What I have always admired in Montserrat's style is that she has perfect control over her breathing. She can even sing lying flat on the ground without impairing the quality. Very few singers can do that.
This is the ORIGINAL version that Donizetti wrote! There are no high E flats written in the original version. The high E flats and trills that people are so used to were added on much later by sopranos who wanted to add embellishments to the score. In fact, Callas herself considered performing this version, but feared that the public would not understand what she was trying to do. Caballe is the only soprano whose Lucia is the "con scrito" version. It's interesting and refreshing.
@Zva26 Thank you for your factual comment about the Eb. I think Monserrat gives a very touching and exciting rendition here. I enjoy the range of color, from delicate saddness, to impassioned despair. Monserrat is so musical and flexible, I'm sure she is singing this as
the character that she envisions Lucia to be. She is a singer with tremendous control over her voice.
I believe she renders her musical interpretations by decisions, not by limitations.
@tuadolcefanciulla - It's very unfortunate that people don't realize that top E flats were RARELY ever written into the original scores of operas. There are no written E flats for soprano in "Puritani" or "Sonnambula" either. Caballe's approach to Lucia is exactly what Donizetti wanted. Sadly, all sopranos since the 1860's included top E flats and trills. Donizetti never wrote them. Caballe sings the role "come scrito" and is to be respected and admired for so doing.
@tuadolcefanciulla - I heard Maria Callas say in an interview that she considered Lucia di Lammernmoor a dramatic soprano role, not unlike Anna Bolena. Callas sang a very dark and somber Lucia, in keeping with her concept of the role. Callas had the technical command in her prime to sing E flats, but as the years went on, the erstwhile command declined. She sang Lucia in Dallas without ANY E flats. Her performance was so riveting that audiences couldn't have cared less. Viva Caballe!
@Zva26 What could be MORE dramatic than a young woman deeply in love, who believed she gave her
vows of marriage to her beloved Edgardo, forced to marry against her will. I'm sorry she didn't kill her brother. The husband forced upon her never knew he was a political pawn for the brother's benefit. The brother deserved to be killed, and the unwanted suitor, released with an apology. HUMMMPH!! Ah, but it's opera. GAWD!!!!!!!!!!!!!!!! No Oscars for script here :~)
@tuadolcefanciulla - THAT is certainly true! The plot of Lucia is pretty stupid, but we can say that about most opera plots. It's the music that makes it live. In fact, I personally prefer Anna Bolena, Maria Stuarda, Roberto Devereux, Poliuto, and the two comedies ("Pasquale" and "L'Elisir"). And you're right ---- people need to be educated about embellishments and E flats that were never required by the composer. I fell into the same trap many years ago until I studied and learned more.
@tuadolcefanciulla I heard a staged performance in Chicago many years ago. I think it was Freni and Kraus. Freni had no E flats, and I thought that she shouldn't have sung the role. In fact, Freni was singing the role "come scrito". I had become so used to the Joan Sutherland embellishments and top E flats that I never at that stage even IMAGINED that those decorations weren't sanctioned by Bellini. People need to learn these things, and they do gradually.
While Inva Mula's is beautiful (Fifth Element) but that was technologically enhanced to 'mimic' theatrical accoustics ... while Caballe and Callas were recorded with 'naked' or 'exposed' vocals
This comment has received too many negative votesshow
Qui è indifendibile! Pessima! L'avesse incisa negli anni Sessanta, forse avrebbe anche potuto restituirci una 'Lucia più lirica e meno elggera' plausibile. Ma qui la goffaggine, le sciatterie e le imprecisioni non si contano!
This comment has received too many negative votesshow
No...i agree...not 'her role'...at ALL!!She don sound like she believes a WORD she's singing...and her coloratura aint 'fluid' enough!!Callas revived this role from the dreadful habits singers (the few who could even take it on!!) had gotten into...she made all the embellishments/florid singing all MEAN something (as they actually DO 'as written'!!)Old Monse sounds like she can barely execute the most basic embellishments in this recording...she has the same problem with 'Traviata' as well!!
NO! Sorry..although this is beautiful and grand....it's just not suited to the part of Lucia...this aria I like sang with more of a sick, haunted sound...and the coloratura ought to be you know..really high and bird like and you wonder just how she did that....Caballe's grand dramatic , healthy mature voice didnt match with the frail sick Lucia role
I agree. It's just a diferent type of voice required for Lucia. Caballe has a very "Old Lady" type of tint in her voice and for Lucia it sounds weird.
