@@lutandomhlalase4416 That's fantastic!!! Do you have a sound file or a TH-cam video of it? I would love to hear it. I have to admit I am very partial to this aria as it is one of my favorites of all time!!!
Despite of very special pigeon like vibrato Studer gives powerful and passionate performance, really do like her singing. And Samuel Ramey looks and sounds extremely spectacular as Attila!
Studer adds so much to the role. A lot of strength and passion, needed for this very italian, crazy rollercoaster of a role. Pure italian singing right here.
I have heard her Chrysothemis live in 1987, and her forte were equal to Gwyneth Jones as Elektra. That was very astonishing, with this silvery tone. I thought: well, she gives so much, why doesnt she take more precautions with her instrument. But it was also part of the beauty of this performance. Like here, where she forces her voice to go so low, very dangerously for her high voice type. Muti uses her, but doesnt care if she will have troubles after that. Nevertheless this is one of her best moments ever, and she is really strong, exuberant, and I say Brava!
I suppose this law of "well developped chest voice" is universal, (as the "Silver method" fans repeat it ). It's true that most of the italian sopranos had a chest voice, and could use it. Nevertheless, some silvery lyric or light sopranos never used much of chest voice, and mainly those concerned by the Mozart/Strauss, or light Puccini repertoire, such as Elisabeth Grümmer, Lotte Schöne, Irmgard Seefried, Hilde Güden, Arleen Auger, Kiri Te Kanawa, and in a certain way Elisabeth Rethberg. There was surely a reason, they were not all dumbs.
@@foropera It's not a matter of intelligence or lack of. Composers expected chest voice capability from sopranos and composed accordingly. Sopranos who couldn't do it either avoided that repertoire or faded out in passages they couldn't sing. (Or faked it with "parlando," which isn't a bad strategy if you've got nothing down there.) Now it obviously isn't taught, and Radvanofsky just sang Medea at the Met despite having no chest voice. (See "parlando," above.) Antonio Pappano has gone so far as to say that if the score goes down there, it means the singer should fade out as though overwhelmed with emotion, because obviously the composer knew that a soprano couldn't sing down there. Callas would have driven him from the opera house with a whip.
@@patricksdonnelly Sondra actually has chest voice. She was advised not to use it in Medea (yes, very bad decision). I saw her live in Chenier and La forza in London and her low notes are VERY loud. Unusually so in fact for sopranos today. It's just a shame that the Met directors are very against sopranos using this sound. They advise against it. One of my friends who sings in New York was told to 'calm down' with her middle and lower end as it's too 'vulgar for audiences of New York'.
Has Studer ever talked about why she didn’t ever use/develop chest voice? I know she loved Callas, and seems to have understood her art. So I wonder why she thought it wasn’t necessary to use chest in this rep? It’s mystifying to me - the whole bottom half of the voice lacks the vibrancy of the top - the lower middle needs chest resonance brought into it if it to be powerful - Who was her teacher?
Great moments of opera Greetings. I don’t recall ever reading anything about her discussing this topic. If she has I missed it. But she is on Facebook so you could ask her. Whether or not she picks it up is for her to decide. To be sure she never developed her chest voice or if she did she seldom used it. Can it be that some have it while others don’t? I don’t have the answer. At the end of the day, we all make music with what we got, warts and all. So to focus on only one “deficiency” (always subjective and in the ear and eye of the beholder) at the expense of all else is missing the forest for the trees. As for her formative teacher, her name was (I am assuming she is no longer living) Gwendolyn Pike. After her she studied with numerous others at Interlochen and Tanglewood (with Phyllis Curtin - there is a photo of the two of them in a teaching session) and elsewhere in the States. In Europe, with Kim Borg and, I don’t know if deeper than just masterclasses, with Irmgard Seefried and Hans Hotter. I think with Wolfgang Brendel too.
Great moments of opera Someone recently uploaded this short video of Studer in a masterclass with Hotter, in Vienna, from sometime in the 1970s. It has rained a lot since. th-cam.com/video/qwcnwLD17VU/w-d-xo.html
doGreatartistsgrowontrees? Ah very sweet! What for you are the core of Studers primiest prime years? When do you first hear signs of deterioration and when is your cut off when you no longer enjoy the singing? E.g. For me with Fleming the primiest prime years are 1993-2004 and then there’s a slight decline and the last year of year of prime singing is 2009 (the Baden Baden rosenkavalier, the Met 125th anniversary Marietta’s Lied and the duets with Hvorostovsky) after which I find much much less to enjoy - just a very few live performances here and there and a few tracks on each of her subsequent CDs.
