Gaetano Donizetti - Rosmonda d'Inghilterra - "Perche non ho" (Joan Sutherland)

This new double download is a special treat. Recently I found two versions of an air from Donizetti's "Rosmonda d'Inghilterra" "Ancor non guinse... Perché non ho del vento... Torna, ah! torna, o caro oggetto...", which was used as an alternative aria for Lucia opening cavatina. Now, to be totally honest, I just can't warm up to this aria as a whole: I just don't like the recitative and the cental aria. The cabaletta, on the other hand, is quite glorious. Still, I think it would be interesting for everybody to listen to this obscure aria. Now, the two versions that I'm talking about are: 1) Beverly Sills's rendition on her CD "Bellini & Donizetti Arias"; 2) a relatively early (circa 1961-1962) rendition by Joan Sutherland (this one can be found either on "Voice of the Century" or on "Tribute to Jenny Lind"). Now I'm aware that there seems to be a real battle going on between diva lovers, in particular, between Sills/Sutherland fans. I love both these wonderful singers, so I'm really not trying to find out who is the best opera singer. I just think it would be interesting to compare both renditions: the approach is quite different. Still, everyone is entitled to their own opinion, so all ideas are welcome :-) . Your comments would be most valued. Hope you enjoy!

P.S. Due to the sheer size of the aria, I divided each rendition into two parts: the recitative and the aria (+ cabaletta).

Category:

Music

Tags:

• Joan
• Sutherland
• Donizetti
• Rosmonda
• d'Inghilterra
• Coloratura
• Cabaletta
• Beverly
• Sills

[OperaBR]

I hear different things. IMO this sounds as romantic and intense as possible. People don't understand that what Sutherland did is what Bel Canto really expected. It's Early Romanticism, not Verismo! So what one needs to sound dramatic is to make a vocal expression that sounds as effortless and subtle as possible, making the drama sound through the music and not changing the music to express drama. This is a romantic aria full of charm and hope, and Sutherland expresses that perfectly.

[LingaChakra]

etalon of operatic art, La Stupenda

sublime

[raigekimaru]

@OperaBR

seriously, it gets on my nerves when people say that real bel canto singers "don't sing with emotion" or "don't act". it's called subtly and control. portraying emotion does not mean you need to pump chest notes, disregard technique and sing like a neurotic mess. whatever, some people just aren't sophisticated enough to appreciate Dame Joan lol

[hayyu2008]

A wonderful display from La Stupenda at her absolute peak. A pity she didn't record this opera. It is a great opera that is sadly not performed as often as it should. So many wonderful scenes and is one of Donizetti's most thrilling operas, I think.

[MadonnaImperia]

This was recorded in 1961 as an appendix to Sutherland's first complete recording of "Lucia di Lammermoor". Fanny Persiani, the first Lucia, had also been the first Rosmonda and soon after the first performances of "Lucia di Lammermoor", she started singing "Perchè non ho" instead of "Regnava nel silenzio", as it showed off her technique to a greater extent. This practise became quite common, until Melba sang Lucia at Covent Garden in 1888 and reinstated "Regnava nel silenzio".

[lginpdx]

Yes! Just different voices and, including Callas, 3 of the most amazing voices we may ever hear in the same generation. How lucky we all are to have such wonderful technology for preserving them.

[RossiniSoprano]

Hey Lindoro, I find it strange when people fight over who is better, Sutherland or Sills, since I have always held them in equal esteem. They are different voices, but each is fantastic in their own way and the only two models I really have for my own singing.

[alithecrab]

@DanyelHawkes Nothing abnormal about whistle register.

[nectenorboi09]

Actually, Renee does it in F, Sills in G, and Sutherland in A flat...

[UrsulanChild]

Great to hear the young Joan! I wonder, though-- was this sung in the original key, or was it transposed up to show off Joan's powerful top? Renée Fleming recorded it in the key of F...so did Bev Sills...here it sounds like it's in the key of G. I've seen the Rosmonda d'Inghilterra score, and the aria is printed in F major...it doesn't matter that much...Joan seems to handle the high tessitura extremely well.

[DanyelHawkes]

and no, my previous comment has NOTHING TO DO WITH JOAN OR THIS VIDEO. Concerning the vid, i think Joan sang very well here lol 5 stars for sure

[DanyelHawkes]

i challenge anyone who thinks maria callas was a "mezzo with a forced top" to listen to pre 1955 recordings. Just because callas had he amazing technical ability to project full bodied sounds, doesnt make her a Mezzo and just because she could extend these sounds throughout her register, doesnt make them forced. In her prime Callas neve had "Fluffy head tones" nor did any of her register above the high C mixe with "whistle tones" Callas never relied on those abnormalities to sing.