Milanov was one of the most majestic and noble Dramatic Soprano voices of her generation. The size and power of her voice was incredible, people may hav joked about her 'jerk and lurch" style of acting but her Tosca, Aida, Leonora, Gioconda, had a life and power totally infused through her singing and presence.She is far too underrated and not given credit for being one of the leading lights of the Italian repertoire and a great .
As critics and audiences said...Zinka had a tone which filled the air in a way, which can't be put to words or on record. Unfortunately, even todays technology can't capture this sound, nor can one imagine how it rings on stage. The only modern singer I experienced this with is inva Mula. You haven't heard her, until you have heard her live, it can't be put to words. Callas, according to many, didn't have this, despite her artistry...It's why she was never that big at the MET, unlike Milanov.
@DinDanMee Absolutely. Like Nilsson, Sutherland, Dal Monaco (to name a few) if you never heard Zinka live, you can have no possible idea how that sound was in the house. It got in your head (sometimes with the pianissimi, I had the feeling it was coming from behind me) and vibrated there like nothing I can describe. Callas certainly had her merits, but the voice did not fill the Met (or Teatro Colon) as virtually every professional singer and musician who heard her there will verify.
@assindiastignani Yes, exactly what I wanted to say, it does indeed become most obvious on pianissimo. It's why I mentioned Mula. People judge singers so hard here as if they were recording artists, when in fact, an operatic voice is an acoustic instrument. Technology can capture just half of a properly used operatic voice, even today, and many don't seem to understand this. It's like trying to know what sun is like by looking to a photo of the sun...You are lucky to have seen her live!
I saw Zinka 87 times..Yes, in the later years the C was problematic....BUT I prefer the voice later on than in the earlier days where there was wide vibrato at times. NO ONE could thrill me more..and some real fools have said some nasty things about someone they know nothing about...God bless her memory...
you lucky duck! all the singers i consider great were done/dead long before i was born, in 1986. but man...i would give an arm to hear this live over 80 times!
If caramel and cream had a sound, this would be it.... The usual operatic athleticism is totally transcended by a big, beautiful Voice that always seems to have plenty in reserve...
Unless you were "THERE" in the 50's and heard her in "the house"- you'll never know what that sound was like. There were many great ones but MILANOV (if i had to choose) had the most glorious voice i ever heard. She was the Ponselle of my generation.
I was going to the Met. in '52,'53and '54- my standing room days. Little did i know these were MILANOV'S GLORY YEARS. Her Forza, Trovatore, Gioconda- live, "in the house" ~ i'll never forget.
She also had a very "sassy" personality offstage. At one performance of this opera, she whizzed by Kurt Baum's dressing room and peeked in, "I'm in great voice tonight, Kurt, how about you?" And after Callas' début at The Old Met, a reporter called to ask what she thought of Callas' big night: she replied "Well, I went home, took two aspirin, and went to bed". Someone should write a book of her witticisms; there were many.
Zinka was my great aunt. When I switched to vocal concentration in college, my mom let me know all about Zinka. From what I understand, her sound has seldom found its equal in the realm of opera. She could hit that high B at a pianissimo dynamic!
@key2piano101 = Your great aunt was a goddess. I have 25 of her Met broadcasts, and all of her studio recordings on RCA. She was the paragon of Italian Opera dramatic sopranos. She has left us a legacy in sound for which we are grateful, and having read about her personality, she's probably in heaven teaching future souls how to sing those heavenly pianissimos for which she was so famous. She is so loved and still cherished by so many.
The famous recording of 55´... with right !!! Milanov sings with exquisite phrasing and last but not least : with very fine and aristocratic dynamics :o))
Love Zinka! I don't think she was undramatic like everyone says she was, but I think she was more classic in approach, grander. She's more attentive to music rather than drama, but I think she got better with time. BTW: there were also other BIG voices that sang Norma! Callas, Ponselle... Flagstad was going to do it, but dropped it because I don't know why...Cerquetti and Sutherland had biggish voices...But Milanov's norma is not one of my faves...Especially not in 1954...I like the 44 better
Zinka didn't have to act dramatic. Her voice itself has drama. Personally I like this aria to be interpreted with some control of emotional explosion and Zinka's doing a great job here.
the 1952 Forza Brdcst was wonderful, Tucker Milanov, Warren, nothing today like that and by the way I have heard Price in house and it is not a small voice at all, in Tosca the middle of her voice was actually quite large.
Milanov does not sing the text as it's written, she doesn't sing the word "improvvido", she cheats changing it by "le pene" and the following "le pene" her C is an awful screamy and tight note
aldobrandini: I can't share any opinions with you since you mention L.Price as excellent.L.Price was a little soprano, her voice wasn't a great thing in any sense, it seems you don't realize of that , it is very easy to notice playing any disc of L.Price
vergoti20: What sopranos do you consider better than Milanov? L. Price's voice was small, girl what are you listening to? Price's voice was very, very large and that is easy to hear from any broadcast she did.
about Milanov Aìda, there are two versions, her '55 studio version there are many high notes that are harrowing, really little screams (because Milanov voice on top becomes thinner and lacks color).Her '52 live Aida is really awful too
vergoti20: I have the Milanov Aida from 1952 and girl she doesn't scream but rather soars over the orchestra as one would expect from the greatest framatic soprano in the world at the time. Milanov sing nothing but the hard roles and she sang them to perfection. Who is YOUR ideal soprano for dramatic roles? I cast my lot with Zinka because she ruled the Met for a very long time.
the 52 forza is a glory. none better. ignore the ignorant and eliminate their platform. let me recommend to you the 54 Norma. I think it is very special. Passionate beautifully sung. No bigger voice has ever tackled this part. the casta diva is lowered a full tone i think. no recording ever captured the luminous haunting quality of the milanov voice, she waS SPECIAL.
