I wouldn't call it "mask" and "non-mask", but "nasal" and "non-nasal". Many singers, who said they are using "mask" technique, had clear non-nasal voice.
Saw all off Suliotis performances in London, scary experience, a high wire act without a net, but wonderful unforgettable moments. Saw Scotto at ROH in Macbeth, vocal problems aplenty but still a fascinating and skilful performance, bear in mind Scotto was ten years older than Suliotis, and this was ten years later.
Souliotos shot her voice after about 8 years on the international circuit. She was also 25 years younger than Scotto when these recordings were made. So, mask shmask - something was very wrong with Souliotus' technique to cause her to fold in under the age of 35
Elena soulstis c#6 in here is like metaphor of an angel of war . So gorgeous and graceful which bring your tears down. At the same time, the sounds comes out very strategic and powerful..
@@francisca1378 I think her coloratura and firotrua wasn’t as good as it could have been, but her three registers are well coordinated, she has strong chest notes, strong high notes, and her voice was (I think) very beautiful. And she was of course very dramatic on stage.
@@xxsaruman82xx87 yes there are definitely… problems, like you can hear where that is going to go wrong in a couple of years and the voice will just be a mess, but she has such a strong voice and such nuance in her interpretation… and those high notes, when she gets them right… just a gorgeous tone.
@Barone Vitellio Scarpia hmm they actually sound quite similar to me! I like them both singing abigaille, I also like Gencer's abigaille a lot! I meant those are my favourite parts of Souliotis, not that Souliotis is my favourite in those parts.
They're both singers who pushed their lyric instruments into destruction. Souliotis was a house of cards, and Scotto's ambitions were greater than her voice.
@@draganvidic2039 definitely, scotto pushed herself wayyyyy beyond what she was capable of doing. She is more like Mirella Freni's voice type but she is singing Lady Macbeth… crazy.
I've never heard her Liu, but I can imagine she'd be good in that. The only thing I ever really cared for her in was Lucia di Lammermoor. Outside of that, I really had no interest in her voice or career. Especially toward the end when she pushed it to such ridiculous extremes, trying so hard to be another Callas
There is no doubt that I love Elena Souliotis, but for stronger vocal interpreters of Lady Macbeth, I would definitely go for Maria Callas, Leonie Rysanek, Birgit Nilsson, Gladys Kuchta, Leyla Gencer, Elizabeth Connell, and Marisa Galvany.
Scotto y Suliotis tenían voces completamente distintas, por lo que su repertorio también tenía que ser distinto; Scotto era maravillosa en su tesitura, un error fue cantar Macbeth y también cantar a una edad avanzada. Actualmente no hay ninguna cantante que me trasmita la mitad de lo que lo hace la Sra. Scotto.
Es que los roles dramáticos pueden traer grandes satisfacciones, pero hay que ir con cuidado, sino se tiene cautela. Souliotis como Cerquetti tuvieron una carrera corta, esta última era una estupenda Gioconda y una maravillosa duquesa Elena ( I vespri Siciliani) pero esos roles de partituras ‘imposibles’ , sobre todo de Verdi, que no tiene piedad de la voz, como dijo el grandísimo tenor Lauri-Volpi, acaban pasando factura. Me parecen dos casos similares. La Souliotis tenía un timbre precioso, una voz Bella y grande, pero corrió mucho…en fin, a mi me parece una buena Lady Macbeth. En cuanto a Scotto, no fue una mala cantante, pero en algún momento de su carrera se hizo más notorio que no controlaba su instrumento, con sonidos estridentes, notas ‘sin cobertura ‘ etcétera. Gracias por compartir tu pensamiento en este vídeo.❤❤❤❤
Souliotis huge voice, I love his chest voice. Scotto I don't like her voice but she has a beautiful musicality and phrasing. I prefer both sopranos to other famous sopranos today.
Didn’t know about Souliotis until this video; it’s a shame she damaged her instrument-within such a short timeframe to… She’s got one of those voices that makes me envision a mythical creature, a fairy perhaps. It’s so soothing (a bit ironic considering the context and lyrics I know).
