Again, thank you thank you for giving such moments to people like me who aren't as knowledgeable as they would like to be in opera and opera singers, every now and then I get to discover marvelous artists and roles like her
no one is knowledgeable in Opera, as Callas had said once: who can dare say knows Opera? this channel has as aim to explore / shed light to the divine voices and composers
Impeccable art of Tatiana Troyanos: movements and gestures do not prevent the sound from flowing. The straight back, open diaphragm give dignity to the role of princess Eboli, the serious face with expression of suffering not only help create the strong emotions, but produce the voice of masquera with the maximum sound intensity. The perfect union between the Dramatic art and Opera
Magnificent. Tatyana will always hold a special place in my opera memories. Her Lyric debut as Charlotte was the first professional opera I ever saw. I never forgot.
I saw this version of Don Carlo live from the Met (I believe in 1982) and I still get goosebumps. I can't simply get over this rendition. Simply beyond imagination. The other Eboli diva was certainly La Bumbry, and somewhat close, La Obratzsova.
I saw this production at the Met in 1980. Troyanos was scheduled for Eboli but she cancelled, so I never got to hear her live. So cool that she was one of the nuns in the original Broadway Sound of Music.
Lohengrin O! The profundity of this post is summed up by the physicality of what happens once she stops singing at 4:17 - She is transfixed and overcome by her own super powers.
I love Troyanos's voice.. it's so 'earthy'. I also admire how she sang Eboli within herself, she didn't go crazy in trying to sound like a 'dramatic mezzo'. It can be done with the right technique, as shown here.
@@LohengrinO But it's never coarse... I feel so many mezzos try and belch out those low notes. Eboli is royalty so there needs to be an inherent control too.
I had the good fortune to see her in live opera only once, as the Composer in Ariadne. Hers was a completely thrilling voice, unlike anything else I've ever heard live. Her early death was a great loss.
Sublime Eboli! Years ago, when I saw the second performer singing with a black eye patch, I googled and learned more about Ana de Mendoza's amazing story. What I really like about her is the speculation that she may have lost her eye in a duel. Eboli is a very powerful character and I love this part very much. The other Ebolies I love are Verrett, Obraztsova, Baltsa and Bumbry. There is also a quite good movie about Ana de Mendoza with Julia Ormond.
I saw Tatiana so many times onstage - brilliant artist who could sing everything from Mozart to Wagner with distinction. Don Carlo is arguably Verdi’s richest opera, and I saw some brilliant Ebolis in the theater, all great in different ways: Troyanos, Horne, Verrett, Bumbry, Zajick (Dolora might have been the best-sung of all).
Ella causa un pandemonium no por el parche en el ojo sino por su maravillosa voz y magnífica interpretación. Gracias Lohengrin O. Saludos desde Santiago de Chile 🤝👏👏🎼🎼✝️🙏🇨🇱🇨🇱 Dr.Fernando Rivas-Burattini.
Thank you! I agree with the other sentiments here that there are SO many great interpretations its truly a gift from Verdi. I also would personally saw my arm off to hear Maria Callas sing Eboli. Lol 😭
I had this performance in an old VHS tape with Renata Scotto, Moldoveanu, Milnes and Plishka, all in top form. Now I have it in digital. It's a classic.
What a stunning, gifted voice and great technique she shows in this really wonderful recording you donated to the all of us. I heared it a couple of times again and again and still explore and discover more and more of the details of the real fine arts hidden in this jewel-gem of true belcanto. Thanks alot for this precious one and looking forward to your next wonderful presentation.
Fantastic singing. Her vibrato doesn't bother me because she sings with such passion and with a warm voice. Her tone is never brittle and her high notes are never shrieky.
I did as well, Luch didn’t last long in it! I wasn’t impressed with Dolora though, too erratic- was quite disappointed as it’s my favorite role of the piece
I understand that she was a different experience in house, but I can't get past her vibrato. By every other measure this is spectacular singing but I just can't enjoy it with that vibrato...
Yeah, it's different for different people I suppose. I've always been very sensitive to vibrato. I also struggle with Schwarzkopf because of that (although to a lesser degree). I WISH I could get past it, because otherwise this is glorious singing. I really love the role of Eboli, I think she's far more interesting than Elisabetta.
