Fascinating compilation of great voices. Each is really special in her own way. Were they not all justifiably venerated and legendary? Thanks for this video.
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Tebaldi? High notes? Even in her prime she barely managed high Bs and Cs, which were usually brief, or transposed, or slightly flat, or all of the above...
They are so great, all of them. The most beautiful voices are Tebaldi's and Flagstad's. Elektra is very difficult to sing and Nilsson is breathtaking. Noone of todays singers can even remotely be compared to these legendary ladies. Varnay is very good but unfortunately her top isn't so beautiful. If one has to choose the most beautiful singing on youtube, it's Tebaldi singing with the fabulous Bjoerling in La Boheme. She now and then had a strained top, but otherwise her top notes were huge!
I didn't know Tebaldi ever recorded La Boheme with Bjoerling. The most famous Boheme recording of them all is Bjoerling with de los Angeles!! Not Tebaldi.
no entiendo muy bien todos estos tonitos como intentando comparar a las unas con las otras.aparte de parecerme patetico.porque todas son sopranos unas dramaticas.otras liricas y otras tragicas. y ya por poner veristas y wagnerianas.decir que faltan muchas mas y que sutherland esta de sobra en este paquete.porque es la gran belcantista sin rival de todos los tiempos.algo imposible de emular en ningun contexto.esta fuera de toda comparacion.
Flagstad is the greatest voice of all, Callas is the ultimate actress,Tebaldis voice is glorious to say the least, but no singer, male or female, in living memory has so powerfully drenched tenors, Wagnerorchestras, and split glass windows with her topnotes as Nilsson. Everyone who heard her agrees on this. To say that Tebaldi had as strong topnotes is ridicolous. Nilssons Hojotoo in the Solti recording is not to be believed.
@mozzrt :Flagstad middle is the greatest of all but her tops were not great at all, sorry (neither late Flagstad, NEITHER young Flagstad, sorry).
Nilsson tops are great and beautiful and Tebaldi top (when she is in top form ) is very beautiful and powerful too.Nilsson top is a bit more focused than Tebaldi's, and Tebaldi a bit more unsecure but Tebaldi top is even a bit thicker than Nilsson's
While I like Varnay's voice in general, the ultimate Siegfried finale is Birgit Nilsson's studio recording. After nailing those high B's and C's she ends the beautiful duet with a MASSIVE, perfectly executed high C.
Callas is the one who draws you in nomatter what she sing its belivable, no one was as dramatic, and i think her high notes were beautiful whou ever said they werent, but to callas beauty wasa not the main focus, she was way to clever and talented jus to be anouther pretty voice.
In this video: All of them are terrific examples of high notes that always ring with excitement at the opera! However I mainly like Nilsson's amazing high notes
i dunno if it's the recording but i can barely hear sutherland. tho she also does this aria on the Great Moments in Opera dvd, and there she is just sublime.
a pirate of a 50's Callas performance in Nabucco shows what amazing alt notes she had at the beginning-- rock solid, like shooting stars; heart-pounding stuff.
Nilsson wins in the Wagner/Strauss league, and Callas in the coloratura. Flagstad - nor Varnay - with her incomparable voice hadn't really quite the top of Nilsson, the same could be said of the otherwise heartbreakingly beautiful Tebaldi-voice. Hilde Gueden voiced a wonderful note here, really spectacular.
Simionato gets a star too, another mezzo with powerful loud and still round top was Verrett.
If this is Callas' best E flat then you haven't heard her legendary interpolated E flat from her Mexico City Aida that she held for seconds at the end of the triumphal scene. Nothing tops that whether you like the Callas voice or not.
in my opinion, the callas E-flat here is more "beautiful" probably because it's preceded by a lyric soprano aria, whereas the one in Aida is at the very end of a long and extremely heavy scene involving the all musical forces present. although she didn't have to sing that note over all the other singers, she still sang it "drammatically," so to speak, because that was what was required of her by the music that came before. so the Aida E-flat was possibly more powerful, but not as beautiful.
That clip with Nilsson as Elektra makes me totally speachless and is simply not human! She is one of the few in command of this voice murder piece where others struggle and kill their voices. Singing that C in full voice is SO much harder than squeak a little high C in any Donizetti opera.
I agree. All these singers are exciting but Nilsson blows away a century of great high notes. To see her live left one breathless. She once said after a performance she was now ready to sing it!
I don't know much about music lenguage in english, but, If thrill means the same that what in italian is called "trino" there is no thrill here, maybe I'm confused with "trill" or something like it?
I'm a Portuguese speaker, so I'm not the best explainer of English words, but "thrill" is similar in meaning to "excitement" or a "lively joy", or something like that. A "trill" is a trill, I don't know its name in Italian, but in Portuguese it is "trilo". :-)
What are Regine, Kirsten, Astrid and Maria doing here? I find them to be transcendent artists, fighting a sometimes losing battle against their top notes. Let me know if you ever make an "all Birgit and Gwyneth" version. Nonetheless, I REALLY enjoyed the video. Thanks!
Maria Callas had some problems with her top only after 1955 or so, and even after that she was capable of thrilling high notes. As for the others, they had a certain unease at the top of their range, but that doesn't mean they were uncapable of thrilling an audience with high notes, as these recordings clearly show. The sheer power of their voices were enough to make their top amazing - when they were working well, of course. :-)
If you have problems with your top notes "only" after age 32... Seriously though, point taken. I wouldn't dream of disrespecting any of these ladies.
I can't stand Regine's battle cry, though. Unlike the remaining 3 hours of the opera, where I think she might be the most under-appreciated Brunnhilde on any recording.
Yes I have. I know She has incredible ease in her whole range. Sadly She had limitations above high D. But her technique and tonal beauty are unsurpassed!
Well, the two magic flute recordings, and the one time during La Sonnambula in 1962. I'm sure she sang them more than that at the two live engagements. Any other times I'm unaware of?
This is an extract from her Elektra in Vienna, December 16th 1965, conducted by Karl Böhm and with Leonie Rysanek, Regina Resnik and Eberhard Wächter.
Thanks for such a wonderful high calorie feast! Can you imagine; you hit so many of my favorites. These snipits prove once again that the truly gerat singers are the well studied ones. Brilliant technique and complete grasp of the vocal instrument is what makes the difference. Sing, sing, sing!
God, the way some of you attack each other because of personal preference is just laughable! All of these singers were brilliant in their own right - all had their shortcomings too. To say that Price had a small, tight voice with no power makes you sound like a really thick person who knows nothing. Listen to Callas in the 1954 Norma and the 1957 Ballo in Maschera. If you still think her high notes are awful, unsteady and thin, then you are a stupid person with no musical taste or knowledge.
