Zinka was the greatest Verdian soprano from at least 1937-1960 something. I can't believe all the potshots at her here. I wonder how many of you heard her live? I did, and she was unique. The most gorgeous soprano voice along with Tebaldi that I ever heard live.
Milanov had one of the three greatest soprano voices of the 20th century (Sutherland and Caballe owned the other two. Callas was great, but not because of her voice). If you doubt this, listen to the last scene of Aida recorded in 1955 with Jussi Bjoerling under Jonel Perlea. Thank you so much much for honoring this great singer.
I place Flagstad above Milanov and Caballe, but that's me. after you boil it down to the top 10 or so, it's really a matter of personal tastes from there =)
Milanov's voice was luminous possessing a glow that radiated from the inside out and she could wrap it around a phrase like no other. She had the breath of an olympic athelete and could sing a Gioconda as she approached 60 that was the envy many sopranos decades younger. Her greatest colleagues held her with the greatest respect each hearing something unique that was personal to them. no recording medium ever captured that sound. Ask anyone who heard her live
@ilprincipedipersia Try her '52 and '54 "live" Aidas or her '55 studio version and you will see what a beautiful emission, it is almost impossible to listen to, she seems in need of radar to find the notes. And any of her "live" Forzas, '52 or '56 or '53 New Orleans, each one is worst after another
On the contrary Zinka milanov was one of the very nicest and most unpretentious prima donnas ever...she had a marvelous capacity to laugh at herself and was exceedingly nice to people. She used to hold her hands in front of her bosom and say that Arturo Toscanini who "discovered" her and brought her to the Met would say: "If only half of this were, up her..." pointing to her head...She had a wonderfully mellow, rich, controlled voice...one of the best!
The great Milanov- in her prime she was the owner of a terrifying beautiful, noble soprano, there are so many moments in her documents where i think: "This is an unearthly perfect tone !".
But the beauty of her instrument was susceptible to troubles: it´s human, no question.
This must be the declaration for the fact that her higher notes were sometimes not in the same level (politely formulated).
But in my opinion: no doubt that Milanov will stay in the small top of Verdi singers ever, no doubt.
Two stories (perhaps apocryphal) I've often heard, both based on the notion Milanov was not a very bright person: Toscanini would lock her in a room with a coach and piano for hours to get her to learn parts, as she was a terrible musician.; and one time during rehearsals with the orchestra, the conductor (not sure who) kept having to stop because Milanov was making all sorts of mistakes. Exasperated, he pointed to her ample breasts and said, "If only those were brains!"
one of my favorites on trovatore is tomowa-sintow... heard her sing the role live and when it was lyric her voice floated and with the huge chorus scenes it was like a foghorn overcoming the entire orchestra and chorus - an honor to have heard her
I have never cared for Milanov and probably never will. She has the strangest quality of delivery I've ever heard. The voice is fine, in and of itself, but there is something in its quality, that sounds comical to my ears. I've always attested my perception of her to the fact that I heard Price and Tebaldi before hearing Zinka and she pales in comparison. This rendition is quite good, but alas, it is not to my taste, but I prefer Muzio to Ponselle.
well Toscanini though she was a the best for a given range; her pianos were apparently very loud .. that was before recordings were a matter of course, before it became more important to control high notes only (for that the all the audience can hear) ... before many other things,, entirely different kind of singing
I most especially appreciate the editors of this series for choosing Pace to represent the work of Ponselle, Milanov, and Tebaldi. Listening to these in succession defines not only their singularity but the greatness each shared with the other. Thank you
I don't like her interpretation. It is insincere, too polished, she wants to make herself in a whining violine or cello. I prefer the straightforward verissimo style of Ponselle and Caniglia. This is too polished and whining in character so much that it no longer conveys a feeling of desperation. And her B flat at the end is not connected to the previous tone, it sounds as if there is a pause between them.This bad taste of singing Te Kanawa and Fleming have as well.
I am 93 I heard Zinka Milanov at Teatro Colon Buenos Aires in 1940 and 1942 seasons she sang, she was quite dissapoiting I Ialways had problems with her intonation and she screamed her high notes were quite bad
She was one of those whose timbre got better and better the more softly she sang, right down to the threshold of audibility. There have been only a few others who could spin a note to silence as well--Boris Shtokolov, perhaps, or Laura Claycomb. And the old-time singers may have been challenged when it came to acting in the physical sense, but often they compensated by painting with the voice.
