Yes, very much like one of Callas' live versions though without the final high F; no half trills and sounding effortless (and audible above the orchestra!)
I had the great honor to meet, Adelaide Negri, who was my opera teacher with her husband in Buenos Aires Argentina I feel so happy that she is a living legend.
La gente vive pensado que la mejor cantante es la de las notas altas. La Sonambula es más que eso, es una pieza bellísima en su conjunto. Y ..hay que agradecerle a María Callas por sacarla del olvido y modernizarla y lograr expresar el genio de Bellini, y gracias al gran Visconti por actualizarla escenicamente. ❤❤❤
Pude ver una Sonnambula en directo con Nadine Sierra debutando el papel, y me impactaron dos cosas: 1. Nadine en directo tiene una voz mucho mejor que cualquier grabación incluso del directo, con un centro sonoro y un grave de voz mixta suficientemente desarrollado para el belcanto. Sus agudos son buenos y eficaces y las agilidades son notables. Quizá no sea sobresaliente en la coloratura, pero hace un trabajo eficaz y eficiente y el director creo que le ordenó que no desvariase con tradiciones que la comprometiesen. 2. El 95% del papel son notas centrales y graves, estas agilidades están en la cabaletta final básicamente y si el papel en su conjunto está bien interpretado, no hace falta abusar de la pirotecnia vocal ni inventarse la melodía para introducir más sobreagudos de los que hay. Por cierto en la partitura la nota más alta escrita es mi bemol sobreagudo, el fa natural sólo existe si se traspone un tono hacia arriba
For me, this is the most exciting posting on RU-vid! I fully appreciate the time that the poster must have spent to create this offering. Many thanks to the poster!
It is a rather sad comment to think that no one else did it or will do. I am more optimistic. Devia is fantastic and I saw her live several times with great joy. It always surprised me she was not more famous and did not record much compares to others. She was sometimes criticized in the press (I recall) for having a great technique but being cold on stage. I did not notice that and remember vividly her performances. I also loved Gruberova and Serra. Those three were the absolute Bel Canto queens who ruled the opera world in the 1980s and 1990s. I often saw Gruberova and she was sensational. Sadly I never saw Serra but treasure her recordings. What’s great in opera is that anyone can have a favorite singer, and there’s no need to trash the ones you don’t like.
I don’t think you trashed anyone, since she SUPERBLY sang Roberto Devereux at the age of 69. Her exemplar career, combined by high quality and longevity, for some aspects, put her high up there with few others. Considering other singers, who should have retired much before they actually did, ending up almost farting on stage, you are right. Devia’s dedication, quality, and longevity are SUPERB and should be praised as such. And please, do TRASH someone, since they deserve it . 😊
@@oliviero.m750I never understand that opinion Mariella is cold onstage. She's very classy and elegant,and passionate too, vide her Roberto Devereux, Lucrezia etc
Moffo es única... ❤️ La voz y peso de una Lírica neta con la extensión y agilidad de una Ligera, en pocas palabras: una Lírico Ligera, aunque ella se decía una Lírico pura, no una Ligera ni una Coloratura, no entiendo porque no está aquí como la mejor Amina, además de una gran Soprano, era una maravilla como actriz.
I got to hear Pratt’s Sonnambula twice. It was absolutely incredible, the first time I was not prepared for that and I was totally astonished! Long live Jessica!
Devia is great, but I think my favorite is Gutierrez. Her F is decent, but what matters more is what she does with the rest of the music. She has a natural sense of this music, and she understands that the fioriture have to be sung effortlessly and legato. And she has a wonderful technical mastery, including passagework and trills. To me, she reminds me most of the style of singing of the Golden Age of opera.
Top 2 would be Dessay & Rancatore , very hard to decide which one would come in first since they each have their own amazing and unique round bell sounds,
Uniquely and outstandingly histrionic she was for sure. Faithful to the score when singing agilità passages she was not, she sang her own melodies rather than the composer's. Shame this destroyed her voice too early, she was amusing to watch for her natural vis comique.
@@RBP1963 I will check it. Anyways, if I had been more into Opera back when ND was active, I'd never pay to watch her in Traviatta, Lucia or Sonnambula. Perhaps for her Olympia or her Zerbinetta I would have paid a ticket, or for any production you can call buffa, where her vocal and acting assets were most appreciated. She should be labelled as a great "soprano buffa", same label that fits Diana Damrau actually. Had Dessay been Spanish, she would have been a remarkable zarzuela star, for comic zarzuelas of course, not dramas.
@@draganvidic2039 When you heard her live, she didn't force at all; it was actual the opposite; her voice filled the space very easily, even on the pianissimi.
A lack of elegance is a common theme with weird movements and wriggling for breath support. Sutherland and even Callas at the end tossed off high notes without any seeming physical histrionics.
