I believe this was one of Sills's last times playing Manon. I was at New York City Opera for this performance, standing room at the very back/top of the auditorium (4th Ring). And I still remember how, in the St. Sulpice scene, when she began "N'est-ce plus ma main" the incredible, unique beauty of her voice cast its spell as of old. Thank you for posting this as a reminder of a great artist.
@@Classicvideofan Sills's voice always made a strong impact, even in the less-than-ideal acoustics of the NY State Theater (built for the needs of Balanchine's NYC Ballet). This was even -- especially? -- true when she was singing softly: the sound was so perfectly focused, the emotion so fully expressed, that questions of "size" were irrelevant. Here's a great example of how she first impacted our lives (1962): ruclips.net/video/DQMEKLP8bD0/видео.html
OMG what a wonderful clip !!! she is so fresh natural and still with impeccable style and musicianship ... not to mention this easy luminous top D !... she certainly has this 'squillo', and projection quality that some singers have and produces a great vocal impact event though their voice is not 'loud' ... Interesting to compare with Nathalie Dessay whom I heard many times live in her prime ... different temperament (Dessay maybe more 'sophisticated', less 'natural') ... but both having an incredible instrument, intelligence, musicianshipp, and a lot of dramatic power ... don't you think they have some similarities ?
@@Classicvideofan Unfortunately, I never saw Dessay in person (whereas I saw Sills many times), but I do appreciate your making a comparison. On a basic level, they both had voices that in the past might have been labeled "light coloratura," and thus denied the opportunity to do more dramatically intense roles. And both of them chose their own paths.
My favorite Manon. Despite the aging voice, she had a certain savoir faire in this role; I’ve seen many Manons, but no one else expressed such charm, joy, greed, and despair in one character.
There is a sense of playfulness and freedom in her play ... she looks like there is no more a lot at stake ... she gives whatever she can give whith great confidence and assurance ... she obviously enjoy and appreciate this moment ... there is a lightness there ... it's like saying 'look ... I do it with all my heart, but this is not so serious ... I don't have to proove anything to anyone "... this is my Manon and that's it ... there is a lot of simplicity ... no manierism ... no big deal ... everything is instinctively fluid and eloquent and brilliant ... without any push of will to shine ... it is just SO ... and it is incredibly fresh and so very much in line with the caracter of Manon ...
Su MANON fue gloriosahizo epoca siempre adore a Beverly Sills en esta bellisima opera francesa,Gloria tambien a Massenet...❤❤❤❤❤❤❤❤❤❤❤❤❤❤❤💘💘💘💘💘💘💘💘💘💘❤❤❤❤❤❤❤❤❤❤❤❤❤❤
She just makes me happy. She seems so warm, so happy, so feminine. I think Manon is a particularly wonderful character that suited her: greedy, yet basically sweet; mercurial and unreliable, but truly in love; basically a whore, but still a bit innocent. Sills had a unique voice, and was a wonderful actress. You always cared for her characters; and she made this complex one particularly endearing and sad.
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Immensa Beverly ❤
I believe this was one of Sills's last times playing Manon. I was at New York City Opera for this performance, standing room at the very back/top of the auditorium (4th Ring). And I still remember how, in the St. Sulpice scene, when she began "N'est-ce plus ma main" the incredible, unique beauty of her voice cast its spell as of old. Thank you for posting this as a reminder of a great artist.
How was the size (vocal impact) in theater ?
@@Classicvideofan Sills's voice always made a strong impact, even in the less-than-ideal acoustics of the NY State Theater (built for the needs of Balanchine's NYC Ballet). This was even -- especially? -- true when she was singing softly: the sound was so perfectly focused, the emotion so fully expressed, that questions of "size" were irrelevant. Here's a great example of how she first impacted our lives (1962):
ruclips.net/video/DQMEKLP8bD0/видео.html
OMG what a wonderful clip !!! she is so fresh natural and still with impeccable style and musicianship ... not to mention this easy luminous top D !... she certainly has this 'squillo', and projection quality that some singers have and produces a great vocal impact event though their voice is not 'loud' ... Interesting to compare with Nathalie Dessay whom I heard many times live in her prime ... different temperament (Dessay maybe more 'sophisticated', less 'natural') ... but both having an incredible instrument, intelligence, musicianshipp, and a lot of dramatic power ... don't you think they have some similarities ?
@@Classicvideofan Unfortunately, I never saw Dessay in person (whereas I saw Sills many times), but I do appreciate your making a comparison. On a basic level, they both had voices that in the past might have been labeled "light coloratura," and thus denied the opportunity to do more dramatically intense roles. And both of them chose their own paths.
My favorite Manon. Despite the aging voice, she had a certain savoir faire in this role; I’ve seen many Manons, but no one else expressed such charm, joy, greed, and despair in one character.
There is a sense of playfulness and freedom in her play ... she looks like there is no more a lot at stake ... she gives whatever she can give whith great confidence and assurance ... she obviously enjoy and appreciate this moment ... there is a lightness there ... it's like saying 'look ... I do it with all my heart, but this is not so serious ... I don't have to proove anything to anyone "... this is my Manon and that's it ... there is a lot of simplicity ... no manierism ... no big deal ... everything is instinctively fluid and eloquent and brilliant ... without any push of will to shine ... it is just SO ... and it is incredibly fresh and so very much in line with the caracter of Manon ...
@@Classicvideofan A perfect description of Beverly's Manon! Bravo!
Su MANON fue gloriosahizo epoca siempre adore a Beverly Sills en esta bellisima opera francesa,Gloria tambien a Massenet...❤❤❤❤❤❤❤❤❤❤❤❤❤❤❤💘💘💘💘💘💘💘💘💘💘❤❤❤❤❤❤❤❤❤❤❤❤❤❤
Sills was a great Manon. Merci.
Did you see her on stage ?
She just makes me happy. She seems so warm, so happy, so feminine. I think Manon is a particularly wonderful character that suited her: greedy, yet basically sweet; mercurial and unreliable, but truly in love; basically a whore, but still a bit innocent. Sills had a unique voice, and was a wonderful actress. You always cared for her characters; and she made this complex one particularly endearing and sad.
Year please?
1977