I’m not a fan of her coloratura, amazing though this is. Machine gun like in that the notes are distinct units without a smooth connection one note to the next. Marilyn Horne was the first I’m aware of who sang colorotura like this. On the other hand her live recording of ‘Sposa son disprezzata’ is of such heart wrenching, hauntingly beautiful. Exquisite. I’ve seen her in concert and was not moved by her coloratura but in the slow lyric pieces her tone, feeling, expression and beauty of her legato was unsurpassable.
This is an underdeveloped coloratura soprano NOT a mezzo! Such constriction is dampening her ability to sing a clean fioriture and clear and concise vowels.
I've always thought that too. Nevertheless she has had a long career and obviously her technique hasn't hurt her voice because she still sounds better than most singers at her age. I think she's about 60 now.
I disagree. The core of her voice is quite low and had she tried to move fully into the higher coloratura roles [particularly if she had done so early] it is likely that the voice would have broken at the upper register shift. Even hear you can hear that the highest [C and above] have a slightly shrieking sound demonstrating how stressful they are for her. The fact that someone can reach higher notes than most in that person's true vocal category does not mean she should focus her career on those notes. She has certainly managed to dip into these soprano coloratura arias and roles but only because she does have excellent technical control of her voice.
@@wilsonwatt9283 .... yes and no. Her middle and bottom she has concentrated on and are more developed. Since her voice is light this was a wise choice for her career. This is what you call a Subrette soprano. If she didn't darken her lower range so much her higher notes would open up. She is still a captivating and wonderful musical artist and had unlocked a plethora of unknown earlier music.
