SUTHERLAND ES SIMPLEMENTE ......Y ADEMAS MUY SIMPLEMENTE........LA VOZ ...MAS INMENSA Y PORTENTOSA...QUE NADIE SE HAYA IMAGINADO..........LO SEGUIRE DICIENDO HASTA EL DIA D EMI MUERTE.......EL MAYOR TESORO SONORO.....QUE NADIE HAYA ESCUCHADO........UN SER HUMANO INIMAGINABLEMENTE ESPECIAL........
why, judging from one other video of the Dame in Esclaramonde, the outfit and man wearing the same clothes up close and farther away, with the pronounced bulge, was Placido
@esclarmonde1 She said it was her favorite recording, not her finest role. She considered Norma her greatest role and understandably so--although her Lucia and Lucrezia are peerless. The same can be said of Esclarmonde, although she only performed it in three engagements.
Beautiful aria and wonderful rare pictures. The picture at 1:29 with Callas has always made me wonder: did they like each other? Was Callas jealous of Joan's voice and career, and Joan of Callas' acting? What did they think of the other's techniques?
The relationship was not close, but both admired the other. Callas sat in on a dress-rehearsal of Joan's early Lucia. According to companions, she said "this isn't good". When asked if she didn't like it, she said, "no, it is TOO good". Sutherland said she learned a lot watching Callas, and Richard encouraged her to study Callas. Once, before an big performance, Callas kindly sent Joan a note wishing her well, and apologized for not attending, saying she was there" in spirit."
When Callas watched Joan's debut as Lucia in Covent Garden, she said "I guess I am not gonna be singing Lucia again in England". That was Joan's most dramatic bel canto portrayal. Later on she stopped singing it so a la Callas (dramatically and without transposing the low tessitura second act) because she said singing bel canto that way was too dangerous for her voice (that is, singing bel canto full bodied at both ends, since she wasn't an assoluta like Callas, but a dramatic soprano).
@primohomme You obviously haven't heard the 1970 Lucia from the Met and Hamburg, or the 1980 Lucrezia from Covent Garden, or the 1972, 1982 Norma from San Francisco or the 1985 Bolena. On her best day, Callas couldn't begin to approximate the musicianship or vocal intensity of those performances. By the time she was 40 she sounded like a tired old church hag. If that's your idea of assoluta, so be it.
I've heard those performances, Joan never had the low register to sing Lucrezia Borgia...I mean, she was able to produce the low notes but never able to project them in a dramatic way...it just came out as suffocated. Specially her Bolena where Bonynge REWROTE so much of the vocal line in order for her to completely avoid the low register, and then in the final cabaletta she transposes down to sing the note in alt and in the middle sounds wobbly as hell. Not Assoluta.
SUTHERLAND ES SIMPLEMENTE ......Y ADEMAS MUY SIMPLEMENTE........LA VOZ ...MAS INMENSA Y PORTENTOSA...QUE NADIE SE HAYA IMAGINADO..........LO SEGUIRE DICIENDO HASTA EL DIA D EMI MUERTE.......EL MAYOR TESORO SONORO.....QUE NADIE HAYA ESCUCHADO........UN SER HUMANO INIMAGINABLEMENTE ESPECIAL........
bellini7verdi 10 months ago
why, judging from one other video of the Dame in Esclaramonde, the outfit and man wearing the same clothes up close and farther away, with the pronounced bulge, was Placido
dmitrid1 1 year ago
@iriisblue. I am only repeating what Joan said.
esclarmonde1 1 year ago
Wow she photographed with everyone. I just saw Angela Lansbury!
blktenor 1 year ago
Joan Sutherland considered Esclarmonde to be her finest role and she was magificent.
esclarmonde1 1 year ago
@esclarmonde1 She said it was her favorite recording, not her finest role. She considered Norma her greatest role and understandably so--although her Lucia and Lucrezia are peerless. The same can be said of Esclarmonde, although she only performed it in three engagements.
iriisblue 1 year ago
Sublime! And very cool pictures set :))
TraVoiBelle 1 year ago
She is just the best in this entire opera. I had the cd and made a point of listening to it everday for about two weeks. Massenet is also a genius.
babydrane 2 years ago
I'm loving all these old pictures!
JeeRant 2 years ago
Also, who's the guy with the ummm... bulge... at 3:36?
ChrisStockslager 2 years ago
The tenor Giacomo Aragall, as the knight Roland, in an Esclarmonde production with Joan in San Francisco in 1974
sutherlandfan64 2 years ago
Nice package!!!!;-)
andreasscholl 2 years ago
I agree. ;) Yum.
ChrisStockslager 2 years ago
Wanna see more...you to?
There are more tenors this nice in the flesh..
Ever watched Alagna in Speedo coming out of the swimmingpool?
(Watch my fav.vids!!!!)
andreasscholl 2 years ago
Comment removed
JDOopera76 2 years ago
haha : ]
JDOopera76 2 years ago
Beautiful aria and wonderful rare pictures. The picture at 1:29 with Callas has always made me wonder: did they like each other? Was Callas jealous of Joan's voice and career, and Joan of Callas' acting? What did they think of the other's techniques?
ChrisStockslager 2 years ago
The relationship was not close, but both admired the other. Callas sat in on a dress-rehearsal of Joan's early Lucia. According to companions, she said "this isn't good". When asked if she didn't like it, she said, "no, it is TOO good". Sutherland said she learned a lot watching Callas, and Richard encouraged her to study Callas. Once, before an big performance, Callas kindly sent Joan a note wishing her well, and apologized for not attending, saying she was there" in spirit."
Hako2004 2 years ago
When Callas watched Joan's debut as Lucia in Covent Garden, she said "I guess I am not gonna be singing Lucia again in England". That was Joan's most dramatic bel canto portrayal. Later on she stopped singing it so a la Callas (dramatically and without transposing the low tessitura second act) because she said singing bel canto that way was too dangerous for her voice (that is, singing bel canto full bodied at both ends, since she wasn't an assoluta like Callas, but a dramatic soprano).
primohomme 2 years ago
@primohomme You obviously haven't heard the 1970 Lucia from the Met and Hamburg, or the 1980 Lucrezia from Covent Garden, or the 1972, 1982 Norma from San Francisco or the 1985 Bolena. On her best day, Callas couldn't begin to approximate the musicianship or vocal intensity of those performances. By the time she was 40 she sounded like a tired old church hag. If that's your idea of assoluta, so be it.
iriisblue 1 year ago
@iriisblue
I've heard those performances, Joan never had the low register to sing Lucrezia Borgia...I mean, she was able to produce the low notes but never able to project them in a dramatic way...it just came out as suffocated. Specially her Bolena where Bonynge REWROTE so much of the vocal line in order for her to completely avoid the low register, and then in the final cabaletta she transposes down to sing the note in alt and in the middle sounds wobbly as hell. Not Assoluta.
primohomme 1 year ago