Ah, non giunge uman pensiero al contento ond'io son piena a miei sensi io credo appena tu m'affida o mio tresor. Ah, mi abbraccia, e sempre insieme, sempre uniti in una speme,
Neither had high Fs, at least not secure. Sutherland transposed Queen of the Night and only sang Madame Herz in Impresario once or twice. Eb and E were there comfortable top
No, the higher F is interpolated There's also an alternate version of the aria that Guiditta Pasta sang, you can hear a variation of the aria aria sung by Caballe and Fleming as well as Bartoli
No F6 exists in the score, it's a tradition for some light soprani to show off high notes, same as in other opera's with cabalettas full of agility where they vary from the score the second time the verse is sung.
One of these ladies, who will remain nameless, never ceases to amaze me as to how she remained so famous. Between her endless slow tempi, scoops and vulgar ornamentation, I can not listen to her. Yet she is considered a great coloratura soprano. I have to chalk it up to the cult of personality, not true talent.
Giuseppe Martella I often saw Natalie Dessay live, notably twice in Sonnambula (more than 20 years ago) and she had no problems with volume. Bellini is not Wagner. I am not sure I understand this bashing against N. Dessay. Everyone knows she had in her prime an incredible high register up to high-A flat and never had an issue to be heard in vast auditoriums like Paris Bastille or the Met. When she started to sing Sonnambula around 1998 she always added a long floating high-F at the end of the rondo final (which is much difficult to achieve that the F with the chorus as the voice is not sustained by the orchestra) and this continued up to 2001 (at La Scala). It is important to see artists live and not base criticisms only on videos one hear on RU-vid or on recordings.
Hello, sorry I didn’t make myself clear. I meant that in that particular recording she only went to a B flat and they just edited an F. Sorry, about that.
Unless it's full opera buffa or a comic operetta where histrionism is tolerated and even desirable to spice up the show, then a very high note may make sense
@@draganvidic2039 ...Sutherland did have an F early in her career but could not count on it. She did Mozart's the Impresario. It's on You Tube...check it out.
I saw Dessay live in Sonnambula a number of times in her prime and she always added an effortless high-F (like in Bordeaux or at La Scala in 2001). At that time she could easily sing in public up to a high-A flat. But was more important is that she was a great actress and really moving in that role.
Fabrizio Diberardino: Non penso che possia trovare perché non esistono piu purtroppo! Ma non capisco perché guardare tal video se non conosce niente al canto lirico!
La maggior parte manda urla disumane e inutili! Manca qui la Sutherland e la Gruberova ma la migliore interpretazione resta sempre quella della Callas. Oggi la migliore e più convincente è la Pratt.
Mirella Bunoaica you are not a singer at all. you have no coloratura at all. why did u try to sing it? u didn't listen how does it should sound? Shame in you!
She’s great fun. She also did Abigaille & Turandot. The others did not. She was of the rare breed of a sfogato soprano as was the first Amina (Giuditta Pasta).
Great them, great post. Love actress Dessay, always amazed by Devia’s perfection and fascinated by live performance Gruberova experiences. At least I missed these: Sumi jo: ru-vid.com/video/%D0%B2%D0%B8%D0%B4%D0%B5%D0%BE-pWOCSVowtCE.html Edita Gruberova: ru-vid.com/video/%D0%B2%D0%B8%D0%B4%D0%B5%D0%BE-KINZAN59NlM.html ru-vid.com/video/%D0%B2%D0%B8%D0%B4%D0%B5%D0%BE-PCku4JfLWJg.html
She added the high F in most of her productions before 2002. The one in this recording is edited however, but you can hear her cabaletta with the F elsewhere on youtube. She always added it during the final cadenza, and not with the chorus.
Чем больше я слушаю эту арию Линды из оп" Сомнамбула' , тембольше прихожу к мнению, что одна нота фа , портит голос исполнителя. Во - первых изнашивает , меняет тембр, много приспособлений, подготовка к взятию её и т д.
@@giant4692 no, no quiero provocar. Sólo quiero dejar claro que aquí se está opinando acerca de la emisión de una nota (técnica de canto), pero no se toma en cuenta la integralidad de la ópera, para la cual la cantante debe poseer conocimientos de bel canto, para que su presentación sea creíble. Incluso para emitir la nota.
@@miguelantoniofaundezrojas2826 Si no quieres provocar, Miguel, significa que no entiendes mucho de ópera. Por supuesto que puedes expresar tu opinión sobre la Devia - un tono de voz puede o no gustar - pero no puedes decir que la Devia no conoce el belcanto. Si hoy conocemos muchas obras de Donizetti, Bellini y Rossini se lo debemos sólo a ella, a su trascendental técnica, a su diabólico control de la respiración, a su habilidad tanto en el canto elegíaco como en la más difícil agilidad. Ese F6 es perfecto y perfectamente afinado (y considera que surge claramente de un enorme coro y una orquesta muy ruidosa). ¿De qué errores estás hablando? La Devia es una de las mejores sopranos que hemos tenido en los últimos treinta años, si no la mejor absoluta. Repito: puedes decir que no te gusta su voz (a mí, por ejemplo, no me gusta la voz de Tebaldi, pero no me atrevería a decir que canta mal), pero afirmar que Devia no conoce el belcanto es una herejía.