I completely agree,although it makes me so sad..Elena Souliotis would have remained as a remarkable,an unforgettable opera persona... she was blessed with a divine gift,which she never recognized as she had to do..she could have been an opera legend,like Maria Callas...
I find it very odd when people say Scotto “could have had a better career”. She had been singing for almost twenty years before she moved into heavier rep. That’s longer than many singers. The difference between the two is that Elena had no technique and blew her voice out. People say Scotto ruined her voice, but had been singing major roles for TWENTY YEARS before she moved into heavier rep full time. And her technique wasn’t the problem. Her voice eventually fell apart but she knew what had to be there and was more accurate and musical than Elena ever was. I think she knew and accepted the risk she was taking. But her artistry DID get her a long way. Elena lasted about half a decade despite singing appropriate rep. Which says something. When I hear Scotto I hear an artist misusing her voice but I always hear clear words, complete observation of the dynamics and note values in the score. And she’s expressive, only Callas is more so. Doesn’t mean she necessarily overcomes her issues and that she was wise. But there wasn’t anything fundamentally wrong with her technique itself. Her technical functioning, however miscast she might be, allows her to be much more imaginative and varied. Elena just hurls her voice at the notes and hope it goes well. Scotto was flawed but she was a real artist and I think she continues to be misrepresented and attacked.
I agree completely. I saw her at a gala in Carnegie Hall, post retirement sing a single live from the Libiamo, and she remains pretty much the only thing I remember from the gala. I can still see her entire body express tue laughter and pleasure of Violetta’s being as she sang that one line and was suddenly beautiful and young and glamorous, and flirtatious.
Naturalmente o mio admiratione per le due grandissime cantanti liriche Ma Giuseppe Verdi ha scritto questo personaggio per un Soprano drammatico malizioso e mi manca il colore di Maria Callas Nell queste due interpretazioni Abbiamo belli pienissimi colori lirici ma la verità con il dramatismo mi mancano soprattutto quando io conosco tutto il Rolo di Lady Macbeth e Noi ascoltiamo solamente l'ultima aria prima di sua morte E questa aria Porta questi lirici colori con questi bellissime pienissimi Grazie per questo video ma non voglio fare comparaison
Due vocalità e carriere artistiche che non si possono paragonare ,La Souliotis voce già adatta per il ruolo della Lady ,ma ricordiamoci che dopo 10 anni dal debutto la Souliotis aveva seri problemi vocali ,la Scotto ha cantato per altri 25,è dignitosamente
Ok folks, anyone responding here care to stand up and "try" to sing this aria, or any part of it! Thought so..........what one person hears may be totally different than what another set of ears may hear......Good Lord folks, try to be a little nicer. Personally, I don't care for all of scotto's work, but I think she nailed this one. And yes, at the end of her career. Its not a lullaby folks, its a demented woman's aria.
Many people have opinions about sports and athletes, yet you rarely see people telling them that since they couldn’t do any better themselves, they have no right to an opinion. By the way I’m an opera singer, I sing things like this. I sing an aria from this opera. I have opinions about ways that are more and less effective to perform this music. Most people here aren’t singers themselves, but that doesn’t mean none of them are. There are a lot of current young singers who are dissatisfied with modern trends in opera singing.. most of them are just smarter than me and don’t waste their time in the comments, but I can’t help myself
Souliotis had the voice for that role, but she sang it much too early. Scotto never had it. Scotto is awful here : every attack is flat and she hardly reaches the real note.Her vibrato is ridiculous. She should never have had that fame.
Really, she pushed herself much too hard - which is such a shame because if she had gone slower, she would have had a marvellous career. But I would always prefer Souliotis even on a bad day to Scotto!
@@francisca1378 You're funny if you think Souliotis had a better singing technique than Scotto....You have Scotto in the 80's at the end of a thirty year career compared with a young Souliotis whose career burned out after a few years due to vocal difficult....
