Beverly Sills had immense control and sense of balance, and an uncanny ability to add flourish and embellishment to songs such as this one. Her sound was one of spontaneous expression from characters seemingly very much alive, and from a woman who certainly experienced life fully. What a triumphant recording this is.
Such a hugely+ gifted singer, Beverly Sills❗Among all these gifts, her ability to convey to listeners her understanding & love of the texts (Music obviously as well...) she sings. Grateful for as long as I live.
I am speechless! This is such a marvelous performance by the great Beverly Sills. This woman was one of the most brilliant coloratura sopranos of the 20th century. She was absolutely magnificent in the Bel Canto repertoire. Not too many sopranos could sing Bellini and Donizetti with her elegance and good taste. Rossini's operas are extremely hard to sing and can be quite tacky when badly performed. Beverly Sills did an outstanding job. Thank you so much for sharing this rare video.
Usually Beverly Sills is better known for her high notes and florid passages, but here she just concentrates on the pathos of the music and gives a passionate and heartfelt performance.
Such wonderful singing and how the voice works in the French repertoire! It was her golden period before Roberto Devereaux took it's toll and etched the pristine surface of this glorious, delicate voice. So much colour and expression and simply wonderful command of the style. No ugly portamento, no ugly anything. Thank you so much for sharing.
A rare surprise for me. I didn't know that Beverly sang this aria. And brilliantly. I am grateful to say that I saw her in many of her great roles because I finally liked opera when she was at her peak. Bolena, Marie, Violetta, Manon, Thais, Hannah, Rosalinde, Lucia, Rosina, Norina, even La Loca and Turk in Italy. And I got her autograph! Swell lady.
Onigbajamo I think you're both right. Callas and Sutherland really got the bel canto revival going, then Scotto, Sills, Caballe, and Gencer sang things that hadn't' been heard in decades, maybe centuries. But Sills caught a lot of attention in America, and she really brought a lot of operas back to life.
I agree! Not only did she have a "beautiful" voice but her musicianship when it comes to the bel canto rep separates her from most of the professional singers who have big careers. Her seemingly effortless and dare-devil coloaratra, phrase shaping, subtle bending of the pitch at arrival points, subtle nuances within phrases and the uncanny "vulnerable" pathos she projects as a tragic heroine are pssessed by so few. I could go on....
So unbelievably beautiful. I just can’t stop listening to it. Sills was always my favorite soprano in her day. Now she’s my favorite old time soprano, just as Jussi Bjorling is my favorite old time tenor. They both had such unique and instantly recognizable voices. What I wouldn’t give for a higher Bitrate version of this to listen to. I can’t seem to find it among her many recordings so perhaps it’s a pirate.
I was at that concert. If I recall corrrectly, I believe she also sang that fabulous "Da Tempeste" from Julio Cesare, in which she really let loose with the coloratura fireworks.
I discovered a new (for me that is) soprano yesterday singing a stunning Casta Diva, by the name of Hasmik Papian from Armenia. I have listened to her recording of this same aria and was really impressed by her and especially by her use of diminuendo and her soft singing was really stunning. Then I needed to compare again, I know one shouldn't, but what the heck! And so here I am and immediately the noticeable difference is Ms Sills' AMAZING phrasing ability and breath control. Brava to BOTH!
I just saw Guillaume Tell at the Met last night. The production is beautiful, and the singing was spectacular (Gerald Finley, Brian Hymel, John Relyea,.Michele Angelini, Janai Brugger, and Marina Rebeka.) It was the first time I've ever seen the opera (I'd heard it once on the radio). I thoroughly enjoyed it; although, I couldn't help thinking of this recording in which Sills' s pacing seems perfect, slower than most I've ever heard. Nevertheless Rebeka's voice is exquisitely beautiful, and her singing (like those of her cast mates listed above) was out of this world.
Ok, I just listened to a dozen other sopranos singing this, including Callas, Caballe, Crespin, Sutherland, Annick Massis, and some of the younger crop of singers, and ONLY Callas approached the wonderful LEGATO singing of Sills here (it was later Callas, so it was great, but she had some intonation issues).ALL of the young singers sang without support in the opening piano section of the aria--since when do you sing piano with LESS support? It needs more, and SILLS is the queen here....line, line, line, all the way, baby!!
Vous n'allez pas venir nous raconter que Régine Crespin et Joan Sutherland n'en ont pas donné des performances extraordinaires, avec des moyens vocaux supérieurs à ceux de la Sills, et dans le cas de Crespin le véritable phrasé et style nuancé de l'école franco-belge de chant. Le final que donne la Sills est faux, ce n'est pas la douce notte fuguée qu'écrivit Rossini pour conclure l'air de Mathilde.
