I'm so used to listening to Joan's voice from later in her career that it always surprises me how 'fresh' her voice used to be...i find her voice darkened later in career. You have to love Donizetti, Sutherland makes it sound so easy too!
thank you for this aria beautifully sung by Dame Joan but even if it is'nt as famous as Lucia but with Joan plus Donizetti one cann't be disapointed . the voice is crystallike love it JMB
Sutherland 's voice here sounds lighter than it would become. From what I have read Joan and Richard were still coordinating her top with the rest of her voice at this time. This is lovely and the final minute has some incredible high notes.
SIMPLEMENTE UNA MARAVILLA VOCAL E INTERPRETATIVA..........UN MILAGRO........UN MILAGRO DE BELLEZA DE VOZ INCALCULABLE..........UN SUEÑO......UN ALGO INDESCRIPTIBLE......COMO DECIMOS EN ESPAÑA.......INDESCRIPTIBLE..........ALIENIGENA TOTAL.....Y PERDON POR LA COMPARACION ACERCA DE ALGO QUE DESCONOCEMOS...PERO LA VOZ DE JOAN SUTHERLAND...ES TAN MISTERIOSA COMO LOS EXTRATERRESTRES
This is truly amazing, but the recording of the same aria with just piano is even more startling: the coloratura and floated notes and just amazing................
Exquisite---the aural embodiment of the pictured engraving. Donizetti represents a huge Romantic change from Rossini generally. I never confuse Rossini for Donizetti. Donizetti was as great an innovator as Verdi, who 'borrowed' hugely from the Master of Bergamo. Never forget that 'Amami Alfredo' is a direct quote from Donizetti's 'Pia de' Tolomei'.
Sutherland really was a wonderful singer, but I really do think that her earliest recitals are the best recordings of her singing. In 1950 - 1961 she really had it all: a very powerful but a very gentle voice; superb coloratura; seamless legato; great diction; and, most importantly, a special warmth that gave deepth to anything she sang. If I had to choose between Sutherland before 1962 and Sutherland after 1962 I would certainly choose the former.
Yes, before 1962 she still had a balanced resonance through the whole range. Not sure what happened in 1962. Maybe in an effort to push the voice up, the clarity in the lower part was compromised.
ES UNA VOZ QUE NOS DEJA SIN ALIENTO........Y ESO NO ES NORMAL........LA NATURALEZA SE PASO CON ELLA...HASTA DEJARNOS PENSANDO QUE ES LO QUE PASA A NUESTRO ALREDEDOR........
31 años...................tenia...........y era ya una locura de voz y de interpretacion pasional............con una fuerza...y una sensibilidad vocal.....que estremecia por aquellos años.......y ahora mismo sigue haciendo sentir lo mismo...........un sonido vocal...........de sueño..................y ensueño........y esta aria la hizo en dos versiones por aquellos años........grandiosas ambas.y desde dos formas de lanzar la voz
Wow. This is beautiful. And may I just say, LindoroRossini, this being your first of many subsequent videos, that it's been an honor to watch all the wonderful videos you've posted to RUclips.
Thank you for posting. I have never heard this particular recording. I was familiar with another from the same era that she recoded of this aria, with piano accompaniment. I liked it even better. Same purity and clarity, but stronger sound. But it is also very nice to hear it with orchestra. And I agree, early Sutherland is the best.
Sencillamente Stupenda. Hay que dejar constancia que no estaba dirigida por su marido y para mí precisamente antes de Richard fue su mejor legado. Aquí insuperable.
This was an abridged version of the opera broadcast by the BBC. There was a narrator to fill in the gaps, and at one point he referred to the setting as a mountaintop in suburban Liverpool! A joke of course. Anyone hearing the broadcast shouldn't have been surprised by the Lucia two years later.
I agree LindoroRossini. Her early recitals and operatic performances were brilliant and the diction was very good. I wonder if it is because she stopped working with Italian directors and only worked with Bonynge...I believe she was at her greatest with Serafin, Molinari Pradelli and Rescigno.
