Joan Sutherland sings Vitellia's famous aria "Non più di fiori", from La Clemenza di Tito. This recording was made in 1956 and contains Sutherland's lowest recorded note - a Low G.
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@operadude3217 жыл бұрын
Wonderful to hear this early example of Ms. Sutherland! Thanks for posting.
@debbiewoodburn67867 жыл бұрын
What a beautiful voice. Always sounds sublime.
@Tkimba23 жыл бұрын
È la versione migliore esistente
@carlerle7878 жыл бұрын
Brava La Stupenda!
@Gobbi200716 жыл бұрын
Wonderful. I love her chest voice in this, although she always knew it was weaker than her head voice she makes way with it. the trill: Sutherland pur.
@65attila14 жыл бұрын
IMO Joan was a fabulous singer pre the 1959 Lucia, Enough recordings exist to evaluate that.
@JoanSutherlandFan6 жыл бұрын
Certainly the most pure and clear low G I've listened.
@Dadacomero9 жыл бұрын
ogni commento è superfluo Stupenda
@fabriziomariagarzi55345 жыл бұрын
SI!
@clivepapayanis31218 жыл бұрын
This is opera seria... of course there should be detachment...and her low register - better exhibited here than in anything else I've heard of hers recorded- is very impressive. She was one of the very best EVER. And her Mozart is pretty darn stupendous. Makes me wish she sang Fiordiligi. You rock, Dame Joan
@Distefano58 жыл бұрын
Opera seria in general must NOT be emotionally detached. Mozart is a very different composer, he never cared for drama and emotions, all his concern was beautiful tone and phrasing that's why i think Sutherland best suited Mozart and baroque than anything else she sang. Her Donna Anna is the best example, it's considered the benchmark by almost all critics yet her retarded husband persuaded her to record less suiting bel canto and Verdi repertoire.
@clivepapayanis31218 жыл бұрын
Indeed her Donna Anna is perfection, equaled only by Grummer's perhaps. Retarded for Bonynge is a LITTLE harsh, but I agree he did her few favors. Mozart not caring for emotions? Not so sure... he certainly conveys them in Donna Elvira and Pamina's laments, and anger in Gugliemo is hardly masked by a regard only for beautiful tone. But absolutely, wish Dame Joan had recorded more Handel; her recordings of Cleopatra and particularly Alcina are incredible!
@Distefano58 жыл бұрын
Clive Papayanis If you go and check who created most of Mozart roles, none of them are known for stage presence and interpretation abilities. That's why i find Mozart very boring as opera composer, he was composing beautiful music more than opera and drama.
@clivepapayanis31218 жыл бұрын
Di Stefano To each his own. Don't agree; many consider Don Giovanni the greatest of all operas in all respects, and for that matter the beginning of multi-faceted characterization and themes. But we all have our tastes and opinions. Happy listening!
@Distefano58 жыл бұрын
Clive Papayanis Of course it's only my opinion, Mozart is still one of the most performed and loved composers.
@dhkinnard17 жыл бұрын
just great
@RossiniSoprano9 жыл бұрын
bogdiworksV2 I don't understand what you mean by 'detached'. What is 'detached' emotionally about this performance? How are you judging that? I ask because I'm a singer (and a clarinetist, and have played this), have worked on this aria, though I have not performed it, and I hear engagement in her singing. I'm perplexed by your statement.
@franzitaduz6 жыл бұрын
Mellifluous singing laced with Mozartean grace and varying timbres. I prefer this approach with less metal in the more dramatic lower passages. There is nothing "detached" in such a sensitive performance with legato to burn!
@Hako200417 жыл бұрын
I've never heard anyone sing this aria....thank you for sharing it. Joan sings so richly and with a flourish, and the low notes are very full.
@draganvidic2039 Жыл бұрын
They are not
@eduardobrandwaiman3427 жыл бұрын
Besides, she should have continued singing Countess Almaviva in "Le Nozze di Figaro" in its original Italian (she sang it in English only twice in 1953).
@tg9227710 жыл бұрын
Me too. I think she was always worried that if she used too much weight in the lower register that she might lose the flexibility she had in the upper range
@rakellcolotta36755 жыл бұрын
Agreed.
@draganvidic2039 Жыл бұрын
A usual mistake
@eduardobrandwaiman3427 жыл бұрын
She should have sung Vitellia on stage as well as Fiordiligi and Konstanze.
@draganvidic2039 Жыл бұрын
Without a good lower range?
@angelonicola60812 ай бұрын
Tempo fa lessi che la ditta Sutherland-Bonynge aveva programmato di fare un disco con " Così fan tutte",ma poi non se ne fece niente,e il motivo non è noto. An
@rakellcolotta36753 жыл бұрын
So lovely.
@raigekimaru12 жыл бұрын
@Cissy97 even at this point, it's clear from the way the voice opens up from G5 up that she is no mezzo. though I wish Bonynge had not encouraged her to neglect her lower register. a singer has to make decisions though, and she chose not to risk it for the sake of preserving her top (which she did, not many sopranos have brunnhilde sized high Ds in their 60s)
@barbaranorthwood8 жыл бұрын
She began as a mezzo like her mother. It wasn't until she began formal training that her voice was pushed higher by her discerning teachers. Bonynge had no input at that stage.
