Fleming canta Imogene come se stesse per lanciarsi giù dagli spalti di Castel Sant'Angelo: 3 stelle. Caballé ha confuso l'ultimo atto del Pirata con l'ultimo atto di Norma: 4 stelle. Aliberti mi piace un sacco e quindi le dò 4 stelle, e che nessuno fiati. La Devia, che Dio la benedica e la faccia cantare per altri decenni, merita 5 stelle finché 5 è il massimo, sennò anche 10 o 20 o quel che è. E la Callas? 5 galassie. Perché lei È Dio, il Dio che esaudisce ogni nostro desiderio operistico.
Callas was unique in every thing she made, but here I prefer Caballé´s interpretation for sure.
Fleming is out of role for many questions, Aliberti has a pretty voice but nothing special here and for me Devia sounds a bit out of tune and heavy, ;)!!
I think Fleming does a commendable job, considering her vocal issues at the time (it's in her book about what happened). I'm also reminded of how Caballe and Fleming are very much alike in some respects...pushed, overdone chest register...glottal attacks. Aliberti wasn't too bad...it was early on, before she REALLY started tyring to copy the Callas sound. Callas was far past her best and couldn't muster a high C. Devia, as always, is impeccable.
I am definitely a Callas fan- She is incomparable in this difficult area. I don't mind about the condition of her voice- it' s her rendition of the music and character that means so much to me. Fleming is a shame, and the other three soparanos ara good, but dull.
Esto es bel canto!!! no es verismo, no comprendo como algunas sopranos hicieron este trabajo sabiendo que no era su papel!!! Me quedo con la Caballe, porque este papel es lírico en su totalidad, pero requiere un buen fiato, sensibilidad y sobre todo agilidad destacada en las escalas. La Devia le coge un poco mayor aunque bien!! Aliberti buena en la interpretación pero falta musicalidad, La Callas fabulosa en su fraseo y su estupenda linea de canto. Creo que las mejores: Caballe y Callas...
@MadameBorgi Se me olvidó comentar a la Fleming: tiene una bella voz, pero creo que éste no es su repertorio, lo hace demasiado recargado y pesado (verismo) se recrea exageradamente.... cuando debe de abusar mas de la linea de canto, fraseo, musicalidad, legatos, y lo mas importante (que muchas sopranos no consiguen hacer) marcar bien las escalas (agilidad) todo esto es el bel canto y todo esto le falta a la Fleming en este tema. Otra curiosidad es el texto, pocas pronuncian bien.
Belcanto is not beautiful singing ! Bellini said : " il dramma musicale deve far piangere, inorridire, morire" - the musical drama must make you cry, feel horrified and die" . Bellini worked hard to reach the closer musical expression to the words. According to that section, the end of the opera, Imogene has come to madness when learning her husband has been killed by her lover, himself condamned to scaffold !!
Callas the most expressive singing and most beautiful acting, Caballé, Devia.
@Di Stefano1306 I love Callas and think she sounds very good here. I just meant that by the standards of her other performances she's not at her most solid. I also didn't know she was sick.
This role just isn't right for Fleming, she tried the whole verismo interpretation (if I can call it that) and it just didn't work. High note, not great. I feel like the Devia interpretation is far too slow it drags. she seems to really milk the high notes, almost too much. The ends of Aliberti's phrases go flat. in bel canto you can't drop the "ball" the line must continue. This seems like a debate between Caballe and Callas judging by the responses, but, I prefer Caballe.
It should also not be forgotten that Callas was very sick with a cold when she sang in this concert, and she very nearly cancelled. She was far more powerful in the Carnegie Hall performance. I only wish the Scala performances from 1958 had been recorded.
Renee isn't my cup of tea in most Bel Canto roles either. But this rape "joke" is a new low in the "Renaaaaaaaaaaayyyyy" (Oh, how witty! *Sarcasm*) bashing. And I'd rather listen to Renee than to Netrebko. In ANYTHING.
Flemming is simply horrible in this part and completely out of the role and the caracter ! this is one of the worst I've ever heard ! Caballe has a gorgeous voice, as usual, but the diction is not good ... as usual and why all those unnecessary vocalises ? This is Il Pirata, Bellini ! not Rossini ! Again, the "cleanest" interpretation and most moving is CALLAS ! ... as usual ....
This particular performance is not great, but there are many others which are sublime...which cannot be said of no-chest-voice-wobble-like-old-lady-at-church Devia.
Okay, this any MANY other Fleming performances are horrible. I could post 100 videos just like this one with all the material I have listened to. I would rather listen to "old lady" Devia any day rather than Fleming, who has NO understanding of this type of opera. You keep saying "chest voice" do you understand what chest voice is? There is NO reason for chest voice in this opera at all. Very few singers use chest voice anymore.
Giuditta Pasta, Giuseppina Ronzi de Begnis, Maria Malibran, Anne Mary Paton, Henriatte Lalande (for whom this opera was written), Isabella Colbran, etc...they used chest voice, why wouldn't current singers do it? If Bellini wrote low C's in a moment with strong orchestration, sure was hell wasn't so it wouldn't be heard with an asthmatic sound!
Chest voice is used as a term that reflects a pushed lower range (most singers say they aviod using this method as it destroys the voice)... I am not talking about singing low notes. I am not certain what your point is with saying "asthmathic sound" I have no idea what that is. I think you are way too focused on one or two notes, when you should be looking at the whole performance. Where Fleming destorys every aspect of this score, other singers glow in its glory.
The human voice is a complicated subject, to say that you can learn to control the use of "chest voice" might be one person's opinion, but most teachers advise that singers aviod it. There is good reason for this. In any event, if you think that Gruberova, Sutherland, and Devia sound "hoarse, strained and hollow" and you enjoy Flemings scooping and glutteral attacks then there is little I can say to you, we obviously have differnt taste when it comes to singers. Good day.
The greatest voice teachers in history taught how to use chest voice; Garcia, Marchesi, Viardot, etc. That sopranos nowadays don't have a chest voice is simply due to different tastes and that caused a change in technique. Technique has changed because of different tastes, both for the soprano and the tenor voice.
It really comes down to taste. What sounds, looks, feels good and wonderful to one my not to others. The fact is that they all have wonderful voices and have not been at there best on occasion. If they raise the hair on the back of your neck they have done there job in my opinion. They all most have done something right or else we would not be posting comments on there long careers in opera.
