I adore Sutherland's Norma..especially '63 (though alas never saw her do it live). Ponselle is truly amazing in every way. It was a voice and approach that could do anything..and stunningly.
Ponselle, Cigna, Calllas ,Sutherland, and Verrett all bring something unique and special to NORMA . I find in these ladies a special quality that touches me each in their own unique way. Milanov sang the Norma arias well, very well ,but did not have the emotional fire the others had.
My dear Rosa Ponselle was a native of Meriden, Conn where i was born and raised.
According to legend Rosa and her sister Carmela used to sing while gathering apples in her family orchard, she posesed a beautiful voice, Meriden has never forgotten her.
It is very obvious that this voice was the best of its day and comparing her with todays top sopranos is just impossible as recording techniques enhance voices now more than ever. who knows what she would have sounded like if she had been around today, Callas adored her as did Pavarotti and my particular favourite Mario Lanza was also full of praise. At the risk of being shot down in flames I would welcome comments on comparisons with Anna Netrebko, watch her on you tube before commenting.
There is NO voice better than Ponselle's None. Her range is to die for; her technique is flawless; she is the greatest female singer ever recorded. Think what she'd sound like with today's recording know-how.
Callas cannot hold a candle to her. High voice alone -- tendency to sound strained and "screechy." Never. My mother, a consummate singer/musician herself, heard Ponselle in person (along with all the greats --Melba, Galli-Curci,Sutherland,etc.) and there was never anyone who came close.
Sorry, Chris. I myself heard Sutherland and Horne in "Norma" in the 70's. Marilyn Horne outsang her, outvoiced her all the way. Bad night? Nope -- it was more than that. She was great, but NO Ponselle.
Oh, thank you for posting this gem. What a stunning performance. Now i have to get out my Ponselle records and treat myself some more. Amazing that this many years later, we are still realizing Ponselle set the standard. Brava.
Попробуйте сами это спеть! У Каллас голос в 2 раза меньше. С таким мощным голосом, Роза великолепно владеет виртуозной техникой и позиционно точна. А Каллас только несколько лет сохраняла точность, и очень скоро в её исполнении стало преобладать т. наз. цветное пение.
Ponselle is a miracle. She set the standards for singing for the ages. There has never been anyone like her, and there never eill be. The beautiful colrations in her singing, the seamless scale,the emotional intensity. Tullio Serafin once said that he had only worked with 3 miracles in his lifetime. They were Rosa Ponselle, Enrico Caruso, ad Titta Ruffo. Every singer should listen to her to hear how to sing correctly, Especially todays singers
Hey guys, have you heard Monserrat Caballe sing Norma in the 1974 Antique Theatre d'Orange production? Ahhhh... it's just beyond good. Their phrasing and voice production are similar, but of course the quality of Caballe's recording is better.
María Callas inventó diferentes colores para cada heroína. Para la sacerdotisa Norma mezcla la declamación gluckiniana con la exaltada declamación de Bellini y el tragico furor del neoclasicismo. En Callas hay una diversidad de enfoques y una completa y específica individualidad de cada heroína que abordó. Por eso otras lo podrán cantar mas "lindo", o con más fiorituras, Pero Callas es "Norma", "Amina", "Medea", "Ana Bolena", Lucia".
María Callas inventó diferentes colores para cada heroína. Para la sacerdotisa Norma mezcla la declamación gluckiniana con la exaltada declamación de Bellini y el tragico furor del neoclasicismo. En Callas hay una diversidad de enfoques y una completa y específica individualidad de cada heroína que abordó. Por eso otras lo podrán cantar mas "lindo", o con más fiorituras, Pero Callas es "Norma", "Amina", "Medea", "Ana Bolena", Lucia".
Ponselle was probably the greatest Norma who ever lived. Anyone even remotely knowledgeable will agree. Callas was superb but Rosa was greater. There will never be anyone who approaches the greatness of this unique artist. If she played the cello she would have been one of the greatest cellists who ever lived. Artistry like that is born not made. God bless Ponselle!
@millriv What you wrote is perfectly true, but one has to acknowledge that her top notes, let's say above B, are not so easy, and therefore show a bit of tension, particularly in the "Ah bello a me ritorna" section.
all this talk about Callas accomplishing in 10 years more than any other singer is pure rubbish. She was great in some things and only OK in others. The ones who express otherwise are rarely singers who themselves almost invariably prefer Ponselle, and rightly so. Even Callas called her the greatest. Callas was far from perfect and someday her real stature will be re-evaluated to where it rigthly belongs, neither too high nor too low. In her lifetime she was considered controversial by many.
@millriv I absolutely agree with you about Callas...and you voiced it precisely and politely. Thank you. There has been such a mystique that has grown up around Callas that people are afraid to speak of her as anything less than perfection s a singer.
Hon var så otroligt begåvad och Callas var en av dem som förstod detta. Ponselle är en sångerska / sopran som alla borde lyssna på. Jag har inspelningar från 20-talet och framåt som ger både rösten och hennes musikaliska begåvning större rättvisa.
Essayons d'imaginer la voix qu'elle avait avec les moyens d'enregistrements qui ne lui rendent pas justice. Ça devait être phénoménal et tellement puissant. Genre de voix qui a tous les timbres. Je reviens toujours à elle.
Rosa actually met Puccini toward the end of his life, and, completely awed by her voice, he was in the process of writing her an aria when he passed away.
pehaps, Callas was a type of evolution Derived from Ponselles miraculous talent. Gosh what sounds they make! If only we had one like this today I would travel the world to follow her!
Other than the bizarre way that she attacks those gruppetti in the final turn of the cabaletta's "il cor ti diedi" (sounds like the intro to Pokemon), this rendition is Numero Uno, even with some corny phrasing in the recitative. The final high C at the end of the cabaletta is like being in a dream world. Her recorded Violetta is sublime, just as Callas' is sublime, just as Sutherland's is sublime. Everyone is sublime. Please don't say "good better best" any more. I will die of boredom!
@Greatheil Was it her voice in particular on 78, or did she lag off pitch from time to time like all the others? She was, admittedly, afraid of high notes, particularly the exposed high C at the end of "O Patria Mia". For some reason she developed a phobia for this. Otherwise, as in her live performance from the Met of La Traviata, she took all the high Cs in the "Sempre Libera" and then frosted it with a superb E-Flat!
@sillyboydeux Can you point to that recording.. where she sings all the c's and an E flat? I believe she transposed most of Ah Forse Lui/ sempre libera down.. it was still fabulous .. but i think it was transposed down.
@kgarmaker123 I'm coming late to this discussion--if you're talking about Ponselle's Traviata, she definitely transposed Sempre Libera down. A great performance nevertheless.
@INTELIGENCIA666 Ponselle had the most beautiful voice, for sure. But she didn't accomplish 10% of what Callas did in 10 years. 100 Normas, 80 Medeas, as many Traviatas. The three most difficult roles sung at full throttle, and inventing new singing techniques with each role. Ponselle was a great singer. Callas was a conductor, an instrumentalist, a singer, and above all, an inventor, the Leonardo da Vinci of opera. There was a vast difference in their missions as individual artists.
@sillyboydeux I agree although Ponselle's Norma is really quite good too. She has a beautiful voice and it's perfectly suited to the bel canto repertoire although it seems more old fashioned 1920's in style. Callas was clearly sounding more modern and doing more with her voice and also with her career. She openly admitted to disliking tradition and she saw herself as a singer of the future, despite the fact that her hey day was the 50' and 60's.
@sillyboydeux How about Lucia's Somnabula's? Trovatore's Aidas etc... Callas did accomplish more than ANY one in a ten year span.. and it was all nearly perfect .
@sillyboydeux How exactly was the destruction of Callas' voice a great accomplishment? Yes, she made many great recordings, but lost everything to early because of it.