@ilprincipedipersia - I agree with you. I actually her 1954 Norma to the one of ten years earlier. True, there are some transpositions, and she doesn't linger long on the top C's, but the voice was still magnificent and the sound came out like pitchers of cream. Of course Callas' Norma created a world rage, but we must not forget the beautiful qualities that Milanov brought to it. The closing pages of the opera are magnificently voiced -== like a river overflowing it's banks.
vergoti20: if you even dislike Milanov here(!), I have to join others here in asking once more, "PLEASE, who then would be your model Verdi soprano?"! I'm not trying some kind of gotcha question here. I'm really, really curious. Who would be your preferred Verdi soprano, and why? Thank you.
Aldobrandini: Bravo. I wonder if some people are hearing what I'm hearing with Zinka. The immortal Rosa Ponselle held Milanov in the highest regard what are we missing. Was Zinka a second rate soprano like has been suggested in some postings. Me thinks not and one wishes for the days of Milanov, Tucker, Warren routine before the frauds took over the Met.
Never been the biggest Milanov fan, and Forza has never been a favorite either. But for the first time, I've heard this aria sung like each and every note had purpose and direction....and what a beautiful voice that floats so effortlessly!...Unlike the Met's Tristan broadcast I just heard, which was so nastily sung, IMHO, that even MY throat got sore in the middle of Act 2! Gonna see Milanov in a whole new light now. Thank You!
When Milanov was at her very best, she was absolutely sublime. Verdi's "Forza del Destino" could have been written for her. Unless you've heard her Aida Tomb Scene with Jussi Bjoerling on RCA's 1955 "Aida", you've missed out on the most gorgeous singing possible. And I'm a great Callas fan!!!
Even M. doesn't have all of this all of the time. But for a while she does, and that's more than is true of any of her (sometimes inspired) colleagues and subsequent successors. While some like Callas or Caballe may have an even finer musical style, or Arroyo an even more resilient top, or Tebaldi even more seductive vocal colors, etc., no one from M. on has a basic proficiency in the full baker's dozen of attributes cited here.
Different sopranos since Milanov -- and during Milanov's own time -- equal or surpass M. in certain ways. What makes M. special is her comprehensive mastery (when at her best) of all vocal reqs. needed for Verdi: "curvy" caressing legato, morbidezza, warmth and abandon, firmly anchored low, soaring top notes, equalized scale, proficient flexibility, plausible trill, crisp diction, secure intonation (after turning 40), long breath, seductive vocal quality and spinto power.
Milanov does not sing the text as it's written, she doesn't sing the word "improvvido", she cheats changing it by "le pene" and the following "le pene" her C is an awful screamy and tight note,
Peccato quelle doppie...semplificate, e un modo un po' vecchiotto modo di cantare, altrimenti grande Leonora e immensa cantante ( ascoltare la sua "Forza" ad esempio....)
I met LA MILANOVA in New York (I has been a child, interested to start singing...) and she has been like my aunt and very kind and very intelligent... She talked good about Tebaldi and Ponselle and many singers around. Many years later I meet LA TEBALDI and she also gave compliments to MILANOVA! SO you can see that the unique and special sopranos are never bitches - but the people around create bullshit storys a big quality voice! When will a new be born? Tebaldi and Callas ..... Goodness
I knew Milanov well and Tebaldi less so. My experience with each confirms the high regard each had for the other. Milanov was one of the greatest sopranos ever and the vulgar and the ignorant will never take that from her.
@ilprincipedipersia : as a Croat it is a bit strange that people here do not recognize what a gem she was. Pitty. Anyway, her Voice and interpretation are not for everybody. Some people simply don't get it. It is not their fault. There are those who understand music, and those that pretend to do so.
This comes very close to being as good as Price's versions--if she hadn't squeezed the top C, which is also just a bit flat, it would be just about perfect.
This was very beautiful and very useful. You can easily see the singing tradition that L. Price comes and how it was extended when listening to Ms. Milanov. This is absolutely heavenly. Thank you primobaritone for posting this wonderful reading of a great aria, sung by a great artist.
Zinka Milanov may have been at odds with Tebaldi and was not the easiest diva. However in every well regarded book on opera, she is named as one of the greatest sopranos of the 20th century. I think this is richly deserved because it is a wonderfully clear voice of great beauty. Tebaldi also was a great soprano.
It is too bad that Milanov did not make as many recordings as Tebaldi. Love both of them. I wonder if there was rivality between Tebaldi and Milanov? Tebaldi arrived at the Met at age 33 and Milanov was 49. Two great sopranos.
Perfectly sung... at her best, she was right up there with the best of them... or maybe just a little better.... one cannot imagine this aria being sung better than this... and I saw Price do it in SF years ago..
esta es otra de esas arias que te hacen sentir que podrias morir de amor,la insuperable Madame Milanov con esa garganta privilegiada que Dios le ha dado cuando la nombró como uno de sus angeles en la tierra
no, yo fumo oregano con plumas de cacatua.....me gusta la milanov creo que su tecnica es excelente y depuradísima...no fue la mejor ni la peor (de hecho ninguna es la mejor absoluta, ahora la lista de las peores incluye varias paginas.....)a vos no te gustó?
no chico la verdad es que me encantó esta versión de zinka milanov, no me lo esperaba, lo de la lumpia fue porque me pareció cómico lo elaborado y poético de tu comentario... déjame ir a probar lo del orégano a ver que tal, tu anda a escuchar "leyla gencer-trovatore-1976"
ah...okok....entiendo, por lo menos nos alejamos del clasico "callas-contra-todo-el-mundo"...(y yo adoro a María pero necesito escuchar y conocer a las otras que fueron leyenda)ahi me voy a escuchar ese trovatore!!!saludos!!
