I go into delirium with Caballe's drifting musical lines. Her pianissimo was truly a once in a lifetime freak of nature phenomenon. A while back I was dismissive of Caballe's pianissimo being a fabricated ornament that she used to cover up fortissimo (half true but still), but the more you analyse it the more you realise how herculean an effort it is to float the sound over the orchestra and often in the high soprano range... Requires immense breath control, exact measure of pitch and above all tonality to suddenly slip back into full voice. Sutherland could never do it, which makes me appreciate what a immense skill and technique it requires to achieve it.
she keeps spinning and spinning here... extremely difficult singing if you imagine it sung in full Dramatic Coloratura Voice... should I suggest the role to Marina Rebeka to sing it at least in studio?
Io, caro Lohengrin 0, non ti posso parlare o discutere di tessitura, filatura o vocalizzo perfetto e tutti gli altri meccanismi di tecnica e le altre mille maniere di poter essere una perfetta Artista e straordinaria Soprano, tu sai per averlo detto tante volte, io sono uno zero spaccato in materia!!! É solo il mio cuore e la mia sensibilità che mi fanno intuire e impazzire per le grandi voci... e grande voce, senza alcun dubbio, è la meravigliosa voce di Montserrat Caballe '... è una delle Stelle più importanti che forma la Corona della Lirica. Ciao Lohengrin tu tutto bene?? Un affettuoso saluto da Elsa 🤣🤣🤣🤣 scusami.. ma queste faccette del mio Tablet sono tutte uguali 😁😁😁😁😁😁
It is wonderful to listen to a great soprano like Caballe sing. She had a truly beautiful and powerful voice. She sang everything from bel canto to Verdi to R. Strauss, and sang it beautifully. Her Norma, her Violetta, and her Salome were all fantastic. She is greatly missed. And what do we have today? NetrebCow the shouter. Ugh.
I am ashamed to admit that, in all my fifty-five years, I have never heard this opera. I have of course adored listening to this clip, and I have also enjoyed reading the comments, particularly those of Agnello Dei, Ali Offe and of course dear Lohengrin. Can anyone recommend a recording of the opera that would not be too incompetent? Also, is there a critical edition of the score available? Thank you everyone! ❤
it is one of the 9 defining full Assoluta roles and from what I hear here, when I imagine it sung with a full body Dramatic Coloratura Voice, it is an IMPOSSIBLE role...I have two complete recordings of Montsy in this and one of the singer mentioned above which I have not listened
@@LohengrinO Thank you for the information. From what you and others have said here, it is a great tragedy Callas never took on this role. I don't hold out any hope that it will be performed satisfactorily in my lifetime. Ah well.
@@jasonhurd4379 ...some roles are too difficult when one considers their actual Musical Value... this is one of them, the Devereux Elisabetta the next... why destroy the voice for these roles?
@@LohengrinO Hmmm...an interesting question. I believe Sills said somewhere that Devereux shortened her career by at least five years, but that it was worth it. I wonder why she thought that. I can understand a desire to sing Norma or Elektra, and not caring whether they destroyed the voice: the rewards, both artistic and material, for a woman who masters those roles are substantial. But I agree: why ruin your voice in a thankless part? Perhaps that is why Callas never undertook it. Still, I can't tell whether Gemma di Vergy is a thankless role or not until I have studied the work. I will have to see if I can locate a score.
@@jasonhurd4379 ...it was worth it because Callas hadnt sung it :D that was Sills' only reward... all these great Ladies, everything they ever did or said was a way of response to Callas
People need to look into Imogene from Il Pirata. Caballe always maintained that Imogene was the most difficult role she ever sang. It has long flowing Bellini lines with sharp coloratura and tons of duets. The spiral at the end of act one is terribly difficult. Here it is, th-cam.com/video/H6vvHfVOYDQ/w-d-xo.html
Gosh you guys are rough. I heard every "great lady" you speak of in San Francisco, back in the day, except for Callas. From recordings, yes, total fan of Callas. But y'all are picking apart this gonzo Caballe vs speculation, what if Callas? Come on! Can't resist sayin': you try it!
I came to this aria or song through Christa Ludwig teaching it in a masterclass in the Netherlands: th-cam.com/video/aL1Vk7E3Wyw/w-d-xo.html&app=desktop. Then I listen to Caballe, and many other interpretations and I most say that only Caballe understood and underlined the meaning and expression of that lied! Everybody else except Dame Janet Baker and Edda Moser are pale in comparisson. That songs requires a tremendous amount of depth to your sound!
She lacks weight. Period. It's not about agility or something else. That's why Sutherland and Caballe are always so unsatisfactory in this repertoire. All these works were composed for one kind of voice alone: a dramatic mezzo with an extended top and phenomenal agility all throughout the vocal range. A voice that could drop from C6 to C4 in an instant, or slide from C6 down to deep chest, or trill down there. Caballe and Sutherland had many qualities, but they sounded like hair spray at the bottom, especially in works with bifurcated tessitura. Give me late, wobbling, singing into a bottle Callas over anyone else. At least, she had the material.
