Prendi, per me sei libero (L'elisir d'amor) - Renata Scotto 1967 

No. This is not bel canto.

​@@xxsaruman82xx87А что же тогда?... умение держать верхнюю до на пиано дано лишь единицам, уж простите... Ее сравнивали с Каллас в умении пользоваться огромным, пронзительным, ярким голосом. И такое пиано на верхней ноте результат именно школы bel canto! Это слелать очень и очень непросто!! А некоторым певцам, в силу их неопытности или недостаточной культупы и правильных вокальных навыков и вовсе невозможно!!!!!!!

TRUE!!!!

Bingo! As someone who has studied this art form, is obsessed with the human voice and loves all music, this is one of the greatest recorded captures of perfect singing - control, beauty, nuance, legato, characterization, heart and soul etc., it has everything.

She said she got too old to sing the young girl roles. But. I agree with you..

We have to admit that even the greatest singers go old.

Scotto hardly sabotaged her career I adored her in the Bel Canto roles but also greatly enjoyed many of the heavier roles she took on and was deeply moved by her acting and singing on many occasions. Her Butterfly,Desdemona in Othello, Adriana, Lady MacBeth , Leonora in Trovatore, Puccini's Manon even her Gioconda and Abigaille in Nabucco, all had their moments .Her's was a brilliant and successful career and she was The Met's Prima Donna Assoluta for years .Scotto's scandals as they were were simply organized by haters who did not like the Broadcast and special Productions that were being built around her. Or her ascendancy at The Met. Her successes far outweighed the mistakes she made and she did and could sing Norma as well as anyone singing it at that time could. The protest and booing of her at that performance was most unfair and unfounded! She was brave, took great risk, was hard working, ambitious, dedicated and committed but hardly stupid. Scotto's reputation will endure and her Art will be respected by generations to come.

@@joemiller6975 No. She was never good.

@@xxsaruman82xx87 We can debate this all day but only Time will tell ! Scotto's performances are still being seen on video and listened to. She was the Prima Donna of The Met in the 80's and filmed and recorded lot of Operas. Time will tell if the reputation holds up or not.

@@joemiller6975 So what you’re saying is she’s popular? Since when has that ever indicative of quality? She hogged recordings from other quite frankly better singers like Zylis-Gara, Cotrubas and Cruz-Romo, just like the so-called Three Tenors.

@@xxsaruman82xx87 I never argue with popularity. It is not indicative of quality per se but it is indicative of having mass appeal and that is what makes Stars Sir. There might have been better voices and than Scotto, just as there were better voices than Callas, Scotto like Callas {who she seemed obsessed with} knew how to reach the public and how to make what God gave her pay ! She still is reaching the public and wowing audiences on the web. I liked Pavorotti's voice but thought him limited as an actor and limited in scope as an artist .I never got the popularity of Domingo or Carerras. I thought there were 20 or 30 tenors who were better than they but the Public loved them and they all became huge stars. I personally do not like the sound or quality of Andrea Bocelli but he is a huge star and many hail him as a great tenor .There are people all over the world who will fight you if you disagree that Mario Lanza was the greatest tenor ever. I do not agree but These people had something that touched and reached thousands of people. That star quality cannot be manufactured it is just there ! Scotto had that star quality and it is special!

Renata era un soprano sfogato drammatico spinto d agilità

@@Tkimba2, no, Renatina era un lirico puro con alcune propensioni a certe agilita', non tutto faceva bene.."Sempre libera" non era granche'.. Trillo cosi cosi, sopracuti striduli (l'ho ascoltata spesso dal vivo) e se li forzava erano sgradevoli ma il Re bemolle della sortita di Cio Cio San riusciva a smorzarlo ed era considerato una prodezza...faceva bene i picchettati ed aveva un legato ottimo. Non aveva il dono della "simpatia", era sempre la prima della classe, doveva farti vedere che lei "sapeva fare", una specie di Delia Scala della lirica. La trovavo piu' adatta a Puccini che in Donizetti, ma la sua Amina e' piuttosto bella. Non credo sia stata una Butterfly eccezionale, la Leontyne Price e la Moffo erano superiori e di gran lunga, anche perche' piu' spontanee e con un colore di voce meraviglioso...eppoi meno lezioni di canto. Ma non e' detto che uno la debba pensare come me. Ciao Tomba 2

@@fabriziomariagarzi5534 hahaha ma io scherzavo! (se noti il mio commento è giusto un po' iperbolico) XD Non sopporto quasi per niente la Scotto. Anche se qui non mi dispiace, nonostante, come tu hai detto, manchi di spontaneità, sembra sempre preoccupata. Anche se in quest aria per me stravince la Sutherland con la cabaletta della Malibran

@@Tkimba2 si, iperbolico...ma non si sa mai...la Scotto, detto tra noi, mi piace solo come Margherita del Faust...e l'ho ascoltata nei Vespri a Firenze..e li fu brava e mi piacque molto...anche se Topo Gigio era sempre presente qua e la'.

@@fabriziomariagarzi5534 cioè?

LohengrinTh I think claiming she was horrible is false and unfair. She was maturing as an artist and wanted new challenges. You can't play -inas and -ettas forever and she knew that. There were missteps but there were also triumphs.

Daniel Swick Horrible amateur singer of 3rd class when she began singing the Assoluta repertoire, also she needed a Psychiatrist

Well, if you say so.

I heard Scotto a few times during her "assoluta" period, and while the beauty of the voice was frayed by pushing beyond her fach, she still had the full toolkit of vocal and interpretive resources until 1985 or 1986. After an abysmal Adriana at the MET in 1983, I witnessed an amazing Manon in Chicago with Alfredo Kraus that showed how effective she truly was in that fach. That had to be same year or later. The piano, the legato, everything was there when she wasn't singing at full volume. We need to remember that she made the shift to Assoluta after singing the coloratura repertoire for 20+ years.

Scotto and Kraus both studied under Llopart. During the runs of Manon in Chicago, Kraus assisted her in renewing the lessons they both learned under this maestra. The results showed during the course of the performances.

astroboy royale I have thought about that and I think it has to to with the nature of her voice sitting very high and the technique she had was focused as a spear. Especially in the liric coloratura repertoir that demanded a vig voice like her to be placed high in the masque. This was the same technique as callas, but Scottos voice was more liric sitting higher. This kind of singing don't allways record as well with close microphones as rounder smaller voices will, but has the possible to reach the back rows in the theaters and sound round live. Listen to Lina Pagliughi and other old school coloraturas and you will hear the same thing. How I would love to hear those singers live!!!!!

?

Just a provocator

Cretino!