Au delà de la performance vocale unique au monde, c'est la plus belle interprétation du grand air de Lucia par sa facilité naturelle sans effort apparent, ce qui la distingue de toutes les autres interprétations pourtant prestigieuses.
How can you sustain a C7 with vibrato? This is insane. Her head voice is really unique. It gets louder and not thin out. Not to mention her fast vibrato that she had. Amazing!
I’ve never heard any other singer with such a sustained full high C with vibratto, even Erna Sack’s voice thins at that range, and she excels more at the stratospheric staccato rather than full notes. Singers like Mariah Carey only have a breathy whistle at that range
Desde pequeño he considero que Mado Robin ha Sido una maravillosa soprano voz como la de ella no se encuentra fácilmente, para mí la mejor soprano canario de la historia!! Maravillosa!!
The aria is sung in E so the penultimate note should be a B natural but it's a bit on the sharp side so it does tend to C7. However, in order to be able to sind a high B natural with ease as Mado Robin demonstrates here, one needs to have at least one note above it (that's what I've always been told). And Mado Robin did have higher notes than this. She recorded a C7 during a vocal exercise and it's available on CD.
It's written in E flat actually but for some reason the audio in THIS particular upload seems to be sped up a bit. So what we're hearing HERE is a B but the original analog recording is in fact in E flat. Some others have this clip uploaded and it's playing at the original key there.
I wouldn't be surprised if she could go higher than that, because I can, and I have a much bigger voice, so she, as a pure coloratura, should be able to go higher. When I was younger, I could often vocalize to the F above double high C (but not anymore!), so I bet she could, too.
She should have sung a duet with Vladimir Miller who is a Russian octavist - he can go down well below C2 to G1. Trouble is she died in 1960 & he was born in 1964.
JOAN SUTHERLAND!?!?!?! It’s not always singing with notes to get the dogs to come home but the overall range, style, function, intonation and interpretation. Based on her singing and notes, had I been Edgardo I would gladly let Arturo have her. Damn, is it the wind whistling or her!!
It's a B, not a C. Here's a music theory mini-lesson that will help you understand what note it must be: the last note of the mad scene will be the tonic, or the key the piece is being performed in. Most sopranos (myself included) usually sing it in Eb Maj (although the original was in F Maj). So, let's say she is singing in Eb, her last note will be high Eb. The note right before the last note, which she takes UP an octave from what's written, would be a Bb, because the chord there is the dominant 7 (V7), which signals that the final tonic (I) chord is almost here and the song is over. The dominant chord in the key of Eb is Bb, so the note sung is high Bb, and then most sopranos resolve up to the high Eb as their final note. (When I sing Lucia, I take the octave leap here, too, and sing that double Bb (with vibrato!), and then resolve down to the high Eb on the final tonic (I) chord of Eb.) Now, Robin is singing the aria in the key of E Maj instead of Eb Maj, which is a half-step higher, and which means that her final note is high E, the tonic. That makes her next-to-last note, on the dominant chord, a B, which she takes up an octave for a spectacular effect, and then resolves down to high E. For Robin to be singing a double high C (C7), she would need to be singing the aria in the key of F, where the C chord is the dominant 7. But she is not singing in the key of F here.
Thank you Elise for your knowledge of music theory in a mini-lesson. Especially concerning the aria Miss Robin is singing in the key of E major instead of Eb major, which as you explained is a half-step higher. I first began listening to this exceptional French diva about 40 years ago when I heard a recording of the operetta Mireille and thought how remarkable was her voice ! I have listened to other sopranos like Grace Moore, Yvonne Printemps, Lily Pons, or Mathe Altery whom are quite exceptional too, though never as remarkable as Mado Robin ! All the best, Ken
It does seem to be a B natural in this video but Mado Robin did record a C during a vocal exercise and it is available on CD (I have it somewhere so I'm quite sure that it exists). Just for the record.
