Amazing vocal performance, and I always enjoy the fact that she's so secure technically that you can just relax and feel the cheerful, careless nature of this aria with no worries. Her voice, as always, sounds very opulent, homogeneous and unmistakably unique - but I'm surprised that here it sounds more youthful than she usually sounded in 1979, it really conveys some girlishness and a more lyrical sound. And that after more than 30 years of singing career! I think this rendition is perhaps a bit too fast, but a fast tempo in this cabaletta definitely DOES FIT the mood of the aria, which is about extatic joy, girlish cheerfulness. It certainly was not made to sound very "melodramatic" nor very "deep". It's an aria to convey joy, playfulness, a sense of catharsis and unbridled happiness. And a fast tempo highlights that in the music. I'm way too tired of all the comments that basically amount to "everyone before and after should've sung/conducted this very same piece in the very same way exactly as my favorite performer did". That's too boring, unimaginative even. These scores are the work of geniuses exactly because they always can bring us something new depending on the performance. There is room for many different interpretations that highlight different aspects of the score, otherwise we'd all die in boredom since these operas are performed hundreds or thousands of times. Everyone has his favorites, but I appreciate hearing other takes on the same score very much.
STUPENDOUS! In my opinion, this was done just a little too fast - even for her - but she really was something very special! A true dramatic coloratura soprano. I think she looked lovely also. What a great concert this was!
I completely agree! In an interview i think in ‘78 Bonynge said at this point in her career the voice was becoming just a “touch sluggish”, his words not mine, so he sped up the tempi in a lot of things trying to keep the soupplesse of the voice. Regardless, she sounded marvelous!
I’ve been a JS fan since early 1950, age 11. My wife and I were lucky enough to see both Joan and Marilyn in concert at the Melbourne state theatre in the early eighties. We thought we had been transported to another world such was the experience. It’s very true Joan’s voice heard live is something we will never forget.
To all these so called critics of opera singers .Did you achieve world fame like Joan Sutherland or Maria Callas etc. It is pathetic to hear the couch criticism from these so called opera fans. Wake up it is bloody hard work to become such a famous singer.
ABSOLUTELY! It makes me laugh to hear people say things like "Its too fast" . What they mean of course is that they are used to it at a specific speed, but mostly they have NO idea what they are talking about. No real artist would ever say such a thing. www.johnpascoe.com www.john-pascoe-artist.com
Every week one of you bdi say stupid shit like this that we all know will fly out the moment you're faced with singers you don't like. You don't need to be a singer to have a valid opinion or we might as well do away with composers, conductors and instrumentalists among others.
We took subscriptions to the Australian Opera seasons in the Sydney Opera House, and had the very great pleasure of hearing Sutherland on quite a few occasions. She really was outstanding.
She sounds like she's trying to the the Indy 500-------------and gets away with it. Even at breakneck speed, she mows down those notes like a singing shark. I didn't expect she sang so spectacularly in 1979, but from Sutherland, I'd expect no less.
If there were nothing remaining of Joan Sutherlands' work but this one performance she would still be known as one of the greatest singers of all time...
@@WelshHomo87, Callas aveva altri meriti, sicuramente superiore ma con la Sutherland sono state le piu' grandi cantanti del 900...e anche oggi non esiste l'eguale.
The sound filled and enveloped the listener in astonishing acoustical brilliance. Heard her in NORMA, BOLENA, FLEDERMAUS, and in concert. Without parallel.
TOO BE ABLE TO SING AND HIT THE HIGHS YOU HAVE TO BE BLESSED WITH A GIFT ONE OF THE GREATEST OPERA SINGERS OF OUR TIME SHE COULD SING ANYONE OFF THE STAGE THERE ARE STILL 2 LEGENDARY SOPRANOS STILL WITH US TODAY LEONTYNE PRICE & MARILYN HORNE
It was!! I heard her live from 1980 in her Covent Garden performances and the recordings don’t convey the all-enveloping quality of the voice. The Eflats in Lucrezia Borgia and Lucia were astounding in the 80s.
Enormous in amplitude. I heard Nilsson, Price, Sills, Arroyo, Caballe, Rysanek and many other in the house. Only Nilsson could match the volume, but never the beauty.
