Added: 5 years ago
From: Onegin65
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  • La première Lady Macbeth que j'ai jamais écouté, sur disque vynil, deutche gramophon : une violence intérieure qui explose dans ces pages !!!

  • Is this badly lip-synched? Her lip movements and the music don't match.

    Great lady and great singer indeed.

  • I wish she would of done Abigaille....

  • Thats exactly what i mean....dear foropera !and im sur angels are so hapy to hear her! something i ll never have the oportunity to do it live...

  • she breaths with chest but she is perfect for Lady...Imagin if she use more her diafragma!

  • even she breaths with chest and she use not much diafragma her voice is brilliant!

    Her own technic fits good to LADY.....

  • Comment removed

  • Che grande artista, bravissima e bellissima

  • These days are very sad. This Lady too hass left us. But only on this worls. Her stellar voice and gigantic work shall remain 4ever! Thank You, Ms Verrett, respectfully, You'll live in our souls! R.I.P

  • her top notes are so furious...so wonderfully done!!! she has such a sweet countenance in her interviews. where does this fire come from? i love it!!! love it, love it, love it!!!

  • a real dramatic coloratura e punto who not understand,you can not change not lose your time,da vero una vera dramatico coloratura e basta!

  • One of the best Lady Macbeth's ever...BRAVA

  • Peccato che il sonoro sia cosi' in anticipo rispetto al movimento corretto delle labbra.Non e' un buon servizio per la signora Verrett,che trovo sempre affascinante.

  • I like... she has better high C's then most sopranos.... nice and full!!!!

  • She is still very good here, but having seen and heard her in 1978 at La Scala in this role when she was in better vocal shape, THAT'S a performance which i will never forget! Unfortunately she was bad in the Italian of the letter, that's why in the Scala production they had the a man's voice reading the letter for her, as she was rememembering it.

  • She must've practiced the "man's" voice reading the letter, as this was done some 3 years after...sounds good to me!

  • Are talking about the Italian of the reading?..If you are, it's not good at all!

  • "Good", by whose standards?

  • @Chasson0318 by someone who is Italian.

  • Holy crap, this is what great opera truly is. What a mesmerizing performance.

  • WOOOO-HEEEE ! LOL What a performance ! At exactly 7 MIN 12 SEC she steals 2 counts (7:07) ... realizing this she must have thought "What the hell did I just do here... ?" LOLOL but who cares ? it s just funny ... Since I listened to the 1986 recording with Chailly for the movie I can only listen to her in these arias . I listened to the VHS sooo many times . When I saw the recording on CD I almost shouted in the HMV store LOLOL . And now the movie is out on DVD . Perfect ! Great great singer !

  • hummm i wonder if its just her being dramtic or if its tention in her throat and shoulders

  • You need strengh when you sing such an aria. That's why it is called a "drammatico di forza", this part. You haven't heard the sound in live, it filled the hall completely.

    Apart from that, Verrett spoke about her shoulder breathing at a time in her career, because of a fung infection in the lungs for years.

  • it's neither, but rather, her breathing technique. By keeping that position, everything is kept very efficient.

  • I like this. Very captivating. I like the way her voice sounds also, it's not shrieking and even though when you watch her its dramatic, her voice flows, its not too breathy, forced or over dramatic like I see in some other performances. I would love to hear her sing te habanera.

  • Whenever I want to get inspired I listen to this! Shirley does it for me every time!

  • YES VERRETT!

  • Very impressed Mrs. Verrett

  • Shirley owns this aria.

  • Very good,but her top was at this role the Scala rendition with Abbado conductor.

  • Yes, indeed. The role fits Verrett like a couture glove. A wise choice for her vocal and dramatic gifts. Brava!!!

  • ok I have the answer to all of you,,,, This role is for miss Verrett and Callas only...... the end.

  • I believe that lady Macbeth is a highly dramatic soprano role -which must, of course, have technical dispositions for coloratura.

    Mrs. Verret  is fantastic!

  • Is this a mezzo role? The tessitura is so low.

  • no it is a dramatic coloratura soprano role

  • Did Joan Sutherland do this role?

  • No, never, this role is for a dramatico d'agilittà

  • Although Joan Sutherland was a dramatic coloratura soprana, this role maybe would have ruined her voice.

  • Joan Sutherland was a lryc d'agilittà, never a dramatic her didn't have nor solidaded in central registry and bottom registry was almost nonexistent

  • In my opinion Joan was a lyric and a dramatic coloratura and I always thought that singers who sing roles like Lucia di Lammermoor, Queen of the night (early in Joan's career), Semiramide, Amina (La Sonnambula), Elvia (I Puritani)... can be classified as a dramatic coloratura soprano. And being a dramatic coloratura soprano does not rule out to be capable of "agilittà".

  • BRAVO ONEGIN65!!! You hit the nail.