@tenor220 But what if we look at longevity in terms of the number of good works an artist leaves behind? To me a singer's voice is like a limited amount of money. Sooner or later, it will come to an end, but more important than the number of years they managed to keep it, is how they spend it. Maria offered us more hours of sheer musical truth and joy than imaginable, is that not an accomplishment? Does it matter if they were created within a time span of 10 yrs, 20, or 30?
Beautiful, yes, but also irritatingly self-indulgent and without commitment. Of course Pollione HAD to leave this lax girl with the beautiful face that had become a little fat of eating too much cake. Like an all-too-sweet dessert. I think of Caballé in the same way, although her vocal qualities were much lower than Ponzillas. I'm glad Callas came along and gave HUMAN life to this.
Callas worshipped Ponselle whom she heard in radio broadcasts from the Met when she was a child in New York. Never forget, Ponselle was Callas's inspiration and she is quoted saying "compared to her, my own voice was like think oil". In turn Callas had her own unique musical and dramatic gifts, but appreciation of these should never be used to detract from Ponselle.
@CharlotteinWeimar Interesting. There are audio interviews with Maria, I believe posted on Youtube also, where Maria says she never heard Ponselle until after the war, when she left Greece for Italy.
Ponselle is simply amazing and an important correction to the general conception that Callas revived the Bel Canto repertoire (maybe with the help of Tullio Serrafin) all on her own. I am convinced that Callas would have appreciated Ponselle. If we think about the quality of recording technique in her time, we might just imagine the stature of this artist. Thanks for posting!
Actually, Callas did admire Ponselle very much; she called her "the greatest singer of us all". They sound very much alike in the recitative ("sediziose voci"), which suggests that Callas was familiar with this recording, or else that Serafin coached her to sing like Ponselle (or both). On the other hand, Ponselle makes catty remarks about Callas in her autobiography; she was probably jealous of the younger diva. I only wish we had a complete Norma with Ponselle so we could really compare them.
anybody who thinks she couldn't sing coloratura needs to listen to her singing "Bel raggio..." from Semiramide, here on You Tube, in 1936 at the "end" of her career. Incredible.
sorry, but I can't hear a thing 90% of the clip except the crackling which I hear perfectly. I have the same recording and I don't have that problem on my stereo. And both my volume settings are at their max.
beautiful voice, regardless of any imperfections, as all singers have for one thing or another, but it dosent detract from listening to a beautiful voice singing. im a lyric tenor, and i can sing very well one day and not so good the next. all singers have ups and downs and i sing italian opera better than i do german, but i dont get remarked as a bad singer, and nor should anyone else.
it dosent seem fair to charge 200 dollars for someone who dosent hit the mark, but being able to sing and having a wealth of training dosent guarantee that you will be able to perform as well as a previous time, but you do have to try your very best to satisfy the audience. i get annoyed when i perform much less than i know i can, but i still give it my all and i hope the flaws arent noticed enough to warrant a rampage on the stage. 200 dollars is a rip off no matter who is on anyway.
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The ignorance is quite amazing.Ponselle's coloratura technique was amatourish the runs at 6:29 are a disgrace and the scales at 5:39 smudged.Plus she scoops on the final high B.
Yeah that's why Callas, Schwarzkopf (absolute perfection), and Pavarotti called her the greatest soprano of all time. Next to you they are know nothings. You know all.
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Nice to see you know more about singing than Callas, Schwarzkopf and Pavarotti as well as many others. I suggest you listen to her singing Ernani, but then I doubt anything you hear would change your mind. Dumba**.
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You're a moron. If her coloratura was not good they would not have said she was the queen of all queens in singing (Pavarotti), or the best of us all (Callas). You're simply stupid. Give it up, bozo.
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Well open your ears that's not good coloratura singing.There are many soprano parts with no florid passages like Aida,Tosca,Leonora in Forza,Mimi,Gioconda etc. without doubt she was exceptional in such roles but her coloratura was not in the same class with singers like Callas and Sills.Actually,Tebaldi and Flagstad are considered by many the greater voices of the 20th century do you suggest that they had good coloratura technique?
I feel sorry for your ignorance. Callas thought Ponselle was supreme in all respects, as did many others, including Pavarotti. None of them ever criticized her coloratura. You are probably stupid enough to think a rich voice cannot do coloratura. You need to listen to Borodina doing the Italian Girl in Algiers. You also need to listen to Ponselle doing Ernani. I won't bother to correct your ignorant remarks further. You are welcome to stay as stupid as you are.
@saagua1953 I saw Borodina in L'italiana in Algeri at the Met a few years ago, and you're right, she was great! Huge voice, sharp acting, overall great presence.
@flicfan416 What was truly amazing about Borodina was how agile her voice was in the coloratura for such a large voice. Rather like Ponselle in that regard.
@saagua1953 Very well said. Callas always idolized Ponselle. Callas stated , I thinkwe all know that she, Ponselle, is simply the greatest singer of us all. As matter of fact, Callas called ponselle about a year befoe she (Callas) died and was lamenting greatly that she had not taken the great Tullio Serafin's advice and studied with her, the great Ponselle. Rosa res onded by say, Well, dear, there is no use crying over spilled milk. You had a great career. Ponselle was a Force of Nature.
I agree with you and I got your point. That's right she could manage some florid passages but she could not perform Lakme or La fille du regiment the same way Sills or Sutherland could do. But that doesn't mean she's less great, no, In fact she's without doubt a musical marvel. A great singer is not great because of coloratura itself. There are many aspect in which Rosa was great...
They were all great but in different ways. Callas would never have the perfect tone of Ponselle or Sill would never be as powerfull vocally as Ponselle was.
Her even placement is amazing - she retains her depth of voice right up to the highest notes. She does not have to be everyone's favourite, no need to get people's knickers in a twist because some prefer Callas or Tebaldi. She definitely IS my favourite though. Brava Rosa!
As for a soprano who only sings opera, I don't think anyone has come along to be a replacement for Rose Ponselle. There is a wonderful Greek singer, Nana Mouskouri, who sings some arias, as well as more popular pieces, and while her voice may not be as powerful and as rich as that of Rosa, it is profoundly sensitive and beautiful. Nana is my favorite singer today, although she retired just a few years ago. One may compare her "Casta Diva" with that of Ponselle.
It is probably very difficult for us today to compare those great sopranos. Their recordings are technically not good enough to hear the full range of their voices, sometimes down to telephone quality. Undisputed however is, that Callas 'played' her voice like a violin player would play his instrument. Her voice might not always have been beautiful (metallic and veiled) but it was always precise.
This is the first time I ever listen to this fantastic voice. Beautiful!! As earlyer bescribed, form top to bottom!!! What a pleasure to ear, brain, and heart :-))
In my opinion the greatest singer who ever lived...my favorite soprano and I didn't discover her until about a year after I got into opera! I have yet to hear anything as wonderful as her. She wasn't just a singer, she was a vocal goddess.
And yet for the most part, her voice is all natural. Which is even better than having a voice with a vibrato, because at least then - the voice is staying within its natural limits without straining, croaking, or cracking. Also, the quality of the recording doesn't due her voice justice.
Rosa Ponselle certainly had an extraordinary voice. But your opinion that she was the greatest singer who ever lived... seems rather exaggerated. Why is she better (and in which connection) than Maria Callas, who, according to John Ardoin, only with Giuditta Pasta and Maria Malibran could be compared? Especially for Casta Diva I kike better Callass rendition in Casta Diva -- Maria Callas (Best)
The great Tullio Serafin said that he had only worked with three miracles in his life. They were Rosa Ponselle,Enrico Caruso, and Tita Ruffo. Serafin had always wanted Callas to study with Ponslle. Callas phoned Ponselle about a year before she died lamenting the fact that she had neverstudied with Ponselle. You see Callas said of Ponselle. I think we all know that she is simply the greatest singer of all.Ponselle was Callas' idol. I knew Ponselle so I know this to be fact.
