Added: 4 years ago
From: Onegin65
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  • @MrCabarq , es verdad! Como Zefi, nadie, y la Marton fantastica como Turandot.

  • Me encanto... que sentimiento!!!

  • Marton, like Gwyneth Jones, was magnificent as Turandot....I saw them both.

    But the greatest Turandot I ever heard and saw was the incomparable

    Birgit Nilsson.

  • @rdeccp44 And I'd say Ghena Dimitrova too :)

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  • merci mon ami

  • brava eva

  • This is wonderful!!!

  • THE BEST TURANDOT EVER, JUST THE BEST !!!!!

  • Absolutely no Soprano can out-do Marton as Turandot - She is, in my opinion, vocally the best voice to ever perform this Aria. - Brava Eva!

  • The best Turandot!!!

  • I HAVE SOME ORIGINAL PLAYBILLS 28X38 CM OF TURANDOT FROM TEATRO ALLA SCALA WITH EVA MARTON TO SELL. IS ANYBODY INTERESTED ?

  • Brilliant! As good as Nilsson.

  • I have always had the, I guess, minority opinion that this is the greatest aria in "Turandot,"not Nessun Dorma.

  • I love Carrera's voice, but who had that stupid idea of having him beside Marton!! She hides his voice completely!!

  • Great, of course. Slightly less great than her performance in the 1994 San Fran Opera production. A close look at that one will find her tearing up, perhaps at knowing she is at top of her game and able to do this superb music superbly.

  • Love this!!! Love Marton.

  • Eva Marton at the pinnacle of her artistry was inspirational. A force of nature! Thank you for posting this. And thank you, Madame Marton, for 15 years of sublime evenings in the opera house. A voice can't last forever, except on YOUTUBE. Thank you...for giving everything you had to give, everytime you sang. And I shall treasure those evenings when it went as it was destined to. Because when it did... it was as unforgettable as it was incomparable.
  • she should have held a jar of crisco instead

  • I love her temperament!

  • BRAVO !!! BRAVO !!! BRAVO !!!

  • The best representation of how great this artist was in her prime.  She sings this difficult aria as well as any before and after her. It's a shame she and Dimitrova were the last great Turandot's. None have come close in my opinion sense they were in their prime.

  • .... and an unknown very talented Turandot... look for her ...

  • She is perfect! Carreras is very handsome and will always be my top favorite tenor! What a perfect production this must have been! What great orchestra and I go back to her brilliant voice, what perfection!!!

  • Great costume, and vocals...

  • 1. Nilsson 2. Dimitrieva 3. Marton/Eva Turner 4. The rest. This is excellent, the part is horrible for the voice too!

  • wow!!! i think i may actually like this more than Maria Callas's rendition :)

  • Con una Turandot di questo livello avrebbero anche potuto scegliere un Calaf un po' più DECENTE. Brava Eva !!! Carreras ... lasciamo perdere : fuori ruolo, generico, sempre la limite, tecnica zero ; un Calaf INESISTENTE in altre parole ; anche Domingo quando STECCAVA comunicava più emozioni.

  • @31122051 hai ragione ma non solo...carreras è talmente tanto fuori repertori che la marton lo annulla sull'acuto finale in una maniera disarmante!

  • @liEder89 : carissimo amico, la Marton non era solo un grandissimo soprano drammatico ma era anche una GRAN BELLA DONNA. Ogni volta che la vedo divento tutto ARDENTE D'AMOR e SENTO AVVAMPAR nell'anima una passione amorosa travolgente e irrestibile !!! La sua voce tagliente e i suoi occhi feroci mi ispirano un senso di carnalità assolutamente unico. Assieme alla compianta Marcella Pobbe, la Marton è uno dei pochi soprani che ammiro, oltre che vocalmente, anche fisicamente. CIAO E BUON ANNO !!!

  • SHe's fantastic--and Carreras, too ....  the chorus is not... bad italian... in what is such a short response, that we want it to be great....

  • Fascinating high C from the young Jose Carreas

  • Gosh, those stairs are just asking to be fallen down.

  • Marton shined in her prime vocally and was exquisite in this and many other role up until 1988. After that, I began to hear a slow decline vocally. She has always impressed me though. A unique dramatic soprano!

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  • She was definitely at her prime....

  • Thank you Onegin 65. I love this video

  • what is this: calaf?

  • oh my goddess. i adore her.

  • I do!!

  • Dont' you just love this. Turandot! Perhaps, my fav opera of all times.

  • very nice...!!!

  • Mercedes Pastor Fa

    Esta dificilísima aría que compuso Puccini para la princesa está magnificamente intepretada por Eva Marton, alcanzando esas notas tan altas y sosteniéndolas que se ha convertido en una de mis favoritas

  • very good performance. bravo

  • She is singing just as it has been written on a sheet. Oh I love this

  • Great,you can see Carreras`s high C and it is good!!!

  • Ön pedig tudatlan, faragatlan és rosszindulatú.

  • I like Marton's interpretation here since she brings reason and purpose to Turandot. There's emotion, and shes not just a cold ice princess.

