What a joy to listen to her! That is the great old school, everything sounds so natural, so effortless. Her breathcontrol is terrific and her technique beyond perfection. The diction etc. just cannot stop marvel ....Brava Tetrazinni......
Tetrazzini's high notes are so full and brilliant even with the primitive sound equipment, that it makes one wonder what she would have sounded like had she been recorded with equipment capable of capturing the full range of her sound.
The trouble is that as recording has gone on, the voices have adjusted to fit recording limits and not the other way round. Nowadays they seek people with pretty but small voices.
@@patrickgallagher3513 The recording techniques available were able to capture the big voices of the great singers of the 1950s and 1960s well enough. Corelli, Price, Bergonzi, Callas, Sutherland, Freni, Moffo, even early Pavarotti, and many others, etc. I’m sure they couldn’t capture all the squillo exactly like it was in the great opera houses, but the recordings were good enough for you to know when you were hearing genuine greatness and not studio manipulation.
She is GREAT !! Non one wrong “portamento” , “legato” is perfect and “picchiettato” is incredible !!! What to say about her “trillo” and her “agility” ?!!! We would like to have such a Soprano nowadays !!!!!!!
Nothing is sloppy with Tetrazzini, her intonation is perfect, the phrases are sung cleanly to the end, the breath is perfectly mastered. Every singer should learn something from this.
SImply Stupendous! A glorious instrument, technique, and musicality. Such a tremendous shame that this tradition of the great technique of "appoggio" and" bel canto" is simply not being taught anymore! He command of breath is astounding! Bravissima!!!! She should have had many more things named after her instead of just "Chicken Tetrazzini"!
La voce della Tetrazzini e'incantevole perché oltre alle tonalità e sfumature e'accompagnata da una dizione eccellente che rende ogni parola come una stampa!!!,
Opera singers are so much better than contemporary singers. they have such control over their instrument its incredible how they can project and sustain such vocal clarity staying connected throughout.
A very good reason, They didn't cover the voice as they do today which is pure rubbish. Who would cover a Violin? The Vocal Chords are the same. Singing must be spontaneous with Chiaroscuro tones, exactly as demonstrated by Tetrazzini here..
despite the greatness of a Patricia Janekova, the sesual and beautiful Ekaterina Shelekova and other, since my youth i put AMELITA GALLI CURCI in my heart. This TETRAZZINE IS excellent!!!
In 1910 250,00 San Franciscans heard her sing a free concert in the streets with of course no sound system. People blocks away said they heard every note!
I'm not really a fan of opera and I don't know anything about it. But honestly, I've been hooked on this song and have listened to it at least 50 times in the past couple days...magical voice!!
All these critical people. Just enjoy the music and be thankful that someone was generous to put on youtube so that those of us who were not born at the time to experience in person are able to enjoy and be thrilled by it.
Yes! Although I don't call it ignorance. Enjoy music that you love for its own sake! To paraphrase a comment I once heard about jazz: "it's not about 'supposed to,' it's about feelin' good."
thank you. people tend to forget the wonder and the magic of youtube. not only can we have music of all sorts and any time to grace our very existence (formerly the privilege of kings), we can also listen to a performance past.
THANK YOU for this wonderful gift! Our great grandparents must have gone WILD about her wonderful performances, as I do over her voice in 2021! What an outstanding artist!
The woman who provided after school care for my sister and myself in the early 1940s was at that famous outdoor concert and many other Tetrazzini appearances in San Francisco. It may not have been 250,000 but it was a huge crowd and one of the diva's most memorable appearances! I have been listening to her for three-quarters of a century, having been introduced to her recordings at such an early age.
sure, maybe not 250k but clearly a lot more than 10, and outside and not in a stadium without some acoustical benefit THough into today's world of opera I wonder how her stand and sing style would hold up? or would the voice be so transcendent that it wouldn't matter?
Vini Soaris key word there being stadium though. Tetrazzini did it on a make shift stage in the middle of the San Francisco street. No helpful acoustic design in the open air.
¡EXTRAORDINARIA! PENA QUE NO HUBIERA EN TAL ÉPOCA LOS MEDIOS DE GRABACIÓN MODERNOS. GRACIAS A QUIEN HA RESCATADO ESTE REGISTRO PORQUE REALMENTE MARAVILLA.
The old saying that in the relief concert in San Francisco, she could be heard 6 blocks away, around 3 corners. Caruso's voice was a whimper compared to Luisa's.
Wow, didn't know she was so good! Heard only recordings of her later years, not so good. Love her embellishments. It was a joy to hear, and a privilege, as recordings weren't so prolific back then. Thank you very much for sharing these!
mi ha sempre affascinato il suo canto ,aveva un volume di voce eccezionale per un cosiddetto "leggero" e si racconta che una volta,per gioco,fece a gara con la Anderson ma ...sul registro grave.......grazie
These great singers of the past were all unique in their own way. There will NEVER be another Tetrazzini or another Sutherland (or Galli-Curci, Melba, Sembrich, Caruso, Battistini, Plancon, etc.).