@@francisca1378 Renata Scotto made her operatic debut in 1952. This Macbeth recording is from 1984, 32 years into her career. Elena Souliotis made her operatic debut in 1964. Play me a clip from how she sounded 32 years later in 1996.
@@pfeliks That isnt the point…. the point is just to compare techniques. Just because someone is x years old doesnt matter. You could make a similar video showing a great singer singing badly vs well. It is just about her performance in the piece, not judging her entire career…
I wouldn't call it "mask" and "non-mask", but "nasal" and "non-nasal". Many singers, who said they are using "mask" technique, had clear non-nasal voice.
Saw all off Suliotis performances in London, scary experience, a high wire act without a net, but wonderful unforgettable moments. Saw Scotto at ROH in Macbeth, vocal problems aplenty but still a fascinating and skilful performance, bear in mind Scotto was ten years older than Suliotis, and this was ten years later.
It is beyond my understand that Renata Scotto had that much of fame all over the operatic world. Elena Souliotis is much stronger.
Because she was such an interesting interpreter like no other
@@andreaguarino8207 who is She?
@@andreaguarino8207 That's only because she tried so hard (too hard) to become another Callas, but failed.
Souliotos shot her voice after about 8 years on the international circuit. She was also 25 years younger than Scotto when these recordings were made. So, mask shmask - something was very wrong with Souliotus' technique to cause her to fold in under the age of 35
@@artdanks4846 There is no evidence that she tried to become another Callas. She has a huge career as Scotto, why should she want to become Callas?
Souloitis was much younger than Scotto in this recordings. So it is not a very fair comparison.
Perhaps neither is a Callas, but both are a thousand times superior to today’s offering!
Elena soulstis c#6 in here is like metaphor of an angel of war . So gorgeous and graceful which bring your tears down. At the same time, the sounds comes out very strategic and powerful..
Too thin and fairy like for someone going off to Hades!
Love Elena Souliotis!
really! some people so dislike her, but when she is good… she is so good. I think her lady macbeth and abigaille are probably my favourite!
@@francisca1378 I think her coloratura and firotrua wasn’t as good as it could have been, but her three registers are well coordinated, she has strong chest notes, strong high notes, and her voice was (I think) very beautiful. And she was of course very dramatic on stage.
@@xxsaruman82xx87 yes there are definitely… problems, like you can hear where that is going to go wrong in a couple of years and the voice will just be a mess, but she has such a strong voice and such nuance in her interpretation… and those high notes, when she gets them right… just a gorgeous tone.
@Barone Vitellio Scarpia hmm they actually sound quite similar to me! I like them both singing abigaille, I also like Gencer's abigaille a lot! I meant those are my favourite parts of Souliotis, not that Souliotis is my favourite in those parts.
@Barone Vitellio Scarpia I have the LP and listen to it all the time! she is glorious on that recording. Horne though… yikes.
Excellent choices
Althought I'm not a big Scotto fan, this is far from a fair comparison, at least age-wise...
They're both singers who pushed their lyric instruments into destruction. Souliotis was a house of cards, and Scotto's ambitions were greater than her voice.
very true, both ended up ruining their voices - although at least Souliotis had the self respect to quit when her voice became bad…
Suliotis was a spinto but Scotto was barely a lyric, more like a dark leggero from the beginning.
@@draganvidic2039 definitely, scotto pushed herself wayyyyy beyond what she was capable of doing. She is more like Mirella Freni's voice type but she is singing Lady Macbeth… crazy.
@@draganvidic2039 Souliotis was absolutely a natural lyric soprano.
@@KajiVocals You’re the first one in the world saying this.
I love Renata Scottos Liu, she sounds so fragile next to Franco and Birgit. No other Liu!
I've never heard her Liu, but I can imagine she'd be good in that. The only thing I ever really cared for her in was Lucia di Lammermoor. Outside of that, I really had no interest in her voice or career. Especially toward the end when she pushed it to such ridiculous extremes, trying so hard to be another Callas
There is no doubt that I love Elena Souliotis, but for stronger vocal interpreters of Lady Macbeth, I would definitely go for Maria Callas, Leonie Rysanek, Birgit Nilsson, Gladys Kuchta, Leyla Gencer, Elizabeth Connell, and Marisa Galvany.
