Marisa Galvany - Santo di Patria (with Orchestra)

[MultiZahl]

La grande Marisa Galvany !!!!!Eine grandiose Interpretation dieser viel gesungenen Arie.Wenige Sängerinnen singen am Ende der Arie ein F .!!!!

[bear46no]

stunning artistry with both fire, life and sensitvity!!

[emilytransex]

INCREDIBILE KE TEMPERAMENTO DRAMMATICO!

[Tosycyzkiewicy]

It is one of my favorite renditions of that aria, very fierce and dramatic, especially the words "di vendetta".

primohomme, I want to draw your attention to a beautiful version of that aria sung by the assoluta soprano Christine Weidinger. She sings also "Era desso il figlio" with twice repeated lower version of "con esso e morto" and crowned with a powerful high E flat. Both films are available on Youtube.

[hamb4]

Thank you so much for your reply./ While I cannot say it is my fav. She sings the shit out of it. pardon my expression, as there is no other expression for what I listened to again. The tempo was excellent, spot on. The rhythms in spots got away from her. but who cares at that speed. She had all the chest notes and did not loose speed as many would. That piece of music and truly rape the voice.

[hamb4]

Dramatic , Leggero, Lyrico Spinto, what does it matter in the long run? All these women who sang it smiled on the way to the bank after the role. If it's in their fach then they sang it. If their voices can mange it they sang it. If you quibble over apples and oranges you will miss the sweetness of the fruit. Enjoy it. I always loved Sills in this role. A Dramatic coloratura would be perfect for this role. I love speed and agility with articulation also.

[OperaMystery80]

@hamb4 I agree with everything you say! We can still be mature, intelligent opera connoisseurs/cognoscenti and love many different sopranos, despite whatever flaws they have. No human singing voice is perfect. And I love to listen to all kinds of opera singers, sopranos, mezzos, tenors, baritones, basses. Each with different color and sound. If you overanalyze and critique too much, you miss out on enjoying the "meal". Galvany is sublime in this aria. I'm also fond of Dimitrova singing this.

[raigekimaru]

@OperaMystery80

you make it sound like we're arguing or being haters, but it's not that at all. opera singers are the vocal equivalent to fine wine or tea. each has it's own unique flavors, color, aroma and distinctive characteristics. voices are the same, but, like tea, it's fun to discuss these different vocal characteristics and which you like better in certain roles. it's similar to how different types of tea are better with certain meals. opera is meant to be discussed intellectually

[Randidan]

@raigekimaru Intellectually???!!!! really??? The only ones I've ever found worth listening to (or participating in) nearly ended in fights... even so, I'm also a firm believer in 'Vive la diffference'.

[OperaMystery80]

Primo, I agree, this is a magnificent Santo Di Patria, I'm not familiar with Galvany. I saw her Queen Elisabetta in Maria Stuarda here on Youtube opposite Ashley Putnam (wasn't impressed). Here she's on fire, really the best interpretation of the role for me personally, although I still really love Ghena Dimitrova singing this.

[peteradaniel]

Lucky Ms Galvany had so much contralto in her lower register, she could continue on that when her soprano went on holiday. Yes it could sound like Callas, in the same way Sass does and Aliberti and all those feral unmanageable dramatic voices which need decent training and maintenance. These voices tend not to last more than ten years and I think Sutherland's leggiero has the answer for that.

[primohomme]

@peteradaniel

LOL well Joan wasn't a leggero of course, but darker voices tend to sound fuller.

Marisa as well as the gals you mentioned had issues with their technique that prevented from being their best.

[diogo2505]

Sorry, but Dame Joan is definitely a leggiero (ou colloratura, wich is the same).

I forgot to say that I couldn't agree more with your comments regarding the performance. Trully magnificent!

[FeelinMinnesota]

@diogo2505 A leggerio that could sing Wagner???

[diogo2505]

Sorry, but she definetely is a soprano leggiero, or colloratura, wich is the same.

I forgot to say that I couldn't agree more with you regarding the magnificense

[CateSoprano]

@diogo2505

no i don't think she's a leggero..i'd rather say that she's a dramatic-coloratura soprano...

