I have listened to almost every legendary soprano but IMO there is something almost unworldly beautiful about Kathleen Battles voice. Her backstage reputation cannot take that away. At least for me.
It's hard to believe I used to be able to shoot uptown, see Pavarotti and Battle at the Met and then shoot back downtown for drinks with friends. "So what'd you do tonight?" "Oh, Pavarotti in the Elixir of Love..."
Действииельно - такая редкость видеть человека, чей голос не теряется на фоне самого Паваротти. А это значит что Бэтт не менее талантливая чем сам маэстро. Просто великолепное исполнение (насколько я могу судить с точки зрения простого слушателя)
Adoro “L’Elisir d’amore”! Lo amo tanto che ho cercato di renderla più appetibile ai miei coetanei, facendo un po’ la buffona in un video. Si chiama “OPERAzione - Elisir d’amore”:
That's because she wasn't singing with chest voice, open pharynx, costo-diaphragmatic support (appoggio) like Pavarotti. Most singers of the last 30-40 yrs are like that, sadly. If you like sopranos, try Maria Callas, Renata Tebaldi and their generation...Old school bel canto. Full chest voice from bottom to top. Pavarotti summarized it best: "...Voice is a controlled scream" A controlled squillo / blare, that is...Ony by this method, a singer can have clarity and good diction.
@@steffss1662 I agree! She seems to be depending on mouth resonance throughout the range. And, using her mouth to shape vowels. It was a pretty but tiny voice. And I also agree that the training in universities these days has lost a lot of the "old time" knowledge of technique.
