its interesting to hear this performance, because in the private video of this aria, sills takes a very quick breadth near the end of her incredibly long and wonderfully ornamented, roulade that stops the flow in the middle of a descending scale. here she takes the same roulade on a single breadth with no break in the scale. sills has said, that even with all her technique, if she was feeling tired she would come up short of breath and this is the only obvious example i know.
its interesting to hear this performance, because in the privtae video of this aria, sills takes a very quick breadth near the end of her incredibly long and wonderfully ornamented, roulade that stops the flow in the middle of a descending scale. here she takes the same roulade on a single breadth with no break in the scale. sills has said, that even with all her technique, if she was feeling tired she would come up short of breath and this is the only obvious example i know.
It's quite a pity she never made a complete studio recording of Lucrezia. As my favourite opera to date, I think Sills has added something new to the role. Her tessitura has actually thickened by this time, hence it is natural if not most apt choice to sing this role. The cabaletta must have been from the revised version. Prefer just the complete aria though - it's probably the most tender aria ever composed by Donizetti or for the matter, any composer.
I didn't recognise the cabaletta although I have the Caballe recording mentioned. But then, I haven't played it for over 30 years. I have a slightly later recording which I prefer. Forget who sang Lucrezia.
Beverly cède à son pêché mignon qui consiste à orner à outrance dès qu'il y a une cabalette, ce qui souvent dénature cette musique en lui donnant un côté salonard. Et comme ici elle n'est plus à son zénith, même si la virtuosité est toujours stupéfiante, elle termine sur un aigu magnifiquement ... faux ! Le mieux est l'ennemi du bien.
@romondesbert Le mi bémol est un peu bas il est vrai et trop vibré mais Beverly pouvait-elle,au NYCO, s'en passer? .Pour ce qui est de la cabalette additionnelle, composée pour
Méric-Lalande qui souhaitait(de son propre aveu) briller dans l'ajout de variations,il faut la considérer comme"salonarde" par nature. Ceci posé contrairement à "Era desso il figlio mio"cette cabalette n'est pas du meilleur cru et Donizetti semble avoir été réelement contraint ici de satisfaire un caprice!
Sills was that rare singer - a true poet and true musician, so that there was an extra joy of arching of the phrases and delivering of the texts in her performances. Sutherland was an incredible voice with incredible people skills who "worked incredibly well" so that her onstage partners were always particularly interwoven. Two great ladies for who no "comparison" is really appropriate.
all abuot the conductor? what are you talking about? and which soprano with which conductor. certainly at the city opera julius rudel had his authority, and sills recollected how he refused to let her use the more elbaroate embelllishments that roland gangnon, her coach, freind, stylist had writen for her. but certainly, at the time of her lucrezia borgias it was a joint effot, between this conductor and this singer, and sills and gagnon shaped her arias and rectiatives and her phrasing!
I love Beverly Sills. Her Lucrezia when compared to Caballe and Sutherland lacks the bigger "dark" quality or the "evil" part for the historic ambitious murderer-aristocrat. Sills played up the the "mother" part which works great for this opera since it's about a mother and her son, whom she only poisons accidentally. Sills has a great talent for bel canto and this role was very good for her. And now we have her Norma on CD as well. Brava Sills...forever.
Beverly Sills' voice here and in everything she sang brought her special purity and joy in singing to pleasure her audience. May she now brighten Heaven.
Nice "tribute" video to Beverly Sills...she holds a special place in my heart because she was my first introduction to the soprano voice in opera...she's the one singer who got me into opera...I love her voice, it's like sunshine, it's motherly, it's warm and beautiful...she was a great singer who did not let success get to her head...rest in peace ..an angel singing in Heaven
like we all have heard so many Lucrezia Borgias in our time????If Beverly did it....than that's the way it needed to be done.I don't want to anger anyone....but who has the score????
Cheap? Does anyone of u know anything in here?! It's not the singer who decides what to be done, it's all about the conductor!! She made a beautiful performance here, totaly amazing. Go and learn somethin dickheads!!!
Un'altra prova della grandezza di Beverly Sills, se ce ne fosse stato ancora bisogno. Legato sublime, senso del teatro e agilità da cantante di razza.
Il taglio della seconda strofa in effetti è brusco ma è cosi' raro sentire la caballetta che non se ne sente la mancanza.
"Com'è bello" senza "Si voli" è quasi un'aria "insulsa"!
A chi ha scritto che la versione Caballé è superiore voglio rispondere che in studio sono bravi tutti.