Sutherland, Sills and other stratospheric sopranos brought back the high flying seemingly improvisational, though carefully worked out, element to bel canto. She got her intended effect, to thrill, trill and drive the audience mad, as only she could!
Oh my goodness;too fast or not;thus has to be one of the most electrifying "live" performances ever recorded!Dame Joan not only had a BEAUTIFUL voice ,it was a very BIG sound as well and to think that she had to hold it in check as it were to be able to produce the fine coloratura that this aria demands;Will there ever be another "La Stupenda?"
Yo creo que está Gran Dama del canto operístico fue y será única en abodar este tipo de repertorio además puso y elevó a gran escala a muchos compositores cantando brillantemente su repertorio para mí será una de las llamadas y elegidas voces del mundo operístico desde Madrid un admirador y seguidor de esta destacada y brillante interprete
Simply fabulous. Breathtakingly stunning. Interesting that some of the ornaments are simplified at the end. But she compensated with the stacatti Eflats.
She did shorten the cadenza, which she sang complete in the studio the next year. Maybe she didn't think she could do it live at the end of a long evening? Still her only real competition is herself fifteen years before.
@@ThomasDawkins88 I'm sure she could have sung it easily. Sometimes in the 80s though they did simplify passages a little, especially in concert. But still the greatest voice I ever heard in the theatre!
Wow! That staccati was simply the note didn't get quite right on so she did the staccati to get the thin edges working. Basically, it was a "save". Good for her!
@@OperaMyWorldno singer would purposely chose as it doesn’t quite fit musically. It’s a vocal tool to get the voice to vibrate without pressure. I’m sure she did it at the rehearsal too for the same reason.
But she kept up with it, because she could, producing a much more exciting result. I've heard slower versions with other sopranos; this is far superior to any of them.
Un gran despliegue de pirotecnia vocal sin duda, pero cualquier parecido con la partitura de Bellini salvando la melodía general es pura coincidencia 😵😵 Lo fastidiado es que esta afamada cantante creó escuela y hay quien prefiere imitarla a toda costa y consigue un pobre resultado, mientras que los que cantan esto mismo atendiendo a la partitura y a sus posibilidades al final gustan más. A fin de cuentas, Joan Sutherland, guste más o guste menos, no hay más que una, imitarla es una temeridad (salvo las legítimas parodias que se quieran hacer en clave de humor).
Purtroppo la nota e' staccata perche' ha preso malissimo il Mi bemolle e per "salvare il salvabile" astutamente ha trasformato una clamorosa stecca in un passaggio ardito. Solo una grande si puo' permettere questo.
Tomba 2, avendo ascoltato nel 1980 dal vivo 7 recite di Lucrezia Borgia a Roma, tutte le sere "sparava" il Mib che era una cannonata (non come quelli della Devia..) con delle vibrazioni che davvero i cristalli dei lampadari oscillavano...le recite erano bellissime, ti puoi immaginare poi l'emozione di avere la Joan per 15 giorni tutte le sere davanti che ti canta a quel modo..i trilli...e la dizione era buonissima, non come dicono i cretini. Il "clou" della serata, la cifra, poi era sto Mib conclusivo che tutti attendevamo con ansia...sempre perfetto e poi cadeva a terra planando. Era perfetto, era perfetta, era Joan Sutherland! Con la Callas e' insostituibile. Il Mib lo ha salvato picchettandolo..mica tutte sono capaci. Una grande prodezza tecnica che solo una grande tecnica permette. Ciao Tomba 2.
@@onigbajamo Bel Canto is the Art of Singing, with all the technical proficiency on display. Singing in Bellini's time was about entertainment, and that included scales, arpeggios, staccati, trills...everything. Bel Canto is "beautiful singing" but not careful or conservative singing... the audience wanted vocal fireworks.
@@joshuamcpherson007 i don't see where i said that. read to understand, not to argue. it's funny you should talk about bellini's time though, since he had a lot to say/write about expression rather than just showing off. funny that.
@@onigbajamo You don't see where you said what? Bellini didn't describe vocal pyrotechnics as"showing off". He understood they were an essential part of the florid singing, and an integral part of Bel Canto singing. I am a trained singer, and my earliest studies included Bel Canto style as presented by Marchesi and Lamperti...who wrote the book "The Technics of Bel Canto".
