This is an early recording, and, like all young artists destined for greatness, the outer vocal shimmer prevails over the dramatic nuances that she later employed so masterfully. This is one of the greatest voices ever heard in a musical theater. A diligent artist, and a voice that is "honest", completely devoid of mannerism. Don't compare her to anyone; she merits her own place on Olympus. When she gets there, she and a few others can fight for the Queen's Throne!
@sillyboydeux Or maybe they can all sit in shifts; Callas gets the evening shift (that's theater time!) Scotto gets the night shift (because of the dreamlike quality to her voice) and Milanov gets the day shift, where she does all the typing and filing.
@kgarmaker123 Really? This was recorded in 1959 in London by EMI, produced by Walter Legge. This is a classic rendition of a role she later sang at La Scala in a new production. If she is not in the best voice, then the rest of her career, she was in HORRENDOUS voice. The critics, of course, compared this recording as being rivaled only by Callas. The voice blooms so beautifully at the top. She was a great Bellini belcantista, here in her freshest voice!
I have heard Scotto sing a lot better even from this time period.. for instance herGlauce on Callas Medea in 1957 is fabulous. What I object is the problems with pitch throughout the first part of this aria. Also she sort of misses the High C at the end.. and it ends in a very anticlimatic way... This is just not the type of explemary vocalism, that Scotto was noted for from 1955-1980( and I do like her.).
You cannot tell about pitch on You Tube.I don't think Mr. Legge would let her stray off pitch and publish it.Go back to the original recording to hear.Who knows what the source of this is?What generation and how uploaded?If you hear the EMI recording, still widely available at budget prices, and you still hear this as off pitch, you are the first to point this out (JBSteane, Conrad Osbourne, Peter G. Davis, Alan Blyth & I can go on & on) in 50 odd years in countless issues. BTW,why '55 I/O '53?
Of course,other than pitch, which is verifiable with a tuning fork,you can like or not like her approach to the C or whatever.I would suggest that it is verifiable that Legge took her under wing for this recital disc,so he had much to do with the finished product.On his multi CD retrospective,Schwarzkopf and EMI picked only Scotto's "L'Atra Notte" from the same '59 recital disc to represent his best work w/vocalists:not,Callas.Scotto made her broadcast debut in the '53Scala opening of La Wally.
BRAVISSIMA!! Grazie Signora Scotto! Grazie la musica, and Thank You so much for posting this! (-:
ElizabethBiceCavalli 1 year ago
This is an early recording, and, like all young artists destined for greatness, the outer vocal shimmer prevails over the dramatic nuances that she later employed so masterfully. This is one of the greatest voices ever heard in a musical theater. A diligent artist, and a voice that is "honest", completely devoid of mannerism. Don't compare her to anyone; she merits her own place on Olympus. When she gets there, she and a few others can fight for the Queen's Throne!
sillyboydeux 1 year ago 2
@sillyboydeux Or maybe they can all sit in shifts; Callas gets the evening shift (that's theater time!) Scotto gets the night shift (because of the dreamlike quality to her voice) and Milanov gets the day shift, where she does all the typing and filing.
sillyboydeux 1 year ago
Beautiful, what a treasure of a recording ~ thank you. Lorna Kelly
lornabegbie 1 year ago
N ot in the best of voice .
kgarmaker123 2 years ago
@kgarmaker123 Really? This was recorded in 1959 in London by EMI, produced by Walter Legge. This is a classic rendition of a role she later sang at La Scala in a new production. If she is not in the best voice, then the rest of her career, she was in HORRENDOUS voice. The critics, of course, compared this recording as being rivaled only by Callas. The voice blooms so beautifully at the top. She was a great Bellini belcantista, here in her freshest voice!
pkunzip501 2 years ago 5
@pkunzip501
I have heard Scotto sing a lot better even from this time period.. for instance herGlauce on Callas Medea in 1957 is fabulous. What I object is the problems with pitch throughout the first part of this aria. Also she sort of misses the High C at the end.. and it ends in a very anticlimatic way... This is just not the type of explemary vocalism, that Scotto was noted for from 1955-1980( and I do like her.).
kgarmaker123 2 years ago
You cannot tell about pitch on You Tube.I don't think Mr. Legge would let her stray off pitch and publish it.Go back to the original recording to hear.Who knows what the source of this is?What generation and how uploaded?If you hear the EMI recording, still widely available at budget prices, and you still hear this as off pitch, you are the first to point this out (JBSteane, Conrad Osbourne, Peter G. Davis, Alan Blyth & I can go on & on) in 50 odd years in countless issues. BTW,why '55 I/O '53?
pkunzip501 2 years ago
Of course,other than pitch, which is verifiable with a tuning fork,you can like or not like her approach to the C or whatever.I would suggest that it is verifiable that Legge took her under wing for this recital disc,so he had much to do with the finished product.On his multi CD retrospective,Schwarzkopf and EMI picked only Scotto's "L'Atra Notte" from the same '59 recital disc to represent his best work w/vocalists:not,Callas.Scotto made her broadcast debut in the '53Scala opening of La Wally.
pkunzip501 2 years ago
This is a very nice and capable singer.
Dottorejojo... can you meow better?
mezzo1945 2 years ago
This comment has received too many negative votes show
What annoying meowing is this!?!?
DottoreJojo 2 years ago
sorry but neither your comment or your profile channel displays any sense of musical integrity :P
Drelnis 2 years ago
quanto é bella Renata, adorable canto!!!
ximenadore 2 years ago 3
so lovely and professionaly!
sopranesssa 2 years ago 3
very nice...
poupounakis 3 years ago 2