A great Milanov moment that she became famous for. Interestingly enough, her 1957 effort is the best of all the others. She also made her studio recording of the opera during this same year------- and the magnificent moment is preserved there as well. Surely she was the master of this moment. Also sublime is her Leonora in "Forza del Destino", for me her greatest role. Verdi could have written it for her.
Her Gioconda was more than a moment. No one that I have ever heard sang the role more beautifully. She was so feminine, so much light qbs dark in the voice. The sweeping 2 octave vocallines held no terrot for her. A deeply moving experience. I loved her her and her work.
Ransom Coates I think that the issue isn’t so much the fact that she uses portamenti as it is that they are not always properly energized. So, they often come across as slides rather than portamenti, and the line sometimes sags as a result. But in any case, what a great technique.
@@ER1CwC Totally agree ! She didn't have enough agility, so her portamento in1939 or 1946 sounds elaborated and sloppy, not fast enough. So, it does not transmit anything. In 1953 or 1957 she does not even try it anymore : she glides/scoops into the notes. But, OK, the piannisimi were spectacular
@@luisdavidalvarezcorrales8882 Thanks, you understood my point perfectly. Portamenti have to be properly energized! Incidentally, I agree with thrust of the above comment, that the current aversion to portamenti is a problem, particularly in Italian music. Many seem to think that portamenti should only be employed ‘when explicitly indicated,’ but a quick listen to the recordings of any of the classic singers (i.e., prior to the 1980s or so) indicates that portmenti is in fact a part of singing legato, at least in the romantic Italian tradition. Of course, there is such a thing as too much portamenti. But the pendulum has swung way too much in the other direction. Must be the influence of ‘clean’ English singing.
@@davidsimmons654 Me too! Milanov sang in 34 different operas prior to her MET debut. Most of those roles she never tackled on the MET stage. Just to name a few roles: Minnie, Cio-Cio-San, Rachel (La Juive), Margherita (Faust), Manon, Turandot, Helene (Mefistofele), Lisa (Queen of Spades), Marschallin (der Rosenkavalier), Leonora (Fidelio), Mathilda (Gugliemo Tell), Sieglinde (die Walkure), Elsa (Lohengrin), Elisabeth (Tannhauser).
Help! Yes, she was consistent; that phrase was always hideous- tight, pressed, almost flat and no real portamento...because those muscles are so tight! I am glad the audience enjoyed it.
In 1957 she is 30 years on the stage. If memory serves me she sang Gioconda from 1935 thru 1962. Remarkable
That pianissimo!!!!! legend
A college freshman in NY, I saw her in Tosca Dec., 1959 (with Boerling and Warren no less). Treasured always!
She says it all
Stunning she is at age 51 in 1957, such perfect timing of the diminuendo on the note and phrasing. Brava!
A great Milanov moment that she became famous for. Interestingly enough, her 1957 effort is the best of all the others. She also made her studio recording of the opera during this same year------- and the magnificent moment is preserved there as well. Surely she was the master of this moment. Also sublime is her Leonora in "Forza del Destino", for me her greatest role. Verdi could have written it for her.
Her Gioconda was more than a moment. No one that I have ever heard sang the role more beautifully. She was so feminine, so much light qbs dark in the voice. The sweeping 2 octave vocallines held no terrot for her. A deeply moving experience. I loved her her and her work.
@@stephengoldman553 Right.Pure perfection💎
Agreed!
Absolutely💯
1957 the best ? She is flat
Unmatched ,unrivaled ,unique.
Often accused by ignorants.
Never equaled🌠👑.
Nice gift for her birthday.
17-5-06
Milanov was really a fantastic Gioconda. This is GOLDEN singing
.🔥⚡🤩⚡🔥. Zinka Milanov's voice is a real miracle from universe. With strenght and lightness, whoever'd love her! .🔥⚡🤩⚡🔥.
GRANDISSIMA
Yes!!! Queen!
In what Protestant country
did she sing Gioconda in 1953 that they sit on their hands after that singing?
That was at the Met! I've heard the full excerpt, they burst into applause just about when the recording cuts out here.
Holy shit!
The best is not here: the 1957 studio recording. There she delivers the singles greatest high Bb I ever heard from a Dramatic Soprano.
Just really wonderful. But I have always wondered about the extreme portamento in her singing, which was already old fashioned when her career began.
Ransom Coates I think that the issue isn’t so much the fact that she uses portamenti as it is that they are not always properly energized. So, they often come across as slides rather than portamenti, and the line sometimes sags as a result.
But in any case, what a great technique.
@@ER1CwC Totally agree ! She didn't have enough agility, so her portamento in1939 or 1946 sounds elaborated and sloppy, not fast enough. So, it does not transmit anything. In 1953 or 1957 she does not even try it anymore : she glides/scoops into the notes. But, OK, the piannisimi were spectacular
@SuperMagren I do not think that was what Eric tried to say at all, if you read carefully
@@luisdavidalvarezcorrales8882 Thanks, you understood my point perfectly. Portamenti have to be properly energized!
Incidentally, I agree with thrust of the above comment, that the current aversion to portamenti is a problem, particularly in Italian music. Many seem to think that portamenti should only be employed ‘when explicitly indicated,’ but a quick listen to the recordings of any of the classic singers (i.e., prior to the 1980s or so) indicates that portmenti is in fact a part of singing legato, at least in the romantic Italian tradition. Of course, there is such a thing as too much portamenti. But the pendulum has swung way too much in the other direction. Must be the influence of ‘clean’ English singing.
@@luisdavidalvarezcorrales8882 I hope you're not a voice teacher.
She gets better and better and then apotheosis... therefor she is a Divinity.
La mejor es la de 1957. Muy bella. Lástima que en tantos años haya seguido pronunciando "Enzo adoRRato"
It's part of her vocal technique. Who cares when it sounds like that?
Beautiful. She's flat in 1946, but still and always a legend.
IF THATS FLAT THEN I WANT TO HEAR PEOPLE SINGING FLAT ALWAYS
@@walterharper79 But during the course of the note, she pushes up the pitch and by the end she's right on pitch.
@@walterharper79 Flat in 1946, flat in 1957 yes
1957 is the best
she is flat in 1957 , falt in 1946 as well
1939 .
What role is she pictured in here?
Leonora in Fidelio by Beethoven.
Equinox I would KILL to hear that!
@@davidsimmons654
Me too!
Milanov sang in 34 different operas prior to her MET debut. Most of those roles she never tackled on the MET stage. Just to name a few roles: Minnie, Cio-Cio-San, Rachel (La Juive), Margherita (Faust), Manon, Turandot, Helene (Mefistofele), Lisa (Queen of Spades), Marschallin (der Rosenkavalier), Leonora (Fidelio), Mathilda (Gugliemo Tell), Sieglinde (die Walkure), Elsa (Lohengrin), Elisabeth (Tannhauser).
Equinox just awesome! She is one of my favorite singers, amazing artist and such a down to earth woman!
@@davidsimmons654 me too...
Very curious about her Fidelio ,Juive ,& Libuse.
One the most perfect singers ever👏
Actually, I think only the 1953 excerpt comes close. It is an incredibly divine phrase, clearly the supreme moment in a pretty inane opera
Help! Yes, she was consistent; that phrase was always hideous- tight, pressed, almost flat and no real portamento...because those muscles are so tight! I am glad the audience enjoyed it.
You're a fool and a deaf one at that!