Renata was possessed…one of the best performances of this aria ever
Scotto......... an americanized, germanized un-italian voice..... Souliotis............ my god!!!
Scotto was a lyric soprano who was criticized for shifting on dramatic sopranos role. She wanted to be like Tebaldi, Milanov, and Callas.
Scotto y Suliotis tenían voces completamente distintas, por lo que su repertorio también tenía que ser distinto; Scotto era maravillosa en su tesitura, un error fue cantar Macbeth y también cantar a una edad avanzada. Actualmente no hay ninguna cantante que me trasmita la mitad de lo que lo hace la Sra. Scotto.
Es que los roles dramáticos pueden traer grandes satisfacciones, pero hay que ir con cuidado, sino se tiene cautela. Souliotis como Cerquetti tuvieron una carrera corta, esta última era una estupenda Gioconda y una maravillosa duquesa Elena ( I vespri Siciliani) pero esos roles de partituras ‘imposibles’ , sobre todo de Verdi, que no tiene piedad de la voz, como dijo el grandísimo tenor Lauri-Volpi, acaban pasando factura. Me parecen dos casos similares. La Souliotis tenía un timbre precioso, una voz Bella y grande, pero corrió mucho…en fin, a mi me parece una buena Lady Macbeth. En cuanto a Scotto, no fue una mala cantante, pero en algún momento de su carrera se hizo más notorio que no controlaba su instrumento, con sonidos estridentes, notas ‘sin cobertura ‘ etcétera. Gracias por compartir tu pensamiento en este vídeo.❤❤❤❤
Souliotis huge voice, I love his chest voice. Scotto I don't like her voice but she has a beautiful musicality and phrasing. I prefer both sopranos to other famous sopranos today.
Both exciting singers
I prefer Souliotis by far!
Supongo que sólo una megalomanía enfermiza pudo haber llevado a Scotto a cantar todo lo que cantó.
Ego, pride, jealousy and a buttload of conductors who don't have a clue led her
Both studied with Mercedes Llopart...
Didn’t know about Souliotis until this video; it’s a shame she damaged her instrument-within such a short timeframe to… She’s got one of those voices that makes me envision a mythical creature, a fairy perhaps. It’s so soothing (a bit ironic considering the context and lyrics I know).
I completely agree,although it makes me so sad..Elena Souliotis would have remained as a remarkable,an unforgettable opera persona... she was blessed with a divine gift,which she never recognized as she had to do..she could have been an opera legend,like Maria Callas...
I find it very odd when people say Scotto “could have had a better career”. She had been singing for almost twenty years before she moved into heavier rep. That’s longer than many singers.
The difference between the two is that Elena had no technique and blew her voice out. People say Scotto ruined her voice, but had been singing major roles for TWENTY YEARS before she moved into heavier rep full time. And her technique wasn’t the problem. Her voice eventually fell apart but she knew what had to be there and was more accurate and musical than Elena ever was. I think she knew and accepted the risk she was taking. But her artistry DID get her a long way. Elena lasted about half a decade despite singing appropriate rep. Which says something. When I hear Scotto I hear an artist misusing her voice but I always hear clear words, complete observation of the dynamics and note values in the score. And she’s expressive, only Callas is more so. Doesn’t mean she necessarily overcomes her issues and that she was wise. But there wasn’t anything fundamentally wrong with her technique itself. Her technical functioning, however miscast she might be, allows her to be much more imaginative and varied.
Elena just hurls her voice at the notes and hope it goes well. Scotto was flawed but she was a real artist and I think she continues to be misrepresented and attacked.
Correct
I agree completely. I saw her at a gala in Carnegie Hall, post retirement sing a single live from the Libiamo, and she remains pretty much the only thing I remember from the gala. I can still see her entire body express tue laughter and pleasure of Violetta’s being as she sang that one line and was suddenly beautiful and young and glamorous, and flirtatious.
