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Thrilling high notes!

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Uploaded by on Jul 18, 2008

I just picked up some selections of huge and thrilling high notes among my recordings. Here I don't mean those exciting and incredibly high notes, but especially those that thrills us because of their amazing power and fearlessness, even if not exactly a High E-flat. So, the selections are:

1) Maria Callas in "Sempre libera" (La Traviata), 1951;
2) Kirsten Flagstad, together with Lauritz Melchior, in the Love Duet of Tristan und Isolde, 1941;
3) Hilde Gueden in "Unheivolle Daphne!" (Daphne), 1964;
4) Joan Sutherland in "Salut à la France" (La Fille du Régiment), 1973;
5) Régine Crespin in "Hojotoho!" (Die Walküre), 1966;
6) Birgit Nilsson in "Was bluten muss" (Elektra), 1965;
7) Astrid Varnay, together with Wolfgang Windgassen, in "Ewig war ich" (Siegfried), 1953;
8) Giulietta Simionato in the Love Duet of Les Huguenots, 1962;
9) Renata Tebaldi in "Pace, pace, mio Dio" (La Forza del Destino), 1953;
10) Marisa Galvany in "Ah! segnata è la mia sorte" (Anna Bolena);
11) and Renée Fleming in "Dis-moi que je suis belle" (Thaïs), 2007.

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Top Comments

  • incredible... Fleming auf dieser Liste????

  • NILSSON NILSSON NILSSON!!!!!!!

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All Comments (169)

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  • @singer101 I know what lousy technique sounds like

  • @theater42 obviously u don't know anything about opera.

  • Callas is all over the place. Awful.

  • oh yeah! I can hit those notes baby! :D

  • Fascinating compilation of great voices. Each is really special in her own way. Were they not all justifiably venerated and legendary? Thanks for this video.

  • The High C belonged to Birgit Nilsson !You can not compare her with the other singers !

  • @paternostro63 Really? Nothing that Tebaldi can sing can hold a candle against de E-flat that Callas sang during the triumphal march when Callas drowned by her self the orquetra, the chorus and the other singers in Mexico City.

  • @NEBESHIKU

    And sometimes the C didn't come so easily.

  • @yodavidnavarro Nilsson had high notes but were colorless.

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