My favorite "Una voce" is version Teresa Berganza, followed by Cecilia's very very old version when she was a young maiden.. Unfortunately, I don't see Joan as successful Rosina... (also this particular cut & paste version does not pay any respect to art of Rossini, no matter who was singing.)
mmm. Not my favorite one. Her voice is beatiful and she can do that, but all those embelishment and all the parts ommited don't make this the most beatiful version. I would like she'd more respect for the original score. She's still la stupenda =)
Una voce poco fa qui nel cor mi risuonò; Il mio cor ferito è già, e Lindor fu che il piagò. Sì, Lindoro mio sarà; lo giurai, la vincerò. Il tutor ricuserà, Io l'ingegno aguzzerò. Alla fin s'accheterà e contenta io resterò Sì, Lindoro mio sarà; Lo giurai, la vincerò. Io sono docile, son rispettosa, sono obbediente, dolce, amorosa; mi lascio reggere, mi fo guidar. Ma se mi toccano dov'è il mio debole sarò una vipera e cento trappole prima di cedere farò giocar.
what a shame she didnt do rosina. i dont think her voice lends the image of a young ward at all, but you can always tell how much fun joan had with comedies, she would have been just wonderful in this.
@moghedien13 right! she seemed to enjoyed comedies a lot! a saw her on a video where she was acting like a drunk while singing(i can't remember what was) and she was great :P
I wonder if she avoided making a full recording of this opera in order to avoid stepping on Marilyn Horne's toes. Undoubtedly it would've been a fantastic recording, but I suspect that Dame Joan had too much respect for Jackie.
WHY!!! I hear myself wail and weep ,didn't our Joan record this delightful opera!!!!!!!!!!???? Joan's Semiriramide gave us all a little glimpse of what she could do with Rossini's music and THAT was nothing short of awesome! Brava Joan ans SueAnnNivens, you bring back such wonderful memories of the paltinum age of singing!!!!!!
Sutherland is prbably the greatest coloratura singer ever and one of the greatest sigers, male or female , ever. The whole idea in these roles is to create "fireworks" and to embellish and no-one does it better than "La Stupenda".
This is elaborate even for Joan. It looks like an excerpt for Australian tv which would explain the overdone embellishments. Although I love and respect her so much I don't give a shit. She somehow makes it sound very musical, and anyone who worked as long and hard as she did in her career deserves to have some fun every now and then. By the way she is, to my taste, the Queen of Staccati"!
One thing that really gets me nervous when i listen to Surtherland singing is that she ALWAYS uses fireworks and embellishments for self-gain insted of for expression. HATE IT! if she used her beautiful voice to sing what the composer wrote she would be one of my favourites
in this period it was customary to have the singer embellish their own songs. every singer adds different cadenzas and "fireworks" and not strictly "what the composer wrote." It is simply understood there will be freedom. Listen to more versions of this to get a greater grasp of what is commonly done.
That's what bel canto singing is about. She certainly didn't/wouldn't do that in a role that was not bel canto (such as Norma). Just look at the different versions of this aria on youtube and you'll see that!
This will upset many people but the best person I've seen perfrom this on youtube is kathleen battle, I feel she is better than sutherland and sills in this aria
This is from the "Who's Afraid of the Opera" series that Joan did. It's actually her voice, but she's not actually live singing or anything like that. They're pre-recorded in the studio, but she's probably actually singing and they just dubbed over it like they usually do.
She's not flat. The key that this rendition is in is the original: E-natural. There are a lot of sopranos who take this up a half step to F, which is why you hear so many recordings in F (Beverly Sills, for instance).
And Joan Sutherland has perfect pitch? Wow, I didn't know that! One more thing we have in common besides heavy voices. :)
Good job, you know the key that actually a significant number of people sing this aria in! Ha ha ha, don't try to shoot the messenger about the lack of decent intonation. :) peace
finally a key fit for Joan. now she can sing way above the notes given and make herself feel better instead of transposing down a third like she so often does. ;P
You know, that's hilarious, because I really do have perfect pitch; I go to a conservatory and I have taken several tests to prove it. It's kind of funny that you are so ignorant that you don't hear that she is flat for a few minutes. She isn't off the WHOLE time, but for a lot of it, she is.
Um, she doesn't sound good. Obviously she's past her prime. I'm not trying to pick a fight with you people; I'm just stating the obvious. Really, there's no need for your attitude.