[diogo2505]

She makes Joan Sutherland sound like a soprano leggiero perhaps because Dame Joan is a soprano leggiero...

[primohomme]

@diogo2505

LOL, no, Sutherland was not a leggero, but the color of her voice was brighter than Marisa Galvany's whose low register could have passed for contralto.

[toddydelahov]

@diogo2505 Joan Sutherland is Soprano Dramatico Coloratura no Leggero... Idiot.

[diogo2505]

@toddydelahov

Really? Intelligent people are allways kind...

[raigekimaru]

@diogo2505

leggiero sopranos don't start off singing wagner and dramatic roles =) la stupenda's voice had the size of nilsson, the color of flagstad and the agility of sills. and she easily managed roles like Aida and Woglinde earlier in her career and even did a great job recording Turandot (after nillsson she's actually my favorite turandot because, unlike the dramatic sopranos who sing it, it's in a place in her range where she doesn't have to scream the entire role)

[diogo2505]

@raigekimaru

Thank you for your remark, but I beg to differ. The fact that she sang wagner and dramatic roles doesn't mean that her voice is well-suited for them. La Stupenda had a clear, agile and flexible voice, especially in high and top notes, with a perfect legato along all along the tessitura. And that is the definition of a soprano leggero voice. I love her, but she is a soprano leggero :)

[primohomme]

@diogo2505

No, a soprano leggero would be Sumi Jo, not Sutherland...Sutherland was a true dramatic coloratura, in her earlier years her middle was like that of a lirico-spinto soprano, when she went into bel canto her top developed more and she became a full dramatic coloratura...and that means a coloratura voice with dramatic possibilities, not the other way around.

[raigekimaru]

@diogo2505

like primohomme said, a dramatic coloratura soprano is a coloratura voice with dramatic capabilities. Marissa Galvany is the opposite. she is a dramatic soprano with coloratura facility. a soprano leggiero is a coloratura voice without a dramatic facility.

[flicfan416]

Just as with Callas, her voice is somewhat off-putting at first listen, but when you adjust to it the impeccable artistry and power comes through tremendously.

[emilytransex]

SUBLIME!!!!!

[rockgor]

A wonderful, exciting singer. Too bad she

made few recordings.

Tnx 4 the post.

[operastud82]

These roles, primarily Verdian, such as Odabella, Abigaille, Griselda, Lina, and Lady Macbeth, Leonora (Trovatore), Elvira (Ernani), Alzira, Norma, Medea and others, are what are known as "soprano drammatica d'agilita" which is different from a dramatic coloratura, which comprises of most of the repertoire sung by the likes of Joan Sutherland and June Anderson, with the occasional foray into the bigger repertoire, often with limited success.

[Turand0t]

Marisa Galvany is perfect for this!!! Wonderful!

[BeatricediTenda]

Really incredible voice... impressing!! The real voice for that Opera... not Theodossiu... PLEASE!!

[raigekimaru]

she makes Joan Sutherland sound like a soprano leggiero because this song is supposed to be bright. Odabella is a passionate young heroin, not a middle aged woman. this was written for a coloratura with a soaring heroic voice full of light and valor. don't get me wrong, I love dark voices, but this is one role that sounds better on the graceful, spinning voice of a bright coloratura soprano like Joan. just my opinion though

[Turand0t]

This role is as a matter of fact written for the same type of soprano that Abigaille is. A real dramatic soprano with coloratura abilities. An Italian told me that it is called Soprano drammatico d'agilitá, unlike the other coloratura roles that Verdi wrote. That is Italian dramatic coloratura soprano, quite much heavier than the German dramatic coloratura. If you already knew this, I beg your pardon for the lection. I do not mean to be condescending.

[raigekimaru]

@Turand0t

I still think it sounds better on a dramatic coloratura, dramatic sopranos are just too dark for my taste. Lighter sopranos like Edita Gruberova or Diana Damrau would never make it through with there voices in tact, but a REAL dramatic coloratura such as Dame Joan, or certainly Edda Moser would make it through fine.

