Added: 4 years ago
From: sutherland9
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  • SUPERB!

    

  • This trio from the Opera Norma by Bellini is OUTSTANDING, and also it it magnifique, original and unique. One the best I have seen. Thank you for allowing us to enjoy it.

  • Three voices that blend so beautifully and three wonderful people who so obviously enjoy performing together and for a moment in time, sharing their greatness with us mere mortals! Brava! Brava! Bravo!

  • @MrAndredekock : Yes, "for a moment in time" we had gold before us. Thank the Lord that I knew that at the time, that I knew this was so rare, as I watched these wonderful artists perform back in those "golden days." It seemed then that every month or so there would be some wonderful concert coming from one or two or all three of these greats, these gods, of music. We were truly blessed with their gifts.

  • AND THEN PAVAROTTI STARTS SINGING

  • quanto paghereste oggi per sentire questo dal vivo!????

  • Bonynge è narcolettico.

  • Magnificent! Three of the greatest operatic singers of the twentieth century. Would that we had their like today. Brava! Brava! Bravo!

  • ¡Esta versión es INSUPERABLE! ¡BRAVO!

    And I agree, I don't see who can replace these amazing voices... Dame Joan Sutherland used to say that singers, nowadays, don't seem to develop a good technique.

  • SIMPLY THE BEST.

  • These three voices are so great. I have been loving them since their beginning of time in Europe and Australia. They will be difficult to equal.

  • @marysiadeklerk I don't think they will be equaled!!

  • my soul sings with them!

  • They all were in top form here--bravo!

  • @ Laienus: How lucky of you to be there!!! I have the recording and it's my favorite. Those three voices together... There are great singers today, but hardly a replacement for those giants. We will sadly miss Dame Joan.

  • I adore Marilyn Horne's voice... just so rich.

  • I was at that concert-memories indeed!

    I know we're supposed to think opera is as exciting today-but where are the replacements for the vocal splendor that these three and many other names of that era offered?

    They're almost all dead now-thinking that Vickers, Bergonzi, MacNeil-of course Horne-still alive-all the rest have are gone-hard to think what seemed yesterday is already 30-40 yrs ago!

  • Memories & Utube will last 4ever

  • @AriaDivina and jack75002, I share in your sadness. What a TREMENDOUS loss to the world. Alas, she has left us with wonderful memories, and beautiful, stupendous performances and recordings. We were quite fortunate to have had her with us at all. I am enormously grateful for all she's shared with us.

  • Madame Sutherland vient de nous quitter pour aller retrouver Pavarotti! quelle perte pour le monde !

  • @jack75002 Oui, jack75002, quelle tristesse. C'est grâce à elle que j'ai appris comment faire le "trill" bien fait, pas une imitation ou "fake". My heart hurts because she was one of my favorites. God rest her soul. I pray to hear this sublime voice before the Throne of God one day, right along with Pavarotti. Indeed, my friend what a loss for all of us.

  • 9 to 5 dolts? Oh, I suppose the 9 years I spent with one of Callas' last students from Juilliard was during my 9 to 5 hack period. You do what for a living? Imitate Lauritz Melchior in drag? Come to my house, anytime, I will sing you under the table, and I will rip you a new asshole while I am at it. You have no right to say things like that to people, in writing or in person. I hear what I hear based on a lifetime with music. Now don't both geniuses like me, you foolish peasant.

  • The best of their voice fach.

  • I feel Sutherland , Horne & Pavarotti are 3 of the greatest voices of last Century along with Callas.

    I hate hearing comparisons between Callas & Sutherlans they were both very different singers. Both were very amazing in their own rights. If I had to make a compsrison between Callas & Sutherland I feel Sutherlands Voice was purer & less forced than Callas but Sutherlands diction left something to be desired at times. Lets just appreciate what most of us missed live century.

  • As I wrote several times, there is no youtube video from Norma without comments containing the name Callas. This in itself says everything...It says that Norma can hardly or at all be imagined without Callas.

  • sometimes i hear joan's voice and i think i've died and i'm listening to an angel.

  • i have trouble believing that this is from 1981...

  • 3 off the greatest doing what they know best!!!

  • Doing it by numbers. Very dull, no involvemennt and feeling. Just a product, not badly sung.

  • I think it is so funny how people always have so much to say about these accomplished artists and your still working your 9-5 and struggling to get by. When you become a world renown super star and house hold lable then talk. Until then keep your negative comments to yourself if you have nothing good to say.

  • @QueenMotherAkasha I'll admit there's really nothing bad to be said about them, but you don't have to be able to do to critique. One of the most important aspects of art is the critique, unless we critique our understanding will never deepen and grow. Enjoy it for what it is, but also take a critical ear to it, learn what you can from it. No Clement Greenburg couldn't do what Mondrian could do, but no one would blame him for his thoughts on formalism.

