BeschreibungAnna Moffo sings "Il dolce suono" from Lucia di Lammermoor by Gaetano Donizetti Philharmonia Orchestra Sir Colin Davis, conductor London, XII.1959
Maravillosamente musical Anna Moffo y con una voz de lírico ligera,privilegiada. Los dos mi bemoles sobreagudos del "delirio" son limpios con vibrato y a la vez redondos y muy potentes y perfectamente colocados por eso los sostiene tan largos y fáciles...fue una deliciosa y exquisita cantante que además podía sostener el fa natural sobre agudo y eso es muy raro por qué en esa nota el registro de la voz humana de mujer ya suele terminarse y raramente y escasas son las sopranos de coloratura que lo rozan pero en pichetatti como es en Der Holle Rache de la flauta magica. Eso muy pocas lo cantan por esa nota que aún en pichetatti es raro encontrar sopranos que lleguen pero alguna que pueda sostener esa nota son casi inexistentes...Brava Moffo. Y además afinación perfecta.
Einfach fantastisch! Ab 1835 war gaetano donizetti nicht nur das mass aller dinge im bereich oper und musikdrama. sondern auch im gesamtbereich musik überhaupt... hätte ihn giuseppe verdi auch so leicht überflügeln können (1842 und dann natürlich 1851 - 53 mit dem dreigestirn rigoletto/troubadour/traviata).,wenn er gesund geblieben und nicht schon 1848 mit nur 51 jahren gestorben wäre... Wir werden es nie wissen...
I have listened to dozens apon dozens of lucia mad scenes. Not only did Anna Moffo look like a young Lucia, but she had the best register to sing Lucia. Both lyrically, but dramatically. Her voice is superb. Her E flats are spot on. This is probably one of the finest if not the finest recording of Lucia di Lammermoor. Goose bumps all the time. RIP Anna Moffo.
While her performance doesnt equal the Sutherland or Callas recordings, I find her performance of Lucia, very sweetly sung and she hits the high notes (and holds onto them too). An underrated recording and performer of ths music.
+yortko1 I think she has Callas beat here. I love Callas and many of my favourite recordings are hers, but this Moffo performance is just perfection for me - tighter, purer, more comfortable on the E flat and the other high notes, and generally singing with feeling as well as technical brilliance.
Yes indeed! Anna Moffo was very intelligent, imaginative, versatile, and a brilliant all - round musician. Many of her performances, it can be argued, seem, overall, matchless!
Die Fledermichael Her recordings of lyric verdi roles are quite superb and suit her very well. Her Karajan Falstaff with Luigi Alva as Fenton and Luisa Miller with Bergonzi are indeed matchless.
Éblouissante interprètation de la part d'Anna Moffo,car vraiment elle nous démontre toute sa virtuosité,mais surtout son registre interpretatif qui est un régal pour les auditeurs avertis.Moi qui ne suis pas particulièrement versé dans le sacré,dans cette pièce,je lui decerne le titre de désse du bel canto.
A lovely voice, both in colour and range. It sparkles and seems seamlessly applied. What a shame that over-singing compromised the overall quality so early in her career! We must cherish the gems she left, but ingénues need better guidance and self-preserving instincts at the start of their career to ensure they do not sing more than vocal health will allow. In the end, regardless of the money and fame along the way, a broken voice is a tragic loss for us all, but especially, of course, for the artist.
Assolutamente. Perfetta....non teme paragoni con nessuna altra grandissima...se la gioca alla pari..il che è tutto dire....poi è solo questione di gusti....❤
@@beachfanatic2010 you do understand that “dramatic” is not some black or white concept but on a continuum, right? A lyrical coloratura can pull off dramaticism with just the right amount. Most of Violetta’s repertoire is on the lyrical side, with the exception of sempre libera. And Anna Moffo has one of THE best performances of that aria on record. Violetta is not anywhere near as dramatic as Turandot for example. To claim that somehow you would need a dramatic soprano like a Turandot singer to sing Violetta is simply, ridiculous.