She hits an E flat in "I Lombardi", but those were not comfortable registers for her, her best sound is up to high Db! and I prefer her like that, it's more elegant in her voice.
The highest actually written in this opera was high C, if she was to interpolate anything it would be up to the high F, since most sopranos sing this in the lowered key in order to sing a high E-flat. Montserrat did have a good high Db both in pianissimo and fortissimo, and a rarely heard high D.
Simplemente espectacular!!.
es impresionante la técnica de la Señora!!,
sin duda es la mejor interpretación que he escuchado de esta aria tan hermosa!!.
rodrigosaenzable 4 months ago
In spite of what all the interpretational pedants are saying, that pianissimo at the beginning made me drop my knitting. No one can touch this woman
flicfan416 7 months ago
What I have always admired in Montserrat's style is that she has perfect control over her breathing. She can even sing lying flat on the ground without impairing the quality. Very few singers can do that.
Argentynegal 10 months ago
This is the ORIGINAL version that Donizetti wrote! There are no high E flats written in the original version. The high E flats and trills that people are so used to were added on much later by sopranos who wanted to add embellishments to the score. In fact, Callas herself considered performing this version, but feared that the public would not understand what she was trying to do. Caballe is the only soprano whose Lucia is the "con scrito" version. It's interesting and refreshing.
Zva26 11 months ago
@Zva26 Thank you for your factual comment about the Eb. I think Monserrat gives a very touching and exciting rendition here. I enjoy the range of color, from delicate saddness, to impassioned despair. Monserrat is so musical and flexible, I'm sure she is singing this as
the character that she envisions Lucia to be. She is a singer with tremendous control over her voice.
I believe she renders her musical interpretations by decisions, not by limitations.
tuadolcefanciulla 9 months ago
@tuadolcefanciulla - It's very unfortunate that people don't realize that top E flats were RARELY ever written into the original scores of operas. There are no written E flats for soprano in "Puritani" or "Sonnambula" either. Caballe's approach to Lucia is exactly what Donizetti wanted. Sadly, all sopranos since the 1860's included top E flats and trills. Donizetti never wrote them. Caballe sings the role "come scrito" and is to be respected and admired for so doing.
Zva26 9 months ago
@Zva26 Yes indeed. That is also true of Sempre Libre in Traviata. There was never an Eb written.
People have come to expect to hear that. The Renee Fleming, Villazon DVD is a gorgeous
production & Renee, who's perfectly capable of an Eb (her Thais DVD) chooses not to do so.
I'm not against embellishments, but audiences ought to educated, as you've done, to the fact
that this practice is not REQUIRED by the composer. One should not fault the singer who
chooses "come scritto".
tuadolcefanciulla 9 months ago
@tuadolcefanciulla - I heard Maria Callas say in an interview that she considered Lucia di Lammernmoor a dramatic soprano role, not unlike Anna Bolena. Callas sang a very dark and somber Lucia, in keeping with her concept of the role. Callas had the technical command in her prime to sing E flats, but as the years went on, the erstwhile command declined. She sang Lucia in Dallas without ANY E flats. Her performance was so riveting that audiences couldn't have cared less. Viva Caballe!
Zva26 9 months ago
@Zva26 What could be MORE dramatic than a young woman deeply in love, who believed she gave her
vows of marriage to her beloved Edgardo, forced to marry against her will. I'm sorry she didn't kill her brother. The husband forced upon her never knew he was a political pawn for the brother's benefit. The brother deserved to be killed, and the unwanted suitor, released with an apology. HUMMMPH!! Ah, but it's opera. GAWD!!!!!!!!!!!!!!!! No Oscars for script here :~)
tuadolcefanciulla 9 months ago
@tuadolcefanciulla - THAT is certainly true! The plot of Lucia is pretty stupid, but we can say that about most opera plots. It's the music that makes it live. In fact, I personally prefer Anna Bolena, Maria Stuarda, Roberto Devereux, Poliuto, and the two comedies ("Pasquale" and "L'Elisir"). And you're right ---- people need to be educated about embellishments and E flats that were never required by the composer. I fell into the same trap many years ago until I studied and learned more.