  • @Onegin65

    you're crazy bro, if sutherland wasn't dramatic coloratura, I don't know what is. it's true that joan's singing style was rather lyrical, but that's because she was the queen of bel canto sopranos. joan's voice was like a mighty tempest. this role is written for a much lower type of soprano (in fact, many of the best lady macbeths have been mezzos).

    PS: what is a lyric d'agilita?

  • @raigekimaru PS: what is a lyric d'agilita?: That is Joan Sutherland

  • @Onegin65

    Joan Sutherland is dramatic. listen to her sing Odabella or even Turandot with ease and poise. she sounds lyrical because her singing is natural and never forced at any time the way most dramatic sopranos like to do. a true dramatic voice should sound someone lyrical if the music they are singing is florid and has long legato phrases

  • Sorry buddy..Lady Macbeth IS NOT a dramatic coloratura role! Dramatic Coloratura roles are Norma, Constanze (abduction-Mozart), Ana Bolena, Lucrezia Borgia..etc..BUT of course, a dramatic coloratura will BE perfect for Lady Macbeth. This role has some fioritura, yes, but it is not a dram.colo role.

  • OF COURSE it is!

    How can a soprano who doesn't have coloratura manage this cabaletta and the brindisi??

    And on top of that, she MUST have a big dramatic voice.

    So, Lady Macbeth is a SOPRANO DRAMMATICO COLORATURA.

  • Verret, Dimitrova, Makris, ALL SANG THIS ROLE WONDEFULLY AND ARE NOT DRAMATIC COLORATURA!

    Soprano Dramatico Coloratura is not the same as a Soprano who CAN do coloratura! SOPRANO DRAMATICO COLORATURA HAS OTHER QUALITIIES IN THE VOICE THAT QUALIFY THEM AS SUCH:

    CHECK: EDDA MOSER, MARISA GALVANY, CRISTINA DEUTEKOM AND OF COURSE CALLAS. THEY ALL HAVE THEIR BEAUTIFUL HIGH RANGE TO REACH Eb and even G's!!!! yeah...you're wrong!

  • You mistake "drammatico d'agilità" with "dramatic coloratura" which are two differents types of voice.

    And anyway in the XIX century everybody was a "coloratura" singer at least in Italy.

  • all those early Verdi´s operas were kind of for dramatic coloratura sopranos.

  • that's true, they "contained" more fioritura compared to AIDA, OTELLO OR BOCANEGRA...IT IS TRUE WHAT YOU SAID. He did always use coloratura with darker almost MEZZOish voices for EVIL Characters,,,notice that from Abigaill and L. Macbeth!!! also you might know that G.Strepponi was Verdi's early inspiration and she is the one I believe that sang these early roles first. In a way you can say a Dramatic Coloratura sings these roles best, but they are not ONLY sang well by those.

  • that's true, they "contained" more fioritura compared to AIDA, OTELLO OR BOCANEGRA...IT IS TRUE WHAT YOU SAID. He did always use coloratura with darker almost MEZZOish voices for EVIL Characters,,,notice that from Abigaill and L. Macbeth!!! also you might know that G.Strepponi was Verdi's early inspiration and she is the one I believe that sang these early roles first. In a way you can say a Dramatic Coloratura sings these roles best, but they are not ONLY sang well by those.

  • Déjala que se quede bruta. Está demente!

  • The expert talked... We must remember he talked himself with Verdi. He told pirocagrande to instruct the world. What a lot of bull!

  • and what's your opinion......have you loked into the score of Macbeth and Norma to compare them? I HAVE! That's why I am so strong on my point. Sorry it came across like that. But you see, Caballe on an interview said the WORSE role for her was I believe Roberto Devereux and not Norma. On the other side Callas quoted Lily Lehmman who said, "prefred sing 5 wagner roles as opposed to 1 Norma"...so you see...some might say Lady Macbeth IS a Dra.Colo role..so it is solely my opinion after my analyse

  • I do believe Roberto Devereux was difficult for Caballe due to the intense coloratura.

    Norma requires BOTH coloratura and some heft in the voice (among other even more qualities). Damrau (arguably a lesser singer than Caballe) could possibly do R Devereux but NOT Norma.

    And Lilly Lehman said that about Norma & Wagner due to the nature of her voice. I'm sure Caballe would rather do 10 Normas than sing a single Brunhilde.

  • unsurpassable!

  • One of her best live performances ever!

  • SUPERB!

  • Viva La Nera Callas!!!

  • this is my favourite role....and she is now my favourite diva to see and hear in this role!

  • What a superb performance of one of the most taxing dramatic roles in verdian opera! Brava Verrett!!!

  • Such a beautiful African Queen; a Magnificent singer and a dramatic actress, too.

  • better than her recording from La Scala...she is so FIERCE!!!

  • i love her in this role

  • oh HELL YES...

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