@liguten certes, mais la tradition du bel canto permet une liberté créatrice aux interprètes. d'où la variété de finales, et notamment de notes aigues
@OperaMystery80 Honestly, who cares. you do not give a dramatic soprano a bravura number like this one to be sung in a ragged night gown. The symbol is as important as what is shown. In this opera, the emphasis is put on the queenly dignity of Mary Stuart in her death; it is thus fitting to portray her in royal dress. Operas are not meant as historical reenactments.
@LordHettrick Right it's historical fiction in most cases but there are many fine productions that do a better job of period authenticity/verisimilitude as far as costumes & atmosphere; I'm a Caballe fan; she sings this wonderfully but they could have her wearing something simpler like for instance what Dame Janet Baker wore during this scene when she sang Stuarda (in English), she maintained dignity and majesty, raising up a crucifix in her hand even in a simple black robe.
This comment has received too many negative votesshow
Une grande Dame qui s'écoute chanter bien plus qu'elle ne sert la musique!
Pas la moindre émotion au seuil du trépas, des "il flagello d'un Dio punitor" totalement "atones". la voix pour la voix. Mais le chant romantique italien exige tout autre chose à commencer par une urgence interprétative qui ici fait cruellement défaut! Dommage; une si grande chanteuse!
@BEVER29 Tu as en partie raison dans cet extrait. Mais Quand Montserrat chante, il faut toujours regarder ses yeux et ses mains qui sont sa forme d'expression privilégiée. Elle fait passer beaucoup de sentiments. Et pour une chanteuse, la beauté du phrasé est tout de même capitale. Et là Montserrat a de sérieux arguments!
Bon allez je n'ai pas envie d'être trop ironique sur le "regard" des mains et le "jeu" des yeux ( même réciproquement ça ne constitue guère une interpretation!) . A l'évidence tu es un fan et un simple mouvement d'orteil de la dame sans doute te mets en pâmoison! La beauté du chant est indéniable( sur le phrasé tu as tout à fait raison) mais creuse d'intention, nulle d'intensité. Avec des "organes" moins séduisants
les Gencer , les Sills ont transcendé cette musique... Je crois!
i don't hear problem at 159 she takes the the scale and she makes her break in the right place--the scale breaks come scritto and she does the same run the second time around. all that happens here is that she breaks with a sort of tenor sigh--note as written the scale is supposed to sound like it is stopped short, with a step to the last note, as though maria is overcome with emotion. the sills variant here is to add the ascending scale the unwritten top note, the second time around.
If someone has wondered at the common assumption that Caballe can handle a long phrase magnificently, there it is Ah Il Flagello Di Un Diiiiiiiiooooooooo Puuuuuniiiiitooooor ! By the way, at 1:59 she really ends the note on a bit of a choke, but that is, not as you said, before she hit it, but AFTER. I personally love it all!
Caballé was never a great actress, but with time she became a credible and good one. Plus, there were nights when she was simply ON (Like this one) and the results are amazing! The voice is never a problem (At least before the early to mid 80's...)
What a beauty: splendid singing, great pathos, absolute control of the voice, ethereal PPP, superb FF, impeccable legato. Well: surely an ideal performance by Caballé at her very best! Her instrument ideally matches the Donizetti vocal line. What an easy, smooth and natural vocal projection! It's amazing! And besides, Montserrat looks regal, a real Queen: beautiful and classy. What an example! Many thanks for posting!
The best performance (ever) was in Paris at Pleyel(also with Carreras) she was AT HER BEST ! The audiance stopped the last Act after her first "prayer" during 20 minutes!It was just a dream,people were completly amazed by her voice!!!! She will remain for ever in our mind ( the ble canto lovers!!)
