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  • In my opinion, her very best role -- it fit her like a glove. She was able to sing it the full length of her career. I know she claimed to prefer NORMA but I don't think it suited her as well...

  • Pour toi amigo de Celestic.

  • sicuro sia joan sutherland? non riesco a riconoscerla...

  • Bravo, just bravo!

  • Beautiful! Thank you for uploading!

  • thank you so mach for uploading, just amazing with the nice voice and magic flute, perfect performance

  • 真是太好聽了

  • Fifth Element ^_^

  • Que poco poder interpretativo que tiene esta mujer..... por más que su voz se le considere linda y coloratura, pero no me transmite nada... lamentable! En fin, nada escrito en gustos...

  • @gomongio idiota, sordo e ignorante.

  • @tklogan111809 y tu te muestras tan educado y culto...Viva la música, mueran los malos comentarios

  • @hydra333 Buenisima respuesta

  • Divine  yes

  • DIVINE!

  • @sebastien 1charty..... You think?? I've always thought Dessay's Lakme was her best of all but not her Lucia! The one that was filmed at the Met was not my fav but I think she does better in ohter roles than in Bel Canto. Just my 2 cents.

    RIP JOAN

  • Thanks for all your records you are the best colaraturra soprano ""La Stupenda"".

    Thanks for all youe Handel opera's thanks .....

  • RIP Joan Sutherland. You will be sincerely missed...

  • Rest in Peace Dame Sutherland. You will be missed.

  • Sutherland sounds sad.... That weakes the piece, It is supossed to be strong and obviously because is the part when Lucia goes mad...

  • @linitalips not so... if you read the libretto, she is reliving the various moods of her relationship with Edgardo... Now, if you're saying that she does not make that clear to you, that's another question entirely...

  • eek

  • in yours and her dreams!

  • the best lucia

  • I really like Joan. I wish there was more recorded work of her's.

  • In her great time she was ONE or THE Best.

  • I am an accompanist and work in opera theater - she's great artist and great singer!

  • Thank you so much for posting this.

    So, so so much.

  • Wonderful =]

  • truly one of the most beautiful arias ever written

  • Autêntico registro de um milagre...

  • no, i think she sins in other languages as well!

    (ahem, I think you mean 'sing' and not 'sin')

  • she does not sin at all. I wonder if she ever did. Well,she never sang in any other language tna her own "Sutherlandish"

  • lol "sutherlandish" i'm stealing that lol well actually in this particular recording, i find her diction is surprisingly clear, most of the time you can't make out a word she sings even with the libretto in front of your eyes

  • LOL.....we agree then.

  • it's weird with sutherland, i do not like her singing very much, but i am such a huge fan of hers, only because i find her adorable in interviews lol! for real!

  • who cares?

  • You don´t care. WEll you might miss the whole point...But I do, as well as many others...anad that´çs what matters

  • am i missing the whole point? what i mean is: if her voice is so beautiful, it does no matter in which language she sings.

  • Yes, It does matter....opera is not only about producing beautiful sounds, a bunch of nice notes well emitted or well placed...there is much more to it...haven´t you noticed that yet?

  • I would agree wholeheartedly with your statement that a truly outstanding operatic performance should be more than just a series of cleanly-sung notes and should ideally include, among other things, clear diction :). Still, I must admit that I am a bit confused as to how does this notion apply to this particular case: the slightly heavy playing of the orchestra notwithstanding, I strongly consider this recording to be among Sutherland's most all-around successful recordings...

  • Yes, it certainly is....But this is not the point.

  • ...a dramatically believable and, in the case of "Del ciel clemente" (given particular dramatic weight and uniquely illuminated (this rendition was the first time I truly appreciated the beauty of the section)), heart-breaking interpretation; and, of course, the traditional vocal splendor. Actually, the overall excellence of the rendition somewhat spoiled for me the later recordings of Sutherland (which first introduced me to the soprano), thus, I personally prefer the voice around 1959-1962 :).

  • Wwell, now I feel forced to express my opinion regardin Miss Sutherland´s interpretations and her approach to the roles she sung.

    To me, she always sounds uninteresting, rather boring and dull. I am sorry.

  • Well, this is your personal opinion; while I cannot agree with it, I respect it :).

  • Yes, it is my personal opinion. Thanks for being a very respectul person, a quality I apprecciate very much.

    I also respect strongly your opinion.

  • here's some food for comedy: Birgit Nilsson(!) accusing someone else of being "dull".

