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Régine Crespin - O don fatale

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Uploaded by on Jul 7, 2008

Régine Crespin O don Fatale (Verdi, don Carlo).
Orchestre de la Société des concerts du Conservatoire, Paris. Dir. Georges Prêtre
(1958)

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  • Merci, Crespinette !!!!

  • She started as a soprano. Then, with age she turned to mezzo roles. But she always had that gorgeous big voice of hers. She remains one of my favourite singers of all time.

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  • waw soprano dramtika D:

  • Amazingly sung O Don Fatale. Crespin, a grand French mezzo soprano of the old school, was a talented opera singer. Her voice was flawless. It's a pity no singer today can sound remotely like this. Her technique has just the right amount of beauty and grace with powerful dramatic heft and passion. I'm truly amazed.

  • I think she's a mezzo-soprano... even though she sang sop early on.... either way this was good!!

  • This was a beautiful and grand rendition of the O Don Fatale of Eboli by Regine Crespin, although Verdi was not her repertoire. Still, this was exquisite and beautiful...she hit all the notes, she had the perfect voice for it. I wonder if she could sing Eboli's other great aria the Veil Song.

  • Wonderfull.Gorgeous voice.But i prefer Troyanos in Eboli

  • voce fuori repertorio .

  • Well, I think she was a soprano because of all the nuances she could bring to her voice in the upper range for years(listen to her Ariadne auf Naxos). But then the voice became very very large, and she also had heavy health problems. Why a cut in the recording at 1:03? Was is from a LP that jumped at this moment during the transfer?

  • Today, kh3205, is all the other way round. Feeble coloraturas are regarded as lyric coloraturas, lyric coloraturas as pure lyrics, and pure lyrics as " spinto " voices. Spintos are of course drammatics, and drammatics....MEZZOS !!!! When Karl Böhm heard Nilsson's ' slender ' tone he screamed : " She is a soubrette ! " Both extremes are exaggerated. Many dark baritones today act as basses, and that is very wrong !

  • I agree with you. Crespin's speaking voice sounds like a man's voice. Despite her voice, she became a soprano probably because she was trained in the old French School which taught singers to place sound extremely forward. So in my mind, Rita Gorr would have been an alto if she was trained in other schools.

  • I am inclined to think she was a prodigiously extense mezzo soprano, as was the case with Helga Dernesch. Maybe I am wrong . I have been thinking this for years...

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