    But for beauty i turn to nilsson or dimitrova

  • 4:55 Best moment in OPERA!!

  • Sin duda, una de las mejores Turandot; muy completa.. realmente te llega.

    Brava Marton!!!.

  • chords of STEEL!

  • wow guys, just found something out: this string of 1983 performances of Turandot from the Wiener Staatsoper were Marton's FIRST in the role... she is very good here!

  • Oh dear! Poor little Jose. It's just too much for him!

  • Oh dear!!Poor little brt1050,he just hate Carreras,with no reasons !!!

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  • Tell something like,Carreras isn`t worldclass tenor is bull!!! He is at least with those two guys in the league!!

  • Actually, Carreras in the right rep, in his prime, was almost UNBELIVABLY good. He had gorgeous timbre, and a GREAT top. It wasn't until he started singing roles like Calaf and Chenier that he got the foggy top notes and pushed production. If he'd stuck with lyric rep he'd have had a longer career on stage, even making allowances for the leukemia and chemo.

  • Hmmm maybe, but he was one of the best chenier...so i think he was not mistake ...

  • What? In the '80's, Jose was tops. He had a beautiful voice over which he had complete control, even in the upper register. In addition, he could act instead of feigning emotion. And let's face it, he looked fabulous on stage.

  • Nadie como la Marton!!!1 NADIE!!!

  • Si, Maria Callas :)

  • Ufff qué lejos esta de la verdad, ¿ha escuchado a la Nilsson..?

    Es absolutamente perfecta, en afinacion y proyección de la voz...o la Callas...

  • jejeje, bueno ya es cuestion de cada gusto, realmente la Nilsson es extraordinaria al igual que la Callas, abordan genialmente la parte Wagneriana de esta pieza; pero para mi Marton es la mejor, se nota en sus voz los sentimientos que experimenta al cantar esto, se desvive, realmente siente la pieza. Ademas tiene una extraordinaria tecnica y ejecucon que sin duda esta a la altura de la version de Nilsson y Callas.

    Saludos desde Mexico!!! Morir por una voz bella xDDD

  • The thing for me that has Nilsson over everyone is the fact that she is so rhythmically cold and strict and points up the angularity, not to mention her character's coldness, that way (not to mention the icy but wonderful color of her voice for this, fearlessly tossing off the high tessitura stuff)

  • i don't really know much about all this, and i don't wanna start a fight about who's the best soprano and all, but if you're talking about pointedness and coldness, I think Maria Callas achieves that brilliantly. I almost don't like listening to her sing it, cause she sounds like a real bitch. But obviously its meant to be like that. In the end I do prefer Niellson in this role.

  • nilsson is a god.

    i agree with you on the callas thing. she may not have had the best tone and timbre in the world but by damned was she an amazing actress. i wish i had been alive to see her perform

  • it would be easy for someone like Nillson to toss off the high tessitura stuff. she could warm up by singing the queen of the night's arias. her versatility was amazing

  • She sounds great, but, it's a shame that the orchestra is thrown on top of her. Way too LOUD!

  • Yes the orchestra is way too loud.

  • I must admit I'm not a Marton fan either but you give credit where credit is due ..... and she nailed it this night... the voice sounds fresh.... and the interpretation is spot on....

  • Really? I heard her sing Elektra and she plastered me to my seat with that voice! Amazing all the way to the back of the house. My eyes and ears were bugged out for hours in that theatre.

  • *high b

  • I think it's a B flat on "Quel Grido", then 2 B's, then the C at the end...but I don't have the score in front of me.....

  • it should be a b natural on quel grido, at least thats what my sutherland recording has.

  • 3:32 - 3:52 is amazing. like, holy SHIT. her voice just goes BOOM on that high c.

  • Her voice was really fresh this night.

  • I'm not a really big fan of Marton but I have to admit that I'm impressed of her at this role. She sings greatly and she reflects the highness and the coldness of Turandot. Five stars!

  • I met a baritone that saing with her at the Met in Turandot and he said that it was a huge voice but she had No control over it, but Ghena Dimitrova had a even Bigger voice and she had complete control over her voice.

  • yes yes yes

  • I realised that there were other scarier renditions than Nilsson's..Maraton is one of them..it gave me the goosebumps and I can;t help playing this video over and over and over like a broken record..I luvit..

  • I have to say that I'm not an avid Marton fan, but I have to admit that I've never heard her better than here. This role is particularly suited to the coloring of her voice. Certainly a Turandot worthy of history. Impressive!!

  • I agree - Marton is clearly still in her vocal prime here, before all the shrieking and wobbling started. And it's great to see the young(ish) Carreras too. However, I'm still baffled as to why dramatic sopranos always seem to take seemingly unnecessary breaths in the two high phrases just before the tenor entry. In this respect they could take some lessons in musicality from their smaller-voiced colleagues(e.g. Caballe)who seem to cope very well without this indulgence.

  • ms. marton is the only singer I know who can actually weep while singing. Check out the tosca, turandot, gioconda. I love that she's very feminine even at the height of her screaming roles. I love her!!!

