Beverly Sills "Al dolce guidami...Coppia iniqua" Anna Bolena

Рет қаралды 4,054

Onegin65

2 жыл бұрын

Philadelphia Orchestra
Eugene Ormandy, cond
1974

Пікірлер: 21

@MUSICALLAN Жыл бұрын

Almost 50 years ago! I remember listening to this on the radio when it was first played in NY. I recorded it on a Memorex cassette.

@lestatblack7 Жыл бұрын

It's amazing how she changed some lyrics of the aria and the scene!

@SuperEfexor 2 жыл бұрын

Amo Beverly Sills, anche stonata, anche senza voce, anche se grida, ma è stata una grandissima artista.

@enriquesalinasalcazar9879 3 ай бұрын

Si Hai raggione non sappi niente di Opera 😂

@pablocarrascosamiguel7680 4 ай бұрын

La verdad es que agradecemos voces con más cuerpo para estos papeles, pero Sills hacía las tres reinas muy bien. A su manera, pero con un enorme virtuosismo y momentos de gran belleza. Aquí hay filados increíbles en el aria, y resuelve los seis trinos ligados de la cabaletta como ninguna..., añadiendo adornos en la repetición. O sea, cuando la mayoría echa los bofes, a Sills le queda técnica (y fiato) para añadir dificultades, un poco a lo Sutherland. Algunas notas un poco gritadas por falta de densidad en el sonido, es verdad, pero bueno, ya quisiéramos hoy a muchas Sills.

@alejandrotm 2 күн бұрын

La misma Sills confesó que fue un error cantar Anna Bolena, que por culpa de este rol más pesado de lo que convenía a su voz, su carrera se redujo unos 4 años. Al tener una voz de timbre claro, más ágil que dramática, es fácil que brillara en las cabalettas, que son pasajes de agilidad y bravura donde las sopranos de voz más pesada suelen lucir menos. Si Sills se hubiera quedado en Maria Stuarda, que es la más ligera de las reinas, quizá habría gozado de más años de carrera como primadonna antes de reubicarse entre bambalinas, donde parece ser que hizo buena labor para mejorar el prestigio y la calidad de los espectáculos de ciertos teatros y auditorios estadounidenses.

@jdandrews4975 6 ай бұрын

Anyone who is familiar with Sills' many recordings, and all those who remember her from live performances will surely know that this particular recording is playing too fast. One has only to consult the score to see that the tonality is not right. She never had such an hysterically fast vibrato. The trills, yes, were usually quite fast, but not the vibrato. Despite this flaw in the recording, this is still a thrilling account of this scene. If one takes the time to listen to her other recordings of the same excerpt, both live and in the studio, it can be noted that the voice, of COURSE, had much more depth than can be heard here. It always surprises me how quick people are to judge any singer based on pirated or radio live recordings. No one sounds "complete" with such inferior recording equipment.

@paullewis2413 Ай бұрын

Yes, I immediately noticed the excessive quick vibrato and her voice sounding too light. I know she never possessed the weight in her voice that Sutherland and Callas had but this simply doesn’t sound right.

@christopherarneson3888 2 жыл бұрын

This is a semi tone high

@onegin653 2 жыл бұрын

Maybe a bit sharp but not a half tone

@MacDinoland Жыл бұрын

Yes. It's playing a half tone too high. The recording is probably playing just a bit too fast. It should end on a high Eb, but here it's an E natural. But she sounds amazing on it nevertheless!

@alejandrotm 2 күн бұрын

@@MacDinoland Sills was lighter than other soprani who sang this role, perhaps it was transposed up a semitone so the low notes were a little less low and she could hit higher than others with an E6 instead of Eb6. Some lighter soprani transposed the heavier roles up a semitone, if not completely, at least partially, and adapted certain parts for her voice to sound better. It is no secret for instance that Sutherland did it for Norma, up to the point that Caballé was convinced she could not sing Norma, because she could not do it like Sutherland, then Joan told her that she had adapted some passages to her voice, but Caballé could actually sing it as written because she had a rounder voice for it.

@MacDinoland Күн бұрын

@@alejandrotm Yes, I agree that singers would sometimes change the keys to their roles to better adapt to their voices. But, older videos on here or other similar platforms are often taken from LP or video cassette recordings. Therefore, possible degrading properties do to age have to be taken into consideration. And then there's the slight speed differences: PAL (the format for the UK/Europe) runs about 10% faster than NTSC (the US picture format). So, I always take what I'm hearing here on KZfaq with a grain of salt. You never know if you would be hearing the actual recording as it was originally meant to be. But at the same time, I'm always grateful for platforms like KZfaq. Without these, I may have never known about some of these performances! I can then seek out a clean copy if I liked it. 😉

@tommydenzio Жыл бұрын

Sills was a great coloratura but Caballe's treatment is much more lush and beautiful with darker undertones.

@zaffranbodhi 7 ай бұрын

Caballe never was capable of staying in character on stage. For one phrase, yes, then it was back to being a note reader. As the Times said of Caballe’s disastrous Tosca she was not ever an actress. Sills enters into and creates character. Caballe could never achieve what Sills does here.

@enriquesalinasalcazar9879 3 ай бұрын

2 diffrent sopranos u should know more before saying something

@ronronizetti2534 7 ай бұрын

Glorious , but definitely playing too fast, in 74 Beverly did not sound like a young girl as she does here. While I’ve heard many a soprano sing this role, give me Callas and Beverly anytime, they both made it come to life.

@tencontento9177 Жыл бұрын

Just because she could sing it this fast doesn't mean she should have. I know it's a mad scene, but it's just TOO frenetic. And the top note, as always, is shrill and sharp (at least not flat like in her later years).