for this rare clip.I have heard Joan sing arias early on in her career,that were way out of her later repertoire,but not as far as this!
She does it well of course,given that she was mainly still a dramatic soprano.
I am loathe to loose her as a coloratura,but agree with missgreeneyes,that it would have been wonderful to know what she would have done with the voice if left as a lyric dramatic one
dang Bonynge...left alone this voice would have matured into something magnificent,imagine her Norma sung like this,yes,she's young,but she lost all this dramatic power later on. Brunnhilde,nah,but imagine her Elizabeth,or even Isolde...
For Sutherland fans, this is a treat because she's very young here. Aida is not a role that's she's associated with; nor really suited to her. Leontyne Price will always be the best Aida. Sutherland did not have a Verdi voice (except for Violetta). It's interesting to me to note how even Beverly Sills, whose voice was light lyric also sang Aida in the 50's before she had become famous. That was a role not suited to her either.
Lol, I love stumbling upon your comments. In this case, I disagree. More with the second half than the first. For a singing competition of this nature, and considering Sutherland's age and experience at this point in her singing life, it's fairly remarkable. Besides, I think the video is more of an historical oddity, for those who wish to hear the young Sutherland, than the work of a serious professional.
Thank you! I have this aria by her in another version. The sound is pretty good here! She really had a good diction here, that she has lost later (have a look at her late Madame Lidoine), maybe to get her vocal passagios easier, but we can hear she was fascinated by Flagstadt in some of the colors she brings here and there.
On this performance I don't think she would have had as great a career in this type of music as she did in bel canto. And at that time Tebaldi & Callas among others were supreme in Verdi.
Sutherland was very young here, her voice quite immature. She had only been singing the soprano repertory for a few years at this time. She had been singing mezzo arias until age 20 or so. The voice gained size and weight as the years advanced, and the voiced "sat" lower when mature. The mature Sutherland had large and ringing Bbs.
Funny, she does sound like a coloratura singing Aida. Size is not what determines rep, although it's important. Rather color is more important. Her voice "peaks" higher than a true dramatic soprano. You can hear her Bb is weak because of the weight she puts on the middle.
Not at all coloratura to me. The nature of the voice, a young but true soprano drammatico is much in evidence here. The B-flat is weak because this performance was at a point when she was still aligning the voice. Listen to Senza Mamma a year later and you will hear a huge difference. I still maintain that she would have done well in Wagner had she continued training as a dramatic soprano. Remember too, that Convent Garden was giving her the training given to a Hochdrammatisch.
@tenorissimo Do you know where I could find her "Senza mamma"? I know there are other recordings from the 50's, including a duet from Roméo et Juliette, but I was never able to find them...
I know she made Aida more than a dozen of times in her first years at the Covent Garden. According to an excellent text I read about her early career, she was very praised by the critics in her portrayal of Aida. What a pity we don't have a recording of that! I'd especially like to hear her "Fuggiam, gli ardori inospiti" and "O patria mia".
Good Lord, how old is this recording? 1946 or 1948? The beauty of the tone was already apparent, even if the top seemed a bit nervous. Thanks for the post.
Apologies bcndn63,
It was YOU I was agreeing with not missgreeneyes!
I need new spectacles,I was not looking right.
Sorry.
MrSwifts31 1 year ago
Thank You ilsansculotto
for this rare clip.I have heard Joan sing arias early on in her career,that were way out of her later repertoire,but not as far as this!
She does it well of course,given that she was mainly still a dramatic soprano.
I am loathe to loose her as a coloratura,but agree with missgreeneyes,that it would have been wonderful to know what she would have done with the voice if left as a lyric dramatic one
We can only be grateful the way she did go.
What if gets us nowhere
MrSwifts31 1 year ago
Egyptian Italians.
missgreeneyes56 1 year ago
dang Bonynge...left alone this voice would have matured into something magnificent,imagine her Norma sung like this,yes,she's young,but she lost all this dramatic power later on. Brunnhilde,nah,but imagine her Elizabeth,or even Isolde...
bcndn63 1 year ago
R.I.P. Joan Sutherland, La Stupenda...1926 - 2010...singing with the angels now
AmericanEvita 1 year ago
Very good, the Sutherland high placement is there and the DICTION! is excellent!