I’m a huge fan. A big one actually. But I can admit that this isn’t her best. Not because of tone, lack of agility, or control.. but simply trying to keep up with the orchestra and her dork of a husband playing this entirely too fast. For what she had to deal with, she did an excellent job.. If it had been slower, as written, it would’ve been perfect. ❤️
She was a genius on her own at her Met début and her Norma in Vancouver was astonishing. But the longer she sang with Boing-Boing, the worse her voice sounded.
Yo en cambio siento una gran emoción cuando la escucho, además de una admiración enorme. La conocí en el Teatro Real de Madrid, ya muy mayor, asistía a un palco como una más, saludó a todos los que se acercaron a ella.
A beautiful voice, but the tempo is so fast that it does no wright to the music...... as often the notes always sound the same. Which in a way is a huge compliment for one of the best female voices ever recorded, but for me personal it lacks the true belcanto sound and drama with which Maria Callas did sing. She really brought soul to the role......
I thhink this is perhaps a bit too fast, but a fast tempo in this cabaletta definitely DOES FIT the mood of the aria, which is about extatic joy, girlish cheerfulness. It certainly was not made to sound very "melodramatic" nor very "deep". It's an aria to convey joy, playfulness, a sense of catharsis and unbridled happiness. And a fast tempo highlights that in the music. I'm way too tired of all the comments that basically amount to "everyone before and after should've sung/conducted this very same piece in the very same way exactly as my favorite performer did". That's too boring. There is room for many different interpretations that highlight different aspects of the score, otherwise we'd all die in boredom since these operas are performed hundreds or thousands of times. Everyone has his favorites, but I appreciate hearing other takes on the same score very much.
@@henkhartman3048Yes, she was clearly pushed to her limits here, not the best tempo for her especially at this time in her career (by 1979 she had been singing heavy prima donna roles for more than 25 years), but IMHO she pulled it off remarkably welll.
![ลองสุ่มไอโฟน 990 โกงมั้ย? [ โกงมั้ยครับ ep.101 ] | DOM](http://i.ytimg.com/vi/bfsWe0j492k/mqdefault.jpg)
One of the greatest if not the greatest!!!
"Ah Non Giunge" is the signature aria by Joan Sutherland. She sang it better than any other soprano, even Maria Callas.
Brilliant as usual. Love her and miss her beautiful voice.
Didn'"t you hear so many faults in the singing?
@@corec1991 Pathetic really!!
Magnificent
her trilling was absolutely thrilling
This is golden age singing! Thrilling!
Amazing vocal performance, and I always enjoy the fact that she's so secure technically that you can just relax and feel the cheerful, careless nature of this aria with no worries. Her voice, as always, sounds very opulent, homogeneous and unmistakably unique - but I'm surprised that here it sounds more youthful than she usually sounded in 1979, it really conveys some girlishness and a more lyrical sound. And that after more than 30 years of singing career!
I think this rendition is perhaps a bit too fast, but a fast tempo in this cabaletta definitely DOES FIT the mood of the aria, which is about extatic joy, girlish cheerfulness. It certainly was not made to sound very "melodramatic" nor very "deep". It's an aria to convey joy, playfulness, a sense of catharsis and unbridled happiness. And a fast tempo highlights that in the music. I'm way too tired of all the comments that basically amount to "everyone before and after should've sung/conducted this very same piece in the very same way exactly as my favorite performer did". That's too boring, unimaginative even. These scores are the work of geniuses exactly because they always can bring us something new depending on the performance. There is room for many different interpretations that highlight different aspects of the score, otherwise we'd all die in boredom since these operas are performed hundreds or thousands of times. Everyone has his favorites, but I appreciate hearing other takes on the same score very much.
Absolutely agree w everything, especially the tempo! As you say, it's a joyous 'thank goodness I was only sleepwalking' aria and not a requiem!! 😍
"Everyone has their favorites" but if you give your opinion on yours I'll write an essay softly chiding you.
Absolutely agree with you
STUPENDOUS!