I love Milanov, but i think that when Tebaldi arrived at the MET she was a bit jealous of Tebaldi, Tebaldi was younger (16 years younger) but later she respected Tebaldi and when Rudolf Bing told Tebaldi there was friend that who wanted to see her she taught it was Zinka and it was Callas, Tebaldi was quite surprise. That was September 16, 1968. 9 years late same date Callas died.
It was not jealousy in the traditional sense. Milanov hated getting old. She was born to sing and everday until the day she retired she attempted to deny age its victory.
Milanov biggest dream was to play Butterfly, she admitted herself to Tito Gobbi.The story says when she was in the first rehearsal and she is asked "quanto anni avete" "indovinate..." Milanov replied "ottanti (eighty) netti netti..." and she was fired from the production
I heard her say that she would not do Butterfly because she did not look like one. That said she sang a lot of Pucinni early in her career-----manon. Tosca, Butterfly, Giorgetta, Minnie, and of course Turandot---the Buenos aries Turandot is a performance of legend.
They say that during a performance of Tosca with the aging Milanov the tenor Daniele Baroni answered her question "chi è quella donna bionda lassù?" with "è la Tebaldi. Ti piace?" and poor Milanov had to reply "è troppa bella!".
Actually there was an age difference of 16 years, and Tebaldi definately had a more attractive stage presence. Nevertheless, Milanov's was one of the most georgous soprano voices of the 20th century, but Tebaldi was also in that category. There's a recording of the Chenier finale with Tucker and Milanov here on YT where Milanov is almost 60, the voice is still very beautiful though a little tired.
The story in Wikipedia goes that she was born Zinka Kunc and performed under that name in Europe. However, the Met insisted on a name change since "Kunc" sounded like an American slang term that most women don't aspire to be!! Her closest friends were afraid to spell unequivocally explain it to her, but she eventually settled on Milanov after her second husband.
Milanov was very nice to Tebaldi but not to Callas I wonder why? Was it because Renata was a nicer person. Milanov sings this aria beautifully, greaa singing.
This rendition is pure gold! She has amazing breath control in the high notes. This is a tremendously difficult aria sounding too easy. Milanov was lauded for her dramatic roles but she can sing the most delicate passages and pianissimi with the lightness of a lyric soprano. Furthermore, she has no harsh vibrato as many dramatic sopranos like callas and marton, although I like both as well.
Milanov possessed a great voice. This Trovatore clip is proof. No one since the 50s has sung Forza, Gioconda, Trovatore, and other roles quite so exquisitely.
This is Milanov at her greatest; nobody could float pianissimi like she. Her Italian always lacked authenticity, however. She also, like many of her contemporaries, never bothered which such annoying things as accurate rhythms or in depth characterizations. She was one hell of a singer, though, and many moments have never been surpassed.
You have no idea of what you are talking about. I heard both in person, Zinka many times, and she was indeed the best. I met Bozidar and he was a sweet man. He and Zinka adored each other. She was never a bitch. She may have resented the special treatment Bing gave to the "new Europeans" but she knew her worth and was unbeatable.
La Milanov was a bitch, everybody knows that.When Maria made her New York debut Milanov came into the house walking and looking to the audience just in the moment was making her stage appearance trying to ruin Maria debut
That is simply not true. Milanov was already seated. Callas made her entrance well into the opera. You had better check on your alleged facts. Why are you so hateful anyway. Can't one like more than one singer?
No paragod333, Mr Bing grips her arm and obliged her to seat down because she came into the house greeting the audience just when La Divina was starting to sing
Milanov sang only one time at LaScala (Tosca 1950) and she had no success, she had no italian career.When Maria made her New York debut it was the end for Milanov.Milanov always was OLD , and sounded OLD, and her voice had smell of formaggio gorgonzola
Do not waste your time on mangiatutti. Milanov was in a class by herself and placed there by Ponselle herself. The same Ponselle who offerred Callas her help. This person is among those who encourgaed or who woulld have encouraged the disastorous 70s concerts. Leave him in peace. He will not learn
I have a '77 Opera News issue in my hands, an interview to retired Milanov: "At one point, after rehearsal of '60 S.Boccanegra Mr Bing suggested to Milanov's brother that the time had for her to retire"
Milanov says: "He was angry at the ovations I had and claimed (Mr Bing) I had a claque.When I heard he wanted me to retire I wanted to beat him up and they had to hold me back, I was furious !"(The true story was she had a claque, she paid it and when she was into Mr Bing office she griped a paper cutter and she tried to attack Mr Bing, he had to hold her arm.
Thanks for the laugh. You do have a vivid imagination as well as a complete disregard for the truth. You are really up there among the mediocre comics of our day.
Maria received the love of millions people on her '73 concerts, she remained La Divina and no other singer could touch her.Milanov always was OLD and always screamed and her voice had gorzonzola cheese smell
You are quite right. The truth is that I am old, still have my hearing and mind but I was working at the Met at the time and heard Milanov in dozens of great performances. I will be respectful and not comment on Callas.
The real thing was Callas made her New York debut on nov, 1956, she was only 32 and she dissapointed because her voice was very little and in decline.She sang only two seasons at the Met, she had NO Met career
He is my grandfather. I never met him or Zinka, obviously. I'm picking up the piano as we speak (at the ripe age of almost 22) after playing guitar for about 6 years. I hear they were both wonderful human beings and if their music says anything about that, well, it goes without saying. Thank you for the kind words and thank you for uploading this. My father, Bozidar's son, might have some Zinka material unavailable on here so far.
Sometimes ugly people appear on this web site. Your aunt was loved and admired by the greatest singing actresses of her day. This company includes: Rysanek, Modly, Varnay, Crespin, Ludwig toname but a few. Great singers like Sutherland, Corelli, Tebaldi both like and admired her work. And the great Ponselle named her, her peer as the Rovatore Leonora
When Maria made her New York debut with Norma on oct, 1956, it was the end of Zinka, she was a bitch and at that time she was regarded as a piece of museum.Zinka was black of envy towards la Divina
You are quite right...they were wonderful human beings and artists. I heard them in concert and Zinka in opera many,many times. She was no always perfect, but when she was good, she was astouonding and no one ever approached her. There is no need to compare singers. Many had virtues, but Zinka was in a class by herself.
