Stupenda ! Come sempre riesce a rimanere aderente alla linea musicale del brano quindi la sua coloratura anche se leggermente eccessiva(ma molto più sobria di tante altre) riesce a mantenere una coerenza esecutiva insolita per il periodo! Grandissima e irraggiungibile come quasi sempre!
I agree with every word of your comment. Tetrazzini almost always found the perfect balance between virtuosistic and daring showing off, and tasteful coherence with the core of the music. She had great musicality and the means to achieve what she wanted. A true legend!
Starting as a contralto has made her chest voice into a huge foghorn for a coloratura soprano. And her later training as soprano build and strengthen her head voice. Her final voice development is the coordinated chest voice, which is quite good for her level. Though some said Emmy Destinn and Nellie Melba have the best registration out there. They have the most balanced chest and head registration (homogeneous chest and head note production). Their chest voice are strong and they infuse so much core when singing middle and high notes, so the head voice often be heard like their chest voice!
@@jimbuxton2187 All male (tenors, baritons, basses) mainly sing with chest voice!! When the notes are very high they use either full/opened chest voice or covered chest voice. Falsetto is being used sometimes to emphasize emotion or dynamic
Indeed! I like that they are obviously virtuosistic, but not meaningless and superficial, rather well integrated into the text and the musical context. Her voice was always wonderful, but she's positively stunning in this performance.
@@graceboichokondlovu3318 You must be kidding, The voice was recorded at a time when even large Wagnerian voices sounded thin and streechedl Here she sounds full voiced and penetrating and with proper current day recording equipment her voice would likely have rivalled Sutherland's for size.
@@WilsonWatt-q2ethe great J.B. Steane, whose opinion I respect more than gracewhatshername1234567 basically nails it: Tetrazzini was capable of producing huge open tones which brought Birgit Nilsson (!!) to his mind. I agree. Her interpolated titanic high Bb in Tosti’s Aprile is a great example. Anyone who hears her voice as “small” flunks out of this conversation. Poor things. Although she wisely stayed in her lyric/coloratura fach, compared to Barrientos, Pareto, Galli-Curci, Pons, Hempel, and company, Tetrazzini’s voice was twice the size as theirs. Size was not a factor in her universal success. She had a dazzling way with coloratura (Venzano Vals), a gentle way with legato (Ah non credea), and she had GREAT musical skill and taste (everything she recorded). She also impressed London with her acting in her debut run as Violetta at Covent Garden. After a bleakly attended opening, word got out, and by the following day, the house was sold out for every upcoming performance with “queues” lined up around the block trying to get tickets. I’ve been going over her recordings with a fine-tooth comb for almost 60 years, and have come to the conclusion she stands among the greatest sopranos in history.
@@jeffreymiller4814 very true! I read a true account of one of contemporaries say that her voice was very close to sutherland in size and tone except Luisa didn't have a covered middle voice.
I've heard better Tetrazzini recordings and she was known for having weak, unsupported middle and lower registers so I don't know what the poster is talking about. She had an amazing voice but she was a pedestrian musician. Kind of a reverse Callas.
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When you sound fantastic even on an ancient LP you know you can't be surpassed.
Stunning performance !!!!!
Stupenda ! Come sempre riesce a rimanere aderente alla linea musicale del brano quindi la sua coloratura anche se leggermente eccessiva(ma molto più sobria di tante altre) riesce a mantenere una coerenza esecutiva insolita per il periodo! Grandissima e irraggiungibile come quasi sempre!
I agree with every word of your comment. Tetrazzini almost always found the perfect balance between virtuosistic and daring showing off, and tasteful coherence with the core of the music. She had great musicality and the means to achieve what she wanted. A true legend!
Starting as a contralto has made her chest voice into a huge foghorn for a coloratura soprano.
And her later training as soprano build and strengthen her head voice. Her final voice development is the coordinated chest voice, which is quite good for her level. Though some said Emmy Destinn and Nellie Melba have the best registration out there.
They have the most balanced chest and head registration (homogeneous chest and head note production). Their chest voice are strong and they infuse so much core when singing middle and high notes, so the head voice often be heard like their chest voice!
What do you think of tenors chest voice and low notes? Or is it just women who have to have great low notes?
@@jimbuxton2187 All male (tenors, baritons, basses) mainly sing with chest voice!! When the notes are very high they use either full/opened chest voice or covered chest voice.
Falsetto is being used sometimes to emphasize emotion or dynamic
This is absolute perfection ❤❤
Those were some very interesting embellishments at the end
Indeed! I like that they are obviously virtuosistic, but not meaningless and superficial, rather well integrated into the text and the musical context. Her voice was always wonderful, but she's positively stunning in this performance.
@@Homoclassicus Did she ever perform this opera on stage?
Her high B at the end sounded like how Tebaldi would sing 😲😲
And she started as a contralto!!!
Surprisingly, many big voices do.
@@Erizou90 um she's a small voiced soprano in terms of voice fach
@@graceboichokondlovu3318 You must be kidding, The voice was recorded at a time when even large Wagnerian voices sounded thin and streechedl Here she sounds full voiced and penetrating and with proper current day recording equipment her voice would likely have rivalled Sutherland's for size.
@@WilsonWatt-q2ethe great J.B. Steane, whose opinion I respect more than gracewhatshername1234567 basically nails it: Tetrazzini was capable of producing huge open tones which brought Birgit Nilsson (!!) to his mind. I agree. Her interpolated titanic high Bb in Tosti’s Aprile is a great example. Anyone who hears her voice as “small” flunks out of this conversation. Poor things. Although she wisely stayed in her lyric/coloratura fach, compared to Barrientos, Pareto, Galli-Curci, Pons, Hempel, and company, Tetrazzini’s voice was twice the size as theirs. Size was not a factor in her universal success. She had a dazzling way with coloratura (Venzano Vals), a gentle way with legato (Ah non credea), and she had GREAT musical skill and taste (everything she recorded). She also impressed London with her acting in her debut run as Violetta at Covent Garden. After a bleakly attended opening, word got out, and by the following day, the house was sold out for every upcoming performance with “queues” lined up around the block trying to get tickets. I’ve been going over her recordings with a fine-tooth comb for almost 60 years, and have come to the conclusion she stands among the greatest sopranos in history.
@@jeffreymiller4814 very true! I read a true account of one of contemporaries say that her voice was very close to sutherland in size and tone except Luisa didn't have a covered middle voice.
The greatest diva of all time!!!!!!
Ridiculous.
Incredible! Do you know where can I find the pdf with these cadenzas ?
4:09
yeah massive !!!!
Thank God opera has progressed since then.
No one else finds this disjointed?
Yes, I do too.
I've heard better Tetrazzini recordings and she was known for having weak, unsupported middle and lower registers so I don't know what the poster is talking about. She had an amazing voice but she was a pedestrian musician. Kind of a reverse Callas.