TheVerdiBaritone 1 year ago
For Sutherland fans, this is a treat because she's very young here. Aida is not a role that's she's associated with; nor really suited to her. Leontyne Price will always be the best Aida. Sutherland did not have a Verdi voice (except for Violetta). It's interesting to me to note how even Beverly Sills, whose voice was light lyric also sang Aida in the 50's before she had become famous. That was a role not suited to her either.
AmericanEvita 1 year ago
"Ritorna vincitor" in English, I see. Comical to no end. LOL!
Scalatti 1 year ago
What year, please? (Why do people often leave that out of their postings!?)
liedersanger1 2 years ago
The best Aida ever is Leontyne Price. But Joan Sutherland was very good here considering her youth and vocal inmaturity...
yodavidnavarro 3 years ago
not good
cek1111 3 years ago
Lol, I love stumbling upon your comments. In this case, I disagree. More with the second half than the first. For a singing competition of this nature, and considering Sutherland's age and experience at this point in her singing life, it's fairly remarkable. Besides, I think the video is more of an historical oddity, for those who wish to hear the young Sutherland, than the work of a serious professional.
33blueberries 3 years ago
Thank you! I have this aria by her in another version. The sound is pretty good here! She really had a good diction here, that she has lost later (have a look at her late Madame Lidoine), maybe to get her vocal passagios easier, but we can hear she was fascinated by Flagstadt in some of the colors she brings here and there.
foropera 3 years ago
On this performance I don't think she would have had as great a career in this type of music as she did in bel canto. And at that time Tebaldi & Callas among others were supreme in Verdi.
mrrk 3 years ago
Sutherland was very young here, her voice quite immature. She had only been singing the soprano repertory for a few years at this time. She had been singing mezzo arias until age 20 or so. The voice gained size and weight as the years advanced, and the voiced "sat" lower when mature. The mature Sutherland had large and ringing Bbs.
Hako2004 3 years ago
Funny, she does sound like a coloratura singing Aida. Size is not what determines rep, although it's important. Rather color is more important. Her voice "peaks" higher than a true dramatic soprano. You can hear her Bb is weak because of the weight she puts on the middle.
Dymension 3 years ago
Not at all coloratura to me. The nature of the voice, a young but true soprano drammatico is much in evidence here. The B-flat is weak because this performance was at a point when she was still aligning the voice. Listen to Senza Mamma a year later and you will hear a huge difference. I still maintain that she would have done well in Wagner had she continued training as a dramatic soprano. Remember too, that Convent Garden was giving her the training given to a Hochdrammatisch.
tenorissimo 3 years ago
@tenorissimo Do you know where I could find her "Senza mamma"? I know there are other recordings from the 50's, including a duet from Roméo et Juliette, but I was never able to find them...
Homoclassicus 1 year ago
Such RARE footage. Thank you so much for bringing it to us!
drdre333 3 years ago
I know she made Aida more than a dozen of times in her first years at the Covent Garden. According to an excellent text I read about her early career, she was very praised by the critics in her portrayal of Aida. What a pity we don't have a recording of that! I'd especially like to hear her "Fuggiam, gli ardori inospiti" and "O patria mia".
Homoclassicus 3 years ago
Very interesting. She is presented has a Dramatic Soprano. That's what she was at the begining. She did Aida at Covent Garden in early 50's.
As far as a know she didn'd sing Aida with Callas and Simionato, but Norma...
albertogrilo 3 years ago
She sang the High Priestess with Callas, Simionato and Baum in 1953.
And Norma (she sang Clotilde) with Callas, Stignani and Picchi in 1952
ilsansculotto 3 years ago
Thank you very much ;)
albertogrilo 3 years ago
I think she did Aida on stage...But I havo to check...
albertogrilo 3 years ago
Yes, she sang Aida in her "Anni di galera" at the Covent Garden
ilsansculotto 3 years ago
OMG this is amazing!!!!!!
What would have happend if she stayed at this reportoire?
Not bad at all!!!!
Hail La Stupenda.
andreasscholl 3 years ago
Who'd have known she'd become a coloratura?
Jabe88 4 years ago
Good Lord, how old is this recording? 1946 or 1948? The beauty of the tone was already apparent, even if the top seemed a bit nervous. Thanks for the post.
Hako2004 4 years ago