Actually it does.I suspect that you are not a singer so you are not familiar with the art of singing. I guess that you are also not familiar with who Tullio Serafin was . You see he had worked with most of the great singers and was an authority on voice, Even Callas would admit that she was not i the same class as Ponslle. You see I knew both Ponselle and John Ardoin.
The fact that I am not a professional singer does not prevent me from understanding music. I know very well who Tulio Serafin was, but I do not incline to accept one mans authority only, as some people do. There are also other opinions out there and various quotations for all singers. I never said that Ponselle is not one of the greatest, but I am unable to say if she is THE greatest.
What I cannot really understand is what do you mean by I knew Ponselle (you repeat it twice). You state that you are about 30 years old. Rosa Ponselle died almost 28 years ago!...
Actually, I am 54 years old. I knew Ponselle in the last years of her life. John Ardoin was also a friend for several years. He knew Ponselle as well.There were many singers and critics that used to come to Villa Pace . At times it was like a whos who list of opera. Pavarotti came many times. He adored her Said she was the Queen of all queens in singing.
It is not my opimion alone. All of the great singers, conductors,and great vocal teachers agree that Ponselle is the greatest voice of all time.Serafin was an authority on voice. he worked with Caruso, Ponselle, Titta Ruffo, Renata Tebaldi,Maria Callas. The list goes on . try to listen closely to ponselles recordings . Listen to the seamless csale,the wonderful colors and shadings in the voice, the temperament. The voice i spure seamless liquid gold.
There were singers who performed before Serafin was born. I assume you mean the greatest voice that we know of on recording, not necessarily of all time. None of us personally knows how legendary singers such as Farinelli, Lind, Catalani, Pasta, Malibran, Grisi, Sontag, Rubini, Mario, Lablache sounded except by means of contemporary critical reviews. Besides, was Ponselle's voice really better than Patti in her prime, Melba, Sembrich, Galli-Curci, Flagstad, Caruso, Plancon, Battistini, Ruffo?
Cont.--Finally, when you say the greatest voice of all time, are you referring to the total combination of beauty of tone, tone production and emission, legato, even registers, agility, phrasing, dynamic range, breath control, style, taste, charm, musicianship, expression? If so, that is a tall order for any one singer to be the greatest in.
You dont reply to my question regarding your acquaintances with Ms. Ponselle and Mr. Ardoin, do you? You repeat the same arguments probably wanting me to admit that Rosa Ponselle was the greatest soprano ever, dont you? OK THEN, SHE WAS THE GREATEST OF ALL!! Happy now? :)
I dont care for it, its all transposed down.. And you know .. how bout I pick my favorite mezzo, and let her sing it in the Ponselle keys? Hell they would sound wonderful too.
What does Soprano mean to you? To me, it means the highest vocal category, and if you cant sing in that tessitura, then you are a mezzo.
kgarmaker123: mary get a life Ponselle had a high c'' and remember she wasn't a dramatic coloratura but rather a dramatic soprano. It may surprise you but sopranos transpose down. With Callas what difference would it make the sound is ugly.
NOt good sopranos... Bad ones that should be singing mezzo. do.. and if transposing means nothing, how bout we transpose Sorastro's music up, so Tamino can sing it? GET A LIFE.
kgarmaker123: Thank you for telling me that Zinka Mianov, Renata Tebaldi, etc., are bad sopranos. And I might add that Sutherland transposed the Queen of the Night aria down.Ponselle had a high c'' and if you look in her autobiography you will find details. One does tire quickly of pedantic morons making fools of themselves by proclaiming something that isn't true as devine truth. Ponselle was unique and she deserves respect. The coloratura passages are perfect.
Look, When Callas could no long sing the high notes.. as she learned in Norma in 1965 she stopped singing that role. Ponselle was amazing, I will admit, in her coloratura but that tranposing was wrong and she either needed to correct her voice or move to another repertoire... As to Tebaldi and Milanov.. .. well, they both had problems in the upper register. Especially Tebaldi, who at least had a beautiful voice.
kgarmaker123: While I like Callas her singing in the stereo Norma and even more so in Poliuto is far, far worse than anything Ponselle did even in old age. As to Ponselle's Norma not even Callas thought she was better than Ponselle. Understand Ponselle was a real dramatic soprano and and Callas was a dramatic coloratura. Norma belongs to a Ponselle voice that doesn't wobble all over the place. Milanov was not adequate as Norma because she couldn't handle the coloratura. Verrett was a disaster.
I think Ponselle, and others considered her a dramatic coloratura.. as they did Calls. They had the same vocal category.. Ponselle's fiorture were perfection, even better than Callas, however, in Callas prime, she had better high notes than Ponselle.
What are you talking about?She had a great voice but her coloratura was terrible.She was not a coloratura dramatico her voice was too short and she smudged all the coloratura passages.Go listen her live sempre libera posted by Lohengrin it's terrible.Wikipedia is not an a dependable source.
How bout we trnspose all the tenor music down one step.,.,,, then many high baritornes would be able to sing those roles.. Would that bother you? Where does transposition stop? As to Sutherland.. she had no business singing the Queen of the NIght.. Callas never attempted the role, because I assume she too did not have a reliable F.
Some tenor music should be transposed down a full tone as in the Gluck arias. For your information the tenor role in La Sonnambula is in the score transposed down, and as generally heard the Lucia Tomb scene is taken down a semitone. Callas didn't have a reliable b-flat let alone f. You get bent out of shape over transpositions others, like myself, differ. Might I suggest that you read the essay by Andrew Porter on Norma in the book "Opera on Records" for an enlightening discussion.
YOU are evading the point. and you know it. And Calls had very reliable B blats ... and even higher up and through 1959. A cracked note here and there is nothing to be ashamed of.
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I should have known that Renata would be part of your name. Anyone with her name in their name, is nasty, beyond belief, and.. to be honest She must have been a nasty bitch herself.
And I do know what I am talking about, and you are the DEFICIENT MORON.. So KMA
And btw IDIOTIC ASSHOLE, Ponselle, performed during the 20ths century, not the 19th century, so why do I kneed to know anything about 19th century performance practices? Last I checked her carer was in th early part of the20th century, MORON.
Sorry about that - what I meant was that the authentic performance practices of the 19th century, when this music was written, were transmitted through tradition and survived into the earlier part of the 20th century. Today they seem to have been forgotten. By the way, you should try to get over your incomprehensible rage against Renata Tebaldi and those who admire this great artist and human being.
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I dont have rage against Renata, but judging from the nastiness of her supporters, I dont like her. You do not see this kind of rabid frothing at the mouth for other artists. Why:? Sometimes the apple doesnt fall far from the tree. I suspect that Renata was not the kind and gentle person she is depicted.. She must have encouraged this in her fans, claque, etc.
And.. I spent the w/.e listening to her recordings. I was unimpressed .Her voice sounded loud and metallic.
kgarmaker123: you need to know about the performance practices of the 19th century because performance practices today are based on a continuous path. What Malbran, etc., did as far as ornaments etc. have been written down in many cases. Ponselle was as close to perfection in Norma as a human can get.
kgarmaker123: you are an insult to the word moron. Brigit Nilsson should be able to sing the Queen of the Night, etc., and what mezzo had Ponselle unique vocal beauty, her remarkable florid still, etc. Piss off!!!
:Plenty of Mezzos in their prime did.. Marilyn Horne for one.. I have also hear Shirley Verrett do a credible job at this music. Ponselle, did not have an easy top. Anyone who listens to her can hear that. So what do you call her.. a sort of soprano? I love ponselle, but her high register was not anything to write home about. And you are a total waste of time.
Her high register was just fine early in her career, but as she aged her voice lowered somewhat and she found hitting high C a challenge, although she still could do it. It bothered her however and she veered roward roles that would not require her to sing so high. The quality of her singing did not decline however. One might say she morphed from a soprano into a mezzo soprano.
