There was this point when, as Irene's family member (daughter in law x 38 yrs) you would just surrender to her as an actual divine creature. Her gift was that big; her beauty, vocally, absurdly beyond measure. She was a miracle, truly a special creation.
A real discovery! (for me, at least). Bravo! So different from the light coloratura approach we're used to hearing! PS: are there any recordings of her as the Queen of the Night?
@@edwardamosbrandwein3583 Sorry, but that I don't know. I do know that she took very seriously the foreign languages she sang in well enough to speak to somebody. Very serious artist.
I do have both (and they come with an E-flat at the end.!) I could get around to posting it in a few weeks, or if you contact me at the email address listing on my channel "about" page, I can share an MPD individually.
Jordan's cadenza is directly out of the classic Estelle Liebling book of cadenzas and embellishments that I mention in my Linda di Chamounix "O luce" aria comparison video I just posted. On page 52 she provides four cadenzas for this Puritani aria; this is cadenza "C" -- the longest of the options, except for "D" which involves a flute (!) and was, according to the book, "sung by Galli-Curci." I don't know anyone else who has sung this one. I'm not at all claiming that being in Liebling's book means it is in good or bad taste. Those terms can be hard to define beyond "we know either when we hear it" -- right? Isn't taste in art to some extent both personal and collective as it evolves over time? Ironically, in the introduction to her book, Liebling cautions singers "not to over-embellish a composition. Nothing that is overdecorated is in good taste." So ... there you go! I do agree with you here that although well executed, Jordan's cadenza essentially does not feel like it is the spirit of Bellini's music or Elvira's character, and so it is in poor taste. But I am also so delighted that it exists as a snapshot of a certain coloratura singer in a certain era. That's one of the things I hope my channel shows, the variety of interpretation of coloratura by sopranos in different eras from different countries and schools of study. No two are ever alike!
@@songbirdwatcher I would add that interpolations should enhance the written music and not detract from it. I think if it stops the momentum on the music proper it is superfluous. Adding a high note or changing the octave does not stop the momentum of the music. The cadenzas in the slow music are better because it creates an emotional pause. Stoping for a display however would be considered bad taste.
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There was this point when, as Irene's family member (daughter in law x 38 yrs) you would just surrender to her as an actual divine creature. Her gift was that big; her beauty, vocally, absurdly beyond measure. She was a miracle, truly a special creation.
Awesome coloratura agility. Jordan's voice colour reminds me Milanov's.
A real discovery! (for me, at least).
Bravo!
So different from the light coloratura approach we're used to hearing!
PS: are there any recordings of her as the Queen of the Night?
No recording of her Queen that I'm aware. I found her on this CD compilation of live stuff -- but no QotN. www.norpete.com/v0270.html
No, unfortunately. She only sang the role twice; once at Covent Gardens, once at the Met.
@@rowencaplan8315 Ty (in Enhlish on both occasions, I presume)
@@edwardamosbrandwein3583 Sorry, but that I don't know. I do know that she took very seriously the foreign languages she sang in well enough to speak to somebody. Very serious artist.
@@rowencaplan8315 Thx for your information
You can really hear that mezzo background.
hey do you have a recording of Irene Jordan's sempre libera or ah forse lui ? :)
I do have both (and they come with an E-flat at the end.!) I could get around to posting it in a few weeks, or if you contact me at the email address listing on my channel "about" page, I can share an MPD individually.
Well sung, but with a truly tasteless cadenza.
Jordan's cadenza is directly out of the classic Estelle Liebling book of cadenzas and embellishments that I mention in my Linda di Chamounix "O luce" aria comparison video I just posted. On page 52 she provides four cadenzas for this Puritani aria; this is cadenza "C" -- the longest of the options, except for "D" which involves a flute (!) and was, according to the book, "sung by Galli-Curci." I don't know anyone else who has sung this one. I'm not at all claiming that being in Liebling's book means it is in good or bad taste. Those terms can be hard to define beyond "we know either when we hear it" -- right? Isn't taste in art to some extent both personal and collective as it evolves over time? Ironically, in the introduction to her book, Liebling cautions singers "not to over-embellish a composition. Nothing that is overdecorated is in good taste." So ... there you go! I do agree with you here that although well executed, Jordan's cadenza essentially does not feel like it is the spirit of Bellini's music or Elvira's character, and so it is in poor taste. But I am also so delighted that it exists as a snapshot of a certain coloratura singer in a certain era. That's one of the things I hope my channel shows, the variety of interpretation of coloratura by sopranos in different eras from different countries and schools of study. No two are ever alike!
@@songbirdwatcher I would add that interpolations should enhance the written music and not detract from it. I think if it stops the momentum on the music proper it is superfluous. Adding a high note or changing the octave does not stop the momentum of the music. The cadenzas in the slow music are better because it creates an emotional pause. Stoping for a display however would be considered bad taste.
Completely out of style!
That's all you have to say? Well, I suppose everyone has their own opinions
absolutely gorgeous!