She knew it and so did anyone who heard her at the old met. What a great joy it was to hear her.
I cannot help but cry every time I hear either her or Renata Tebaldi. People just don't sing like this anymore. It is a terrible shame. Just listen to the ease at which she preforms. She does not force her voice. It is pure.
What is there to say? When this was recorded she surely was the greatest soprano in the world. She remains the model that hold beauty as the first cause. brava Zinka
If this doesn't touch your heart then you're in plenty of trouble. Milanov, unlike many great singers, seemed to experience an increase in the range of beautiful color--tone--in her voice as she aged. Leonora's aria "D'amor sull'ali rosee" here is so sensitively sung it could be classified as the model for all spinto sopranos to follow. Thanks for this posting.
Milanov was one of the most majestic and noble Dramatic Soprano voices of her generation. The size and power of her voice was incredible, people may hav joked about her 'jerk and lurch" style of acting but her Tosca, Aida, Leonora, Gioconda, had a life and power totally infused through her singing and presence.She is far too underrated and not given credit for being one of the leading lights of the Italian repertoire and a great .
intelegentable 5 months ago
picses ,goddess.
ronfast 7 months ago
Milanov was the greatest !
TheGilbertjohn 7 months ago
Haunting.
Ravenmongoose 11 months ago
As critics and audiences said...Zinka had a tone which filled the air in a way, which can't be put to words or on record. Unfortunately, even todays technology can't capture this sound, nor can one imagine how it rings on stage. The only modern singer I experienced this with is inva Mula. You haven't heard her, until you have heard her live, it can't be put to words. Callas, according to many, didn't have this, despite her artistry...It's why she was never that big at the MET, unlike Milanov.
DinDanMee 11 months ago
@DinDanMee Absolutely. Like Nilsson, Sutherland, Dal Monaco (to name a few) if you never heard Zinka live, you can have no possible idea how that sound was in the house. It got in your head (sometimes with the pianissimi, I had the feeling it was coming from behind me) and vibrated there like nothing I can describe. Callas certainly had her merits, but the voice did not fill the Met (or Teatro Colon) as virtually every professional singer and musician who heard her there will verify.
assindiastignani 7 months ago
@assindiastignani Yes, exactly what I wanted to say, it does indeed become most obvious on pianissimo. It's why I mentioned Mula. People judge singers so hard here as if they were recording artists, when in fact, an operatic voice is an acoustic instrument. Technology can capture just half of a properly used operatic voice, even today, and many don't seem to understand this. It's like trying to know what sun is like by looking to a photo of the sun...You are lucky to have seen her live!
DinDanMee 7 months ago
Breathtaking!
Fegen 11 months ago
I saw Zinka 87 times..Yes, in the later years the C was problematic....BUT I prefer the voice later on than in the earlier days where there was wide vibrato at times. NO ONE could thrill me more..and some real fools have said some nasty things about someone they know nothing about...God bless her memory...
MrFriendofopera 1 year ago
@MrFriendofopera
you lucky duck! all the singers i consider great were done/dead long before i was born, in 1986. but man...i would give an arm to hear this live over 80 times!
pointemeout 4 months ago
How wonderful!!!!! singing like this makes happy!
SAMARA3365 1 year ago
..I am glad Toscanini chose her for the last act of Rigoletto....
valdengo1 1 year ago
If caramel and cream had a sound, this would be it.... The usual operatic athleticism is totally transcended by a big, beautiful Voice that always seems to have plenty in reserve...
tiswamat 1 year ago
Gorgeous! The great Milanov!
7inga7 1 year ago
Simply gorgeous. One of the greats!
Eiswirth1 1 year ago
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StuartLou 1 year ago
Unless you were "THERE" in the 50's and heard her in "the house"- you'll never know what that sound was like. There were many great ones but MILANOV (if i had to choose) had the most glorious voice i ever heard. She was the Ponselle of my generation.
StuartLou 1 year ago
I was going to the Met. in '52,'53and '54- my standing room days. Little did i know these were MILANOV'S GLORY YEARS. Her Forza, Trovatore, Gioconda- live, "in the house" ~ i'll never forget.
StuartLou 2 years ago
She also had a very "sassy" personality offstage. At one performance of this opera, she whizzed by Kurt Baum's dressing room and peeked in, "I'm in great voice tonight, Kurt, how about you?" And after Callas' début at The Old Met, a reporter called to ask what she thought of Callas' big night: she replied "Well, I went home, took two aspirin, and went to bed". Someone should write a book of her witticisms; there were many.
sillyboydeux 2 years ago
Supreme.
AulicExclusiva 2 years ago
Zinka was my great aunt. When I switched to vocal concentration in college, my mom let me know all about Zinka. From what I understand, her sound has seldom found its equal in the realm of opera. She could hit that high B at a pianissimo dynamic!
key2piano101 2 years ago
@key2piano101 = Your great aunt was a goddess. I have 25 of her Met broadcasts, and all of her studio recordings on RCA. She was the paragon of Italian Opera dramatic sopranos. She has left us a legacy in sound for which we are grateful, and having read about her personality, she's probably in heaven teaching future souls how to sing those heavenly pianissimos for which she was so famous. She is so loved and still cherished by so many.
Zva26 2 years ago
Beautiful, womanly, clear, rich, not the least bit fuzzy or husky...the perfect soprano voice for this sublime music.
