@gi1ro2la3mo4 Absolutely fantastic! Magnificent. Moser's voice is/was the absolute voice. Down to a low Eb and up to an Ab6! Do you happen to have the whole performance?
Edda singing Lucia is good enough for a recital or aria-showcase album, but to my knowledge she never sang the full Lucia on stage. As mentioned, her voice is too robust much like Montserrat Caballe's Lucia The right type of voice is a bel canto trained lyric coloratura, even if it's a lighter/smaller voice. Callas' Lucia was good because of her bel canto experience. This was also the same with Leyla Gencer. Check out Sutherland, Moffo, Sills, Gruberova, Devia and Netrebko.
@gi1ro2la3mo4 Wow I had no idea Edda sang the entire Lucia. If you have any pirated CD's of her Lucia, please let's do business and I'll buy it from you. I'm a fan of Edda, but just surprised to hear her sing Donizetti's Lucia, a role that I don't associate with Edda who wasn't a bel canto singer, otherwise she'd have sung roles like Norma, Lucrezia, Anna Bolena, Maria Stuarda, Roberto Deveraux, Armida, Puritani, Sonnambula etc.
She is an interesting Lucia. My favourite one is obvioisly the eternal Joan Sutherland, but they two are sooo different! We agree that Edda Moser has a plenty and heavier voice, very powerful, maybe too much for this role, but still interesting. See this one how much is slow: it is not simple!
Edda will never stop to astonish people. She has voice control of a lyric coloratura, richness of a mezzo, intensity of a dramatic soprano - and of course, ultimate level of virtuosity.
There's nothing wrong with Edda's rendition of Lucia's Mad Scene. She has a big voice but so did Callas & Sutherland. Like MastersoftheOpera stated, the voice is too healthy and round when it ought to sound fragile. Sutherland's early Lucias were perfect because she sounded delicate enough. Callas was also able to get the character's frailty. Caballe sang Lucia but sounded far too vigorous. Moser is too "strong" as Lucia. Anna Moffo, for me, personally, was the best Lucia.
It's very beautiful, because her timbre is perhaps too heavy and dark for Lucia, especially at the lower middle. I'm amazed at her breath control (especially from 2:34 to 2:47!) and at the sheer surprise of seeing such a heavy dramatic voice being able to sing the vocal scales and high notes. That said, I feel this isn't an ideal role to her voice, and the final High E-flat sounded slightly off pitch to me (I may be wrong). The decrescendi and trills weren't totally even, too.
ich war zugegen als frau moser diese arie in der kölner oper "fest der schönen stimmen" sang. es muss wohl anfang der 80iger des letzten jahrhunderts gewesen sein. eins ist mir in erinnerung geblieben: ich war der ansicht diese arie nie schöner gesungen gehört zu haben. ich bin mir nicht sicher meinen damaligen eindruck revidieren zu müssen..........
I adore Edda but she's no Lucia. She's vocally miscast here, justa she's miscast as Olympia from "Contes D'Hoffman" and as Salome. As much as we'd like our favorite sopranos to SING EVERYTHING, they can't. Voices are limited. Edda had a great Mozart voice, Schubert Lieder, Baroque & some Wagner. But bell canto isn't her forte. Her Lucia is too strong and too healthy. Lucia is fragile and goes insane. The voice must be expressive but very delicate-sounding.
She's almost too dramatic. her voice is heroic almost to the point of sounding not human (like a wagnerian protagonist) and she isn't really believable in such a vulnerable role. I can't really believe the character, but she sounds like a bad ass and that's enough to make it enjoyable to me =P
Once again, I say, Moser's Lucia is the DRAMATIC kind...she's all drama folks..she has the right voice for it...this is not the weak, fragile Lucia we get most of the time...Caballe also tried it out this way...it's a diva singing a diva role...and i like it anyways...but did Moser really sing all of Lucia or just the Mad Scene ? Act 1 of Lucia's singing is very difficult because it's mostly pure lyric singing..Caballe could still do that but Moser ?