In my opinion, this was done just a little too fast - even for her - but she really was something very special! A true dramatic coloratura soprano. I think she looked lovely also. What a great concert this was!
Utter rubbish George
I completely agree! In an interview i think in ‘78 Bonynge said at this point in her career the voice was becoming just a “touch sluggish”, his words not mine, so he sped up the tempi in a lot of things trying to keep the soupplesse of the voice. Regardless, she sounded marvelous!
Absolutely agree. It was too fast for her to keep her breathe under her. It lost some musical grace. That was Bonynge. Always forcing HIS way on her.
@@puppetoz you obviously are not a singer, or a student of belcanto.
Absolutely too fast.
Stupenda. Risolvere una stecca sicurissima con una serie di picchettati impeccabili sul Mib. Geniale.
She was the greatest of all time -- period.
I’ve been a JS fan since early 1950, age 11. My wife and I were lucky enough to see both Joan and Marilyn in concert at the Melbourne state theatre in the early eighties. We thought we had been transported to another world such was the experience. It’s very true Joan’s voice heard live is something we will never forget.
The tempo was perfect. Shes just the best.
Brilliant, what else is there to say. My favourite, miss her!
She was able to transform an error into a masterpiece ❤
To all these so called critics of opera singers .Did you achieve world fame like Joan Sutherland or Maria Callas etc. It is pathetic to hear the couch criticism from these so called opera fans. Wake up it is bloody hard work to become such a famous singer.
ABSOLUTELY! It makes me laugh to hear people say things like "Its too fast" . What they mean of course is that they are used to it at a specific speed, but mostly they have NO idea what they are talking about. No real artist would ever say such a thing. www.johnpascoe.com www.john-pascoe-artist.com
The diva wouldn’t sing if she thought the tempo was wrong. It’s her voice, her choice. End of.
Every week one of you bdi say stupid shit like this that we all know will fly out the moment you're faced with singers you don't like. You don't need to be a singer to have a valid opinion or we might as well do away with composers, conductors and instrumentalists among others.
@@Feisenbach Absolutely. But so many of them come with insults and an attitude that their opinion is the only one.
@@johnpascoeopera You must allow people to have opinions, they be contrary to yours, but just as valid !
Amazing technique and absolutely gorgeous sound❤❤❤
We took subscriptions to the Australian Opera seasons in the Sydney Opera House, and had the very great pleasure of hearing Sutherland on quite a few occasions. She really was outstanding.
She sounds like she's trying to the the Indy 500-------------and gets away with it. Even at breakneck speed, she mows down those notes like a singing shark. I didn't expect she sang so spectacularly in 1979, but from Sutherland, I'd expect no less.
If there were nothing remaining of Joan Sutherlands' work but this one performance she would still be known as one of the greatest singers of all time...
Thank god we have more lol
Una delle più belle voci del Secolo !!!!!! ❤
This is to me the best female vocal tecnique in history....just heaven on earth bravaaaaaaaa
Alongside Callas yes
@@WelshHomo87, Callas aveva altri meriti, sicuramente superiore ma con la Sutherland sono state le piu' grandi cantanti del 900...e anche oggi non esiste l'eguale.
Madame Monserrat
@@jimbuxton2187 she did ....but callas could act
@@silverkitty2503Callas acting is in the voice, she paints the character with the words, it is just a different experience .
i'll always remember you this way j s & r b, thank you for sharing your journey
Sensational. Thank you
Amazing!!!!! ❤❤❤ what a voice.. the breath control wow…
If I can only hear her live. What a voice.
The sound filled and enveloped the listener in astonishing acoustical brilliance. Heard her in NORMA, BOLENA, FLEDERMAUS, and in concert. Without parallel.
@@machovoce6826you are so lucky. How I wish I was born in your time.
@@machovoce6826elaborate
I"m pretty sure what Joan Sutherland did is impossible.
It was
😁
It was and has never been topped
@@misanthropelife I don't think she ever will to be honest
Perfectly stated.
This is almost as fast as her first studio recording.
R: Darling how about we try to outshine the callas Eflat diminuendo
J: oh yes.. let me sing 9 Eb staccati
Me: what fresh hell was that??
Lmao
She definitely slayed
It was a bit flat at the beginning; then she added the staccati.