Dare? Courage? For what? So rude and so foolish you are, What a combo? Take your medications- you are not wound too tight and learn English before posting in English. You are pretending to be Joan of Arc.
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piruja61
63Attila Don't pretend to seem Madre Teresa de Calcuta.
...........
Whatever you native language is you are a fool.
I have Tebaldi's legacy on disc- she was most comfortable at Bb. The selection given here is a magnificent Bb. Do you understand me? I don't the difference between Nirgit Nilsson and Christine Milsson. Leontyne Price sang easily up to High C. Take your medications and get a new hearing aid. You are annoying in a ludicrous way.
Price high C is always lyrical and small and tight.Price has no power, this is not arguably, so we can never talk of Price as great high notes (a singer whose voice was so little and uninteresting )
I never insult you, You called me a fool, what happens 63Attila ? are you nervous?
First you are rude to address me is such a manner. Assuming you CAN read, the only singer I mentioned was Tebaldi. I have listeed to Tebaldi for over 50 yrs. High C;s were not her strong point. Can you point out some? Where did you get this stuff you claim I said about Callas/Caballe etc.?
Your reading and thinking are from the wrong end of your body and you should learn basic manners when initiating conversation with some one to whom you have not been introduced.
63Attila Don't pretend to seem Madre Teresa de Calcuta.
On Tebaldi big legacy on disc she recorded many glorious and beautiful Cs. On the other hand all Cs recorded by Ponselle are not great, the same for Flagstad.This is a fact and I am mentioning two of the greatest (along with Tebaldi) Ponselle and Flagstad
Callas high notes are awful always, A, Bflat, B, Cs, etc, unsteady and thin.Caballe high notes on forte are ugly, pushed and screamed .Both Callas and Caballe only coould sing above the passagio using the falseto, they never had power.
Price voice on top is so little, it could hardly be heard in the house.
SO stop saying nonsense things because the women with greater, bigger and most beautiful voice on top are Nilsson and Tebaldi.(Birgit was a bit more secured and more focused but a bit thinner.Renata also has glorious Cs and the voice is more fat and thicker than Nilsson).Both Nilsson and Tebaldi has enormous slancio and sing full body on top, specially Tebaldi opened squillo
The third lady with great and beautiful high notes is Joan Sutherland.Not so big as Nilsson and Tebaldi but big .The difference is Sutherland lacked the steel in the voice of Tebaldi and Nilsson voice.
Varnay high notes are small compared with her very big low notes and big middle and Crespin has an enormous and beautiful middle but her voice on top is not beautiful (I don't say C,even on A natural)
Well, Sutherland had a large top, but she was by then singing High Ds and High Es, what is something much rarer, so one cannot compare this achievement with the High Cs of Nilsson or Tebaldi. :-)
And, as for Tebaldi, she did have great big high notes, but let's be frank: she often sang high notes without the correct pitch.
So, all great singers have their pros and cons. What is great about all of them is that their qualities hugely overcome their flaws.
I like all the high notes. But that high C from Giulietta Simionato was amazing. And it was not small. Birgit Nilsson high notes are very powerful and and so large. Maria callas High e is not scream is just very large in volume like Joan sutherland. Which is also very large and beautiful. I love Tebaldi's C's they are large and have volume. but also has a soft tone to them. great compilation
False. Tebaldi has a greater and more beautiful C than both Flagstad and Ponselle.
63Attila do you dare to say Callas and Caballe have beautiful high notes ? The former wobbly, thin and the later small, screamed.Or you think Price very little unlistenable high notes are interesting ? Give up to music 63Attila
A fabulous collection, but Sutherland is just so thrilling in Fille du Regiment. Nilsson and Tebaldi are just extraordinary. I can testify to the electric effect of Fleming in Thais having been there!
About all these ladies who have the greatest high notes in this video are: Nilsson, Tebaldi and Sutherland , perfect and huge high notes all these three.
Flagstad nigh notes is short, Callas high note is an awful scream, Crespin high note is not good too, Simionato high note is ok but small, Varnay so so, Gueden good.Galvany is a screamer, Fleming uninteresting voice
tebaldi's sound is astounding, but high notes were hard to her - even her she hits the note under pitch, which she often did, and at the end lifts up. nilsson and sutherland always hit dead center. amazing to all three.
Tebaldi had many high C, i have a lot of recordings to prove it and there were better than Callas which were ugly (sound), there is more than high C in opera, Tebaldi had a huge voice like Nillson but warner tone. Get a life.
I don't think you can "classify" the singers with such subjective matters as "ugliness". I myself recognize some of Calla's high notes did sound quite ugly after 1959, but during her prime they were mostly very beautiful, large and accurate. Tebaldi had the most beautiful and angelic voice, but it's also true that her High Cs and even High Bs often failed to be on pitch and to be effortless and accurate. The voice was always solid and beautiful, but there were often objective flaws in the top.
@paternostro63 Really? Nothing that Tebaldi can sing can hold a candle against de E-flat that Callas sang during the triumphal march when Callas drowned by her self the orquetra, the chorus and the other singers in Mexico City.
@Homoclassicus Ugly might not be the word. It's all a matter of taste.. For example, I find some of Callas' last high notes (example the Tosca high C) mush more interresting than earlier.... Tebaldi had great high ntoes, even her eflat was great until 1965.... She often went flat... We must say that Callas was all the emotion and Tebaldi was mostly a gorgeous voice! BRAVE TEBALDI E CALLAS!!
@65attila : It is true that Tebaldi C's were successful or not so successfull but when she hit them well the note was very beautiful, colorful, firm expansive, blooming and huge. (For not to mention the Bs and Bflats that were unbeleivable).
Other sopranos had and easier C , like for example Price but the note was very small, tiny or for example Callas C the note is ugly, clear, unsteady, or Callas A natural was very very ugly
I truly respect your admiration for Tebaldi (I alson leve her) But don't lose the point, Nilsson had an stentorian voice, she was meant to defeat a hundred+ instrument orchestra with ease. Tebaldi was an spinto soprano some roles like Gioconda were indeed to big for her lyric instrument. Her top was limited. That's a fact! Her voice was very pretty but believe me!...No singer is perfect...No Nilsson, no Callas, no Tebaldi, no Caballe, no Price.