The problem with Lucia in general is that the tessitura is CRUEL. It lies very high, and as much as I love Caballe, I don't think she handled this particular role all that well. It sounded much too high for her to comfortably sing. Moser is fabulous here...you gain a lot from having a big voice in this role (a la Sutherland or Moser), although my favorite Lucia is still Sills...
Do not mix HISTORY OF OPERA with Pop Culture marketing products.
First, Netrebko doesn't have half the pitch Moser had, let alone the agility in the coloratura, the breath support and above all not even a reminiscence of Moser's TRILLS.
Oh wait, Netrebko's safest note is a high D - while Moser's a High G.
So where exactly does this legend of Opera remind you of that FIGLIA IMPURA?!
I didn't say she was as good as Moser, I'm not crazy. Her sound just has something, I don't know... Anyway, I was born too late to see Moser sing live, and I wouldn't call Netrebko "figlia impura", I'm not THAT vulgar you know
Edda had a fabulous voice; big, beautiful dramatic coloratura...I do love her Lucia and it reminds me of Caballe's Lucia...this is a real treat...thanks for sharing
my best Lucias are Joan Sutherland and Madame Moser, i really would like to hear her IL DOLCE SUONO, that would be great, she was the best of her time, i will never get tired to say i love her...
I am wondering how she breaths, does she? This is what I call a tru dramatic coloratura. I compare her with current dramatic coloratura sopranos and there's no fighting at all. Bravissima!
Isnt it amazing... a real dramatic coloratura do this like it have to be sung!!!!!!!!! BRAAAAAAVA - good like Callas because this are the voices for Lucia di Lammermoor! I am in heaven! Thanks for posting it! GRANDE SOPRANO!
The large, dramatic approach is certainly more pleasant to my ears than the bird-like squeaking of lighter coloratura sopranos. But sometimes, I find this performance a little too clean (she hardly sounds crazy)... wish there could've been a video with this.
Well, whether you're a lyric or a dramatic, you should be able to sing over a full orchestra if you are projecting. From your description, your sound is missing the upper partials, the "bright" part of the sound, that carries the voice out into the space. You can't be all dark or all bright and have a balanced voice....you need both....it's called "chiauroscuro".
Oh, this is realy rare! Never heard Moser's Lucia before. She sounded a little bit heavier on Lucia. But the coloratura was in fact quite good. Her Queen of the Night was certainly one of the best!
I love Joan Sutherland's Lucia, because it is so angelically beautiful. Moser has a beautiful voice as well, but uses it more dramatically then Sutherland. I wish there was more of her recordings available.
A little flat at the end? Whoever posted that is completely tone-deaf. That's a perfect E, all the way through. No vibratto, just a solid note. If you want high notes with a slow, top-heavy wobble, listen to Callas' braying screams. If you want truly exquisite coloratura, try the Mozart concert aria "Popolo di Tessaglia," Moser unloads two high Gs in it. (Yes, you read that correctly -- high Gs!!!!)
Braying screams? The interpolation at 2:44 is pure Callas. I do appreciate Moser's dramatic weight, which is pretty exciting. On the other hand, I'm not too fond of her diction.
The final high Eb is flat....not only that, but it is not resonating...that's why it's flat. She sang a little to big leading up to that note, and then couldn't narrow the sound enough for the high note. I'm sure she can do it correctly...too bad not this time.
You know? This was done in 1977, and unfortunately Moser's voice started suffering (in its higher area) quite early in her age because of her premature illness which could have killed her... she only found out she was ill in the mid 80s (the stupid doctors only found out quite late when she had nearly no more female hormones left in her body), when her voice became coarser and her health deteriorated as ageing came quicker than it was supposed to.Astonishingly enough she kept singing (continued)
(continued here) even when she was ill and the results were magnificent, but with a less beautiful timbre.
I am sure she could have done so many more recordings with her great voice still in great shape, had the doctors found out about her sickness earlier...