@vdarte voices are not so individual these days as they were in the past -you are not going to mistake Schipa Pinza Caruso Bjorling di Stefano Ferrier or Tettrazzi for anyone else after the first two bars -I think that is the great difference .
I remember playing this recording many years ago to a friend of mine. His reaction was ' My God Henry play that again'. I still find it wonderful myself Henry Webb. PS Sigrid Onegin provoked the same response HW
unlike other "staccato queens" who have a perfect staccato but very bad legato (Pons, Gruberova, Deutekom etc.) Tetrazzini's legato is amazing!, in the league of Callas and Ponselle.
***** They are not specific group of singers, they are just any singers known for their crazy staccati singing, like: Maria (not Marisa) Galvany, Adelina Patti, Mady Mesple, Mado Robin and many other.
***** You will also like, O zittre nicht which is the only other aria for Queen of night, Où va la jeune hindoue (known as bell song), Les oiseaux dans la charmille (known as doll song), Esprits de l'air and Ah Roland from Esclarmonde, Da tempeste from Giulio Cesare, they all contain beautiful staccati. I recommend listening to a virtuoso singer like Joan Sutherland (who sang all what I recommended) you will be more impressed than other mediocre singers like pons.
I AM more impressed with Tetrazzini here than I usually am. She is getting some help from a bit of reverb--only fair given how thin the recording equipment of the time to capture the human voice. Her staccato is very impresively pin point accurate here. I would have liked to have heard, live Tetrazzini next to Korjus for comparision.
As far as I know, Pons was nicknamed like that cuz every time she founded herself in trouble with a complex vocalize, she turned it into staccatis. Yes, beautiful ones, but 1) not what the composer demanded 2) they always sound the same.
@@Distefano5 I would give almost anything to be able to hear Adelina Patti live at the age of 30. I would gladly settle even for the 1890 wax cylinder recordings to have survived. It is well known that her voice had declined by the time of the 1905-1908 recordings. Even so, those recordings from her later years hint at how exceptional she was.
Ascoltando questi dischi oggi, penso che la Tetrazzini abbia meritato l'enorme successo e popolarità di cui godette ai sui tempi, e penso anche che la qualità delle sue incisioni, e ripeto incisioni, non si offenda nessuno, si abbastanza superiore a quelle fatte da Patti, Melba, Sembrich, cioè il gotha del canto lirico a cavallo dei due secoli di maggior splendore dell'Opera!
PIETRO DI CARLO io penso che sia proprio la migliore in assoluto con la Boninsegna(anche se aveva un repertorio un po diverso) Quindi con me si offendono tutti ! Siamo ancora liberi di pensare ognuno come ci pare !(spero) Nessuno canta e interpreta come lei comprese quelle dive di cui gli ammiratori vorrebbero erigere addirittura santuari !!!
In case you didn't know, when you hear "it's not over till the fat lady sings" , she was the fat lady. She later said "I am old, I am fat but I an still Tetrazzini". Wonderful voice.
Wow, I did not know she was soooo good!! A joy to hear! And a privilege, as recordings weren't as prolific as they are now. Before, I only think I heard her sing in her later years, not so good. In this set of recordings, I love her much more than Melba. She embellishes her vocals so nicely! Got to know Melba from the Australian biographical drama, with Yvonne Kenny singing her parts. Couldn't find a recording (1980's) in Canada, but was delighted to find one at the Paris Opera House. Too bad I didn't look for Luiza! Next time, eh........ Thank you very much for sharing these recordings with us!!
Même si le style sent son époque, c'est une des rares chanteuses anciennes qu'on écoute avec beaucoup de plaisir, et quelle voix! Le timbre dégage quelque chose de sympathique et d'extravagant, comme elle devait être dans la vie : dans ses mémoires elle se décrit ainsi: "je suis vieille, je suis grosse, je suis laide, mais je suis toujours La Tétrazzini."
Luc Justin Cette musique à été composée pour être chantée ainsi ! Aujourd’hui,on ne connaît plus la grande technique qui s’est perdue,et on peut en dire autant du style qui est une horreur.
Fantastica! Imagino lo que sería haberla escuchado en vivo. Admira a pesar de lo horrible de las grabaciones de esa época. Al menos nos quedan estás muestras de algo prodigioso. ! Que la parió !
I love Luisa Tetrazzini! What a voice, what a tehcnique. She was absolutely amazing and out of this world. My only question is, is it me or singers of the same period of Tetrazzini had very (but like veeery) similar timbres? I mean of course all of them had different voices, but I find their vibrato, color of the voice and just something about the way they sounded was soo similar. I know they all probably studied the same technique but the voices sound so similar. Listen to Adelina Patti, Nellie Melba, Lili Lehmann, etc... they sound very alike, or maybe is it just me? Then, I think of the generation of Callas, Sills, Sutherland, Moffo, etc.. and they all sound sooo different, but their techniques were similar. Kinda confusing...