  • @QueenMotherAkasha Because on many occasions we 9 to 5s have been to thousands of performances and have excellent ears, while oftentimes people like Sutherland and Horne fell into bad habits, such as poor diction and droopy pitches on Sutherland's part and coloratura passages that sounded like artillery practice on the part of Horne. "World renowned superstar" means they sell tickets, it does not guarantee real artistry. Pavarotti was the exception, of course.

  • @sillyboydeux i agree completely

  • @QueenMotherAkasha I understand your point of view on other people´s comments but, first of all, do not forget that every comment even the silly ones should be considered and welcomed as this is what you tube is on about, this is a channel with a comment space made actually for this particular perpose, if you do not like what others say simply say it with manners ( I am not saying you do not have manners). We all need to try to understand everyone unless people became rude, then we block them.

  • Oh you know it all opera queens ,,, picky

    picky .. picky. you gals can't seem to

    enjoy anything..

  • I WANT THIS DVD

  • Callas only? Only? Hardly. I'm sure that many thought that the original Norma, Giuditta Pasta, was the ONLY Norma. Many different singers can bring different things to any part...there is never an "only".

  • I would love to hear horne and sotherland do the flower duet, did they?

  • yes

  • If,according to critics, these three voice phenomena don't agree perfectly when singing,

    then, WHO?

  • hey joan it's "core" not "corre"

  • diction has never been her strength

  • Great trio.

  • La invidia es un gran problema en la vida d los "criticos" que jamas llegaran a los pies de cantantes tan excelentes cuanto Horne, Sutherland y Pavarotti.Todos que escriben cosas mals de ellos o de otros gran catantes del Bel Canto son personas infelices por jamas llegar a donde llegarron ellos.Pura invidia...y la invidia mata !

  • Los críticos son cantantes frustrados.

  • @crazymozarteum Completamente de acuerdo contigo. estos ya deben estar bajo tierra muertos por la envidia.

  • As a voice teacher, I would love to correct some misuse of terms: Bel Canto is not a single technique, rather an aesthetic that gets interpreteted in different ways by different singers. These three may agree about some aspects, but definitely they are not in agreement in other areas: they shape their resonators in very different ways, some engaging, for examplem the pillars of the fauces more than othes. Their 'sound' and delivery of line would be different if they adopted each other's approach

  • condivido pienamente

    come si fa ad apprezzare un cantante che non fa capire una parola

    a me, modestissimo cantante, hanno insegnato che bisogna far cpire le parole

  • Non lo so.

  • Also, I think Luciano had the clearest voice of the three.

  • I feel like Horne has the best technique out of the 3 lol. Definitely better than Sutherland.

  • Marilyn Horne is using the same techinque as Joan Sutherland is. The Bel Canto techinque. The problem may be that Joan Sutherland was known to not be as clear in her phrasing of the words themselves and that her voice is so immense - being a dramatic coloratura soprano. While Marilyn Horne was, ironically, formerly a soprano whose voice slipped naturally into a mezzo-soprano range.

  • My attitude--IT's ALL GOOD!!!!!!!!!

    The "compare and contrast" crowd who put down one to elevate the other are timewasters.

    You need a variety of voices and styles IN ORDER TO COMPARE.

    If they were all the same, it would be very dull indeed, and, well, SUCK.

    It's ALL GOOD, again I say!

  • it's meaningless to compare Callas and Sutherland, both had magnificent voices and had won the world wide reputation!

  • It's meaningless for the public of corse.

  • sometimes i wonder what you people are listening to, when you hear this music. belcanto-bellini,is a period approach to opera for the well heeled afficianato. it can only be judged on a personal level, with your whole soul involved in the totality of the experience. spoken by a musician who has sat in the pit for years, and experienced it all "live" many times...just enjoy bellini for what it is...belcanto...

  • It is known that Sutherland was much better than Callas, only reason callas was famous because of her high profile affair with Onassis. Anyone at Covent Garden will say that Sutherland was the best performer they ever had on stage.

  • Is that so? Thanks for the clarification menukjau. I may have been going mistakingly somewhere else all these years.

  • Callas was extremely famous far before she even met Onassis, learn your facts- she was famous for her booming high soprano voice. The strength of a lower voice with the range of a higher voice.

  • oh please that's a bit dramatic don't you think. She was not "extremely famous" before she met Meneghini. She met her future husband in Italy after leaving New York because it was so loaded with singers from Italy at that time the competition was so heavy she couldn't get consistant work. I do agree that her voice was incredible, at least to my ears but, her technique was always suspect among classical purest.