She is the best musically and vocally too. the others sing High C's As vocal masturbation.. CAllas, had the unique ability of knowing when to stick to the vocal line.. As opposed to throwing in embellishments which did nothing to enhance anything, and in some cases sounded like they were another melody altogether.
I admire Callas and most of her recordings have undoubtedly set standards for modern productions of bel canto operas (and others as well), but the truth is, she sounds really tired here and the slow vibrato of her last note was very out-of-place. The fact that tons of people worship her does not make her flawless. I think your comment did not do the justice of Caballe and Devia, who, in my opinion, are simply unique with sentiments, sheer vocal power and their unquestionably musical coherence.
you are correct, she was not perfect, but on the whole, she was better than this mismatched lot, when you consider, music, voice, muscianship, and interpretation. The others do not compare. And I dont always like her.
Again, your comment did not bring out WHY she stands out of this supposedly "mismatched" lot. What aspects of her musicianship, what aspects of her voice make her interpretation more superior than the others ? All I can hear is a very worn-out Callas. No doubt she sure had more than ample superb performances of this role but this is not one of them.
Then, I would be very interested in knowing your elaboration on how Caballe,here in her prime (60s I think), failed to musically portrait Imogene.
I don't think Renee is trying to create a belcanto image for herself. Bel canto has been a part of her repertoire since early in her career. For instance, she sang this role for the first time on March 2, 1989 in New Jersey.
I don't get what kind of bel canto people think Fleming has; & worst, some even quote Callas to back up their opinions. But seriously, as far as I remember, never at once have I heard Callas sobbing & creating numerous 'fake' emotions when singing. I adore Fleming myself, but she has been trying so hard to create herself a new different approach of bel canto that is rather bizzare and not quite enjoyable. (Well if you are a Fleming's fan, you would probably not understand what I really meant)
Thanks a lot for this video. An amazing Caballe as usual. What has Fleming tried to do here? I enjoy her voice but it seems the role does not fit to it.
They're all good. Some I like, some I don't. I personally really enjoyed Callas and Aliberti here. You know who really smashes this vocally and dramatically is Aprile Millo! She's wonderful in this one!
Fleming: no style, as always!Caballè perfect; Devia boring as always; Aliberti absurd: the voice ans accent don't match the words!!!; Callas..I like her!!!
Gevia is wonderful and her middle voice is stronger than I expected. Caballeis moe exciting than ususal and this is one of the best performances I have heard from Aliberti. Callas is too heavy and Fleming should not be allowed near music like this.
This is indeed a great clip! Most sopranos just drown in this repertoire. Fleming runs out of breath from as early as the first aria and she is obliged to push the low register and squeeze the high one. Caballe and Devia just sail through the score, conveying the beauty of Bellini's beautiful lines. Unfortunately it is too late for Callas, who would have been the perfect Imogene in her prime. Aliberti is much better than I expected!!! A pleasant surprise.
This comment has received too many negative votesshow
Callas unsurpassed
Fleming sensational and without the slightest vocal problem or compromise
Caballe has huge agility problems in forte passages but her vocal type is just the right one for Imogene
Aliberti is lol
Devia screams and screams and screams And you know why? because there is no middle voice to sing with. Too sad that great singers decide at the end of their careers to sing the grand repertoire making fool of themselves (Gruberova-Norma, Devia-Bolena, Lucrezia, Imogene ...)
Although I have only heard Devia live, I think Caballe has the best voice for the role - Callas had it 8-9 years prior to this performance. Devia offers my favourite approach stylistically and dramatically. Caballe almost goes for the more forcefull Callas approach here, in studio Caballe is much better. I never cared for Fleming's sound, her voice type and potential are fine for Imogene but she doesn't trust them and ends up sounding reckless.
Fleming is not to my tastes at all. Pushed, raspy low notes and poor understanding of the style. Caballe and Devia are excellent all around. Callas is past her vocal best, but her wonderful dramatic skills compensate. Alberti sounds too thin and light of voice.
@janejones11 Callas at that time had a cold and sinus problems. I find that pretty good for a singer who started her carreer about 25 years before that and has a huge cold. brava Callas
Boo Fleming !!! Booo !!!!! Brava CALLAS for EVER !!!! Brava Caballé (most close to Callas),and also brava to Devia and Aliberti even if their voices are note really the voice of the Imogene !! Imogene is more close to Norma than to Lucia !
What???????????? Sorry, but I think you'd better take a look at the score carefully. Maybe, as you stated, you don't get Bellini at all. Caballe herself claimed that Imogene was more difficult than Norma. Where would Imogene's role be close to Lucia in its demands.
The difficulty stems from the fact that the part lies a bit higher than Norma + is more florid. Caballe, being primarily a full lyric soprano, had some difficulty with lines that were simply different from music that was more comfortable for her voice, including Norma. Moreover, both Lucia and Imogene were created by singers with light, high voices as opposed to Norma was written for Pasta who seems to have been a mezzo with an especially well-developed high register (up to a D).
Norma is a part well-tailored to Caballe's talents: it doesn't really require anything higher than a high C; though it includes a fair share of coloratura, it is primarily a lyric, even declamatory part with some coloratura demands. Imogene just wasn't composed that way. The fact that Caballe was successful doesn't really mean that it's automatically a "Norma" role: just like in the case of "Lucia" she adapts the part to avoid any possible vocal discomfort.
So basically: Caballe is talking about how well the part sits for her voice, not how it is identically to "Norma". Many singers note that certain roles are more difficult for them than others, and that's perfectly justified. The fact that dramatic singers can sing successfully the parts of Lucia and Imogene doesn't really change the fact that they were composed for a different type of singers.
I think that in many respects Norma is somehow misunderstood today. It seems any soprano with a chunky voice can tackle this Bellini role. Sopranos that would never touch Puritani or Sonnambula attack Norma as if it were Wagner. It should not be this was at all. Of course this is my opinion, but I rather see Normas with agility in their voice rather than weighty voices that muddy up the beautiful line.
I also think that Imogene is closer to Norma than it is Lucia. I believe this primarily because Bellini wrote his music using longer musical expressions. Lucia is classic Donizetti, and to me, that does not resemble Bellini's arching phrases at all. I think there is too much importance placed on the size of a voice. It should be about control, support, and agility. These are belcanto roles, they should have solid techniques, and of course fluid coloratura.
If a role sits higher or lower, it is up to the individual singer to find a happy placement. Sometimes that means adjusting some selections up or down. This is common in belcanto music, and should not be looked down upon. I feel that composers such as Donizetti and Bellini wrote the music to suit a voice, then they would subsequently revise the music to fit another singer. This is just how things worked in those days. The whole process was more elastic than it is now.