Zva26 9 months ago
@tuadolcefanciulla I heard a staged performance in Chicago many years ago. I think it was Freni and Kraus. Freni had no E flats, and I thought that she shouldn't have sung the role. In fact, Freni was singing the role "come scrito". I had become so used to the Joan Sutherland embellishments and top E flats that I never at that stage even IMAGINED that those decorations weren't sanctioned by Bellini. People need to learn these things, and they do gradually.
Zva26 9 months ago
I don't think the song is suited for dramatic sopranos. But I like the way she delivers it though not as great as when it is sung by a coloratura.
ApparoDei 1 year ago
Where is the coloratura, thrills and the E-flat? Not her role, beautiful tone, just about it!
NEBESHIKU 1 year ago
I think Izabel Bayrakdaryan's voice could do this, she sang "Evenstar " for "Lord of the rings"
armen9080 1 year ago
I love her voice and most of the arias she sings but not this one. This aria is not for her
kharma999 1 year ago
The "il fantasma" part is terrifyingly wonderful. Plus, I simply looooooove her voice set against a chorus... as in the S'Avanza Enrico.
GeorgiNM 1 year ago 3
i think Vitas is better. Vitas also sang it, and i blew away.
filgrabian 1 year ago
Ooooooh, Montserrat has such a beautiful and soft soprano voice, even when she pressures it. aaaaaahhhh...
Calliopeia666 1 year ago
I have to say I prefer this one to the one Callas version I heard 5 minutes ago. However, I think no one beats Inva Mula. ;-) Just my two pence.
Steedrider 2 years ago 2
While Inva Mula's is beautiful (Fifth Element) but that was technologically enhanced to 'mimic' theatrical accoustics ... while Caballe and Callas were recorded with 'naked' or 'exposed' vocals
fierysensual 2 years ago
Comment removed
Transoxiana94 1 year ago
Great Caballé! The most beautiful tone ever heard!
yodavidnavarro 2 years ago 12
This comment has received too many negative votes show
Qui è indifendibile! Pessima! L'avesse incisa negli anni Sessanta, forse avrebbe anche potuto restituirci una 'Lucia più lirica e meno elggera' plausibile. Ma qui la goffaggine, le sciatterie e le imprecisioni non si contano!
leprincebeaumont 2 years ago
This comment has received too many negative votes show
No...i agree...not 'her role'...at ALL!!She don sound like she believes a WORD she's singing...and her coloratura aint 'fluid' enough!!Callas revived this role from the dreadful habits singers (the few who could even take it on!!) had gotten into...she made all the embellishments/florid singing all MEAN something (as they actually DO 'as written'!!)Old Monse sounds like she can barely execute the most basic embellishments in this recording...she has the same problem with 'Traviata' as well!!
TheMrMaz 2 years ago
Lucia was really not her role! Not at all!
DiegoMartinazzoli 2 years ago
It's simply stupendous.. Just, stupendous. Thank you for the video.
DameVeraLynn 2 years ago 5
NO! Sorry..although this is beautiful and grand....it's just not suited to the part of Lucia...this aria I like sang with more of a sick, haunted sound...and the coloratura ought to be you know..really high and bird like and you wonder just how she did that....Caballe's grand dramatic , healthy mature voice didnt match with the frail sick Lucia role
AmericanEvita 2 years ago 12
I agree. It's just a diferent type of voice required for Lucia. Caballe has a very "Old Lady" type of tint in her voice and for Lucia it sounds weird.
BetuliaLiberata 2 years ago
breathtaking
carlissima28 2 years ago
bring the drama Montsy! "il fantasm-AH"
superb
BGSourgas 2 years ago 5
thanks for the video
tilesaul 3 years ago 6
Is there a "Regnava nel silenzio" with Montserrat?
agnellodei 3 years ago
Shesang until the high D, than more sufficient for a voice like hers. The artist' quality isn't moderate by high notes. Thanks for the video
Onegin65 3 years ago
She hits an E flat in "I Lombardi", but those were not comfortable registers for her, her best sound is up to high Db! and I prefer her like that, it's more elegant in her voice.
agnellodei 3 years ago 2
A lovely voice, she never takes the high notes above a High C or C#
benderpm 3 years ago
The highest actually written in this opera was high C, if she was to interpolate anything it would be up to the high F, since most sopranos sing this in the lowered key in order to sing a high E-flat. Montserrat did have a good high Db both in pianissimo and fortissimo, and a rarely heard high D.
agnellodei 3 years ago 4