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  • Sutherland here renders this Handel aria so magnificently as to demonstrate at once the latter's absolute musical genius and her own undoubted entitlement to the title bestowed upon her by those fortunate to see and hear her of "La Stupenda" !

  • what an opera, what a character !!

  • What beauty ! Thanks.

  • I just like the tempo of Flemming's. Its more exciting. It's not marked Allegro, but I wish it were. This IS spectacular singing. So thread-y. It shows the small spot that her big singing eventually came from. So feminine.

  • Leider wurde bei youtube die Version von Simone Kermes entfernt. Wirklich schade, denn sie ist m.E. eine harte Konkurrenz zu Joan Sutherlands Ombre pallide, und liegt bei mir sogar in Führung :-)

    Diese hier ist sehr sehr schön, aber rein gesanglich gefällt mir Simone Kermes' Interpretation besser.

  • This aria is amazing! Notice how she music suddenly becomes acapella...it is meant so symbolize how Alcina's magic is abandoning her. Her power was illusion, and once it has been broken by true love, she cannot conjure it back.

  • Hi! can anyone tell me why most singers add variations and ornamentation in the repeat of section A but Sutherland doesn't? I personaly prefere it this way, but it seems mandatory to change the melody the second time arownd...

  • It's not at all the breathing capacity. It's the technique. She has a perfect tone production technique, a perfect vocal gesture enabling her to sing long phrases effortlessly, like Caballé, Gigli, Plançon, Battistini,Hallstein, Hoch, Lubin, Lili Lehmann, and all the good singers whatever the tessitura or sex. Nowodays singers have a flawed vocal gesture, that's why Legato is disappearing.Even variety singers used to sing that way.(Josephine Baker, Yvette Guilbert, Léo Ferré....)

  • Sutherland had one big advantage over most sopranos singing this, and much of the Handel repertory, and that was her phenomenal breath capacity. She was able to sing phrase after phrase on a single breath, as evidenced here.

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