I have always loved the hard mechanical sound of Horne's vocal production. Some may prefer a more velvety sound, but Horne's vocal production is even, precise in tune from the bottom notes to the top, pianissimo mezza forte or fortissimo. I adore listening to Marilyn Horne and in this Tancredi aria she is right there in her milieux.
I didn‘t know the opera, but could unterstand every word. So she is a man in this role who comes back to his ungrateful homeland and wants to live with his beloved Adelaide. Fabulously sung and unforgettable.
Even at this point, she was STILL the single best interpreter of Rossini, thanks to an unshakeable technique, combined with what can only be described as a "tank" of a voice. Brava!
In questo caso,provare invidia non e' un sentimento negativo.E' come si affermasse il proprio disappunto per non averla potuta sentire dal vivo.Anch'io direi a qualcuno che ha avuto la fortuna di sentire la Caballe' o Beniamino Gigli dal vivo"ti invidio per l'opportunità che hai avuto!!"In questi casi, nella lingua italiana,invidia non e' un termine negativo e viene spesso usato tranquillamente.
Konnte dieses Konzert persönlich erleben,ein absolter Abend der Extaklasse mit den beiden Primadonnen Marylin Horne und Montserrat Caballe !"BRAVISSIMO"Johann Mayrle, Baden bei Wien
Absolutely genial. Incomparable. Unique. Maestro Rossini, from high above, must be bewitched by this rendition of this most famous and celebrated aria. Marilyn Horne's contralto voice is a rare privilege if to that we add her talent and rendition of this most beautiful work all opera lovers are transported to a lyrical paradise. Brava, brava Marilyn you are unique !
@@theonlygoodlookinghabsburg2081 yesh but Horne is the epitome of a coloratura mezzo. She even started out as soprano. Ewa Podles has a denser, more robust, slightly androgynous sound compared to horne
@@mugrad25 Absolutely agreed on both points. I think you definitely have a better ear than mine, but I honestly don't think it's fair to set Ewa Podles as the threshold of low tessitura comparison; that reminds me of a comment I read where someone says Samuel Ramey is not a real bass simply because he isn't as deep as Jerome Hines.. I mean, what? I think similar to how Ramey is bass-baritone, Horne is a coloratura mezzo-contralto, like Fedora Barbieri & Giulietta Simionato, whom Leyla Gencer called contraltos, she even called Barbieri a contralto when refering to her Adalgisa, which I think is on the higher spectrum. I've heard Horne herself say that she has a wide range, in the sense that she can sing the higher roles (even soprano roles) and those deep contralto Rossinian ones at the same time. However, she also says that as she grew older, she felt more and more comfortable with the lower singing of Rossini than the higher roles of Verdi. I think it's not just about the range of the voice, but also where one feels comfortable, and I have a feeling from hearing her that she feels most comfortable in singing lower roles, like Lucia Terrani. I mean don't take this as an attempt to be objective, we all hear differently, but there are definitely times when I feel I'm almost listening to a tenor when I'm in fact listening to Horne. But again, we all hear differently. I also sometimes find some dark dramatic sopranos more contralto-ish than mezzos.
@@theonlygoodlookinghabsburg2081 thanks for your comment. I definitely agree that there is overlap between the fachs and what does it matter anyway if they can sing it well. Podles was the only contralto voice that i think of. But was just thinking that even if they were singing the same note. The contralto timbre as a whole tends to be rounder, darker, oboe/reedy, more robust sounding. Hornes sound is round, rich and she has amazing low notes. There is a lightness/brightness that makes think shes more on the high mezzo side; like joan sutherlands mezzo counterpart. Idk, im not looking solely at the range but also timbre. Think Denyce Graves is closer to a contralto. The voice just envelops you and its rich/metallic sounding. I will keep on reflecting. Thank you for your thoughts.
Habida cuenta que el personaje que canta es masculino, esa voz de Marilyn Horne con graves tan marcados le da bastante más autenticidad que cantado por otras mezzo.
She didn't developed her real chest voice... compare with others. She had agility and great high notes... She put weight and places her voice back in her throat for her medium and low notes to sound like a real mezzo. th-cam.com/video/Mo5v3aeSigc/w-d-xo.html
@0o0doir0o0 I heard her do this live in 1999, when she was in the final year of her classical career. She was in amazing voice that night...the voice was effortless. I agree about Daniel's version too...I wonder if he will ever perform the entire role?
I suppose you are trying to complement Horne by saying that no one "can sing this way these days". But the truth is exactly the opposite. We are in a Golden Age of Rossini mezzos and Horne started it all. Before her there was Supervia and very, very few others. Just like Callas who sang the Lily Pons repertoire. After her everything changed. Horne helped found modern Bel Canto. Like Caruso helped found Verismo.
