technical feat, indeed.
She is so passionate, and yet, she never lets you forget that she is a princess and not a fishwife. And this was recorded near the very end of her performing career, and there still isn’t anyone today who can hold a candle to her.
Absolutely a regal, dignified, yet passionate performance. I can think of some who fall into the latter category of FISHWIFE!
@@manolis.799 So can I, my friend!
@@manolis.799 The trick to Amneris is that she is not a villainess, but just another girl who is desperately and madly in love. A great interpreter makes you weep at the end of the opera as much--and often more--for Amneris as they do for Aida.
@@Shahrdad You are one hundred percent correct. Amneris is also the most three-dimensional of the characters, the only one who grows emotionally over the course of the opera. Had Verdi and Ghislanzoni titled the work 'Amneris' rather than Aïda', it would not have seemed out of place.
Fiorenza Cossotto
The ideal Amneris-voice. Perfect integration of the three registers; firm, seamless emission with no hint of forcing or wobble; a chest register that is strong yet has an attractive sheen that prevents it from becoming crude or harsh, and a top register that would be the envy of any soprano. In addition, her insistence on conveying the desperate princess' variety of moods through vocal means alone ensures that her physical acting does not go over the top, but retains the dignity and restraint suitable to the character. An aristocratic portrayal, as is apt, and one for the ages. Thank you, Manoli!
Her & Dominquez had it going on my friend. 🌩🌪🌩🌪⚡⚡ Arnold
@@arnoldamaral7406 You know it! 😀
@@jasonhurd4379 Boy you know its true!!! 🎶🎼🎵 Arnold
And look how relaxed her jaw looks as she pours out floods of sound, even on the highest notes. Nowadays, we get singers whose jaws or tongues shake as they sing, as if they're chewing or something.
The best Amneris ever!!! Power registre!!
The music. 😮 Verdi was a dramatic genius. That ending. The ominous sound of those repeated bars. 🤯
Truly one of the greats. I could listen to her sing the phone book and I'd be riveted.
I like to refer to her as Giulia the Great!
Another poblem is no phone books any more.
Fantastica ed indimenticabile Giulietta! Grazie per la gioia nell'ascoltare la tua voce e per la tua amicizia...
What a great mezzo.. I first heard Simionato on her 1959 recording with Tebaldi/Karajan Though very young I was immediately captivated by this amazing voice.
The best mezzo there ever was! This is the bar that every mezzo should try to reach.
This woman was simply mind blowing.
Magnifica! Simionato ES AMNERIS ¡¡¡BRAVA!!! ¡¡¡VIVA VERDI!!!
I loved her in La Scala singing Ohime morir mi sento .It was 1956 and she was still lavigny beautiful.Dramatic mezzo or soprano.Metallic.Who cares.
Maria and her were godesses from another planet.Large voiced , exquisitely tasted.Both of them made history we will never,ever relive.They made us CRY with sorrow and delight.I
think we can't ask for anything more.Thr only terrible thing for opera lovers is to have to live permanently in the past.
A legend.
We forget (I do anyhow) that while the title is Aida, this is really Amneris's opera. Simionato owns the role. (Though I heard Cossotto live in Verona in the early 80s, and she was equally, differently amazing, really chewed up the scenery.)
there seems that originally Verdi indeed wanted to focus on her role first, but later on as she was a very much complex and antiheroic role yet tragic and hard to empathize when having the Aida role in contrast, and also being for a mezzo to properly conveying all that complexities in psychological buildup of character more remarkable than on sopranos, he went into a safer way to avoid controversy for conservative audience and critics, henceforth the focurs was slightly changed for the Ethiopian former princess now slave girl, however seems that he kept the key-core turning point on focus at this whole scene and the previous one which are the great time for Amneris role so at the end both audience and critics weren´t so sure after all to label her as a true villainess as she was buid-up before this, so the ending ends being more bittersweet for double tragedy because though both Radames and Aida died at least they did together, but Amneris has to remain above atoning and weeping over her failled love, and it´s kinda sad because she indeec LOVED him!
Aida
Giulietta
Simionato bravissima unica insuperabile❤❤❤❤❤❤
I have the von Karajan recording of Aida with Tebaldi, Bergonzi and Simionatto which I have played endless times and Miss Simionatto remains the standard for playing Amneris, with Dolora Zajick coming close
Yes, she was very great.... magnificent....incredible temperament..