@@coloraturaElise Si la performance de Beverly Sills vous paraît si louable c'est sans doute parce que nous ne connaissez pas la version de Renata Scotto. La beauté du timbre, le légato pratiquement parfait, le magnifique phrasé et surtout l'adaption au style de chant français en font quelque chose de précieux. La Sills n'avait ni la puissance vocale, ni le beau timbre émaillé de la Scotto, vertues qui la plaçaient dans la même tradition de chant des anciennes. A présent que j'ai écouté la Scotto, je ne sais pas même si elle n'est pas la meilleure entre toutes, sans nier pour autant la grandeur des versions Sutherland et Crespin. Beverly Sills n'avait pas même la moitié de l'ampleur de la voix de Joan Sutherland, et était loin d'avoir le charme interprétatif, l'expressivité et le glamour de Régine Crespin. Et puis je vous supplie de ne pas comparer aucune d'elles avec la Callas, car celle-ci n'a jamais été une référence pour personne. Elle était la prêtresse lunaire d'un culte privé, la Callasmanie, qui a toujours eû pas mal d'adeptes, cela est indéniable, mais nous sommes quand même très nombreux les mélomanes qui renions d'une telle foi religieuse. Quant à Monserrat Caballé, qui enregistra l'intégrale de Guillaume Tell avec Nicolaï Gedda et Gabriel Bacquier, sous la direction de Lamberto Gardelli, sans doute à cette époque chantait-elle encore de pleine voix, et non pas comme dans un souffle pour son confesseur, comme elle prit la mauvaise habitude de le faire par la suite, sans qu'on sache comment tellement de chefs d'orchestre lui permirent de telles bravades. Entre les contemporaines et plus récentes, je me permettrais de vous recommender l'exquise version de cette enchanteresse Karita Mattila, et la version de Giuliana Gianfaldoni, qui a une voix superbe bien supérieure au timbre couleur de chauve-souris et au phrasé hénnissant de Beverly Sills.
Aria Sombre forêt, désert triste et sauvage, Je vous préfère aux splendeurs des palais: C'est sur les monts, au séjour de l'orage, Que mon cœur peut renaître à la paix; Mais l'écho seulement apprendra mes secrets . Toi, du berger astre doux et timide, Qui, sur mes pas, viens semant tes reflets, Ah! sois aussi mon étoile et mon guide! Comme lui tes rayons sont discrets, Et l'écho seulement redira mes secrets. Aria Dark forest, wilderness sad and wild, I prefer you to the splendours of the palace: It is on the mountains, the place of the storm That my heart can regain peace; And only the echo will learn my secrets. You, the sweet and shy star of the shepherd, Whose light illuminates my footsteps, Ah! be also my star and my guide! Like him, your rays are discrete, And only the echo will repeat my secrets.
My voice had a long, nonstop career. It deserves to be put to bed with quiet and dignity, not yanked out every once in a while to see if it can still do what it used to do. It can't. Beverly Sills
Oh my gosh - this recording is better than the one sung by Maria Callas (from EMI). I had not associated Beverly Sills with singing like this - normally she goes with the coloratura arias. This singing shows a different aspect of her singing not commonly heard from her.
@@maestrojimbo I agree. Although Sills had astonishing coloratura skills, she actually sounds best in long-spun lyric arias. You gave some good examples, and that was the pattern for all her roles. Her voice could do the most amazing things, but her real forte was endless breath control in the lyric pieces.
Beverly Sills had immense control and sense of balance, and an uncanny ability to add flourish and embellishment to songs such as this one. Her sound was one of spontaneous expression from characters seemingly very much alive, and from a woman who certainly experienced life fully. What a triumphant recording this is.
Such a hugely+ gifted singer, Beverly Sills❗Among all these gifts, her ability to convey to listeners her understanding & love of the texts (Music obviously as well...) she sings. Grateful for as long as I live.
I am speechless! This is such a marvelous performance by the great Beverly Sills. This woman was one of the most brilliant coloratura sopranos of the 20th century. She was absolutely magnificent in the Bel Canto repertoire. Not too many sopranos could sing Bellini and Donizetti with her elegance and good taste. Rossini's operas are extremely hard to sing and can be quite tacky when badly performed. Beverly Sills did an outstanding job. Thank you so much for sharing this rare video.
