Eva Turner - Puccini - Turandot - In Questa Reggia 1928

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Uploaded by on Aug 12, 2009

Eva Turner sings "In Questa Reggia" from Puccini's Turandot accompanied by Orchestra conducted by Stanford Robinson
Recorded in 1928

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Music

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  • Unfortunately I never got to see her perform, But I have this recording on a 78 which was given to me by a friend who passed away a few years ago.

    I bumped into Dame Eva in London many years ago, and asked for her autograph. She responded with " give me you name and address and your birthday, and I will send it to you. Sure enough, a few months later, on my birthday, she kept her word.

    I still have both of course. To me there is no finer recording or singer.

  • Tres intéressant. Je crois que je l'ai entendue au met , mais j'étais tres jeune et je '¡ai pas pu apprécié la voix.

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  • @ronneesam Loony does what loony does best, unloading tons of crab after another. Two posts: two totally disjointed, uncoordinated and incoherent garbage. Please, for the love of your family, check into a psychiatric infirmary, it'd do yourself and the world a lot of good.

  • "See Naples and die!" Listen to Eva Turner, Isobel Baillie, Paul Robeson, Dinah Shore, Maria Callas, Dick Haymes, Clara Butt and many more. Stop carping! Put a cd on. If you choose to reply to this comment, I'm out!

  • @mannail888 When you have learned to speak English, please get in touch. 'Nilsson uses to skate through performances?' Uses what pray? Or did you mean 'used to skate'? Begs the question Nilsson used other means to get through performances - sledge perhaps?

  • A true marvel to listen to this. This lady was awesome!

  • She was a wonderful singer and a fabulous person - what a legacy - so gracious and what a beautiful speaking voice. Thanks for sharing this. How lovely that she remembered to send you her autograph - she strikes me as being very humble.

  • And that is the uneducated opinion of a Dmitrova fan.

  • As is her wont, Nilsson uses to skate through performances, be it studio recordings or stage ones, without producing one single measure of legato, paying no regard to characterization, variation of vocal color, moderation of volume, and the middle register of her voice is weak and the bottom is almost non-existent. Not to mention the tone is as monochromatic as glacier. All she does, be it in the Italian or Teutonic repertoire, is getting ready for the next high C, of course from beneath.

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