Gioconda, i was very young and the High C were no preplem for her, her voice was huge, as huge as Nillson. I saw her with Corelli and Bergonzi - Corelli had a bigger voice than Corelli, but not as refine.
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Your life must be so sad trying to make the people believe something really weird! Nilsson's voice is way bigger than Tebaldi's. Don´t you know the difference between a "Jugendlich Dramatischer Sopran" and a "Hochdramatischer Sopran". There's a substantial gap. I think you should stop talking foolish words and learn!
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Nilsson voice was huge, beautiful and even. Tebaldi's voice: Beautiful tone but limited in range, poor lower register, She lacked depth in dramatic roles, She always transposed down roles when were to high for her. Her technique in florid passages was too stiff and never sang but in italian!
I agree in the other aspects, but I must say Tebaldi didn't have a poor lower register, not at all. She had an amazing low register, easy and deep chest notes and low notes that had colour and dynamics. Her top was always limited, but still very beautiful and huge till its limits. As for the technique for florid passages, it's true, it was very insufficient.
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Ok! Maybe I don't like her lower notes because the reason is that even I recognize her tone is pretty gorgeous I don't feel truth in her voice, I think she just showcased her pipes but there's no drama, no believability!
Nillson's voice was huge but not beautiful and colorless, she was awful in italian opera. It was bland. Even Nillson admitted that Tebaldi had a huge voice like her. CASE CLOSEd . i don't need your reply.Enough is enough.
Tebaldi voice on top was huge, much resemblance with Nilsson top, but Tebaldi top is even a bit more fat, thick.Nilsson top is a bit more focused but a bit thinner than Tebaldi top.
And the opossite of those ladies was Leontyne Price who had a very petite voice on top, Price voice was barely medium to samll size and on top Price voice became so little...tiny.
Tebaldi barely hit C6. Nilsson could hit D6 with ease! Nilsson killed Corelli and any other tenor in "In questa reggia"...Tebaldi could not managed Corelli...
Nilsson never sang Ds, her last note was C, the same like Tebaldi.(Nilsson only sang a Dflat in Macbeth, the only role in her career she sang Dflat and not D).And yes, Nilsson voice was very large but Tebaldi voice was even a bit larger, it was huge, in any of her studio versions or live with Del Monaco (who had a bigger voice than Corelli), Tebaldi overpowered him easily
Ja Ja Ja! Tebaldi=Spinto...Nilsson=Wagneriana...
En realidad crees que Tebaldi podía cantar Die Walkure? No seas imbecil!
Le enseñaras canto a un monton de descerebrados, retornales el dinero estafador! You know nothing about singing. Your students should be stupid for trusting you!
Nilsson Wagneriana sì, voz grande, pero mucho mas delgada la voz de Nilsson que la voz de Tebaldi y Flagstad y Ponselle, las 3 con voces mas opulentas que Nilsson.
What can we expect form a Colombian animal ? what is the opera tradition in your country ? Your posts suck.Iletrado, ridìculo maricòn, no sabes el papel que haces en youtube, muy triste , das pena
inepto e iletrado, Hildegarde Behrens cantò Brunilda y era una lìrica clara y voz casi pequeña.Y Astrid Varnay que era una soprano dramatica tenìa un grave de varon y un agudito claro y chico y ???.Give up to opera maricon, return to pay hustlers you are a champ on this.Eres pintoresco por lo ridìculo de tus mensajes mariquita absurda
When one listen Price singing Verdi or even worse Puccini , her high notes sound like a Mozart or Gershwin.Price never could sing Aida two 2ct act ensembles, her voice simply didn't soar
I know you don't know how to reply, because you don't know anything about voices and the worst thing is you write nonense things in youtube.Te hablo en español que es tu lengua, Leontyne Price tenìa una voz pequeña y arriba en el agudo era diminuta, NO tenìa potencia, Leontyne Price es una de las mentiras mas grandes de la opera
You don't offend me! You're and old walking lie. You love Tebaldi but the truth is her voice barely hit high C. And what is a soprano without soprano C? Nothing!
What is nonsense is your lack of knowledge. Saying a true Spinto soprano like Price had a small voice is the more stupid comment ever.
Nilsson voice was perfect for Wagner. Tebaldi's voice even in Gioconda was not enough! I'm sorry for you and your soon dead
A person like you who laugh about old people and the death is near for me only shows your lack of class and education, that it's the SAME of your pathetic knowledge about voices and music.You are a very painful creature, you are very ignorant and miserable slut
The truth is the complete Tebaldi discrography is full of glorious full body Cs and the truth is Leontyne Price was a small soprano who had a voice full of air in the middle , small size in the middle and microscropic high notes, Price could only sing to a mezzo forte, she had NO power and her Verdi assumptions are a childish, a joke
I don't know the exact note she sings here (I'd bet a High C), but I was told Simionato could sing as high as a High D. But I can't confirm that information. I think that, along with Zajick, she had the best top of all dramatic mezzos ever.
They both had agile voices. So does Marilyn Horne I heard her sing a high C sharp in Lucrezia Borgia. But Giulietta Simionato went as high as Maria Callas in duets.
ok,i was at La Scala during Bolena 57,unforgettable duet,no stupid rivality,but perfect according between a large mezzo and a soprano drammatico d'agilità: Gavazzeni finest Donizzetti conductor-
I'm not convinced either, but I think the upper part of her voice is her best feature. Although I'm not sure Galvany belongs here either. If one says that Fleming doesn't belong in this company, based on the giants of history that are here, than that would be understandable. She's the au current soprano right now, but to be fair she's not had time to reach the status of these ladies. I don't think that's stupid in the least.
@singer101 I know what lousy technique sounds like
theater42 5 months ago
Callas is all over the place. Awful.
theater42 6 months ago
@theater42 obviously u don't know anything about opera.
singer101 5 months ago
oh yeah! I can hit those notes baby! :D
duchesslove04 7 months ago
Fascinating compilation of great voices. Each is really special in her own way. Were they not all justifiably venerated and legendary? Thanks for this video.
gmmix 8 months ago
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Tebaldi? High notes? Even in her prime she barely managed high Bs and Cs, which were usually brief, or transposed, or slightly flat, or all of the above...
philipc67 9 months ago
The High C belonged to Birgit Nilsson !You can not compare her with the other singers !
nedingen 10 months ago
What is the name of the Love Duet in this clip from Tristan und Isolde?