  • Whats the point of having such a power house singer like Marton against a light voice like Carreras sing a Turandot together?

  • The Orchestra ist too laud!!

  • its a fact that the Austrians like their orchestræ loud...

  • I agree, I have a recording of Pavarotti doing Di quella pira in Vienna, 1977; Karajan drives the orchestra so loud you can hardly hear Pavarotti's Cs.

  • I like her. Her high notes are very round. Some sopranos sing high notes that screech and hurt my ears, but not Eva. She's got a great voice. In some of the later parts of Turandot with Jose, she also sings with strong expression which I really enjoy hearing.

  • Did anyone else marvel at how steep those stairs are? Whoa. It didn't look like her feet actually fit on it! Brava Madam for singing that on that ghastly flight.

  • Best Turandot EVER. She sets the standard for this role. Brava, Madame.

  • sadly, no soprano comes close to her as Turandot anymore...

  • SHES SOOOO AMAZING! I LOVE HER!!!

  • really too bad that the one time [I find] that Carreras sings a high C live, the soprano and orchestra cover him almost completely... LoL. But if you listen it IS there, and it's not bad!

  • I totaly agree!!!

  • Wow...this makes me wish I was a soprano and could sing this aria. Sheer power and beauty! Brava!

  • If you want to see something really funny, wattch the entire DVD of this production so you can see Marton taking her bows at the end of the performance. She's looks like she's going to cut someone. It's awesome. She won't even reach down to pick up most of the flowers people are flinging at her and just looks mean as hell. It's true diva in action!

  • yes, she always seemed very emotionless and stern. must have been her upbringing in a communist Hungary.

  • "yes, she always seemed very emotionless and stern. must have been her upbringing in a communist Hungary."

    What nonsense!

  • - is she Hungarian? YES

    - was it communist during her childhood? YES (ask the citizens of Budapest in 1956 if they think it was communist)

    - does she seem emotionless and stern, at least during performances? YES

    - might it be a combination of these factors? Maybe.

  • I don't have to ask anybody in Budapest about the regime in Hungary having lived there for 44 years. Politics have nothing to do with the characteristic of one's personality otherwise there would be only or much more depressed people in Eastern Europe and in the many present dictatorships than in Western Europe. In private Eva Marton is a cheerful woman with good sense of humour,talkative, friendly and very intelligent. These days she is a professor of Music Academy in Budapest.

  • well in that case I will gladly say that I was wrong, and that I'm very happy to hear that she is actually a cheery person!

    cheers from california! :-)

  • holy crap... this beastly woman covers these tenors so easily... AMAZING!

  • Pity about Carreras. He had such a gorgeous voice, and ruined it singing things like Turandot.

  • I was in Vienna in 1983 to witness Eva Marton in Turandot. Jose Carreras and Katia Ricciarelli were also in the cast. It was an amazing performance. Marton was simply stunning. I can only imagine that singing Elektra, Brunnhilde, Isolde, Turandot, Salome and the heaviest of roles eventually take their toll on any voice. I am a fan of Marton but agree that her voice declined over the years.

  • I agree that both Marton and Dimitrova were the leading Turandots in the 80s, but how was Marton able to keep her balance on that narrow-looking staircase?

  • Bravo!

  • I love her here. She sings it in ways that just blow me away.

  • Such a huge cavity as all great wagerian singers should have.

    Even Caruso

  • Why weird? With these pentatonic scales and xylophones, it's pure China...

  • I like the story of Turandot but the background is a bit weird. In Peking? If it's in Latin, it's more attractive to me. I don't know why I feel so, maybe it's beacuse they look so weird in Chinese costume and makeup - they just don't match. But, yes, the arias are amazing, i must say.

  • What makes her so wonderful, voice aside, is the interpretation. I really believe the melting of the ice...

  • This was the performance that changed her career. Indeed she was in magnificent voice. Stereo review magazine in '83 deemed her the true successor to TURNER, not Nilsson, whom they regarded as being a bit northern in her textures. Alas, Marton's prime was so short! By the way, according to an Opera news magazine from about the same time, Hildegard Behrens was originally scheduled to sing this production!!

  • Hehe..I think she sang this on he advice of Nilsson, who told her something like "Wagner made me famous, but Turandot made me rich."

  • Oneguin could you please please please! post the Figlio del cielo from this performance!?!?!THANKS!!?!?

  • Few, if any compare. Surpassed only by Birgit Nilsson. Truly a wonderous performance!

  • Excelente versión, los dos estuvieron fantásticos.-

  • I wish Marton's prime had lasted longer. She filled a void left by the retiring Birgit Nilsson. The only other viable Turandot at the time was Ghena Dimitrova.

  • With due respect to Birgit Nilsson and other great performers of Turandot, this is the real Turandot. This is the real thing. I literally fell in love with Marton when I first saw this production. This Vienna production is by far the best I have seen. Carreras was unbelievable as Calaf.

  • This is the performance of Turandot that sealed her place as the greatest exponent of this role.

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