Usually Beverly Sills is better known for her high notes and florid passages, but here she just concentrates on the pathos of the music and gives a passionate and heartfelt performance.
Such wonderful singing and how the voice works in the French repertoire! It was her golden period before Roberto Devereaux took it's toll and etched the pristine surface of this glorious, delicate voice. So much colour and expression and simply wonderful command of the style. No ugly portamento, no ugly anything. Thank you so much for sharing.
My ears have been assaulted... by sheer beauty! I could listen to this on continuous loop forever!
A rare surprise for me. I didn't know that Beverly sang this aria. And brilliantly. I am grateful to say that I saw her in many of her great roles because I finally liked opera when she was at her peak. Bolena, Marie, Violetta, Manon, Thais, Hannah, Rosalinde, Lucia, Rosina, Norina, even La Loca and Turk in Italy. And I got her autograph! Swell lady.
+Dave Glo I don't think she ever sang the role in its entirety but she really revived much of bel canto in this country!
Onigbajamo I think you're both right. Callas and Sutherland really got the bel canto revival going, then Scotto, Sills, Caballe, and Gencer sang things that hadn't' been heard in decades, maybe centuries. But Sills caught a lot of attention in America, and she really brought a lot of operas back to life.
Just beautiful, brava Beverly!
I agree! Not only did she have a "beautiful" voice but her musicianship when it comes to the bel canto rep separates her from most of the professional singers who have big careers. Her seemingly effortless and dare-devil coloaratra, phrase shaping, subtle bending of the pitch at arrival points, subtle nuances within phrases and the uncanny "vulnerable" pathos she projects as a tragic heroine are pssessed by so few. I could go on....
So unbelievably beautiful. I just can’t stop listening to it. Sills was always my favorite soprano in her day. Now she’s my favorite old time soprano, just as Jussi Bjorling is my favorite old time tenor. They both had such unique and instantly recognizable voices. What I wouldn’t give for a higher Bitrate version of this to listen to. I can’t seem to find it among her many recordings so perhaps it’s a pirate.
Sylvia Rienzo I loved them both as well. Arnold Bourbon Amaral
Stunning ! How we need you now !
I couldn't agree more with you David! I'd give an arm and a leg happily just to have Beverly back if even for an hour.
David Pagan Amen my friend. Arnold Bourbon Amaral
I was at that concert. If I recall corrrectly, I believe she also sang that fabulous "Da Tempeste" from Julio Cesare, in which she really let loose with the coloratura fireworks.
Rossini - Sills : PARADISE !! 🎁💥✨🎂🎈🎉🍷🍷🍷🍷 ...
Amazing! I've never heard her sing this one before....thanks so much for posting this!
She never recorded it commercially.
un 'esecuzione....miracolosa!
I discovered a new (for me that is) soprano yesterday singing a stunning Casta Diva, by the name of Hasmik Papian from Armenia. I have listened to her recording of this same aria and was really impressed by her and especially by her use of diminuendo and her soft singing was really stunning. Then I needed to compare again, I know one shouldn't, but what the heck! And so here I am and immediately the noticeable difference is Ms Sills' AMAZING phrasing ability and breath control. Brava to BOTH!
I just saw Guillaume Tell at the Met last night. The production is beautiful, and the singing was spectacular (Gerald Finley, Brian Hymel, John Relyea,.Michele Angelini, Janai Brugger, and Marina Rebeka.) It was the first time I've ever seen the opera (I'd heard it once on the radio). I thoroughly enjoyed it; although, I couldn't help thinking of this recording in which Sills' s pacing seems perfect, slower than most I've ever heard. Nevertheless Rebeka's voice is exquisitely beautiful, and her singing (like those of her cast mates listed above) was out of this world.
Brawississimo ! Wunderschone , nette , gotliche ! Brawississimo !
Beautiful.
Brava!
Bravissima!
Ok, I just listened to a dozen other sopranos singing this, including Callas, Caballe, Crespin, Sutherland, Annick Massis, and some of the younger crop of singers, and ONLY Callas approached the wonderful LEGATO singing of Sills here (it was later Callas, so it was great, but she had some intonation issues).ALL of the young singers sang without support in the opening piano section of the aria--since when do you sing piano with LESS support? It needs more, and SILLS is the queen here....line, line, line, all the way, baby!!
