Listen to that beautiful tonal quality even in the twilight of her career.. True there is less flexibility and a very slight wobble, but the tone still shines with an amazing glimmer...Rest In Peace Joan.
una pasada..............de todo.................................magnifica......................exuberante.......................portentosa............poderosa e incaliflicable..............................se pasa en belleza................de tal manera..................que enloquece.......su sonido........................
I'm so glad that everyone is excited by the production. I was fortunate to have been invited to design both sets and costumes at the invitation of Maestro Richard Bonynge & Dame Joan. Sir Robert Helpmann directed. To honor dear Dame's memory, I am posting a series of previously unseen designs & photographs of our last collaboration ANNA BOLENA at the ROH (1988). Please check my web site on the anniversary of her death this year. (2014) There will also be a conversation with me on 'OperaWarhorses' to mark the event. Viva per sempre dear Joan: With endless affection and eternal admiration: John Pascoe
+John Pascoe Dear Mr. Pascoe, in an age where many designers seem to take pride in making opera performances as visually hideous as it is humanly possible, it is a great pleasure to see your beautiful work, even if it is only in a grained video. Thank you!
operapassion Happy money wasting. ;) I just bought the DVD of this, the Flemming / Dessay Alcina, and the 1978 Don Giovanni telecast with Sutherland. They were $7.00 EACH!!
che senso ha cantare in italiano? lo scrivo con estremo rispetto ......e regalo un ricordo personal;.....visto che ho ascoltato una registrazione in Germania dove canta in inglese...che essendo il fonema che domina meglio; le facilita la memoria? ....A Venezia nel 1960 quando io l'ascoltai che ero un bambino; si capivano tutte le parole...e la voce frattanto è diventata diversa...e la variazioni più decise.....un giorno il marito senza peli sulla lingua disse che un difetto di sua moglie, fosse la memoria e non aver studiato la grammatica e approfondito i testi letterari dei libretti che usano un italiano, figlio dei suoi tempi. In fatti quando fece Lucrezia Borgia a Roma, negli anni ottanta...io c'ero all'ultima replica...dove ebbe un successo personale da stadio...credo fosse a ben oltre le cinquanta repliche in tutto il mondo...mi confessò e lo disse credo anche a Gina Guendalini in un intervista su Musica, Con una umiltà e riconoscenza per i i saluti di famiglia...(dopo avermi fatto vedere le cinque lire dorate ...regalatele da Tullio Serafin...dopo la prima prova di Lucia nel 59...le portava al collo come portafortuna)..disse; vedi conosco moltissime parole...ma ieri volendo seguire un film in italiano che ho visto in inglese, non sono riuscita a capire il doppiaggio...proprio per mancanza di sintassi e grammatica. Ai tempi che preparavo Traviata ...Lucia...con Il Maestro Serafin aveva la pazienza di fermarmi e indicarmi la pronuncia esatta ...per alcuni anni pensavo avrei raggiunta una certa Conoscenza....poi una sera da Venezia sono fuggita a causa di una Sonnambula dove avevo chiesto al direttore di poter fare delle variazioni diverse...per mia comodità ,poichè in difficoltà con il testo...lui fu inamovibile...io mi levai i costumi di scena e tornai a Londra senza voltarmi indietro...mi sostituì la Scotto. Quell'episodio mi regalò la patente di cantante capricciosa...Serafin, Basile, Giulini, Santi, se chiedevo delle modifiche opportune mi hanno sempre aiutata...mentre parlava dall'alto del suo campanile...era di una Disponibilità assoluta...accomiatandomi...era arrivato il marito ...sorridendo affermò; adesso vede discuto con Richard, a volte vince lui a volte...io...che bel ricordo. Aveva due occhi azzurri bellissimi e modi molto aristocratici...saputo che c'erano 100 persone che volevano l'autografo sui dischi...chiese un pò di tempo e seppi non ne mandò via senza...nemmeno uno.