LOL at least I know what I'm talking about! I'm honestly not trying to pick a fight with you. You can think whatever you want of Sutherland; I'm just saying that since I have perfect pitch I can hear the intonation issues. She is flat, and that's all I am saying. I'm sorry that you have a problem with me saying this. Oh, and transposition has nothing to do with it sounding out of tune.
This video is from the "Who's afraid of the Opera?" video set! I remember watching this Opera over and over when I was a kid, around 4-5 years old. Joan Sutherland is the reason I love opera as much as I do. She's such a wonderful singer -- I love this upload. It feels like a blast from the past. =) I haven't seen this in years. Do you have the scene after this? With Tom McDonald(I believe that's the singers name) singing their duet? If you do, please let me know!
For those of you who like to hear alternate recordings of the same aria (like me), Agnes Baltsa, Lucia Valentini-Terrani, Jennifer Larmore, and Frederica Von Stade all sang wonderful versions of this (all mezzos). Soprano versions I like include Sumi Jo, Moffo, Roberta Peters.
wel u guys know better.Sutherland is perfect technique.Bartoli is more intense I agreewith equal perfect vocal equip.Moffo i like but I remember Berganza and would prolly put her before Mof.Callas early def grt experience but the voice was nver this kinda perfection.I must find Berganza& Crespin!
Her technique is flawless, as usual, but i prefer her in higher coloratura roles, the writign for Rosina sits a bit low for my taste with her voice tessitura wise (the part was actually originially itnended to me a mezzo), and im not particularly fond of the color of her low Bs, a bit coarse for my taste
quale ruolo questa donna non sviluppa perfettamente? è bravissima come sempre con tutte le sue aggiunte fantastiche e sempre al posto giusto (meno la gallina prima del ma)! unico commento satirico che mi permetto di farle per quanto davvero mi piaccia è che sembra la nonna di Rosina dato che è più vecchia di don Bartolo, ma è invidia!ci fossero artiste di questo livello oggi ... :)
W LA MAGNIFICA DAMA SUTHERLAND!!! si vede che come la Caballé è abituata a lavorare dal vivo!
The pure voice and delicate melisma saves this interpretation. She lacks the intensity of Berganza, Callas or Bartoli, plus she never got rid of her accent singing in other languages than english. I really don't like her "farou gioucar" instead of faro giocar.
What a charming, and maybe only, video of Joan doing needlepoint. It may be the only video thereof!! I bet that very piece is on a chair at Les Avants even now.
Actually, there´s a rare cd in which Joan sings this aria; I haven´t been able to get the cd, but I think you can download the song from limewire, or the itunes store.
Bravo!!! Very good interpretation. She takes high notes without a bit of tension! But her "...ma... masi mi..." is not as astonishing, as Callas'. Her artistism is mmmmmmmmm... not good. But anyway I love her. Of course, after Callas.
Well, Bellini is belcanto too! Still, it really is a pity that she hadn't recorded more Rossini: any of the primadonna parts in Viaggo a Reims would have suited her voice, the Countess in Count Ory, some of the Colbran roles (Zelmira, La donna del lago, maybe even Armida :-) ). On the other hand, we have to be thankful for all the things she did record, and that is really a lot :-) !
Yes of course, she sang four roles by Beliini. In my opinion other singers have done much more to let the public discover unknown masterpieces. One gets a bit bored to hear the same roles with the same foriture and cadenzas.
I really agree with you so much. She would have made Barbiere a signature role just as she did with Fille du Régiment. Armida would have been fabulous too. But, she did plenty nevertheless.
What have you been smoking or drinking? She sang Norma, I Puritani, La Sonnambula, Beatrice di Tenda (all four of these by Bellini), Maria Stuarda, Anna Bolena, Lucia di Lamermoor, Emilia di Liverpool, Lucrezia Borgia. Hello, wake up............
Read the comments properly. That's exactly what I said. But have a look at the numbers of belcanto roles other singers (Caballe, Gencer, Devia) have interpreted.
You're right: Gencer, Caballé and Devia sang much more roles than Sutherland and discovered lots of forgotten operas. However, how many of those revivals really worked? I mean, Sutherland really put into the usual catalogue again operas like La Fille du Régiment, Les Huguenots, etc. Besides, she recorded DOZENS of forgotten arias that are simply great! I never thought her career to be monotonous. ;-/
Well, La Fille du Regiment has always been popular, and mainly for the tenor's aria. Corelli and Simionato helped a lot in the revival of Les Huguenots you must admit.