I adore it when a singer is singing something that suits them - then I relax&enjoy. This sounds easy for her - her voice is more than big enough to do this; and just so you know I am not playing favorites - by my "handle" you can tell I am a Tetrazzini fan - and although interesting to hear how flawless technique can allow Tetrazzini to pull it off - it doesn't flatter her voice - whereas Milanov more than just pulls this off - she let's it rip :-)
I heard her at the old Met. in Trovatore, Forza, Gioconda and Aida. To hear her LIVE in the house was something "You can't describe". Yes- she had off nights but so do we all. HOWEVER- hearing her live ... She was FANFUKINTASIC!!! The GREATEST voice i've ever heard. ~ I heard her 1951-1955. THOSE were her greatest years. She was a "late bloomer" but, oh- so worth waiting for.
...spinto, dramatic or lyric...she is almost everything......she was past her prime when she did Tosca with Bjoerling, but I must have that set nomatter what.....she sang too long, past her prime, but the world is better for it......her Rigoletto with Toscanini in 1943 was fabulous...matchess perfection in my view....
To me, her voice sounds like a great velvet cloak...one of the greatest and most beautiful ever! The technique is terrific. I think her later commercial recording of Pace, pace is even better.
Nowadays she is perceived as the ultimate "stand-and-sing" singer from the bad old days. I will take her sublime singing over the jittery Dessay any old time.
We are used to hearing voices produced in stereophonic sound,and the available recordings of Milanov are all monaural. If they were remastered stereophonically, you WOULD hear one of the great voices of the century.
I have not heard much of Milanov. I've always enjoyed what I heard. My parents used to have an old 78rpm recording of her singing Ritorna Vincitor which was amazing in its beauty and emotional power.
I've always heard that as a person and a colleague she was quite flatulent and more than a little short on social graces but she's terrific for someone to listen to old recordings of!!
Her rendition of "Pace, pace" is not as awful as Il Trovatore's "D'amour sull'ali rosee", on RCA; at least here she tries to work herself to a frenzy on the coda, there, in the role of Leonora, every ounce of life is sucked out by her.
And I am so glad that she sang with Franco Corelli, my favourite tenor, in numerous operas, like Tosca, Chenier, Gioconda etc. Her performance of Pace mio Dio is OUT OF THIS WORLD!
I think she really deserves her place among the legends of operatic history. She was a superb artist with great musicality. I don't mean to offend you, but I am her co-national and I must tell you that she was actually born in Croatia, that was at the time part of Yugoslavia, and since 1990 is an independent country. I am a Croat too, just like her, and I completely agree with you about her and I appreciate your decision to include her in this series.
the old timers around the met considered milanov the only modern singer who would have been a star back in the old days. she was the only one who could have bee a prima donna during the ponselle era. it was fun asking the 80 and 90 year olds back in early 60's who was the greatest of all. caruso stood alone, then ponselle, flagstad and ruffo.
That's interesting what you say. I once asked an eighty-year-old lady (in the early 70's) who's were the most naturally beautiful voices of all time. Of course, number 1 was Ponselle, but after her: Robert Merrill. Logical, when you think about it.
I think that with a similar voice Ghena Dimitrova sings this infinitely better. However, I can understand why some people rave so much about Milanova. But she is not my type of singer.
Milanov was a "supreme" artist. She excelled in the great Verdi roles - Aida, the Trovatore and La Forza Leonoras - no one compared with her Madelena (Andrea Chenier) or Gioconda. I heard her once as Gioconda - it was the early 60s - and she presented a memorable performance with such august company as Corelli and Merrill. She was the prima donna assoluta at the Met for 20 years.
Yes, Milanov earned her place among the 100 greatest singers.
Milanov is an acquired taste. However, once acquired, you can't get enough. While her career was primarily in New York, she sang at Scala in the 1950 season. And people like, oh, Bruno Walter and Arturo Toscanini thought she was pretty talented. But what would they know,eh?
"Heavily US biased"... Why do you wrote this? Miss Milanov sang at the Metropolitan just as Te Kanawa, Janowitz, Mathis and Sutherland, but she was born in croatia.
I apologize, 100Singers, maybe I sounded arrogant with my comment. I see from this comment that you know she was born in Croatia. And yes, I am so proud that you included her in your series.
Indeed,Lanza who was not an opera singer and Tucker who had a totally terrible style are included in this list while Vickers the greater heldentenor since Melchior is out.