Daniliz81 We cannnot objectively judge those singers' voices based on the audio we have due to the crippling limititaions of the recording process at that time. What we hear is probably less than 25% of how their actual voices sounded like. Let's not forget that even recording speed was not constant in those days, peolpe were just amazed that recording sound was even possible, so they were not really bothered by how different the end result was from the live performance. I am not an expert but there are plenty of articles ob the subject available on the internet, there are videos demonstrating how it was done. So, sadly we will never know how these amazing ladies really sounded like :'( Rosa Ponselle (and she came even later , when things were more advanced) said she hated listening to her voice on record because it was not really her, it sounded as if she was trapped in a box. All that said, I find that Lili Lehmann is the only one who sounds decent despite all the limitations of the technology in those days, I can only imagine what a superb singer she must have been if her voice translates to record with such richness of tone!
Daniliz81 I think it's the old recording equipment. Even this with reverberation added later. We'll never know how they really sounded. They must have been wonderful or they wouldn't have had such great careers.
I suspect that it was a combination of the style of the day and a consistent expectation from the public. In many ways we now have a lot of sopranos that sound similarly dark as the singers of Tetrazzini's age sound similarly bright.
Double, triple, quadruple WOW factor in these two selections. My husband, in another room, yelled out, around the middle of the Carnival of Venice, "Is that a human being or a bird? I assured him it was a human being. He then listened in, and said, "She's astounding! I love her!. She's my new favourite!" His old favourite was Joan Sutherland. LOL.
Dame Joan sang professionally for over 40 years, 30 of which she was an international star at the very pinnacle. After 60, she was still singing Adriana Lecouvreur, Les Huguenots, Esclarmonde, Suor Angelica & Lucia. How can anyone say she made a bad career choice? She was UNIQUE (which has no modifier). When will armchair critics learn, coloratura does NOT apply to just the human voice or to the size of the voice. It has to do with the ability of a performer to color a passage - elaborate and florid ornamentation, runs, trills, stacatti. If you follow Dame Joan's career from 1955 -1990, you will find she had a respectable lower register at the beginning, but as she sang more and more in the higher register she lost the bloom below middle C. I own 46 of her albums and have seen her live at least 8 times. She will always have a special place with me!
Appunto per lei.... Nessuno dice che la Sutherland non sia una fuoriclasse, anzi, ma la Tetrazzini, tra l'altro, ha un timbro brillante ed una dizione limpida e scandita che negli acuti non ha nessuno neppure Dame Joan. Aggiungo che la Sutherland é certamente il maggior soprano moderno di coloratura.
I beg your pardon, but the only merits I see in this singer are the very high notes. So she may be called Madame High Notes And Nothing Else! How boring her vocal speech! How uninteligible her diction in whatever idiom! She puts no musical nor artistic meaning to the fioriture, tothe music, to the words, nor to anything else. I am sorry, but I believe this is a very objective judgement. I do not discuss tastes nor opinions, for I respect them. But the History and the Truth can not be denied and must be respected.
Sergio Squeff Barcelos Votre opinion n'engage que vous. Luisa Tetrazzini est née en 1871 et à son époque elle était le plus grand soprano. Imaginez dans 100 ans comment les auditeurs jugeront Joan Sutherland, Montserrat Caballé etc... Vous savez tout a un commencement et parfois une fin. À la fin du 19ème siècle et au début du 20ème siècle les préoccupations des artistes d'opéra n'étaient pas les mêmes qu'en 1960! À chaque époque le goût est différent!
ioSonoCallas Chère ioSonoCallas: Je crois que vous ne m'avez pas compris. Je ne me referrai pas a Luisa Tetrazzini, très grand soprano du passé, avec une legère tendance a semitoner les aigus, qu'elle corrigeait en suite. Je me referrai a Mme. Sutherland, Madame High Notes and Nothing Else, avec une diction ininteligible en quel soit idiome e très monotone et ennuyant dans son chant. Mais il faut remarquer qu'une opinion appartient, certes, à la personne qui la donne, comme votre opinion aussi n'apartient qu'à vous. Mon jugement (pas opinion) sur Madame High Notes and Nothing else est le mien et aussi celle des toutes authorités musicales. Je ne discusse jamais opinions et gouts personnels, parce que je les respecte: je ne dirait jamais a qui aime le rouge de laisser d'aimer le rouge. Mais l'Histoire et la valeur intrinsique d'une ouevre d'art ou d'un artiste, et un jugement objectif sur eux, doivent bien être aussi très respectés, surtout quand ils viennent d'un musicien professionnel très étudieux et très connaissant, comme moi. Je crois que je vous connais chez le facebook et j'admire beaucoup vos opinions. Respectueusement, Sergio.
Su questo sono perfettamente d'accordo. Nessuno discute il valore di questo soprano... il resto, come ben menziona, é questione di gusto personale. Alla prossima !
She was an amazing coloratura, and she rarely, if ever, sang anything but coloratura parts. Her glorious top register did not, however, have that same beauty in her lower register. Tetrazzini shared those coloratura roles with Galli-Curci.