Great moments of opera The miracle Studer years for me are from about 1983 thru early 2000s. The mid 90s were iffy for her, I admit, but the flaws did not bother me as much as they did others (even if sometimes I would grind my teeth not knowing what was coming out next 🙂). The equally and simultaneously interesting and frustrating aspect about singers is that so often they get more interesting interpretively after their vocal prime. In other words, there is no God. In the case of Studer, I could and still do tolerate and forgive some rough patches relative to all else she is giving. The Barber and Verdi song videos are a good example. And those were sung in 2003, long after she had been written off for dead. Another example is her Bayreuth Senta in which she got better and better as the evening went on, culminating in an electrifying finale. And that was in 1999, again, long after she had been written off. One more example, this time with Schwarzkopf, is her second and last recording of the VLL, with Szell. Vocally past her best but in the throes of the innermost meaning of these songs. Can't put a price tag on that experience that emerges with time. What I can't and will never ever do with Studer is throw her under the bus or negate her legacy like a used kleenex, as if what she accomplished never existed or mattered, as so many have done with her willy nilly.
Jamal Bakri And if you haven't heard Studer's 'Liberamente or piangi', I urge you to. It is also on my channel. But I also urge you to hear Hernandez's which is also on YT. That is, for the sake of great vs poor.
Has Studer ever listened to the queen of this role namely Joan Sutherland? Anyway her voice never appealed to me. Very off pitch in some parts. As someone else commented should you really sing something even if you can do it. And Studer does it very mediocrately. Her star shone very dimly for a few years on the opera scene and then luckily dissapeared. Ramey absolutely fantastic.
I could be wrong but I don’t think La Stupenda ever sang this role on stage. Therefore any comparison between a recording and a live performance is not totally fair.
Magnífica!!!!❤❤
💚 Verdi. 💙 this opus.
Ladies and Gents....THIS is how it's done! BRILLIANT!!!
Really, ok 😅
@@lutandomhlalase4416 LOL Well YOU get up and do it then!
@@ritahunterlafavorita I have and did better and because I follow the tradition G.B Mancini many theatres told me my voice was to big
@@lutandomhlalase4416 I would love to hear it. Do you have a recording on TH-cam somewhere? It is actually one of my favorite arias of all time.
@@lutandomhlalase4416 That's fantastic!!! Do you have a sound file or a TH-cam video of it? I would love to hear it. I have to admit I am very partial to this aria as it is one of my favorites of all time!!!
Despite of very special pigeon like vibrato Studer gives powerful and passionate performance, really do like her singing. And Samuel Ramey looks and sounds extremely spectacular as Attila!
Studer adds so much to the role. A lot of strength and passion, needed for this very italian, crazy rollercoaster of a role. Pure italian singing right here.
Stunningly great Singer!
Magnificent.
Along with the finest bass ever - Samuel Ramey.
Amazing Performance ))))))))👌🏻
What a voice!!!!
I have heard her Chrysothemis live in 1987, and her forte were equal to Gwyneth Jones as Elektra. That was very astonishing, with this silvery tone. I thought: well, she gives so much, why doesnt she take more precautions with her instrument. But it was also part of the beauty of this performance. Like here, where she forces her voice to go so low, very dangerously for her high voice type. Muti uses her, but doesnt care if she will have troubles after that. Nevertheless this is one of her best moments ever, and she is really strong, exuberant, and I say Brava!
Chest voice is not “dangerous” for high voices; virtually every well-known soprano of early to mid 20th century had a working chest voice.
I suppose this law of "well developped chest voice" is universal, (as the "Silver method" fans repeat it ). It's true that most of the italian sopranos had a chest voice, and could use it.
Nevertheless, some silvery lyric or light sopranos never used much of chest voice, and mainly those concerned by the Mozart/Strauss, or light Puccini repertoire, such as Elisabeth Grümmer, Lotte Schöne, Irmgard Seefried, Hilde Güden, Arleen Auger, Kiri Te Kanawa, and in a certain way Elisabeth Rethberg. There was surely a reason, they were not all dumbs.
@@foropera It's not a matter of intelligence or lack of. Composers expected chest voice capability from sopranos and composed accordingly. Sopranos who couldn't do it either avoided that repertoire or faded out in passages they couldn't sing. (Or faked it with "parlando," which isn't a bad strategy if you've got nothing down there.) Now it obviously isn't taught, and Radvanofsky just sang Medea at the Met despite having no chest voice. (See "parlando," above.) Antonio Pappano has gone so far as to say that if the score goes down there, it means the singer should fade out as though overwhelmed with emotion, because obviously the composer knew that a soprano couldn't sing down there. Callas would have driven him from the opera house with a whip.
@@patricksdonnelly Sondra actually has chest voice. She was advised not to use it in Medea (yes, very bad decision). I saw her live in Chenier and La forza in London and her low notes are VERY loud. Unusually so in fact for sopranos today. It's just a shame that the Met directors are very against sopranos using this sound. They advise against it. One of my friends who sings in New York was told to 'calm down' with her middle and lower end as it's too 'vulgar for audiences of New York'.