I am sorry but this example aria does not show an amazing voice at all.The voice is not beautiful and she sings pretty bad.And no excuses here, it was recorded in 1945.Mediocre and quite awful "Pace mio Dio"
Dear vergoti20, I can understand not liking Milanov - like not liking Tebaldi or Price or Callas, or Sutherland. There are people who didn't. It's personal taste. But "awful??" That is a bit strong.
I never understoond why so many people disliked her or her singing. Milanov seems to be the singer whom everyone has an extreme opinion of. Her fans probably have a shrine dedicated to her in their backyards, and her haters probably have her face taped to their dartboards. For me, I think her voice was extremely beautiful, and although 'bland' at times, for lack of a better term, I have no doubt that she must have sounded wonderful in the house.
Milanov was a great artist and singer,and a truly larger than life personality.Opinions abt. people like that are always extreme.Also the 50's were the heydays of Callas and Tebaldi, whose rather rabid fans outdid eachother in the intensity of the vilification and vituperation they heaped on every other soprano who dared to sing their own particular "Godess'" rep. Zinka, "the" Prima Donna Assoluta of the MET got it from both sides.
It's true - she sang mostly in the USA and never really had a European career. The same is true of Richard Tucker, Jan Peerce, Leonard Warren and Robert Merrill, to name only a few. Does this disqualify them all? Were they all awful?
Yes, they´re some anecdotes about her. She only loved one soprano voice - her own! You can read a lot in Bings memoires and the book by Anna-Lisa Bjoerling about Jussi. Once a colleague said to her: "Oh Zinka, it´s hard for me to think at farewell!" and Zinka answered: "But you should!"
Her voice seems to me not beautiful and not a great voice.I don't like how her voice is placed (it is placed back),, her ppp in invan la pace is tight, her final Bflat is really awful, the note is screamy and sharp
@100Singers Zinka was an enormous fan of Del Monaco, Tucker, Merrill, Sutherland, Nilsson, Freni to name a few, and she said so often. Do you see a pattern here? She did indeed like other singers...but only the good ones.When asked, she would also give her opinion of singers she didn't particularly respect.So what? She was honest, and having sung this re. at the MET for 30 years, I'd say she'd earned her right to express her opinions.
@assindiastignani : fuck that I care what Zinka Milanov told ? if she was an horrible singer.
Yes she was only the housewife soprano of the Metropolitan and she left forever the most ridiculous performances in her broadcasts.She is horrible in all her "live" Forzas, Aìdas , Cheniers, Ballos, she sang sharp, tight she screams and she always sounded OLD and very ridiculous.One of the worst singers of her time. Gina Cigna and Maria Caniglia were infinitely better than Zinka Milanov !
@vergoti20 Are you joking? this performance is highly professional, extremely artistic, and demonstrates the perfection in almost all areas, which opera singer should master. You wrote afterward such strange comment. Unless, it's your way to introduce your practical jokes, comment is fully senseless. I read memories of J. Hines, and it was easy to understand by this book that this singer was heavily mistreated in Met. No surprise here, she was Croatian, and people from Yougoslavia - mistreated
Milanov's records are variable: some great, some not so good. Often there is variability within the same recording, in which the piano phrases are beautiful and the louder tones somewhat harsh. This was true as well for complete opera performances. But many who heard her in the opera house say that her voice and singing were superb, particularly in Verdi roles, and even better than Tebaldi's. I did not hear her live but I do appreciate some of her recorded performances.
As far as her personality is concerned, I too have heard unflattering stories. However, she was friends with Sutherland and they admired each other's singing. Sutherland writes about Milanov in her autobiography and points to her great sense of humor.
Cessez donc de toujours comparer! Chaque artiste a son intérêt.
marcocito 2 months ago
perfetta:) Soprano VERdiano:)<3
sttar1982 5 months ago
Now THIS is a Verdian soprano. The ease with which she sings this aria is so deceptive. Spectacular and just such a joy to listen to. Thanks, Mike.
ian1856 9 months ago
Zinka was the greatest Verdian soprano from at least 1937-1960 something. I can't believe all the potshots at her here. I wonder how many of you heard her live? I did, and she was unique. The most gorgeous soprano voice along with Tebaldi that I ever heard live.
premiereopera1 11 months ago
Swanningaround needs to remove the banana from the ear...The other singers are in NO WAY what Zinka was...NO WAY!!!!!