Io ho un Devereux della Caballè di Las Palmas nell'81. DIVINA !!! E smettiamola di compararla con la Devia . La Caballè è Voce,Tecnica superiore, fiati ma anche emozione,sangue ,dà tutto di sè stessa (vedi "figlia impura di Bolena") mentre la Devia, specie nei momenti di vero dramma , è di una noja MORTALE !! Ricordatevi che la Devia già cantava negli anni '80 ma non emergeva , perchè allora c'erano Colleghe che con una sola Nota la superavano sotto tutti gli aspetti !!
Essendo un fan della Devia, ovviamente dissento da questo giudizio: mi risulta (la fonte è Celletti) che, dopo un inizio di carriera negli Anni Settanta, la Devia si fosse in qualche modo ritirata dalle scene per studiare e per poi esplodere negli anni Ottanta: In altre parole, non è colpa sua se, in quegli Anni, era più giovane delle Colleghe. I risultati di quello studio dicono alle mie orecchie che, se fosse nata prima, negli Anni Settanta pochissime Colleghe ... fine prima parte
Seconda parte .... dicevo che pochissime Colleghe avrebbero potuto eguagliarla e nessuna superarla. E' chiaro che il paragone in molti casi non può che essere indiretto perchè le più celebri cantanti di quegli anni avevano un repertorio parzialmente o totalmente diverso. In quanto alla "noia" non è il primo parere che ascolto in tal senso (anche da parte di Critici); sarà anche verio; io, però, in presenza di una tecnica straordinaria non mi annoio mai. Ringrazio per l'attenzione. .
I can never keep from crying whenever I listen to this! Her voice makes my heart bleed with sadness. She was truly born to be a conduit of great music to people of this world.
She sings this final scene with her usual angelic and smooth voice. It's a voice that enthralls us in its beauty and creaminess... but I was a little disappointed with her acting, it's sort of too much stand and sing and she's not feeling the drama as much as I thought she would. However, she's still a great great Maria Stuarda!
When you feel drama honey, I'm sure you pretty much stand there. If I ever hear you sing, you'd better stand there because I don't brook my singers runnin' 'round at all. You stand there and attend to your technique, you make good sound, that's all you do, and I'll be happy if the sound is good. Anyone who knows how to sing also knows just to stand there and do that. No waving, writhing, moving anywhere. Plant it and pour it out. She's feeling the drama here just fine.
beautiful voice and performance, not as passionate as with Jose Carreras, I miss that.Onegin65, do you have Roberto Devereux with Jose Carreras and M.Caballe'?
Splendid......at her best
sevilla184 3 months ago
Comment removed
salstiha 3 months ago
i love Caballe but it's always a bit frustrating that she doesn't do the last big high notes that other bal canto sopranos never fail to do
fontenayperi 5 months ago
@fontenayperi En général, Caballe respecte la partition. Si elle ne fait pas la High note cela signifie qu'elle n'est pas écrite!
liguten 2 months ago
@liguten certes, mais la tradition du bel canto permet une liberté créatrice aux interprètes. d'où la variété de finales, et notamment de notes aigues
fontenayperi 2 months ago
@fontenayperi Oui c'est vrai, mais bon , elle nous a gratifiés de tant de merveilles!!
liguten 2 months ago
Detesto la sua maniera di riprendere i fiati! Come al solito segue il ritmo che le pare, fregandosene di quanto scritto!
ferrykalos 7 months ago
@ferrykalos a volte si. Però ad averne oggi... (un saluto!) p.s. dal 67 al 74 non aveva rivali (e aveva i sovracuti... poi l'età...)
kokkodry 4 months ago
This production is terrible. I doubt Mary Stewart was wearing a full royal wardrobe and crown on the day of her execution.
OperaMystery80 9 months ago
@OperaMystery80 Honestly, who cares. you do not give a dramatic soprano a bravura number like this one to be sung in a ragged night gown. The symbol is as important as what is shown. In this opera, the emphasis is put on the queenly dignity of Mary Stuart in her death; it is thus fitting to portray her in royal dress. Operas are not meant as historical reenactments.