Gosh, I just love this lady! Pity she didn't get what she deserved
If you want to hear a great E-Flat go to Moser's live performance of Csárdás. It is tuned so high it's really really almost an E-Flat, but it's way past a D!!!!
I really love Edda! Amazing! And somehow, I can't stop thinking this is what Anna Moffo would sound like had her voice been darker. The two singers seem to have rather similar techniques, at least to my ear.
@gi1ro2la3mo4 Absolutely fantastic! Magnificent. Moser's voice is/was the absolute voice. Down to a low Eb and up to an Ab6! Do you happen to have the whole performance?
pedrofribeiro 1 month ago
Edda singing Lucia is good enough for a recital or aria-showcase album, but to my knowledge she never sang the full Lucia on stage. As mentioned, her voice is too robust much like Montserrat Caballe's Lucia The right type of voice is a bel canto trained lyric coloratura, even if it's a lighter/smaller voice. Callas' Lucia was good because of her bel canto experience. This was also the same with Leyla Gencer. Check out Sutherland, Moffo, Sills, Gruberova, Devia and Netrebko.
OperaMystery80 8 months ago
@OperaMystery80
Edda Moser Lucia has sung on stage several times.
Lucia's voice is not slight. Is that of a coloratura soprano liricodramatico as Callas, Sutherland, Moser.
gi1ro2la3mo4 8 months ago 5
@gi1ro2la3mo4 Wow I had no idea Edda sang the entire Lucia. If you have any pirated CD's of her Lucia, please let's do business and I'll buy it from you. I'm a fan of Edda, but just surprised to hear her sing Donizetti's Lucia, a role that I don't associate with Edda who wasn't a bel canto singer, otherwise she'd have sung roles like Norma, Lucrezia, Anna Bolena, Maria Stuarda, Roberto Deveraux, Armida, Puritani, Sonnambula etc.
OperaMystery80 8 months ago
Comment removed
OperaMystery80 8 months ago
She is an interesting Lucia. My favourite one is obvioisly the eternal Joan Sutherland, but they two are sooo different! We agree that Edda Moser has a plenty and heavier voice, very powerful, maybe too much for this role, but still interesting. See this one how much is slow: it is not simple!
FloriaTosca90 10 months ago
Edda will never stop to astonish people. She has voice control of a lyric coloratura, richness of a mezzo, intensity of a dramatic soprano - and of course, ultimate level of virtuosity.
tomasburi 10 months ago
There's nothing wrong with Edda's rendition of Lucia's Mad Scene. She has a big voice but so did Callas & Sutherland. Like MastersoftheOpera stated, the voice is too healthy and round when it ought to sound fragile. Sutherland's early Lucias were perfect because she sounded delicate enough. Callas was also able to get the character's frailty. Caballe sang Lucia but sounded far too vigorous. Moser is too "strong" as Lucia. Anna Moffo, for me, personally, was the best Lucia.
AmericanEvita 1 year ago
@AmericanEvita
I like sutherland best, but then again, I usualy do =)
raigekimaru 1 year ago
It's very beautiful, because her timbre is perhaps too heavy and dark for Lucia, especially at the lower middle. I'm amazed at her breath control (especially from 2:34 to 2:47!) and at the sheer surprise of seeing such a heavy dramatic voice being able to sing the vocal scales and high notes. That said, I feel this isn't an ideal role to her voice, and the final High E-flat sounded slightly off pitch to me (I may be wrong). The decrescendi and trills weren't totally even, too.
Homoclassicus 1 year ago 2
superlativa!!!!
musighitta 1 year ago
Good God, she does the "preghero' per te" from 2:34 to 2:46 in one freakin breath!!!
shivastotravali 1 year ago
Get a life, ha ha ha ha li......