@@mariomazzi7894 You got it in one !
The greatest singer that ever lived!!!!!
Dame Joan..enough said..!!
Too fast but incredibly executed tbh. She's so amazing she sounds borderline digital. Lol
way too fast!!
TOO BE ABLE TO SING AND HIT THE HIGHS YOU HAVE TO BE BLESSED WITH A GIFT ONE OF THE GREATEST OPERA SINGERS OF OUR TIME SHE COULD SING ANYONE OFF THE STAGE THERE ARE STILL 2 LEGENDARY SOPRANOS STILL WITH US TODAY LEONTYNE PRICE & MARILYN HORNE
Spectacular staccati! I just wish the tempo was a little slower.
Amazing La Stupenda!!!!
she was easily better than most, if not all, the other so-called 'greats'.
In your opinion.
Supercalifragilisticexpialidocious. Extremely good. Live long and prosper.
La Stupenda.
Insuperable, verdadera cavalletta, tiempo correcto, sin agitación ni respiración sonora, pasmosa seguridad, única, señores: La Estupenda!!!!
It's way too fast, tbh. However, it's executed perfectly.
So fast and incredible!
Hard to know if you weren't actually there. I have a feeling the voice was huge.
It was!! I heard her live from 1980 in her Covent Garden performances and the recordings don’t convey the all-enveloping quality of the voice. The Eflats in Lucrezia Borgia and Lucia were astounding in the 80s.
My Dad heard her North American debut in Alcina here in Dallas he could not believe the sound and technical ability. He was completely floored.
Enormous in amplitude. I heard Nilsson, Price, Sills, Arroyo, Caballe, Rysanek and many other in the house. Only Nilsson could match the volume, but never the beauty.
Sutherland, Sills and other stratospheric sopranos brought back the high flying seemingly improvisational, though carefully worked out, element to bel canto. She got her intended effect, to thrill, trill and drive the audience mad, as only she could!
Sills over did the embellishments though
Crazy organist Totally!
@@WelshHomo87 This is almost Sills-like tbh
She is the most agile of all the ladies to be sure.
A generous comment, but as far as coloratura sopranos go, Dame Joan Sutherland really was, and remains, "THE GREATEST OF ALL TIME".
In your opinion.
Absolutley stunning!
Oh my goodness;too fast or not;thus has to be one of the most electrifying "live" performances ever recorded!Dame Joan not only had a BEAUTIFUL voice ,it was a very BIG sound as well and to think that she had to hold it in check as it were to be able to produce the fine coloratura that this aria demands;Will there ever be another "La Stupenda?"
Highly unlikely.
Это потрясающе!!! Моё любимое исполнение, хочется слушать бесконечно, несмотря на возраст всё спето максимально гармонично, волшебно!
Beautiful!
like a bird voice~~so beauty
My opinion orchestra too fast..!!..?:-(
Bravoooooo, Bravoooooo. Magistral.
Stunning! ...thank you.
It feels rushed by the conductor (it makes me aggressive), while she does a great and wonderful job to cope with it.
Insuperable Joan !!!!!
She is not Joan her name is Monserrat Caballe
Yo creo que está Gran Dama del canto operístico fue y será única en abodar este tipo de repertorio además puso y elevó a gran escala a muchos compositores cantando brillantemente su repertorio para mí será una de las llamadas y elegidas voces del mundo operístico desde Madrid un admirador y seguidor de esta destacada y brillante interprete
Just adore Dame Joan.
Pura técnica vocal 👏
Just amazing!!!
Callas did this to perfection
Simply fabulous. Breathtakingly stunning. Interesting that some of the ornaments are simplified at the end. But she compensated with the stacatti Eflats.
She did shorten the cadenza, which she sang complete in the studio the next year. Maybe she didn't think she could do it live at the end of a long evening? Still her only real competition is herself fifteen years before.
@@ThomasDawkins88 I'm sure she could have sung it easily. Sometimes in the 80s though they did simplify passages a little, especially in concert. But still the greatest voice I ever heard in the theatre!
There is only one Joan Sutherland.
Wow! That staccati was simply the note didn't get quite right on so she did the staccati to get the thin edges working. Basically, it was a "save". Good for her!
