What a great Tosca she would have been. Tito Gobbi himself asked her to go on tour and sing the part on the stage with him (and he knew a thing or two about what made a great Tosca!) but she refused. Other engagements, or something. Great voice, both power and range. And the breathing is amazing, especially at the very end of the Vissi d'arte
Thank you for posting this rare performance. i would never have dreamt hearing Sutherland in Tosca! Of course, Callas was better. But I do not think Dame Joan looks foolish. Have seen many Toscas looking foolish and, to me, Sutherland looks quite attractive in this video. And, imperfect diction granted, I think her "visse d´arte is very good. I wouldn´t know of any belcanto soprano who could bring it off like her.
You have a good point: people are always comparing Sutherland with Callas when this video appears. But they don't seem to remember that Sutherland wasn't singing Tosca or any other verismo role when she made this video. So it's almost like Gruberova or Sills acting in this scene, with total experience in Bel Canto. The only difference is that, of course, if Sutherland wished to, she HAD the voice to sing Tosca. :-)
you are right, I guess with the size of her instrument she could have sung anything, even Wagner.Fortunately, (for us listeners)she chose a repertoire where she excelled like few others.
I really wish one of the networks or even pbs would bring back a show like the Bell Telephone Hour - At least we have the video's to remind what what great singing and singers were like in their heyday.
Sutherland she have very dramatic voice but the rol of Floria Tosca it is not for her realy, never has been in her repertoire and obviusly this great and good soprano she is best in other operas.
It's called vowel modification, and it's the price you pay for a seamless combination of vocal registers. AND, the example you've given is not even a particularly grotesque one!
I know a TINY bit about what you call vowel modification since I have sung internationally and have taught vocal pedagogy for many years. Sutherland was a great singer. But in this case I was just pointing out that her aggiustamento was too severe and actually in the opposite direction. The vowel [i] adjusts very gradually towards [I]. And the adjustment never loses complete contact with the primary vowel until much much higher. But I agree with your adoration of Sutherland.
I know a TINY bit about what you call vowel modification since I have sung internationally and have taught vocal pedagogy for many years. Sutherland was a great singer. But in this case I was just pointing out that her aggiustamento was too severe and actually in the opposite direction. The vowel [i] adjusts very gradually towards [I]. And the adjustment never loses complete contact with the primary vowel until much much higher. But I agree with your adoration of Sutherland.
No apologies necessary. I like her extreme modification, and I don't mind that it happens lower in the voice. Hallmark of the Sutherland technique, and, in my opinion, one of the reasons she had such a well-blended middle voice.
No one. They just did this scene. This telecast was a round table discussion with Sutherland, Gobbi, Phyllis Curtin, Nicolai Gedda, Jerome Hines and Charles Anthony. They performed a few excerpts from various operas. Hines, Gedda and Curtin did a great scene from Faust, too.
At 6:05, Joan Sutherland commences her Vissi d'arte: "I lived for my art, I lived for love, I never did harm to a living soul!" Sutherland is divine and supreme, under total vocal control, she suspends her charm, speaking of her love and her expression of music. Able to control such a small stage for this telecast, Joan Sutherland is Tosca!
To be sure... Sutherlands singing was incredible, a miracle. Sadly, see looks foolish, uncomfortable and out of place in this... a pitty she was not given access to good directors throughout her long and remarkable career. Also, getting shot of that bloody svengali of a husband - this would have made such a diffrence. Gobbi the Scrpia of all times... Interesting post. Callas is Tosca!!! Kindest regards,
Joan Sutherland was the top of bel canto school at all.
emadadelwanis 3 days ago
Great acting from Gobbi - especially 5:40
serrc1 3 months ago
pero se lo ascolti propio bene e vero che havuto una voce a bastanza bruta,atore bravo ,pero la voce a la pecora.....
mmisaku 1 year ago
I love Gobbi !
StupidFoolLady 1 year ago
She scrunches up her face in the most unattractive way when she sings.
