The attacks she gives in DEsso, poTEA, CApo, STRAle folowing the scales and trills are out of this world! Without mention the lower here and the clarity on her voice.
This is the phenomenon that remains LA STUPENDA, in full flow. I saw her 63 times LIVE in Sydney - including this Lucrezia. Our Joan, definitely remains the voice of the century (as Pavarotti praised it!). The greatest coloratura soprano the planet has known...
Incredibly thrilling performance! Fearless, unrelentingly dramatic and full-toned singing. This aria gains so much from a voice that is lush and hefty and has a rock solid technique to make it sound as fierce and passionate as it should. Sutherland is the unsurpassed interpreter of this finale, in this performance more than ever.
she is a soprano whose voice in high notes does not irritate me ..... that is how clean clear and velvety she is.... and I am saying this as a Soprano student... who was obsessed with Callas... I have now converted to the dame. My reasons are because her technique best suits a condition I have in my jaw to be able to continue. and I am just glad to be able to keep singing. In a way that supports my voice and see some one who paved that way 🥺🙏🏻💖
I was in the audience at her very first performance of this opera - Vancouver 1972. And also at her very first Norma and Merry Widow - also in Vancouver. What memories!
I doubt if even Callas could have been more fiery and electric than the great Dame was here. Certainly one of her most incredible displays of power, virtuosity, range, richness, and fullness. The final note is incomparable. No one in the history of opera sounded as spectacular as Sutherland in her prime.
I doubt Sutherland can give the dramatic justice Callas gave to every role she was given. Opera is not all abt being fiery with the notes, it's how you feel those notes, how you give life to the character you're portraying, it's somehow, creating a different world.
@@allenvergara1291 God, you Callas queens are so boringly predictable. Callas had her moments but much of her stuff was ghastly. Now take your heart pills.
I knew people who sang in the Net chorus, and they used to stand just offstage every performance she was in just to hear Sutherland live. They all agreed there was no other soprano they did that for. Speaks volumes.
I saw her in opera and concert more than a dozen times and, yes, her voice was as rich as a Puccini or Wagner voice. And yet she could do absolutely anything with it - the agility, the trills, the high notes. It was an actual physical experience.
Whoa great find and thank you for sharing!....I'm only guessing early 70's....but ya she took this performance full force, incredible. The attacks on the notes, the clarity, the everything, so good! That last note....really?...she had to go and do it...not just a cherry on top...she gave us the entire cherry tree!
Lohengrin O yes. She did some around that time in America. This is not Vancouver as she did not sing it this fast. Every Eb6 was amazing in every rehearsal and performance. I was supposed to be looking straight out during this, and after opening night and the director left town I looked at her. I would never see the like again and I wanted that memory. Can’t fire me now. Ha! 🌹👋
I think that in our time there have been 3 female voices that have stood way, way above the rest, all for different reasons, and will always be remembered long after the others are forgotten. Callas, Nilsson, and Sutherland ( in alphabetical order so, as not ruffle any feathers)
I admit Callas was a truly great opera singer and could do some amazing things with her voice. But I disagree with all you here - it was from the get go a very flawed instrument. IMO her voice should not be compared to the likes of Sutherland, Ponselle, and Flagstad. Even she did not care for the sound of her voice. Yet as a singer she can be hold her own with anyone.
Penny Altiparmaki She always lacked that one vital quality.Considering she had such a beautiful top voice but lacked chest voice in the middle & lower registers.Here is a good example of what PMS/ menopause can be used to your advantage. Unfortunately men singers did not have that problem. Her early voice the 60s to mid 70s.Here is an exceptional moment in the latter part of her great career.When she took this difficult piece & sang like a DAME 👑💙.Thank you for this rare post my friend. Take care Arnold
Yes, we must admit that nowadays, alas ! nobody is able to approach such a way of singing: coloraturas in full voice. Wait and see (but with few hope; there is a great lack of good singing teachers and even the conductors do not know anything about the voices; what a pity !).