I notice that the 2nd verse of Com'e bello which begins Mentre Geme Il Cor somesso isn't sung here. I'm wondering if she didn't sing it instead and just interpolated the cabaletta Si voli il promo cogliere instead. The sound changes so much that I wonder if this was all from the same performance? Does anyone know? I think after all the years of having to "prove" herself that she came late to these bel canto jewels a bit pass prime,but nonetheless a very great,a marvelous singer.
Montserrat Caballé sang this cabaletta also in her studio recording, but I don't find that this is one of Donizetti's greatest creations! Quite brilliant singing nevertheless!
I disagree I think it's a brilliant cabaletta, but it cheapens Com'è bello when sung the way Sills does here. In the Caballé recording, both are done without cuts and the result is superb.
Yes it does cheapen it, Sills interrupted the aria and sang the cabaletta without the intended pause in the score, what's not CHEAP about that, pinhead? Go learn something.
There are lots of reasons why singers perform arias with different sections in different ways, including what the conductor wants to do. Now who needs to go learn something?
thats ugly
cesare1906 2 months ago
It's CaBaletta not Cavelleta
pfeliks 5 months ago
its interesting to hear this performance, because in the private video of this aria, sills takes a very quick breadth near the end of her incredibly long and wonderfully ornamented, roulade that stops the flow in the middle of a descending scale. here she takes the same roulade on a single breadth with no break in the scale. sills has said, that even with all her technique, if she was feeling tired she would come up short of breath and this is the only obvious example i know.
mmbriggs 11 months ago
its interesting to hear this performance, because in the privtae video of this aria, sills takes a very quick breadth near the end of her incredibly long and wonderfully ornamented, roulade that stops the flow in the middle of a descending scale. here she takes the same roulade on a single breadth with no break in the scale. sills has said, that even with all her technique, if she was feeling tired she would come up short of breath and this is the only obvious example i know.
mmbriggs 11 months ago
It's quite a pity she never made a complete studio recording of Lucrezia. As my favourite opera to date, I think Sills has added something new to the role. Her tessitura has actually thickened by this time, hence it is natural if not most apt choice to sing this role. The cabaletta must have been from the revised version. Prefer just the complete aria though - it's probably the most tender aria ever composed by Donizetti or for the matter, any composer.
MonsieurDarcy 1 year ago
I checked - the other recording is also Caballe.
geoff189d 1 year ago
I didn't recognise the cabaletta although I have the Caballe recording mentioned. But then, I haven't played it for over 30 years. I have a slightly later recording which I prefer. Forget who sang Lucrezia.
geoff189d 1 year ago
Beverly cède à son pêché mignon qui consiste à orner à outrance dès qu'il y a une cabalette, ce qui souvent dénature cette musique en lui donnant un côté salonard. Et comme ici elle n'est plus à son zénith, même si la virtuosité est toujours stupéfiante, elle termine sur un aigu magnifiquement ... faux ! Le mieux est l'ennemi du bien.
romondesbert 1 year ago
@romondesbert Le mi bémol est un peu bas il est vrai et trop vibré mais Beverly pouvait-elle,au NYCO, s'en passer? .Pour ce qui est de la cabalette additionnelle, composée pour
Méric-Lalande qui souhaitait(de son propre aveu) briller dans l'ajout de variations,il faut la considérer comme"salonarde" par nature. Ceci posé contrairement à "Era desso il figlio mio"cette cabalette n'est pas du meilleur cru et Donizetti semble avoir été réelement contraint ici de satisfaire un caprice!
BEVER29 1 year ago
Sills was that rare singer - a true poet and true musician, so that there was an extra joy of arching of the phrases and delivering of the texts in her performances. Sutherland was an incredible voice with incredible people skills who "worked incredibly well" so that her onstage partners were always particularly interwoven. Two great ladies for who no "comparison" is really appropriate.
Arrow
bestmaster3 1 year ago 2
A true American Treasure, sadly missed. Brava Sills, Brava!
RVP57 1 year ago
all abuot the conductor? what are you talking about? and which soprano with which conductor. certainly at the city opera julius rudel had his authority, and sills recollected how he refused to let her use the more elbaroate embelllishments that roland gangnon, her coach, freind, stylist had writen for her. but certainly, at the time of her lucrezia borgias it was a joint effot, between this conductor and this singer, and sills and gagnon shaped her arias and rectiatives and her phrasing!
mmbriggs 2 years ago
I love Beverly Sills. Her Lucrezia when compared to Caballe and Sutherland lacks the bigger "dark" quality or the "evil" part for the historic ambitious murderer-aristocrat. Sills played up the the "mother" part which works great for this opera since it's about a mother and her son, whom she only poisons accidentally. Sills has a great talent for bel canto and this role was very good for her. And now we have her Norma on CD as well. Brava Sills...forever.