Stevo8844 11 months ago
They are so great, all of them. The most beautiful voices are Tebaldi's and Flagstad's. Elektra is very difficult to sing and Nilsson is breathtaking. Noone of todays singers can even remotely be compared to these legendary ladies. Varnay is very good but unfortunately her top isn't so beautiful. If one has to choose the most beautiful singing on youtube, it's Tebaldi singing with the fabulous Bjoerling in La Boheme. She now and then had a strained top, but otherwise her top notes were huge!
zgopify 1 year ago
@zgopify
I didn't know Tebaldi ever recorded La Boheme with Bjoerling. The most famous Boheme recording of them all is Bjoerling with de los Angeles!! Not Tebaldi.
Operanut9 1 year ago
@Operanut9 Quite right, she didn't. But I wrote 'on youtube'. From 1956. Look it up, it's wonderful!
zgopify 1 year ago
@Operanut9
Bjoerling and Tebaldi did not record "Boheme" with Bjoerling BUT
on TV in 1956 they performed the last part of Act I from Mimi's entrance
through the end of Act I.
Tebaldi recorded "La Boheme" 2xs 0nce with Prandelii the other time with Bergonzi.
My favorite is the Tebaldi/Bergonzi
65attila 1 year ago
de las cantantes nuevas ni nombrarlas.porque el paquete antiguo tiene mucho cache.y las nuevas no estan ala altura ni de cerca.
bellini7verdi 1 year ago
no entiendo muy bien todos estos tonitos como intentando comparar a las unas con las otras.aparte de parecerme patetico.porque todas son sopranos unas dramaticas.otras liricas y otras tragicas. y ya por poner veristas y wagnerianas.decir que faltan muchas mas y que sutherland esta de sobra en este paquete.porque es la gran belcantista sin rival de todos los tiempos.algo imposible de emular en ningun contexto.esta fuera de toda comparacion.
bellini7verdi 1 year ago
Flagstad is the greatest voice of all, Callas is the ultimate actress,Tebaldis voice is glorious to say the least, but no singer, male or female, in living memory has so powerfully drenched tenors, Wagnerorchestras, and split glass windows with her topnotes as Nilsson. Everyone who heard her agrees on this. To say that Tebaldi had as strong topnotes is ridicolous. Nilssons Hojotoo in the Solti recording is not to be believed.
mozzrt 1 year ago
@mozzrt :Flagstad middle is the greatest of all but her tops were not great at all, sorry (neither late Flagstad, NEITHER young Flagstad, sorry).
Nilsson tops are great and beautiful and Tebaldi top (when she is in top form ) is very beautiful and powerful too.Nilsson top is a bit more focused than Tebaldi's, and Tebaldi a bit more unsecure but Tebaldi top is even a bit thicker than Nilsson's
maipisimo67 1 year ago
I miss natalie dessay and her high a-flats!
Kivimusic 1 year ago
Nillson had great high notes but they were colorless but still great high notes.
Tebaldi's high notes were firm and as big as nillson with colors.
tebaldicallas 1 year ago
While I like Varnay's voice in general, the ultimate Siegfried finale is Birgit Nilsson's studio recording. After nailing those high B's and C's she ends the beautiful duet with a MASSIVE, perfectly executed high C.
opera7bubbles 1 year ago
how about dulcissime?!
thangtran257 1 year ago
are u sura that the woman in the picture is nilsson? coz it looks like cecilia bartoli
charmedandnightwishl 1 year ago
@charmedandnightwishl
It's the Nilsson for sure! The picture is taken from the original record cover of "Elektra".
SwingBernie 1 year ago
incredible... Fleming auf dieser Liste????
Gabriel13187 1 year ago 5
NILSSON NILSSON NILSSON!!!!!!!
Joeleole 1 year ago 5
I wish I could attack my high notes like these amazing ladies, especially Gueden and Callas *le sigh*
MusicMaiden714 1 year ago
It's a tie between Joan's Marie (a genius performance!) and Maria's Violetta! (E flat of a true soprano drammatica d'agilita, WOW!)
sillyboydeux 2 years ago
callas #1.
kuintesa 2 years ago
I'd love to see Sutherland dancing around to Salut a la France!!!
CatalinaDM56 2 years ago
Comment removed
kuintesa 2 years ago
LOL Nilsson ... even that very heavy brass cannot, not even slightly drown those notes, what a voice.
saiserieht 2 years ago 3
nilsson is tough..haha made to sing high notes...i dont want to be singing nest to her..lol
andrecueca 2 years ago 3
Callas is the one who draws you in nomatter what she sing its belivable, no one was as dramatic, and i think her high notes were beautiful whou ever said they werent, but to callas beauty wasa not the main focus, she was way to clever and talented jus to be anouther pretty voice.
tissetatten 2 years ago
This is so inspiring I love it so much
KatrinaNiemi 2 years ago
In this video: All of them are terrific examples of high notes that always ring with excitement at the opera! However I mainly like Nilsson's amazing high notes
MastersoftheOpera 2 years ago 4
Where is Leontyne Price? Her top register was praised by Nilsson, Callas and Sutherland!
yodavidnavarro 2 years ago
She is in "Thrilling high notes! (2)", which I uploaded just after this video. :-)
Homoclassicus 2 years ago
What did Callas say about Price ?
AuthenticFeirce 2 years ago
@yodavidnavarro
Lest they forgot Norman as well!
RRydnew 1 year ago
Comment removed
zuri2002 2 years ago
i dunno if it's the recording but i can barely hear sutherland. tho she also does this aria on the Great Moments in Opera dvd, and there she is just sublime.
zuri2002 2 years ago
a pirate of a 50's Callas performance in Nabucco shows what amazing alt notes she had at the beginning-- rock solid, like shooting stars; heart-pounding stuff.
judycadana 2 years ago
1949
AuthenticFeirce 2 years ago
Tebaldi tiene una voz realmente hermosa, junto con Edda Moser son las mejores para mi.
grizabela00 2 years ago 3
Nilsson wins in the Wagner/Strauss league, and Callas in the coloratura. Flagstad - nor Varnay - with her incomparable voice hadn't really quite the top of Nilsson, the same could be said of the otherwise heartbreakingly beautiful Tebaldi-voice. Hilde Gueden voiced a wonderful note here, really spectacular.
Simionato gets a star too, another mezzo with powerful loud and still round top was Verrett.