Réponse à @sevoflurane La Stupenda était à l'époque une excellente soprano dramatique qui faisait les délices des mélomanes lyriques, avec l'ampleur et la douceur de sa voix et la dimention de tendresse qu'elle réussissait dans ses magnifiques interprétations. Or ce fût son époux Richard Bonynge qui remarqua la dextérité avec laquelle elle envisageait la zone suraïgue de sa voix, ce qui pourrait lui permettre dorénavant de camper le répertoire des dramatiques-colloratures. Les premiers essais fûrent des succès, donc Bonynge se mit à la tâche de convaincre Joan d'entreprendre le chemin difficile et parfois pénible de la Prima Donna. La Sutherland hésita, mais finit par accepter le défi et devint cette formidable star dont il était bien difficile de connaître les limites. C'est sans doute pour cette raison qu'elle cessa d'enregistrer sous la direction de chefs d'orchestre italiens, et se lança dans sa météorique "carrière Bonynge". Il faudrait signaler aussi la remarquable tâche de musicologue déployée par Bonynge au fur et à mesure que la carrière de Joan s'affirmait. Les époux Bonynge ont eû le courage et l'heureuse intuition de remettre en valeur d'anciens opéras français du XIXème. siècle qui avaient sombré dans l'oubli. A tous ces personnages (Dinorah dans Le Pardon de Ploërmel de Meyerbeer, Esclarmonde et Le Roi de Lahore de Massenet, et bien d'autres) La Superba leur rendit la vie avec la tendresse mais aussi avec les feux d'artifice de ses interprétations. Certains de leurs enregistrements de l'époque mirent au sommet l'opéra baroque, assez oubliée aussi, dont ils ont legué pour la postérité leur magnifique interprétation d'Alcina de Häendel. A une certaine époque la valeur des versions musicales de Bonynge a été remise en question. Mais à mon avis il a été toujours fidèle à soi-même et à son épouse dans sa ligne interprétative, tout en sachant se maintenir toujours parmi les excellences de l'empreinte classique. Merci.
I'm sure you didn't mean to imply that her middle voice was "muddied" deliberately. The middle voice is the most fragile, and Dame Joan's was always soft-grained and warm, so she may have pushed it a bit too hard...her repertory was huge. The middle is a weak spot for most singers, and over time, it can become unsteady and lose clarity of sound. Some singers make adjustments to protect this area by avoiding singing vowels to open, or covering them, closing the throat a bit, which can make the sound less brilliant and exciting.
Well you should remember that this is prior to her debut in Lucia (i.e., before she had fully mastered the technique of Bel Canto) and also before her sinus surgery (also in 1959) which significantly altered the tone of her voice (I would argue that it was altered for the better).
Later Joan - early 70s I heard live Maria Suarda which IMO needed a heavier sound. The recordings and performances of Anna Bolena were a bit late but I thing 70s or late 60s would be better for that role. Same with Esclarmonde which I saw live at the MET.
You comment wasn't respectful, it was a thinly veiled put-down, so don't lecture me on respect. You don't have to care for the "color" of her voice to recognize she doesn't require your "pity". As for this recording, perhaps you would care to regale us with your profound grasp of the vocal arts? What exactly is so wrong with her singing her....besides that fact that you don't like her I mean? I will wait with baited breath for your astute observations and insights.
You should not judge other peoples taste, cause everyone of us has a different one and you should respect it - as I respect yours. I dont like Sutherland's colour of the voice, but it doesen't has anything to do with the fact she was a good singer, but sorry, listening to this clip you could not say that.
You started to giving me "lectures", so please don't try to make it like I've started it... I do not intend to go that low to prove my skils and knoledge of the vocal arts, will just tell you this: its not true I do not like her (she's quite good in some roles, even very in some), but the problem is YOU like her too much to be objective. I am ending this useful discusion.
staggeringly beautiful
Donizetti wrote so many glorious operas! A crime that so so many are not performed. And today ... who the hell can sing like this?! It's depressing!
In this voice there's no question why Bonynge heard the coloratura repertoire where it belonged. No one has ever sung it better.
Dazzling!!! Such limpid, pristine singing. One of a kind, our Joan.
The coloratura singing in this aria has got to be the some of the greatest singing ever recorded
george prentice i completely agree
She really had started blooming! When you listen to her voice at that time, difficult to imagine she would be the perfect Turandot 15 years later.
Bella interpretazione
Wonderful voice and coloratura. Donizetti was a great opera's author
I'm so used to listening to Joan's voice from later in her career that it always surprises me how 'fresh' her voice used to be...i find her voice darkened later in career. You have to love Donizetti, Sutherland makes it sound so easy too!
Brava...
thank you for this aria beautifully sung by Dame Joan but even if it is'nt as famous as Lucia but with Joan plus Donizetti one cann't be disapointed .
the voice is crystallike love it
JMB
her singing is perfection
Sutherland 's voice here sounds lighter than it would become. From what I have read Joan and Richard were still coordinating her top with the rest of her voice at this time. This is lovely and the final minute has some incredible high notes.