I never knew who she was until tonight, thank you for posting her. She is the voice of an Angel on Earth. How lucky we are to have this recording. I can only dream about how she must have sounded live. Words can not express the glory. Brava Diva! I will now dream of the Traviatas and Toscas... everything she would have blessed us with.
Many consider this voice to be the greatest of all. I'll spend more time listening before I entertain that idea. The thing I like best about her, is the steady stream of sound from top to bottom. It's a very rich, velvety voice I think.
As for Ponselle..... The voice is a revelation, pure and extraordinary soulful natural and sound completely untrained despite having a little old school "vaudeville" vibrato on this ancient recording.... l would love to hear her sing on a clean stereo recording , she has a huge original tone masculine but very feminine at the same time just like coleman hawkins or even chuberry, I love the way she hits the hi notes... She is the best of the 3 she has originality a real Bessy smith...
Callas has a strong voice but she seems to overdo it and pushes her voice to much at the limit of distorting; she sounds overtrained too. But her tone is full melodic and lyrical, even and convincing making her ideal for a pissed off demented hateful super bitch as Medea, lots of soul, good smooth vibrato and a good phrasing plus she has got a very good wailing tone like charlie parker and flies on this piece like lester young ...so she is a possible..A top vocal athlete
A great musicologist on the old NYC WNCN "Listening with Watson" confidently asserted that she was the best of the century. She was never strained or at her vocal limits. She could always go higher if she needed to. His other "Best of the Century" was pianist Joseph Hoffman.
I adore Sutherland's Norma..especially '63 (though alas never saw her do it live). Ponselle is truly amazing in every way. It was a voice and approach that could do anything..and stunningly.
canpete1 2 weeks ago
Les aigus font tûût-tûût mais le legato est splendide.
abracadabranque 1 month ago
Holy crap. Just...wow.
amarantaviera 1 month ago
Ponselle, Cigna, Calllas ,Sutherland, and Verrett all bring something unique and special to NORMA . I find in these ladies a special quality that touches me each in their own unique way. Milanov sang the Norma arias well, very well ,but did not have the emotional fire the others had.
intelegentable 1 month ago
My dear Rosa Ponselle was a native of Meriden, Conn where i was born and raised.
According to legend Rosa and her sister Carmela used to sing while gathering apples in her family orchard, she posesed a beautiful voice, Meriden has never forgotten her.
Humentina 4 months ago
Brava signora.
BetahimeTsukiko 4 months ago
Uma grande Soprano Sfogatto!!
avalokiteshivara 5 months ago 3
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@avalokiteshivara Not a sfogato, at all!!! Only the greatest dramatic that ever lived.
pedrofribeiro 1 month ago
@avalokiteshivara Not a sfogato. At all.
pedrofribeiro 1 month ago
Peerless performance by Rosa. This kind of majestic sound is gone long ago.
Ponselle is very near absolute perfection matched with great artistic authority.
klokheten 5 months ago 3
Bravissima Rosa!!!!!!!! Beautiful!!!!!
TheScorpio1163 5 months ago
Absolutely sublime voice and singing!
raaadja99 6 months ago
wow - beautiful - thank you for this - incredible
fanufanufan 6 months ago
It is very obvious that this voice was the best of its day and comparing her with todays top sopranos is just impossible as recording techniques enhance voices now more than ever. who knows what she would have sounded like if she had been around today, Callas adored her as did Pavarotti and my particular favourite Mario Lanza was also full of praise. At the risk of being shot down in flames I would welcome comments on comparisons with Anna Netrebko, watch her on you tube before commenting.
lanzanut 7 months ago
Fenomeno!
sidelis 9 months ago
Perfect pitch, timing and presentation. Outstanding. The standard by which all others will be judged.
dlagrua 9 months ago
I love Rosa Ponselle's enunciation, and what a lovely tone she has! The power lady of opera in the 20's! :)
RoyKa2010 10 months ago
There is NO voice better than Ponselle's None. Her range is to die for; her technique is flawless; she is the greatest female singer ever recorded. Think what she'd sound like with today's recording know-how.
Callas cannot hold a candle to her. High voice alone -- tendency to sound strained and "screechy." Never. My mother, a consummate singer/musician herself, heard Ponselle in person (along with all the greats --Melba, Galli-Curci,Sutherland,etc.) and there was never anyone who came close.
AnnieLaurieScottie 10 months ago
@AnnieLaurieScottie Come on, Sutherland? Sutherland, from all accounts was miraculous to hear in person.
ChrisStockslager 3 months ago
@ChrisStockslager
Sorry, Chris. I myself heard Sutherland and Horne in "Norma" in the 70's. Marilyn Horne outsang her, outvoiced her all the way. Bad night? Nope -- it was more than that. She was great, but NO Ponselle.
AnnieLaurieScottie 3 months ago
@AnnieLaurieScottie
Sutherland was great in SOME segmwnts of Norma, not the whole opera
She didn't have or didn't develop the chest tones required for such role
Which calls for a voice both dramatic mezzo/contralto and coloratura soprano.
primohomme 3 weeks ago
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@AnnieLaurieScottie Her range is C2 - C6, dramatic only.
pedrofribeiro 1 month ago
Oh, thank you for posting this gem. What a stunning performance. Now i have to get out my Ponselle records and treat myself some more. Amazing that this many years later, we are still realizing Ponselle set the standard. Brava.
Mavicaman 11 months ago
Stupenda ! Una voce divina !
mirtopicchi 11 months ago
Попробуйте сами это спеть! У Каллас голос в 2 раза меньше. С таким мощным голосом, Роза великолепно владеет виртуозной техникой и позиционно точна. А Каллас только несколько лет сохраняла точность, и очень скоро в её исполнении стало преобладать т. наз. цветное пение.
Nataliekastro 1 year ago
Нет,никто не сравнится с великой Каллас.Она-настоящая Норма
elmirochka75 1 year ago
Ponselle is a miracle. She set the standards for singing for the ages. There has never been anyone like her, and there never eill be. The beautiful colrations in her singing, the seamless scale,the emotional intensity. Tullio Serafin once said that he had only worked with 3 miracles in his lifetime. They were Rosa Ponselle, Enrico Caruso, ad Titta Ruffo. Every singer should listen to her to hear how to sing correctly, Especially todays singers
Giovannifabuloso 1 year ago
Lets be real....Borodina....or Caballe......all great singers.....
However, Ponselle???.......a miracle all on her own.
arcot9 1 year ago
i love callas's virsion too. but Ponselle's was really clsssical compared with callas's which filled with character and somewhat not so orthodox.
icylakepaxphile 1 year ago
Hey guys, have you heard Monserrat Caballe sing Norma in the 1974 Antique Theatre d'Orange production? Ahhhh... it's just beyond good. Their phrasing and voice production are similar, but of course the quality of Caballe's recording is better.
leoniemikele 1 year ago
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María Callas inventó diferentes colores para cada heroína. Para la sacerdotisa Norma mezcla la declamación gluckiniana con la exaltada declamación de Bellini y el tragico furor del neoclasicismo. En Callas hay una diversidad de enfoques y una completa y específica individualidad de cada heroína que abordó. Por eso otras lo podrán cantar mas "lindo", o con más fiorituras, Pero Callas es "Norma", "Amina", "Medea", "Ana Bolena", Lucia".
lydiaguarro 1 year ago
María Callas inventó diferentes colores para cada heroína. Para la sacerdotisa Norma mezcla la declamación gluckiniana con la exaltada declamación de Bellini y el tragico furor del neoclasicismo. En Callas hay una diversidad de enfoques y una completa y específica individualidad de cada heroína que abordó. Por eso otras lo podrán cantar mas "lindo", o con más fiorituras, Pero Callas es "Norma", "Amina", "Medea", "Ana Bolena", Lucia".
lydiaguarro 1 year ago
Just awesome. Thank you so much for posting. Do you know what year it was?
rix657 1 year ago
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rix657 1 year ago
Ponselle was probably the greatest Norma who ever lived. Anyone even remotely knowledgeable will agree. Callas was superb but Rosa was greater. There will never be anyone who approaches the greatness of this unique artist. If she played the cello she would have been one of the greatest cellists who ever lived. Artistry like that is born not made. God bless Ponselle!
millriv 1 year ago
@millriv What you wrote is perfectly true, but one has to acknowledge that her top notes, let's say above B, are not so easy, and therefore show a bit of tension, particularly in the "Ah bello a me ritorna" section.
breton2 1 year ago
Realmete muito bom! Um patrimonio da música ocidental.
danilosongs 1 year ago
Parts are absolutely hypnotic! However, the chicken-clucking in the cabaletta & obvious problems with high notes were not to my liking!