[Turand0t]

Certainly Edda Moser!!! :D She really had a big penetrating voice. I love her. :) Dame Joan had as well, but her sound was much brighter. I love Joan Sutherland too, for her rapid coloratura and bright, spinning voice. Unfortunately I am not too fond of her bottom notes. They sound underdeveloped in comparison with her fabulous top notes. I guess she had to sacrifice something to get that lightness in her voice, going from Wagner to coloratura. ;) That's an achievement!

[primohomme]

More than a dramatico coloratura, it requires an assoluta, a soprano sfogato. The difference between Odabella and Abigaille or Lady Macbeth, is that the tessitura of Odabella is mostly high, but the range is similar, it requires heavy use of the low register but the tessitura is not so up and down as Abigaille, Lady Macbeth, Norma, etc.

[raigekimaru]

@primohomme

I disagree. I would call Lady Macbeth, Norma, and Lucrezia sfogato roles, but Odabella is straight up soprano, written for a high sailing graceful voice with tons of dramatic spin and flare (almost like a spinto role with a higher tessitura) I dunno, I just don't think a heavy dramatic voice can do such a role complete justice. Verdi was heavily influenced by the bel canto era. (I still like this recording though, full of passion and grit) =)

[primohomme]

Odabella has a consistantly higher tessitura than Norma, Lady Macbeth, Abigaille, etc...but it does have those low B-flat that require HEAVY low register. Even Joan pushes herself to sing those low notes with weight (which she rarely does in anything else).

[raigekimaru]

sure it takes a strong chest voice with weight, but a number of coloraturas can do this (I know coloraturas with lower ranges like mezzos). just because it can't be sung by a canary bird voice doesn't automatically make it a sfogato role. the low notes might not be all that comfortable for Joan, but she's got them if she doesn't over use them.

PS: since you're such a fan of sopranos with great chest voices, you might like Violetta Urmana's version of Libera Me.

[primohomme]

What coloratura sopranos with great chest voices? I'd say with "adequate" but not many that could also sing a mezzo role.

Anyways, there's a different on what I mean. A soprano with a good low register for example is Popp. A diva who could be mezzo or high soprano on the other hand would be Callas.

[primohomme]

In any case, Odabella would not be in the same category of Norma for example...Odabella would be in a similar group with Ermione. On othe other hand, a role like Fidès also requires some high coloratura and powerful low, but the tessitura is more central and would be grouped with Azucena in that sense. So...Odabella requires a high tessitura with strong low notes, Fides middle with strong low and high coloratura, Norma BOTH heavy low and agile high. So they are different "subgroups".

[raigekimaru]

I never said I knew coloraturas who could SING mezzo. I said I have heard coloraturas with strong colorful lower registers that had a mezzo-esque richness to them. just look at a Anna Moffo for example. her voice was lyric coloratura but she had a rich, colorful, smooth lower register (she even sings a decent Carmen). could she sing mezzo, absolutely not, but she, like many other coloraturas had a strong, extended range on both sides, not just the top.

[primohomme]

Well there aren't many coloratura sopranos with a strong low register. I've heard some people say that Damrau does but based on what I've heard...no way, and her voice is sounding uglier everytime she records.

[raigekimaru]

@primohomme

Diana is also a lyric coloratura. no singer with such a bright, sparkly voice is going to have a strong lower register.

[raigekimaru]

@primohomme

heavy and disconnected are two different things. most dramatic sopranos I've heard pump there chest notes and break the legato line. you can be as dramatic as you want, but if you loose the line of the music, you will not sound good. Verdian music is dramatic, but also extremely lyrical. also, most dramatic sopranos I've heard sound "screechy" and lack the round, warm timbre of a bel canto soprano.

[raigekimaru]

@Turand0t

our tastes are different, I can definitely understand where you're coming from. sutherland switched from Wagner to bel canto coloratura, but Moser sang both at the same time! =P I can't think of anyone else who could sing such a dramatic, high tessitura piece with so much grace.

PS: the reason I like Joan (other than the reasons you've stated) is because she could sing dramatic music and still sound lyrical and natural.

[Turand0t]

I am coming from the Italian dramatic coloratura side, being that I am one myself. ;) I sung this aria a few years back. Fun, but lots of work! I used my dear Sutherland as inspiration because I needed a bright voice to inspire me, or else I'd be singing it too heavy.