She is totally awesome .
Has Studer ever talked about why she didn’t ever use/develop chest voice? I know she loved Callas, and seems to have understood her art. So I wonder why she thought it wasn’t necessary to use chest in this rep? It’s mystifying to me - the whole bottom half of the voice lacks the vibrancy of the top - the lower middle needs chest resonance brought into it if it to be powerful - Who was her teacher?
Great moments of opera Greetings. I don’t recall ever reading anything about her discussing this topic. If she has I missed it. But she is on Facebook so you could ask her. Whether or not she picks it up is for her to decide. To be sure she never developed her chest voice or if she did she seldom used it. Can it be that some have it while others don’t? I don’t have the answer. At the end of the day, we all make music with what we got, warts and all. So to focus on only one “deficiency” (always subjective and in the ear and eye of the beholder) at the expense of all else is missing the forest for the trees. As for her formative teacher, her name was (I am assuming she is no longer living) Gwendolyn Pike. After her she studied with numerous others at Interlochen and Tanglewood (with Phyllis Curtin - there is a photo of the two of them in a teaching session) and elsewhere in the States. In Europe, with Kim Borg and, I don’t know if deeper than just masterclasses, with Irmgard Seefried and Hans Hotter. I think with Wolfgang Brendel too.
Great moments of opera Someone recently uploaded this short video of Studer in a masterclass with Hotter, in Vienna, from sometime in the 1970s. It has rained a lot since. th-cam.com/video/qwcnwLD17VU/w-d-xo.html
Great moments of opera P.S.: Hotter and Studer also performed together back in the 80s, in Paris, in Zauberflöte, he as the Speaker and she as Pamina.
doGreatartistsgrowontrees? Ah very sweet! What for you are the core of Studers primiest prime years? When do you first hear signs of deterioration and when is your cut off when you no longer enjoy the singing? E.g. For me with Fleming the primiest prime years are 1993-2004 and then there’s a slight decline and the last year of year of prime singing is 2009 (the Baden Baden rosenkavalier, the Met 125th anniversary Marietta’s Lied and the duets with Hvorostovsky) after which I find much much less to enjoy - just a very few live performances here and there and a few tracks on each of her subsequent CDs.
Great moments of opera The miracle Studer years for me are from about 1983 thru early 2000s. The mid 90s were iffy for her, I admit, but the flaws did not bother me as much as they did others (even if sometimes I would grind my teeth not knowing what was coming out next 🙂). The equally and simultaneously interesting and frustrating aspect about singers is that so often they get more interesting interpretively after their vocal prime. In other words, there is no God. In the case of Studer, I could and still do tolerate and forgive some rough patches relative to all else she is giving. The Barber and Verdi song videos are a good example. And those were sung in 2003, long after she had been written off for dead. Another example is her Bayreuth Senta in which she got better and better as the evening went on, culminating in an electrifying finale. And that was in 1999, again, long after she had been written off. One more example, this time with Schwarzkopf, is her second and last recording of the VLL, with Szell. Vocally past her best but in the throes of the innermost meaning of these songs. Can't put a price tag on that experience that emerges with time. What I can't and will never ever do with Studer is throw her under the bus or negate her legacy like a used kleenex, as if what she accomplished never existed or mattered, as so many have done with her willy nilly.
Eccezionale. mauro
Dame Sutherland e insuperabile
My goodness, this is good, but the agility, power and size of the Stupenda's voice cannot be compared to anything.
Miss Studer is the best, after Dame Joan.
5:43
Haha, I am glad I'm not the only who thought Ms. Hernandez was absolutely *terrible*... Viva la Studer
Jamal Bakri And if you haven't heard Studer's 'Liberamente or piangi', I urge you to. It is also on my channel. But I also urge you to hear Hernandez's which is also on YT. That is, for the sake of great vs poor.
Opera Filth
Crap Studer was a lyric looking for trouble. Hernandez is perfect for these roles.
@@draganvidic2039 Saioa can't sing Verdi.
Just because one can sing a role doesn’t mean one should.
very true
What’s wrong with one’s singing could you explain please?
Has Studer ever listened to the queen of this role namely Joan Sutherland? Anyway her voice never appealed to me. Very off pitch in some parts. As someone else commented should you really sing something even if you can do it. And Studer does it very mediocrately. Her star shone very dimly for a few years on the opera scene and then luckily dissapeared. Ramey absolutely fantastic.
Don’t know about Studer but I go a great distance to avoid listening to Sutherland, as she is of zippo interest to me.
I could be wrong but I don’t think La Stupenda ever sang this role on stage. Therefore any comparison between a recording and a live performance is not totally fair.
@@jjlungdoc7472 Joan Sutherland has sung this live on stage to great acclaim.
@@ian.marais1202 ok. I stand corrected then. Thank you.
@@ian.marais1202 Sutherland never sang this role onstage!