DonPaolissimo 1 year ago
all this talk about Callas accomplishing in 10 years more than any other singer is pure rubbish. She was great in some things and only OK in others. The ones who express otherwise are rarely singers who themselves almost invariably prefer Ponselle, and rightly so. Even Callas called her the greatest. Callas was far from perfect and someday her real stature will be re-evaluated to where it rigthly belongs, neither too high nor too low. In her lifetime she was considered controversial by many.
millriv 1 year ago
@millriv I absolutely agree with you about Callas...and you voiced it precisely and politely. Thank you. There has been such a mystique that has grown up around Callas that people are afraid to speak of her as anything less than perfection s a singer.
arpeggio1358 1 year ago
This is my preferred version together with Anita Cerquetti and Maria Callas. I can hear that she was a model for Callas....
AninaToskani 1 year ago
Maria Callas said that Rosa was the greatest soprano of all times, and she knew
why!
beautiful voice! thx 4 posting!
henry10011966 1 year ago 2
Hon var så otroligt begåvad och Callas var en av dem som förstod detta. Ponselle är en sångerska / sopran som alla borde lyssna på. Jag har inspelningar från 20-talet och framåt som ger både rösten och hennes musikaliska begåvning större rättvisa.
VivaRenata 1 year ago
La Callas adorava Rosa Ponselle,per certi aspetti l'ha persino imitata.
Ponselle non amò la Callas quando la sentì,forse era gelosa..
vitruvio2 1 year ago
Mentira, Gato. Rosa Ponselle nació en Meriden Connecticut, USA. Ella no era de Brasil.
kimancuo 1 year ago
I love her voice.
kgarmaker123 1 year ago
Brava!
Jeanne90275 1 year ago
Essayons d'imaginer la voix qu'elle avait avec les moyens d'enregistrements qui ne lui rendent pas justice. Ça devait être phénoménal et tellement puissant. Genre de voix qui a tous les timbres. Je reviens toujours à elle.
sdegrace 1 year ago
Thank heavens we have the privilege to having heard this!
SoulNotes1 1 year ago
Para os Brasileiros que não sabem, Rosa Ponselle, era Carioca, fez carreira nos EUA onde viveu e faleceu em 1982.
gatofelixriodejaneir 1 year ago
Not the most expressivet of singers, her vowels sound all the same, but her voice arches upward with considerable majesty.
AulicExclusiva 1 year ago
Thank you for posting this. Lovely!
elkkid 2 years ago
For that pposter who claimed Ponselle was a good Puccini singer--she never sang a Puccini role!
jrtrmish 2 years ago
@jrtrmish Well she recorded Puccini arias so that might be what they're referring to.
Greatheil 1 year ago
Rosa actually met Puccini toward the end of his life, and, completely awed by her voice, he was in the process of writing her an aria when he passed away.
siberiansnowleopard 1 year ago
i love callas and ponselle ... for me i think callas has it but the complete tramsparency of ponselles voice is unavoidable
d3liriumtr3m3ns 2 years ago
@d3liriumtr3m3ns i could not agree more!
TheWisemonkey8 2 years ago
pehaps, Callas was a type of evolution Derived from Ponselles miraculous talent. Gosh what sounds they make! If only we had one like this today I would travel the world to follow her!
TheWisemonkey8 2 years ago
Category: Music
Tags: Primobaritono opera soprano Bellini Montserrat Caballe Beverly Sills Maria Callas
akpcSAIN 2 years ago
Other than the bizarre way that she attacks those gruppetti in the final turn of the cabaletta's "il cor ti diedi" (sounds like the intro to Pokemon), this rendition is Numero Uno, even with some corny phrasing in the recitative. The final high C at the end of the cabaletta is like being in a dream world. Her recorded Violetta is sublime, just as Callas' is sublime, just as Sutherland's is sublime. Everyone is sublime. Please don't say "good better best" any more. I will die of boredom!
sillyboydeux 2 years ago 2
@sillyboydeux sounded a bit under-pitched to me. She was never really known for her (rapidly receding) high notes anyway tho.
Greatheil 1 year ago
@Greatheil Was it her voice in particular on 78, or did she lag off pitch from time to time like all the others? She was, admittedly, afraid of high notes, particularly the exposed high C at the end of "O Patria Mia". For some reason she developed a phobia for this. Otherwise, as in her live performance from the Met of La Traviata, she took all the high Cs in the "Sempre Libera" and then frosted it with a superb E-Flat!
sillyboydeux 1 year ago
@sillyboydeux Can you point to that recording.. where she sings all the c's and an E flat? I believe she transposed most of Ah Forse Lui/ sempre libera down.. it was still fabulous .. but i think it was transposed down.
kgarmaker123 1 year ago
@kgarmaker123 I'm coming late to this discussion--if you're talking about Ponselle's Traviata, she definitely transposed Sempre Libera down. A great performance nevertheless.
keybedder 1 year ago
Rosa Ponselle is the BEST soprano of all time
i love to hear this when i am alone,
many memories comes to my mind.
INTELIGENCIA666 2 years ago
@INTELIGENCIA666 Ponselle had the most beautiful voice, for sure. But she didn't accomplish 10% of what Callas did in 10 years. 100 Normas, 80 Medeas, as many Traviatas. The three most difficult roles sung at full throttle, and inventing new singing techniques with each role. Ponselle was a great singer. Callas was a conductor, an instrumentalist, a singer, and above all, an inventor, the Leonardo da Vinci of opera. There was a vast difference in their missions as individual artists.
sillyboydeux 1 year ago 5
@sillyboydeux I agree although Ponselle's Norma is really quite good too. She has a beautiful voice and it's perfectly suited to the bel canto repertoire although it seems more old fashioned 1920's in style. Callas was clearly sounding more modern and doing more with her voice and also with her career. She openly admitted to disliking tradition and she saw herself as a singer of the future, despite the fact that her hey day was the 50' and 60's.
AmericanEvita 1 year ago
@sillyboydeux How about Lucia's Somnabula's? Trovatore's Aidas etc... Callas did accomplish more than ANY one in a ten year span.. and it was all nearly perfect .
leonardovittori1 1 year ago
@sillyboydeux How exactly was the destruction of Callas' voice a great accomplishment? Yes, she made many great recordings, but lost everything to early because of it.
tenor220 1 year ago
@tenor220 But what if we look at longevity in terms of the number of good works an artist leaves behind? To me a singer's voice is like a limited amount of money. Sooner or later, it will come to an end, but more important than the number of years they managed to keep it, is how they spend it. Maria offered us more hours of sheer musical truth and joy than imaginable, is that not an accomplishment? Does it matter if they were created within a time span of 10 yrs, 20, or 30?
RoyKa2010 10 months ago 2
@RoyKa2010 I totally agree.
YaelBerman 9 months ago
Unquestionably FIVE STARS * * * * * for she is matchless and the inspiration of every soprano.