  • I never said she was EXTREMELY famous before Meneghini I said she was extremely famous before Onassis. ;)

  • sorry your right, u did say Onassis. May I'm the one who is a bit dramatic, yes. :p

  • well.. i guess that callas fans dont like joan's version of the trio.. cant do anything about that. i..for one..love both versions...

    my take:

    joan brings the gentle and melancholic versions of the characters while callas brings the dark and diabolical version...

    totally different..

  • Well, I beg to differ with you. Callas shows both the soft side and the diabolical side/ dark side as it were.. as Norma does contemplate killing her children in getting revenge over Pollione.. Norma should not ever be boring.. She was a multifaceted character with a full range of emotions.. Anger/ hatred/ vengeance, along with love, joy, anticipation, contemplative, etc. You see this in CAllas portrayal. And you hear the words! Why if I can understand Pavs words should I knot understand Norma?

  • i admit this isnt their best performance, but these three are three of the greatest in their own voice type. respect that. one faulty performance doesnt make the artist, their life style as musicians does.

  • they transformed the most drammatic trio into what exactly i cannot quit understand... a beautiful walk in the gardens? This is unbelievably wrong from a drammatic point of view. These chars are supposed to be torn from agony...

  • I missing drama en expression and feeling! sorry but I dont like it.

  • i love Southerland and horne and pavarotti wonderful and about comparing Maria callas to this singers well its just a comparison from other points of view but they are all great singers from the Old school from a gone era i wish singers of today would sing at list 50% like this singers

  • BBAAAADDDDDDDDDDD!!!

  • Just listen this trio in performance of Callas, Simionato and Del Monaco

  • All three have beautiful voices, but there is no of pathos or dramatic concept/involvement! This, by all means, is a chamber performance.

    Please don't make my username a 'reason' for my having this particular opinion.

  • Do not worry Maria, as you have been dead for years.

  • All three have beautiful voices, period. You don't need to say anymore. When I hear Callas' Norma I hear lots of pathos, but I'm sorry to say that I don't hear a beautiful voice. This is bel canto and Sutherland, Horne, and Pavarotti were the masters.

  • But the bel canto prima donnas in the time of Donizetti and Bellini, reportedly, did not have the most flawless of voices (I'm talking about Malibran and Pasta), and were revered mainly for their dramatic instinct. Bel canto being simply 'beautiful singing' is probably the biggest myth in opera. It is not beautiful singing. The composers wanted their operas to have more purpose than simply to soothe the ear.

  • They wanted their dramas to melt the soul.

    Early Sutherland did have dramatism, and that, coupled with her voice, made her a most remarkable of singers. But, here, she's singing notes. Pavarotti, too, at times, was quite dramatically involved (his Manrico against Scotto's Leonora was quite intense), but here, he's not involved.

    All three have sung much better than they do here.

  • could you please tell me when did you hear pasta and malibran?. do you have invented the time machine?. Bel canto will always mean Beautiful singing which doesn´t mean superficial and empty.Show more respect. these were great great singers and i´m sure norma was ther that night.

  • It is respectful for me to say that each of them have had better performances, for each of them did have much better performances than the ones here, both vocally and dramatically.

    And, no, I don't have a time machine, but it is known knowledge that their voices were definitely not flawless. Through reviews, one learns that both didn't have perfectly even voices throughout the range (and Pasta even sang flat and didn't have a 'pure voice').

  • Read the descriptions of Pasta's Voice by Stendhal: "...a voice of three uneven registers, with a dark choked sound being able to convey enormous amounts of the most intense feelings of agony and stress..." Bellini never wrote for beautiful voices. Pasta was his Goddess and her voice had nothing to do with Sutherland's.

  • Bellini never required a beautiful voice to sing bel canto. Giudita Pasta had a voice that was never characterised as beautiful but with three uneven registers, dark choked sound and enormous ability to convey emotions= NOT THE VOICE OF SUTHERLAND.

  • I don't understand why the voices need to sound "uneven and choked" to convey drama and emotion. There are many other ways to convey despair and agony. Maybe the role was written for a woman who wasn't a very good singer, but that doesn't mean that everyone who sings Norma must sing that way. I'm not Bellini, and I know I wouldn't like Pasta and I certainly don't like Callas.

  • Very interesting question... Two replies: 1. Sutherland never managed to produce even the slightest emotion through her beautiful singing-we are discussing a singing so souless that makes you wonder if there was a human underneath singing 2. from a philosophical point of view: is Beauty the medium of Emotion? I dont think so. And by the way, Pasta was a FANTASTIC singer according to Bellini's opinion.