@@luceafarul579 Turandot in not compose vocally healthy and you don’t need legato. You breath every chance you get. Puccini did not write or compose anything even slightly positive for the human voice. On the contrary, he wrote music to damage voices without mercy so the fact that you are comparing Puccini tells me nothing more that you are an amateur. If you have been a real intellectual you would hace stayed with Verdi. Let me gather you, “Sempre Libera” actually is the only part of Traviata that is on the lyrical side but still to me there is nothing lyrical about it - sempre libera is pure dramatic coloratura. The rest of the opera is far from lyrical, it is written in the PIANO mezzo forte. And only a BIG dramatic voice is able to do justice directly to the DEPTH of this role when singing piano mezzo forte. A smaller voice singing piano mezzo forte could project but Verdi means more than projecting. Verdi means to OVERPOWER! Prima Donna is the main and loudest instrument of the entire orchestration. That is Verdi, a brassy metallic dramatic voice. And as a matte of fact that is all Verdi: Lady MacBeth, Abigaile(requires way more voice than Turandot - Nilsson sounded like she needed an oxygen tank), Trovatore, Aida, and the rest of Verdi is written for dramatic sopranos period. Verdi never wrote anything for the lyric soprano. Absolutely nothing! Not even Gilda, a real Gilda is at least a Spinto or a voice of the size of Gabriella Tucci and Caballe(both HUGE lyric voices).
@@beachfanatic2010 a lyrical soprano can most certainly “over power”. Or do you think lyrical always just means a “small voice?” Anna Moffo’s vocal power is about the same as Maria Callas. In fact they approach Violetta in almost the same bel canto tradition and techniques. The only difference between them is the timbre. Maria Callas’ timbre has a sharper edge and Anna Moffo’s voice has a more velvet edge. But neither of them would sing Violetta as if to sing a pure dramatic role with huge voices like Turandot. And yes I’m using Turandot to demonstrate the extreme archetypical dramatic “big” voice. Claiming something about Puccini’s composition is just a moot point. I can also use Wagner as an example of purely dramatic roles sung by huge voiced dramatic singers. They don’t tend to be famous violettas. Anna Moffo is a famous Violetta and will always go down as such doesn’t matter how much you want to box up art. Sorry.
Bueatiful singing, but she just doesnt sound like a woman gone mad. She could be singing about pretty much anything. But yes a glorious tone and flawless registration etc...etc...etc..
Fue aparte de diva de la ópera , una mujer muy guapa se dedicó al cine y en especial a cine y películas donde solía hacer desnudos integrales. No es la única, Teresa Stratas dejo la ópera se desnudó en varias revistas luego se fue de monja seguidora de Teresa de Calcuta para luego intentar volver a la ópera ya sin éxito.
I can see where you are coming from, but it's not laziness, she sings all the consonants, that's why she ends the phrases in that way. But I can see if you don't like it.
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We are lucky to listen this historical monument of singings in several generations. Anna Moffo is forever.
There are many excellent Lucias. And,again - there is Moffo ❣️
Stupenda... Drammaticità, mezze voci, colori... Ha tutto!
Maravillosamente musical Anna Moffo y con una voz de lírico ligera,privilegiada. Los dos mi bemoles sobreagudos del "delirio" son limpios con vibrato y a la vez redondos y muy potentes y perfectamente colocados por eso los sostiene tan largos y fáciles...fue una deliciosa y exquisita cantante que además podía sostener el fa natural sobre agudo y eso es muy raro por qué en esa nota el registro de la voz humana de mujer ya suele terminarse y raramente y escasas son las sopranos de coloratura que lo rozan pero en pichetatti como es en Der Holle Rache de la flauta magica. Eso muy pocas lo cantan por esa nota que aún en pichetatti es raro encontrar sopranos que lleguen pero alguna que pueda sostener esa nota son casi inexistentes...Brava Moffo. Y además afinación perfecta.