I give this a thumbs up only because she and her husband were responsible for the re-discovery of this opera and the subsequent interest generated. Their recording of the opera on the London label is actually very good, though ignorant of "original interpretive performance practice".. for what that's worth. This is not good: her voice is unsteady, wobbly and not even always in tune. She is one of my favorite sopranos on record; this particular example of her art does her NO justice. Look back to the studio version
Please remember that at this point she had been singing on stage for 32 years in some of the most demanding repertoire in all of opera and was 58 years old. She did have a slight vocal crisis in the year preceding this and this but then sang for 12 more years. I heard her in 1986 in Bolena and she was spectacular. We must forgive her if she was not as great as usual here; however, her just good is so much better than anything that can be heard today in this repertoire that is seems barbaric to focus on that. I agree on the "for what that's worth" comment about "original" performance issues in this repertoire. No one really has any idea of how the castrati sounded or the grand female divas who had to compete with them. I have surmised ont his site often that Sutherland, with her tall stature, large lung capacity, long neck, and square jaw in addition to her spectacular technique probably sounded more like the castrati than any of the tine voiced little pretty birds who sing "original" interpretation.
Wilson Watt yes, we will never know what they actually sounded like. Sutherland, as all the greats, sounds like no one else. People who are use to slim voices singing this repertoire will find this too opulent. I think Handle would have loved this, this or her earlier version. No one could compete with a castrati’s lung capacity. Did they have this rich a voice? I personally don’t think so. She never lightened her tone for any florid passages, that was one of her most unique qualities. Add to that the most perfect vocal trill I have ever heard.
@@wilsonwatt9283 you are absolutely correct. But people have gotten use to small voices singing this repertoire so they think that is the way it should be. If you know Sutherland’s voice well, you know this for it’s time in her career is quite wonderful. No other sound like it, as with any great singer.
![SAFEPLANET - ดาวเคราะห์ [ THE PLANET ]](http://i.ytimg.com/vi/4X1XL3I_k3c/mqdefault.jpg)
Listen to that beautiful tonal quality even in the twilight of her career.. True there is less flexibility and a very slight wobble, but the tone still shines with an amazing glimmer...Rest In Peace Joan.
precioso...................lo mas de lo mas........................en directo........en vivo...........
She's amazing. Thank you for uploading this.
La più bella ALCINA che ho ascoltato in 25 anni
una pasada..............de todo.................................magnifica......................exuberante.......................portentosa............poderosa e incaliflicable..............................se pasa en belleza................de tal manera..................que enloquece.......su sonido........................
I'm so glad that everyone is excited by the production. I was fortunate to have been invited to design both sets and costumes at the invitation of Maestro Richard Bonynge & Dame Joan. Sir Robert Helpmann directed. To honor dear Dame's memory, I am posting a series of previously unseen designs & photographs of our last collaboration ANNA BOLENA at the ROH (1988). Please check my web site on the anniversary of her death this year. (2014) There will also be a conversation with me on 'OperaWarhorses' to mark the event. Viva per sempre dear Joan: With endless affection and eternal admiration: John Pascoe
+John Pascoe Dear Mr. Pascoe, in an age where many designers seem to take pride in making opera performances as visually hideous as it is humanly possible, it is a great pleasure to see your beautiful work, even if it is only in a grained video. Thank you!
Opulent tone.....excellent ormamintaion.......beautiful melody
Live! Magnificent. Thanks.
glorious!!!
OH MY GOD there is a video of this? How did I not know this?
THIS IS ART ! REST IN PEACE ... YOU ARE FOR SURE AN ANGEL !!
Many many thanks.
Very very nice
John Pascoe in the name of heaven...Where can we see the full production of Dame Joan and Richard Bonynge’s Alcina on which you collaborated?
operapassion
Happy money wasting. ;)
I just bought the DVD of this, the Flemming / Dessay Alcina, and the 1978 Don Giovanni telecast with Sutherland.
They were $7.00 EACH!!
Hello! Please tell me where you got those CD.
Is this video available commericially?
No, but there is a site where you can get it. Message me on TH-cam for further details. :)
where is this sight?! ill message you.
Where?
che senso ha cantare in italiano? lo scrivo con estremo rispetto ......e regalo un ricordo personal;.....visto che ho ascoltato una registrazione in Germania dove canta in inglese...che essendo il fonema che domina meglio; le facilita la memoria?