...indeed, indeed... but just listen to all those Spins my God... spinning for all Eternity... Diabolical role to be sung in full Dramatic Coloratura Voice... who will dare?
@@LohengrinO of course, i will listen to this for all the reasons you've said. I love Sutherland's Casta Diva, and Caballe gives prime Callas a run for her money in some lyric sections. But i would never call them Normas ;) they're daughters of Norma, as Caballe once said.
@@alioffe4321 ...when Montsy enters the pianissimo mode, she could do whatever with her Voice... as if in some video games where u enter another Realm and suddenly you are a God for a few seconds... it is incredibly interesting to listen to her spins in pianissimo mode and imagine them sung in full Dramatic Coloratura / Assoluta Voice...but as all good things it was extremely tiring for her to enter the Pianissimo mode... that is why her Orange Norma is unique and supreme compared to the rest of her Normas... in her Orange Norma out of summoning the Strength and Stamina of a Titan she manages to switch to pianissimo mode constantly as if it was a natural part of her voice (that evening ate her Voice alive - she was also supported by the incredible acoustics of that theatre)
@@LohengrinO That performance is really one of her greatest accomplishments , indeed. But still, she was lacking. Just listen to her entrance or in mia man. No one here would question the brilliance of her Casta Diva or Deh Non Volerli etc. of course. Caballe could be quite surprising at times, too. With Sutherland, you almost always know what's about to happen. Caballe could sing very low and sometimes sounded gigantic at the top. Still, the nature of her instrument was a lyrical one. That was her curse. I say curse because her heart yearned for this repertoire. Otherwise, she was a vocal miracle. I'll take her il dolce suono or ardon gl'incensi over Sutherland's anyday. That's vintage Caballe!
I go into delirium with Caballe's drifting musical lines. Her pianissimo was truly a once in a lifetime freak of nature phenomenon.
A while back I was dismissive of Caballe's pianissimo being a fabricated ornament that she used to cover up fortissimo (half true but still), but the more you analyse it the more you realise how herculean an effort it is to float the sound over the orchestra and often in the high soprano range... Requires immense breath control, exact measure of pitch and above all tonality to suddenly slip back into full voice. Sutherland could never do it, which makes me appreciate what a immense skill and technique it requires to achieve it.
she keeps spinning and spinning here... extremely difficult singing if you imagine it sung in full Dramatic Coloratura Voice... should I suggest the role to Marina Rebeka to sing it at least in studio?
Lohengrin O Yes! She needs to at least record this and Roberto Devereux!
Omg! That crescendo at minute 3:00 GAVE ME LIFE!!! 😍😍😍
O divina creatura.Stella fulgidissima,voce Angelica,dea.
Io, caro Lohengrin 0, non ti posso parlare o discutere di tessitura, filatura o vocalizzo perfetto e tutti gli altri meccanismi di tecnica e le altre mille maniere di poter essere una perfetta Artista e straordinaria Soprano, tu sai per averlo detto tante volte, io sono uno zero spaccato in materia!!! É solo il mio cuore e la mia sensibilità che mi fanno intuire e impazzire per le grandi voci... e grande voce, senza alcun dubbio, è la meravigliosa voce di Montserrat Caballe '... è una delle Stelle più importanti che forma la Corona della Lirica. Ciao Lohengrin tu tutto bene?? Un affettuoso saluto da Elsa 🤣🤣🤣🤣 scusami.. ma queste faccette del mio Tablet sono tutte uguali 😁😁😁😁😁😁
Yes Elsa, I am quite well thank you. Kisses from Greece
This is voodoo! How could she!
It is wonderful to listen to a great soprano like Caballe sing. She had a truly beautiful and powerful voice. She sang everything from bel canto to Verdi to R. Strauss, and sang it beautifully. Her Norma, her Violetta, and her Salome were all fantastic. She is greatly missed. And what do we have today? NetrebCow the shouter. Ugh.
Hermosa la.voz de la Caballé
I am ashamed to admit that, in all my fifty-five years, I have never heard this opera. I have of course adored listening to this clip, and I have also enjoyed reading the comments, particularly those of Agnello Dei, Ali Offe and of course dear Lohengrin. Can anyone recommend a recording of the opera that would not be too incompetent? Also, is there a critical edition of the score available? Thank you everyone! ❤
it is one of the 9 defining full Assoluta roles and from what I hear here, when I imagine it sung with a full body Dramatic Coloratura Voice, it is an IMPOSSIBLE role...I have two complete recordings of Montsy in this and one of the singer mentioned above which I have not listened
@@LohengrinO Thank you for the information. From what you and others have said here, it is a great tragedy Callas never took on this role. I don't hold out any hope that it will be performed satisfactorily in my lifetime. Ah well.