I think most of the revivals worked for Gencer, Devia and Caballe`: who can forget Parisina, Comte Ory, Gemma di Vergy, Elisabetta Regina d'Inghilterra, Marin Faliero, Roberto Devereux, Pirata, Adelia and so on...?
What about Alcina, Giulio Cesare, Rodelinda, Acis and Galathea, Semiramide, I Masnadieri, Esclarmonde? All of them were revivals with Sutherland clearly "hyped" by her greatness, esp. Alcina and Esclarmonde. La Fille was revived by her. Before that, it was performed occasionally to give a light soprano the chance to show off. No one denies that only with her it got considered a "major opera". Those operas you mentioned are great, but they're not part of the regular repertoire.
Ops... With the exception of Roberto Devereux and Comte Ory. When I meant that a revival should work, I mean if it became or not a regular part of the repertoire. With Sutherland, that happened at least in the case of Semiramide, Rodelinda, Alcina and Huguenots. With Gencer and Caballé, with Anna Bolena, Roberto Devereux, Maria Stuarda and Il Pirata. I don't know exactly what operas were revived by Devia, though. ;-)
I would have a look at Marin Faliero, Lucia in the original key, Elisabetta al Castello di Kenilworth, Mose` in Egitto, Zelmira, Adelia, Adelaide di Borgogna, Parisina, Capuleti e Montecchi, Il Signor Bruschino, Lodoiska, Il campanello... shall I continue?
Capuleti wasn't revived by Devia, as far as I know. When she was still a baby, Simionato had already sang Romeo. As for the others, I know some of them and they are really very, very beautiful and unfairly neglected... ;-)
Reviving a role also means restoring it and giving it back its original splendour. Are you telling me that Somebody has sung Giulietta the way Devia has? And why are you quoting Simionato who is maezzo?
La Fille a major opera after Sutherland? Don't make me laugh! Of course those operas are not part of the regular repertoire, they need exceptional singers. Who could sing Elisabetta al castello di Kenilworth like Devia for example?
Yes, La Fille became a quite popular opera after her. Just look at the ammount of interpreters after her debut: Sills, Freni Anderson, Devia, Serra, Ciofi, Dessay, etc. Nearly every coloratura soprano since then. I'm not in a competition, so I'll judge how well received the revivals were. Semiramide became a regular opera even if few singers can sing it as Sutherland, so the difficulty of a role isn't an excuse for its few performances. If that was so, how do you explain the success of Norma?
Of course! This is from 1973, I guess, in those days, in closed studios while recording, they used playback because of the sound. Joan used to say she hated the cameras, because they took all her expresions while singing in close up, so, she took the chance of the playback to change a bit the gesticulation, I think.
No sorry Richard wanted her to sing both roles but Joan thought she was too big for both roles,and the other thing is they run out of time,had it been for Maestro Bonynge and time we would have a huge catalogue of Joan.
I seem to recall a recent interview in which Joan stated that Richard was the one who thought that these roles didn't suit her temperment. In any case, it is tempting to think of what we would have today, had Joan recorded more in her prime. The re-recordings opposite Pavarotti are nice, but it's not fun to have so many duplicates, at the expense of other roles. I have been dreaming of how Joan might have sounded in a Luisa Miller recording...
Great great great great!
leprincebeaumont 5 months ago
My favorite "Una voce" is version Teresa Berganza, followed by Cecilia's very very old version when she was a young maiden.. Unfortunately, I don't see Joan as successful Rosina... (also this particular cut & paste version does not pay any respect to art of Rossini, no matter who was singing.)
TheSophiaBaba 7 months ago
i love it but for some reason nothing compares to Maria Ewing at the 1981 Glyndebourne Festival Opera production of Il Barbiere di Siviglia
broadwaywes 10 months ago
Lei era meravigliosa!!! Poteva fare quello che voleva con la sua voce. Ma questa versione non è il mio preferito.
She was absolutely wonderful. Could do whatever she wanted with her voice. But this version is not my favorite.
SparafucileDiMantova 11 months ago
Lei era meravigliosa!!! Poteva fare quello che voleva con la sua voce. Ma questa versione non è il mio preferito.