Royhorse1 1 year ago
Get a life eeeeeeeeeeeeeeeeeeee
Get a life eeeeeeeeeeeeeeeeeeeeee
Get a life eeeeeeeeeeeeeeeeeeeeeeee
Royhorse1 1 year ago
"You are so bored with this Netrebko, Callas, Dessay comments, stop acting like a child
If you like Netrebko or Callas, you her for yourself, not for your mom, for me, or youtube, but for yourself :("
Royhorse1 1 year ago
"@Horseshoe4441 : ANNA NETREBKO!!! HA HA HA HA HA HA You'rw funny"
"Edda Moser is the best Anna"
Royhorse1 1 year ago
This has been flagged as spam show
This remindes me of Verdi's caro nome
Royhorse1 1 year ago
This has been flagged as spam show
"@shirly961 : YOU ARE SOOOOOOOO BOOOOOOOORING
You said that hundred times before, and nobody cares about your opinion. Get a life"
Royhorse1 1 year ago
"@shirly961 : YOU ARE SOOOOOOOO BOOOOOOOORING You said that hundred times before, and nobody cares about your opinion. Get a life"
Royhorse1 1 year ago
This remindes me of Verdi's caro nome
livmedful 1 year ago
ich war zugegen als frau moser diese arie in der kölner oper "fest der schönen stimmen" sang. es muss wohl anfang der 80iger des letzten jahrhunderts gewesen sein. eins ist mir in erinnerung geblieben: ich war der ansicht diese arie nie schöner gesungen gehört zu haben. ich bin mir nicht sicher meinen damaligen eindruck revidieren zu müssen..........
liliacul1000 2 years ago
I adore Edda but she's no Lucia. She's vocally miscast here, justa she's miscast as Olympia from "Contes D'Hoffman" and as Salome. As much as we'd like our favorite sopranos to SING EVERYTHING, they can't. Voices are limited. Edda had a great Mozart voice, Schubert Lieder, Baroque & some Wagner. But bell canto isn't her forte. Her Lucia is too strong and too healthy. Lucia is fragile and goes insane. The voice must be expressive but very delicate-sounding.
MastersoftheOpera 2 years ago
I love this version of Lucia, even if I prefer Callas for this role...
missleroy54 2 years ago
Once again, she is amazing!
Do you happen to have any other excerpts of her Lucia you could upload?I would really appreciate it...Thanks!
HolyDarkness19 2 years ago
She's almost too dramatic. her voice is heroic almost to the point of sounding not human (like a wagnerian protagonist) and she isn't really believable in such a vulnerable role. I can't really believe the character, but she sounds like a bad ass and that's enough to make it enjoyable to me =P
raigekimaru 2 years ago
sorry, is this live or studio?
tneprescintr 2 years ago
Comment removed
carlosdevivo 2 years ago
Her timbre reminds me of Anna Moffo.
sour7lemon 2 years ago 2
Once again, I say, Moser's Lucia is the DRAMATIC kind...she's all drama folks..she has the right voice for it...this is not the weak, fragile Lucia we get most of the time...Caballe also tried it out this way...it's a diva singing a diva role...and i like it anyways...but did Moser really sing all of Lucia or just the Mad Scene ? Act 1 of Lucia's singing is very difficult because it's mostly pure lyric singing..Caballe could still do that but Moser ?
AmericanEvita 2 years ago
no, she sang lucia on stage. her debut as lucia was in 1974 in hamburg (i believe, i'm not completely sure!)
silvr94 2 years ago
The problem with Lucia in general is that the tessitura is CRUEL. It lies very high, and as much as I love Caballe, I don't think she handled this particular role all that well. It sounded much too high for her to comfortably sing. Moser is fabulous here...you gain a lot from having a big voice in this role (a la Sutherland or Moser), although my favorite Lucia is still Sills...
BeauTenor 2 years ago
Comment removed
AmericanEvita 2 years ago
This comment has received too many negative votes show
I risk being insulted, but her voice really reminds me of Netrbko's - far better trained though.
Makes me think that if Netrbko worked hard instead of being a permanent employee of the Met, she could do great things hehe
luvxl 2 years ago
Yes you risk being insulted. Especially by me.
Do not mix HISTORY OF OPERA with Pop Culture marketing products.