I've just been listening to Macbeth, but oh horror! I forgot Scotto did Lady Macbeth 💀💀
Neither of them uses maschera (nasal resonance)
How to compare a leggero soprano with a dramatic ?
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Naturalmente o mio admiratione per le due grandissime cantanti liriche Ma Giuseppe Verdi ha scritto questo personaggio per un Soprano drammatico malizioso e mi manca il colore di Maria Callas Nell queste due interpretazioni Abbiamo belli pienissimi colori lirici ma la verità con il dramatismo mi mancano soprattutto quando io conosco tutto il Rolo di Lady Macbeth e Noi ascoltiamo solamente l'ultima aria prima di sua morte E questa aria Porta questi lirici colori con questi bellissime pienissimi Grazie per questo video ma non voglio fare comparaison
Souliotis was a dramatic soprano not a lyric
Due vocalità e carriere artistiche che non si possono paragonare ,La Souliotis voce già adatta per il ruolo della Lady ,ma ricordiamoci che dopo 10 anni dal debutto la Souliotis aveva seri problemi vocali ,la Scotto ha cantato per altri 25,è dignitosamente
Souliotis soprano di serie A, Scotto di serie B.
Dignitosamente in che senso? Questo è un esempio del contrario, e ce ne sono dei peggiori.
@@DiomedesDioscuro I can't imagine too many that were worse for this role than these 2 sopranos.
Why Souliotis loste her voice??
Tutta la vita la Suliotis
Scotto i LADY MACBETH przeciez to sie gryzie SOULIOTIS OK posluchajcie LUDMILY MONASTYRSKIEJ lub SHIRLEY VERRETT
Mille volte meglio una Scotto vocalmente stremata ma grande interprete e musicista.
Ok folks, anyone responding here care to stand up and "try" to sing this aria, or any part of it! Thought so..........what one person hears may be totally different than what another set of ears may hear......Good Lord folks, try to be a little nicer. Personally, I don't care for all of scotto's work, but I think she nailed this one. And yes, at the end of her career. Its not a lullaby folks, its a demented woman's aria.
"everything is subjective" "if you can't sing it yourself, you can't judge whether it is good or bad" blah blah blah.
Many people have opinions about sports and athletes, yet you rarely see people telling them that since they couldn’t do any better themselves, they have no right to an opinion.
By the way I’m an opera singer, I sing things like this. I sing an aria from this opera. I have opinions about ways that are more and less effective to perform this music. Most people here aren’t singers themselves, but that doesn’t mean none of them are. There are a lot of current young singers who are dissatisfied with modern trends in opera singing.. most of them are just smarter than me and don’t waste their time in the comments, but I can’t help myself
Souliotis had the voice for that role, but she sang it much too early. Scotto never had it. Scotto is awful here : every attack is flat and she hardly reaches the real note.Her vibrato is ridiculous. She should never have had that fame.
Really, she pushed herself much too hard - which is such a shame because if she had gone slower, she would have had a marvellous career.
But I would always prefer Souliotis even on a bad day to Scotto!
Sulioutus' Career lasted YEARS. Scotto's lasted DECADES
quality over quantity.
@@francisca1378 You're funny if you think Souliotis had a better singing technique than Scotto....You have Scotto in the 80's at the end of a thirty year career compared with a young Souliotis whose career burned out after a few years due to vocal difficult....
@@pfeliks you're funny if you think that shrill noise she is making in the video sounds good …
@@francisca1378 Renata Scotto made her operatic debut in 1952. This Macbeth recording is from 1984, 32 years into her career. Elena Souliotis made her operatic debut in 1964. Play me a clip from how she sounded 32 years later in 1996.
@@pfeliks That isnt the point…. the point is just to compare techniques. Just because someone is x years old doesnt matter. You could make a similar video showing a great singer singing badly vs well. It is just about her performance in the piece, not judging her entire career…
Not a great comparison for this role. Both sopranos were horrible in this role and should never have sung it.
Both are awful, trying to emulate Callas.