Thats not true! In the rehearsal ofbthe concert she did also the stacatti! The had decided that it would performed innsuch way at the actual concert!
@@OperaMyWorld You know this how ?
No honey....
@@OperaMyWorldno singer would purposely chose as it doesn’t quite fit musically. It’s a vocal tool to get the voice to vibrate without pressure. I’m sure she did it at the rehearsal too for the same reason.
You obviously know nothing about singing.
I think she was the greatest ever
She could just burn down the house with her flame-throwing vocals.
amazing!!!
The orchestra was far too fast and, for all the fireworks, the phrasing was inevitably rushed. There are better performances by Sutherland of this.
But she kept up with it, because she could, producing a much more exciting result. I've heard slower versions with other sopranos; this is far superior to any of them.
@@Eiswirth1 it's really not
@@onigbajamo its far superior. She's excited because Elvino is longer mad at her and she's getting married. Its the perfect tempo
@@WelshHomo87 Not even by a mile, but keep believing that.
@@onigbajamo Please provide an example or link, we would love to listen to opera, regardless if we agree or not as to what is the better performance
EXCELENTE !!!!!!!!!!!!!!!!!!!!!!!!!
MUCHAS GRACIAS !!!!!!!!!!!!!!!!!!!!!!!!! HECTOR!!!!!!!!!!!!!!!!!!!!!!!!
9 Eb6！She is 53 years old now！
❤❤❤❤
Un gran despliegue de pirotecnia vocal sin duda, pero cualquier parecido con la partitura de Bellini salvando la melodía general es pura coincidencia 😵😵 Lo fastidiado es que esta afamada cantante creó escuela y hay quien prefiere imitarla a toda costa y consigue un pobre resultado, mientras que los que cantan esto mismo atendiendo a la partitura y a sus posibilidades al final gustan más. A fin de cuentas, Joan Sutherland, guste más o guste menos, no hay más que una, imitarla es una temeridad (salvo las legítimas parodias que se quieran hacer en clave de humor).
Wow
Unbelievable!!!
La Stupenda love you bellisima
👏👏👏👏
The prima donna assoluta del mondo.
What a stacato! La stupenda!
sin comentarios..............................es simplemente insuperable..................................
💗💗💗
Fenomenale ♥️♥️♥️
Brava
1:24
😵💫 !!
Explain
perchè il direttore d'orchertra corre???
That look at 1:35 that she gives is too cute
The envy of every canary
...
Purtroppo la nota e' staccata perche' ha preso malissimo il Mi bemolle e per "salvare il salvabile" astutamente ha trasformato una clamorosa stecca in un passaggio ardito. Solo una grande si puo' permettere questo.
assolutamente no.
Vi, assolutamente si.
@@fabriziomariagarzi5534 Per una volta Garzi ha ragione.
Riccardo Warvick, ha quasi sempre avuto ragione.
Tomba 2, avendo ascoltato nel 1980 dal vivo 7 recite di Lucrezia Borgia a Roma, tutte le sere "sparava" il Mib che era una cannonata (non come quelli della Devia..) con delle vibrazioni che davvero i cristalli dei lampadari oscillavano...le recite erano bellissime, ti puoi immaginare poi l'emozione di avere la Joan per 15 giorni tutte le sere davanti che ti canta a quel modo..i trilli...e la dizione era buonissima, non come dicono i cretini. Il "clou" della serata, la cifra, poi era sto Mib conclusivo che tutti attendevamo con ansia...sempre perfetto e poi cadeva a terra planando. Era perfetto, era perfetta, era Joan Sutherland! Con la Callas e' insostituibile. Il Mib lo ha salvato picchettandolo..mica tutte sono capaci. Una grande prodezza tecnica che solo una grande tecnica permette. Ciao Tomba 2.
Callas did a crescendo from pianissimo to fortissimo trilling on E6 in this aria
th-cam.com/video/btzPevKYeN8/w-d-xo.htmlsi=iQksFpOwi29WWCNi
Why should one be speaking about "showing off"? It's bel canto singing in its primary sense, isn't it?
That's not bel canto at all, actually.