Operaddict 2 years ago
la prima donna assoluta
DIVAWON 2 years ago
Nessuno ha mai cantato quest'aria come la Milanov. E' perfetta :::::))))))
federricoilgrande 2 years ago
whoahahahahow, is she perfect here...
bogdankos 2 years ago
This has been flagged as spam show
The famous recording of 55´... with right !!! Milanov sings with exquisite phrasing and last but not least : with very fine and aristocratic dynamics :o))
lassisimo 2 years ago
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lassisimo 2 years ago
Love Zinka! I don't think she was undramatic like everyone says she was, but I think she was more classic in approach, grander. She's more attentive to music rather than drama, but I think she got better with time. BTW: there were also other BIG voices that sang Norma! Callas, Ponselle... Flagstad was going to do it, but dropped it because I don't know why...Cerquetti and Sutherland had biggish voices...But Milanov's norma is not one of my faves...Especially not in 1954...I like the 44 better
AOG93 2 years ago
Zinka didn't have to act dramatic. Her voice itself has drama. Personally I like this aria to be interpreted with some control of emotional explosion and Zinka's doing a great job here.
tonyhan0903 2 years ago 5
the 1952 Forza Brdcst was wonderful, Tucker Milanov, Warren, nothing today like that and by the way I have heard Price in house and it is not a small voice at all, in Tosca the middle of her voice was actually quite large.
halavey 2 years ago
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prronto2006 2 years ago
What year was this recording done??? I would love to know! Thanks.
Birgitwannab 2 years ago
1952
ilprincipedipersia 2 years ago
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Aldobrandini 3 years ago 2
Milanov does not sing the text as it's written, she doesn't sing the word "improvvido", she cheats changing it by "le pene" and the following "le pene" her C is an awful screamy and tight note
vergoti20 3 years ago
Comment removed
Aldobrandini 3 years ago
aldobrandini: I can't share any opinions with you since you mention L.Price as excellent.L.Price was a little soprano, her voice wasn't a great thing in any sense, it seems you don't realize of that , it is very easy to notice playing any disc of L.Price
vergoti20 3 years ago
Comment removed
Aldobrandini 2 years ago
So who's the GREAT soprano??? Get serious.
everythinok 2 years ago
and her pianissimi are tight.
The note in piano must have the same body of a note sung in forte, but in piano.
Milanov piani has no fullness and the C she sings in forte in the aria is a scream
vergoti20 3 years ago
Comment removed
Aldobrandini 3 years ago
you asked me if I like Milanov in general,well I don't.
I don't like Milanov too covered middle, engolato, few and uninteresting low notes and I don't like her top at all.
And yes Milanov piani are tight
vergoti20 3 years ago
vergoti20: What sopranos do you consider better than Milanov? L. Price's voice was small, girl what are you listening to? Price's voice was very, very large and that is easy to hear from any broadcast she did.
gaytenor 2 years ago
about Milanov Aìda, there are two versions, her '55 studio version there are many high notes that are harrowing, really little screams (because Milanov voice on top becomes thinner and lacks color).Her '52 live Aida is really awful too
vergoti20 3 years ago
vergoti20: I have the Milanov Aida from 1952 and girl she doesn't scream but rather soars over the orchestra as one would expect from the greatest framatic soprano in the world at the time. Milanov sing nothing but the hard roles and she sang them to perfection. Who is YOUR ideal soprano for dramatic roles? I cast my lot with Zinka because she ruled the Met for a very long time.
gaytenor 2 years ago 2
the 52 forza is a glory. none better. ignore the ignorant and eliminate their platform. let me recommend to you the 54 Norma. I think it is very special. Passionate beautifully sung. No bigger voice has ever tackled this part. the casta diva is lowered a full tone i think. no recording ever captured the luminous haunting quality of the milanov voice, she waS SPECIAL.
ilprincipedipersia 2 years ago
@ilprincipedipersia - I agree with you. I actually her 1954 Norma to the one of ten years earlier. True, there are some transpositions, and she doesn't linger long on the top C's, but the voice was still magnificent and the sound came out like pitchers of cream. Of course Callas' Norma created a world rage, but we must not forget the beautiful qualities that Milanov brought to it. The closing pages of the opera are magnificently voiced -== like a river overflowing it's banks.
Zva26 1 year ago
I agree on your comment. Zinka was one of the greatest ever.
josemuso1 2 years ago 2
vergoti20: if you even dislike Milanov here(!), I have to join others here in asking once more, "PLEASE, who then would be your model Verdi soprano?"! I'm not trying some kind of gotcha question here. I'm really, really curious. Who would be your preferred Verdi soprano, and why? Thank you.
grig035 2 years ago
Aldobrandini: Bravo. I wonder if some people are hearing what I'm hearing with Zinka. The immortal Rosa Ponselle held Milanov in the highest regard what are we missing. Was Zinka a second rate soprano like has been suggested in some postings. Me thinks not and one wishes for the days of Milanov, Tucker, Warren routine before the frauds took over the Met.
gaytenor 2 years ago
Never been the biggest Milanov fan, and Forza has never been a favorite either. But for the first time, I've heard this aria sung like each and every note had purpose and direction....and what a beautiful voice that floats so effortlessly!...Unlike the Met's Tristan broadcast I just heard, which was so nastily sung, IMHO, that even MY throat got sore in the middle of Act 2! Gonna see Milanov in a whole new light now. Thank You!
walkure48 3 years ago
This isn't from Forza; it's from Trovatore. Confounded Verdi, writing two operas with a heroine named Leonora!
nclysander 3 years ago
When Milanov was at her very best, she was absolutely sublime. Verdi's "Forza del Destino" could have been written for her. Unless you've heard her Aida Tomb Scene with Jussi Bjoerling on RCA's 1955 "Aida", you've missed out on the most gorgeous singing possible. And I'm a great Callas fan!!!