@@jasonhurd4379 ...some roles are too difficult when one considers their actual Musical Value... this is one of them, the Devereux Elisabetta the next... why destroy the voice for these roles?
@@LohengrinO Hmmm...an interesting question. I believe Sills said somewhere that Devereux shortened her career by at least five years, but that it was worth it. I wonder why she thought that. I can understand a desire to sing Norma or Elektra, and not caring whether they destroyed the voice: the rewards, both artistic and material, for a woman who masters those roles are substantial. But I agree: why ruin your voice in a thankless part? Perhaps that is why Callas never undertook it. Still, I can't tell whether Gemma di Vergy is a thankless role or not until I have studied the work. I will have to see if I can locate a score.
@@jasonhurd4379 ...it was worth it because Callas hadnt sung it :D that was Sills' only reward... all these great Ladies, everything they ever did or said was a way of response to Callas
Singt das Cabelle gut. Wenig bis keine Erfahru g zu dieser Opa😊
People need to look into Imogene from Il Pirata. Caballe always maintained that Imogene was the most difficult role she ever sang. It has long flowing Bellini lines with sharp coloratura and tons of duets. The spiral at the end of act one is terribly difficult. Here it is,
th-cam.com/video/H6vvHfVOYDQ/w-d-xo.html
She had said the same about Mina from Aroldo...
Überwältigend schön. Keine sang solche schönen Pianissimi, auch heute noch nicht!
Interessante.
Gosh you guys are rough. I heard every "great lady" you speak of in San Francisco, back in the day, except for Callas. From recordings, yes, total fan of Callas. But y'all are picking apart this gonzo Caballe vs speculation, what if Callas? Come on! Can't resist sayin': you try it!
Lohengrin O, please check this early strauss recording of Caballe. It might be my favorite recording of hers! th-cam.com/video/Nxqi6TPLTnc/w-d-xo.html
MAJESTIC
Oustanding. Look for a translation of that song. It is incredible!
I came to this aria or song through Christa Ludwig teaching it in a masterclass in the Netherlands: th-cam.com/video/aL1Vk7E3Wyw/w-d-xo.html&app=desktop.
Then I listen to Caballe, and many other interpretations and I most say that only Caballe understood and underlined the meaning and expression of that lied! Everybody else except Dame Janet Baker and Edda Moser are pale in comparisson. That songs requires a tremendous amount of depth to your sound!
She lacks weight. Period. It's not about agility or something else. That's why Sutherland and Caballe are always so unsatisfactory in this repertoire. All these works were composed for one kind of voice alone: a dramatic mezzo with an extended top and phenomenal agility all throughout the vocal range. A voice that could drop from C6 to C4 in an instant, or slide from C6 down to deep chest, or trill down there. Caballe and Sutherland had many qualities, but they sounded like hair spray at the bottom, especially in works with bifurcated tessitura. Give me late, wobbling, singing into a bottle Callas over anyone else. At least, she had the material.
...indeed, indeed... but just listen to all those Spins my God... spinning for all Eternity... Diabolical role to be sung in full Dramatic Coloratura Voice... who will dare?
@@LohengrinO of course, i will listen to this for all the reasons you've said. I love Sutherland's Casta Diva, and Caballe gives prime Callas a run for her money in some lyric sections. But i would never call them Normas ;) they're daughters of Norma, as Caballe once said.
@@alioffe4321 ...when Montsy enters the pianissimo mode, she could do whatever with her Voice... as if in some video games where u enter another Realm and suddenly you are a God for a few seconds... it is incredibly interesting to listen to her spins in pianissimo mode and imagine them sung in full Dramatic Coloratura / Assoluta Voice...but as all good things it was extremely tiring for her to enter the Pianissimo mode... that is why her Orange Norma is unique and supreme compared to the rest of her Normas... in her Orange Norma out of summoning the Strength and Stamina of a Titan she manages to switch to pianissimo mode constantly as if it was a natural part of her voice (that evening ate her Voice alive - she was also supported by the incredible acoustics of that theatre)
@@LohengrinO That performance is really one of her greatest accomplishments , indeed. But still, she was lacking. Just listen to her entrance or in mia man. No one here would question the brilliance of her Casta Diva or Deh Non Volerli etc. of course. Caballe could be quite surprising at times, too. With Sutherland, you almost always know what's about to happen. Caballe could sing very low and sometimes sounded gigantic at the top. Still, the nature of her instrument was a lyrical one. That was her curse. I say curse because her heart yearned for this repertoire. Otherwise, she was a vocal miracle. I'll take her il dolce suono or ardon gl'incensi over Sutherland's anyday. That's vintage Caballe!
@@alioffe4321 I think her Orange Norma is her greatest accomplishment...