In her autobiography, Joan Sutherland said that when she was a girl, she was so big and tall, she was never allowed to portray fairies and princesses at the school plays... Well, this time, she got her wish playing Philline
Well, she certainly had one, but I just think the delicacy this one requires and the awkwardness of its approach just wasn't quite right for her dramatic coloratura instrument, her high e flats were generally best when it was soaring above a large orchestra, instead of being used as an ornamental addition. It sounds awkward when most sopranos do it, generally it's only the highest and most lyric of coloraturas that can really pull it off (in my opnion anyway).
Agreed. Great to see this, what a gem, but not her fach. Still, I'd rather see your bigger coloraturas singing light stuff rather than the other way around. Hilarious lip-syncing, loves it.
I believe this is from the "Who's Afraid of Opera?" series in the early '70s. It is sung with Sutherland's usual fluency and brilliance, but is not really her kind of role. It was a Pons specialty, though I understand she did not like the role very much. Some great recordings of the aria include Tetrazzini's several versions, Galli-Curci's, Abendroth's, and Siems'.
Yes, I would agree that Mesple was lighter and thinner that Sutherland's. Also, her Italian diction was poor. Her one appearance at the Met, as Gilda, was met with less-than-stellar reviews, and she was not invited back. I definitely consider Sutherland to be the greater artist and talent. Still, in the light French reperatoire, Mesple could cast a spell.
I'm a huge Mesple fan! Her version of this aria is fabulous... the F is taken with phenomenal ease. Joan does a fine job here, but I with she had opted for the C instead of an E flat in the cadenza, it just sounds a bit awkward in her voice.
What's a fach? Who's this other girl everyone's talking about? I LOVE Joan's dress, but why are the wings so small???
SopranoKayla1992 3 years ago
Well, she certainly had one, but I just think the delicacy this one requires and the awkwardness of its approach just wasn't quite right for her dramatic coloratura instrument, her high e flats were generally best when it was soaring above a large orchestra, instead of being used as an ornamental addition. It sounds awkward when most sopranos do it, generally it's only the highest and most lyric of coloraturas that can really pull it off (in my opnion anyway).
nectenorboi09 3 years ago
I honestly think that the sound of the video is distorted - Sutherland had no problem with the E flat in 1972.
MadonnaImperia 3 years ago
I cannot play this video. Have you deleted this??
AmorediPazzia 4 years ago
Agreed. Great to see this, what a gem, but not her fach. Still, I'd rather see your bigger coloraturas singing light stuff rather than the other way around. Hilarious lip-syncing, loves it.
33blueberries 4 years ago
I believe this is from the "Who's Afraid of Opera?" series in the early '70s. It is sung with Sutherland's usual fluency and brilliance, but is not really her kind of role. It was a Pons specialty, though I understand she did not like the role very much. Some great recordings of the aria include Tetrazzini's several versions, Galli-Curci's, Abendroth's, and Siems'.
meltzerboy 4 years ago
No she doesn't.
zacharybr 4 years ago
Actually, I believe she had it on her "French arias" CD...
drdre333 4 years ago
Yes, I would agree that Mesple was lighter and thinner that Sutherland's. Also, her Italian diction was poor. Her one appearance at the Met, as Gilda, was met with less-than-stellar reviews, and she was not invited back. I definitely consider Sutherland to be the greater artist and talent. Still, in the light French reperatoire, Mesple could cast a spell.
ariodante76 4 years ago
I'm a huge Mesple fan! Her version of this aria is fabulous... the F is taken with phenomenal ease. Joan does a fine job here, but I with she had opted for the C instead of an E flat in the cadenza, it just sounds a bit awkward in her voice.
nectenorboi09 4 years ago