Joan Sutherland was a force of nature. Just seeing her on stage was an event. It’s not likely that could ever happen again. All others are dispensable.
I’ve been beating myself to find where and when is that from! It must certainly be before the 1980 Covent Garden. Could it be one of the Rome performances though? By the way, could I ask you where did you find that particular picture? It’s certainly from the 1980 Covent Garden curtain calls , but I cannot find it anywhere.😢
Great singer, magnificent voice, impeccable technique and her own way to express, mushy pronunciation though. This flaw was not present at the beginning of her glorious career which I truly enjoyed. Some "experts" have accused Bonynge of forcing her - to preserve her voice longer - to sing in a more covered way focusing on vowels instead of rounding up the words. She never had a real pianissimi nor a developed lower register (chest notes) but was the queen of trills. I love her Lucia (after Calla's); Lucrezia Borgia (as well as Caballe's), Her Turandot recording was a spectacular surprise (Metha made a miracle). Other jewels of her wide repertoire were Rigoletto, Semiramide, Norma, I Puritani, La Sonnambula, Daughter of Regiment, Tales of Hofmann, etc.. Never liked her Violeta in "La Traviata" (despite her brilliant Act I), neither in Maria Stuarda (Sills champions that role). Too late for her Anna Bolena for she lacked a convincing characterization despite some good vocal moments. Suor Angelica and Adriana Lecouvreur were wrong choices. Anyway, she was an icon for nearly 30 years and the opera world misses her statuesque presence as well as her glorious instrument. RIP. The Queen is dead, Long live the Queen!
I like your comment. Not enough people talk about the bad sides of her singing. The words are so important in opera. Of course prononciation becomes difficult in the high register and there is not much a singer can do. But, with a good technique and a good chest voice it is perfectly possible to have a good prononciation in the middle and low passages. This is the chest voice that frees the voice and allows to produce pure vowels and explosive consonants within a good legato. Sutherland had some chest voice when she finished her training but Bonynce ruined her voice when he told her to get rid of the chest voice and always sing with the technique of the top register. When you keep this one register for everything the middle-low notes are very weak, over covered and ugly and you cannot pronounce any words correctly. Basically, you simplify vocalise on one fits-all-pseudo vowel with no consonant. The middle-low notes are as important as the high notes. They bring drama, change the mood and of course are associated with certain words to reinforce the meaning. The composers wrote them because the singers then could sing them. When we cannot understand the words and hear the low notes it becomes so boring to hear the endless waves of high notes forte and low notes piano… simply unbearable. And of course, if you have a good chest voice and keep Somme of it in the high register your top notes become much more powerful. The final note here is very small and weak. Apparently the volume of her high notes was quite loud in the hall but loud does not mean good. The final note is small and weak.
It was 1980. But this must be earlier because the cadenza between the two verses changed slightly by her Covent Garden performances. I think this must be a US performance from mid 70s.
What a difference it makes when sung by an excellent soprano that has an excellent technique. Everything is clear, the middle and low passages are strong and it adds so much to the drama: ru-vid.com/video/%D0%B2%D0%B8%D0%B4%D0%B5%D0%BE-zM-tdMh8C1s.htmlsi=od7553dcz0x7xmQD
@@OperaMyWorld Another excellent artist who has a fully developed voice: ru-vid.com/video/%D0%B2%D0%B8%D0%B4%D0%B5%D0%BE-S1OIQHoKhu8.htmlsi=y2t2MsxKi-x_07cF
Lady Sutherland only knows how to sing high notes by changing the original version of Maestro Donizetti so that her voice can stand out in front of the choir and orchestra with that unnecessary high end. I have considered Sutherland a great coloratura soprano but she is not suitable for dramatic roles where the register of the mid-low voice is more important than a high end. That is why it was said that Callas was a Sfogato soprano because of his refined technique and wide register (not only high notes) but not only Callas, there are other sopranos who can sing the character Lucrezia much better and faithful to her original version.