LordHettrick 2 months ago
@LordHettrick Right it's historical fiction in most cases but there are many fine productions that do a better job of period authenticity/verisimilitude as far as costumes & atmosphere; I'm a Caballe fan; she sings this wonderfully but they could have her wearing something simpler like for instance what Dame Janet Baker wore during this scene when she sang Stuarda (in English), she maintained dignity and majesty, raising up a crucifix in her hand even in a simple black robe.
OperaMystery80 2 months ago
This comment has received too many negative votes show
Une grande Dame qui s'écoute chanter bien plus qu'elle ne sert la musique!
Pas la moindre émotion au seuil du trépas, des "il flagello d'un Dio punitor" totalement "atones". la voix pour la voix. Mais le chant romantique italien exige tout autre chose à commencer par une urgence interprétative qui ici fait cruellement défaut! Dommage; une si grande chanteuse!
BEVER29 1 year ago
@BEVER29 Tu as en partie raison dans cet extrait. Mais Quand Montserrat chante, il faut toujours regarder ses yeux et ses mains qui sont sa forme d'expression privilégiée. Elle fait passer beaucoup de sentiments. Et pour une chanteuse, la beauté du phrasé est tout de même capitale. Et là Montserrat a de sérieux arguments!
liguten 10 months ago 3
@liguten
Bon allez je n'ai pas envie d'être trop ironique sur le "regard" des mains et le "jeu" des yeux ( même réciproquement ça ne constitue guère une interpretation!) . A l'évidence tu es un fan et un simple mouvement d'orteil de la dame sans doute te mets en pâmoison! La beauté du chant est indéniable( sur le phrasé tu as tout à fait raison) mais creuse d'intention, nulle d'intensité. Avec des "organes" moins séduisants
les Gencer , les Sills ont transcendé cette musique... Je crois!
BEVER29 10 months ago
One of the best singer in Opera History at least since recordings exist, next to Muzio, Ponselle, Muzio, Callas, Tebaldi, etc.
gahualli 1 year ago 4
Si bien es cierto no hizo el sobre agudo final hizo una maravillosa puesta y trabajo musical la Gran Caballe.
acitipo 1 year ago
One of her best roles...simply amazing!
Jeanne90275 1 year ago
i don't hear problem at 159 she takes the the scale and she makes her break in the right place--the scale breaks come scritto and she does the same run the second time around. all that happens here is that she breaks with a sort of tenor sigh--note as written the scale is supposed to sound like it is stopped short, with a step to the last note, as though maria is overcome with emotion. the sills variant here is to add the ascending scale the unwritten top note, the second time around.
mmbriggs 2 years ago 2
An the production is really pleasant too.
GeorgiNM 2 years ago
If someone has wondered at the common assumption that Caballe can handle a long phrase magnificently, there it is Ah Il Flagello Di Un Diiiiiiiiooooooooo Puuuuuniiiiitooooor ! By the way, at 1:59 she really ends the note on a bit of a choke, but that is, not as you said, before she hit it, but AFTER. I personally love it all!
GeorgiNM 2 years ago 2
Caballé was never a great actress, but with time she became a credible and good one. Plus, there were nights when she was simply ON (Like this one) and the results are amazing! The voice is never a problem (At least before the early to mid 80's...)
AOG93 2 years ago 3
What happened to her voice at 1:59 ? Looks like she coudln't quite hit that high note there
AmericanEvita 2 years ago
@AmericanEvita find it was a very short break in the recording - nothing to do with her voice
michael72401 1 year ago
what's the name of this aria?
