Mi ripeto:x mia fortuna ho ammirato Renata Scotto all 'Arena di Verona nel 1968...Straordinaria artista sembrava un usignolo.Ho ammirato anche Mario Zanasi e Gianni Raimondi sotto la direzione di G A.Gavazzeni...serata stellare con successo ENORME.una marea di pubblico entusiasta! Meno male che ci sono i giapponesi che hanno regalato splendide registrazioni video di questi capolavori!GRAZIE❤
Such a superbe actress , every word and note is full of meaning , musicality out of this world , beautiful and easy voice , no rival for her in this repertory , except Callas . Just Callas and her knew how to give dramatic sense to scales and fiorituras
I heard Scotto several times in person at the Met during the 80s. Pianissimos were always lovely but once she got above mf, the voice became shrill and unpleasant. I could never imagine how she could have sung a role and Sills step in for her (Siege of Corinth - at LaScala). This is a pleasant surprise even though the last Eflat is barely there. Its a shame she did not stay with Bel Canto singing.
la Cabaletta " spargi d'amaro pianto" segue l'aria della pazzia " Ardon gli incensi". la Scotto è una grandissima interprete di queste arie difficilissime
Vielleicht tue ich der Meinung so manches Callas-Fans damit weh, ich bin einer der ersten, der den Finger hebt, aber hier erleben wir eine gleichartige Aufführung. Es gibt bestimmt gesangstechnische Unterschiede, die Eimaligkeit der Stimmcharikteristik, der Wiedererkennungswert, siehe Antonietta Stella, erst recht Magda Olivero, die fehlen, Korrektur, Callas und Olivero waren bestimmt Maßstab, Richtschnur eines unendlich bereicherten Berufslebens.
Elle ne joue pas très bien. On dirait qu’elle a juste mal à la tête…mais la voix est belle, encore ronde, precise et sans aspérités. Ses années 70 seront ceux vers la fin, avec des rôles plus lourds, le vibrato marqué, mais aussi des sommets d’interprétation: Butterfly, Angelica…
Even here, she's pressing and singing with too much vibrato. I also hate her acting: she seems incapable of looking at anyone when she sings,since she insists on keeping her full face to the audience, forcing anyone who sings with her to either stand behind her or look sideways. It's so unprofessional. That last note is absolutely horrid!
Scotto was an Artist who people either loved or hated !I loved her and thought she had incredible instincts as a Musican and as an Actress.She was an incredible Diva who sang with her heart and soul!
I think she's actually pretty good here. Her high register was never the best part of her voice, as it always sounded thin and pinched. Her acting is more natural and spontaneous here than it became later. Later on, I could always see the gears turning in her head, as she tried to be "artistic." She was very musical and very committed.
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Mi ripeto:x mia fortuna ho ammirato Renata Scotto all 'Arena di Verona nel 1968...Straordinaria artista sembrava un usignolo.Ho ammirato anche Mario Zanasi e Gianni Raimondi sotto la direzione di G A.Gavazzeni...serata stellare con successo ENORME.una marea di pubblico entusiasta!
Meno male che ci sono i giapponesi che hanno regalato splendide registrazioni video di questi capolavori!GRAZIE❤
Maravilhosa voz e interpretação notável ouvi para recordar esta grande artista
Always a consummate actress and a splendid vocal stylist.
Such a superbe actress , every word and note is full of meaning , musicality out of this world , beautiful and easy voice , no rival for her in this repertory , except Callas . Just Callas and her knew how to give dramatic sense to scales and fiorituras
what beautiful memorizing voice !
meravigliosa ...e sono callassiana feroce!
This is where her voice belonged, not in Macbeth, or Abigaile, or Norma, or Gioconda. Except for the lack of a trill, she was splendid in bel canto.
She had a trill
I heard Scotto several times in person at the Met during the 80s. Pianissimos were always lovely but once she got above mf, the voice became shrill and unpleasant. I could never imagine how she could have sung a role and Sills step in for her (Siege of Corinth - at LaScala). This is a pleasant surprise even though the last Eflat is barely there. Its a shame she did not stay with Bel Canto singing.
It’s this a bel canto role?
yes @@weiliu3623
Yes@@weiliu3623
Everyone’s a critic. Love her or hate her. I love her.
RENATA AT HER BEST!
la Cabaletta " spargi d'amaro pianto" segue l'aria della pazzia " Ardon gli incensi".
la Scotto è una grandissima interprete di queste arie difficilissime
GRANDIOSA RENATA
A tour de force performance by one of the greatest operatic singers of all time.
meravigliosa
RIP Renata
Tokyo, 1967.
Vielleicht tue ich der Meinung so manches Callas-Fans damit weh, ich bin einer der ersten, der den Finger hebt, aber hier erleben wir eine gleichartige Aufführung. Es gibt bestimmt gesangstechnische Unterschiede, die Eimaligkeit der Stimmcharikteristik, der Wiedererkennungswert, siehe Antonietta Stella, erst recht Magda Olivero, die fehlen, Korrektur, Callas und Olivero waren bestimmt Maßstab, Richtschnur eines unendlich bereicherten Berufslebens.
Elle ne joue pas très bien. On dirait qu’elle a juste mal à la tête…mais la voix est belle, encore ronde, precise et sans aspérités. Ses années 70 seront ceux vers la fin, avec des rôles plus lourds, le vibrato marqué, mais aussi des sommets d’interprétation: Butterfly, Angelica…
ACUTO MOLTO BRUTTO. TEMPI LENTI. ESAGERATA INTERPRETAZIONE
Bravissima ma la tira un po' in lunga
Domenico ,tu come l' avresti tirata? Non è che tu sei affetto da eiculatio precox
Even here, she's pressing and singing with too much vibrato.
I also hate her acting: she seems incapable of looking at anyone when she sings,since she insists on keeping her full face to the audience, forcing anyone who sings with her to either stand behind her or look sideways. It's so unprofessional. That last note is absolutely horrid!
Scotto was an Artist who people either loved or hated !I loved her and thought she had incredible instincts as a Musican and as an Actress.She was an incredible Diva who sang with her heart and soul!
@@joemiller6975 Yes instead of a brain.
I think she's actually pretty good here. Her high register was never the best part of her voice, as it always sounded thin and pinched. Her acting is more natural and spontaneous here than it became later. Later on, I could always see the gears turning in her head, as she tried to be "artistic." She was very musical and very committed.
On the contrary the last interpolated high note which is a High-Eb is amazing. Not sing like a light coloratura showpiece but as a dramatic climax