You're right, both roles came from one composer, so they are bound to be closer. I still fell, though, from the music that the... well, the colors of the roles are just different (not to use the word "weight" :) ). Imogene is, in my eyes (or ears), a light soprano, while Norma could be a lower sounding, darker voice (though still with enough technique for the coloratura). BTW, is it just me or is the tradition of casting Adalgisa as a mezzo not right (the role was originated by Grisi)?
About coloratura technique. I think that the problem is not even with Norma but rather with the whole approach to belcanto. It's often not treated as a separate musical period that has its own rules. I am often amazed at verisimo performances of belcanto works that omit quite a bit of music, including coloratura and/or repeats.
Coloratura wasn't something special back then, that is how the music was written and performed, it was a normal part of the music. The advent of verisimo cased more problems than one might think at first. In theory, any voice type should receive coloratura training as it is an integral part of technique. Though in recent years we have made a tremendous leap forward, we are still a long way from the naturalness of the belcanto and its singers. Maybe that's the problem: where is the naturalness?
You are right about voice/roles, a singer who knows the limits of his or her voice must really adapt the part to avoid any rough edges (that's exactly what I admire in Caballe's rendition and similar situations). Not only did belcanto composers revise the music, they would add different or newly written pieces to best show the strengths of the singer. Still, maybe casting Imogene (or Amelia in "I masnadieri") as a dramatic soprano goes against what the composers were writing for specific voices.
imogene was never a light soprano mainly because light soprani can never support the middle voice line like imogene demands Even the fioritura in this role is written in middle and lower voice and that is Essential Bellini who never wrote for stupid canary birds
Coloratura is not a vocal type as 1-register soprani -and crazy fans- want to persuade us It is an ability that must be a part of a well developed voice either lyrical -commonest- or drammatical (rarest)
and to Quote the great Callas herself, because in this Internet Monstrocity Phenomenon, evey little nobody has an "authoritative" opinion:
"...Trivella had a French method, which was placing the voice in the nose, rather nasal... and I had the problem of not having low chest tones, which is essential in bel canto... And that's where I learned my chest tones" (wikipedia)
As I have said many times in my life instead of Youtubing all day GO AND OPEN SOME BOOK!
Callas is the best in this role, even if her voice was declining, Caballè and Devia really wonderful. For music... there are no words to describe Bellini's genius!
everyone seems ready to complain that Netrebko can't sing belcanto, however we should never forget the little pearls that Rennay gives us from time to time...
True enough, although Ms Millo has asked me not to post any of her videos. So I will respect that, as I have removed all of my previous postings of her. I have the greatest respect for Ms Millo and her art.
Oh Renee I so loved your voice but you now seem hell bent on wrecking it, with those terrible, gutsy chest notes that are not part of your make up. And those top notes now sound so thin. Stick to what you do best Kid.
Aliberti, looking uncannily like Callas (and apparently watched over my a portrait of Malibran) is a bit lightweight. Her complete recording is a fine one. Devia handles the scene expertly. Caballé, seen here in her Paris debut, is in top form. Callas, seen here is Stuttgart (cond. Rescigno), brings insight into the role of Imogene. She avoids the final high note, even though she dispatches the Barbiere aria with ease. Fleming is Fleming. Glad to hear them all.
To be honest, I really don't know any singers who have sung this role and proved "perfect". I personally like Caballe's recording of the work but even there I fell that something is missing. All singers here provide quite a lot of excitement but we would have to hear the original Imogene (Méric-Lalande) to be really hear how the role should be sung. Though even then there must have been long discussions on who would have been better suited for the role.
Fleming is sloppy! I would have loved to hear Sutherland do it, probably in the mid-late 70s when her voice was at its most "dramatic weight". It feels like a Norma-Maria Stuarda-Anna Bolena type role. For me, this would be one of Caballe's best coloratura roles. God, Devia's fantastic! Why did she never get a big signing for a recital disc? Callas, 10-15 years earlier could have been closer to perfection perhaps???
First off, I really don't think that the role of Imogene is even close to being a dramatical one. It was created by a singer who, and I'm judging solely on the roles she created (Elvida, Bianca, Palmide), was rather more lightweight than the roles you mention. Plus, Imogene is a classical damsel in distress, not really featuring any real emotional depth. She has nice music but that's about it. I mean, even her Mad Scene, as interesting as it is, is not really that necessary or logical.
Yes, there are at the very least two prime examples: the heroines' grand scenes in "Anna Bolena" and "Lucia di Lammermoor".
Anna Bolena isn't exactly mad, mostly delirious, her mind is filled with conflicting thoughts after all the abuse she gets from her husband; the woman could have had a much more pleasant life with Percy, instead of having to take Henry's accusations; her world has been destroyed by the whole affair, and she tries to grab hold of the moments when she was most happy.
Lucy, having been betrayed by the three people who were an integral part of her life (her brother, her tutor and her lover) finds herself for the first time in her life really alone. The murder of Arthur is basically her first decision in quite a long time (she is a very young girl).
I would suggest that the poor girl was being approached by her husband with propositions of sharing their bed which proved too much for her. But she isn't a murderer, and seeing a dead man is the final straw, she losses her grip on reality. Imogene's scene is more illogical, yes, she does experience a great deal but is it really enough to go mad?
Strangely, I find Bellini's "La sonnambula" which, arguably, is about nice people singing nice music much more rewarding. There the "niceness" works.
Of course, Bellini's music was more that just a couple of nice tunes (evidenced by a great deal of music from "Norma"). I was referring primarily to the role of Imogene which does seem to be a rather lightish part.
To sediziosevoci, that's the end of a rather longish reply. To be perfectly clear, my comments are not aimed at ridiculing the love that one is bound to have for Bellini's works, just a couple of side notes spiced up by a few of my personal views :)!
Thanks :) I really respect your thoughts and insights as I don't know anything about this role, except for the Caballe and Callas recordings. I was just going on the impression I developed from hearing them sing it. Still would have loved to have heard Sutherland sing it, and yes, probably now in her younger days.
Still, the fact that Callas and Caballe managed to create credible and highly dramatic portrayals speaks very highly of their talents. That's probably the beauty of opera: an excellent singer can take any kind of role, any kind of music and create something magical. It really does come down to the singing. About Sutherland, me too :)!