Vous n'allez pas venir nous raconter que Régine Crespin et Joan Sutherland n'en ont pas donné des performances extraordinaires, avec des moyens vocaux supérieurs à ceux de la Sills, et dans le cas de Crespin le véritable phrasé et style nuancé de l'école franco-belge de chant. Le final que donne la Sills est faux, ce n'est pas la douce notte fuguée qu'écrivit Rossini pour conclure l'air de Mathilde.
I listed very specific qualities that Sills has in this aria.
@@coloraturaElise Si la performance de Beverly Sills vous paraît si louable c'est sans doute parce que nous ne connaissez pas la version de Renata Scotto. La beauté du timbre, le légato pratiquement parfait, le magnifique phrasé et surtout l'adaption au style de chant français en font quelque chose de précieux. La Sills n'avait ni la puissance vocale, ni le beau timbre émaillé de la Scotto, vertues qui la plaçaient dans la même tradition de chant des anciennes. A présent que j'ai écouté la Scotto, je ne sais pas même si elle n'est pas la meilleure entre toutes, sans nier pour autant la grandeur des versions Sutherland et Crespin. Beverly Sills n'avait pas même la moitié de l'ampleur de la voix de Joan Sutherland, et était loin d'avoir le charme interprétatif, l'expressivité et le glamour de Régine Crespin. Et puis je vous supplie de ne pas comparer aucune d'elles avec la Callas, car celle-ci n'a jamais été une référence pour personne. Elle était la prêtresse lunaire d'un culte privé, la Callasmanie, qui a toujours eû pas mal d'adeptes, cela est indéniable, mais nous sommes quand même très nombreux les mélomanes qui renions d'une telle foi religieuse. Quant à Monserrat Caballé, qui enregistra l'intégrale de Guillaume Tell avec Nicolaï Gedda et Gabriel Bacquier, sous la direction de Lamberto Gardelli, sans doute à cette époque chantait-elle encore de pleine voix, et non pas comme dans un souffle pour son confesseur, comme elle prit la mauvaise habitude de le faire par la suite, sans qu'on sache comment tellement de chefs d'orchestre lui permirent de telles bravades. Entre les contemporaines et plus récentes, je me permettrais de vous recommender l'exquise version de cette enchanteresse Karita Mattila, et la version de Giuliana Gianfaldoni, qui a une voix superbe bien supérieure au timbre couleur de chauve-souris et au phrasé hénnissant de Beverly Sills.
Una maestra...
Aria
Sombre forêt, désert triste et sauvage,
Je vous préfère aux splendeurs des palais:
C'est sur les monts, au séjour de l'orage,
Que mon cœur peut renaître à la paix;
Mais l'écho seulement apprendra mes secrets .
Toi, du berger astre doux et timide,
Qui, sur mes pas, viens semant tes reflets,
Ah! sois aussi mon étoile et mon guide!
Comme lui tes rayons sont discrets,
Et l'écho seulement redira mes secrets.
Aria
Dark forest, wilderness sad and wild,
I prefer you to the splendours of the palace:
It is on the mountains, the place of the storm
That my heart can regain peace;
And only the echo will learn my secrets.
You, the sweet and shy star of the shepherd,
Whose light illuminates my footsteps,
Ah! be also my star and my guide!
Like him, your rays are discrete,
And only the echo will repeat my secrets.
My voice had a long, nonstop career. It deserves to be put to bed with quiet and dignity, not yanked out every once in a while to see if it can still do what it used to do. It can't. Beverly Sills
At the time of this recording, she certainly had not yet made that statement, being in her prime.
Please DO Maestrojimbo, lol! I think our Gal needs a good praise singer and you were doing a sterling job there friend!
WOW
DEAR BEVERLY FOREVER:
I totally agree!
Oh my gosh - this recording is better than the one sung by Maria Callas (from EMI). I had not associated Beverly Sills with singing like this - normally she goes with the coloratura arias. This singing shows a different aspect of her singing not commonly heard from her.
Keep searching for the lyrical arias - there are many examples of slow arias that might curl you hair: Depuis le jour, O quante volte, on and on....
maestrojimbo Indeed a great TALENTED lady. Arnold Bourbon Amaral
@@maestrojimbo I agree. Although Sills had astonishing coloratura skills, she actually sounds best in long-spun lyric arias. You gave some good examples, and that was the pattern for all her roles. Her voice could do the most amazing things, but her real forte was endless breath control in the lyric pieces.
La cadenza finale è meravigliosa ma nel resto delude. Dove sono gli "effetti d'eco" previsti in partitura?
Forse preferisci la Dessi o la Devia?....
Absolutely beautiful! would like some more direction in the phrases though but it's just a small preference.