Yepp! That comes from hard discipline, proper training and perfect technique - singers in this generation still had a fundamental professional formation and were stylists of singing - today they all shout being a spinto or not - Consequence: The voice is ruined by the time they are 50 at least, sometimes even earlier!!

I think Opera singers of those days took their talent as a gift, for singers of today, singing is only a profession!

+Christophe Cesar you are welcome~~~grin .I agree ~Peters is no spring chicken, but she does a pretty good job of playing a young girl.Proper exercise will keep you in shape. Carlo Bravo!

+Horia Ganescu you're welcome~

Horia Ganescu

😊yep

+Carmen Claure En los ensayos generales se le pide al público no se aplauda.

+Victor Mone jajaja, ni idea que era un ensayo general!! Ya, ya, eso lo sè pero no me había dado cuenta y me parecían tan sosos....Gracias!

Aun asi aplauden a Pablo Elvira!!!!

Peters' best years were in the 1950s.

@@spyserse2219: She told me (among other interviewers) in the 1970s that her voice had “evolved” from a coloratura into a lyric soprano, which was an artful way of saying that she had lost her top tones. In her prime in the 1950s, her range extended to the high-F. But when she decided to become her own teacher, the loss of her once-effortless high tones began.

@@jimdrake-writer Yep, her treble began to decline in the late 1960s, from a pure Coloratura to a "soubrette (Lyri) soprano". Early in her career, she had plenty of high f, and even recorded Mozart's arias g6.From the 1970s to the 1980s, she lost a lot of high pitch. which made her give up some roles. I am not sure if this decline is due to physiological factors or The question of skills.

@@spyserse2219 Or simply age. In Bergonzi’s case the only real decline was in the pitch of any note above the staff. The basic sound was always there. I don’t think I’d say the same of Peters here.

Vocalmente nada que ver.... agua y aceite....teatralmente, nada que ver, agua y aceite pero eso,no significa que esté superado. Son momentos distintos...

@@emtnz1569 Por supuesto que están superados. Cada día el profesionalismo es mayor, el espectáculo como un todo es mejor, la estética de los montajes , en algunos es un desastre pero el de Villazón es espectacular en Viena creo 2008. Ya los intérpretes gordos son cada vez menos y las cantantes físicamente se han superado.La ópera es un espectáculo visual, musical y lírico y todo es importante !

Estoy de acuerdo en que hay algunas versiones de ópera que difícilmente serán superadas como es el caso del Tanhaüser de Gwineth Jones cuyo elenco e interpretación no he visto uno mejor o El Anillo de Wagner de esa misma cantante, pero en su inmensa mayoría ya han sido superados...La Flauta Mágica de Glyndebourne es todo un espectáculo visual-musical y lírico !

Como está equivocado ud ,por dios!!!,pero es su opinión y bueno?

Это репетиция

Камен Крайчев: Having heard and known both of these great singers, I take exception to your comment about Bergonzi, after hearing the 65-year-old primo tenore with a lirico-spinto voice execute diminuendi as Bergonzi does in "Una furtiva lagrima." I can assure you that Roberta Peters had nothing but praise for him, because she told me so in one of several interviews I did with her.

Thank you!

Jim Drake d

+Камен Крайчев: I don't want to give the impression that she was reluctant to speak her mind about singers whom she felt were difficult. In my sessions with her in the 1970's, she was very critical of Bjoerling (whom she said disrupted a "Rigoletto" recording session while under the infuence of alcohol), and especially Warren, whom she described as "a big baby" whose only concern was his own performances, not those of the ensemble.

In BETWEEN ACTS, Robert Merrill said the same thing of Bjoerling's behavior during the recording sessions for that 1956 RCA Victor recording of "Rigoletto" in Rome - and he was a very good friend of Bjoerling. When it came time to record the Act III quartet, the first time Bjoerling was way too loud; the second time, he was inaudible. And then he insisted, "Since I begin the quartet, it's my solo!" Conductor Jonel Perlea allowed him to sing it "his way."