This is my teacher, and she is the BEST thing that has ever happened to my voice. There are very few people who have ears as keen as hers and an insight as powerful as hers when it comes to figuring out the true nature of your voice, what you're doing wrong, and how to find your individual sound.
I had the privilege of working with Martile Rowland in a workshop while I was in high school! She was excellent! I am looking into attending her summer workshop in Colorado next summer!
Grazie tetasdevirgin. I think it was also too taxing for Sills and I beleive her assumption of the role hastened the decline in her voice. Of course having and surviving uterine cancer took a toll as well, but when she retired she must have already had a 30 year career. So much of it demands dropping into chest voice. This is probably a reason Devia has avoided it, but many have taken it on with glorious results. Luiga Boccabadati who created the role must have been fabulous- Ciao- Ernesto
It was actually dangerous for her, as she stated "Singing Roberto Devereux shortened my career six years". However Sills was a very intelligent woman (Which I praise, cause I love her) and managed to bring the role to her field, like she did with Anna Bolena (I think that Stuarda was more confotable for her). She's my favourite Elisabetta alongside Dimitra Theodossiou (two really different Elizabeths)
I saw Miss Rowland at her Carnegie Hall debut in this opera, and she was spectacular with Eve Queler and the Opera Orchestra of New York. She replaced Mara Zampieri on 2 hours notice. Martile brought the house down and we in the audience knew we were in the presence of a great "bel canto" singer. Subsequently, she also gave glorious performances of "Caterina Cornaro", and "Polliuto" with Miss Queler, and again had the audience on its feet.
I've always liked the tone of her voice - maybe the brightest among dramatic coloraturas and usually her coloratura and high notes were impressive. I just think she gave too much too soon and the technique wasn't entirely in place yet.
I would be proud also! She is a very talented artist and a very exciting performer. Not many sopranos can make Donizetti's queens come alive, she can be counted with the few who did.
I know someone who has this person as a teacher ;x He is proud
Solydude 7 months ago
This is my teacher, and she is the BEST thing that has ever happened to my voice. There are very few people who have ears as keen as hers and an insight as powerful as hers when it comes to figuring out the true nature of your voice, what you're doing wrong, and how to find your individual sound.
Merryjest 1 year ago
This was not in 1999, but in 1991.
It was in Mexico City, at Bellas Artes.
xafnndapp 2 years ago
I had the privilege of working with Martile Rowland in a workshop while I was in high school! She was excellent! I am looking into attending her summer workshop in Colorado next summer!
thornolie 3 years ago
Yes, Martile Rowland is awesome- period!
Merryjest 3 years ago
She looks a bit like Madame Vera Galupe but love the high notes- I wonder, if anyone knows, why Dame Joan never sang this role.
semiramide1945 3 years ago
She tried to, but thought it was too taxing and risky for the voice
tetasdevirgen 2 years ago
Grazie tetasdevirgin. I think it was also too taxing for Sills and I beleive her assumption of the role hastened the decline in her voice. Of course having and surviving uterine cancer took a toll as well, but when she retired she must have already had a 30 year career. So much of it demands dropping into chest voice. This is probably a reason Devia has avoided it, but many have taken it on with glorious results. Luiga Boccabadati who created the role must have been fabulous- Ciao- Ernesto
semiramide1945 2 years ago
It was actually dangerous for her, as she stated "Singing Roberto Devereux shortened my career six years". However Sills was a very intelligent woman (Which I praise, cause I love her) and managed to bring the role to her field, like she did with Anna Bolena (I think that Stuarda was more confotable for her). She's my favourite Elisabetta alongside Dimitra Theodossiou (two really different Elizabeths)
tetasdevirgen 2 years ago
@semiramide1945 Because Joan didn't have chest notes....
Dymension 1 year ago
WOW!
magicmonkichi 3 years ago
bravissima!
youfeda 4 years ago
I saw Miss Rowland at her Carnegie Hall debut in this opera, and she was spectacular with Eve Queler and the Opera Orchestra of New York. She replaced Mara Zampieri on 2 hours notice. Martile brought the house down and we in the audience knew we were in the presence of a great "bel canto" singer. Subsequently, she also gave glorious performances of "Caterina Cornaro", and "Polliuto" with Miss Queler, and again had the audience on its feet.
Davidson G New York City
leontyne2 4 years ago
I've always liked the tone of her voice - maybe the brightest among dramatic coloraturas and usually her coloratura and high notes were impressive. I just think she gave too much too soon and the technique wasn't entirely in place yet.
Orfeus80 4 years ago
This is my teacher, I am proud.
Performer1988 4 years ago
I would be proud also! She is a very talented artist and a very exciting performer. Not many sopranos can make Donizetti's queens come alive, she can be counted with the few who did.
hotazzoperastud 4 years ago
Where does she teach?
rrgallo 4 years ago