What I find interesting on hearing all these singers is that none of them (for me) offers an all around complete display of "belcanto": Callas sounds too veristic for my tastes; Caballe and Fleming are better in lyric repertoire (Liu would be a prime example), while Devia and Aliberti are lighter but perhaps too light (Devia is definitely better in higher music) or too plain (Aliberti's tone is not really beautiful, it is best described by the word "pale").
Callas: is dramatically quite attentive (the look on her face after she finishes singing is stunning); can be heard to better effect elsewhere (for example, in "Il Barbiere" with Gobbi, to cite the most obvious choice).
Devia: is more problematic than in the previous compilation; has problems with the lower lying line though is still brilliant on the top; is less exciting dramatically than Caballe and Callas.
Aliberti: has a rather pale tone; has the right vocal weight for the role (Devia is a bit too light; while Caballe, Fleming and Callas are a just a hint too heavy; it really isn't a "Norma" role, it's quite a bit lighter), if not the splendor; is really not that bad but offers less than other artists.
Fleming: is really pushing her lower and higher register (in places I hear a shift to the back of the throat on low notes); still has a very attractive middle register; again invests much in the drama, though probably a bit too much.
Caballe: is in her prime vocally and dramatically; includes some nice ornaments in the repeat; is weaker down the staff than above, though it does not matter that much; is better in the complete recording of the work.
"Oh! Sole! ti vela di tenebre oscure" is on Reene's Bel Canto Scenes CD. I think she handles the aria much better in studio. She uses more tasteful embellishments. I might post it as a "video" response tomorrow (if I still have the will to). This must have been an off night for her. Caballe and Devia are wonderful.
Hmmm...I hope I'm not the only one that notices Renaaaaay's GLARING lack of bel canto technique. Her sense of phrasing is just cruddy, as it is every time I hear her in this rep (compare her to Caballe, who was a MASTER of the type of line & phrasing this requires). Also, I really question Fleming's choice of embellishments. I'm all for it in this music, but hers just don't seem to fit all that well. I realize all singers have off nights, but only on bel canto nights? C'mon...
I'm glad to see that these are all live recordings. There's certainly a difference though between an aria concert and a 2.5 hour full opera!)
A 33 yr old Caballe is glorious, Callas is Callas (love her art and what she did for belcanto), Devia wonderful a sempre!,
Alberti better than expected though shy on top and Fleming has sung better but I'm thankful that she, Devia & Gruberova are keeping these treasures alive!
Don't forget a live rec'ding is a SNAPSHOT in time & we ALL have our off days.
Fleming canta Imogene come se stesse per lanciarsi giù dagli spalti di Castel Sant'Angelo: 3 stelle. Caballé ha confuso l'ultimo atto del Pirata con l'ultimo atto di Norma: 4 stelle. Aliberti mi piace un sacco e quindi le dò 4 stelle, e che nessuno fiati. La Devia, che Dio la benedica e la faccia cantare per altri decenni, merita 5 stelle finché 5 è il massimo, sennò anche 10 o 20 o quel che è. E la Callas? 5 galassie. Perché lei È Dio, il Dio che esaudisce ogni nostro desiderio operistico.
giant469 3 weeks ago
As Callas said, "Only Caballé"..
Callas was unique in every thing she made, but here I prefer Caballé´s interpretation for sure.
Fleming is out of role for many questions, Aliberti has a pretty voice but nothing special here and for me Devia sounds a bit out of tune and heavy, ;)!!
tontoneto 2 months ago
Ahhh... so nice to hear a glimpse of Peter Allen - former host of the Met radio broadcasts. They should bring him back.
novasafo 3 months ago
I think Fleming does a commendable job, considering her vocal issues at the time (it's in her book about what happened). I'm also reminded of how Caballe and Fleming are very much alike in some respects...pushed, overdone chest register...glottal attacks. Aliberti wasn't too bad...it was early on, before she REALLY started tyring to copy the Callas sound. Callas was far past her best and couldn't muster a high C. Devia, as always, is impeccable.
brolobear 9 months ago
Fleming: over-the-top, exaggerated, overdone. It's good singing though and very few can sing Pirata today with such style and power.
Caballe: A bel canto specialist with a great voice...loved it..and such passion
Devia: Terrible
Aliberti: Terrible
Callas: Absolutely the best singer here...the winner
OperaMystery80 9 months ago
I am definitely a Callas fan- She is incomparable in this difficult area. I don't mind about the condition of her voice- it' s her rendition of the music and character that means so much to me. Fleming is a shame, and the other three soparanos ara good, but dull.
magicflute3 11 months ago
Fleming: oscena
Caballé: bella voce, discreta esecuzione, interpretazione assente
Devia: brutta voce, buona esecuzione, interpretazione ridicola
Aliberti: vocalmente messa meglio della Callas del '59
Callas: Voce già scassata nel settore medio-acuto, interpretazione buona, esecuzione pessima
DiegoMartinazzoli 11 months ago
Esto es bel canto!!! no es verismo, no comprendo como algunas sopranos hicieron este trabajo sabiendo que no era su papel!!! Me quedo con la Caballe, porque este papel es lírico en su totalidad, pero requiere un buen fiato, sensibilidad y sobre todo agilidad destacada en las escalas. La Devia le coge un poco mayor aunque bien!! Aliberti buena en la interpretación pero falta musicalidad, La Callas fabulosa en su fraseo y su estupenda linea de canto. Creo que las mejores: Caballe y Callas...
MadameBorgi 1 year ago
@MadameBorgi Se me olvidó comentar a la Fleming: tiene una bella voz, pero creo que éste no es su repertorio, lo hace demasiado recargado y pesado (verismo) se recrea exageradamente.... cuando debe de abusar mas de la linea de canto, fraseo, musicalidad, legatos, y lo mas importante (que muchas sopranos no consiguen hacer) marcar bien las escalas (agilidad) todo esto es el bel canto y todo esto le falta a la Fleming en este tema. Otra curiosidad es el texto, pocas pronuncian bien.
MadameBorgi 1 year ago
Belcanto is not beautiful singing ! Bellini said : " il dramma musicale deve far piangere, inorridire, morire" - the musical drama must make you cry, feel horrified and die" . Bellini worked hard to reach the closer musical expression to the words. According to that section, the end of the opera, Imogene has come to madness when learning her husband has been killed by her lover, himself condamned to scaffold !!