Muchos años recordándola. Olvidada en Radio Nacional Clásica de Buenos Aires, Argentina
She is one of the greatest Diva
Don't try this at home! During her vocal prime Anna Moffo's bel canto singing was the best in the business. It still is!
Absolutley agree with you
auf jeden Fall, ich stimme zu
Einfach fantastisch! Ab 1835 war gaetano donizetti nicht nur das mass aller dinge im bereich oper und musikdrama. sondern auch im gesamtbereich musik überhaupt...
hätte ihn giuseppe verdi auch so leicht überflügeln können (1842 und dann natürlich 1851 - 53 mit dem dreigestirn rigoletto/troubadour/traviata).,wenn er gesund geblieben und nicht schon 1848 mit nur 51 jahren gestorben wäre...
Wir werden es nie wissen...
Amazingly beautiful
I have listened to dozens apon dozens of lucia mad scenes. Not only did Anna Moffo look like a young Lucia, but she had the best register to sing Lucia. Both lyrically, but dramatically. Her voice is superb. Her E flats are spot on. This is probably one of the finest if not the finest recording of Lucia di Lammermoor. Goose bumps all the time. RIP Anna Moffo.
So agree!!! She is the best!!!
While her performance doesnt equal the Sutherland or Callas recordings, I find her performance of Lucia, very sweetly sung and she hits the high notes (and holds onto them too). An underrated recording and performer of ths music.
+yortko1 I think she has Callas beat here. I love Callas and many of my favourite recordings are hers, but this Moffo performance is just perfection for me - tighter, purer, more comfortable on the E flat and the other high notes, and generally singing with feeling as well as technical brilliance.
Yes indeed! Anna Moffo was very intelligent, imaginative, versatile, and a brilliant all - round musician. Many of her performances, it can be argued, seem, overall, matchless!
Die Fledermichael Her recordings of lyric verdi roles are quite superb and suit her very well. Her Karajan Falstaff with Luigi Alva as Fenton and Luisa Miller with Bergonzi are indeed matchless.
Éblouissante interprètation de la part d'Anna Moffo,car vraiment elle nous démontre toute sa virtuosité,mais surtout son registre interpretatif qui est un régal pour les auditeurs avertis.Moi qui ne suis pas particulièrement versé dans le sacré,dans cette pièce,je lui decerne le titre de
désse du bel canto.
A lovely voice, both in colour and range. It sparkles and seems seamlessly applied. What a shame that over-singing compromised the overall quality so early in her career! We must cherish the gems she left, but ingénues need better guidance and self-preserving instincts at the start of their career to ensure they do not sing more than vocal health will allow. In the end, regardless of the money and fame along the way, a broken voice is a tragic loss for us all, but especially, of course, for the artist.
He escuchado este fragmento multitud de veces. Es una bendita droga de la que no consigo escapar. No hay muchas voces como la de esta gran mujer.
ya escuchó a María Callas?
la del "Quinto Elemento" es Inva Mula Tchako.
Es de la ópera "Lucía De Lamemmor" de Donizetti.
saludos y bendiciones.
@@Artes2024 Gracias por la sugerencia, con un cierto atraso.
Marvelous singing from La Moffo!
Assolutamente. Perfetta....non teme paragoni con nessuna altra grandissima...se la gioca alla pari..il che è tutto dire....poi è solo questione di gusti....❤
Que lindo esto, la traduccion es bella, muy hermoso. =)
so eine unglaubliche stimme.
The most beautiful also of all!
Just like with Violetta, she is one of the few lyric coloraturas that can pull this off. Just lovely.
Karl Rolen Corpus Anna Moffo IS violetta
@@luceafarul579 No she is not. ALL OF VERSI including Violetta is written for a dramatic soprano.
@@beachfanatic2010 you do understand that “dramatic” is not some black or white concept but on a continuum, right?