Perfettamente d'accordo... ma é già una fortuna avere quel che c'é. La contrapposero alla Melba che era un a carta velina di fronte a lei. La sua allieva Lina Pagliughi, che aveva una voce notevole divenne notissima negli anni '30 grazie alla tecnica strepitosa di cui la Tetrazzini la fornì. Cordialità
Deve ser por causa da afinação, agilidade, leveza, timbre vibrante, potência, legato, fraseado, dinâmica, interpretação, alegria, simpatia, carisma e o talento dado pelo próprio Deus! 😍🙏 E ela ainda deu boas lições para outros cantores. Grande artista!
Apparently this piece was quite popular as Victor Masse also used it in his opera La Reine de Saba. I've posted it elsewhere sung by Sumi Jo. It has completely different variations. But this is wonderful.
Esta soprano coloratura no la conocia, pero es maravillosa, con muy buena tecnica, muy artista. Esas grabaciones son del 1910 al 1933, imaginemos como la escuchariamos ahora con toda la tecnica existente.
This is incredible but she probably sounded even better live. The old recordings seem to have a habit of flattening out some overtones, the reason that instruments sound different as well.
Hola bonita reseña, hoy día, no hay éste nivel de perfección como en ese tiempo. Bogna sokorska fue la mejor de las sopranos de mitad del siglo pasado.
Incredible, such power, delicacy brilliance and a blessed lack of intrusive vibrato..the bane of modern sopranos. Bravissima!
well said. I agree
What always astonishes me about Tetrazzini is the absolute mastery of coloratura, infectious sense of fun, and the sheer SIZE of the sound.
What a joy to listen to her! That is the great old school, everything sounds so natural, so effortless. Her breathcontrol is terrific and her technique beyond perfection. The diction etc. just cannot stop marvel ....Brava Tetrazinni......
This is something different alright... I can dig it 😎👍 -{Chris
Toujours un chant parfait si simple et naturel quelle maîtrise du chant brava
Tetrazzini's high notes are so full and brilliant even with the primitive sound equipment, that it makes one wonder what she would have sounded like had she been recorded with equipment capable of capturing the full range of her sound.
Howard B I was just thinking the same thing myself. Think if she'd sung in a place with good acoustics?
The trouble is that as recording has gone on, the voices have adjusted to fit recording limits and not the other way round. Nowadays they seek people with pretty but small voices.
@@patrickgallagher3513 The recording techniques available were able to capture the big voices of the great singers of the 1950s and 1960s well enough. Corelli, Price, Bergonzi, Callas, Sutherland, Freni, Moffo, even early Pavarotti, and many others, etc. I’m sure they couldn’t capture all the squillo exactly like it was in the great opera houses, but the recordings were good enough for you to know when you were hearing genuine greatness and not studio manipulation.
She is GREAT !! Non one wrong “portamento” , “legato” is perfect and “picchiettato” is incredible !!!
What to say about her “trillo” and her “agility” ?!!!
We would like to have such a Soprano nowadays !!!!!!!
Nothing is sloppy with Tetrazzini, her intonation is perfect, the phrases are sung cleanly to the end, the breath is perfectly mastered. Every singer should learn something from this.
i'm with you! a lot of very sloppy singing is now applauded!
SImply Stupendous! A glorious instrument, technique, and musicality. Such a tremendous shame that this tradition of the great technique of "appoggio" and" bel canto" is simply not being taught anymore! He command of breath is astounding! Bravissima!!!! She should have had many more things named after her instead of just "Chicken Tetrazzini"!
La voce della Tetrazzini e'incantevole perché oltre alle tonalità e sfumature e'accompagnata da una dizione eccellente che rende ogni parola come una stampa!!!,
esatto cosa che non possiamo dire delle colorature odierne ....chi vuol intendere !!!!
Opera singers are so much better than contemporary singers. they have such control over their instrument its incredible how they can project and sustain such vocal clarity staying connected throughout.
A very good reason, They didn't cover the voice as they do today which is pure rubbish. Who would cover a Violin? The Vocal Chords are the same. Singing must be spontaneous with Chiaroscuro tones, exactly as demonstrated by Tetrazzini here..
despite the greatness of a Patricia Janekova, the sesual and beautiful Ekaterina Shelekova and other, since my youth i put AMELITA GALLI CURCI in my heart. This TETRAZZINE IS excellent!!!
@@MrSkylark1 theseday contemporary singers are much better, no kidding. There are few mainstream opera singers who's sticking to good old ways.
She and the extrordinary Amelita Galli Curci are also extraordinaries. I did not know her , only Galli Curci.
the most amazing high notes nobody ever could produce except for her! Brava!!! She is LA Divina, the real one!
ruby edelman you done messed up
Stupenda ,angelica,fortissima..La amo ,che voce straordinaria ,potentissima
It's been written that Tetrazzini always sang with joy in her heart. I have to agree with this statement. Thanks for this posting
Бесподобный голос! А я думала раньше, что не люблю высокие голоса. Спасибо за подарок!