SparafucileDiMantova 11 months ago
her acting writing the letter makes her singing sounds so easy, grrrrrrrrrr
onotuoedaul 1 year ago
her acting writinh the letter makes her singing sounds so easy, grrrrrrrrrr
onotuoedaul 1 year ago
mmm. Not my favorite one. Her voice is beatiful and she can do that, but all those embelishment and all the parts ommited don't make this the most beatiful version. I would like she'd more respect for the original score. She's still la stupenda =)
RoOodOoOloOmeg 1 year ago
Unbloodywellbelievably good! :-))
slack1more 1 year ago
What a wonderful voice!
shayrobbins 1 year ago
Comment removed
shayrobbins 1 year ago
ZBpopelka 1 year ago
what a shame she didnt do rosina. i dont think her voice lends the image of a young ward at all, but you can always tell how much fun joan had with comedies, she would have been just wonderful in this.
moghedien13 1 year ago
@moghedien13 right! she seemed to enjoyed comedies a lot! a saw her on a video where she was acting like a drunk while singing(i can't remember what was) and she was great :P
Maggielicious21 1 year ago
@Maggielicious21 The 'tipsy' aria from La Perichole, must be! hilarious, i agree!
eugenelohks 1 year ago
I wonder if she avoided making a full recording of this opera in order to avoid stepping on Marilyn Horne's toes. Undoubtedly it would've been a fantastic recording, but I suspect that Dame Joan had too much respect for Jackie.
hisimperialmajesty 1 year ago
WHY!!! I hear myself wail and weep ,didn't our Joan record this delightful opera!!!!!!!!!!???? Joan's Semiriramide gave us all a little glimpse of what she could do with Rossini's music and THAT was nothing short of awesome! Brava Joan ans SueAnnNivens, you bring back such wonderful memories of the paltinum age of singing!!!!!!
petelovesbevsills 1 year ago
I agree, one wonders how great it would've been with her and Pav, Milnes performing this,,,
arturo8402 1 year ago
Awesome! What a beautiful version. Thanks for posting this gem.
baird292 2 years ago
Sutherland is prbably the greatest coloratura singer ever and one of the greatest sigers, male or female , ever. The whole idea in these roles is to create "fireworks" and to embellish and no-one does it better than "La Stupenda".
nog55 2 years ago
This is elaborate even for Joan. It looks like an excerpt for Australian tv which would explain the overdone embellishments. Although I love and respect her so much I don't give a shit. She somehow makes it sound very musical, and anyone who worked as long and hard as she did in her career deserves to have some fun every now and then. By the way she is, to my taste, the Queen of Staccati"!
sillyboydeux 2 years ago
This has been flagged as spam show
"It looks like an excerpt for Australian tv which would explain the overdone embellishments."
?
33blueberries 2 years ago
she looks like susan boyle!
jrr1234567890 2 years ago
Wonderful!
melpomenea 2 years ago
One thing that really gets me nervous when i listen to Surtherland singing is that she ALWAYS uses fireworks and embellishments for self-gain insted of for expression. HATE IT! if she used her beautiful voice to sing what the composer wrote she would be one of my favourites
manelemsb 2 years ago
in this period it was customary to have the singer embellish their own songs. every singer adds different cadenzas and "fireworks" and not strictly "what the composer wrote." It is simply understood there will be freedom. Listen to more versions of this to get a greater grasp of what is commonly done.
mmabq 2 years ago
That's what bel canto singing is about. She certainly didn't/wouldn't do that in a role that was not bel canto (such as Norma). Just look at the different versions of this aria on youtube and you'll see that!
spn1007 2 years ago
what a lovely lower register... Sutherland was so good!!!!
luisortmul 2 years ago
Oh my goodness! her voice is so agile!
kalex94 2 years ago
Que bella canta Joan...
avf024 2 years ago
She might not have been right for the part physically but vocally she's magnificent and unique! Very exciting singing indeed, as always!
64marc64 2 years ago
Haha, totally awesome! :)
lalagonegaga 2 years ago
This will upset many people but the best person I've seen perfrom this on youtube is kathleen battle, I feel she is better than sutherland and sills in this aria
Bahia82 2 years ago
GREAT POINT ....... I'AM NOT UPSET
404Orion 2 years ago
Have you heard Teresa Berganza's version? In my opinion her voice, interpretation and acting outclass Battle.