MrFriendofopera 1 year ago
Milanov had one of the three greatest soprano voices of the 20th century (Sutherland and Caballe owned the other two. Callas was great, but not because of her voice). If you doubt this, listen to the last scene of Aida recorded in 1955 with Jussi Bjoerling under Jonel Perlea. Thank you so much much for honoring this great singer.
Joe Carbia, Miami, Florida
1Victorinus 1 year ago
@1Victorinus
I place Flagstad above Milanov and Caballe, but that's me. after you boil it down to the top 10 or so, it's really a matter of personal tastes from there =)
raigekimaru 5 months ago
Milanov's voice was luminous possessing a glow that radiated from the inside out and she could wrap it around a phrase like no other. She had the breath of an olympic athelete and could sing a Gioconda as she approached 60 that was the envy many sopranos decades younger. Her greatest colleagues held her with the greatest respect each hearing something unique that was personal to them. no recording medium ever captured that sound. Ask anyone who heard her live
ilprincipedipersia 1 year ago
This has been flagged as spam show
@ilprincipedipersia Try her '52 and '54 "live" Aidas or her '55 studio version and you will see what a beautiful emission, it is almost impossible to listen to, she seems in need of radar to find the notes. And any of her "live" Forzas, '52 or '56 or '53 New Orleans, each one is worst after another
maipisimo67 1 year ago
On the contrary Zinka milanov was one of the very nicest and most unpretentious prima donnas ever...she had a marvelous capacity to laugh at herself and was exceedingly nice to people. She used to hold her hands in front of her bosom and say that Arturo Toscanini who "discovered" her and brought her to the Met would say: "If only half of this were, up her..." pointing to her head...She had a wonderfully mellow, rich, controlled voice...one of the best!
Annabelleese1 1 year ago
Superb! TY.
paulostroff99 1 year ago
The great Milanov- in her prime she was the owner of a terrifying beautiful, noble soprano, there are so many moments in her documents where i think: "This is an unearthly perfect tone !".
But the beauty of her instrument was susceptible to troubles: it´s human, no question.
This must be the declaration for the fact that her higher notes were sometimes not in the same level (politely formulated).
But in my opinion: no doubt that Milanov will stay in the small top of Verdi singers ever, no doubt.
lassisimo 1 year ago
"They love me in Zagreb." I love you too, Zinka. And, I don't think you were dumb.
goodboybuddy1 1 year ago
Two stories (perhaps apocryphal) I've often heard, both based on the notion Milanov was not a very bright person: Toscanini would lock her in a room with a coach and piano for hours to get her to learn parts, as she was a terrible musician.; and one time during rehearsals with the orchestra, the conductor (not sure who) kept having to stop because Milanov was making all sorts of mistakes. Exasperated, he pointed to her ample breasts and said, "If only those were brains!"
BorisGodunov 1 year ago
one of my favorites on trovatore is tomowa-sintow... heard her sing the role live and when it was lyric her voice floated and with the huge chorus scenes it was like a foghorn overcoming the entire orchestra and chorus - an honor to have heard her
DavidoffGustav 1 year ago
Comment removed
Nervenkratz 1 year ago
Milanov = ABOMINATION
AfroPoli 1 year ago
@AfroPoli i've seen some of your comments on other videos, i have just one question for you, do you even like opera?
ElSalvador50 1 year ago
@ElSalvador50
I like opera, that is why I do not like Milanov.
AfroPoli 1 year ago
Simply the best with Ponselle and tebaldi for Forza. Te Kanawa ???? hahahahahahahahahahaha
federricoilgrande 1 year ago
She's amazing...
Haristotel 2 years ago
A major post war 2 performer. I quite like her performance in Tosca, with Bjorling and Warren.
99Gambo 2 years ago
Milanov was an erratic singer to say the least.
When she was on she possessed a golden and sumptuous even sound.
profgv 2 years ago
Comment removed
Aldobrandini 2 years ago
I really really enjoy her sound. I hadn't heard of her before, but she's won me over so far.
Iareto 2 years ago 4
I have never cared for Milanov and probably never will. She has the strangest quality of delivery I've ever heard. The voice is fine, in and of itself, but there is something in its quality, that sounds comical to my ears. I've always attested my perception of her to the fact that I heard Price and Tebaldi before hearing Zinka and she pales in comparison. This rendition is quite good, but alas, it is not to my taste, but I prefer Muzio to Ponselle.