In 1910 250,00 San Franciscans heard her sing a free concert in the streets with of course no sound system. People blocks away said they heard every note!
Amazing voice. Wish I could have attended one of her live performances.
The woman's pitching and phrasing is scalpel-sharp. Totally amazing!
I'm not really a fan of opera and I don't know anything about it. But honestly, I've been hooked on this song and have listened to it at least 50 times in the past couple days...magical voice!!
SerenViv
Maybe you are a fan of opera after all, and don't know it.
By song you mean this particular video?
Maybe you are a fan of real opera and don't know.
SerenViv modern opera is fakery of the real thing, that’s why you don’t like it.
All these critical people. Just enjoy the music and be thankful that someone was generous to put on youtube so that those of us who were not born at the time to experience in person are able to enjoy and be thrilled by it.
+freeny1623 Thank you so much....!
Yes! Although I don't call it ignorance. Enjoy music that you love for its own sake! To paraphrase a comment I once heard about jazz: "it's not about 'supposed to,' it's about feelin' good."
thank you. people tend to forget the wonder and the magic of youtube. not only can we have music of all sorts and any time to grace our very existence (formerly the privilege of kings), we can also listen to a performance past.
You are so rigth poeple forget that the technology back then wasnt hi-fi and the technique was better..... I mean diferent than todays
freeny1623 Thank you 🙏🏽
THANK YOU for this wonderful gift!
Our great grandparents must have gone WILD about her wonderful performances, as I do over her voice in 2021!
What an outstanding artist!
What marvelous technique and range! Wonderful to listen to this amazing singer! Brava!
My God, this is incredible. Contagious! Such a blessing.
She was famous for her staccato technique, but her legato singing is absolutely seamless!
Luisa is simply glorious. The art of singing and the joy of listening are sterling served and received.
Oh, what a fantastic voice!!!
There will only ever be one Tetrazzini. She was truly "special." Thank you for this posting.
TETRAZZINI sang before 10,000 PEOPLE WITHOUT A MICROPHONE. NO ONE TODAY CAN COME UP TO HER LEVEL.
try 250,000 in SF-and apparently was heard
The woman who provided after school care for my sister and myself in the early 1940s was at that famous outdoor concert and many other Tetrazzini appearances in San Francisco. It may not have been 250,000 but it was a huge crowd and one of the diva's most memorable appearances! I have been listening to her for three-quarters of a century, having been introduced to her recordings at such an early age.
sure, maybe not 250k but clearly a lot more than 10, and outside and not in a stadium without some acoustical benefit
THough into today's world of opera I wonder how her stand and sing style would hold up? or would the voice be so transcendent that it wouldn't matter?
MrSkylark1 *Joan Sutherland sang in a stadium with at least 20000 peoples ;)* To prove it. There's in her biography.
Vini Soaris key word there being stadium though. Tetrazzini did it on a make shift stage in the middle of the San Francisco street. No helpful acoustic design in the open air.
So wonderful, it brings tears to the eyes
¡EXTRAORDINARIA! PENA QUE NO HUBIERA EN TAL ÉPOCA LOS MEDIOS DE GRABACIÓN MODERNOS. GRACIAS A QUIEN HA RESCATADO ESTE REGISTRO PORQUE REALMENTE MARAVILLA.
What sheer enjoyment. Incredible.
And her voice was huge. Dame Sutherland was a great admirer of Luisa (and of Galli-Curci!) Amazing technique, virtuosity and elegance.
It must have been thrilling to see and hear her on stage. Even on these primitive recordings her voice is simply astonishing
The old saying that in the relief concert in San Francisco, she could be heard 6 blocks away, around 3 corners. Caruso's voice was a whimper compared to Luisa's.
Wow, didn't know she was so good! Heard only recordings of her later years, not so good. Love her embellishments. It was a joy to hear, and a privilege, as recordings weren't so prolific back then. Thank you very much for sharing these!
Beautiful. Super. Thanks Luisa.
mi ha sempre affascinato il suo canto ,aveva un volume di voce eccezionale per un cosiddetto "leggero" e si racconta che una volta,per gioco,fece a gara con la Anderson ma ...sul registro grave.......grazie
What a voice and what a technique!
IMO there are no Luisas or Joans today. I adore both. I heard Joan on stage.
These great singers of the past were all unique in their own way. There will NEVER be another Tetrazzini or another Sutherland (or Galli-Curci, Melba, Sembrich, Caruso, Battistini, Plancon, etc.).
@vdarte voices are not so individual these days as they were in the past -you are not going to mistake Schipa Pinza Caruso Bjorling di Stefano Ferrier or Tettrazzi for anyone else after the first two bars -I think that is the great difference .