I have this funny feeling this is speeded up by a whole step. This final minutes of the mad scene is in Eb, this is in F. Nevertheless, many says Mado Robin was a freak of nature. Nobody before or since did the Mad Scene with that very very high V note.
Lily Pons sang the Mad Scene in F-Major, as originally written by Donizetti. Before electricity, there was a wide range of accepted pitches. Check out old pipe organs for diversity!
@@WillyWonkaDoCs I found video with Mado Robin, singing this aria in E flat and the highest note was B6 flat. But this video is seemed to be up by technology. This not F, but it is not E either. It is something between E and F. It is heard as decreased F. But the highest note is a bit upper than the rest tuning, so it is heard almost as C7.
When you say THE END, for some it is the end of their hearing after their eardrums burst, if they are unprepared by that penultimate note. It is a B#7, though, not a C7. Mado Robin did sing a C7 in a performance of Rigoletto with the great baritone, Leonard Warren. She even once sang a D7 in performance. These notes were, unfortunately, never recorded.
I think you are confused; a B#7 is really just improper notation for a C7. Anyway, you can use a spectrogram and confirm that this is a C7 not a B6. i.imgur.com/C5sYM5c.png
The music was actually written in E flat, and her original analog recording was in E flat...this digital upload got a bit sped up I think in the transition to digital. So she is singing a B flat but what we're hearing in this upload is B (with some wavering up to C)
I heard a teeny-tiny bit of nose a few times in there. But, and I ask this in all sincerity, why do you think it's less-desirable to sing using your nose? If you can hit the notes and sound great doing it, why does it matter how you got there?
@@featherelfstrom8405because it's more pleasant and natural to hear a mixed voice(head because of range and chest because of depth and sustainability)rather than nasally.
She doesn’t sing in whistle register. For starters, it’s impossible to add vibrato to whistle reg. notes due to how the sound is produced. And more obviously, whistle register is extremely quiet, and cannot overtake an entire orchestra in volume (just like all opera singers, she isn’t mic’ed) She’s singing in upper head voice
@@ramongerman6440 No, her’s is in whistle. Her C7 is extremely breathy (for whistle reg., in a good stylistic way) and quiet, and a mic is necessary for amplification. And she doesn’t apply vibrato This recording of Mado is unmic’d and she’s still loud even over a 150-person orchestra, and since it’s in head voice, she easily can add vibrato.
@@johnclemash2544 Thank you, John, as some many do not know what a whistle register is and how it would have been drowned out by the music. Think people; Whistle Register...
Now I’m not saying she’s bad quite the opposite however, there is a distinct lack of emotion in this. Her technique is out of this world but the whole point Lucia has gone mad and this performance doesn’t show that for me. I love her voice, One of the greatest to ever graced this world and no one can follow in her footsteps
Yes soprani with this feature are extremely rare and it is a good thing! First, this is not proper vibrato. Good vibrato is slower. What she does is called caprino in Italian and it mean goat: the sound that goats make: a bleat very high pitched by constricting the throat. None of this is good operatic singing… but very good for a circus number to impress people!
That isn’t whistle register. Whistle register uses the upper falda-libre of the vocal folds, which is why Mariah Carey’s notes, for example, are more breathy and quiet (and due to the placement, it is unable to have vibrato). This is upper head voice.
Did they increase the pitch in 1957? When this performance was concocted as the highest Opera note sung in the Opéra Bastille? The only “pitch adjustment” happening here is by the singer herself. What on Earth are you talking about?
Alex G oh my gosh. What's with this shitty attitude? I'm just saying it with no offence at all. We dont need this kind of attitude in this world. Take ur attitude elsewhere. And besides i'm back u up and this is the bloody thanks i get? Well, then i can guess what kind of person u are deep down inside.
You are true. She must be listened only for the vocal easiness and the fabulous final note and endless breath.... She was made for recital, not for a full opera. I dare say it because I love her and often cry when I listen to her...