Keep up the good work, 100Singers!
metropolitan1966 2 years ago
well Toscanini though she was a the best for a given range; her pianos were apparently very loud .. that was before recordings were a matter of course, before it became more important to control high notes only (for that the all the audience can hear) ... before many other things,, entirely different kind of singing
branko1b 2 years ago
I most especially appreciate the editors of this series for choosing Pace to represent the work of Ponselle, Milanov, and Tebaldi. Listening to these in succession defines not only their singularity but the greatness each shared with the other. Thank you
ilprincipedipersia 2 years ago 3
I don't like her interpretation. It is insincere, too polished, she wants to make herself in a whining violine or cello. I prefer the straightforward verissimo style of Ponselle and Caniglia. This is too polished and whining in character so much that it no longer conveys a feeling of desperation. And her B flat at the end is not connected to the previous tone, it sounds as if there is a pause between them.This bad taste of singing Te Kanawa and Fleming have as well.
ididete 2 years ago
I am 93 I heard Zinka Milanov at Teatro Colon Buenos Aires in 1940 and 1942 seasons she sang, she was quite dissapoiting I Ialways had problems with her intonation and she screamed her high notes were quite bad
misterturro 2 years ago
She was one of those whose timbre got better and better the more softly she sang, right down to the threshold of audibility. There have been only a few others who could spin a note to silence as well--Boris Shtokolov, perhaps, or Laura Claycomb. And the old-time singers may have been challenged when it came to acting in the physical sense, but often they compensated by painting with the voice.
OlDoinyo 2 years ago
I adore it when a singer is singing something that suits them - then I relax&enjoy. This sounds easy for her - her voice is more than big enough to do this; and just so you know I am not playing favorites - by my "handle" you can tell I am a Tetrazzini fan - and although interesting to hear how flawless technique can allow Tetrazzini to pull it off - it doesn't flatter her voice - whereas Milanov more than just pulls this off - she let's it rip :-)
TheTetrazzinifan 2 years ago
I praise her those interpretations are great what we have by her, she should be on the first line of the greatest
egymagyar1111111 2 years ago
I heard her at the old Met. in Trovatore, Forza, Gioconda and Aida. To hear her LIVE in the house was something "You can't describe". Yes- she had off nights but so do we all. HOWEVER- hearing her live ... She was FANFUKINTASIC!!! The GREATEST voice i've ever heard. ~ I heard her 1951-1955. THOSE were her greatest years. She was a "late bloomer" but, oh- so worth waiting for.
tempo78 2 years ago
questa è sicuramente una delle mie arie preferite.........lei molto brava.................
carloge77 2 years ago
Jussi Bjorling put Milanov alongside as Tebaldi or Callas, just to name a few...
So what does that tell people?
Bjorling, the probably most beloved tenor of all time puts Milanov up there with all time greats sopranos.
Bjorling received voice training from the age of 3! Performed by the age of 5!
His trainer (father) had himself a tenor training from the metropolitan.
Now...try to match that!
maxhansendk 2 years ago
...spinto, dramatic or lyric...she is almost everything......she was past her prime when she did Tosca with Bjoerling, but I must have that set nomatter what.....she sang too long, past her prime, but the world is better for it......her Rigoletto with Toscanini in 1943 was fabulous...matchess perfection in my view....
j72050 2 years ago
Eine der schönsten Stimmen der Welt ... Wundervolles Piano und dramatisches Forte.
AmoresPerros40 2 years ago 6
To me, her voice sounds like a great velvet cloak...one of the greatest and most beautiful ever! The technique is terrific. I think her later commercial recording of Pace, pace is even better.
Ruffiello 2 years ago 2
Nowadays she is perceived as the ultimate "stand-and-sing" singer from the bad old days. I will take her sublime singing over the jittery Dessay any old time.
tristanchord85 2 years ago 2
We are used to hearing voices produced in stereophonic sound,and the available recordings of Milanov are all monaural. If they were remastered stereophonically, you WOULD hear one of the great voices of the century.