Merci ioSonoCallas de m'avoir fait découvrir cette merveilleuse voix ! Quel style ! quelle sécurité !! Quelle émission !!!
cordialement ****
I remember playing this recording many years ago to a friend of mine. His reaction was ' My God Henry play that again'. I still find it wonderful myself
Henry Webb. PS Sigrid Onegin provoked the same response HW
the second one is just marvellous, it hits me in the heart
That was stupendous! What I find so fascinating about Tetrazzini was
that no matter what (plus) size she was she was always chic.
unlike other "staccato queens" who have a perfect staccato but very bad legato (Pons, Gruberova, Deutekom etc.) Tetrazzini's legato is amazing!, in the league of Callas and Ponselle.
***** They are not specific group of singers, they are just any singers known for their crazy staccati singing, like: Maria (not Marisa) Galvany, Adelina Patti, Mady Mesple, Mado Robin and many other.
***** You will also like, O zittre nicht which is the only other aria for Queen of night, Où va la jeune hindoue (known as bell song), Les oiseaux dans la charmille (known as doll song), Esprits de l'air and Ah Roland from Esclarmonde, Da tempeste from Giulio Cesare, they all contain beautiful staccati. I recommend listening to a virtuoso singer like Joan Sutherland (who sang all what I recommended) you will be more impressed than other mediocre singers like pons.
I AM more impressed with Tetrazzini here than I usually am. She is getting some help from a bit of reverb--only fair given how thin the recording equipment of the time to capture the human voice. Her staccato is very impresively pin point accurate here. I would have liked to have heard, live Tetrazzini next to Korjus for comparision.
As far as I know, Pons was nicknamed like that cuz every time she founded herself in trouble with a complex vocalize, she turned it into staccatis. Yes, beautiful ones, but 1) not what the composer demanded 2) they always sound the same.
@@Distefano5 I would give almost anything to be able to hear Adelina Patti live at the age of 30. I would gladly settle even for the 1890 wax cylinder recordings to have survived. It is well known that her voice had declined by the time of the 1905-1908 recordings. Even so, those recordings from her later years hint at how exceptional she was.
Ascoltando questi dischi oggi, penso che la Tetrazzini abbia meritato l'enorme successo e popolarità di cui godette ai sui tempi, e penso anche che la qualità delle sue incisioni, e ripeto incisioni, non si offenda nessuno, si abbastanza superiore a quelle fatte da Patti, Melba, Sembrich, cioè il gotha del canto lirico a cavallo dei due secoli di maggior splendore dell'Opera!
PIETRO DI CARLO io penso che sia proprio la migliore in assoluto con la Boninsegna(anche se aveva un repertorio un po diverso) Quindi con me si offendono tutti ! Siamo ancora liberi di pensare ognuno come ci pare !(spero) Nessuno canta e interpreta come lei comprese quelle dive di cui gli ammiratori vorrebbero erigere addirittura santuari !!!
Tetrazzini. La voie d,or. Bravoooooo. Ctoyien algerien
How wonderful is her voice!
Can’t get enough!! Magnificent 🏆🏆🏆
MOLTO BELLO!!! Thank you for sharing this Great Performance of Great Italian Coloratura Soprano LUISA TETRAZZINI (June 29, 1871 - April 28, 1940).
Lovely singing.TY ioSonoCallas for posting.and James for sharing.
In case you didn't know, when you hear "it's not over till the fat lady sings" , she was the fat lady. She later said "I am old, I am fat but I an still Tetrazzini".
Wonderful voice.
I hope she knew she'd be the one and only for far longer than many would live to see. 💛
Это чудо.Япод впечатлением ,невероятно.Браво!!!!
Brawississimo ! Goldene , gotliche interpretation !
Nate
You speak with experience , intelligence and best of all - wonderful ears.
Regards friend-John
Wow, I did not know she was soooo good!! A joy to hear! And a privilege, as recordings weren't as prolific as they are now. Before, I only think I heard her sing in her later years, not so good. In this set of recordings, I love her much more than Melba. She embellishes her vocals so nicely! Got to know Melba from the Australian biographical drama, with Yvonne Kenny singing her parts. Couldn't find a recording (1980's) in Canada, but was delighted to find one at the Paris Opera House. Too bad I didn't look for Luiza! Next time, eh........ Thank you very much for sharing these recordings with us!!
D Ladygray with Melba look for "covent garden 1926 electric live".
Même si le style sent son époque, c'est une des rares chanteuses anciennes qu'on écoute avec beaucoup de plaisir, et quelle voix! Le timbre dégage quelque chose de sympathique et d'extravagant, comme elle devait être dans la vie : dans ses mémoires elle se décrit ainsi: "je suis vieille, je suis grosse, je suis laide, mais je suis toujours La Tétrazzini."
Luc Justin
s'est le vrai style d'interprétation .
Luc Justin Cette musique à été composée pour être chantée ainsi ! Aujourd’hui,on ne connaît plus la grande technique qui s’est perdue,et on peut en dire autant du style qui est une horreur.
Потрясающая Красота и Свобода Голоса !!!
incredible....what powerful voice and so pure and how beautiful are this staccato ! if you think as old is this registration !!