First, Netrebko doesn't have half the pitch Moser had, let alone the agility in the coloratura, the breath support and above all not even a reminiscence of Moser's TRILLS.
Oh wait, Netrebko's safest note is a high D - while Moser's a High G.
So where exactly does this legend of Opera remind you of that FIGLIA IMPURA?!
eradesso 2 years ago 7
I didn't say she was as good as Moser, I'm not crazy. Her sound just has something, I don't know... Anyway, I was born too late to see Moser sing live, and I wouldn't call Netrebko "figlia impura", I'm not THAT vulgar you know
luvxl 2 years ago
The concept of vulgarity is very subjective.
Vulgar to me is juxtaposing Netrebko to a legend of Opera not making an opera joke to refer to that wannabe-marketing project.
eradesso 2 years ago 3
Actually, Moffo's voice is reminiscent to that of Moser's!!
Only that Moser voice was heavier and darker!
I love them both!
TheJayBee1988 2 years ago
if moser had been a lyric soprano or soubrette. they would have sounded almost identical...
silvr94 2 years ago
Edda had a fabulous voice; big, beautiful dramatic coloratura...I do love her Lucia and it reminds me of Caballe's Lucia...this is a real treat...thanks for sharing
AmericanEvita 2 years ago
my best Lucias are Joan Sutherland and Madame Moser, i really would like to hear her IL DOLCE SUONO, that would be great, she was the best of her time, i will never get tired to say i love her...
boo170807 2 years ago 3
Edda Moser is absolutely incredible... she has expression, technique and a beautiful large voice...
One of my favorites...
tneprescintr 3 years ago 5
I am wondering how she breaths, does she? This is what I call a tru dramatic coloratura. I compare her with current dramatic coloratura sopranos and there's no fighting at all. Bravissima!
juankmilo1980curro 3 years ago 10
ur totally right....Edda Moser is ABSOLUTELY my favourite dramatic coloratura.....and yes, she breaths REALLY softly and quietly.
killerbunny123123 3 years ago 9
Impressionant!!!
dannah28 3 years ago 5
Isnt it amazing... a real dramatic coloratura do this like it have to be sung!!!!!!!!! BRAAAAAAVA - good like Callas because this are the voices for Lucia di Lammermoor! I am in heaven! Thanks for posting it! GRANDE SOPRANO!
Heraopera 3 years ago 6
Bravissima, Madame Moser! I'm forever your fan.
Dogaradodia 3 years ago
She has a unique style, i mean everyone has, but at least it's new.... ^_^
oPeRa1923 3 years ago
The large, dramatic approach is certainly more pleasant to my ears than the bird-like squeaking of lighter coloratura sopranos. But sometimes, I find this performance a little too clean (she hardly sounds crazy)... wish there could've been a video with this.
forallyouknow 3 years ago
It's very exciting?
lokitrix 3 years ago
what?
forallyouknow 3 years ago
You know, I have a fairly large coloratura voice, but Edda Moser gives me an inferiority complex! :-)
RossiniSoprano 3 years ago
Dear RossiniSoprano
I have a dark rich voice but I can't sing over a full orchestra. Am I a lyric or a dramatic??
lokitrix 3 years ago
Well, whether you're a lyric or a dramatic, you should be able to sing over a full orchestra if you are projecting. From your description, your sound is missing the upper partials, the "bright" part of the sound, that carries the voice out into the space. You can't be all dark or all bright and have a balanced voice....you need both....it's called "chiauroscuro".
RossiniSoprano 3 years ago
When I mean orchestra I mean like a Wagner Orchestra. I can sing over over an orchestra. But I don't know if I can sing over a Wagner orchestra.
lokitrix 3 years ago
Merci!! Le son est très bon en plus, il y a un petit écho comme en studio, mais c'est un live non?
foropera 3 years ago
yes
carlosdevivo 3 years ago
Je me doute que c'est enregistré en studio puisqu'il n'y a aucune réaction du public vers la fin....
