The Great Elena Souliotis in one of her Last Macbeth!!! But what a Voice and acting interpretation she gave!! Her Macbeth was the Great Giuseppe Taddei!! I will post their fire duet next days! Hope to enjoy!!
This shows that as with many singers, their decline is not necessarily linear. This is much better than many she sang years earlier. What she began to lose was consistency; pretty much anything could come out at anytime, or not come out as the case may be. This is more due to an unformed or under-developed technique than to any intrinsic issue with the basic voice itself. The probability is that if she had worked longer on the fundamentals and mastered her technique rather than starting out so early and singing huge roles on youthful energy making up for a rudimentary technique, she may have well lasted longer and have been able to provide more artistically formed performances than she did. She certainly had the potential both vocally and dramatically.
Whoever says she has an underdeveloped technique is wrong. You can't sing this role or Abigaille (as well as she was able to) without strong technical skill. Otherwise, she wouldn't be able to get through it at all. These parts are just too demanding. As far as singing big roles too soon. Wrong again. Callas sang Tosca and other large roles when she was very young. Ponselle made her MET debut singing Forza's Leonora at age 21. There are many other examples of singers singing big roles when they were quite young. The problem isn't singing big roles too young. The problem is HOW OFTEN does one sing them. If one makes an exclusive or steady diet of big roles without proper technique and giving the voice enough time to rest, then, yes, the voice will most certainly lose its bloom sooner than it otherwise would. Callas, Sutherland, Tebaldi all oversang, just to name a few, and they all probably had only about 10 good years before the bloom began to fade (Sutherland longer). Once a singer becomes famous with a few breakout roles, then the public and opera houses demand those same roles of the singer over and over again. And if she/he doesn't/can't produce, then bye bye career. The trouble is, singers have to take opportunities when they can get them, otherwise, the chance may be gone forever. In the final analysis the art of opera is still a business.
See, the problem was that she came up during the period when Calllas had her crisis and Tebaldi was approaching the sunset of the carreer. And suddenly there was a young singer in the mould of Callas, able to fill the void that was forming. She delved into the heavy roles and was fearless to tackle them. The opera world is very demanding. She was not completely ready. Here vocal foundations were not yet strong enough to withstand the tear and wear of singing so many intense roles. And she gave it all , not holding back anything. So instead of carreer that could last much longer encopassing many other roles, she went like a comet and very soon it was over. After her came another singer Sylvia Sass, who made basically the same mistakes.
Ho ascoltato sia Suliotis che Sass dal vivo ma la seconda aveva nulla a che fare con la prima. Il timbro della Suliotis era stratosferico ed aveva un grande carisma. L'ho veduta in alcune recite di Nabucco nel 1970 e furono mozzafiato. Andava a serate per problemi varii e non solo di tecnica, giacche' le recite che ho ascoltato io erano perfette. Sass era a confronto una pallidissima ombra. Suliotis ha comunque lasciato il segno. Sicuramente poteva essere la più probabile, per certi versi, sostituta della Callas. A tutt'oggi la Norma piu' belliniana di una Caballe' o di una Sutherland.
Gran artista, de gran personalidad y voz, mucho más apreciable en el teatro, donde el resto de los artistas quedaban en segundo plano. Mi querida amiga de la adolescencia en Argentina, a pesar de su decadencia vocal, demuestra su magnetismo de artista superior.
Εδώ είναι τριάντα ενός ετών πια και η φωνή της εξακολουθεί να συναρπάζει, αν και είναι εμφανείς οι πρώτες δυσκολίες. Η Έλενα είχε έναν απίστευτο μαγνητισμό, που και η παρουσία της μόνο συνάρπαζε. Είναι κάτι που το είχε (ασφαλώς σε μεγαλύτερο βαθμό) και η Κάλλας. Να είσαι καλά, φίλε μου και να εξακολουθείς να βάζεις Σουλιώτη.
Μετά την Καλλας είναι η μόνη που στάθηκε επάξια μπροστά σε μελοδραματικούς ρόλους όπως η Abigaille, Lady Macbeth, Norma, Aida etc…Θα συνεχίζω να ανεβάζω ;)
@@aetion This can be learned from Callas herself in a note she wrote to John Ardoin on 16 June 1968. The source where I found it was in Tom Volf's book of letters and memoirs. These are the Callas' words : " Souliotis's Norma was not bad, but I was terrified of how she used her vocal capital instead of her interest, and her almost total lack of technique. She shouldn't be pushing her voice like that. Too bad, because the voice is sublime. I hope she starts studying seriously. It is not safe to sing by the sheer strength of youth. "
@@judygarland7186 In Greek, "πολύ κακά λογια " has a different meaning 🙂 These are just correct remarks that Callas had said also to Souliotis herself. And she proved to have been right. Unfortunately, Elena was too young and probably dazzled by her successes and continued the wrong path.- Thanks anyway.
An incredible vocal instrument with a huge lack of technic. She clearly didn't study the old bel canto school and this led her to destroy her voice within a few years.