....A Venezia nel 1960 quando io l'ascoltai che ero un bambino; si capivano tutte le parole...e la voce frattanto è diventata diversa...e la variazioni più decise.....un giorno il marito senza peli sulla lingua disse che un difetto di sua moglie, fosse la memoria e non aver studiato la grammatica e approfondito i testi letterari dei libretti che usano un italiano, figlio dei suoi tempi. In fatti quando fece Lucrezia Borgia a Roma, negli anni ottanta...io c'ero all'ultima replica...dove ebbe un successo personale da stadio...credo fosse a ben oltre le cinquanta repliche in tutto il mondo...mi confessò e lo disse credo anche a Gina Guendalini in un intervista su Musica, Con una umiltà e riconoscenza per i i saluti di famiglia...(dopo avermi fatto vedere le cinque lire dorate ...regalatele da Tullio Serafin...dopo la prima prova di Lucia nel 59...le portava al collo come portafortuna)..disse; vedi conosco moltissime parole...ma ieri volendo seguire un film in italiano che ho visto in inglese, non sono riuscita a capire il doppiaggio...proprio per mancanza di sintassi e grammatica. Ai tempi che preparavo Traviata ...Lucia...con Il Maestro Serafin aveva la pazienza di fermarmi e indicarmi la pronuncia esatta ...per alcuni anni pensavo avrei raggiunta una certa Conoscenza....poi una sera da Venezia sono fuggita a causa di una Sonnambula dove avevo chiesto al direttore di poter fare delle variazioni diverse...per mia comodità ,poichè in difficoltà con il testo...lui fu inamovibile...io mi levai i costumi di scena e tornai a Londra senza voltarmi indietro...mi sostituì la Scotto. Quell'episodio mi regalò la patente di cantante capricciosa...Serafin, Basile, Giulini, Santi, se chiedevo delle modifiche opportune mi hanno sempre aiutata...mentre parlava dall'alto del suo campanile...era di una Disponibilità assoluta...accomiatandomi...era arrivato il marito ...sorridendo affermò; adesso vede discuto con Richard, a volte vince lui a volte...io...che bel ricordo. Aveva due occhi azzurri bellissimi e modi molto aristocratici...saputo che c'erano 100 persone che volevano l'autografo sui dischi...chiese un pò di tempo e seppi non ne mandò via senza...nemmeno uno.
I give this a thumbs up only because she and her husband were responsible for the re-discovery of this opera and the subsequent interest generated. Their recording of the opera on the London label is actually very good, though ignorant of "original interpretive performance practice".. for what that's worth. This is not good: her voice is unsteady, wobbly and not even always in tune. She is one of my favorite sopranos on record; this particular example of her art does her NO justice. Look back to the studio version
Please remember that at this point she had been singing on stage for 32 years in some of the most demanding repertoire in all of opera and was 58 years old. She did have a slight vocal crisis in the year preceding this and this but then sang for 12 more years. I heard her in 1986 in Bolena and she was spectacular. We must forgive her if she was not as great as usual here; however, her just good is so much better than anything that can be heard today in this repertoire that is seems barbaric to focus on that. I agree on the "for what that's worth" comment about "original" performance issues in this repertoire. No one really has any idea of how the castrati sounded or the grand female divas who had to compete with them. I have surmised ont his site often that Sutherland, with her tall stature, large lung capacity, long neck, and square jaw in addition to her spectacular technique probably sounded more like the castrati than any of the tine voiced little pretty birds who sing "original" interpretation.
Wilson Watt yes, we will never know what they actually sounded like. Sutherland, as all the greats, sounds like no one else.
People who are use to slim voices singing this repertoire will find this too opulent.
I think Handle would have loved this, this or her earlier version.
No one could compete with a castrati’s lung capacity. Did they have this rich a voice? I personally don’t think so.
She never lightened her tone for any florid passages, that was one of her most unique qualities. Add to that the most perfect vocal trill I have ever heard.
@@wilsonwatt9283 you are absolutely correct. But people have gotten use to small voices singing this repertoire so they think that is the way it should be. If you know Sutherland’s voice well, you know this for it’s time in her career is quite wonderful. No other sound like it, as with any great singer.
Shut up, as if she care about your thumbs up😂
outstanding performance but a bit too much vibrato. if I may...