Barone Vitellio Scarpia I don’t believe she was leggero. I think she was a lyric soprano. You clearly hear it in her Liu in Turandot 1961 at the MET with Nilsson and Corelli!
Barone Vitellio Scarpia It is, but that is a technical deficiency but not a matter or reason of true fach! She is a lyric soprano and her voice is not small at all. It just sounds small in this evening. Go to that Turandot!
Gorgeous tone, gorgeous woman, sensitive and warm interpretation. Moffo at her best was magnificent. And yes, it must have been very nice to look into the mirror and see that face!
Moffo was one of the most beautiful singers ever! I think politics in the US prevented her from exposure here. She made her fortune in Italy where there is no dislike for a person's ethnicity. They don't discriminate . They look at quality and that's why so many singers of different ethnicity can make it there. She was America-born and we should have appreciated her much more than we did.
sorry to disappoint you, but her parents were italian (so the first culture she met was the italian one, especially in a country and in a historical period when italian were emarginated and considered mafiosi or thieves or something like that) she mainly studied in venice and rome at the santa cecilia, where she was trained to become a real star, not in usa, and when she debutted at the met (59) she was already very but very famous in italy
+fabrizio fabrizi Moffo actually began her vocal studies at the Curtis Institute of Music in Philadelphia where she studied with Eufemia Giannini-Gregory, sister of soprano Dusolina Giannini. In 1954, on a Fulbright Program scholarship, is when she left for Italy to complete her studies at the Accademia Nazionale di Santa Cecilia.
The worst claptrap about Ms Moffo can be found in earlier commentary to this video. From Wikipedia: Anna Moffo was born in Wayne, Pennsylvania[2] to Italian immigrant parents, Nicola Moffo (a shoemaker) and his wife, Regina (née Cinti) Moffo. After graduating from Radnor High School, Anna turned down an offer to go to Hollywood and instead attended the Curtis Institute of Music in Philadelphia, where she studied with Eufemia Giannini-Gregory, sister of soprano Dusolina Giannini. In 1954, on a Fulbright scholarship, she left for Italy to complete her studies at the Accademia Nazionale di Santa Cecilia in Rome where she was a pupil of Mercedes Llopart and Luigi Ricci. She later studied voice privately in New York City with Beverley Peck Johnson.[3] Winning a Fulbright to study in Italy, Moffo became popular there after performing leading operatic roles on three RAI television productions in 1956. She returned to America for her debut at the Lyric Opera of Chicago on October 16, 1957. In New York, her Metropolitan Opera debut took place on November 14, 1959. (She was less than thirty!) Graduating from a Pennsylvania high school in 1950, there would have been little prejudice toward Italians. Not far away, I, of English descendance, dated a beautiful Italian girl in high school not much later and married another one. Moffo was eagerly accepted by the Curtis Institute in Philly and was trained there to a high degree before her Fulbright Scholarship. (That's why she won it.) It is sadly true that she had a vocal crisis---many singers do. I was fortunate enough to see her more than once before that happened. She was stunning in every way!
Wow! You apparently don't know Italians! Did you have a bad experience with someone of Italian lineage? Most of the Italians I know have very good taste in music and what a great voice sounds like! So to disprove your prejudice: What is Anna Moffo doing singing in German and French????? (Just a quick example of how far out your remarks are)
Ignore that comment. I was in a bad mood. Anyway it all stemmed from the statement that Moffo was unappreciated in America, which was not the case. She made a big success in America and performed on television a lot; unfortunately she had a premature vocal decline. I know italians aren't that nationalistic. I've heard Italians boo their own on many occasions. And I am aware that Moffo started her career in Italy. I still think it was crass to boo Fleming.
Technically is impeccable her coloratura,her fiato,legato ,resonance,her chords this aria is for light soprano,if your commentary not like this soprano for sound of her trilla and not have more say ,have not some that Technically is bad is your isn't more pure ignorance,anna isn't italian only part her family, father she wasn't north america only she have italian residence for decadence for other part
2° and sorry to disappoint you again, but we do boo italian singers a lot and acclaim non italian singers: italy made famous callas and -sadly- made her go away, italians named sutherland la stupenda, and italians again awarded horne as the first non-italian and, probably,the best rossini's mezzo of the world. if they booed fleming probably it happend because she didn't doa good job. persnally i think she sucks as belcantista. so.. don't think we are so nationalist as you are.take it easy dude
Although I have been an admirer of Anna Moffo's since the Sixties, I did not much care for this performance. The line strikes me as chopped up, with too many unnecessary breaks in the continuity of the legato, having no real justification in the syntax of the text. On the positive side, her sung French is clearly articulated and quite idiomatically pronounced. (And, of course, her timbre is lovely, and unmistakably her own.)
Marguerite is supposed to be a young maiden. Not an old crone with a voice of a witch. She has obviously not heard her voice, and therefore has not known how to make her voice sound beautiful. Trills cannot overload an opera. Especially since it was not written for trills, and only if one thinks it is necessary. Most prima donnas have no idea when to use trills. Such as Joan Sutherland who is a mediocre crow in comparison to other beautiful voiced Marguerites that are hidden
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Beautiful! She is like a very high soprano with a mezzo soprano rich middle and low velvet like voice! Very rare instrument with a distinctive tone!
Barone Vitellio Scarpia I don’t believe she was leggero. I think she was a lyric soprano. You clearly hear it in her Liu in Turandot 1961 at the MET with Nilsson and Corelli!
Barone Vitellio Scarpia It is, but that is a technical deficiency but not a matter or reason of true fach! She is a lyric soprano and her voice is not small at all. It just sounds small in this evening. Go to that Turandot!