Fantastica! Imagino lo que sería haberla escuchado en vivo. Admira a pesar de lo horrible de las grabaciones de esa época. Al menos nos quedan estás muestras de algo prodigioso. ! Que la parió !
bravo Madame
TETRAZINNI sang before 10,000 people WITHOUT A MICROPHONE. THAT IS SINGING
There is NO ONE on the OPERATIC STAGE NOW who CAN MATCH TETRAZINNI
The value of an artist is not measured by how many people his voice can reach without a mic
And with such agility too!
fantastica!
Divina !!! Maravillosa Voz !!!!
I love Luisa Tetrazzini! What a voice, what a tehcnique. She was absolutely amazing and out of this world.
My only question is, is it me or singers of the same period of Tetrazzini had very (but like veeery) similar timbres? I mean
of course all of them had different voices, but I find their vibrato, color of the voice and just something about the way they sounded was soo similar. I know they all probably studied the same technique but the voices sound so similar.
Listen to Adelina Patti, Nellie Melba, Lili Lehmann, etc... they sound very alike, or maybe is it just me?
Then, I think of the generation of Callas, Sills, Sutherland, Moffo, etc.. and they all sound sooo different, but their techniques were similar. Kinda confusing...
Daniliz81 We cannnot objectively judge those singers' voices based on the audio we have due to the crippling limititaions of the recording process at that time. What we hear is probably less than 25% of how their actual voices sounded like. Let's not forget that even recording speed was not constant in those days, peolpe were just amazed that recording sound was even possible, so they were not really bothered by how different the end result was from the live performance. I am not an expert but there are plenty of articles ob the subject available on the internet, there are videos demonstrating how it was done. So, sadly we will never know how these amazing ladies really sounded like :'( Rosa Ponselle (and she came even later , when things were more advanced) said she hated listening to her voice on record because it was not really her, it sounded as if she was trapped in a box. All that said, I find that Lili Lehmann is the only one who sounds decent despite all the limitations of the technology in those days, I can only imagine what a superb singer she must have been if her voice translates to record with such richness of tone!
You are right!! I was actually thinking the same...what a pity it is that we will never know their real voices
Daniliz81 I think it's the old recording equipment. Even this with reverberation added later. We'll never know how they really sounded. They must have been wonderful or they wouldn't have had such great careers.
I suspect that it was a combination of the style of the day and a consistent expectation from the public. In many ways we now have a lot of sopranos that sound similarly dark as the singers of Tetrazzini's age sound similarly bright.
recording technique was hugely different and poor back then
Unica e sola ...nessuno ha potuto imitare la sua tecnica superba corredata da un timbro benedetto... il suo staccato é stregante
Double, triple, quadruple WOW factor in these two selections. My husband, in another room, yelled out, around the middle of the Carnival of Venice, "Is that a human being or a bird? I assured him it was a human being. He then listened in, and said, "She's astounding! I love her!. She's my new favourite!" His old favourite was Joan Sutherland. LOL.
Breathtaking:) Thank you:)
Dame Joan sang professionally for over 40 years, 30 of which she was an international star at the very pinnacle. After 60, she was still singing Adriana Lecouvreur, Les Huguenots, Esclarmonde, Suor Angelica & Lucia. How can anyone say she made a bad career choice? She was UNIQUE (which has no modifier). When will armchair critics learn, coloratura does NOT apply to just the human voice or to the size of the voice. It has to do with the ability of a performer to color a passage - elaborate and florid ornamentation, runs, trills, stacatti.
If you follow Dame Joan's career from 1955 -1990, you will find she had a respectable lower register at the beginning, but as she sang more and more in the higher register she lost the bloom below middle C. I own 46 of her albums and have seen her live at least 8 times. She will always have a special place with me!
Appunto per lei.... Nessuno dice che la Sutherland non sia una fuoriclasse, anzi, ma la Tetrazzini, tra l'altro, ha un timbro brillante ed una dizione limpida e scandita che negli acuti non ha nessuno neppure Dame Joan. Aggiungo che la Sutherland é certamente il maggior soprano moderno di coloratura.
I beg your pardon, but the only merits I see in this singer are the very high notes. So she may be called Madame High Notes And Nothing Else! How boring her vocal speech! How uninteligible her diction in whatever idiom! She puts no musical nor artistic meaning to the fioriture, tothe music, to the words, nor to anything else. I am sorry, but I believe this is a very objective judgement. I do not discuss tastes nor opinions, for I respect them. But the History and the Truth can not be denied and must be respected.
