Such a rich voice. I remember that she said she wished to sound both like Tebaldi and Stignani when she was a student. And also that she could imitate many voices and made a job of it at the begining.
A correction: the Arditi piece is from The Age of Bel Canto (1963 I think) which she recorded with other items sung by Joan Sutherland and Richard Conrad, London Symphony Orchestra under Bonynge. This was their first recording collaboration.
A l'écouter dans ces trois airs, il semble évident que cette chanteuse allait faire une grande carrière de mezzo-soprano. Selon moi, pour trois raisons: d'abord parce que sa voix possède un medium particulièrement cuivré, ensuite parce que sa voix ne s'ouvre pas, ou peu, dans les aigus, contrairement aux voix de soprano, (ce qui ne l'empêche pas bien sûr de réussir la Fille du Régiment) et enfin justement parce que ses aigus sont précisément ceux d'un mezzo, avec un vibrato très serré typique de ce type de voix. Je la sens bien plus à son aise dans la tessiture qu'elle abordera plus tard.
C'est d'autant plus stupéfiant qu'elle ait pu chanter pendant ses années en Allemagne toute une palette de sopranos tels Marie dans Wozzeck (gloups !) ou Simon Boccanegra... Il lui fallait une sacrée technique pour ne pas y laisser sa voix.
@The Scalla I'm fully aware of the great Mezzo s of the last 100 years - and I like different ones for different reasons. Horne is someone I really enjoy - irrespective of "labels" attached. Call her a bass if you like - I like her 😎😎😎
@The Scalla That's the problem when non singers try to talk about voice typing...Ms. Horne is a mezzo. Try reading Vernard, Garcia, or even Miller on voice types. It's a hard read for a non singer though.
The high notes were always a little wild and out of tune to my ear. Those high notes sound way higher than they actually are. It's a beautiful sound, but she's obviously a mezzo.
She was not a dramatic voice that is why she does not sound Obraztsova, Stignani (these two has higher tessitura than Horne anyway). I agree with you this is a mezzo (later a light contralto) who tried to sound soprano but it is so unnatural forced and also flat sometimes. (I know that "lyric voice only can exist in soprano" nonsense, don't start that)
She was never a natural mezzo…her lighter natural voice is much better than the artificial low voice that she developed later! She was a soprano without high notes! So she decided to become a mezzo…
Gotta give it to Horne, she let the voice drive her wherever it needed to take her.
Beautiful! A great way to start a new day!!!
Such a rich voice. I remember that she said she wished to sound both like Tebaldi and Stignani when she was a student. And also that she could imitate many voices and made a job of it at the begining.
She was very gifted
Her voice is so beautiful here.
Amazing voice......
A beautiful way to start a new day!!!
A correction: the Arditi piece is from The Age of Bel Canto (1963 I think) which she recorded with other items sung by Joan Sutherland and Richard Conrad, London Symphony Orchestra under Bonynge. This was their first recording collaboration.
A l'écouter dans ces trois airs, il semble évident que cette chanteuse allait faire une grande carrière de mezzo-soprano. Selon moi, pour trois raisons: d'abord parce que sa voix possède un medium particulièrement cuivré, ensuite parce que sa voix ne s'ouvre pas, ou peu, dans les aigus, contrairement aux voix de soprano, (ce qui ne l'empêche pas bien sûr de réussir la Fille du Régiment) et enfin justement parce que ses aigus sont précisément ceux d'un mezzo, avec un vibrato très serré typique de ce type de voix. Je la sens bien plus à son aise dans la tessiture qu'elle abordera plus tard.
C'est d'autant plus stupéfiant qu'elle ait pu chanter pendant ses années en Allemagne toute une palette de sopranos tels Marie dans Wozzeck (gloups !) ou Simon Boccanegra... Il lui fallait une sacrée technique pour ne pas y laisser sa voix.
She was 29 years old here.
brava
Lyric soprano
Better then her mezzo singing
......shhhhh, it's past your bedtime
😎😎😎
@@rugby8-Philadelphia He's not wrong. Horne was a natural soprano in her 20s.
@@KajiVocals
I like her as a Mezzo
......and, that's why they make Vanilla and Chocolate
😎😎😎
@The Scalla
I'm fully aware of the great Mezzo s of the last 100 years - and I like different ones for different reasons.
Horne is someone I really enjoy - irrespective of "labels" attached.
Call her a bass if you like - I like her
😎😎😎
@The Scalla That's the problem when non singers try to talk about voice typing...Ms. Horne is a mezzo. Try reading Vernard, Garcia, or even Miller on voice types. It's a hard read for a non singer though.
The high notes were always a little wild and out of tune to my ear. Those high notes sound way higher than they actually are. It's a beautiful sound, but she's obviously a mezzo.
Soprano.
Became a bad mezzo instead of working on this heard here.
She was not a dramatic voice that is why she does not sound Obraztsova, Stignani (these two has higher tessitura than Horne anyway). I agree with you this is a mezzo (later a light contralto) who tried to sound soprano but it is so unnatural forced and also flat sometimes.
(I know that "lyric voice only can exist in soprano" nonsense, don't start that)
Mezzo. Nuff said.
Not quite convinced the second piece is her....
Gary Green it’s definitely her but it sounds like the recording is perhaps sped up a little like some of Sutherland’s Der Holle Rache records.
@@Paulofibonelli Ever good singer disagrees with you and the small band of Queen Jeremy's internet trolls you hail from.
It's her but it's sped up.
Would this classify as jazz music?
Lamont Boucherville nope, they’re all opera arias
@@davidsimmons654 👌
Yes. Miles Davis.
She was never a natural mezzo…her lighter natural voice is much better than the artificial low voice that she developed later! She was a soprano without high notes! So she decided to become a mezzo…