Great together. At this time in her career Joan's voice was so big and rich she sounded like a mezzo down low in that opening passage. Horne's runs are insane.
She was often sick, but could sing through it… she rarely canceled.If she could get out of bed, she she sang!!! Great example, professional…sublime artist!
To all those who listen to this I hope you realise performances like these just don't jump out of a hat. What they do demands hours of hard work, dedication and love of their craft. One can get lost in the musicality and flying notes but what they accomplish is incredibly difficult so if you feel critical as yourself if you can do anything like it or would devote your entire life to this kind of perfection? Two Legends the likes of which I doubt will ever come again. Divas of the highest calibre and gracious women. Together they were magic. There was a professionalism, a perfectionism and dedication that is simply lacking during the last generation or two. Some good singers with good technique but whether male or female they have not that certain something that once graced the opera stages of the world. Thank you for sharing this moment of musical history.
Absolutely. A solid technique, breath support and musicality should take a singer into their 60's. Nowadays what is considered good singing wouldn't even match Sutherland, Horne, Caballe, on a bad day.
Years and years of constant study and unwavering dedication to the art and the craft. I had the privilege of seeing Sutherlamd and Horne in the full production of Semiramide in Boston in 1967; this duet brought the audience to its feet, and the standing ovation, if I remember correctly, lasted more than five minutes! It was a memorable experience, seared in my memory!
Though you could sing on any stage in the world, dear Joan, thank you for coming home and singing for us so often. There was never an empty seat! Sydney remembers you with naming the opera theatre after you, a monument in the Town Hall and the singing competition named for you and Richard Bonynge. I remember you leaving the Opera House in Rolls Royces, slowing to wave to us, signing autographs and your Lucia in gold lame concert in the Domain where 100,000 crowded in on a summer night to picnic and hear you under the stars.
Those who say she didn't are grasping at straws because. . . . Callas. If you ever heard her live she was powerful and consistent to a G below middle C.
Yes! Marilyn and her deep, rich, dark chocolate sublime, grrrrrrr, reach-out-and-defy-you-to-ignore-her timbre. Rrrrrrrrrow!! What a pair they made. I am, always have been and always will be musically in LOVE with these two💗❤️🔥💓❤️🔥💗❤️🔥💓❤️🔥Ever your devoted clarinet crush, vocal wanna-be, fan from afar!!!!!
Love her, my first operatic love… but her voice didn’t project… I could hardly hear her in London, Joan was gargantuan… these are recordings, after all!
@@marcocampus7943 , beh, il Barbiere dopo il 1° atto diventa noioso...la scena della lezione e' piuttosto insopportabile. L'italiana in Algeri e' perfetta.
One of the most interesting things about the Sutherland-Horne partnership is that at the beginning of training and the start of their respective careers, each was encouraged to become Wagnerian sopranos. We must ever grateful that both of them took this other, much more unusual, path for singers with voices of this size.
Horne recorded The Immolation Scene. It wasn't a great interpretation but her voice was definitely up to the task. It is worth a listen. The low parts were wonderful , of course.
That’s true! There are YT segments of Horne’s Brunnhilde and Sieglinde. And Sutherland said that she dreamt of becoming a Wagner soprano until she heard Flagstad, who was, in her opinion, the perfect Wagner voice. In later years, Sutherland recorded an album of Wagner arias, but I didn’t care for it - the music sat too low in her voice, and Sutherland’s glory was in the higher register and the brilliant high notes.
@@wotan10950 I think her Wagner album was a bit too late. I think around 10 years sooner it might have been a better fit. I like her lower voice but i am aware I am in a minority. Horne might have been better at the Immolation Scene if she had performed it anywhere but in a studio so her take on it could mature.
estas dos mujeres.........................han sido lo mas de lo mas....................................increible.............comprenetracion................y pedazos de voces..................algo ............fuera de todo......estremecedor......................el saber hacer las cosas......................................yo es que no tengo palabras...............................
@@RM-py1bqI totally agree. Bellini’s coloratura is more sparse, linear, and emotionally driven. Rossini is way more embellished and bravura. I love them singing together, absolute perfection❤
The only other pair I've ever heard that had this kind of precision is Isabel Leonard and Susannah Philips at the Met's "Cosi": ru-vid.com/video/%D0%B2%D0%B8%D0%B4%D0%B5%D0%BE-unsHSCIBJts.html
If you think her voice is ugly, it’s your opinion and I simply disagree with it. HOWEVER, her voice is neither Knödeled nor nasal. That is not an opinion. That is an observable fact. Her larynx is wide open and just like with all great voices, it is the primary resonator of her singing voice. A reminder: she sang even longer than Sutherland. Knödeled, nasal voices are dysfunctional, and they DO NOT HOLD UP for 4 decade careers.
@@jeffreymiller4814 A healthy production is not always beautiful. And this is your opinion. In my ears her voice sounds disbalanced and not pleasant. And discussing about personal opinions never comes to an end. So let's better stop at that point...
You are free to express your opinion but your critical analysis doesn't hold water. I heard Horne in recital once. She's not my favorite singer but she was a true artist with a good instrument. I also think she brought out the best in Sutherland. You don't hear the loud artistic hooting without words when Sutherland sings with Horne