Zva26 3 years ago 2
That may not make M. better than anyone else, but it does make her unique from about 1950 on.
grig035 3 years ago
Even M. doesn't have all of this all of the time. But for a while she does, and that's more than is true of any of her (sometimes inspired) colleagues and subsequent successors. While some like Callas or Caballe may have an even finer musical style, or Arroyo an even more resilient top, or Tebaldi even more seductive vocal colors, etc., no one from M. on has a basic proficiency in the full baker's dozen of attributes cited here.
grig035 3 years ago 2
Different sopranos since Milanov -- and during Milanov's own time -- equal or surpass M. in certain ways. What makes M. special is her comprehensive mastery (when at her best) of all vocal reqs. needed for Verdi: "curvy" caressing legato, morbidezza, warmth and abandon, firmly anchored low, soaring top notes, equalized scale, proficient flexibility, plausible trill, crisp diction, secure intonation (after turning 40), long breath, seductive vocal quality and spinto power.
grig035 3 years ago 2
Milanov does not sing the text as it's written, she doesn't sing the word "improvvido", she cheats changing it by "le pene" and the following "le pene" her C is an awful screamy and tight note,
vergoti20 3 years ago
Peccato quelle doppie...semplificate, e un modo un po' vecchiotto modo di cantare, altrimenti grande Leonora e immensa cantante ( ascoltare la sua "Forza" ad esempio....)
neronnenn 3 years ago
I met LA MILANOVA in New York (I has been a child, interested to start singing...) and she has been like my aunt and very kind and very intelligent... She talked good about Tebaldi and Ponselle and many singers around. Many years later I meet LA TEBALDI and she also gave compliments to MILANOVA! SO you can see that the unique and special sopranos are never bitches - but the people around create bullshit storys a big quality voice! When will a new be born? Tebaldi and Callas ..... Goodness
Heraopera 3 years ago
I knew Milanov well and Tebaldi less so. My experience with each confirms the high regard each had for the other. Milanov was one of the greatest sopranos ever and the vulgar and the ignorant will never take that from her.
ilprincipedipersia 3 years ago 9
@ilprincipedipersia : as a Croat it is a bit strange that people here do not recognize what a gem she was. Pitty. Anyway, her Voice and interpretation are not for everybody. Some people simply don't get it. It is not their fault. There are those who understand music, and those that pretend to do so.
1971Hannibal 1 year ago
I love Milanov's Leonora...It is amazing how her voice settled when she was already in her 40s! Before that, her voice tended to become shrill...
(I played this aria to my friends who don't really like opera and tha mayority of them loved it!)
Frufrucucu 3 years ago
This comes very close to being as good as Price's versions--if she hadn't squeezed the top C, which is also just a bit flat, it would be just about perfect.
liedersanger1 3 years ago
This was very beautiful and very useful. You can easily see the singing tradition that L. Price comes and how it was extended when listening to Ms. Milanov. This is absolutely heavenly. Thank you primobaritone for posting this wonderful reading of a great aria, sung by a great artist.
Arnold3135 3 years ago
Zinka Milanov may have been at odds with Tebaldi and was not the easiest diva. However in every well regarded book on opera, she is named as one of the greatest sopranos of the 20th century. I think this is richly deserved because it is a wonderfully clear voice of great beauty. Tebaldi also was a great soprano.
dollenberg 3 years ago 2
It is too bad that Milanov did not make as many recordings as Tebaldi. Love both of them. I wonder if there was rivality between Tebaldi and Milanov? Tebaldi arrived at the Met at age 33 and Milanov was 49. Two great sopranos.
tebaldicallas 2 years ago
GENIAL Zinka Milanov one of the bests soprano voice of XX Century liric-dramatatic so she can with bell canto too... GENIAL.
juancar988 3 years ago
Perfectly sung... at her best, she was right up there with the best of them... or maybe just a little better.... one cannot imagine this aria being sung better than this... and I saw Price do it in SF years ago..
meinfb 3 years ago
esta es otra de esas arias que te hacen sentir que podrias morir de amor,la insuperable Madame Milanov con esa garganta privilegiada que Dios le ha dado cuando la nombró como uno de sus angeles en la tierra
aircat29 3 years ago
pero tu te fumaste una lumpia con edulcorante?
SiEtIn1 3 years ago
no, yo fumo oregano con plumas de cacatua.....me gusta la milanov creo que su tecnica es excelente y depuradísima...no fue la mejor ni la peor (de hecho ninguna es la mejor absoluta, ahora la lista de las peores incluye varias paginas.....)a vos no te gustó?
aircat29 3 years ago
no chico la verdad es que me encantó esta versión de zinka milanov, no me lo esperaba, lo de la lumpia fue porque me pareció cómico lo elaborado y poético de tu comentario... déjame ir a probar lo del orégano a ver que tal, tu anda a escuchar "leyla gencer-trovatore-1976"
SiEtIn1 3 years ago
ah...okok....entiendo, por lo menos nos alejamos del clasico "callas-contra-todo-el-mundo"...(y yo adoro a María pero necesito escuchar y conocer a las otras que fueron leyenda)ahi me voy a escuchar ese trovatore!!!saludos!!
aircat29 3 years ago
@SiEtIn1 me recuerdas venezuela, no se por que..
MrLuis85698 3 months ago
Jesus, is there anything more beautiful than this aria being sung by this soprano? NO.
operadonna 3 years ago
This is a cure for the spirit. This is a gift. A really special gift. Thank you Zinka
bradoperaman 3 years ago
Just stop the non sense. This is "beautiful singing" at its best!!!!!.
voce29 3 years ago
... I read some comments here... MG... please, find one single soprano in the whole world who can touch Milanov feet and then we talk...
give me a break... so much ignorance is scary really!
Birgitfan 3 years ago
Can we stop with those absolutist remarks? There are sopranos who today who can touch her feet.
operamusicfan 3 years ago
Aa great artist and when she sang it was like
a little heaven on earth.