MastersoftheOpera 2 years ago 4
love the tribute, for me Sills was the introduction to Opera as well
I love her as a singer and an actress
Smile6784 2 years ago
Beverly Sills' voice here and in everything she sang brought her special purity and joy in singing to pleasure her audience. May she now brighten Heaven.
11777766 2 years ago
Nice "tribute" video to Beverly Sills...she holds a special place in my heart because she was my first introduction to the soprano voice in opera...she's the one singer who got me into opera...I love her voice, it's like sunshine, it's motherly, it's warm and beautiful...she was a great singer who did not let success get to her head...rest in peace ..an angel singing in Heaven
AmericanEvita 2 years ago 7
I loved B. Sills, her voice was most beautiful and her singing most expressive
benderpm 2 years ago 2
This comment has received too many negative votes show
The best Lucrezia ever was Montserrat Caballé - no doubt!
direttore2007 3 years ago
Yes I have to agree. Overall, Caballé IS Lucrezia.
eradesso 2 years ago
like we all have heard so many Lucrezia Borgias in our time????If Beverly did it....than that's the way it needed to be done.I don't want to anger anyone....but who has the score????
beefnotfish 3 years ago
Cheap? Does anyone of u know anything in here?! It's not the singer who decides what to be done, it's all about the conductor!! She made a beautiful performance here, totaly amazing. Go and learn somethin dickheads!!!
hypnotizeed 3 years ago
Un'altra prova della grandezza di Beverly Sills, se ce ne fosse stato ancora bisogno. Legato sublime, senso del teatro e agilità da cantante di razza.
Il taglio della seconda strofa in effetti è brusco ma è cosi' raro sentire la caballetta che non se ne sente la mancanza.
"Com'è bello" senza "Si voli" è quasi un'aria "insulsa"!
A chi ha scritto che la versione Caballé è superiore voglio rispondere che in studio sono bravi tutti.
Monsi non l'ha mai cantata in teatro!
GRANDE BEVERLY
luxsolis75 3 years ago 3
@luxsolis75 Montserrat Caballé sí que la ha cantado en los teatros; aquí tienes unos ejemplos:
Nueva York 1965, Marsiglia 1968, Londres 1968, Filadelfia 1969, Milano 1970, Barcelona 1970, etc. Y de todos los que menciono hay grabaciones...
christieheathert0n 1 year ago
Yeah it's ok but i can live without it LOL
Gav640 3 years ago
I notice that the 2nd verse of Com'e bello which begins Mentre Geme Il Cor somesso isn't sung here. I'm wondering if she didn't sing it instead and just interpolated the cabaletta Si voli il promo cogliere instead. The sound changes so much that I wonder if this was all from the same performance? Does anyone know? I think after all the years of having to "prove" herself that she came late to these bel canto jewels a bit pass prime,but nonetheless a very great,a marvelous singer.
semiramide1945 3 years ago
What a pity there's no video of this!
cleanears 3 years ago
wonderful, a real treasure. never heard this before. thanks for making it available!
operabuff1 3 years ago
This comment has received too many negative votes show
Listen to Montserrat Caballé as Lucrezia- and you will know what great singing is!!!
direttore2007 3 years ago
WOW!!! My BUBBLES does it again!!!
godivapaw 3 years ago
Thank you for posting this. I never saw Beverly perform this role. July 2nd was the
firat anniversary of her death. I miss her terribly.
ktpj 3 years ago
i have that recording, and the cavaletta is not there...let me check
gtelloz 3 years ago
Montserrat Caballé sang this cabaletta also in her studio recording, but I don't find that this is one of Donizetti's greatest creations! Quite brilliant singing nevertheless!
Klassizismus 3 years ago
I disagree I think it's a brilliant cabaletta, but it cheapens Com'è bello when sung the way Sills does here. In the Caballé recording, both are done without cuts and the result is superb.
tklogan11809 3 years ago
TRAMP! What are you talking about???? Cheapens???? GIMMI A BREAK!
godivapaw 3 years ago
Yes it does cheapen it, Sills interrupted the aria and sang the cabaletta without the intended pause in the score, what's not CHEAP about that, pinhead? Go learn something.
tklogan11809 3 years ago
There are lots of reasons why singers perform arias with different sections in different ways, including what the conductor wants to do. Now who needs to go learn something?
RossiniSoprano 3 years ago
I'm with you....pour it on Beverly!
Lauritz1 3 years ago
Caballé sang this cabaletta in the RCA recording with Kraus/Verrett conducted by Perlea in 1966, ten years before Sills sang it at NYCO.
tklogan11809 3 years ago