Gioachino Rossini Semiramide Eccomi alfine in Babilonia ... Ah, quel giorno ognor rammento ... Oh! come da quel dì Arsace - Marilyn Horne CBC Orchestra Ernesto Barbini, conductor CBC, October 28, 1964
At the end can’t you just hear an audience go wild, screaming BRAVA! BRAVA! BRAVISSIMA! And in truth this is not her ultimate rendition and interpretation. Incomparable Marilyn Horne. Thank you for this.
Rossini ha lasciaro delle perle incredibili e la Horne le ha esaltate: la numero 1 fino ad ora. Rimarrà nella storia del Belcanto come Callas, Sutherland e Caballé
Богиня! Моя любимая ❤ На мой взгляд её даже сравнивать не с кем. Её альбом француских арий просто шедевр. Хотя её характерный низ меня сначала раздрожал) а потом влюбил)
She's 30 years old here. 10 years prior, she was the voice of Carmen in the film Carmen Jones (Dorothy Dandridge was the actress) At that point she was still singing Mimi in La Bohème -- what an exciting and varied career. I got to meet/speak with her a few times backstage at the Met when she was doing L'Italiana and Barbiere with Rocky. Tiny thing - what a voice, what a dame 😜😜😜
Direzione penosa. Nella cabaletta c’è qualche sfasatura. La Horne all’inizio della sua stupefacente parabola rossiniana , almeno qui, sembra non aver ancora la perfezione assoluta nel canto di agilità che conosciamo, ma la voce è fresca duttile estesa. Forse è un problema di direzione, perché la superlativa edizione discografica diretta da Bonynge è proprio del ‘64, ma c’è una certa differenza... grazie di questo splendido video, comunque.
How do you suppose she got this opportunity to be on tv early in here career? I mean, I doubt that opera was a huge draw in those days of still early tv. I imagine her in a tv producer's room or something with important people speaking up on her behalf. I've read her books but don't recall hearing anything about that situation. Anyone?
Actually you are quite wrong. Opera on early TV was not something unnatural. Quite the opposite. Even huge successful programs such as The Ed Sullivan Show had regular operatic guests - if I'm not mistaken, soprano Roberta Peters was Sullivan's most frequent recurring guest over the years. A quick RU-vid search will reveal many TV apparitions by some major operatic greats from the 50s and 60s. Operatic transmissions live from theaters were a different story, although they did eventually occur (La Scala transmitted both Macbeth and La Sonnambula live with Callas, again, if I''m not mistaken), we just don't have the tapes. There was even a BBC (?) documentary called The Art of Singing, which I'm sure you can watch on YT (although just watch out because there is a version with musical numbers only which was released on DVD), that is about opera on early movies (even the silent screen), that being part one, and on early TV, part two.
@@vicmanu You know, you make a good point. I recall seeing Marilyn Horne on Johnny Carson more than once, and now that you mention it, Ed Sullivan did present opera now and again, I guess. Thanks
@@Muttonchop_USA I think I saw Sills there once, but I was pretty young. I guess Carson had an appreciation of opera? Can you imagine an opera singer on today's talk shows? They should do that; it might educate a lot of folks apart from, one hopes, being enjoyable. I guess they still do Bway appearance on shows like that, tho I think they're always the morning shows.
Good as this is it is not as great as what she would become. I saw her in this role at Lyric Opera of Chicago [with Sutherland as Semiramis] and she was far more accomplished at that point. Here she is being careful with the ornate singing whereas later she would produce a much fuiller rounded tone and seemingly endless breath control over the very very ornate Rossini lines. The voice was much larger than this shows.
She was so kind to the voice and confident with where she was but she also was chosen and a bit lazy and white. I know I don't know what I'm talking about but those intonation issues continued well into the 80s. They may have more to do with the cavernous Met enabling her to not address them. Nonetheless she is an astounding vocal presence without equal.
Una gran carrera, una voz poderosa, pero: ni el timbre, ni el canto me agradaron jamas. Y esa fonación gringa que para mí estropea los idiomas latinos. En fin... Una gran carrera! Pero no me gusta.
Personally I do not like the voice of Horne. I know she had a great technique, eloquent and a long and lastig career. But I find her low middle notes to be nasal, not her upper range though.
@@HaasRegen she had a long-lasting career because she chose to stick in her fach I can think of other singers with long-lasting careers who didn't sound sound nasal but had a great technique: Simionato, Caballe and others.