Each voice is unique... but she wasn't a true mezzo... good high notes and agility, but she didn't have a real chest voice. Just listen to this video: th-cam.com/video/3jsJGc79Q4Q/w-d-xo.html
Ой, это я! Только начала читать и решила включить то, что напевал герой. Такое интересное получилось чтение. Величественная музыка, помпезный голос и мысли о самоубийстве. Интересненько)
David Daniels does this amazingly... she looked as if she was focusing focusing on her technique a lot.... in her earlier days she ooked as if she sang with great ease. still love her though :D
Oh no, she was always this static and concentrated. She was just singing and no action. But wow what a result. The only thing different is a bit air in the voice
One of this century’s greatest mezzos.
I have always loved the hard mechanical sound of Horne's vocal production. Some may prefer a more velvety sound, but Horne's vocal production is even, precise in tune from the bottom notes to the top, pianissimo mezza forte or fortissimo. I adore listening to Marilyn Horne and in this Tancredi aria she is right there in her milieux.
Scott Johnson ::
What did you think of her singing of _Arsace_ from Rossini's _Semiramide_ ?
I didn‘t know the opera, but could unterstand every word. So she is a man in this role who comes back to his ungrateful homeland and wants to live with his beloved Adelaide. Fabulously sung and unforgettable.
I was lucky to see her final classical recitals in 1999-2000. Still in amazing voice, I'll never forget them.
Una gigante, grandissima Marilyn Horne
Just love this voice!!
Also the orchestra sounds ellegant and lovely with that introduction in tempo andante!
Bravo!
That woman is a wonderful freak of nature! She sounds FABULOUS!
MAGNIFICA
OMG!! The sheer beauty of her sound, and not to mention the agility of it!!! Brava!!! She is phenomenal!!!!
UNA GRANDE INTERPRETE DEL BEL CANTO CONTRALTO O SOPRANO DI COLORATURA MOLTO BRAVA . GRAZIE
Even at this point, she was STILL the single best interpreter of Rossini, thanks to an unshakeable technique, combined with what can only be described as a "tank" of a voice. Brava!
I got chills!!!
io l'ho udita dal vivo alla fenice di Venezia nel Tancredi e in un recital.IMMENSO TALENTO!!!
invidia
***** invidia per sergio
***** ma ci arrivi???
INVIDIA PER SERGIO !
Hai letto cosa ha scritto?
In questo caso,provare invidia non e' un sentimento negativo.E' come si affermasse il proprio disappunto per non averla potuta sentire dal vivo.Anch'io direi a qualcuno che ha avuto la fortuna di sentire la Caballe' o Beniamino Gigli dal vivo"ti invidio per l'opportunità che hai avuto!!"In questi casi, nella lingua italiana,invidia non e' un termine negativo e viene spesso usato tranquillamente.
Ho avuto l’onore di essere il suo scudiero in scena al Teatro La Fenice Immensa voce grandissima artista !
❤❤Вечная.память Великим Артистам Оперы .❤❤
"Di tanti palpiti" begins at 5:28.
Thank you, Mr. Scholl. The answer is no one; Ms. Horne's mark is indelible and inimitable. May she remain cancer-free!
Toujours magnifique !
la più grande interprete rossiniana
when Marilyn sings.. you know her right away.. Not like most singers..
MARAVILHOSA DIVINA 💝💝💝💝💝💝💝💝🔥
Marilyn Horne, MARAVILHOSA !!!
Konnte dieses Konzert persönlich erleben,ein absolter Abend der Extaklasse mit den beiden Primadonnen Marylin Horne und Montserrat Caballe !"BRAVISSIMO"Johann Mayrle, Baden bei Wien
Superb. This suits her voice better than the Glück. Love her Verdi and Donizetti roles also
Solo che da ammirare!
Da brividi...
I first heard her in the 60s, Semiramide
i, I still think as I did then, the best singer ever.
Absolutely genial. Incomparable. Unique. Maestro Rossini, from high above, must be bewitched by this rendition of this most famous and celebrated aria. Marilyn Horne's contralto voice is a rare privilege if to that we add her talent and rendition of this most beautiful work all opera lovers are transported to a lyrical paradise. Brava, brava Marilyn you are unique !
She is a coloratura mezzo
@@mugrad25 All contraltos call themselves mezzos because there are more mezzo roles, that doesn't mean they aren't contraltos.
@@theonlygoodlookinghabsburg2081 yesh but Horne is the epitome of a coloratura mezzo. She even started out as soprano. Ewa Podles has a denser, more robust, slightly androgynous sound compared to horne
@@mugrad25 Absolutely agreed on both points. I think you definitely have a better ear than mine, but I honestly don't think it's fair to set Ewa Podles as the threshold of low tessitura comparison; that reminds me of a comment I read where someone says Samuel Ramey is not a real bass simply because he isn't as deep as Jerome Hines.. I mean, what?