@drtslim5 жыл бұрын
@@barbaranorthwood I think that the original poster was remarking on the choice that Sutherland and Bonynge made to neglect the development of her lower register in order to preserve her top. A lot of the belcanto repertoire that she decided to sing required a strong, or at least well-developed lower register which was somewhat lacking in her performances, despite the well-maintained upper register.
@pedromiguel26759 ай бұрын
Réponse à @Destefano 5 Je vous réponds encore, cher collègue mélomane. Ainsi Mozart ressemble pour vous, dans les mélodies de ses airs d'opéras, à Justin Bieber et Mylei Cirus, célèbres et aimés por rien? Franchement, je trouve que vous y allez trop fort! Et de même, d'après vous, la note dominante de ses opéras est le manque de sens dramatique? Savez vous que Don Giovanni était considéré par les grands maîtres Romantiques, Verdi, Berlioz et Wagner comme "l'Opéra des Opéras", c'est à dire comme l'oeuvre la plus réussie du XVIIIème. siècle? Berlioz disait que la Scène du Cimetière, par exemple, était un chef d'oeuvre, tout à fait moderne pour son époque, avancée d'un siècle dans son style et conçue déjà dans un esprit nettement Romantique. Que pourrait-on dire alors de tout le reste de l'insurpassable musique écrite pour cet opéra monumental? Je tiens à vous signaler qu'en ce cas ce qui vous trahit est votre sensibilité. Car au lieu de retenir la profonde expressivité réussie par Mozart au moyen de la retenue et de la nuance, vous vous ennuyez à cause d'une apparente sécheresse et manque d'expressivité de sa part. Donc pour vous les sentiments doivent-ils être exprimés toujours au "hauts de hurle-le-vent" et à tambour battant? Vous comprennez sans doute de quels musiciens je parle. Eh bien, vous me permettrez d'exprimer encore une fois mon désaccord, restant toujours fidèle à la subtilité et la nuance de Mozart. C'est au moyen de cette modalité contenue et sensible que nous développons nos dialogues au quotidien. On n'aurait pas idée de se mettre à hurler pour se déclarer l'amour, le partage de la joie et les situations de bonheur. Dans la seconde moitié du XVIIIème. siècle, Mozart et Lorenzo Da Ponte, ainsi que ses autres auteurs de livret, Emmanuel Schikaneder et Caterino Mazzolà, ont sû exprimer une vision de la vie à la fois savante, espiègle et réaliste , qui est un clin d'oeil complice dirigé aux spectateurs et auditeurs. Ils étaient plus avertis sur la vie et ses détours que bien d'autres auteurs ultérieurs à eux. C'est bien pour cela que les opéras de Mozart sont toujours si rafraîchissants et nous mettent à l'aise. A les écouter, on se sent chez soi. Et encore plus : à travers ses personnages on revient toujours à la jeunesse, car la musique de Mozart est un art essentiellement jeune et vital. La profondeur des propos traités n'exclut sous aucune forme la joie de vivre.
@barbaranorthwood8 жыл бұрын
She recorded most of the great roles if she didn't actually perform them on stage. I think she might have relished trying a more unsympathetic character. She always said that she regarded Lucia as bit wet
@kbhprinsesse3 жыл бұрын
Then she must have enjoyed singing Elettra in "Idomeneo" in 1979 :)
@jmiller0511 жыл бұрын
It's the middle that needs to be preserved more than anything else, and sadly started wobbling in the late 70's. The top notes were lovely and sparkling as late as the late 80's.
@raigekimaru12 жыл бұрын
@90lysander that's usually the case. opera singers are not like pop singers. they become famous after consistent displays of excellence (take Devia for instance, she didn't start to get really famous until her 50s). another good example is Cecilia Bartoli, whom I just heard a wonderful duet with June Anderson when she was only 26 and sounded like a, strong 40 year old contralto. people tend to forget sutherland had been an opera singer for 10 years before Lucia =)
@kbhprinsesse3 жыл бұрын
Bartoli?? You must be joking!
@williammaddox3339 Жыл бұрын
Devia was famous by the age of 40, if not earlier.
@debbiewoodburn67866 жыл бұрын
The incomparable Joan Sutherland.
@SuperOrganmaster12 жыл бұрын
I really love this recording. Does anyone know who the basset horn player is?
@kbhprinsesse3 жыл бұрын
Gervase de Peyer.
@ofiammasoave14 жыл бұрын
Mirabile curiosità. La giovane Sutherland canta superbamente, linea e legato impeccabili, musicalità eccelsa, grande controllo perfino dei gravi, gracili ma composti. Inoltre l'emissione è meno tubata del solito, il timbro più puro e perfino la dizione italiana è curata e generalmente comprensibile. Pero' è pura musicalità, senza un'ombra di relazione con la situazione drammatica, veramente un'aria da concerto, quasi di tenera malinconia. Non proprio una Vitellia credibile.
