Heaven forbid that a soprano should just sing beautifully without pushing, squalling, screaming, and chesting her voice to the max. Almost every famous soprano who has ever sung this role in the past 60 years did the above...self-destructive vocal habits which made their voices ugly, strident, urgent, and un-listenable. Dramatic singing should not hurt. It should be beautiful, exciting and exquisite. This rendition sure is.
Her interpretation of this desperate and anguished aria is heartbreaking and truly human. And I like the warm, rich, theatrical timbre of her voice. I've never heard of her before, and it's a pity that she is not more famous and widely known! She would deserve it!
The most important things are weight of the voice and technique. Scotto was very loud in the hall, but the weight wasn't quite right, and neither was her technique. That said, I have the San Francisco Gioconda and she does very well indeed, squally notes aside...
It's interesting to hear a Spanish soprano's take on this aria...all of the characteristics of the "Spanish Sound" are present in her singing. There's a delivery of the text, so simple like the Spanish language is articulated. Her reading is different from the ones that I'm accustomed to, but I'll take it. Different can be good, too, once the basic requirements of the music are met.
I didn't say that La Gioconda doesn't need a dramatic voice. It would be silly to let a Mozart singer sing La Gioconda. Silly and foolishly, because this would damage the singer's voice over time. The type of voice matters, not its volume per se. And is a dramatic voice bigger than a lyric one? Yes, of course.
I agree with Toscarpia on this. If a voice is big or small is not so important to me. It's the colour of the voice and the skill with which it's used that are important.
Actually in a role like Gioconda it matters. The impact in a theatre is phenomenal when you have a wall of sound. Gulin certainly has the volume for the role. This is a simple but good reading of the aria. Yes Tebaldi remains my no1 but I'd still run to see Gulin on stage.
Are there bigger and relatively smaller dramatic voices? Look at Giacomini and Heppner. Both tenors have dramatic voices, but Giacomini's is much bigger. Is the volume itself important to me? No, it isn't. Singers have to sing beautifully and skillfully, not just loud. Try listening to a 'loud' singer for a couple of songs. You'll want to get out of the theatre in no time.
With volume comes the responsibility of using it in a smart way. This is a comment that Birgit Nilsson made. A lady who used her big voice in an intelligent way and was never 'loud'.
Mr CARUSO2, you say "Scotto's voice is too small" for this aria. If you were not IN the opera house when she sang it, you cannot and must not say such a thing. You can't decide if a voice is too small for this or that by hearing it on a mere recording. With all my respect.
Wow. Is she something else. Beautiful youthful sounding voice without any of the extra crap you hear with the so called dramatic sopranos. Awful acting but with a voice like that WHO CARES?
Super interpretation of this difficult area; so much pathos and heartbreak!
7inga7 1 year ago 3
Che bellissima voce commovente,splendida
mariadragoni 2 years ago 5
Heaven forbid that a soprano should just sing beautifully without pushing, squalling, screaming, and chesting her voice to the max. Almost every famous soprano who has ever sung this role in the past 60 years did the above...self-destructive vocal habits which made their voices ugly, strident, urgent, and un-listenable. Dramatic singing should not hurt. It should be beautiful, exciting and exquisite. This rendition sure is.
Operaddict 2 years ago 3
Her interpretation of this desperate and anguished aria is heartbreaking and truly human. And I like the warm, rich, theatrical timbre of her voice. I've never heard of her before, and it's a pity that she is not more famous and widely known! She would deserve it!
corellithebest 2 years ago 8
The most important things are weight of the voice and technique. Scotto was very loud in the hall, but the weight wasn't quite right, and neither was her technique. That said, I have the San Francisco Gioconda and she does very well indeed, squally notes aside...
Dymension 4 years ago
Very good performance with a true expression : drama is alive, here !
Still a serious and beautiful voice.
Not perfect but we don't care.
It prooves another time she was an unrecognized artist.
Thanks Onegin65!
KILLERADVICE 4 years ago 4
jesus, what an outstanding performance
denniscrystal 4 years ago 4
I have heard Tebaldi at the Met, her voice was very poweful with beautiful legato and strong chest tone.
Gullin chest tones are weak, but she is better than small voice Scotto and high notes are better also.
michaud1 5 years ago 3
It's interesting to hear a Spanish soprano's take on this aria...all of the characteristics of the "Spanish Sound" are present in her singing. There's a delivery of the text, so simple like the Spanish language is articulated. Her reading is different from the ones that I'm accustomed to, but I'll take it. Different can be good, too, once the basic requirements of the music are met.
InformedListener 5 years ago
I didn't say that La Gioconda doesn't need a dramatic voice. It would be silly to let a Mozart singer sing La Gioconda. Silly and foolishly, because this would damage the singer's voice over time. The type of voice matters, not its volume per se. And is a dramatic voice bigger than a lyric one? Yes, of course.
Asmorit 5 years ago
I agree with Toscarpia on this. If a voice is big or small is not so important to me. It's the colour of the voice and the skill with which it's used that are important.
Asmorit 5 years ago
Actually in a role like Gioconda it matters. The impact in a theatre is phenomenal when you have a wall of sound. Gulin certainly has the volume for the role. This is a simple but good reading of the aria. Yes Tebaldi remains my no1 but I'd still run to see Gulin on stage.
Orfeus80 5 years ago
Are there bigger and relatively smaller dramatic voices? Look at Giacomini and Heppner. Both tenors have dramatic voices, but Giacomini's is much bigger. Is the volume itself important to me? No, it isn't. Singers have to sing beautifully and skillfully, not just loud. Try listening to a 'loud' singer for a couple of songs. You'll want to get out of the theatre in no time.
Asmorit 5 years ago
With volume comes the responsibility of using it in a smart way. This is a comment that Birgit Nilsson made. A lady who used her big voice in an intelligent way and was never 'loud'.
Asmorit 5 years ago
Mr CARUSO2, you say "Scotto's voice is too small" for this aria. If you were not IN the opera house when she sang it, you cannot and must not say such a thing. You can't decide if a voice is too small for this or that by hearing it on a mere recording. With all my respect.
Toscarpia 5 years ago
Thank you for posting this, I like very much this great Spanish soprano.
Do you know her recording in El Poeta?
julia59 5 years ago
You are right - Zinka - Renata - nobody will replace them - I like Zinka interpretation but Renata is more italian - both are great and fabulous.
CARUSO2 5 years ago
I love Zinka, but Tebaldi was better that aria.
More italian bite and bigger chest tone and clearer
sound. Sorry ilprincpedipersia.
CARUSO2 5 years ago
i said beautiful aand I meant beautiful. But why carp? we are talking titans zinka. Renata
who is their equal today, where are their peers Not in this world
ilprincipedipersia 5 years ago
The most beautiful reading of this aria is by zinka milanov. In this part she had no peer.
ilprincipedipersia 5 years ago
Wow. Is she something else. Beautiful youthful sounding voice without any of the extra crap you hear with the so called dramatic sopranos. Awful acting but with a voice like that WHO CARES?
belcantotenor 5 years ago
No bad, i do prefer Tebaldi interpretation.
She is better than Renata Scotto who is awful in this aria. Scotto's voice too small.
CARUSO2 5 years ago