Barone Vitellio Scarpia NO! She is not! You do not know more about voice or fach than me!
I think years ago more effort was made to develop the middle notes of sopranos, leading to a richer sound.
Gorgeous tone, gorgeous woman, sensitive and warm interpretation. Moffo at her best was magnificent. And yes, it must have been very nice to look into the mirror and see that face!
Such a beautiful woman. And an amazing singer!
Wow! That was an amazing performance! What a voice she had, and such wonderful vocal technique! Brava!
Moffo was one of the most beautiful singers ever! I think politics in the US prevented her from exposure here. She made her fortune in Italy where there is no dislike for a person's ethnicity. They don't discriminate . They look at quality and that's why so many singers of different ethnicity can make it there. She was America-born and we should have appreciated her much more than we did.
I always appreciated Moffo--and all my opera loving friends did, too. Moffo was of Italian descent. No wonder Italy embraced her.
What a beautiful woman with a beautiful voice!
Anna Moffo marcou sua passagem pela vida artística com excelente desempenho.
Such beautiful, musical singing in her prime.
Obrigado por postar
sorry to disappoint you, but her parents were italian (so the first culture she met was the italian one, especially in a country and in a historical period when italian were emarginated and considered mafiosi or thieves or something like that) she mainly studied in venice and rome at the santa cecilia, where she was trained to become a real star, not in usa, and when she debutted at the met (59) she was already very but very famous in italy
+fabrizio fabrizi Moffo actually began her vocal studies at the Curtis Institute of Music in Philadelphia where she studied with Eufemia Giannini-Gregory, sister of soprano Dusolina Giannini. In 1954, on a Fulbright Program scholarship, is when she left for Italy to complete her studies at the Accademia Nazionale di Santa Cecilia.
The worst claptrap about Ms Moffo can be found in earlier commentary to this video.
From Wikipedia: Anna Moffo was born in Wayne, Pennsylvania[2] to Italian immigrant parents, Nicola Moffo (a shoemaker) and his wife, Regina (née Cinti) Moffo. After graduating from Radnor High School, Anna turned down an offer to go to Hollywood and instead attended the Curtis Institute of Music in Philadelphia, where she studied with Eufemia Giannini-Gregory, sister of soprano Dusolina Giannini. In 1954, on a Fulbright scholarship, she left for Italy to complete her studies at the Accademia Nazionale di Santa Cecilia in Rome where she was a pupil of Mercedes Llopart and Luigi Ricci. She later studied voice privately in New York City with Beverley Peck Johnson.[3]
Winning a Fulbright to study in Italy, Moffo became popular there after performing leading operatic roles on three RAI television productions in 1956. She returned to America for her debut at the Lyric Opera of Chicago on October 16, 1957. In New York, her Metropolitan Opera debut took place on November 14, 1959. (She was less than thirty!)
Graduating from a Pennsylvania high school in 1950, there would have been little prejudice toward Italians. Not far away, I, of English descendance, dated a beautiful Italian girl in high school not much later and married another one. Moffo was eagerly accepted by the Curtis Institute in Philly and was trained there to a high degree before her Fulbright Scholarship. (That's why she won it.)
It is sadly true that she had a vocal crisis---many singers do. I was fortunate enough to see her more than once before that happened. She was stunning in every way!
Wow! You apparently don't know Italians! Did you have a bad experience with someone of Italian lineage? Most of the Italians I know have very good taste in music and what a great voice sounds like! So to disprove your prejudice: What is Anna Moffo doing singing in German and French????? (Just a quick example of how far out your remarks are)
Ignore that comment. I was in a bad mood. Anyway it all stemmed from the statement that Moffo was unappreciated in America, which was not the case. She made a big success in America and performed on television a lot; unfortunately she had a premature vocal decline.
I know italians aren't that nationalistic. I've heard Italians boo their own on many occasions. And I am aware that Moffo started her career in Italy.
I still think it was crass to boo Fleming.
Technically is impeccable her coloratura,her fiato,legato ,resonance,her chords this aria is for light soprano,if your commentary
not like this soprano for sound of her trilla and not have more say ,have not some that Technically is bad is your isn't more pure ignorance,anna isn't italian only part her family, father she wasn't north america only she have italian residence for decadence for other part
Una voce estesa, morbida ma anche acuta
Beautiful voice and appearance
what a wonderful voice... but the connection with the orchestra is not so good
2° and sorry to disappoint you again, but we do boo italian singers a lot and acclaim non italian singers: italy made famous callas and -sadly- made her go away, italians named sutherland la stupenda, and italians again awarded horne as the first non-italian and, probably,the best rossini's mezzo of the world. if they booed fleming probably it happend because she didn't doa good job. persnally i think she sucks as belcantista. so.. don't think we are so nationalist as you are.take it easy dude
ok ok i was in a fight mood :D but now i'm not and i keep on disliking fleming :;D
Although I have been an admirer of Anna Moffo's since the Sixties, I did not much care for this performance. The line strikes me as chopped up, with too many unnecessary breaks in the continuity of the legato, having no real justification in the syntax of the text. On the positive side, her sung French is clearly articulated and quite idiomatically pronounced. (And, of course, her timbre is lovely, and unmistakably her own.)
Marguerite is supposed to be a young maiden. Not an old crone with a voice of a witch. She has obviously not heard her voice, and therefore has not known how to make her voice sound beautiful. Trills cannot overload an opera. Especially since it was not written for trills, and only if one thinks it is necessary. Most prima donnas have no idea when to use trills. Such as Joan Sutherland who is a mediocre crow in comparison to other beautiful voiced Marguerites that are hidden
Are we watching the same thing?
Absolutely, I agree with you!!!