It's a shame this isn't a good quality recording of Joan...
ronzy 2 years ago
Who's afraid of Sutherland ? Totalement hors-propos ! Sans style italien et surtout aucune incarnation... de la musique et pas de théâtre !
CYMBALTHEATRE 2 years ago
second favorite after callas' version
tripleaxell 2 years ago
after Callas?Much before
blichilde 2 years ago
yeap..any problem with that? hehe
tripleaxell 2 years ago
In the middle register she sounds like Rosina's old mother.
cer1n 2 years ago
not that i agree, but LMAO this comment cracks me up!
TrebleClefSteve 2 years ago
Her cheekbones freak the $*** out of me :S
But she is my 2nd favourite after Maria Callas! :)
sasylatin 3 years ago 7
@sasylatin
For me, it's her prominent chin and jaw. It's like...whoa! lol :)
But she was a fabulous singer.
blackeneddove 8 months ago
@blackeneddove her facial bone structure helped her be such a great singer
fontenayperi 5 months ago
great singing of course, but too light for her voice - and certainly not Italian style...
anonymusum 3 years ago
I like her voice! But is she REALLY singing?
gustavox1985 3 years ago
Yes she is. Joan Sutherland has a very unique facial expression when she sings. She still does! :p
eragonmurtagh13 3 years ago
Well of course these movie-style recordings are always pre-recorded in studio and having the singers lip-synch their own singing.
Drelnis 2 years ago
This is from the "Who's Afraid of the Opera" series that Joan did. It's actually her voice, but she's not actually live singing or anything like that. They're pre-recorded in the studio, but she's probably actually singing and they just dubbed over it like they usually do.
Frienze7 2 years ago
Uhn... didn't like this...
tneprescintr 3 years ago
Ona jest dobra! I tyle
pat997 3 years ago
And yes, she does sound awesome in this video. :)
irregularverb37 3 years ago
She's not flat. The key that this rendition is in is the original: E-natural. There are a lot of sopranos who take this up a half step to F, which is why you hear so many recordings in F (Beverly Sills, for instance).
And Joan Sutherland has perfect pitch? Wow, I didn't know that! One more thing we have in common besides heavy voices. :)
irregularverb37 3 years ago
Good job, you know the key that actually a significant number of people sing this aria in! Ha ha ha, don't try to shoot the messenger about the lack of decent intonation. :) peace
MichiruMari 3 years ago
Sutherland, bu her own admission, does not have perfect pitch.
scotsw12 3 years ago
She has the chin of an ogre...sorry.....
thesillycunt 3 years ago
finally a key fit for Joan. now she can sing way above the notes given and make herself feel better instead of transposing down a third like she so often does. ;P
nalib11 3 years ago
The only reason I dislike her voice so much is that it is clearly out of tune. I can't help hearing FLAT sounds from her- I'm a musician.
MichiruMari 3 years ago
Comment removed
McKunda77 3 years ago
Oh, I'm sorry, do you have perfect pitch too? Because, well, I DO, and she's flat. Sorry.
MichiruMari 3 years ago
Unless you don't use A440, of course.
MichiruMari 3 years ago
You clearly don't have perfect pitch, but your comments amuse me.
On another note- She sounds fantastic in this video!
jtrudeau88 3 years ago
You know, that's hilarious, because I really do have perfect pitch; I go to a conservatory and I have taken several tests to prove it. It's kind of funny that you are so ignorant that you don't hear that she is flat for a few minutes. She isn't off the WHOLE time, but for a lot of it, she is.
Um, she doesn't sound good. Obviously she's past her prime. I'm not trying to pick a fight with you people; I'm just stating the obvious. Really, there's no need for your attitude.
MichiruMari 3 years ago
Ew, I hear it now.
musicalpositron 3 years ago
Haha, wow, WHO exactly has the attitude?
irregularverb37 3 years ago
LOL at least I know what I'm talking about! I'm honestly not trying to pick a fight with you. You can think whatever you want of Sutherland; I'm just saying that since I have perfect pitch I can hear the intonation issues. She is flat, and that's all I am saying. I'm sorry that you have a problem with me saying this. Oh, and transposition has nothing to do with it sounding out of tune.