  • It's an exaggeration to say that Sutherland never conveyed any emotion. Maybe she didn't make the same sounds as your favorite singer, but there is emotion in her voice. Sutherland tried to convey sadness and despair without making it sound as though she had lost control of her voice in places.

  • I maintain that the young Sutherland did in fact express a lot of emotion- not through colouring like Callas, but through extremely attentive phrasing and musicality. Then the mannerisms/bad habits crept in....

  • @zacharybr What Bellini, Verdi and Donizetti required of soprano voices would not allow any singer today to have a career longer than 3 or 4 years. Romantic opera and ballet emerged in mid-19th Century Europe as an escape from the commercialization of culture, the "Industrial Revolution". Consequently, the Giselles, the Odette/Odiles, the Normas, the Violettas, were smitten with the idea of "kamikaze singing" "dancing til you drop". In our more tempered modern world, it just isn't possible.

  • I think it is in this concert that they performed a trio from Verdi's Ernani with Horne singing the bass part of Silva. It was first published on the LPs but disappeared from the cds and dvds (I think) Does anybody have it and coul please post it?

  • LOLOL!!

  • a young Pavarotti and all the others in their prime where is the drama...they left it at home here just singing where is the heavenly Callas performance of the Norma arriving on the thunder and crying on her loss... here just singing, nice

  • I was thinking of Marisa Galvani. I remember her early 1960's Norma with The Patterson Lyric Opera in N.j.

  • maybe he means Callas (I would certainly disagree on that matter)?

  • Is always the same thing Callas vrs Tebaldi or Callas vrs Sutherland, God, that's just bad.

    I thing the best Norma was Caballé, she has the most perfect and beautiful performance of Casta Diva

  • but my favourite artist is Dame Joan Sutherland

  • i think sutherland was perhaps the greatest and elegant soprano,she was no beauty like callas,if she had been....

  • Joan was a terrific Norma but I think we all know another who was the greatest.

  • who?caballe?

  • RIP Maestro.... ;-(

  • Three great artists - and a great piece of music, indeed.

  • Joan should have retired 11 years before she did - her lst years were more shameful than Callas's one brief eriod of decline.

    Ah, Joan - she sounds like she's trying to clear her throat after eating too large a piece of turkey at Thanksgiving.

  • You have the right to have your own opinion, but you should be more respectful because she was a dedicated artists who did much to the Opera world. Thousands of people kept enjoying her in the 80's as well as dozens of Opera theaters kept hiring her. They can't all be wrong. You also should make statements with good arguments, because those you said aren't arguments, but just hateful nonsense phrases. Your nickname just suggests you are a manic extremist fan of some singers...

  • Seeing this concert live was the hight point of my opera viewing. This concert made such an impression on me that I still remember almost every note. I often hear this in my mind and enjoy it over and over again. It is on CS and video as well. It was a magic evening!

  • Could a trio like this be assembled today? I don't think so. Sorry kiddies if you're too young to have heard singing like this...

  • I think this is the most perfect trio with the most perfect voices in the world. Thanks thanks. I love this.

  • I forgot Richard. He is great too and so much responsible of sutherland's miracle.

    Thanks God for these people. I love this video. Many thanks.

  • EXCELLENT

  • Joan Sutherland rules. Simple as that. She's a miracle.

  • bravo!

     remus

  • These three will NEVER be surpassed. Thank God I was able to hear their miracle voices.

  • Acceptable,no more,academic singing.The dramatic situation is very different! Pavarotti no Pollione,Horne great singer,better as Rossini's and Vivaldi's singer.Sutherland very great Norma anywhere else

  • All comparisons are odious.

  • Let's hear you all do it better....

  • @SieglindeMoos Oh pull-lease SieglindeMoos. LIfe isn't worth living unless you can judge what you cannot do as well! Live a little!

  • Actually Pollione is a lyric tenor role. Guess what? Pav is a lyric tenor!!! You've been listening to those putrid recordings of del monaco and the really bad one with vickers. it's a lyrics role like all of Bellini's tenor roles. they were all written for the same tenor in mind. Maybe you havent heard of him RUBINI!! guess what? he was a leggiero

  • yes, you are right; however, vickers and del monaco are great tenors anyway: not in their role when they sang Pollione, but it was a tradition to give this role to more dramatic tenors, not a personal decision.

  • I'm sorry but Pollione was NOT written for Rubini, it was written for Domenico Donzelli who had a low tessitura-nothing above an A-and was considered one of the first true dramatic tenors. Pollione is anything BUT a leggiero role-trust me, I am a leggiero

  • Always a woman from real flesh and blood!Joan WAS Norma!!!!

  • I could have not put it better myself! Joan was The Norma!

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