La más grande mezzo italiana de los 50 y 60. Maravillosa voz, este antiguo video la capta en todo su esplendor.
Tuto voce di petto
Thank you for uploading this wonderful performance- my favourite mezzo in one of her best roles. Just amazing.
Spectacular singing brava!
Pure italian blood and heart.
Inégalée et inégalable.
Magnifique per sempre! Merci !
The greatest Verdi mezzo ever. Her voice still rings in my ears.
You’re so right. She is the ultimate!
Absolutely sang this like it's easy. Many singers sound spent by the end of the curses, but she sounds like she could and would go longer 😅 I don't know the correct terminology probably, but compared to mezzos of today, her sound is so... "true"? Rich chest voice that is almost masculine, then full and open sound in her stentorian upper register. Truly an ideal Amneris❗️
ENORME ARTISTA GIULIETTA SIMIONATO BRILLÓ EN TODOS LOS ROLES QUE AFRONTÓ , Bellini, Bizet, Cilea, Donizetti, Gluck, Mascagni, Masenet, Meyerbeer, Mozart, Puccini, Rossini, Thomas, Verdi, etc. todos los autores estuvieron estupendamente "servidos" con esta artista excepcional, única, imperecedera en su arte. Armando Nazareno Cerutti Gasperi - barítono.
La más poderosa de todas las Amneris. Mi preferida mezzo de todos los tiempos
By far , my favourite Amneris with Stignani a close second.In short , one needs to purchase both Tebaldi versions on CD.
Fiorenza Cossotto la más grande Amneris
Finale is so great!
Giulietta . . . AMAZING
Nagranie Giuletty Simionato z Callas w Normie z La Scali z 1955 roku i Anny Boleny z 1957 nie mają sobie równych i nigdy takich nagrań nie będzie !!!!
Goosebumps!!🎉🎉🎉
Fantastica
Para mí, la mejor mezzo verdiana. Mucho más elegante, vocalmente más compleja y superior dramáticamente a cualquier otra Amneris.
Assoluta 🎉
BRAVA!!
Genial ❤
The One ❤
She was sensational.
It makes me think though - Why are there no video recordings of Callas? It just doesn’t make sense that the biggest star of the era never had a live production professionally recorded. It’s bizarre.
That’s something I’ve wondered for years. The closest thing we ever got was the studio Tosca from 1964 which was recorded with the intention of it being a soundtrack for a film. There was also a Tosca from the 70s in Japan with di Stefano that was filmed live that I read was originally meant to star Maria as well.
I’ve also read that there were tapes of broadcasts from Mexico that were destroyed in an earthquake but who knows how true that is.
Regardless it’s sad.
@@manolis.799 There's a lot of Callas in concert setting. I guess the reason was that Callas performances become more infrequent by the time of the advent of regular operatic telecasts.
From the biographies I have read, Callas didn’t want to be remembered by videos of her performances as she thought it would put her in ‘amber’ so to speak and that everyone would imitate. She was probably right.
@@jimbobwaye1 Hmmm...that doesn't quite make sense. After all, she made several studio recordings, which are also a way of putting someone 'in amber' so to speak. I'm not sure why she was reluctant to be filmed.
Impossibile fare di meglio
Fiorenza Cossotto
@@osvaldoscilingo7564 la cossotto tecnicamente meglio della Simionato? Va bene se lo dice lei
@@80Mrmirko ...Simeonatto tutto di peto ...además llena de abrigos de pieles de animales asesinados para ella pavonearse con sus pieles ...Cossotto la escuché Teatro Colon de Buenos Aires ! Grandiosa !
FIORENZA COSSOTTO timbre inigualable ! Brava por siempre
@@osvaldoscilingo7564appunto! La cossotto aveva un timbro sopranile peccato che la parte di Amneris è scritta per mezzo-soprano. La Simionato è un mezzo-soprano drammatico
Fiorenza Cossotto hizo de este rol definitivo
La Nicolai .
❤
SimionaTo, damn it. Is it so difficult to spell a name?
It's either Zajick or Simionato. Just splendid.
I'm a Japanese, let me make a comment from a different viewpoint. I'm surprised at Simionato's performance with NHK Symphony Orchestra in Japan of the sixty years ago. She was at the peak of her career t but Japan was a small, poor country which couldn't produce automobiles.