  • ...the obvious virtues of the singer's youthful, silvery voice are only highlighted by exceptionally clear diction (later, Sutherland did have a tendency to choose pureness of tone over diction (and I can't say that I am fond of this artistic decision) but this preference is absent here: I relistened to the aria and found the text perfectly understandable; moreover, the clearer diction is directly "responsible", in the best sense of the word, for the brighter tone which I find delightful)...

  • Your precisions are very accurate. And I am glad you can enjoy this scene. i cannot, and that is my problem. I admit that.

  • no I have not, sorry for being stupid.

  • I have never said you were stupid! I wouldn´t dare. Anyway, thank you but i know the libretto by heart,.Most kind of you

  • anyway, here are the lyrics:

    Il dolce suono mi colpi di sua voce!

    Ah, quella voce m'e qui nel cor discesa!

    Edgardo! io ti son resa, Edgardo, mio!

    fuggita io son de tuoi nemici.

    Un gelo me serpeggia nel sen!

    trema ogni fibra!

    vacilla il pie!

  • (part 2) Presso la fonte meco t'assidi al quanto! Ohime, sorge il tremendo fantasma e ne separa! Qui ricovriamo, Edgardo, a pie dell'ara. Sparsa e di rose! Un armonia celeste, di, non ascolti? Ah, l'inno suona di nozze! Il rito per noi s'appresta! Oh, me felice! Oh gioia che si sente, e non si dice! Ardon gl'incensi! Splendon le sacre faci, splendon intorno! Ecco il ministro! Porgime la destra!
  • Bravo||

  • The Best coloratura!

  • I guess no one dares to challenge your comment.

  • Una de mis favoritas. La adoro.

    Si alguien tiene las partituras de esta aria, le agradeceria si me las mandara

    bruja.del.boske@ho...

    gracias.saludos.

  • Madam Satherland there is not eqal to you We miss you so much.I wish there will be a celebration of your life .This idioti dont know how to appreciate a voice there never will be the same

  • Maravilloso. Fantástico. Con esta pieza en concreto me enamoré de Lucía. Bravo!!

  • Certainly the very best coloratura soprano ever and the best Lucia ever. Great!! I 've attended two "Lucia performance in the eighties and she still was amazing at that time. Her voice deeper and warmer but still, this performance is outstanding. Thank you for sharing

  • it's the song the diva plava laguna sang! NUTS!

  • splendida dizione

  • Maravillosa. La mejor Lucía

  • the best coloratura soprano of the 20th century

  • @mdancer01

    the best of soprano period of the 20th century.

  • It's really attractive reading your introduction while listening to the aria. Maybe you should try add yor introductions into subtitle.

  • When I listen to Dame Sutherland in this, I realize how much I have always admired and appreciated her superlative (yet ironically unadorned in this case) technique. Her caliber of musicianship is such that she can frequently make more contemporary divas sound amateurish in their attempts to personify Lucia.

  • I think it's interesting how she took out all ornamentation and went to the roots, singing the basics, I think it shows her voice even more powerful and strong to hear it like that.

  • she is great

  • wow she is without a doubt the best voice for lucia and her diction is co clear

  • WOW What a difference from her other recordings, she should have stayed with this technique for the rest of her career. She didn't, but even so she's still my favourite from all Lucias (again MY favourite, I know there's different opinions) I'd like to have this full recording includong the rest of the arias "¿How can I get it?" is my question.

    Thanks in advance. David

  • There just isn't a before or after Dame Joan in this role: she has owned it since 1959.

  • Sutherland never lost the dramatic sense. It's just that her later Lucias were dramatically based on the structure of the melody. She never used those extroverted dramatic effects with such beauty and intensity as in 1959 and preferred to keep singing Lucia in a more dreamy and melancholy way, which IMO is also very heartbreaking. Here, however, her Lucia is perfect, maybe the best of all times. The innocence, the fear, the dream are all conveyed by her bright, plangent and expressive voice!

  • She never lost it because she never had one...

  • Stunning olympic singing -- Dame Joan is of another world! Thank you for sharing this!

  • She is of another world indeed. I could not agree more.

  • Terrific... there is actually DRAMATISM here, and the voice is clear sounding! Too bad the tone became muddy so quickly, and too bad the dramatic sense was lost so early.

  • Not true. Her sense of drama only improved with time, her best Lucia is on the 1982 video from the MET, when she was almost 60 but looked incredibly convincing as the 16-yo Lucia. The mezza voce was thick and rich, the top infinite and incandescent.

  • truly one of the most beautiful arias ever written, and done to perfection by dear joan.

  • think about that compared to rap.....

  • lol. comparing Platinum to shit...

  • she is so glorious...

  • Wow, nice to hear a young Joanie, so different from most recordings I've ever heard of hers (that also rule pretty much all) :p

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