NannerlSullAria 2 years ago
It's called 'Ah! se un giorno". I know, I think it is such a wonderful piece and a perfect ending. Marvelous and beautifully executed.
figaro0606 2 years ago 2
Magnifica voz...pero le faltó el gran agudo del final...una pena
albertoqg31 2 years ago
@albertoqg31 No hay ningún agudo al final; Donizetti la compuso así.
christieheathert0n 9 months ago 4
une Caballé au sommet de sa forme - il ne manque aucun son filé (dans ce domaine vocal elle fut unique).
richardmarseille 3 years ago 2
Who sang Roberto?
rrgallo 3 years ago
What a beauty: splendid singing, great pathos, absolute control of the voice, ethereal PPP, superb FF, impeccable legato. Well: surely an ideal performance by Caballé at her very best! Her instrument ideally matches the Donizetti vocal line. What an easy, smooth and natural vocal projection! It's amazing! And besides, Montserrat looks regal, a real Queen: beautiful and classy. What an example! Many thanks for posting!
GoldenAgeSunshine 3 years ago 10
The best performance (ever) was in Paris at Pleyel(also with Carreras) she was AT HER BEST ! The audiance stopped the last Act after her first "prayer" during 20 minutes!It was just a dream,people were completly amazed by her voice!!!! She will remain for ever in our mind ( the ble canto lovers!!)
motardbear15 3 years ago 9
was her voice big in the house?
musoph21 2 years ago
@motardbear15 She was not at her best: her best finished in 1976.
andreernestgretry 3 months ago
Io ho un Devereux della Caballè di Las Palmas nell'81. DIVINA !!! E smettiamola di compararla con la Devia . La Caballè è Voce,Tecnica superiore, fiati ma anche emozione,sangue ,dà tutto di sè stessa (vedi "figlia impura di Bolena") mentre la Devia, specie nei momenti di vero dramma , è di una noja MORTALE !! Ricordatevi che la Devia già cantava negli anni '80 ma non emergeva , perchè allora c'erano Colleghe che con una sola Nota la superavano sotto tutti gli aspetti !!
Zerbinetta2000 3 years ago 2
Essendo un fan della Devia, ovviamente dissento da questo giudizio: mi risulta (la fonte è Celletti) che, dopo un inizio di carriera negli Anni Settanta, la Devia si fosse in qualche modo ritirata dalle scene per studiare e per poi esplodere negli anni Ottanta: In altre parole, non è colpa sua se, in quegli Anni, era più giovane delle Colleghe. I risultati di quello studio dicono alle mie orecchie che, se fosse nata prima, negli Anni Settanta pochissime Colleghe ... fine prima parte
Arnoldo65it 1 year ago
Seconda parte .... dicevo che pochissime Colleghe avrebbero potuto eguagliarla e nessuna superarla. E' chiaro che il paragone in molti casi non può che essere indiretto perchè le più celebri cantanti di quegli anni avevano un repertorio parzialmente o totalmente diverso. In quanto alla "noia" non è il primo parere che ascolto in tal senso (anche da parte di Critici); sarà anche verio; io, però, in presenza di una tecnica straordinaria non mi annoio mai. Ringrazio per l'attenzione. .
Arnoldo65it 1 year ago 3
I can never keep from crying whenever I listen to this! Her voice makes my heart bleed with sadness. She was truly born to be a conduit of great music to people of this world.
godivapaw 4 years ago 5
She sings this final scene with her usual angelic and smooth voice. It's a voice that enthralls us in its beauty and creaminess... but I was a little disappointed with her acting, it's sort of too much stand and sing and she's not feeling the drama as much as I thought she would. However, she's still a great great Maria Stuarda!
OperaBR 4 years ago
When you feel drama honey, I'm sure you pretty much stand there. If I ever hear you sing, you'd better stand there because I don't brook my singers runnin' 'round at all. You stand there and attend to your technique, you make good sound, that's all you do, and I'll be happy if the sound is good. Anyone who knows how to sing also knows just to stand there and do that. No waving, writhing, moving anywhere. Plant it and pour it out. She's feeling the drama here just fine.
Steinweg9 3 years ago 2
beautiful voice and performance, not as passionate as with Jose Carreras, I miss that.Onegin65, do you have Roberto Devereux with Jose Carreras and M.Caballe'?
gheeah 5 years ago 4