Some years before, Karajan came to Japan with Berlin Philharmoniker and my father listened to Eroica Symphony. His impression was the symphony was different, meaning a Japanese orchestra couldn't perform correctly and appropriately.
What did she see and what did she think of Japan?
I appreciate your question my friend but I’m afraid I am very incapable of answering. Several great artists from Simionato to Gobbi to Del Monaco performed well here in Tokyo more than many who did not
I noted your comment regarding the situation in Japan when this performance took place in Tokyo. But I think you are not taking into account a very important fact. So was Italy, in 1961, a very poor country. They could not produce automobiles either. Although Italy had lost the war, just like Japan, it did not lose to produce the ability to produce art, in opera in other aspects as well. Art is something Italy had studied for more than a couple of thousand of years and I think, Japan had also. That is one of the reasons, I think, why this performance took place and why it was so highly appreciated in Tokyo. You can listen to the full opera, if you want, it also features Mario del Monaco, who is non pareil and Gabriella Tucci....who is also quite spectacular.
I
The only part which I hate of this epic scene, but seems to tend be changing on stage recently on, is doing something more awesome on the bitter angry epic outburst rage curse words of Amneris at the very end of the scene against the Priests and even Ramfis which they totally deserved and well doing more havoc breakup physical anger expression destroying everything on the temple settings and decorations and attacking even the Priests injuring some with some spear or trowing things at them, before leaving out the scene, to better explain why she is later on a kind of reclusive nun at the Ptah temple along the priestesssed both for on her own will but because after being to much unstable emotionally for her own sake and others approaching her outside of that contemplative contentious place.
The final outburst of music allows to do a lot of creativity as how Amners kinda could set a big of havoc apocalypse within the Temple and the unsuspected Priests pretty shocked and stunned by the previous scary curse on them which actually is a foretelling on how Egyptian religion of Isis will be doomed over time into oblivion. So far indeed there are some productions which allow some of the Priests or at least Ramfis to stay while Amneris still has a proper audience to shout out rightfully the rage outburst against them and foretelling their doom, whichever if the remaining priest remain unaffected by it or indeed had some reactions of it, and well... Amneris indeed should do more as the music is ending in to something quite doom impending.
Tutto voce di petto
Too tame compared to Cossotto in her prime.
Mme Cossotto was a lazy soprano, a vulgarian without an ounce of musicality and possessing a charwoman's notion of how a princess behaves. Miss Simionato was as if to the manner born, an aristocrat by nature if not by birth, and a superlative vocal artiste who phrased like a master violinist and never made an ugly sound in her life. The other was a tuna six-inch from Subway; Miss Simionato was a prime rib dinner at '21'.
@@manolis.799 Clearly someone who might have heard her once in 1986. Simionato’s temperament was never suited for parts like Amneris and Azucena. The voice is quite harmonious, but it is no wonder she languished in the chorus for years.
@@jasonhurd4379 Another person who probably never heard her. My you people do have your script down pat, don’t you.
@@ransomcoates546 I never heard Callas in the flesh either, but I needn't have done: her recordings tell me everything I need to know about her preëminence in legato, fioritura, shading, embellishments and all the rest of it. And my acumen has been shaped largely by the artists I HAVE heard in the flesh, who include Söderström, Jurinac, Gwyneth Jones, Hermann Prey, Augér, Norman, te Kanawa, von Stade, Hampson, Robert Lloyd, Siepi, Taddei, Vaness, Dernesch, Silja, Cuberli, Horne, Ameling, Caballé, Morris, Kollo, Vickers, Rysanek, Waltraud Meier, Winbergh, McNair, Cossutta and many others. I didn't like them all, but I learned something from each of them. An armchair critic lacking in real world experience, I am not.
@@jasonhurd4379 WORD!!! So let it be written So let it be done my friend. 🇫🇷😉 Arnold
Aida (Gabriella Tucci), Radamès (Mario del Monaco), Amonasro (Aldo Protti), Tokyo Broadcasting Chorus, NHK Italian Opera Chorus, NHK Symphony Orchestra. Franco Capuana, conductor. NHK, Nippon Hoso Kyokai (Japan Broadcasting Corporation), is Japan's only public broadcaster. Non sentiremo mai un'altra voce come la sua. Brava Simionato.