[raigekimaru]

@Turand0t

if the fach verdi wrote this piece for is as you described, I'd love to have heard Nilson sing this (she could sing the queen of the night's arias as a warm up).

PS: my teacher is also a dramatic coloratura. in all honesty, it's my favorite voice type =)

[Turand0t]

A very bright coloratura voice would not survive the entire opera I'm afraid.

[raigekimaru]

@Turand0t

no need to apologize, you don't seem condescending at all =)

[DonPaolissimo]

Wild & wonderful! Compare this excitement & passion to the dull, bland, boring, Mattila & Voigt!

[robertdonkers]

She is a remarkable singer though with a huge repertoire. Shame she did not get recorded much.

[raigekimaru]

she sounds like a mezzo to me.

[kgarmaker123]

She has pitch issues, or this recording has problems.. the whole thing does not sound right, in the lower and middle register.. The only thing that sound right is the upper notes.

[thomastmwc]

lol

[primohomme]

Maybe you are not used to hearing sopranos sing with supported low registers. Except for Maria Callas, that is.

[kgarmaker123]

LOL, I am and my ears are not wrong. Ms Galvany can surely sing, this is not one of her better performances.

[thomastmwc]

exactly

[kgarmaker123]

Oh I am used to them singing with supported lower registers.. Galvany has a sound, but often she is singing near the pitch, not on it.. either slightly above or below. You cant honestly listen to this and say her pitch is accurate. I prefer Chiara( a spinto). and I am sure Neblett would have done this role well, and she SANG ON PITCH.

[robertdonkers]

Hi, listen to Cristina Deutekom and Dramatic colorature, with some strange coloratura but the is so exciting and can sing these long phrases with ease.

[suffisance]

I am not actually sure about Neblett's lower registers for this role--I'm not so sure about them (her recorded Vitellia, eg.). But you are so right about the pitch (violinist, piano tuning in the family, so on).

Galvany is quite wonderful here, however (IMHO).

[kgarmaker123]

And I love Dimitrova and she had a supported lower and middle register that was always in tune.

[primohomme]

After hearing her as Abigaille, I disagree. Her low register is no better than Joan's who had a weak low end.

[kgarmaker123]

to each his own.

[robertdonkers]

Ai, did you know that Galvany also performed Amneris! She really needed her lower register inthat role.

[raigekimaru]

I would have to disagree with that. Joan's lower register in Lucrezia Borgia is fabulous

[primohomme]

If you knew the score you would know is not. Joan had a beautiful top but her low register was always amateurish.

[raigekimaru]

depends on the recording you listen to. even so, you can only expect so much lower register from a coloratura soprano (unless it's Edda Moser but she's just a freak). low notes are not what you listen to Dame Joan for anyway. it's her crystalline high notes, soaring legato and flawless technique.

PS: thank you for being an honest critique and not a delusional fan or basher.

[primohomme]

Well I think a singer should work on the develop the voice fully, of course that doesn't happen often, but the divas of the bel canto era did.

[raigekimaru]

@primohomme

much of the music of the bel canto era was easier to sing because the center of pitch was about a 3rd lower. developing the voice fully would have been much easier.

PS: Joan's lower register was well used for what she had. it just wasn't as dense as say Fleming or Callas

[primohomme]

That's not true. Bel canto tuning wasn't even a half step lower than modern tuning. The difference was simply that the bel canto tuning gave more warmth to the voice, that's all, but it could not be said it was significantly lower.

[Turand0t]

I love Sutherland, but I would have to agree with you. I know the score as well.

[thomastmwc]

it depends whether u want this aria 2 b delightful or heavy. Nth bad being a soprano leggiero here

[primohomme]

It's supposed to be heroic, and thus requires a heavy low register.

[thomastmwc]

I think it depends whether the listener considers a music piece an art piece or really an opus in an opera. Imho, Sutherland made almost everything like art, btfl art of perfection. While, say Callas, listen to her Una Voce Poco Fa, I rmb vividly that one note is out of pitch, but, I love that coz it makes the execution so REAL.

[primohomme]

Well, opera is not about sweetie singing, we have Sarah Brightman for that. Opera needs real blood and guts.