Fegen 4 years ago
I love Milanov, but i think that when Tebaldi arrived at the MET she was a bit jealous of Tebaldi, Tebaldi was younger (16 years younger) but later she respected Tebaldi and when Rudolf Bing told Tebaldi there was friend that who wanted to see her she taught it was Zinka and it was Callas, Tebaldi was quite surprise. That was September 16, 1968. 9 years late same date Callas died.
VivaTebaldi 4 years ago
It was not jealousy in the traditional sense. Milanov hated getting old. She was born to sing and everday until the day she retired she attempted to deny age its victory.
ilprincipedipersia 4 years ago
Milanov biggest dream was to play Butterfly, she admitted herself to Tito Gobbi.The story says when she was in the first rehearsal and she is asked "quanto anni avete" "indovinate..." Milanov replied "ottanti (eighty) netti netti..." and she was fired from the production
enderezo 4 years ago
I heard her say that she would not do Butterfly because she did not look like one. That said she sang a lot of Pucinni early in her career-----manon. Tosca, Butterfly, Giorgetta, Minnie, and of course Turandot---the Buenos aries Turandot is a performance of legend.
ilprincipedipersia 4 years ago
They say that during a performance of Tosca with the aging Milanov the tenor Daniele Baroni answered her question "chi è quella donna bionda lassù?" with "è la Tebaldi. Ti piace?" and poor Milanov had to reply "è troppa bella!".
CzarDodon 3 years ago
Poor thing, but even at that stage in her career she, unlike today's sopranos, had nothing to envy from the also aging Tebaldi...Both great
Frufrucucu 3 years ago
Actually there was an age difference of 16 years, and Tebaldi definately had a more attractive stage presence. Nevertheless, Milanov's was one of the most georgous soprano voices of the 20th century, but Tebaldi was also in that category. There's a recording of the Chenier finale with Tucker and Milanov here on YT where Milanov is almost 60, the voice is still very beautiful though a little tired.
CzarDodon 3 years ago
Her voice is all the time under control,that is true, but, as Elisabetta611 says: not moving.
krakowjak 4 years ago
The story in Wikipedia goes that she was born Zinka Kunc and performed under that name in Europe. However, the Met insisted on a name change since "Kunc" sounded like an American slang term that most women don't aspire to be!! Her closest friends were afraid to spell unequivocally explain it to her, but she eventually settled on Milanov after her second husband.
kmillard 4 years ago
This comment has received too many negative votes show
Messy and she sings as if she's talking,
operaficionado 4 years ago
I don't agree with you, she sounds beautiful.
Great voice, you must be deaf.
VivaTebaldi 4 years ago 3
Milanov was very nice to Tebaldi but not to Callas I wonder why? Was it because Renata was a nicer person. Milanov sings this aria beautifully, greaa singing.
VivaTebaldi 4 years ago
Well, Milanov's singing philosophy was closer to Tebaldi's than Callas's (Callas's philosophy was practically worlds apart).
Beautiful voice, exquisite technique, generalized emotions (unfortunately).
VivaMariaCallas 4 years ago
Очень академично, технично и красиво
shankara31416 4 years ago
trills at the end are exemplary
jblo9 4 years ago
never mind who was best, just listen to the softness and control. By any standards beautiful
jblo9 4 years ago
Beautiful singing by Milanov, as always. But to me it's cold and lifeless like marble. Beautiful, yes, but not moving.
Elisabetta611 4 years ago
This rendition is pure gold! She has amazing breath control in the high notes. This is a tremendously difficult aria sounding too easy. Milanov was lauded for her dramatic roles but she can sing the most delicate passages and pianissimi with the lightness of a lyric soprano. Furthermore, she has no harsh vibrato as many dramatic sopranos like callas and marton, although I like both as well.
operaoaf 4 years ago
now now, there will be no Callas bashing, I do agree with your assessment of Milanov,
so hard to fing that kind of control in opera houses today,the sound is measured yet delightful to the ear.
mm9913 4 years ago
Milanov was certainly a character. She also had an exceptional voice -- exquisite tenderness and lovely pianissimi. Thank you for posting this.
veramour 4 years ago
Brava!
veramour 4 years ago
This comment has received too many negative votes show
Milanov was horrible singer, horrible voice and she was a croatian bitch, she was another evil woman who hated beloved Maria.
How she dares to sing D'amor sull'ali rosee" if la divina sang it.Horrible Milanov if you listen me: Your voice and your singing were filthy
mangiatutti 4 years ago
...and the crazy Callas fanatics strike again...geez. Did opera just stop for you when you found that Callas had died? Really?
Iareto 3 years ago
Milanov possessed a great voice. This Trovatore clip is proof. No one since the 50s has sung Forza, Gioconda, Trovatore, and other roles quite so exquisitely.
bobopera 4 years ago
well said, i quite agree.
Aldobrandini 2 years ago
This is Milanov at her greatest; nobody could float pianissimi like she. Her Italian always lacked authenticity, however. She also, like many of her contemporaries, never bothered which such annoying things as accurate rhythms or in depth characterizations. She was one hell of a singer, though, and many moments have never been surpassed.
billyguns2 4 years ago
My great aunt...I don't know what to say.
Degamra 4 years ago
You should be proud ! She was one of the greatest ! :)
primobaritono 4 years ago
you are right. She was not only a supremely great singer but also a fabulous human being. I loved her
ilprincipedipersia 4 years ago
She was a bitch and her voice is nothing compared with la Divina Maria
mangiatutti 4 years ago
You have no idea of what you are talking about. I heard both in person, Zinka many times, and she was indeed the best. I met Bozidar and he was a sweet man. He and Zinka adored each other. She was never a bitch. She may have resented the special treatment Bing gave to the "new Europeans" but she knew her worth and was unbeatable.
paragod333 4 years ago
La Milanov was a bitch, everybody knows that.When Maria made her New York debut Milanov came into the house walking and looking to the audience just in the moment was making her stage appearance trying to ruin Maria debut
mangiatutti 4 years ago
That is simply not true. Milanov was already seated. Callas made her entrance well into the opera. You had better check on your alleged facts. Why are you so hateful anyway. Can't one like more than one singer?