I think similar to how Ramey is bass-baritone, Horne is a coloratura mezzo-contralto, like Fedora Barbieri & Giulietta Simionato, whom Leyla Gencer called contraltos, she even called Barbieri a contralto when refering to her Adalgisa, which I think is on the higher spectrum.
I've heard Horne herself say that she has a wide range, in the sense that she can sing the higher roles (even soprano roles) and those deep contralto Rossinian ones at the same time. However, she also says that as she grew older, she felt more and more comfortable with the lower singing of Rossini than the higher roles of Verdi. I think it's not just about the range of the voice, but also where one feels comfortable, and I have a feeling from hearing her that she feels most comfortable in singing lower roles, like Lucia Terrani.
I mean don't take this as an attempt to be objective, we all hear differently, but there are definitely times when I feel I'm almost listening to a tenor when I'm in fact listening to Horne. But again, we all hear differently. I also sometimes find some dark dramatic sopranos more contralto-ish than mezzos.
@@theonlygoodlookinghabsburg2081 thanks for your comment. I definitely agree that there is overlap between the fachs and what does it matter anyway if they can sing it well.
Podles was the only contralto voice that i think of. But was just thinking that even if they were singing the same note. The contralto timbre as a whole tends to be rounder, darker, oboe/reedy, more robust sounding. Hornes sound is round, rich and she has amazing low notes. There is a lightness/brightness that makes think shes more on the high mezzo side; like joan sutherlands mezzo counterpart.
Idk, im not looking solely at the range but also timbre. Think Denyce Graves is closer to a contralto. The voice just envelops you and its rich/metallic sounding.
I will keep on reflecting. Thank you for your thoughts.
Very sadly She is the last living real master of Bel Canto. Such enjoyment she has given to millions!
fabuleuse!!!
Io ho avuto la fortuna di vederla oltre che sentirla dal vivo proprio nel Tancredi a Palermo assieme alla Cuberli nella parte di Amenaide
Bellissima voce orchestra equilibrata
Fantastica voce! ❤❤
she's wonderful and has done a whole of a lot to bring belcanto into the mainstream but there are gorgeous belcantists still singing.
Me ha encantado
Habida cuenta que el personaje que canta es masculino, esa voz de Marilyn Horne con graves tan marcados le da bastante más autenticidad que cantado por otras mezzo.
Pero ella es un contralto
Meravigliosa!
It was Jackie that taught Joan Sutherland how to do needlepoint & tapestry.Joan said it was a life saver,on long plane flights between opera houses!
BRavooooooooooooooooooooooooooooooooooooooooo
Marilyns Stimme ist eine Naturgewalt !
di tanti palpiti 5,35
splendida Horne
Che registro di petto🤩
She didn't developed her real chest voice... compare with others. She had agility and great high notes... She put weight and places her voice back in her throat for her medium and low notes to sound like a real mezzo.
th-cam.com/video/Mo5v3aeSigc/w-d-xo.html
AMARE!
@0o0doir0o0 I heard her do this live in 1999, when she was in the final year of her classical career. She was in amazing voice that night...the voice was effortless. I agree about Daniel's version too...I wonder if he will ever perform the entire role?
Diva!!!!
Люблю.
I suppose you are trying to complement Horne by saying that no one "can sing this way these days". But the truth is exactly the opposite. We are in a Golden Age of Rossini mezzos and Horne started it all. Before her there was Supervia and very, very few others.
Just like Callas who sang the Lily Pons repertoire. After her everything changed. Horne helped found modern Bel Canto. Like Caruso helped found Verismo.
Patrick Boyle Ehm... Who can sing like that nowadays???
UNICA!!!!
Voce unica nel registro mezzosopranile
Each voice is unique... but she wasn't a true mezzo... good high notes and agility, but she didn't have a real chest voice. Just listen to this video:
th-cam.com/video/3jsJGc79Q4Q/w-d-xo.html
LO DISFRUTE.
Leitung?
Nose!
what is the name of the role she plays when she sings this master piece?
+Sayuri Li Tancredi
Tancredi
5:29
Есть кто от Бальзака?
кто здесь от Бальзака?;)
Ой, это я! Только начала читать и решила включить то, что напевал герой. Такое интересное получилось чтение. Величественная музыка, помпезный голос и мысли о самоубийстве. Интересненько)
Di tanti palpiti: 5:27
Rossini aveva in mente la voce della Maryln!
David Daniels does this amazingly... she looked as if she was focusing focusing on her technique a lot.... in her earlier days she ooked as if she sang with great ease. still love her though :D
Oh no, she was always this static and concentrated. She was just singing and no action. But wow what a result. The only thing different is a bit air in the voice
Este tot Monserrat Cabale pâna la 32 de ani.
She is so skinny here...
Great singer if you like baritones.