Sergio Squeff Barcelos Votre opinion n'engage que vous. Luisa Tetrazzini est née en 1871 et à son époque elle était le plus grand soprano. Imaginez dans 100 ans comment les auditeurs jugeront Joan Sutherland, Montserrat Caballé etc... Vous savez tout a un commencement et parfois une fin. À la fin du 19ème siècle et au début du 20ème siècle les préoccupations des artistes d'opéra n'étaient pas les mêmes qu'en 1960! À chaque époque le goût est différent!
ioSonoCallas Chère ioSonoCallas: Je crois que vous ne m'avez pas compris. Je ne me referrai pas a Luisa Tetrazzini, très grand soprano du passé, avec une legère tendance a semitoner les aigus, qu'elle corrigeait en suite. Je me referrai a Mme. Sutherland, Madame High Notes and Nothing Else, avec une diction ininteligible en quel soit idiome e très monotone et ennuyant dans son chant. Mais il faut remarquer qu'une opinion appartient, certes, à la personne qui la donne, comme votre opinion aussi n'apartient qu'à vous. Mon jugement (pas opinion) sur Madame High Notes and Nothing else est le mien et aussi celle des toutes authorités musicales. Je ne discusse jamais opinions et gouts personnels, parce que je les respecte: je ne dirait jamais a qui aime le rouge de laisser d'aimer le rouge. Mais l'Histoire et la valeur intrinsique d'une ouevre d'art ou d'un artiste, et un jugement objectif sur eux, doivent bien être aussi très respectés, surtout quand ils viennent d'un musicien professionnel très étudieux et très connaissant, comme moi. Je crois que je vous connais chez le facebook et j'admire beaucoup vos opinions. Respectueusement, Sergio.
Su questo sono perfettamente d'accordo. Nessuno discute il valore di questo soprano...
il resto, come ben menziona, é questione di gusto personale. Alla prossima !
bellezza pura!
"Sono vecchia. Sono brutta. Ma sono encore Tetrazzini"
Si Maestra, e per sempre!
"sono vecchia, sono grassa MA sono sempre la Tetrazzini"...J'ADORE ÇA!
WTF?
Verissimo, la signora Luisa era ed è sempre la più grande e bella signora della lirica di tutti i tempi....moi aussi l'adore...
@@Lorenzo-be1nm
She was never ugly, and her voice remained unbelievably young 'forever'.
@@Lorenzo-be1nm she was not a singer… She was a Goddess!
She was an amazing coloratura, and she rarely, if ever, sang anything but coloratura parts. Her glorious top register did not, however, have that same beauty in her lower register. Tetrazzini shared those coloratura roles with Galli-Curci.
Perfettamente d'accordo... ma é già una fortuna avere quel che c'é. La contrapposero alla Melba che era un a carta velina di fronte a lei. La sua allieva Lina Pagliughi, che aveva una voce notevole divenne notissima negli anni '30 grazie alla tecnica strepitosa di cui la Tetrazzini la fornì.
Cordialità
Ottima,a posto nel gruppo..Danke.bussis
Brava,Bravissima
Gosh it's such a shame digital recorders haven't always been around
Well, at least there was something to record.
Ram875 What I meant is: I would love to have heard all of the original sopranos; ones who we have/will never hear!
Это настоящая звезда бельканто .Нашим "звёздам " до нее очень далеко.
Technology may come and go, but Tetrazzini transcend time and fashion!
Astounding sound.
It was the best. It is really unic.
thank you...
Por que eu amo tanto? 😂😍❤
Deve ser por causa da afinação, agilidade, leveza, timbre vibrante, potência, legato, fraseado, dinâmica, interpretação, alegria, simpatia, carisma e o talento dado pelo próprio Deus! 😍🙏 E ela ainda deu boas lições para outros cantores. Grande artista!
One of many reasons I will NOT spend my Little Time and Money Left going to vocal performances now a days.
Apparently this piece was quite popular as Victor Masse also used it in his opera La Reine de Saba. I've posted it elsewhere sung by Sumi Jo. It has completely different variations. But this is wonderful.
Esta soprano coloratura no la conocia, pero es maravillosa, con muy buena tecnica, muy artista. Esas grabaciones son del 1910 al 1933, imaginemos como la escuchariamos ahora con toda la tecnica existente.
Thancks a lot
This is incredible but she probably sounded even better live. The old recordings seem to have a habit of flattening out some overtones, the reason that instruments sound different as well.
@tbone420 Yes, it's exact, it was 100 years ago today!
grazie
@MomDiva999 Thank you very much for your nice comment, I'm delighted to make you discover this recording.
The miracle starts at 5:44
Awesome. Impossible not to be seduced by such great singing, sublime.
@796824 That event was 100 years ago today here in San Francisco. It is not forgotten.
la regina dello staccato
cari saluti
ESO SI QUE ES CANTAR. IMPRESIONANTE
Awesome! You hardly can find a singer nowadys that hit high notes such securly and perfectly. Thats what belcanto used to be💕
Imagine the reaction were tetrazzini to walk on the stage of the Metropolitan Opera today. The word electrifying comes to mind!
oy oy oy she`s absolutely delightful
Wondrous...
God, she is from Mars... Wow!!!
@fpngan It's the actress Clara Kimball Young (1890-1960)!
Hola bonita reseña, hoy día, no hay éste nivel de perfección como en ese tiempo. Bogna sokorska fue la mejor de las sopranos de mitad del siglo pasado.
peccato che le registrazioni così datate taglino moti armonici, la sua voce dev'essere stata ancora più rotonda e ricca
Love it play every dauymy aunty baby titrazzini grreat in san franco thanks bev artistp