Jabe88 3 years ago
Warm. Love her.
Skukkuk 3 years ago
Oh, this is realy rare! Never heard Moser's Lucia before. She sounded a little bit heavier on Lucia. But the coloratura was in fact quite good. Her Queen of the Night was certainly one of the best!
g420730a 4 years ago 5
This woman is really incredible
carlosdevivo 4 years ago 4
this is the real lucia
Sarzuuk 4 years ago 3
I love Joan Sutherland's Lucia, because it is so angelically beautiful. Moser has a beautiful voice as well, but uses it more dramatically then Sutherland. I wish there was more of her recordings available.
operaboy81 4 years ago 4
A little flat at the end? Whoever posted that is completely tone-deaf. That's a perfect E, all the way through. No vibratto, just a solid note. If you want high notes with a slow, top-heavy wobble, listen to Callas' braying screams. If you want truly exquisite coloratura, try the Mozart concert aria "Popolo di Tessaglia," Moser unloads two high Gs in it. (Yes, you read that correctly -- high Gs!!!!)
bitterclevelander 4 years ago 2
Actually the E began with vibrato, but later became a "tone".
But still, everything from Moser is great! I have never heard anything bad from her...
Jabe88 4 years ago
Well, it should be E-flat even, if perfect in tune or not - no E...
silvr94 4 years ago
Braying screams? The interpolation at 2:44 is pure Callas. I do appreciate Moser's dramatic weight, which is pretty exciting. On the other hand, I'm not too fond of her diction.
diuscorvus 3 years ago
The final high Eb is flat....not only that, but it is not resonating...that's why it's flat. She sang a little to big leading up to that note, and then couldn't narrow the sound enough for the high note. I'm sure she can do it correctly...too bad not this time.
RossiniSoprano 3 years ago
You know? This was done in 1977, and unfortunately Moser's voice started suffering (in its higher area) quite early in her age because of her premature illness which could have killed her... she only found out she was ill in the mid 80s (the stupid doctors only found out quite late when she had nearly no more female hormones left in her body), when her voice became coarser and her health deteriorated as ageing came quicker than it was supposed to.Astonishingly enough she kept singing (continued)
Jabe88 3 years ago
(continued here) even when she was ill and the results were magnificent, but with a less beautiful timbre.
I am sure she could have done so many more recordings with her great voice still in great shape, had the doctors found out about her sickness earlier...
Gosh, I just love this lady! Pity she didn't get what she deserved
Jabe88 3 years ago
is she dead
lokitrix 3 years ago
No no! Thank goodness. She's doing just fine now. But she can no longer sing
Jabe88 3 years ago
no!! she teaches in cologne, germany!
silvr94 3 years ago
Is she still alive?
lokitrix 3 years ago
Yes she is! she is a professor of vocals in Cologne, Germany!
Jabe88 3 years ago
I think she's only like 70 or 71.
syrinx79 3 years ago
70 she will be 70 in october :P
Destatur 3 years ago
what orchestra is this
lokitrix 3 years ago
If you want to hear a great E-Flat go to Moser's live performance of Csárdás. It is tuned so high it's really really almost an E-Flat, but it's way past a D!!!!
silvr94 2 years ago
i hate when people say a little flat at the end. you try and sing it.
viverito 4 years ago 7
But... most opera critics can't sing a tone themselves.
silvr94 4 years ago 2
u gotta love this woman. she is a goddess!
nicevidbro 4 years ago 6
I really love Edda! Amazing! And somehow, I can't stop thinking this is what Anna Moffo would sound like had her voice been darker. The two singers seem to have rather similar techniques, at least to my ear.
operamagnus 4 years ago 7
I was thinking the same thing...there is just an ever so slight laryngeal quality to the sound...
Dymension 4 years ago 5
WOW!!!
her coloratura is just amazing...
Jabe88 4 years ago 2
Effortless, gorgeous. A tiny flat at the end. Was this a concert? There's no chorus.
tklogan11809 4 years ago