As we all know of course, high notes aint etc etc
mozzrt 2 years ago 3
That has to be Callas' best E flat
peteobh 2 years ago
As much i like Callas, her voice is not too pretty here - ugly sound IMO. The high notes are there but??????
tebaldicallas 2 years ago
I agree totally, I just mean for her this is a great note.
peteobh 2 years ago
If this is Callas' best E flat then you haven't heard her legendary interpolated E flat from her Mexico City Aida that she held for seconds at the end of the triumphal scene. Nothing tops that whether you like the Callas voice or not.
eastsunrise 2 years ago
Sooo true!!! She sores over the tenor, baritone, mezz, corus and orchestra!!! Would love to here any one else do that!
NEBESHIKU 2 years ago
in my opinion, the callas E-flat here is more "beautiful" probably because it's preceded by a lyric soprano aria, whereas the one in Aida is at the very end of a long and extremely heavy scene involving the all musical forces present. although she didn't have to sing that note over all the other singers, she still sang it "drammatically," so to speak, because that was what was required of her by the music that came before. so the Aida E-flat was possibly more powerful, but not as beautiful.
zuri2002 2 years ago
Simionato WOW !!!!!!!
viverito 2 years ago
Guden is amazing. I have this live recording and she is so amazing. Wunderlich and James King are also incredible in it.
viverito 2 years ago 2
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Noone compares to Callas
alashah 2 years ago
Violetta Villas is better!!
kopaneek 2 years ago
watch?v=nPIjuFKDiOk
kopaneek 2 years ago
watch?v=sSAMEGGZL-g
kopaneek 2 years ago
Better than what? An ambulance siren?
ElPiconeroalCognac 2 years ago
amen, actually not much better, though thrilling - no one was more expressive, but sometimes she peeled paint and not in the best sense.
ketillflatnefur 2 years ago
That clip with Nilsson as Elektra makes me totally speachless and is simply not human! She is one of the few in command of this voice murder piece where others struggle and kill their voices. Singing that C in full voice is SO much harder than squeak a little high C in any Donizetti opera.
erar01 3 years ago 12
I agree. All these singers are exciting but Nilsson blows away a century of great high notes. To see her live left one breathless. She once said after a performance she was now ready to sing it!
profgv 2 years ago 7
I don't know much about music lenguage in english, but, If thrill means the same that what in italian is called "trino" there is no thrill here, maybe I'm confused with "trill" or something like it?
141407078989 3 years ago
I'm a Portuguese speaker, so I'm not the best explainer of English words, but "thrill" is similar in meaning to "excitement" or a "lively joy", or something like that. A "trill" is a trill, I don't know its name in Italian, but in Portuguese it is "trilo". :-)
Homoclassicus 3 years ago
What are Regine, Kirsten, Astrid and Maria doing here? I find them to be transcendent artists, fighting a sometimes losing battle against their top notes. Let me know if you ever make an "all Birgit and Gwyneth" version. Nonetheless, I REALLY enjoyed the video. Thanks!
Chrysothemis 3 years ago
Maria Callas had some problems with her top only after 1955 or so, and even after that she was capable of thrilling high notes. As for the others, they had a certain unease at the top of their range, but that doesn't mean they were uncapable of thrilling an audience with high notes, as these recordings clearly show. The sheer power of their voices were enough to make their top amazing - when they were working well, of course. :-)
Homoclassicus 3 years ago
If you have problems with your top notes "only" after age 32... Seriously though, point taken. I wouldn't dream of disrespecting any of these ladies.
I can't stand Regine's battle cry, though. Unlike the remaining 3 hours of the opera, where I think she might be the most under-appreciated Brunnhilde on any recording.
Chrysothemis 3 years ago
Leontyne Price is missed here!
yodavidnavarro 3 years ago
for sure! some of the most thrilling and secure top notes in all of opera!
jalex11 3 years ago 2
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So It is Montserrat caballé, have you heardthe easy high C that she sung in tosca when sung with carreras, absolutely stunning.
tena2 3 years ago
Yes I have. I know She has incredible ease in her whole range. Sadly She had limitations above high D. But her technique and tonal beauty are unsurpassed!
yodavidnavarro 3 years ago
she definitely has an E-flat tho, there's a youtube clip of price's sempre libera.
zuri2002 2 years ago
Not only that. Price said she could easily hit a powerfull F. I bet no one on this list could do that! Maybe Sutherland!
yodavidnavarro 2 years ago
Sutherland did! At least three times that I know of.
ChrisStockslager 2 years ago
More than three!
yodavidnavarro 2 years ago
Well, the two magic flute recordings, and the one time during La Sonnambula in 1962. I'm sure she sang them more than that at the two live engagements. Any other times I'm unaware of?
ChrisStockslager 2 years ago
Dear Homoclassicus! Do you have more of that Nilsson ELEKTRA? Where was it? Cast? Thanks.
assindiastignani 3 years ago 3
This is an extract from her Elektra in Vienna, December 16th 1965, conducted by Karl Böhm and with Leonie Rysanek, Regina Resnik and Eberhard Wächter.
Homoclassicus 3 years ago
Dear Homoclassicus,
Thanks for the info. That was of course THE Elektra cast.
assindiastignani 3 years ago
Thanks for such a wonderful high calorie feast! Can you imagine; you hit so many of my favorites. These snipits prove once again that the truly gerat singers are the well studied ones. Brilliant technique and complete grasp of the vocal instrument is what makes the difference. Sing, sing, sing!
Lauritz1 3 years ago
Mmmm yes Nilsson.
Laeliapurpurata 3 years ago 9
Oh and the Callas e-flat from the Mexico AIDA
viverito 3 years ago
Is there a good recording of that one? All the Callas Aida Ebs I've seen on youtube you can hardly hear anything.
Drelnis 2 years ago
Oh and the Gencer high note from Maria Stuarda - Figlia Impura di Bolena
viverito 3 years ago
you should put some of Leontyne Price's high notes from the Prima Donna collection like the Caro Nome high note and the one from Thais both amazing
viverito 3 years ago
The Caro Nome high E is nothing more than a pitched scream.
niallguinan 3 years ago
Who are you talking about?
comey717 3 years ago
Aw damn, Nilsson is crazy nuclear mayhem! "...der JAAAAAAAAUCHZT und kann sich seines Lebens... FREEEEEEEEUUUUUUUEEEEEENNNN!!!"
Caskader 3 years ago 12
God, the way some of you attack each other because of personal preference is just laughable! All of these singers were brilliant in their own right - all had their shortcomings too. To say that Price had a small, tight voice with no power makes you sound like a really thick person who knows nothing. Listen to Callas in the 1954 Norma and the 1957 Ballo in Maschera. If you still think her high notes are awful, unsteady and thin, then you are a stupid person with no musical taste or knowledge.
brianmiles34 3 years ago
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Yes Price voice is so little, above Aflat Price voice becomes tiny.