Callas the most expressive singing and most beautiful acting, Caballé, Devia.
angalafan 1 year ago
@Di Stefano1306 I love Callas and think she sounds very good here. I just meant that by the standards of her other performances she's not at her most solid. I also didn't know she was sick.
janejones11 1 year ago
OMG Renee Fleming sounds horrible. There are ( I think) not manny performances of Renee Fleming that are good.(i'm not a fan of here voice
I'll hope she never sings this again.
gayo72 1 year ago
youtube.com/watch?v=ePq28PpGqB0&feature=related
operafy 1 year ago
why does caballé make her voice crack all over the place like that? it's obviously done on purpose, and it's not necessary, it adds nothing.
wattever333 1 year ago
there is only one...Callas
gayo72 1 year ago
@gayo72 callas la unica imcoparabile
Aperlini 1 year ago
Thanks Mrs. Fleming, nice voice, good technic, but this is another opera, not Il Pirata... or better, not Il Pirata by Bellini.
allanaki 2 years ago
This role just isn't right for Fleming, she tried the whole verismo interpretation (if I can call it that) and it just didn't work. High note, not great. I feel like the Devia interpretation is far too slow it drags. she seems to really milk the high notes, almost too much. The ends of Aliberti's phrases go flat. in bel canto you can't drop the "ball" the line must continue. This seems like a debate between Caballe and Callas judging by the responses, but, I prefer Caballe.
madridd1 2 years ago 2
It should also not be forgotten that Callas was very sick with a cold when she sang in this concert, and she very nearly cancelled. She was far more powerful in the Carnegie Hall performance. I only wish the Scala performances from 1958 had been recorded.
Shahrdad 2 years ago
My favourite is Aliberti!
MrLupo23 2 years ago
The Best singer of Imogene' s part in XX centure is Montserrat Caballe.
I mean COMPLITE PART of Imogene, not only final scen.
RuSSIATUMBAI 2 years ago
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zarino78 2 years ago
Renee isn't my cup of tea in most Bel Canto roles either. But this rape "joke" is a new low in the "Renaaaaaaaaaaayyyyy" (Oh, how witty! *Sarcasm*) bashing. And I'd rather listen to Renee than to Netrebko. In ANYTHING.
Elisabetta611 2 years ago
Comment removed
zarino78 2 years ago
jajaja, oops....
alehits 2 years ago
it's a genious move starting with Fleming .... after the other noone would remember her " preformance" :P
operaholic001 2 years ago
of course callas is an unreal monument in this part, but i must say- i enjoy mrs.devia very much on the strenght of multiple details.
i don´t want to comment on the performance of mrs. fleming in this part - no need to hurt someone.
lassisimo 2 years ago
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asdfopera 2 years ago
Flemming is simply horrible in this part and completely out of the role and the caracter ! this is one of the worst I've ever heard ! Caballe has a gorgeous voice, as usual, but the diction is not good ... as usual and why all those unnecessary vocalises ? This is Il Pirata, Bellini ! not Rossini ! Again, the "cleanest" interpretation and most moving is CALLAS ! ... as usual ....
Faust075 3 years ago 2
Get your ears checked, after Callas only Fleming does those low C's as they are supposed to be sung instead of an asthmatic patient.
primohomme 2 years ago
Sir, I think it is you who needs your ears checked. If you enjoy Fleming here, it is a telling example of your taste in opera.
coloraturafan 2 years ago
This particular performance is not great, but there are many others which are sublime...which cannot be said of no-chest-voice-wobble-like-old-lady-at-church Devia.
primohomme 2 years ago
Okay, this any MANY other Fleming performances are horrible. I could post 100 videos just like this one with all the material I have listened to. I would rather listen to "old lady" Devia any day rather than Fleming, who has NO understanding of this type of opera. You keep saying "chest voice" do you understand what chest voice is? There is NO reason for chest voice in this opera at all. Very few singers use chest voice anymore.
coloraturafan 2 years ago 2
Giuditta Pasta, Giuseppina Ronzi de Begnis, Maria Malibran, Anne Mary Paton, Henriatte Lalande (for whom this opera was written), Isabella Colbran, etc...they used chest voice, why wouldn't current singers do it? If Bellini wrote low C's in a moment with strong orchestration, sure was hell wasn't so it wouldn't be heard with an asthmatic sound!
primohomme 2 years ago
Chest voice is used as a term that reflects a pushed lower range (most singers say they aviod using this method as it destroys the voice)... I am not talking about singing low notes. I am not certain what your point is with saying "asthmathic sound" I have no idea what that is. I think you are way too focused on one or two notes, when you should be looking at the whole performance. Where Fleming destorys every aspect of this score, other singers glow in its glory.
coloraturafan 2 years ago
Most singers don't use chest voice not because is bad for them, but because they never learned to use it. That is a fact.
By asthmatic I mean a hoarse, strained, hollow sound...which Devia, Gruberova and Sutherland tended to do in the low range.
primohomme 2 years ago
The human voice is a complicated subject, to say that you can learn to control the use of "chest voice" might be one person's opinion, but most teachers advise that singers aviod it. There is good reason for this. In any event, if you think that Gruberova, Sutherland, and Devia sound "hoarse, strained and hollow" and you enjoy Flemings scooping and glutteral attacks then there is little I can say to you, we obviously have differnt taste when it comes to singers. Good day.
coloraturafan 2 years ago
The greatest voice teachers in history taught how to use chest voice; Garcia, Marchesi, Viardot, etc. That sopranos nowadays don't have a chest voice is simply due to different tastes and that caused a change in technique. Technique has changed because of different tastes, both for the soprano and the tenor voice.
primohomme 2 years ago
If you like Fleming here... Enjoy your listening!!!!