JeeRant 2 years ago
oh yipee Gobbi still had it , baby.
cmhmuscle 2 years ago
i would make love to his voice a million times. :)
glasskimono 3 years ago
No better Scarpia than Tito Gobbi!!!!
logenisti 3 years ago 10
This was in 1968 I believe. Gobbi didn't perform so much after this point, did he? He still had quite a voice, though.
baritonoguapo 3 years ago
What a great Tosca she would have been. Tito Gobbi himself asked her to go on tour and sing the part on the stage with him (and he knew a thing or two about what made a great Tosca!) but she refused. Other engagements, or something. Great voice, both power and range. And the breathing is amazing, especially at the very end of the Vissi d'arte
sutherlandfan64 3 years ago
Thank you for posting this rare performance. i would never have dreamt hearing Sutherland in Tosca! Of course, Callas was better. But I do not think Dame Joan looks foolish. Have seen many Toscas looking foolish and, to me, Sutherland looks quite attractive in this video. And, imperfect diction granted, I think her "visse d´arte is very good. I wouldn´t know of any belcanto soprano who could bring it off like her.
operabuff1 3 years ago 4
You have a good point: people are always comparing Sutherland with Callas when this video appears. But they don't seem to remember that Sutherland wasn't singing Tosca or any other verismo role when she made this video. So it's almost like Gruberova or Sills acting in this scene, with total experience in Bel Canto. The only difference is that, of course, if Sutherland wished to, she HAD the voice to sing Tosca. :-)
Homoclassicus 3 years ago
you are right, I guess with the size of her instrument she could have sung anything, even Wagner.Fortunately, (for us listeners)she chose a repertoire where she excelled like few others.
operabuff1 3 years ago
I really wish one of the networks or even pbs would bring back a show like the Bell Telephone Hour - At least we have the video's to remind what what great singing and singers were like in their heyday.
scarpia1900 3 years ago 2
Sutherland she have very dramatic voice but the rol of Floria Tosca it is not for her realy, never has been in her repertoire and obviusly this great and good soprano she is best in other operas.
juancar988 3 years ago
I normally defend Sutherland against those who criticize her diction, but in this case, it really detracts to hear "Vussi d'arte, vussi d'amore."
cameratamaestro 3 years ago
It's called vowel modification, and it's the price you pay for a seamless combination of vocal registers. AND, the example you've given is not even a particularly grotesque one!
33blueberries 3 years ago
I know a TINY bit about what you call vowel modification since I have sung internationally and have taught vocal pedagogy for many years. Sutherland was a great singer. But in this case I was just pointing out that her aggiustamento was too severe and actually in the opposite direction. The vowel [i] adjusts very gradually towards [I]. And the adjustment never loses complete contact with the primary vowel until much much higher. But I agree with your adoration of Sutherland.
cameratamaestro 3 years ago
I know a TINY bit about what you call vowel modification since I have sung internationally and have taught vocal pedagogy for many years. Sutherland was a great singer. But in this case I was just pointing out that her aggiustamento was too severe and actually in the opposite direction. The vowel [i] adjusts very gradually towards [I]. And the adjustment never loses complete contact with the primary vowel until much much higher. But I agree with your adoration of Sutherland.
cameratamaestro 3 years ago
Sorry about the repetition. I was trying to reply to 33blueberries and it would not display properly.
cameratamaestro 3 years ago
No apologies necessary. I like her extreme modification, and I don't mind that it happens lower in the voice. Hallmark of the Sutherland technique, and, in my opinion, one of the reasons she had such a well-blended middle voice.
33blueberries 3 years ago
Wow...Would love to see more of this telecast. Who sang Mario?
donatello1 3 years ago
No one. They just did this scene. This telecast was a round table discussion with Sutherland, Gobbi, Phyllis Curtin, Nicolai Gedda, Jerome Hines and Charles Anthony. They performed a few excerpts from various operas. Hines, Gedda and Curtin did a great scene from Faust, too.
baritonoguapo 3 years ago
@baritonoguapo Can you buy it anywhere or watch the whole thing online??
emma41093 1 year ago
At 6:05, Joan Sutherland commences her Vissi d'arte: "I lived for my art, I lived for love, I never did harm to a living soul!" Sutherland is divine and supreme, under total vocal control, she suspends her charm, speaking of her love and her expression of music. Able to control such a small stage for this telecast, Joan Sutherland is Tosca!
tHEnOOSEsWINGS 3 years ago
I agree. She does a fine job with the scene, helped by the incomparable Scarpia of Gobbi.
MusicaParola 3 years ago
i can't stand her diction though
ah332 3 years ago
To be sure... Sutherlands singing was incredible, a miracle. Sadly, see looks foolish, uncomfortable and out of place in this... a pitty she was not given access to good directors throughout her long and remarkable career. Also, getting shot of that bloody svengali of a husband - this would have made such a diffrence. Gobbi the Scrpia of all times... Interesting post. Callas is Tosca!!! Kindest regards,
WiseMonki 3 years ago