Callas high notes are thin and not firm, never, always woobly and awful
piruja61 3 years ago
Point proven. You are a stupid person with no musical taste or knowledge.
brianmiles34 3 years ago 4
Tu nick te queda perfecto a tu medida.
NEBESHIKU 3 years ago
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piruja61
63Attila do you dare to say Callas and Caballe have beautiful high notes ?
Give up to music 63Attila
...........
Your first words to me were insults - read above. If you start out with rudeness, you should not expect politeness in turn.
63Attila 3 years ago
Again: Do you dare? have the courage ?
piruja61 3 years ago
piruja61
Do you dare? have the courage
,,,,,,,,,,,,,
Dare? Courage? For what? So rude and so foolish you are, What a combo? Take your medications- you are not wound too tight and learn English before posting in English. You are pretending to be Joan of Arc.
63Attila 3 years ago
63Attila
Take your medications- you are not wound too tight and learn English before posting in English
----------------------------------------
Another proof of 63Attila arrogance.
63Attila: Learn something about voices before posting.Some people like you after 50 years of going to the theater never learned
piruja61 3 years ago
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piruja61
63Attila Don't pretend to seem Madre Teresa de Calcuta.
...........
Whatever you native language is you are a fool.
I have Tebaldi's legacy on disc- she was most comfortable at Bb. The selection given here is a magnificent Bb. Do you understand me? I don't the difference between Nirgit Nilsson and Christine Milsson. Leontyne Price sang easily up to High C. Take your medications and get a new hearing aid. You are annoying in a ludicrous way.
63Attila 3 years ago
Price high C is always lyrical and small and tight.Price has no power, this is not arguably, so we can never talk of Price as great high notes (a singer whose voice was so little and uninteresting )
I never insult you, You called me a fool, what happens 63Attila ? are you nervous?
piruja61 3 years ago
piruja61
First you are rude to address me is such a manner. Assuming you CAN read, the only singer I mentioned was Tebaldi. I have listeed to Tebaldi for over 50 yrs. High C;s were not her strong point. Can you point out some? Where did you get this stuff you claim I said about Callas/Caballe etc.?
Your reading and thinking are from the wrong end of your body and you should learn basic manners when initiating conversation with some one to whom you have not been introduced.
63Attila 3 years ago
63Attila Don't pretend to seem Madre Teresa de Calcuta.
On Tebaldi big legacy on disc she recorded many glorious and beautiful Cs. On the other hand all Cs recorded by Ponselle are not great, the same for Flagstad.This is a fact and I am mentioning two of the greatest (along with Tebaldi) Ponselle and Flagstad
piruja61 3 years ago
Callas high notes are awful always, A, Bflat, B, Cs, etc, unsteady and thin.Caballe high notes on forte are ugly, pushed and screamed .Both Callas and Caballe only coould sing above the passagio using the falseto, they never had power.
piruja61 3 years ago 2
Price voice on top is so little, it could hardly be heard in the house.
SO stop saying nonsense things because the women with greater, bigger and most beautiful voice on top are Nilsson and Tebaldi.(Birgit was a bit more secured and more focused but a bit thinner.Renata also has glorious Cs and the voice is more fat and thicker than Nilsson).Both Nilsson and Tebaldi has enormous slancio and sing full body on top, specially Tebaldi opened squillo
piruja61 3 years ago 7
The third lady with great and beautiful high notes is Joan Sutherland.Not so big as Nilsson and Tebaldi but big .The difference is Sutherland lacked the steel in the voice of Tebaldi and Nilsson voice.
Varnay high notes are small compared with her very big low notes and big middle and Crespin has an enormous and beautiful middle but her voice on top is not beautiful (I don't say C,even on A natural)
piruja61 3 years ago 6
Well, Sutherland had a large top, but she was by then singing High Ds and High Es, what is something much rarer, so one cannot compare this achievement with the High Cs of Nilsson or Tebaldi. :-)
And, as for Tebaldi, she did have great big high notes, but let's be frank: she often sang high notes without the correct pitch.
So, all great singers have their pros and cons. What is great about all of them is that their qualities hugely overcome their flaws.
Homoclassicus 3 years ago
I like all the high notes. But that high C from Giulietta Simionato was amazing. And it was not small. Birgit Nilsson high notes are very powerful and and so large. Maria callas High e is not scream is just very large in volume like Joan sutherland. Which is also very large and beautiful. I love Tebaldi's C's they are large and have volume. but also has a soft tone to them. great compilation
comey717 3 years ago 7
comey717
I love Tebaldi but her high C's were often stringent and sometimes flat, Her Bb as reproduced here was magnificent.
63Attila 3 years ago
False. Tebaldi has a greater and more beautiful C than both Flagstad and Ponselle.
63Attila do you dare to say Callas and Caballe have beautiful high notes ? The former wobbly, thin and the later small, screamed.Or you think Price very little unlistenable high notes are interesting ? Give up to music 63Attila
piruja61 3 years ago
@comey717 Seriously! And I thought Simionato was a mezzo!!
ChrisStockslager 1 year ago
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Buena compilación, las mejores 3 a mi parecer fueron:
1º) Callas.-
2º) Sutherland.-
3º) Nilsson.-
Arbus2 3 years ago
Kill'em Nilsson.
profgv 3 years ago 9
She really did in that line up!!!
senilangakali 2 years ago
A fabulous collection, but Sutherland is just so thrilling in Fille du Regiment. Nilsson and Tebaldi are just extraordinary. I can testify to the electric effect of Fleming in Thais having been there!
nornsnornsnorns 3 years ago 13
whoah go tebaldi!!! thought "she had to pray for her top c's"
BGSourgas 3 years ago
About all these ladies who have the greatest high notes in this video are: Nilsson, Tebaldi and Sutherland , perfect and huge high notes all these three.
Flagstad nigh notes is short, Callas high note is an awful scream, Crespin high note is not good too, Simionato high note is ok but small, Varnay so so, Gueden good.Galvany is a screamer, Fleming uninteresting voice
bonanplu 3 years ago 6
I agree with you - Nilsson Tebaldi and Sutherland are the best high notes.
Tebaldi has a warmer voice.