@@onigbajamo Bel Canto is the Art of Singing, with all the technical proficiency on display. Singing in Bellini's time was about entertainment, and that included scales, arpeggios, staccati, trills...everything. Bel Canto is "beautiful singing" but not careful or conservative singing... the audience wanted vocal fireworks.
@@joshuamcpherson007 i don't see where i said that. read to understand, not to argue. it's funny you should talk about bellini's time though, since he had a lot to say/write about expression rather than just showing off. funny that.
@@onigbajamo You don't see where you said what? Bellini didn't describe vocal pyrotechnics as"showing off". He understood they were an essential part of the florid singing, and an integral part of Bel Canto singing. I am a trained singer, and my earliest studies included Bel Canto style as presented by Marchesi and Lamperti...who wrote the book "The Technics of Bel Canto".
@@joshuamcpherson007 why is simple comprehension is hard for you? you're arguing something i'm not talking about.
Muy buena!!!!
The conductor had a wee on...he wanted to get to the toilet asap....the way he took her through this aria😅
Singing 9 staccato e flats in a row on the same pitch ? Come on .. this is hard ? Please
What's the rush? So fast!
Too fast tempo, fortunately it's dame Sutherland. She did handle!
This is reality too fast, it takes the beauty out of the music, and make it a race , also , not keen on the added stacatti .
love Dame Joan ... not this version of Sonnambula !
Muy RÁPIDO.... demasiado...otra le hubiese lanzado una piedra a Richard B. PERO....eran esposos...se aguantaban mutuamente......
The tempo is fast for my taste.
I’m a huge fan. A big one actually. But I can admit that this isn’t her best. Not because of tone, lack of agility, or control.. but simply trying to keep up with the orchestra and her dork of a husband playing this entirely too fast. For what she had to deal with, she did an excellent job.. If it had been slower, as written, it would’ve been perfect. ❤️
She was a genius on her own at her Met début and her Norma in Vancouver was astonishing. But the longer she sang with Boing-Boing, the worse her voice sounded.
@@Mimi-ey5ej Sad but true. I don't know what his end game was with her voice. I think he was a little deaf or something. LOL.
Prefiero que pronuncie mejor a tanto adorno inútil y al quiebre de la línea melódica.
nadie duda que ella ha sido una de las grandes sopranos de su siglo pero por alguna razon no siento nada cuando canta esta mujer.
Yo en cambio siento una gran emoción cuando la escucho, además de una admiración enorme. La conocí en el Teatro Real de Madrid, ya muy mayor, asistía a un palco como una más, saludó a todos los que se acercaron a ella.
Yo la escuche varias veces y me daba grande emoción su timbre bellísimo, con más de 40 años de brillante carrera. Virtuosa, la perfección!!!!
Me.pasa igual!!! Saludos
A beautiful voice, but the tempo is so fast that it does no wright to the music...... as often the notes always sound the same. Which in a way is a huge compliment for one of the best female voices ever recorded, but for me personal it lacks the true belcanto sound and drama with which Maria Callas did sing. She really brought soul to the role......
I thhink this is perhaps a bit too fast, but a fast tempo in this cabaletta definitely DOES FIT the mood of the aria, which is about extatic joy, girlish cheerfulness. It certainly was not made to sound very "melodramatic" nor very "deep". It's an aria to convey joy, playfulness, a sense of catharsis and unbridled happiness. And a fast tempo highlights that in the music. I'm way too tired of all the comments that basically amount to "everyone before and after should've sung/conducted this very same piece in the very same way exactly as my favorite performer did". That's too boring. There is room for many different interpretations that highlight different aspects of the score, otherwise we'd all die in boredom since these operas are performed hundreds or thousands of times. Everyone has his favorites, but I appreciate hearing other takes on the same score very much.
@@Homoclassicus i share your opinion about the tempo. However i think that for mrs Sutherland of was not the right tempo here.
@@henkhartman3048Yes, she was clearly pushed to her limits here, not the best tempo for her especially at this time in her career (by 1979 she had been singing heavy prima donna roles for more than 25 years), but IMHO she pulled it off remarkably welll.
@@ygorcoelhos you are right. And her voice was so beautiful.....
More bullshit from a callasite.