[thomastmwc]

well, music is something about beauty, skill, satisfaction, and perfection. Santo di Patria is music, plus an opus.

Haha.....Sarah Brightman, y did u think of her LOL

[marylambcarter]

bravisimaaaaaaaaaaaaaaaaaaaaaa­aaaaaaaaaaaaaaaaaaaaaaaaaaaaaa­aaaaaaaaaaaaaaaaaaaaaaaaaaaaaa­aa

[thotmosis]

fantastic,incredible

[jacekpta]

She is wonderful, perfect and amazing.

[dt195k2]

Good points on live vs. studio. Ms. Galvany seems like the best live one on YTube. Others are rough-Guleghina + Theodossiou, or OK w/ no Eb (Dimitrova, Weidinger, Chiara). I saw Attila live twice (NYCO w M.Zschau and NYGrandO w Rosa Baker) -both disasters in this aria. Wonder how Ms. Urmana will do @ Met Feb.2010? I suspect Sutherland never sang Odabella live.

[vocalissimo1]

To me, Sutherland wins this competition hands down. Galvany's voice is inferior from several points of view. The fast vibrato results in a lack of focus in the vocal line and causes blurring in the florid passages; the high notes sound pushed and, in a number of cases are slightly flat (6:16); the staccati are too heavy and inaccurate (6.03); and, of course, the high Eb is very thin and tight. Admittedly a dramatic voice, but the technique is certainly not in the Sutherland class.

[kgarmaker123]

to me the best version is Maria Chiara.. fabulous!!!!!!!!!!!!!!!!!!!!!!­!!!!!!!!!!! With a real, voice, of good size, she is a spinto.. and she handles the coloratura with ease.

[Agorante]

Indeed.

[Rsutherland8]

Since the comparison to Sutherland was initiated in the introduction to this clip: Those who still question the size of Sutherland's voice just don't get it. When she sang full out it was an audience-enveloping huge ...without forcing. The woman here is quite exciting. Like so many 'spintos', she pushes her voice (as the translation of spinto would suggest)and subsequently there is a driven quality to her vibrato. These voices rarely have the same fullness in an auditorium.

[primohomme]

I'm not doubting she had a huge voice, what I'm saying is in recording it sounds more lyric. And actually, young Sutherland called herself lirico-spinto.

[kgarmaker123]

I dont question the size of her voice, or her ability to make a "sound" ... She has a voice,. and any person can hear it. It is a sizeable voice as well. My problems with

Sutherland come from a total lack of engagement with the role She delivers no relevations. To me, every thing sounds disjointed and like a recital piece, rather than a real emotional connection to the role, the music and the text. In short, she bores me.

[Operafilli]

@kgarmaker123

Disagree in a few instances. I saw her in Lucia, (60s)Die Fledermaus (80s with Sills), and prehaps the most engaging, the Australian dvd of Fille du Regiment. The lady seems to unwind quite a bit in comedy.

Operafilly

[kgarmaker123]

Without supporting the sound in most cases too.. I have been listening to her carefully and somewhere along the way, she stopped supporting the sound, both with air, and in keeping her throat firm, but supple, Hence the wobble. She supports the extreme top. rarely do you hear her do a crescendo, or sing into a line with a crescendo..... the support is not there later in her career.

[SuperStar2999]

This is fabulous of course. I think what people need to accept about her when they listen to her is that she's not about beautiful singing. She's all about the drama, chesting and optional high notes. FAB!

[primohomme]

It has its own beauty, I mean...I certainly wouldn't want Sumi Jo to sing this, or Lady Macbeth or Abigaille! haha

[Hako2004]

I haven't heard her in performance, but honestly, her voice sounds smaller and lighter than Sutherland's here....except in the strong bottom register. She sounds like a lyrico-spinto to me, with a sound that isn't well focused. She handles the high notes well, and the runs too, but the tone is not beautiful.

[primohomme]

It's true, it is a wild sound, not necesarily beautiful, but very exciting, a lot more exciting than Joany usually was. Also you gotta remember Joan's recording was in studio, and this is a live recording, you kinda gotta make a translation. Also of course, she never had a the low register.