CharlotteinWeimar 2 years ago 3
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Beautiful, yes, but also irritatingly self-indulgent and without commitment. Of course Pollione HAD to leave this lax girl with the beautiful face that had become a little fat of eating too much cake. Like an all-too-sweet dessert. I think of Caballé in the same way, although her vocal qualities were much lower than Ponzillas. I'm glad Callas came along and gave HUMAN life to this.
crimsontoxic 2 years ago
Callas worshipped Ponselle whom she heard in radio broadcasts from the Met when she was a child in New York. Never forget, Ponselle was Callas's inspiration and she is quoted saying "compared to her, my own voice was like think oil". In turn Callas had her own unique musical and dramatic gifts, but appreciation of these should never be used to detract from Ponselle.
CharlotteinWeimar 2 years ago 6
@CharlotteinWeimar Interesting. There are audio interviews with Maria, I believe posted on Youtube also, where Maria says she never heard Ponselle until after the war, when she left Greece for Italy.
Redboy4 6 months ago
Ponselle is simply amazing and an important correction to the general conception that Callas revived the Bel Canto repertoire (maybe with the help of Tullio Serrafin) all on her own. I am convinced that Callas would have appreciated Ponselle. If we think about the quality of recording technique in her time, we might just imagine the stature of this artist. Thanks for posting!
VivaRenata 2 years ago
Actually, Callas did admire Ponselle very much; she called her "the greatest singer of us all". They sound very much alike in the recitative ("sediziose voci"), which suggests that Callas was familiar with this recording, or else that Serafin coached her to sing like Ponselle (or both). On the other hand, Ponselle makes catty remarks about Callas in her autobiography; she was probably jealous of the younger diva. I only wish we had a complete Norma with Ponselle so we could really compare them.
Matt75003 2 years ago 3
I wish there's a video of her singing this. It's really the best.
bacersaci 2 years ago 2
This is so beautiful. It gives me chills!
vocalandchords 2 years ago 2
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bodiloto 2 years ago 5
There were never any better! Brava! TY.
paulostroff99 2 years ago 12
Ça fait longemps que j'écoute Ponselle. Elle a un focus, un dynamisme et une force exemplaires.
SuzelleDeGrace 2 years ago 2
" Ponselle's recordings of Verdi, Emani, and others were untouchable................until Callas came along "
Jason Serenus, Music Review, April 2000.
mtnmanjt 2 years ago 2
Thanks for posting this. It is such an opportunity to hear this great soprano.
quaddrix07 2 years ago
anybody who thinks she couldn't sing coloratura needs to listen to her singing "Bel raggio..." from Semiramide, here on You Tube, in 1936 at the "end" of her career. Incredible.
saagua1953 2 years ago
sorry, but I can't hear a thing 90% of the clip except the crackling which I hear perfectly. I have the same recording and I don't have that problem on my stereo. And both my volume settings are at their max.
wattever333 2 years ago
beautiful voice, regardless of any imperfections, as all singers have for one thing or another, but it dosent detract from listening to a beautiful voice singing. im a lyric tenor, and i can sing very well one day and not so good the next. all singers have ups and downs and i sing italian opera better than i do german, but i dont get remarked as a bad singer, and nor should anyone else.
aaron3lee 2 years ago 2
Even if they charge $200 a ticket and they're not worth it?
Even if they are chosen by a producer over someone else who is a better singer just because they know how to play the game?
wattever333 2 years ago
it dosent seem fair to charge 200 dollars for someone who dosent hit the mark, but being able to sing and having a wealth of training dosent guarantee that you will be able to perform as well as a previous time, but you do have to try your very best to satisfy the audience. i get annoyed when i perform much less than i know i can, but i still give it my all and i hope the flaws arent noticed enough to warrant a rampage on the stage. 200 dollars is a rip off no matter who is on anyway.
aaron3lee 2 years ago
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The ignorance is quite amazing.Ponselle's coloratura technique was amatourish the runs at 6:29 are a disgrace and the scales at 5:39 smudged.Plus she scoops on the final high B.
cer1n 2 years ago
Yeah that's why Callas, Schwarzkopf (absolute perfection), and Pavarotti called her the greatest soprano of all time. Next to you they are know nothings. You know all.
saagua1953 2 years ago
Ponselle had a great voice for the roles of late Verdi and Puccini but it wasn't agile.She didn't have good coloratura technique.
cer1n 2 years ago
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Nice to see you know more about singing than Callas, Schwarzkopf and Pavarotti as well as many others. I suggest you listen to her singing Ernani, but then I doubt anything you hear would change your mind. Dumba**.
saagua1953 2 years ago
Neither Pavarotti nor Callas had ever praised her coloratura technique.She had a good trill but she couldn't sing coloratura.
cer1n 2 years ago
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You're a moron. If her coloratura was not good they would not have said she was the queen of all queens in singing (Pavarotti), or the best of us all (Callas). You're simply stupid. Give it up, bozo.
saagua1953 2 years ago
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Well open your ears that's not good coloratura singing.There are many soprano parts with no florid passages like Aida,Tosca,Leonora in Forza,Mimi,Gioconda etc. without doubt she was exceptional in such roles but her coloratura was not in the same class with singers like Callas and Sills.Actually,Tebaldi and Flagstad are considered by many the greater voices of the 20th century do you suggest that they had good coloratura technique?
cer1n 2 years ago
I feel sorry for your ignorance. Callas thought Ponselle was supreme in all respects, as did many others, including Pavarotti. None of them ever criticized her coloratura. You are probably stupid enough to think a rich voice cannot do coloratura. You need to listen to Borodina doing the Italian Girl in Algiers. You also need to listen to Ponselle doing Ernani. I won't bother to correct your ignorant remarks further. You are welcome to stay as stupid as you are.
saagua1953 2 years ago 22
@saagua1953
"You are welcome to stay as stupid as you are." Best phrase ever lol.
magicmonkichi 1 year ago 2
@saagua1953 I saw Borodina in L'italiana in Algeri at the Met a few years ago, and you're right, she was great! Huge voice, sharp acting, overall great presence.
flicfan416 1 year ago
@flicfan416 What was truly amazing about Borodina was how agile her voice was in the coloratura for such a large voice. Rather like Ponselle in that regard.
saagua1953 1 year ago
@saagua1953 Very well said. Callas always idolized Ponselle. Callas stated , I thinkwe all know that she, Ponselle, is simply the greatest singer of us all. As matter of fact, Callas called ponselle about a year befoe she (Callas) died and was lamenting greatly that she had not taken the great Tullio Serafin's advice and studied with her, the great Ponselle. Rosa res onded by say, Well, dear, there is no use crying over spilled milk. You had a great career. Ponselle was a Force of Nature.
Giovannifabuloso 1 year ago
I agree with you and I got your point. That's right she could manage some florid passages but she could not perform Lakme or La fille du regiment the same way Sills or Sutherland could do. But that doesn't mean she's less great, no, In fact she's without doubt a musical marvel. A great singer is not great because of coloratura itself. There are many aspect in which Rosa was great...
yodavidnavarro 2 years ago 2
They were all great but in different ways. Callas would never have the perfect tone of Ponselle or Sill would never be as powerfull vocally as Ponselle was.
yodavidnavarro 2 years ago 3
ROSA PONSELLE is the best there ever was and THE BEST THERE EVER WILL BE. PERIOD
vincenz55 2 years ago 2
Her even placement is amazing - she retains her depth of voice right up to the highest notes. She does not have to be everyone's favourite, no need to get people's knickers in a twist because some prefer Callas or Tebaldi. She definitely IS my favourite though. Brava Rosa!
dinastein44 2 years ago 2
Does she have a present-day equal? If so, I want to know!