VivaTebaldi 2 years ago 3
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tebaldi's sound is astounding, but high notes were hard to her - even her she hits the note under pitch, which she often did, and at the end lifts up. nilsson and sutherland always hit dead center. amazing to all three.
ketillflatnefur 2 years ago
And Dimitrova???
tjallew 2 years ago
Tebaldi had a very short upper extension. She was constricted to verismo where her lack of high notes was not a threat of her greatness!
yodavidnavarro 2 years ago
Tebvaldi had great high notes in La Forza del Destino, Callas had ugly high notes,
does not mean that i don't like her.
The best high notes are Nillson, Tebaldi and Sutherland. Tebaldi was warmer.
tebaldicallas 2 years ago
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Tebaldi barely hit high C. She heeded to traspose down La Traviata. Sutherland and Nilsson were superb!
yodavidnavarro 2 years ago
Tebaldi had many high C, i have a lot of recordings to prove it and there were better than Callas which were ugly (sound), there is more than high C in opera, Tebaldi had a huge voice like Nillson but warner tone. Get a life.
tebaldicallas 2 years ago 4
I don't think you can "classify" the singers with such subjective matters as "ugliness". I myself recognize some of Calla's high notes did sound quite ugly after 1959, but during her prime they were mostly very beautiful, large and accurate. Tebaldi had the most beautiful and angelic voice, but it's also true that her High Cs and even High Bs often failed to be on pitch and to be effortless and accurate. The voice was always solid and beautiful, but there were often objective flaws in the top.
Homoclassicus 2 years ago
Homoclassicus: Callas high notes never were firm and beautiful, Callas high notes were unsteady and not beautiful and not very large.
Tebaldi high notes are very large, I would say huge and firm
paternostro63 2 years ago 3
@paternostro63
MAPIAKALLAS 1 year ago
@paternostro63 Really? Nothing that Tebaldi can sing can hold a candle against de E-flat that Callas sang during the triumphal march when Callas drowned by her self the orquetra, the chorus and the other singers in Mexico City.
NEBESHIKU 10 months ago
@Homoclassicus Ugly might not be the word. It's all a matter of taste.. For example, I find some of Callas' last high notes (example the Tosca high C) mush more interresting than earlier.... Tebaldi had great high ntoes, even her eflat was great until 1965.... She often went flat... We must say that Callas was all the emotion and Tebaldi was mostly a gorgeous voice! BRAVE TEBALDI E CALLAS!!
distefano13069609 1 year ago
@distefano13069609
Tebaldi never recorded anything above High C and even before 1965 the
C's were hit or miss.
65attila 1 year ago
@65attila : It is true that Tebaldi C's were successful or not so successfull but when she hit them well the note was very beautiful, colorful, firm expansive, blooming and huge. (For not to mention the Bs and Bflats that were unbeleivable).
Other sopranos had and easier C , like for example Price but the note was very small, tiny or for example Callas C the note is ugly, clear, unsteady, or Callas A natural was very very ugly
bisigato 1 year ago
I think there's a recording of her trying to do a C sharp in Butterfly's entrance. It's quite ridiculous.
DottoreJojo 1 year ago
@distefano13069609 Tebaldi never had anything pass High C, i sure would like to hear an E-Flat from her
NEBESHIKU 1 year ago
@NEBESHIKU
And sometimes the C didn't come so easily.
dimitrovajunkie 10 months ago
I truly respect your admiration for Tebaldi (I alson leve her) But don't lose the point, Nilsson had an stentorian voice, she was meant to defeat a hundred+ instrument orchestra with ease. Tebaldi was an spinto soprano some roles like Gioconda were indeed to big for her lyric instrument. Her top was limited. That's a fact! Her voice was very pretty but believe me!...No singer is perfect...No Nilsson, no Callas, no Tebaldi, no Caballe, no Price.
yodavidnavarro 2 years ago
I saw Tebaldi live twice at the Met in La
Gioconda, i was very young and the High C were no preplem for her, her voice was huge, as huge as Nillson. I saw her with Corelli and Bergonzi - Corelli had a bigger voice than Corelli, but not as refine.
Tebaldi was a great Gioconda, it was powerful.
tebaldicallas 2 years ago 5
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Your life must be so sad trying to make the people believe something really weird! Nilsson's voice is way bigger than Tebaldi's. Don´t you know the difference between a "Jugendlich Dramatischer Sopran" and a "Hochdramatischer Sopran". There's a substantial gap. I think you should stop talking foolish words and learn!
yodavidnavarro 2 years ago
Nillson's voice was big but colorless.
I saw Tebaldi live, yuou did not,
she had a huge voice.
case closed.
tebaldicallas 2 years ago
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Nilsson voice was huge, beautiful and even. Tebaldi's voice: Beautiful tone but limited in range, poor lower register, She lacked depth in dramatic roles, She always transposed down roles when were to high for her. Her technique in florid passages was too stiff and never sang but in italian!
Case closed!
yodavidnavarro 2 years ago
I agree in the other aspects, but I must say Tebaldi didn't have a poor lower register, not at all. She had an amazing low register, easy and deep chest notes and low notes that had colour and dynamics. Her top was always limited, but still very beautiful and huge till its limits. As for the technique for florid passages, it's true, it was very insufficient.
Homoclassicus 2 years ago
This comment has received too many negative votes show
Ok! Maybe I don't like her lower notes because the reason is that even I recognize her tone is pretty gorgeous I don't feel truth in her voice, I think she just showcased her pipes but there's no drama, no believability!
yodavidnavarro 2 years ago
Nillson's voice was huge but not beautiful and colorless, she was awful in italian opera. It was bland. Even Nillson admitted that Tebaldi had a huge voice like her. CASE CLOSEd . i don't need your reply.Enough is enough.
tebaldicallas 2 years ago 2
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The only huge thing about Tebaldi is the love you feel for her. The rest is average...Case closed!
yodavidnavarro 2 years ago
Tebaldi voice on top was huge, much resemblance with Nilsson top, but Tebaldi top is even a bit more fat, thick.Nilsson top is a bit more focused but a bit thinner than Tebaldi top.
And the opossite of those ladies was Leontyne Price who had a very petite voice on top, Price voice was barely medium to samll size and on top Price voice became so little...tiny.
paternostro63 2 years ago 4
Tebaldi barely hit C6. Nilsson could hit D6 with ease! Nilsson killed Corelli and any other tenor in "In questa reggia"...Tebaldi could not managed Corelli...
yodavidnavarro 2 years ago
Nilsson never sang Ds, her last note was C, the same like Tebaldi.(Nilsson only sang a Dflat in Macbeth, the only role in her career she sang Dflat and not D).And yes, Nilsson voice was very large but Tebaldi voice was even a bit larger, it was huge, in any of her studio versions or live with Del Monaco (who had a bigger voice than Corelli), Tebaldi overpowered him easily
paternostro63 2 years ago
Ja Ja Ja! Tebaldi=Spinto...Nilsson=Wagneriana...