MrLupo23 2 years ago
It really comes down to taste. What sounds, looks, feels good and wonderful to one my not to others. The fact is that they all have wonderful voices and have not been at there best on occasion. If they raise the hair on the back of your neck they have done there job in my opinion. They all most have done something right or else we would not be posting comments on there long careers in opera.
deanella 3 years ago
CABALLE, THE BEST SOPRANO OF 20century! SIMPLY THE BEST!!!
supermen26zg 3 years ago 4
Callas was in the role..amazing perfomance!!!!!! and Caballe was very very good....
poupounakis 3 years ago 5
While the other sopranos here sing. No one here quite gives the in depth realism and characterization Callas delivers.
sicuro75 3 years ago
She is the best musically and vocally too. the others sing High C's As vocal masturbation.. CAllas, had the unique ability of knowing when to stick to the vocal line.. As opposed to throwing in embellishments which did nothing to enhance anything, and in some cases sounded like they were another melody altogether.
kgarmaker123 3 years ago
I admire Callas and most of her recordings have undoubtedly set standards for modern productions of bel canto operas (and others as well), but the truth is, she sounds really tired here and the slow vibrato of her last note was very out-of-place. The fact that tons of people worship her does not make her flawless. I think your comment did not do the justice of Caballe and Devia, who, in my opinion, are simply unique with sentiments, sheer vocal power and their unquestionably musical coherence.
kngiht84 3 years ago
you are correct, she was not perfect, but on the whole, she was better than this mismatched lot, when you consider, music, voice, muscianship, and interpretation. The others do not compare. And I dont always like her.
kgarmaker123 3 years ago
Again, your comment did not bring out WHY she stands out of this supposedly "mismatched" lot. What aspects of her musicianship, what aspects of her voice make her interpretation more superior than the others ? All I can hear is a very worn-out Callas. No doubt she sure had more than ample superb performances of this role but this is not one of them.
Then, I would be very interested in knowing your elaboration on how Caballe,here in her prime (60s I think), failed to musically portrait Imogene.
kngiht84 3 years ago
Montserrat Caballe the goddess gives us the definitive rendition. 10/10!!!
Renee Fleming sounds scary,this role is not right for her voice,it sounds like she could have wrecked her voice singing Il Pirata to often.
montsyblackmaddona 3 years ago 4
I agree. Fleming is terrible, She alters the melodic line, her high C's do not sound free they sound forced.. God and they criticized Callas?
kgarmaker123 3 years ago 6
I don't think Renee is trying to create a belcanto image for herself. Bel canto has been a part of her repertoire since early in her career. For instance, she sang this role for the first time on March 2, 1989 in New Jersey.
spsp2sp3sp3dsp3d2 3 years ago
I don't get what kind of bel canto people think Fleming has; & worst, some even quote Callas to back up their opinions. But seriously, as far as I remember, never at once have I heard Callas sobbing & creating numerous 'fake' emotions when singing. I adore Fleming myself, but she has been trying so hard to create herself a new different approach of bel canto that is rather bizzare and not quite enjoyable. (Well if you are a Fleming's fan, you would probably not understand what I really meant)
kngiht84 3 years ago 4
Thanks a lot for this video. An amazing Caballe as usual. What has Fleming tried to do here? I enjoy her voice but it seems the role does not fit to it.
enfava 3 years ago 4
i prefer Callas and Caballé! Forget Devia and
Aliberti. Fleming has a beautiful voice, but not suitable for this opera! Her drama sounds very strained and Callas-oriented
zafireh 3 years ago
They're all good. Some I like, some I don't. I personally really enjoyed Callas and Aliberti here. You know who really smashes this vocally and dramatically is Aprile Millo! She's wonderful in this one!
Iareto 3 years ago
Fleming: no style, as always!Caballè perfect; Devia boring as always; Aliberti absurd: the voice ans accent don't match the words!!!; Callas..I like her!!!
magicflute3 3 years ago
Gevia is wonderful and her middle voice is stronger than I expected. Caballeis moe exciting than ususal and this is one of the best performances I have heard from Aliberti. Callas is too heavy and Fleming should not be allowed near music like this.
rawdonqueen 3 years ago 8
E vogliono spacciarci la Fleming come una belcantista...
oloferne84 3 years ago
Ma con poco successo...
viafilodrammatici 3 years ago
This is indeed a great clip! Most sopranos just drown in this repertoire. Fleming runs out of breath from as early as the first aria and she is obliged to push the low register and squeeze the high one. Caballe and Devia just sail through the score, conveying the beauty of Bellini's beautiful lines. Unfortunately it is too late for Callas, who would have been the perfect Imogene in her prime. Aliberti is much better than I expected!!! A pleasant surprise.
belcantoBR 3 years ago 5
This comment has received too many negative votes show
Callas unsurpassed
Fleming sensational and without the slightest vocal problem or compromise
Caballe has huge agility problems in forte passages but her vocal type is just the right one for Imogene
Aliberti is lol
Devia screams and screams and screams And you know why? because there is no middle voice to sing with. Too sad that great singers decide at the end of their careers to sing the grand repertoire making fool of themselves (Gruberova-Norma, Devia-Bolena, Lucrezia, Imogene ...)
Lohengrin 3 years ago
Although I have only heard Devia live, I think Caballe has the best voice for the role - Callas had it 8-9 years prior to this performance. Devia offers my favourite approach stylistically and dramatically. Caballe almost goes for the more forcefull Callas approach here, in studio Caballe is much better. I never cared for Fleming's sound, her voice type and potential are fine for Imogene but she doesn't trust them and ends up sounding reckless.
Orfeus80 3 years ago 5
Fleming is not to my tastes at all. Pushed, raspy low notes and poor understanding of the style. Caballe and Devia are excellent all around. Callas is past her vocal best, but her wonderful dramatic skills compensate. Alberti sounds too thin and light of voice.
janejones11 3 years ago 11
@janejones11 Callas at that time had a cold and sinus problems. I find that pretty good for a singer who started her carreer about 25 years before that and has a huge cold. brava Callas
distefano13069609 1 year ago
Boo Fleming !!! Booo !!!!! Brava CALLAS for EVER !!!! Brava Caballé (most close to Callas),and also brava to Devia and Aliberti even if their voices are note really the voice of the Imogene !! Imogene is more close to Norma than to Lucia !
motardbear15 3 years ago
Again, Imogene is not a "Norma" role, quite the opposite, it's closer to Lucia in its demands.
LindoroRossini 3 years ago
What???????????? Sorry, but I think you'd better take a look at the score carefully. Maybe, as you stated, you don't get Bellini at all. Caballe herself claimed that Imogene was more difficult than Norma. Where would Imogene's role be close to Lucia in its demands.
sediziosevoci 3 years ago
The difficulty stems from the fact that the part lies a bit higher than Norma + is more florid. Caballe, being primarily a full lyric soprano, had some difficulty with lines that were simply different from music that was more comfortable for her voice, including Norma. Moreover, both Lucia and Imogene were created by singers with light, high voices as opposed to Norma was written for Pasta who seems to have been a mezzo with an especially well-developed high register (up to a D).
LindoroRossini 3 years ago
Norma is a part well-tailored to Caballe's talents: it doesn't really require anything higher than a high C; though it includes a fair share of coloratura, it is primarily a lyric, even declamatory part with some coloratura demands. Imogene just wasn't composed that way. The fact that Caballe was successful doesn't really mean that it's automatically a "Norma" role: just like in the case of "Lucia" she adapts the part to avoid any possible vocal discomfort.
