Best Interpretation MAD SCENE Lucia Di Lammermoor - Beverly Sills 1970
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- Опубликовано: 29 янв 2020
- This Lucia was recorded in 1970, when Beverly Sills was at the peak of her vocal and dramatic powers. She had been singing the role of Lucia on stage for six years, and she knew the character to perfection. She gave the role a total different touch from all good ones from her time such as Peters, Sutherland, Moffo and Pons. Sills took more the school of Callas. Lucia is a manic-depressive who is slightly crazy from the start, and Sills's embellishments to the vocal line (and there are tons of them; hardly a line is left as written), mostly composed especially for her, are always at the service of the drama. Sills was an amazing coloratura soprano but not only that, she didn’t wanted to be just a soprano with a beautiful voice, she also wanted to be a great actress and her interpretation comes closer to Callas, no wonder she is considered THE BEST SINGING ACTRESS of her generation in the coloratura style. Sills is gloriously fluent in the coloratura, the high notes are impeccable, and her reading of the words is truly involved and involving. This aria is a must for lovers of great singing and acting. Brava Ms. Sills
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Perfection! No one will ever better this in anyone's lifetime again.
This is very fine performance. The best ever... well no but this is great.
Ben Franklin's glass harmonica really gives me the creeps and is the perfect accompaniment to Sills' chillingly shaded interpretation.
Great performance by Beverly. Very effective use of the glass harmonica too.
THE finest recorded LUCIA, no contest, the gold standard
The coloratura may be excessive for some, but she had to use the vocal resources that differentiated her from the others, and highlight her way of expressing drama. It is the destiny of artists! For me, it's astonishing.
For me too. I feel the same way
Brava !!
❤ ! ! !
Any criticism of this is absurd.
Immense!
Who knows where her cadenza come from? Is it personal?
It was written for her by Roland Gagnon, Beverly's music coach.
Callas, Virginia Zeani and she! For Lucia we don’t need anybody else!
Callas or Sills? Specifically for this part...
@@asepheleleshabalala1352 Sills is showing a brilliant technique here but Callas shows how the piece must be interpreted. A difficult choice…
But Callas has no rivals, anyway
The 1959-61 Sutherland's performances of this role are amazing.
@@casagrandecantatas EXACTLY and her studio ‘71 recording.
@@georgemosarm1345 this is correct.... not just about trills, but the soul of a character...
In my personal experience with Ms. Sills, she was friendly and formidable, and deftly managed her celebrity status. I've gravitated toward other sopranos, and never warmed to Lucia, this is my first time hearing Sills' mad scene. I think I like it. If a mad opera scientist were to cross Callas with Dessay, would we have Sills?
more Sutherland and Freni...
Erna Sack's interpretation with her high notes is my favorite, howewer I also love Mado Robin's and Zdzislawa Donat 's interpretation.
Mado.... such cheap shtick... awful...no class
@@marilynmichaels8358 What horrible words Ms. Michaels to refer to a fabulous performer with a stratospheric voice. Mado Robin is a favorite along with Bogna Sokorska, Elena Zimenkova, Erika Koth, Erna Sack, Evgenya Miroshnichenko, Halina Mickiewicz, Ingeborg Hallstein, Jessye Norman, Katarzyna Dondalska, Leontyne Price, Lilly Pons, Petia Ivanova and Zdzislava Donat.
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excellent coloratura but no one touches JOAN.
I'd love to have heard JOAN try and sing these cadenzas and by the way, this upload is all about Beverly, definitely not JOAN.
Its good but doesn't hold a candle to Sutherland's rendition. Sutherland truly understood the role and you felt it. Sills over embellishes and it destroys the piece
Another of Sutherland's endless watchdogs. Nobody else of that era is worthy of praise in their narrow universe. Birgit Nilsson's talent utterly eclipsed Sutherland, and so did Maria Callas. Our Bubbles had a much livelier, quicker, more flexible voice, more emotive.
Hmmm, yes... It is great if a bit slow. And the extras ae very superfluous and detracting!!!
@@cobaltcanarycherry Sills was very emotional, the negative opinions are their own, they have a right to their opinions, as do I, I saw Sills many times in house, also JS I cannot say anything negative about Sills, she was for me a great artist, Passionate singer and actress, in her own Fach . I don't get on a singers site and flame them, this scene is allowed many variations by the critics and she does a fine live job here for me, so to each his own..
@@cobaltcanarycherry She had it all here for the voice was solid, passionate, diction clear , trills superb and a true Coloratura voice.
@@cobaltcanarycherry Ah, quit your barking and yapping. Yes, it’s true that Sills hardly left a vocal line unembellished but it’s a different interpretation than Callas or Sutherland; it is your choice. There is much to admire and Sills mirrors the glass harmonica as does Sutherland the flute. I just prefer the fuller smoother note central sound of Sutherland. Sills always had a shrill sound at times and a voice which was not as warm. However I have her recording, both of Sutherland’s and Callas in addition to live ones of the later two.
Maria Callas e Joana Sutherland para mim as verdadeiras" Lúcia"! Não contesto que seja uma boa voz mas tantos trinados aqui
são desnecessários e talvez até despropositadas!
Rubbish!