Arrow
bestmaster3 2 years ago
I have not heard much of Milanov. I've always enjoyed what I heard. My parents used to have an old 78rpm recording of her singing Ritorna Vincitor which was amazing in its beauty and emotional power.
quakercub 2 years ago
I've always heard that as a person and a colleague she was quite flatulent and more than a little short on social graces but she's terrific for someone to listen to old recordings of!!
kmillard 2 years ago
She is the best of greatest singers!!!!!
koroleva77 2 years ago
What year is this, please?
liedersanger1 2 years ago
This and some other recordings were made to fill the third LP-side of the 1953 "Cavalleria Rusticana"-recording with Bjoerling under Renato Cellini.
100Singers 2 years ago
Her rendition of "Pace, pace" is not as awful as Il Trovatore's "D'amour sull'ali rosee", on RCA; at least here she tries to work herself to a frenzy on the coda, there, in the role of Leonora, every ounce of life is sucked out by her.
mannail888 2 years ago
And I am so glad that she sang with Franco Corelli, my favourite tenor, in numerous operas, like Tosca, Chenier, Gioconda etc. Her performance of Pace mio Dio is OUT OF THIS WORLD!
corellithebest 2 years ago
I think she really deserves her place among the legends of operatic history. She was a superb artist with great musicality. I don't mean to offend you, but I am her co-national and I must tell you that she was actually born in Croatia, that was at the time part of Yugoslavia, and since 1990 is an independent country. I am a Croat too, just like her, and I completely agree with you about her and I appreciate your decision to include her in this series.
corellithebest 2 years ago
the old timers around the met considered milanov the only modern singer who would have been a star back in the old days. she was the only one who could have bee a prima donna during the ponselle era. it was fun asking the 80 and 90 year olds back in early 60's who was the greatest of all. caruso stood alone, then ponselle, flagstad and ruffo.
musedirec 2 years ago
That's interesting what you say. I once asked an eighty-year-old lady (in the early 70's) who's were the most naturally beautiful voices of all time. Of course, number 1 was Ponselle, but after her: Robert Merrill. Logical, when you think about it.
assindiastignani 2 years ago
I think that with a similar voice Ghena Dimitrova sings this infinitely better. However, I can understand why some people rave so much about Milanova. But she is not my type of singer.
Fairpavel 3 years ago
Milanov was a "supreme" artist. She excelled in the great Verdi roles - Aida, the Trovatore and La Forza Leonoras - no one compared with her Madelena (Andrea Chenier) or Gioconda. I heard her once as Gioconda - it was the early 60s - and she presented a memorable performance with such august company as Corelli and Merrill. She was the prima donna assoluta at the Met for 20 years.
Yes, Milanov earned her place among the 100 greatest singers.
bobopera 3 years ago
I have to admit I never heard her recordings before. It's alot of fun discovering great dramatic sopranos ;-).
jlee800 3 years ago
Milanov is an acquired taste. However, once acquired, you can't get enough. While her career was primarily in New York, she sang at Scala in the 1950 season. And people like, oh, Bruno Walter and Arturo Toscanini thought she was pretty talented. But what would they know,eh?
tat1685 3 years ago
This comment has received too many negative votes show
Not good. This list is heavily US biased. To my mind, Te Kanawa, Janowitz, Mathis, Sutherland, and so many others are vastly superior.
swanningaround 3 years ago
"Heavily US biased"... Why do you wrote this? Miss Milanov sang at the Metropolitan just as Te Kanawa, Janowitz, Mathis and Sutherland, but she was born in croatia.
100Singers 3 years ago
Because she lived in the United States for many years, and the others did not. I think you know this very well.
swanningaround 3 years ago
I apologize, 100Singers, maybe I sounded arrogant with my comment. I see from this comment that you know she was born in Croatia. And yes, I am so proud that you included her in your series.
corellithebest 2 years ago
Indeed,Lanza who was not an opera singer and Tucker who had a totally terrible style are included in this list while Vickers the greater heldentenor since Melchior is out.
quis178 2 years ago
and sigfried jerusalem the greatest heldontenor of all time was left out:(
songsofscarlet 2 years ago
Your kidding me, her voice is amazing! A truly great artist.
jamesbcoyle 3 years ago
I am sorry but this example aria does not show an amazing voice at all.The voice is not beautiful and she sings pretty bad.And no excuses here, it was recorded in 1945.Mediocre and quite awful "Pace mio Dio"
vergoti20 3 years ago
Dear vergoti20, I can understand not liking Milanov - like not liking Tebaldi or Price or Callas, or Sutherland. There are people who didn't. It's personal taste. But "awful??" That is a bit strong.
assindiastignani 3 years ago
I never understoond why so many people disliked her or her singing. Milanov seems to be the singer whom everyone has an extreme opinion of. Her fans probably have a shrine dedicated to her in their backyards, and her haters probably have her face taped to their dartboards. For me, I think her voice was extremely beautiful, and although 'bland' at times, for lack of a better term, I have no doubt that she must have sounded wonderful in the house.