Pugophile 2 years ago
shes the best there ever was and ever will be
vincenz55 2 years ago
As for a soprano who only sings opera, I don't think anyone has come along to be a replacement for Rose Ponselle. There is a wonderful Greek singer, Nana Mouskouri, who sings some arias, as well as more popular pieces, and while her voice may not be as powerful and as rich as that of Rosa, it is profoundly sensitive and beautiful. Nana is my favorite singer today, although she retired just a few years ago. One may compare her "Casta Diva" with that of Ponselle.
victormurray1 2 years ago
It is probably very difficult for us today to compare those great sopranos. Their recordings are technically not good enough to hear the full range of their voices, sometimes down to telephone quality. Undisputed however is, that Callas 'played' her voice like a violin player would play his instrument. Her voice might not always have been beautiful (metallic and veiled) but it was always precise.
deluzon 2 years ago
She is a true treasure! Her Norma is really heavenly! It's pretty obvious why she was considered by Callas as her idol!
corellithebest 2 years ago 2
Supreme!!!
Ease with which she sings one of the hardest operas is what today's singers cannot do.
rubyedelman 2 years ago
ersipapa
ponselle was one of the greatest. Callas used to listen at her recordings and you can hear this. Her style remains modern till now.
oby1995 3 years ago 2
With her incredible talent and her physical beauty... this woman breaks my heart right in two! Thanks for posting this! ^^
maryjivinjane 3 years ago
A true dramatic soprano with coloratura. Not a dramatic coloratura because she did not have the Eb or E natural.
MrCafiero 3 years ago
That's true, thank you for correcting my error.
EmilyGreene1984 3 years ago
This is the first time I ever listen to this fantastic voice. Beautiful!! As earlyer bescribed, form top to bottom!!! What a pleasure to ear, brain, and heart :-))
vir6ginia 3 years ago 2
Really wonderful.
patjan92 3 years ago 2
In my opinion the greatest singer who ever lived...my favorite soprano and I didn't discover her until about a year after I got into opera! I have yet to hear anything as wonderful as her. She wasn't just a singer, she was a vocal goddess.
GermanOperaSinger 3 years ago 2
Her voice is beautiful but unfortunately her high notes does not vibrate well
claraprellitensky 3 years ago
Not only Ponselle notes on Bflat (and of course B and C) does not vibrate well.Also her A natural is not good either.A pity
claraprellitensky 3 years ago
And yet for the most part, her voice is all natural. Which is even better than having a voice with a vibrato, because at least then - the voice is staying within its natural limits without straining, croaking, or cracking. Also, the quality of the recording doesn't due her voice justice.
EmilyGreene1984 3 years ago
Rosa Ponselle certainly had an extraordinary voice. But your opinion that she was the greatest singer who ever lived... seems rather exaggerated. Why is she better (and in which connection) than Maria Callas, who, according to John Ardoin, only with Giuditta Pasta and Maria Malibran could be compared? Especially for Casta Diva I kike better Callass rendition in Casta Diva -- Maria Callas (Best)
Aetion 3 years ago
The great Tullio Serafin said that he had only worked with three miracles in his life. They were Rosa Ponselle,Enrico Caruso, and Tita Ruffo. Serafin had always wanted Callas to study with Ponslle. Callas phoned Ponselle about a year before she died lamenting the fact that she had neverstudied with Ponselle. You see Callas said of Ponselle. I think we all know that she is simply the greatest singer of all.Ponselle was Callas' idol. I knew Ponselle so I know this to be fact.
Giovannifabuloso 3 years ago 3
As correct as you comment may be, I dont think it refutes the mine, does it?
Aetion 3 years ago
Actually it does.I suspect that you are not a singer so you are not familiar with the art of singing. I guess that you are also not familiar with who Tullio Serafin was . You see he had worked with most of the great singers and was an authority on voice, Even Callas would admit that she was not i the same class as Ponslle. You see I knew both Ponselle and John Ardoin.
Giovannifabuloso 3 years ago
The fact that I am not a professional singer does not prevent me from understanding music. I know very well who Tulio Serafin was, but I do not incline to accept one mans authority only, as some people do. There are also other opinions out there and various quotations for all singers. I never said that Ponselle is not one of the greatest, but I am unable to say if she is THE greatest.
Aetion 3 years ago
What I cannot really understand is what do you mean by I knew Ponselle (you repeat it twice). You state that you are about 30 years old. Rosa Ponselle died almost 28 years ago!...
Aetion 3 years ago
Actually, I am 54 years old. I knew Ponselle in the last years of her life. John Ardoin was also a friend for several years. He knew Ponselle as well.There were many singers and critics that used to come to Villa Pace . At times it was like a whos who list of opera. Pavarotti came many times. He adored her Said she was the Queen of all queens in singing.
Giovannifabuloso 3 years ago
It is not my opimion alone. All of the great singers, conductors,and great vocal teachers agree that Ponselle is the greatest voice of all time.Serafin was an authority on voice. he worked with Caruso, Ponselle, Titta Ruffo, Renata Tebaldi,Maria Callas. The list goes on . try to listen closely to ponselles recordings . Listen to the seamless csale,the wonderful colors and shadings in the voice, the temperament. The voice i spure seamless liquid gold.
Giovannifabuloso 3 years ago
There were singers who performed before Serafin was born. I assume you mean the greatest voice that we know of on recording, not necessarily of all time. None of us personally knows how legendary singers such as Farinelli, Lind, Catalani, Pasta, Malibran, Grisi, Sontag, Rubini, Mario, Lablache sounded except by means of contemporary critical reviews. Besides, was Ponselle's voice really better than Patti in her prime, Melba, Sembrich, Galli-Curci, Flagstad, Caruso, Plancon, Battistini, Ruffo?
meltzerboy 2 years ago
Cont.--Finally, when you say the greatest voice of all time, are you referring to the total combination of beauty of tone, tone production and emission, legato, even registers, agility, phrasing, dynamic range, breath control, style, taste, charm, musicianship, expression? If so, that is a tall order for any one singer to be the greatest in.
meltzerboy 2 years ago
You dont reply to my question regarding your acquaintances with Ms. Ponselle and Mr. Ardoin, do you? You repeat the same arguments probably wanting me to admit that Rosa Ponselle was the greatest soprano ever, dont you? OK THEN, SHE WAS THE GREATEST OF ALL!! Happy now? :)
Aetion 3 years ago
This is transposed.
kgarmaker123 3 years ago
And?
operagodess78 3 years ago
Singers who have to consistently transpose to sing roles, should not sing these roles. And Oh btw, Opera godess.. KMA.
kgarmaker123 3 years ago
I dont care for it, its all transposed down.. And you know .. how bout I pick my favorite mezzo, and let her sing it in the Ponselle keys? Hell they would sound wonderful too.