LindoroRossini 3 years ago
So basically: Caballe is talking about how well the part sits for her voice, not how it is identically to "Norma". Many singers note that certain roles are more difficult for them than others, and that's perfectly justified. The fact that dramatic singers can sing successfully the parts of Lucia and Imogene doesn't really change the fact that they were composed for a different type of singers.
LindoroRossini 3 years ago
I meant, of course, "identical to "Norma"".
LindoroRossini 3 years ago
I think that in many respects Norma is somehow misunderstood today. It seems any soprano with a chunky voice can tackle this Bellini role. Sopranos that would never touch Puritani or Sonnambula attack Norma as if it were Wagner. It should not be this was at all. Of course this is my opinion, but I rather see Normas with agility in their voice rather than weighty voices that muddy up the beautiful line.
coloraturafan 3 years ago
I also think that Imogene is closer to Norma than it is Lucia. I believe this primarily because Bellini wrote his music using longer musical expressions. Lucia is classic Donizetti, and to me, that does not resemble Bellini's arching phrases at all. I think there is too much importance placed on the size of a voice. It should be about control, support, and agility. These are belcanto roles, they should have solid techniques, and of course fluid coloratura.
coloraturafan 3 years ago
If a role sits higher or lower, it is up to the individual singer to find a happy placement. Sometimes that means adjusting some selections up or down. This is common in belcanto music, and should not be looked down upon. I feel that composers such as Donizetti and Bellini wrote the music to suit a voice, then they would subsequently revise the music to fit another singer. This is just how things worked in those days. The whole process was more elastic than it is now.
coloraturafan 3 years ago
You're right, both roles came from one composer, so they are bound to be closer. I still fell, though, from the music that the... well, the colors of the roles are just different (not to use the word "weight" :) ). Imogene is, in my eyes (or ears), a light soprano, while Norma could be a lower sounding, darker voice (though still with enough technique for the coloratura). BTW, is it just me or is the tradition of casting Adalgisa as a mezzo not right (the role was originated by Grisi)?
LindoroRossini 3 years ago
About coloratura technique. I think that the problem is not even with Norma but rather with the whole approach to belcanto. It's often not treated as a separate musical period that has its own rules. I am often amazed at verisimo performances of belcanto works that omit quite a bit of music, including coloratura and/or repeats.
LindoroRossini 3 years ago
Coloratura wasn't something special back then, that is how the music was written and performed, it was a normal part of the music. The advent of verisimo cased more problems than one might think at first. In theory, any voice type should receive coloratura training as it is an integral part of technique. Though in recent years we have made a tremendous leap forward, we are still a long way from the naturalness of the belcanto and its singers. Maybe that's the problem: where is the naturalness?
LindoroRossini 3 years ago
Verisimo and its "by the page of the score" approach really does hurt the improvisation and naturalness of belcanto.
LindoroRossini 3 years ago
You are right about voice/roles, a singer who knows the limits of his or her voice must really adapt the part to avoid any rough edges (that's exactly what I admire in Caballe's rendition and similar situations). Not only did belcanto composers revise the music, they would add different or newly written pieces to best show the strengths of the singer. Still, maybe casting Imogene (or Amelia in "I masnadieri") as a dramatic soprano goes against what the composers were writing for specific voices.
LindoroRossini 3 years ago
imogene was never a light soprano mainly because light soprani can never support the middle voice line like imogene demands Even the fioritura in this role is written in middle and lower voice and that is Essential Bellini who never wrote for stupid canary birds
Coloratura is not a vocal type as 1-register soprani -and crazy fans- want to persuade us It is an ability that must be a part of a well developed voice either lyrical -commonest- or drammatical (rarest)
Lohengrin 3 years ago
and to Quote the great Callas herself, because in this Internet Monstrocity Phenomenon, evey little nobody has an "authoritative" opinion:
"...Trivella had a French method, which was placing the voice in the nose, rather nasal... and I had the problem of not having low chest tones, which is essential in bel canto... And that's where I learned my chest tones" (wikipedia)
As I have said many times in my life instead of Youtubing all day GO AND OPEN SOME BOOK!
Lohengrin 3 years ago
and your reference is wikipedia ....
operaholic001 2 years ago
Callas is the best in this role, even if her voice was declining, Caballè and Devia really wonderful. For music... there are no words to describe Bellini's genius!
dessayfan 3 years ago
everyone seems ready to complain that Netrebko can't sing belcanto, however we should never forget the little pearls that Rennay gives us from time to time...
honestly, what on earth was the woman thinking?
barleggero 3 years ago 2
Fleming is completely out of her element here. What in the world is she thinking?
nickbigd 3 years ago
The best: Devia.
The worst: Fleming.
(IMO of course)
TheAleph74 3 years ago 5
Thank you for this very interesting video.
It may be true that Devia´s voice is not dark enough for the role. But she sounds glorious and near perfect at almost 60 years of age !
She is here compared with three young singers under 40 - and comes out with shining colours !!
operabuff1 3 years ago 3
Also! I wish Millo had been included in this. Hers is WILD and the coloratura is right on.
figliadibolena 3 years ago
True enough, although Ms Millo has asked me not to post any of her videos. So I will respect that, as I have removed all of my previous postings of her. I have the greatest respect for Ms Millo and her art.
coloraturafan 3 years ago
I think the question is: Could Fleming BE more messy??!?!?!
figliadibolena 3 years ago 4
Oh Renee I so loved your voice but you now seem hell bent on wrecking it, with those terrible, gutsy chest notes that are not part of your make up. And those top notes now sound so thin. Stick to what you do best Kid.
mrrk 3 years ago
Aliberti, looking uncannily like Callas (and apparently watched over my a portrait of Malibran) is a bit lightweight. Her complete recording is a fine one. Devia handles the scene expertly. Caballé, seen here in her Paris debut, is in top form. Callas, seen here is Stuttgart (cond. Rescigno), brings insight into the role of Imogene. She avoids the final high note, even though she dispatches the Barbiere aria with ease. Fleming is Fleming. Glad to hear them all.
MusicaParola 3 years ago 2
To be honest, I really don't know any singers who have sung this role and proved "perfect". I personally like Caballe's recording of the work but even there I fell that something is missing. All singers here provide quite a lot of excitement but we would have to hear the original Imogene (Méric-Lalande) to be really hear how the role should be sung. Though even then there must have been long discussions on who would have been better suited for the role.