You sound disturbed.
paragod333 4 years ago
No paragod333, Mr Bing grips her arm and obliged her to seat down because she came into the house greeting the audience just when La Divina was starting to sing
mangiatutti 4 years ago
Milanov sang only one time at LaScala (Tosca 1950) and she had no success, she had no italian career.When Maria made her New York debut it was the end for Milanov.Milanov always was OLD , and sounded OLD, and her voice had smell of formaggio gorgonzola
mangiatutti 4 years ago
You are not only sick and hateful, but you don't know what you are talking about. I believe your screen name. I bet you do.
paragod333 4 years ago
Do not waste your time on mangiatutti. Milanov was in a class by herself and placed there by Ponselle herself. The same Ponselle who offerred Callas her help. This person is among those who encourgaed or who woulld have encouraged the disastorous 70s concerts. Leave him in peace. He will not learn
ilprincipedipersia 4 years ago 3
I have a '77 Opera News issue in my hands, an interview to retired Milanov: "At one point, after rehearsal of '60 S.Boccanegra Mr Bing suggested to Milanov's brother that the time had for her to retire"
mangiatutti 4 years ago
Milanov says: "He was angry at the ovations I had and claimed (Mr Bing) I had a claque.When I heard he wanted me to retire I wanted to beat him up and they had to hold me back, I was furious !"(The true story was she had a claque, she paid it and when she was into Mr Bing office she griped a paper cutter and she tried to attack Mr Bing, he had to hold her arm.
mangiatutti 4 years ago
Dear Mangiatutti,
Thanks for the laugh. You do have a vivid imagination as well as a complete disregard for the truth. You are really up there among the mediocre comics of our day.
paragod333 4 years ago
Maria received the love of millions people on her '73 concerts, she remained La Divina and no other singer could touch her.Milanov always was OLD and always screamed and her voice had gorzonzola cheese smell
mangiatutti 4 years ago
You are quite right. The truth is that I am old, still have my hearing and mind but I was working at the Met at the time and heard Milanov in dozens of great performances. I will be respectful and not comment on Callas.
paragod333 4 years ago
The real thing was Callas made her New York debut on nov, 1956, she was only 32 and she dissapointed because her voice was very little and in decline.She sang only two seasons at the Met, she had NO Met career
trepicioni 4 years ago
Of course Callas had a MET career and her voice WAS NOT very little. A very little voice can't sing Norma at the MET.
Elisabetta611 4 years ago
gorgonzola...well at least she had something of italian career..
(maybe the tone u use is not quite appropriate if ur trying to make a dialogue here)
gitaclick 4 years ago
On your channel it says you're 37 years old!
CzarDodon 3 years ago
She wasn't a bitch... but you are a megabitch
CzarDodon 3 years ago
This comment has received too many negative votes show
Everybody knows Milanov was a fat and old witch and she sounded like an old hen always
bonanplu 3 years ago
Are you a grandchil of Bozidar kunc. If you are, know too that your grandfather too was a wonderful man.
ilprincipedipersia 4 years ago
He is my grandfather. I never met him or Zinka, obviously. I'm picking up the piano as we speak (at the ripe age of almost 22) after playing guitar for about 6 years. I hear they were both wonderful human beings and if their music says anything about that, well, it goes without saying. Thank you for the kind words and thank you for uploading this. My father, Bozidar's son, might have some Zinka material unavailable on here so far.
Degamra 4 years ago
Sometimes ugly people appear on this web site. Your aunt was loved and admired by the greatest singing actresses of her day. This company includes: Rysanek, Modly, Varnay, Crespin, Ludwig toname but a few. Great singers like Sutherland, Corelli, Tebaldi both like and admired her work. And the great Ponselle named her, her peer as the Rovatore Leonora
ilprincipedipersia 4 years ago
When Maria made her New York debut with Norma on oct, 1956, it was the end of Zinka, she was a bitch and at that time she was regarded as a piece of museum.Zinka was black of envy towards la Divina
mangiatutti 4 years ago
What relevance does what you just said have? If you think about those kind of things when you are listening to great music, I feel sorry for you...
singthesilences 4 years ago
You are quite right...they were wonderful human beings and artists. I heard them in concert and Zinka in opera many,many times. She was no always perfect, but when she was good, she was astouonding and no one ever approached her. There is no need to compare singers. Many had virtues, but Zinka was in a class by herself.
She knew it and so did anyone who heard her at the old met. What a great joy it was to hear her.
paragod333 4 years ago
A pleasant, careful *outline* of what Verdi wrote.
Where are the trills? Ponselle voices them effortlessly; Callas at least, tries, but triumphs in the end as Leonora, not just a singer.
dtkane 4 years ago
Thanks for posting. It's hard to find any recordings of her in Belgium.
TonnyMafaxa 4 years ago
I cannot help but cry every time I hear either her or Renata Tebaldi. People just don't sing like this anymore. It is a terrible shame. Just listen to the ease at which she preforms. She does not force her voice. It is pure.
ElliePearl 4 years ago
What is there to say? When this was recorded she surely was the greatest soprano in the world. She remains the model that hold beauty as the first cause. brava Zinka
ilprincipedipersia 4 years ago
If this doesn't touch your heart then you're in plenty of trouble. Milanov, unlike many great singers, seemed to experience an increase in the range of beautiful color--tone--in her voice as she aged. Leonora's aria "D'amor sull'ali rosee" here is so sensitively sung it could be classified as the model for all spinto sopranos to follow. Thanks for this posting.
blakemooney 4 years ago