MichiruMari 3 years ago
she not a mezzo... is she? she sounds like a sop -- nice runs
frienze7: imma look for that video set... ;)
choobers22 3 years ago
This video is from the "Who's afraid of the Opera?" video set! I remember watching this Opera over and over when I was a kid, around 4-5 years old. Joan Sutherland is the reason I love opera as much as I do. She's such a wonderful singer -- I love this upload. It feels like a blast from the past. =) I haven't seen this in years. Do you have the scene after this? With Tom McDonald(I believe that's the singers name) singing their duet? If you do, please let me know!
Frienze7 3 years ago
She's AMAZING! :D
FrozenMermaid666 3 years ago
don't like it
MisterSoprano 3 years ago
flaaaaattttt.....mediocre diction, too. She still has a nice coloratura range, though.
MichiruMari 3 years ago
it'z in a lower key, she was already a bit past her prime, but still legendary none the less
tCrOMez1990 3 years ago
Oh yeah, because true professionals continue to sing in venues like this LONG after they can...*snort*
MichiruMari 3 years ago
if that was meant to be sarcastic then it'z unappreciated, i wasn't disagreeing with you, and if not then wutever
tCrOMez1990 3 years ago
I wasn't directing it towards you. It was towards her. Wutever to you too ;p
MichiruMari 3 years ago
oh ok srry lol, at least we are in agreement
tCrOMez1990 3 years ago
la meilleure de tout les temps.
huja1951 3 years ago 4
Goes through you, doesn't it? The "musical saw" lady strikes again!
broschette 3 years ago
what a strange cut! (music) but she is great
atzedeno1 3 years ago
Grandma
cek1111 3 years ago
EXTRAORDINARIA!!!!!!!!!!!!!!!!!
armagethon 3 years ago
She never bothered with language diction and accuracy. Her italian always was and is on here EXECRABLE!!
XPRT10R 3 years ago
Netrebko too!!!
vonDali 3 years ago
And also Elima Garanca!
lamsalgado 3 years ago
well. this shows me why she was one of the best in the world--she makes it easy.love it.
ellenthediva 3 years ago
the costume designer comes from walt disney's team. Wonderful voice indeed. Fantastic how various singers give such different renditions.
adremoid 3 years ago
For those of you who like to hear alternate recordings of the same aria (like me), Agnes Baltsa, Lucia Valentini-Terrani, Jennifer Larmore, and Frederica Von Stade all sang wonderful versions of this (all mezzos). Soprano versions I like include Sumi Jo, Moffo, Roberta Peters.
sschimel 3 years ago
no te estarás olvidando de alguien??? y maria??? está por encima de todas.
satchit108 3 years ago
What's up with the way she pronounces the R's?
Way too strong, specially in the beginning.
Also, there is little tone change after the "ma, ma si me toca" at 02:30. Rosina turns mad when singing that part.
wysiwyg248 4 years ago
HAHA that WIG! It looks like a vanilla ice cream cone...
maryjivinjane 4 years ago
HAHA that WIG! It looks like a vanilla ice cream cone...
maryjivinjane 4 years ago
wel u guys know better.Sutherland is perfect technique.Bartoli is more intense I agreewith equal perfect vocal equip.Moffo i like but I remember Berganza and would prolly put her before Mof.Callas early def grt experience but the voice was nver this kinda perfection.I must find Berganza& Crespin!
lovesGenet 4 years ago
Her agility is WOW
kngiht84 4 years ago
it reminds me of the greek old movies!!
sopranooriental 4 years ago 2
I think the best I've heard, especiallly at the end, with Cecilia
Bartoli in 1991 a close, and completly different, second. Callus made me nervous.
hipocampelofantocame 4 years ago
Search for Eugenia Moldoveanu....Is the best Romanian soprano ever existed, you will be impresed.........trust me!!
sergiu17 4 years ago
this is excellent, but no one sings this like callas, except MAYBE diana damrau.
tiernan87 4 years ago
Luce todas sus posibilidades vocales, pero esto no es el aria de Rosina. Como siempre dirige su marido para solventar los problemas de respiracion.
leugim1961 4 years ago
Her technique is flawless, as usual, but i prefer her in higher coloratura roles, the writign for Rosina sits a bit low for my taste with her voice tessitura wise (the part was actually originially itnended to me a mezzo), and im not particularly fond of the color of her low Bs, a bit coarse for my taste
skitzo429 4 years ago
quale ruolo questa donna non sviluppa perfettamente? è bravissima come sempre con tutte le sue aggiunte fantastiche e sempre al posto giusto (meno la gallina prima del ma)! unico commento satirico che mi permetto di farle per quanto davvero mi piaccia è che sembra la nonna di Rosina dato che è più vecchia di don Bartolo, ma è invidia!ci fossero artiste di questo livello oggi ... :)
W LA MAGNIFICA DAMA SUTHERLAND!!! si vede che come la Caballé è abituata a lavorare dal vivo!