LindoroRossini 3 years ago
I meant: "to really hear how the role should be sung".
LindoroRossini 3 years ago
Fleming is sloppy! I would have loved to hear Sutherland do it, probably in the mid-late 70s when her voice was at its most "dramatic weight". It feels like a Norma-Maria Stuarda-Anna Bolena type role. For me, this would be one of Caballe's best coloratura roles. God, Devia's fantastic! Why did she never get a big signing for a recital disc? Callas, 10-15 years earlier could have been closer to perfection perhaps???
Operaphile 3 years ago 2
First off, I really don't think that the role of Imogene is even close to being a dramatical one. It was created by a singer who, and I'm judging solely on the roles she created (Elvida, Bianca, Palmide), was rather more lightweight than the roles you mention. Plus, Imogene is a classical damsel in distress, not really featuring any real emotional depth. She has nice music but that's about it. I mean, even her Mad Scene, as interesting as it is, is not really that necessary or logical.
LindoroRossini 3 years ago
I'm not saying that a talented singer can make much of the role but it's not really that much to begin with.
About Sutherland. I would personally prefer to hear her singing this part in 1959 - 1961 when her voice was most gentle, in accordance with the role.
LindoroRossini 3 years ago
"nice music"? I think Bellini achieved more than nice music. And how could a Mad Scene be logical?
sediziosevoci 3 years ago
Yes, there are at the very least two prime examples: the heroines' grand scenes in "Anna Bolena" and "Lucia di Lammermoor".
Anna Bolena isn't exactly mad, mostly delirious, her mind is filled with conflicting thoughts after all the abuse she gets from her husband; the woman could have had a much more pleasant life with Percy, instead of having to take Henry's accusations; her world has been destroyed by the whole affair, and she tries to grab hold of the moments when she was most happy.
LindoroRossini 3 years ago
Lucy, having been betrayed by the three people who were an integral part of her life (her brother, her tutor and her lover) finds herself for the first time in her life really alone. The murder of Arthur is basically her first decision in quite a long time (she is a very young girl).
LindoroRossini 3 years ago
I would suggest that the poor girl was being approached by her husband with propositions of sharing their bed which proved too much for her. But she isn't a murderer, and seeing a dead man is the final straw, she losses her grip on reality. Imogene's scene is more illogical, yes, she does experience a great deal but is it really enough to go mad?
Strangely, I find Bellini's "La sonnambula" which, arguably, is about nice people singing nice music much more rewarding. There the "niceness" works.
LindoroRossini 3 years ago
Of course, Bellini's music was more that just a couple of nice tunes (evidenced by a great deal of music from "Norma"). I was referring primarily to the role of Imogene which does seem to be a rather lightish part.
LindoroRossini 3 years ago
To sediziosevoci, that's the end of a rather longish reply. To be perfectly clear, my comments are not aimed at ridiculing the love that one is bound to have for Bellini's works, just a couple of side notes spiced up by a few of my personal views :)!
LindoroRossini 3 years ago
Thanks :) I really respect your thoughts and insights as I don't know anything about this role, except for the Caballe and Callas recordings. I was just going on the impression I developed from hearing them sing it. Still would have loved to have heard Sutherland sing it, and yes, probably now in her younger days.
Operaphile 3 years ago
Still, the fact that Callas and Caballe managed to create credible and highly dramatic portrayals speaks very highly of their talents. That's probably the beauty of opera: an excellent singer can take any kind of role, any kind of music and create something magical. It really does come down to the singing. About Sutherland, me too :)!
LindoroRossini 3 years ago
What I find interesting on hearing all these singers is that none of them (for me) offers an all around complete display of "belcanto": Callas sounds too veristic for my tastes; Caballe and Fleming are better in lyric repertoire (Liu would be a prime example), while Devia and Aliberti are lighter but perhaps too light (Devia is definitely better in higher music) or too plain (Aliberti's tone is not really beautiful, it is best described by the word "pale").
LindoroRossini 3 years ago
Callas: is dramatically quite attentive (the look on her face after she finishes singing is stunning); can be heard to better effect elsewhere (for example, in "Il Barbiere" with Gobbi, to cite the most obvious choice).
LindoroRossini 3 years ago
Devia: is more problematic than in the previous compilation; has problems with the lower lying line though is still brilliant on the top; is less exciting dramatically than Caballe and Callas.
Aliberti: has a rather pale tone; has the right vocal weight for the role (Devia is a bit too light; while Caballe, Fleming and Callas are a just a hint too heavy; it really isn't a "Norma" role, it's quite a bit lighter), if not the splendor; is really not that bad but offers less than other artists.
LindoroRossini 3 years ago
Fleming: is really pushing her lower and higher register (in places I hear a shift to the back of the throat on low notes); still has a very attractive middle register; again invests much in the drama, though probably a bit too much.
Caballe: is in her prime vocally and dramatically; includes some nice ornaments in the repeat; is weaker down the staff than above, though it does not matter that much; is better in the complete recording of the work.
LindoroRossini 3 years ago
"Oh! Sole! ti vela di tenebre oscure" is on Reene's Bel Canto Scenes CD. I think she handles the aria much better in studio. She uses more tasteful embellishments. I might post it as a "video" response tomorrow (if I still have the will to). This must have been an off night for her. Caballe and Devia are wonderful.
spsp2sp3sp3dsp3d2 3 years ago
Hmmm...I hope I'm not the only one that notices Renaaaaay's GLARING lack of bel canto technique. Her sense of phrasing is just cruddy, as it is every time I hear her in this rep (compare her to Caballe, who was a MASTER of the type of line & phrasing this requires). Also, I really question Fleming's choice of embellishments. I'm all for it in this music, but hers just don't seem to fit all that well. I realize all singers have off nights, but only on bel canto nights? C'mon...
BeauTenor 3 years ago
:) Couldn't have said it better :)
Operaphile 3 years ago
I'm glad to see that these are all live recordings. There's certainly a difference though between an aria concert and a 2.5 hour full opera!)
A 33 yr old Caballe is glorious, Callas is Callas (love her art and what she did for belcanto), Devia wonderful a sempre!,
Alberti better than expected though shy on top and Fleming has sung better but I'm thankful that she, Devia & Gruberova are keeping these treasures alive!
Don't forget a live rec'ding is a SNAPSHOT in time & we ALL have our off days.
operadude32 3 years ago