GermanOperaSinger 3 years ago
Milanov was a great artist and singer,and a truly larger than life personality.Opinions abt. people like that are always extreme.Also the 50's were the heydays of Callas and Tebaldi, whose rather rabid fans outdid eachother in the intensity of the vilification and vituperation they heaped on every other soprano who dared to sing their own particular "Godess'" rep. Zinka, "the" Prima Donna Assoluta of the MET got it from both sides.
assindiastignani 3 years ago
I am sorry but all Milanov work on disc an on "live" is awful and the MET was the only theater where she sang currently.She had no italian career
vergoti20 3 years ago
It's true - she sang mostly in the USA and never really had a European career. The same is true of Richard Tucker, Jan Peerce, Leonard Warren and Robert Merrill, to name only a few. Does this disqualify them all? Were they all awful?
assindiastignani 3 years ago 2
Zinka was a great diva. Tucker told me once "she was our prima donna" Her action off stage with Baum is really funny.
pearlmuth3 3 years ago
i like this very much,thank you!
pertile1981 3 years ago
zinka rocks! what a technique :-)
SMMHELDENTENOR 3 years ago
I have read that she wasn't the nicest as person, but she was certainly great singer. She definitely must be among the 100.
GertrudeBD 3 years ago
Yes, they´re some anecdotes about her. She only loved one soprano voice - her own! You can read a lot in Bings memoires and the book by Anna-Lisa Bjoerling about Jussi. Once a colleague said to her: "Oh Zinka, it´s hard for me to think at farewell!" and Zinka answered: "But you should!"
100Singers 3 years ago
You asked our opinion about her.
Her voice seems to me not beautiful and not a great voice.I don't like how her voice is placed (it is placed back),, her ppp in invan la pace is tight, her final Bflat is really awful, the note is screamy and sharp
claraprellitensky 3 years ago
I so agree. Can never understand the fuss that was made of her in the USA. A very blowsy voice.
mrrk 3 years ago 2
@100Singers Zinka was an enormous fan of Del Monaco, Tucker, Merrill, Sutherland, Nilsson, Freni to name a few, and she said so often. Do you see a pattern here? She did indeed like other singers...but only the good ones.When asked, she would also give her opinion of singers she didn't particularly respect.So what? She was honest, and having sung this re. at the MET for 30 years, I'd say she'd earned her right to express her opinions.
assindiastignani 1 year ago
@assindiastignani : fuck that I care what Zinka Milanov told ? if she was an horrible singer.
Yes she was only the housewife soprano of the Metropolitan and she left forever the most ridiculous performances in her broadcasts.She is horrible in all her "live" Forzas, Aìdas , Cheniers, Ballos, she sang sharp, tight she screams and she always sounded OLD and very ridiculous.One of the worst singers of her time. Gina Cigna and Maria Caniglia were infinitely better than Zinka Milanov !
vergoti20 1 year ago
@vergoti20 Charmingly put. Thank you so much for sharing that with us.
assindiastignani 1 year ago
@vergoti20 Are you joking? this performance is highly professional, extremely artistic, and demonstrates the perfection in almost all areas, which opera singer should master. You wrote afterward such strange comment. Unless, it's your way to introduce your practical jokes, comment is fully senseless. I read memories of J. Hines, and it was easy to understand by this book that this singer was heavily mistreated in Met. No surprise here, she was Croatian, and people from Yougoslavia - mistreated
Nushika9 1 year ago
Milanov's records are variable: some great, some not so good. Often there is variability within the same recording, in which the piano phrases are beautiful and the louder tones somewhat harsh. This was true as well for complete opera performances. But many who heard her in the opera house say that her voice and singing were superb, particularly in Verdi roles, and even better than Tebaldi's. I did not hear her live but I do appreciate some of her recorded performances.
meltzerboy 3 years ago
As far as her personality is concerned, I too have heard unflattering stories. However, she was friends with Sutherland and they admired each other's singing. Sutherland writes about Milanov in her autobiography and points to her great sense of humor.
meltzerboy 3 years ago 2