Well, given the character of Lucia, the cold emotionless expression actually works and makes this more chilling. Remember Lucia just attempted to kill (in some versions, succeeding) her husband she was forced to marry. She snapped and is dead inside and delusional and out of her mind. So, it works for this character and makes her performance unsettling, in a good way. :)
@@johnclemash2544 The original key of the "spargi" aria is E flat, making the high note a B flat. This particular upload seems to have been sped up a bit in the transition from analog to digital. So what you're hearing HERE is a B with her wavering up to C in some parts of the vibrato. The orchestra you're HEARING is in E, but her voice wavers and would cause her upper fifth to drift sharp. So you're both right sort of, but you're also both wrong. She sang a B flat and went a little sharp, but the recording here is not the true analog recording, which was done at the true original pitch. If you look elsewhere for this recording on youtube and test it with an ammeter or pitch pipe, you'll hear it's B flat wavering to B.
Shame, she is rather cold and bland in this aria, but given Lucia, I think it works to the character's advantage - given she attempted murdering her unloved husband - granted she was forced to marry him, still... . she comes across as the dead inside cold murderess beautifully taking maniacal delusional glee in her singing. The best recording of this aria bar none for me - even over Maria Callas.
But the scales are uneven and the coloratura in general is sloppy. I'd take Callas, Sutherland, or Pons any day, even without the ultra high note ending. One note hardly makes a performance. Apart from this, do think Robin really tried to characterize Lucia in the way you describe? It seems to me she is just showing off her high register.
Ridicule ! Ce n'est pas la bonne vitesse... c'est plus rapide, alors ça donne plus haut, mais en verité elle chante un Bb7, ce qu'est déjà absolument extraordinaire. Mais celui qui a fabriqué cette vidéo est très malhonnête !
Vinicius Soaris I mean we already have another recording of her hitting a C7 and her voice sounds pretty natural in this recording, but I think it's only prudent to be a bit skeptical here. The C7 here sounds so full and rounded, whereas her other more realistic sounding C7 sounds less polished.
Nom j’ai vérifié c’est un C7 Do 7 Comparaison aussi avec le titre emotions de mariah Carey troisième notes en sifflet C7. Acheter vous des oreilles. Vous êtes loin d’avoir l’oreille absolue.
Self serving singer. Does nothing for the music nor for the character. Goaty vibrato, scooped high notes and below the high notes there was nothing. If one must choose a canary for then Mesplé it is.
There has never been a better example of perfection in technique in purely vocal terms than Mado. True, she lacks that alchemy of voice & emotion of more expressive singers who lack her unbelievably easy facility in upper range extension, but that is partly due to style & musicality, & partly to do with the very essence of her purely head register dominated technique & light pressure on the vocal cords that allows this superhuman upper extension. Namely, she has very limited chest register activity in her technique, which deprives her voice of the ability to colour & darken & to provide heft, to denote drama & emotion. It is the head register predominance throughout her entire range that gives her voice a girlish youthful quality, & perfect vibrato from bottom to top, rather than a more sonorous womanly one. Technical perfection is often a cold austere thing which fails to move. It is often the flaws in a voice which move, as imperfection is profoundly human. But she is a specialist, & whenever you specialise in voice, something has to be compromised elsewhere. Her singing & sound isn't for everyone, but then neither was the two voiced wobbly Callas, who was superb at emotion & characterisation. Too much emotional involvement or characterisation is also a bear trap for singers. Plenty of singers both in pop or opera, have lost their voices prematurely, by moving the timbre or volume too far from the innate natural timbre & resonance position. Personally, while Mado may have been a technical freak of nature, I'm glad she filled the air with her beautiful sound for a moment in time. Uniqueness is a beauty unto itself.
@@hiyadroogs Well and all to accuse her of that, but listen to Lily Pons, and then reconsider. Mado Robin has warmth and charm, and I'm sure much of her overtones are not being captured by the microphone. Mesple dates from a day of extremely fine recording techniques, the pinnacle, actually, before the digital age ruined everything.