What does Soprano mean to you? To me, it means the highest vocal category, and if you cant sing in that tessitura, then you are a mezzo.
kgarmaker123 3 years ago
So your saying that Ponselle is a Mezzo-Soprano. So you mean Sutherland and Callas are mezzos too.
operagodess78 3 years ago
Well, dear, can you imagine what kind of career Sutherland or Callas would have had, without High C's? LOL.! Its unimaginable.
kgarmaker123 3 years ago
LOL! I must admit that is true.;)
operagodess78 3 years ago
kgarmaker123: mary get a life Ponselle had a high c'' and remember she wasn't a dramatic coloratura but rather a dramatic soprano. It may surprise you but sopranos transpose down. With Callas what difference would it make the sound is ugly.
gaytenor 2 years ago
NOt good sopranos... Bad ones that should be singing mezzo. do.. and if transposing means nothing, how bout we transpose Sorastro's music up, so Tamino can sing it? GET A LIFE.
kgarmaker123 2 years ago
kgarmaker123: Thank you for telling me that Zinka Mianov, Renata Tebaldi, etc., are bad sopranos. And I might add that Sutherland transposed the Queen of the Night aria down.Ponselle had a high c'' and if you look in her autobiography you will find details. One does tire quickly of pedantic morons making fools of themselves by proclaiming something that isn't true as devine truth. Ponselle was unique and she deserves respect. The coloratura passages are perfect.
gaytenor 2 years ago
Look, When Callas could no long sing the high notes.. as she learned in Norma in 1965 she stopped singing that role. Ponselle was amazing, I will admit, in her coloratura but that tranposing was wrong and she either needed to correct her voice or move to another repertoire... As to Tebaldi and Milanov.. .. well, they both had problems in the upper register. Especially Tebaldi, who at least had a beautiful voice.
kgarmaker123 2 years ago
kgarmaker123: While I like Callas her singing in the stereo Norma and even more so in Poliuto is far, far worse than anything Ponselle did even in old age. As to Ponselle's Norma not even Callas thought she was better than Ponselle. Understand Ponselle was a real dramatic soprano and and Callas was a dramatic coloratura. Norma belongs to a Ponselle voice that doesn't wobble all over the place. Milanov was not adequate as Norma because she couldn't handle the coloratura. Verrett was a disaster.
gaytenor 2 years ago
I think Ponselle, and others considered her a dramatic coloratura.. as they did Calls. They had the same vocal category.. Ponselle's fiorture were perfection, even better than Callas, however, in Callas prime, she had better high notes than Ponselle.
kgarmaker123 2 years ago
What are you talking about?She had a great voice but her coloratura was terrible.She was not a coloratura dramatico her voice was too short and she smudged all the coloratura passages.Go listen her live sempre libera posted by Lohengrin it's terrible.Wikipedia is not an a dependable source.
cer1n 2 years ago
How bout we trnspose all the tenor music down one step.,.,,, then many high baritornes would be able to sing those roles.. Would that bother you? Where does transposition stop? As to Sutherland.. she had no business singing the Queen of the NIght.. Callas never attempted the role, because I assume she too did not have a reliable F.
kgarmaker123 2 years ago
Some tenor music should be transposed down a full tone as in the Gluck arias. For your information the tenor role in La Sonnambula is in the score transposed down, and as generally heard the Lucia Tomb scene is taken down a semitone. Callas didn't have a reliable b-flat let alone f. You get bent out of shape over transpositions others, like myself, differ. Might I suggest that you read the essay by Andrew Porter on Norma in the book "Opera on Records" for an enlightening discussion.
gaytenor 2 years ago
YOU are evading the point. and you know it. And Calls had very reliable B blats ... and even higher up and through 1959. A cracked note here and there is nothing to be ashamed of.
kgarmaker123 2 years ago
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Idiot! You obviously know little of 19th c. operatic performance practice.
In Italian, one might call someone with your opinions and lack of education - deficente!
VivaRenata 2 years ago
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I should have known that Renata would be part of your name. Anyone with her name in their name, is nasty, beyond belief, and.. to be honest She must have been a nasty bitch herself.
And I do know what I am talking about, and you are the DEFICIENT MORON.. So KMA
kgarmaker123 2 years ago
And btw IDIOTIC ASSHOLE, Ponselle, performed during the 20ths century, not the 19th century, so why do I kneed to know anything about 19th century performance practices? Last I checked her carer was in th early part of the20th century, MORON.
kgarmaker123 2 years ago
Sorry about that - what I meant was that the authentic performance practices of the 19th century, when this music was written, were transmitted through tradition and survived into the earlier part of the 20th century. Today they seem to have been forgotten. By the way, you should try to get over your incomprehensible rage against Renata Tebaldi and those who admire this great artist and human being.
VivaRenata 2 years ago
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I dont have rage against Renata, but judging from the nastiness of her supporters, I dont like her. You do not see this kind of rabid frothing at the mouth for other artists. Why:? Sometimes the apple doesnt fall far from the tree. I suspect that Renata was not the kind and gentle person she is depicted.. She must have encouraged this in her fans, claque, etc.
And.. I spent the w/.e listening to her recordings. I was unimpressed .Her voice sounded loud and metallic.
kgarmaker123 2 years ago
kgarmaker123: you need to know about the performance practices of the 19th century because performance practices today are based on a continuous path. What Malbran, etc., did as far as ornaments etc. have been written down in many cases. Ponselle was as close to perfection in Norma as a human can get.
gaytenor 2 years ago
kgarmaker123: you are an insult to the word moron. Brigit Nilsson should be able to sing the Queen of the Night, etc., and what mezzo had Ponselle unique vocal beauty, her remarkable florid still, etc. Piss off!!!
gaytenor 2 years ago
:Plenty of Mezzos in their prime did.. Marilyn Horne for one.. I have also hear Shirley Verrett do a credible job at this music. Ponselle, did not have an easy top. Anyone who listens to her can hear that. So what do you call her.. a sort of soprano? I love ponselle, but her high register was not anything to write home about. And you are a total waste of time.
kgarmaker123 2 years ago
Her high register was just fine early in her career, but as she aged her voice lowered somewhat and she found hitting high C a challenge, although she still could do it. It bothered her however and she veered roward roles that would not require her to sing so high. The quality of her singing did not decline however. One might say she morphed from a soprano into a mezzo soprano.
saagua1953 2 years ago
I never knew who she was until tonight, thank you for posting her. She is the voice of an Angel on Earth. How lucky we are to have this recording. I can only dream about how she must have sounded live. Words can not express the glory. Brava Diva! I will now dream of the Traviatas and Toscas... everything she would have blessed us with.
Oh the glory.... oh the joy! xxx
NYCHombre 3 years ago 3
Many consider this voice to be the greatest of all. I'll spend more time listening before I entertain that idea. The thing I like best about her, is the steady stream of sound from top to bottom. It's a very rich, velvety voice I think.
Andante735 3 years ago 2
As for Ponselle..... The voice is a revelation, pure and extraordinary soulful natural and sound completely untrained despite having a little old school "vaudeville" vibrato on this ancient recording.... l would love to hear her sing on a clean stereo recording , she has a huge original tone masculine but very feminine at the same time just like coleman hawkins or even chuberry, I love the way she hits the hi notes... She is the best of the 3 she has originality a real Bessy smith...
callasexperience 3 years ago
Callas has a strong voice but she seems to overdo it and pushes her voice to much at the limit of distorting; she sounds overtrained too. But her tone is full melodic and lyrical, even and convincing making her ideal for a pissed off demented hateful super bitch as Medea, lots of soul, good smooth vibrato and a good phrasing plus she has got a very good wailing tone like charlie parker and flies on this piece like lester young ...so she is a possible..A top vocal athlete
callasexperience 3 years ago
What kind of voice she had?
Fleur192 3 years ago
Techincally she would be described a dramatic coloratura soprano.
EmilyGreene1984 3 years ago
Rather a dramatic coloratura soprano. Most of times it's difficult to be accurate, especially with great singers like Ponselle.
Aetion 3 years ago
beautiful <3. and this comes from a 17 year old guy.
alexskardeborg 3 years ago 7
Gasp... so the Callas pearls HAVE a predecessor!
powrpuff 3 years ago 2
Thank you so very much for posting this.
bannol 3 years ago
I swear the first time I heard her, it somehow thought of chocolate right away!
Frufrucucu 3 years ago
Her voice is luscious, isn't it? It's like something delicious to eat. The first time I heard Simionato, I thought of giblets in turkey gravy.
yes4albert 3 years ago
She was magnificent,and no one was her superior! Brava! TY.
paulostroff99 3 years ago 2
A great musicologist on the old NYC WNCN "Listening with Watson" confidently asserted that she was the best of the century. She was never strained or at her vocal limits. She could always go higher if she needed to. His other "Best of the Century" was pianist Joseph Hoffman.
aristopus 3 years ago
aristopus-Add Caruso,and nobody will argue it!
paulostroff99 3 years ago