@acacia-bloom7 жыл бұрын
It is unfortunately somewhat tame but what impeccable diction she had then - Dicky beat that out of her!
@odioifascibastardi13 жыл бұрын
@ofiammasoave Grande commento, sopratutto nella parte finale veramente un'aria da concerto. Mi piace particolarmente la versione della Ashley Putnam, cosa ne pensi? Grazie
@LaDivinaLover11 жыл бұрын
Her bottom sounds solid. I wish she would have used it more often.
@piimargall17 жыл бұрын
Molt bé. I Mozart sempre tan mesurat.....
@deborahdomanski11 жыл бұрын
I'd love to find this album, but an online search has rendered nothing. Can you please post the record label, details, etc? Thank you so much for posting!
@williammaddox33397 жыл бұрын
I believe this is from a live performance and the full recording is not available. I would love to hear a recording of her as Aida from the mid 50's but apparently one does not exist.
@eduardobraivein84964 жыл бұрын
William maddox It is a live recording from a radio broadcast.
@LaDivinaLover11 жыл бұрын
This is insanely good. I wish she had sing it with a bit more emotion, but perfection comes at a cost I suppose.
@draganvidic2039 Жыл бұрын
She never had much emotion
@Hako200417 жыл бұрын
Sorry, I meant to say I've never heard anyone this aria like this....not anyone at all.
@draganvidic2039 Жыл бұрын
If she just had developed her voice differently. Yes I know people love coloratura and canarybird singing… Hers was a spinto but she never trained her lower part of the voice and it’s obvious here.
@paullewis24135 ай бұрын
Joan Sutherland’s voice was far too powerful to be associated with “canary bird” singing. It was anything but that. Yes the middle and lower register deteriorated dramatically by the late 70’s however before that she displayed to the World one of the most incredible coloratura techniques imaginable .
@jondavwal133 ай бұрын
@@paullewis2413 Yes the reviewers in the 70s and she herself said the lower notes gave her less trouble at that point. I think I'll believe them.
@thetuscanman15 жыл бұрын
I don't like this recording. If you didn't know the words, would you know by her bland fraseggio that she is singing about death approaching? I agree however that her low register is (relatively) stronger than later in her career. But I have never been a big Sutherland fan, anyway.
@wilsonwatt92834 жыл бұрын
Sutherland could [and perhaps should] have sung many more roles than she did. She blamed this in part on opera houses wanting her for the roles only she could sing [once Callas retired]. However, it was also Bonynge who kept her from repertoire in which his mediocre conducting would have been compared to the great conductors who made magnificent theatre in the opera house. Think for example how a great conductor helps her create a great [perhaps even the greatest] recorded Turandot. What might she have accomplished with Solti, Karajan, Mehta and other great conductors.
@williammaddox3339 Жыл бұрын
She did a fine Verdi Requiem with Solti.
@jondavwal133 ай бұрын
You do know she sang more roles than Callas, right? Like not even close, and she recorded more operas, like not even close.
@marcelbureau27533 ай бұрын
Who said that she lost her low notes in the 70’s …. Ahahah… she never had any as we can hear in this video. As we all know a good low-middle register is the fondation of singing. If you do not master it, it has an impact on the entire voice: nothing is clear, bad vowels, bad consonants and the high register is weak. Yes’ I KNOW you will say that her high notes were very loud! But loud does not mean good singing. The high notes are WEAK. This aria was way too difficult for her limited technique. Let’s listen to a good soprano singing this aria; so different : kzfaq.info/get/bejne/ptZkmb2CyJqzooE.htmlsi=5ZdKwtlsnVsIZwue
@eduardodaniel335311 жыл бұрын
...no tiene la presencia, ni en lo vocal, ni en lo artistico, para abordar este rol; que a decir verdad, su tessitura total, toca, casi bastante, a una mezzo; y ella, una lirica, y gracias, con coloratura, no puede abordar un tessitura, bien, bastante, ajena, a su, verdadero registro...
@pedromiguel26759 ай бұрын
Respuesta a @eduardodaniel3353 Joan Sutherland nunca fue una Soprano Lírica, sino una formidable Soprano Dramática Colloratura. Sí que tenía presencia, tanto en lo vocal como en lo artístico. Estaba magnífica.
@giuseppedepaoli47125 ай бұрын
Interessante curiosità della Sutherland, ma per una tessitura come quella di Vitellia, voce inadatta, inconsistente: mortificata da una linea di canto fondamentalmentre mezzosopranile, accusa un palese disagio. Le note basse sono brutte, artificiose e francamente ridicole: bene ha fatto a non affrontare mai più, neppure nei recital uffiaciali, questa pagina.
@jondavwal133 ай бұрын
Stupidaggini.
@chivalrouslee3 жыл бұрын
Too much beauty too little spirit!
@bogdiworksV211 жыл бұрын
as usual with her - technique over feeling. She's almost laughably detached. Her tone is beautiful, though.