luisluis84 4 years ago
Great singing (but the colors give me a headache...)
norcalrobbie2 4 years ago
The pure voice and delicate melisma saves this interpretation. She lacks the intensity of Berganza, Callas or Bartoli, plus she never got rid of her accent singing in other languages than english. I really don't like her "farou gioucar" instead of faro giocar.
abelitro12 4 years ago
What a charming, and maybe only, video of Joan doing needlepoint. It may be the only video thereof!! I bet that very piece is on a chair at Les Avants even now.
LaStupenda 4 years ago 2
I loved your comment! I´m not sure, but there are rumors that in "Marilyn Horne: A Reminiscence", both of them appear with the needlepoint as well!!
SueAnnNivens 4 years ago
Actually she does needlepoint in the 1970's interview with Norman Ayerton. It's on You Tube.
LaStupenda 3 years ago
She does needlepoint in an interview on here.
Liwah 3 years ago
What a great performance by Sutherland. So much different from Callas, but indeed very good.
callasadmirer 4 years ago
It is a special version of Una Voce poco Fa,great Sutherland. Thank you for posting. May I ask in which year was it recorded?
uglydoll1111 4 years ago
La Stpenda! La Stupenda!! La Stupenda!!!
zoozooyou 4 years ago
Is this Joan's only recording of this aria? I'm not having any luck finding it anywhere.
zacharybr 4 years ago
Actually, there´s a rare cd in which Joan sings this aria; I haven´t been able to get the cd, but I think you can download the song from limewire, or the itunes store.
SueAnnNivens 4 years ago
I've checked itunes already. I guess I'll try limewire next.
zacharybr 4 years ago
What an interesting find! Sutherland sounds wonderful and rich, her diction is better than usual, and her ornamentations are very nice.
gvjps123 4 years ago
Bravo!!! Very good interpretation. She takes high notes without a bit of tension! But her "...ma... masi mi..." is not as astonishing, as Callas'. Her artistism is mmmmmmmmm... not good. But anyway I love her. Of course, after Callas.
zurriuss 4 years ago
one of the greatest voices ever eard, but hatfull
taste.
manelri 4 years ago
She did not sing thay many belcanto roles on stage actually. Only one by Rossini and a handful by Donizetti...
sevoflurane 4 years ago
Well, Bellini is belcanto too! Still, it really is a pity that she hadn't recorded more Rossini: any of the primadonna parts in Viaggo a Reims would have suited her voice, the Countess in Count Ory, some of the Colbran roles (Zelmira, La donna del lago, maybe even Armida :-) ). On the other hand, we have to be thankful for all the things she did record, and that is really a lot :-) !
LindoroRossini 4 years ago
Yes of course, she sang four roles by Beliini. In my opinion other singers have done much more to let the public discover unknown masterpieces. One gets a bit bored to hear the same roles with the same foriture and cadenzas.
sevoflurane 4 years ago
I really agree with you so much. She would have made Barbiere a signature role just as she did with Fille du Régiment. Armida would have been fabulous too. But, she did plenty nevertheless.
sillyboydeux 2 years ago
What have you been smoking or drinking? She sang Norma, I Puritani, La Sonnambula, Beatrice di Tenda (all four of these by Bellini), Maria Stuarda, Anna Bolena, Lucia di Lamermoor, Emilia di Liverpool, Lucrezia Borgia. Hello, wake up............
riccardogrande699 4 years ago
Read the comments properly. That's exactly what I said. But have a look at the numbers of belcanto roles other singers (Caballe, Gencer, Devia) have interpreted.
sevoflurane 4 years ago
You're right: Gencer, Caballé and Devia sang much more roles than Sutherland and discovered lots of forgotten operas. However, how many of those revivals really worked? I mean, Sutherland really put into the usual catalogue again operas like La Fille du Régiment, Les Huguenots, etc. Besides, she recorded DOZENS of forgotten arias that are simply great! I never thought her career to be monotonous. ;-/
OperaBR 4 years ago
Well, La Fille du Regiment has always been popular, and mainly for the tenor's aria. Corelli and Simionato helped a lot in the revival of Les Huguenots you must admit.