A lyrical coloratura can pull off dramaticism with just the right amount. Most of Violetta’s repertoire is on the lyrical side, with the exception of sempre libera. And Anna Moffo has one of THE best performances of that aria on record. Violetta is not anywhere near as dramatic as Turandot for example. To claim that somehow you would need a dramatic soprano like a Turandot singer to sing Violetta is simply, ridiculous.
@@luceafarul579 Turandot in not compose vocally healthy and you don’t need legato. You breath every chance you get. Puccini did not write or compose anything even slightly positive for the human voice. On the contrary, he wrote music to damage voices without mercy so the fact that you are comparing Puccini tells me nothing more that you are an amateur. If you have been a real intellectual you would hace stayed with Verdi. Let me gather you, “Sempre Libera” actually is the only part of Traviata that is on the lyrical side but still to me there is nothing lyrical about it - sempre libera is pure dramatic coloratura. The rest of the opera is far from lyrical, it is written in the PIANO mezzo forte. And only a BIG dramatic voice is able to do justice directly to the DEPTH of this role when singing piano mezzo forte. A smaller voice singing piano mezzo forte could project but Verdi means more than projecting. Verdi means to OVERPOWER! Prima Donna is the main and loudest instrument of the entire orchestration. That is Verdi, a brassy metallic dramatic voice. And as a matte of fact that is all Verdi: Lady MacBeth, Abigaile(requires way more voice than Turandot - Nilsson sounded like she needed an oxygen tank), Trovatore, Aida, and the rest of Verdi is written for dramatic sopranos period. Verdi never wrote anything for the lyric soprano. Absolutely nothing! Not even Gilda, a real Gilda is at least a Spinto or a voice of the size of Gabriella Tucci and Caballe(both HUGE lyric voices).
@@beachfanatic2010 a lyrical soprano can most certainly “over power”. Or do you think lyrical always just means a “small voice?”
Anna Moffo’s vocal power is about the same as Maria Callas. In fact they approach Violetta in almost the same bel canto tradition and techniques. The only difference between them is the timbre. Maria Callas’ timbre has a sharper edge and Anna Moffo’s voice has a more velvet edge. But neither of them would sing Violetta as if to sing a pure dramatic role with huge voices like Turandot. And yes I’m using Turandot to demonstrate the extreme archetypical dramatic “big” voice. Claiming something about Puccini’s composition is just a moot point. I can also use Wagner as an example of purely dramatic roles sung by huge voiced dramatic singers. They don’t tend to be famous violettas. Anna Moffo is a famous Violetta and will always go down as such doesn’t matter how much you want to box up art. Sorry.
Genius
Bueatiful singing, but she just doesnt sound like a woman gone mad. She could be singing about pretty much anything. But yes a glorious tone and flawless registration etc...etc...etc..
Jerry Arispi that is why she comes second after Callas
Lucia is not about madness but craziness in love.
What The Fuck....
Damn...
For those as moved as I am by her journey, this is a must read: mrsjohnclaggartssadlife.blogspot.com/2014/05/anna-moffo.html
Intimidating.....
Fue aparte de diva de la ópera , una mujer muy guapa se dedicó al cine y en especial a cine y películas donde solía hacer desnudos integrales.
No es la única, Teresa Stratas dejo la ópera se desnudó en varias revistas luego se fue de monja seguidora de Teresa de Calcuta para luego intentar volver a la ópera ya sin éxito.
I admire Anna's voice, but i am left feeling unmoved by her performance here. Perhaps not her role?
hate how she ends her lines, Inva Mula's still the best
I never noticed how lazy her releases are until i saw this. You are so right.
Absolute nonsense! And look at the whole musical picture before judging a great singer like Anna Moffo.
I can see where you are coming from, but it's not laziness, she sings all the consonants, that's why she ends the phrases in that way. But I can see if you don't like it.
Maybe because the language is not a foreign one to her?