En realidad crees que Tebaldi podía cantar Die Walkure? No seas imbecil!
Le enseñaras canto a un monton de descerebrados, retornales el dinero estafador! You know nothing about singing. Your students should be stupid for trusting you!
yodavidnavarro 2 years ago
Nilsson Wagneriana sì, voz grande, pero mucho mas delgada la voz de Nilsson que la voz de Tebaldi y Flagstad y Ponselle, las 3 con voces mas opulentas que Nilsson.
What can we expect form a Colombian animal ? what is the opera tradition in your country ? Your posts suck.Iletrado, ridìculo maricòn, no sabes el papel que haces en youtube, muy triste , das pena
paternostro63 2 years ago
Yo nunca he visto opera en Colombia...Solo en Paris, Barcelona, Roma y NY.
Es tan patético leer mensajes de un viejo y amargado travesti...Por favor no respondas mas!
yodavidnavarro 2 years ago
@yodavidnavarro Que discusión mas acalorada.
ecopin 1 year ago
inepto e iletrado, Hildegarde Behrens cantò Brunilda y era una lìrica clara y voz casi pequeña.Y Astrid Varnay que era una soprano dramatica tenìa un grave de varon y un agudito claro y chico y ???.Give up to opera maricon, return to pay hustlers you are a champ on this.Eres pintoresco por lo ridìculo de tus mensajes mariquita absurda
paternostro63 2 years ago
Old queer! Please give up! You're nothing and I have all I want...I mean I have everything I desire and I'm plenty of time to enjoy it!
No hay nada mas pintoresco que un gay anciano y refunfuñón. Porqué en el asilo te permiten usar internet?
yodavidnavarro 2 years ago
@paternostro63 Que discusión mas acalorada.
ecopin 1 year ago
@yodavidnavarro Nilsson had high notes but were colorless.
tebaldicallas 11 months ago
When one listen Price singing Verdi or even worse Puccini , her high notes sound like a Mozart or Gershwin.Price never could sing Aida two 2ct act ensembles, her voice simply didn't soar
paternostro63 2 years ago 2
I don't know how to reply you. Simply because I don't understand how can you say the best Aida ever (L. Price) should not sing Aida's second act!
No one is close to Price in the mid Verdi repertoire!
yodavidnavarro 2 years ago
I know you don't know how to reply, because you don't know anything about voices and the worst thing is you write nonense things in youtube.Te hablo en español que es tu lengua, Leontyne Price tenìa una voz pequeña y arriba en el agudo era diminuta, NO tenìa potencia, Leontyne Price es una de las mentiras mas grandes de la opera
paternostro63 2 years ago
You don't offend me! You're and old walking lie. You love Tebaldi but the truth is her voice barely hit high C. And what is a soprano without soprano C? Nothing!
What is nonsense is your lack of knowledge. Saying a true Spinto soprano like Price had a small voice is the more stupid comment ever.
Nilsson voice was perfect for Wagner. Tebaldi's voice even in Gioconda was not enough! I'm sorry for you and your soon dead
yodavidnavarro 2 years ago
A person like you who laugh about old people and the death is near for me only shows your lack of class and education, that it's the SAME of your pathetic knowledge about voices and music.You are a very painful creature, you are very ignorant and miserable slut
paternostro63 2 years ago
And your vocabulary shows how classy you are!
yodavidnavarro 2 years ago
The truth is the complete Tebaldi discrography is full of glorious full body Cs and the truth is Leontyne Price was a small soprano who had a voice full of air in the middle , small size in the middle and microscropic high notes, Price could only sing to a mezzo forte, she had NO power and her Verdi assumptions are a childish, a joke
paternostro63 2 years ago 2
Off course Price's Aida is a joke! And everybody thinks the same! LOL
yodavidnavarro 2 years ago
Tebaldi was great in Gioconda live or studio. She had a poweful voice and beautiful C unlike Callas high C.
tebaldicallas 2 years ago 2
birgit nilsson was a total powerhouse.. love this vid! so glad you made it :) It's very interesting and has a little bit of everything :)
trekkie2006 3 years ago 6
wow exacly how high could Giulietta Simionato can go
comey717 3 years ago
I don't know the exact note she sings here (I'd bet a High C), but I was told Simionato could sing as high as a High D. But I can't confirm that information. I think that, along with Zajick, she had the best top of all dramatic mezzos ever.
Homoclassicus 3 years ago
They both had agile voices. So does Marilyn Horne I heard her sing a high C sharp in Lucrezia Borgia. But Giulietta Simionato went as high as Maria Callas in duets.
comey717 3 years ago
ok,i was at La Scala during Bolena 57,unforgettable duet,no stupid rivality,but perfect according between a large mezzo and a soprano drammatico d'agilità: Gavazzeni finest Donizzetti conductor-
saverioorlando 3 years ago
sorry,rivalry of course
saverioorlando 3 years ago
Your lieing. Please shut UP!!!
operagodess78 3 years ago
to operagodess78;my family had a box at la Scala.FINIS
saverioorlando 3 years ago
No they did not. Okay :))
operagodess78 3 years ago
Podrías especificar más los registros: orquesta, director, teatro. tenor en caso que lo haya
Anibaal 3 years ago
A wonderful collection. I want to hear more of Crespin and Galvany. I am not convinced that Fleming belongs in this company.
rawdonqueen 3 years ago
Flemig is definitely not in this company,rawdonqueen
Operanut9 3 years ago
I'm not convinced either, but I think the upper part of her voice is her best feature. Although I'm not sure Galvany belongs here either. If one says that Fleming doesn't belong in this company, based on the giants of history that are here, than that would be understandable. She's the au current soprano right now, but to be fair she's not had time to reach the status of these ladies. I don't think that's stupid in the least.
Andante735 3 years ago
Oh! Spectacular highs!! All in my favorite arias!!
CalebsDream 3 years ago
the 4th singer you show is joan Sutherland, not crespin, just wanted to tell you, i love these collections though,thanks for puttin it up
fabulous500 3 years ago
Oh yes, you're correct. I think I just forgot to include Sutherland's selection in the text, even though she is my favourite singer of them all! :-O
Thanks for the correction.
Homoclassicus 3 years ago
no problem, thanks again for taking the time to add such an elaborate collection of high note favorites!
fabulous500 3 years ago 2