sevoflurane 4 years ago
I think most of the revivals worked for Gencer, Devia and Caballe`: who can forget Parisina, Comte Ory, Gemma di Vergy, Elisabetta Regina d'Inghilterra, Marin Faliero, Roberto Devereux, Pirata, Adelia and so on...?
sevoflurane 4 years ago
What about Alcina, Giulio Cesare, Rodelinda, Acis and Galathea, Semiramide, I Masnadieri, Esclarmonde? All of them were revivals with Sutherland clearly "hyped" by her greatness, esp. Alcina and Esclarmonde. La Fille was revived by her. Before that, it was performed occasionally to give a light soprano the chance to show off. No one denies that only with her it got considered a "major opera". Those operas you mentioned are great, but they're not part of the regular repertoire.
OperaBR 4 years ago
Ops... With the exception of Roberto Devereux and Comte Ory. When I meant that a revival should work, I mean if it became or not a regular part of the repertoire. With Sutherland, that happened at least in the case of Semiramide, Rodelinda, Alcina and Huguenots. With Gencer and Caballé, with Anna Bolena, Roberto Devereux, Maria Stuarda and Il Pirata. I don't know exactly what operas were revived by Devia, though. ;-)
OperaBR 4 years ago
I would have a look at Marin Faliero, Lucia in the original key, Elisabetta al Castello di Kenilworth, Mose` in Egitto, Zelmira, Adelia, Adelaide di Borgogna, Parisina, Capuleti e Montecchi, Il Signor Bruschino, Lodoiska, Il campanello... shall I continue?
sevoflurane 4 years ago
Capuleti wasn't revived by Devia, as far as I know. When she was still a baby, Simionato had already sang Romeo. As for the others, I know some of them and they are really very, very beautiful and unfairly neglected... ;-)
OperaBR 4 years ago
Reviving a role also means restoring it and giving it back its original splendour. Are you telling me that Somebody has sung Giulietta the way Devia has? And why are you quoting Simionato who is maezzo?
sevoflurane 4 years ago
Anyway.... enough is as good as a feast! Have fun!
sevoflurane 4 years ago
Anna Bolena and Il Pirata was first revived by Callas, weren't they? Or am I mistaken?
operamagnus 4 years ago
La Fille a major opera after Sutherland? Don't make me laugh! Of course those operas are not part of the regular repertoire, they need exceptional singers. Who could sing Elisabetta al castello di Kenilworth like Devia for example?
sevoflurane 4 years ago
Yes, La Fille became a quite popular opera after her. Just look at the ammount of interpreters after her debut: Sills, Freni Anderson, Devia, Serra, Ciofi, Dessay, etc. Nearly every coloratura soprano since then. I'm not in a competition, so I'll judge how well received the revivals were. Semiramide became a regular opera even if few singers can sing it as Sutherland, so the difficulty of a role isn't an excuse for its few performances. If that was so, how do you explain the success of Norma?
OperaBR 4 years ago
one of the best version.
remus
remrom2 4 years ago
Oh, that is lip sync.
yglygl4545 4 years ago
Of course! This is from 1973, I guess, in those days, in closed studios while recording, they used playback because of the sound. Joan used to say she hated the cameras, because they took all her expresions while singing in close up, so, she took the chance of the playback to change a bit the gesticulation, I think.
SueAnnNivens 4 years ago
What a wonderful Rosina Joan would have made.A pity she never recorded the whole opera.
marioegorga 4 years ago
We have Richard to blame, same as for her not recording Don Pasquale.
ariodante76 4 years ago
No sorry Richard wanted her to sing both roles but Joan thought she was too big for both roles,and the other thing is they run out of time,had it been for Maestro Bonynge and time we would have a huge catalogue of Joan.
marioegorga 4 years ago
I seem to recall a recent interview in which Joan stated that Richard was the one who thought that these roles didn't suit her temperment. In any case, it is tempting to think of what we would have today, had Joan recorded more in her prime. The re-recordings opposite Pavarotti are nice, but it's not fun to have so many duplicates, at the expense of other roles. I have been dreaming of how Joan might have sounded in a Luisa Miller recording...
ariodante76 4 years ago
I saw her sing that at the Met, so there must be pirates around. It must have been 1976, 77.
sillyboydeux 2 years ago