SIMPLEMENTE UNA MARAVILLA VOCAL E INTERPRETATIVA..........UN MILAGRO........UN MILAGRO DE BELLEZA DE VOZ INCALCULABLE..........UN SUEÑO......UN ALGO INDESCRIPTIBLE......COMO DECIMOS EN ESPAÑA.......INDESCRIPTIBLE..........ALIENIGENA TOTAL.....Y PERDON POR LA COMPARACION ACERCA DE ALGO QUE DESCONOCEMOS...PERO LA VOZ DE JOAN SUTHERLAND...ES TAN MISTERIOSA COMO LOS EXTRATERRESTRES
This is truly amazing, but the recording of the same aria with just piano is even more startling: the coloratura and floated notes and just amazing................
That voice comes from the Heavens. No doubt
Stunning adorable incomparable Joan!!!
BRAVA!!!
Exquisite---the aural embodiment of the pictured engraving. Donizetti represents a huge Romantic change from Rossini generally. I never confuse Rossini for Donizetti. Donizetti was as great an innovator as Verdi, who 'borrowed' hugely from the Master of Bergamo. Never forget that 'Amami Alfredo' is a direct quote from Donizetti's 'Pia de' Tolomei'.
Sutherland really was a wonderful singer, but I really do think that her earliest recitals are the best recordings of her singing. In 1950 - 1961 she really had it all: a very powerful but a very gentle voice; superb coloratura; seamless legato; great diction; and, most importantly, a special warmth that gave deepth to anything she sang. If I had to choose between Sutherland before 1962 and Sutherland after 1962 I would certainly choose the former.
Yes, before 1962 she still had a balanced resonance through the whole range. Not sure what happened in 1962. Maybe in an effort to push the voice up, the clarity in the lower part was compromised.
What a treasure.
Feel sorry for those that don't recognize great singing, and never will.
La Stupenda era única en este repertorio.
La Stupenda !!! . Maravillosa interpretación.
Wow.. pure perfection
ES UNA VOZ QUE NOS DEJA SIN ALIENTO........Y ESO NO ES NORMAL........LA NATURALEZA SE PASO CON ELLA...HASTA DEJARNOS PENSANDO QUE ES LO QUE PASA A NUESTRO ALREDEDOR........
31 años...................tenia...........y era ya una locura de voz y de interpretacion pasional............con una fuerza...y una sensibilidad vocal.....que estremecia por aquellos años.......y ahora mismo sigue haciendo sentir lo mismo...........un sonido vocal...........de sueño..................y ensueño........y esta aria la hizo en dos versiones por aquellos años........grandiosas ambas.y desde dos formas de lanzar la voz
Bravi
Magic and glorious. I love Joan.
Great post, Thanks -John
SO WONDERFUL!!!
Truly extraordinary.
Thanks, LindoroRossini, for your many fine uploads. Keep them coming!!!
Wow. This is beautiful. And may I just say, LindoroRossini, this being your first of many subsequent videos, that it's been an honor to watch all the wonderful videos you've posted to RUclips.
Thank you for posting. I have never heard this particular recording. I was familiar with another from the same era that she recoded of this aria, with piano accompaniment. I liked it even better. Same purity and clarity, but stronger sound. But it is also very nice to hear it with orchestra. And I agree, early Sutherland is the best.
At the beginning she sounded more like Galli-Curci. Just gorgeous.
I concur!!!! LindoroRossini is wonderful!! Keep it up pleeeeeeeease :)
Buon anno.
Verdaderamente extraordinaria.
Thanks for posting this, we're doing this opera in Nürnberg, Germany this season.
What a discovery! Thank you very much. I agree with you 100 per cent
It's from a CD of highlights from a performance of "Emilia di Liverpool" :).
Confusa è l'alma mía
Dank u well lindororossini thank you loved it
Saluti da Bergamo.
UNA BELLEZA EXTREMA........HUMANA...PERO EXTREMA...DE UNA BELLEZA INAUDITA.........ALGO IMPOSIBLE PERO CIERTO......
Sencillamente Stupenda. Hay que dejar constancia que no estaba dirigida por su marido y para mí precisamente antes de Richard fue su mejor legado. Aquí insuperable.
The coloratura here has the same flavor of the coloratura passages in "D'amore al dolce impero". I love it.
This was an abridged version of the opera broadcast by the BBC. There was a narrator to fill in the gaps, and at one point he referred to the setting as a mountaintop in suburban Liverpool! A joke of course. Anyone hearing the broadcast shouldn't have been surprised by the Lucia two years later.
I agree LindoroRossini. Her early recitals and operatic performances were brilliant and the diction was very good. I wonder if it is because she stopped working with Italian directors and only worked with Bonynge...I believe she was at her greatest with Serafin, Molinari Pradelli and Rescigno.
