The story goes she wanted bigger roles at Covent Garden and wasn't complaining so they gave her this role, thinking she would fail. The doll was usually played almost Barbie like. So she one upped them and dressed outrageously (a clown I think), and brought down the house. No more problems with roles.
She made her fame with a Lucia from Covent Garden in 1959 which turned the Covent Garden Wagnerian into one of the first among dramatic coloratura bel canto revival sopranos. (I know Callas was wonderful but she cut Lucia while Joan sang every note). She and Richard loved the comic roles and Hoffmann was justr to prove that a soprano could sing the coloratura Olympia, and the heavier Giulietta and Antonia all in the one performance. Before that three sopranos usually sang the three roles. Eventually Joan was that great prima donna who could sing everything from Mozart or Lucia to Turandot and Esclarmonde.
Everything is so damn clean even with it so fast….. The agility and the massiveness of her voice is what made her a once in a lifetime singer. Odds are people have a voice that sounds just as good as if not better than hers…. But they’ll never learn how to use it better than she did.
And Joan was close to 50 when she sang this in Sydney here! 1974 I think. It had to be fast as not only did Joan and Richard want to get home but Australian Opera was up for overtime after 11.00 in those days.
"Odds are people have a voice that sounds just as good as if not better (!!!) than hers..." I'll take that bet...easy money...Clearly you never heard her in the house, but if you perceived so little from the recording, I'm afraid you're a hopeless case...My sympathies
I attended one of those Hoffmanns, one of my very first live opera performances. The luck of a fool - I saw so many of the greatest artists, and I didn’t even know it. I’ve heard there’s a complete videotape of this early Met televised video, but it was never televised nor released. Rumor has it that Bonynge has a good copy in his collection. I wonder if we’ll ever see the complete performance. Btw, Norman Triegle was supposed to play the bass roles in Seattle, where the production originated. But he dropped out when he learned that it was to be Bonynge’s edition with mostly spoken dialogue.
Why hasn't the James Morris / "Live from Lincoln Center" (1980) Don Giovanni with Sutherland as Donna Anna ever been released? Her singing was sensational. TV Guide had a full-page ad for it. I hope it has been digitally transferred as video tape sheds its iron oxide over time, degrading the picture and sound quality.
@@tencontento9177 Sì direi proprio che la greca non ci avrebbe stupefatti. Inoltre è un ruolo puramente tecnico, lontano dal dramma e dalla passione Callassiani. Callas = interpretazione Sutherland = eseguire le note = tecnicismo. In realtà le due erano antitetiche e opposte
@@judygarland7186 Concordo con te sulla tecnica ma concorderai con me che questo è più un ruolo puramente vocale per la stupenda e non per la divina a cui piaceva immedesimarsi nel ruolo voce ed anima.
There simply aren't words that do this justice. So freaking EFFORTLESS.
The great comic ability on top of her fabulous signing is killing me. Joan!
She sang this opera better than anyone else. I haven't heard it for many years, and I didn't realize how much I miss it.
That staccato...that stunning staccato - 😍
Sutherland La Mejor Soprano del Mundo!!!!!
No one does Olympia like Joan, simply divine!
This is fantastic! She sounds very vocalized here! Phenomenal.... the role that made her carreer!
The story goes she wanted bigger roles at Covent Garden and wasn't complaining so they gave her this role, thinking she would fail. The doll was usually played almost Barbie like. So she one upped them and dressed outrageously (a clown I think), and brought down the house. No more problems with roles.
She made her fame with a Lucia from Covent Garden in 1959 which turned the Covent Garden Wagnerian into one of the first among dramatic coloratura bel canto revival sopranos. (I know Callas was wonderful but she cut Lucia while Joan sang every note). She and Richard loved the comic roles and Hoffmann was justr to prove that a soprano could sing the coloratura Olympia, and the heavier Giulietta and Antonia all in the one performance. Before that three sopranos usually sang the three roles. Eventually Joan was that great prima donna who could sing everything from Mozart or Lucia to Turandot and Esclarmonde.
Allí está la grandeza de Joan podía cantar de manera estupenda todo lo que se le pedía.
She’s already legend by this time and she can clearly command any opera house out there. This is ridiculously good
She always sang all the roles in Tales of Hoffmann, not just Olympia!
Everything is so damn clean even with it so fast…..
The agility and the massiveness of her voice is what made her a once in a lifetime singer.
Odds are people have a voice that sounds just as good as if not better than hers…. But they’ll never learn how to use it better than she did.
And Joan was close to 50 when she sang this in Sydney here! 1974 I think. It had to be fast as not only did Joan and Richard want to get home but Australian Opera was up for overtime after 11.00 in those days.
"Odds are people have a voice that sounds just as good as if not better (!!!) than hers..." I'll take that bet...easy money...Clearly you never heard her in the house, but if you perceived so little from the recording, I'm afraid you're a hopeless case...My sympathies
La migliore Olympia di sempre.
Le terzine 2:05. Da non credere
Brava!
I attended one of those Hoffmanns, one of my very first live opera performances. The luck of a fool - I saw so many of the greatest artists, and I didn’t even know it. I’ve heard there’s a complete videotape of this early Met televised video, but it was never televised nor released. Rumor has it that Bonynge has a good copy in his collection. I wonder if we’ll ever see the complete performance. Btw, Norman Triegle was supposed to play the bass roles in Seattle, where the production originated. But he dropped out when he learned that it was to be Bonynge’s edition with mostly spoken dialogue.
She is the best, genial! Tempo is perfekt.
Why hasn't the James Morris / "Live from Lincoln Center" (1980) Don Giovanni with Sutherland as Donna Anna ever been released? Her singing was sensational. TV Guide had a full-page ad for it. I hope it has been digitally transferred as video tape sheds its iron oxide over time, degrading the picture and sound quality.
Resulta que entro acá, para ver _Les Contes d'Hoffman_ , y en lugar de ello me encuentro con La Novia de Frankenstein😑
Meravigliosa
Brava Dame Joan❤️
Qué genia
Sutherland was a giant doll.
3:20 Is this her highest trill?
I don't think that the one of Spargi d'amaro pianto is higher than this one
Stunning. Do you know which year this performance dated from?
ruclips.net/video/KsrwB9hYxWs/видео.html
Daniel Hammond November 1973
Wow, nearly forty-seven years.
She's singing really fast.
Yes, she is. The studio recording is a slow tempo compared with the live performances.
Not only fast but very precise. She s the best Olympia ever
It would have been beatiful seeing Maria Callas as Olympia !!
Oh my Lord. That would have been hideous. She could never (even in her early days) sing this accurately and stupendously.
@@tencontento9177
Sì direi proprio che la greca non ci avrebbe stupefatti.
Inoltre è un ruolo puramente tecnico, lontano dal dramma e dalla passione Callassiani.
Callas = interpretazione
Sutherland = eseguire le note = tecnicismo.
In realtà le due erano antitetiche e opposte
@@stefanodallasen796 callad has stunning vocal technique in her prime-early years
@@judygarland7186
Concordo con te sulla tecnica ma concorderai con me che questo è più un ruolo puramente vocale per la stupenda e non per la divina a cui piaceva immedesimarsi nel ruolo voce ed anima.
@@stefanodallasen796callas in her prime had much better vocal technique than sutherland