Réponse à @sevoflurane
La Stupenda était à l'époque une excellente soprano dramatique qui faisait les délices des mélomanes lyriques, avec l'ampleur et la douceur de sa voix et la dimention de tendresse qu'elle réussissait dans ses magnifiques interprétations. Or ce fût son époux Richard Bonynge qui remarqua la dextérité avec laquelle elle envisageait la zone suraïgue de sa voix, ce qui pourrait lui permettre dorénavant de camper le répertoire des dramatiques-colloratures. Les premiers essais fûrent des succès, donc Bonynge se mit à la tâche de convaincre Joan d'entreprendre le chemin difficile et parfois pénible de la Prima Donna. La Sutherland hésita, mais finit par accepter le défi et devint cette formidable star dont il était bien difficile de connaître les limites. C'est sans doute pour cette raison qu'elle cessa d'enregistrer sous la direction de chefs d'orchestre italiens, et se lança dans sa météorique "carrière Bonynge". Il faudrait signaler aussi la remarquable tâche de musicologue déployée par Bonynge au fur et à mesure que la carrière de Joan s'affirmait. Les époux Bonynge ont eû le courage et l'heureuse intuition de remettre en valeur d'anciens opéras français du XIXème. siècle qui avaient sombré dans l'oubli. A tous ces personnages (Dinorah dans Le Pardon de Ploërmel de Meyerbeer, Esclarmonde et Le Roi de Lahore de Massenet, et bien d'autres) La Superba leur rendit la vie avec la tendresse mais aussi avec les feux d'artifice de ses interprétations. Certains de leurs enregistrements de l'époque mirent au sommet l'opéra baroque, assez oubliée aussi, dont ils ont legué pour la postérité leur magnifique interprétation d'Alcina de Häendel. A une certaine époque la valeur des versions musicales de Bonynge a été remise en question. Mais à mon avis il a été toujours fidèle à soi-même et à son épouse dans sa ligne interprétative, tout en sachant se maintenir toujours parmi les excellences de l'empreinte classique. Merci.
Ah yes, I know which one. It's on my "to-buy" list. Thanks!
I think she sounds so because it's actually a live recording (I think that there is a full opera recording with Sutherland somewhere).
No there isn't.
ella es el canto perfeccion
Still, thank you very much for your opinion :-) . If you have the time, please check my other downloads.
Brava.
This wasThe best ofSutherland! The voice was never the same when she started muddying the middle.
I'm sure you didn't mean to imply that her middle voice was "muddied" deliberately. The middle voice is the most fragile, and Dame Joan's was always soft-grained and warm, so she may have pushed it a bit too hard...her repertory was huge. The middle is a weak spot for most singers, and over time, it can become unsteady and lose clarity of sound. Some singers make adjustments to protect this area by avoiding singing vowels to open, or covering them, closing the throat a bit, which can make the sound less brilliant and exciting.
I concur! Pre-mid-60s Dame joan is my favourite "voice" of all time!!!!
Which disc is this from?
Sutherland's young voice has some Caballéish timbre
Well you should remember that this is prior to her debut in Lucia (i.e., before she had fully mastered the technique of Bel Canto) and also before her sinus surgery (also in 1959) which significantly altered the tone of her voice (I would argue that it was altered for the better).
Non intende il mio contento
Chi non vide il mio tormento.
Sol perfetto è quel diletto
Che il dolore preparò.
That note, and the final note, are Eb.
Please, what painting is this?
What is the plot for this opera?
Interesante
Later Joan - early 70s I heard live Maria Suarda which IMO needed a heavier sound.
The recordings and performances of Anna Bolena were a bit late but I thing 70s or late 60s would be better for that role. Same with Esclarmonde which I saw live at the MET.
Det er bare så smukt
You comment wasn't respectful, it was a thinly veiled put-down, so don't lecture me on respect. You don't have to care for the "color" of her voice to recognize she doesn't require your "pity". As for this recording, perhaps you would care to regale us with your profound grasp of the vocal arts? What exactly is so wrong with her singing her....besides that fact that you don't like her I mean? I will wait with baited breath for your astute observations and insights.
I have an earlier live version which Joan sings much better (if you can believe that?!!) True
upload it!
+hermajesty52 thanks
You should not judge other peoples taste, cause everyone of us has a different one and you should respect it - as I respect yours. I dont like Sutherland's colour of the voice, but it doesen't has anything to do with the fact she was a good singer, but sorry, listening to this clip you could not say that.
You started to giving me "lectures", so please don't try to make it like I've started it... I do not intend to go that low to prove my skils and knoledge of the vocal arts, will just tell you this: its not true I do not like her (she's quite good in some roles, even very in some), but the problem is YOU like her too much to be objective. I am ending this useful discusion.
Poor Sutherland.