Eileen Farrell sings Ponchielli's "Suicidio" - 1960
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- Опубликовано: 15 сен 2024
- From a 1960 telecast entitled "Ford Presents: The Creative Performer" written and presented by Leonard Bernstein and featuring Glenn Gould, Eileen Farrell and Igor Stravinsky. Here is an excerpt from that program with Eileen Farrell and the New York Philharmonic Orchestra under the direction of Leonard Bernstein, performing the Act IV aria from Ponchielli's "La Gioconda".
Here is a link to the entire program:
• Glenn Gould's U.S. Tel...
And here is a link to one of my many Eileen Farrell playlists: www.youtube.com...
In 1994 Farrell was quoted as saying: "As far as I'm concerned, all opera librettos are pretty crazy. The funniest story of all is La Gioconda. In the first act she's with her mother, and in the second scene she can't find her mother, and already it's the fourth act and she's ready to take the poison and remembers she still hasn't found her mother. "Mom? Hello, Mom?" Snap out of it! That's pretty funny."
my mother sat next to her at church. Not knowing who she was. when everyone began to sing my mother about fell over due to the incredible sound of the woman next to her....she asked me if I knew her (she knew I liked opera) what an artist she was! one of the greats in American history.
I can just imagine that most people would probably have stopped singing and just listened!
Farrell had a bawdy sense of humor and didn't hold back when she was with friends! According to Beverly Sills, Farrell used to visit her in Cleveland where Sills lived in the early 1960s. Farrell had come in after a rehearsal with George Szell and The Cleveland Orchestra. She said,
If Szell thinks that his &&$*ing orchestra is going to play louder than my high C he has another thing coming...
LOL
@@randysills4418 very nice 👍👍👍
Perhaps the greatest.
And one of the biggest voices ever.(Better than Nillson)
( P.s after Eileen ,let's give a special mention to the artisty of Frances Yeend ,among the home -grown sopranos)
Amen! indeed!
wow amazing story. She truly is talented. I fell in love right once when i heard the first note of her singing. Brilliant, potent and so smooth.
I adore this woman! such musicality and such honest expression beside a glorious voice and perfect technique!
I agree a 100%. She was Callas favorite soprano who was alive at the same time that she was.
@@beachfanatic2010 Eileen Farrell is the only soprano I've heard whose singing of this aria is comparable in greatness to Callas. Both are exquisite as Gioconda!
Me too
She was the greatest soprano of the twentieth century
Every note she sings is perfect
She had a glorious voice
Yesssss!! She and *Leontyne Price* are THE VERY BEST TO ME❤
AS I WAS STUDYING BEL CANTO SINGING, MY VOCAL TEACHER WHO HAD AN EXEMPLARY VOICE (MARYA DORNYA) INTRODUCED ME TO EILEEN FARRELL AND TOLD ME THAT SHE IS MY VOCAL MOTHER. HOW I WISH THAT I COULD HAVE MET HER ALIVE AND GOTTEN JUST ONE MASTERCLASS.
SHE INTRODUCED ME TO MS FARREL VIA THE BLUES!!
FROM FARRELL'S ALBUM "I'VE GOT A RIGHT TO SING THE BLUES. QUEEN FARRELL DID SO PHENOMENALLY WELL GOING BETWEEN THE GENRES. MY TEACHER THEN HAD ME LISTEN TO HER SINGING ISOLDE QND VERDI REQUIEM🤯
MY TEACHER THOUGHT I SHOULD DEFINITELY STUDY STUDY STUDY HER BECAUSE I SING ALL THE DIFFERENT STYLES TOO. SHE WANTED ME TO LEARN HOW TO DRIVE MY "BIG CADILLAC" OF A VOICE AROUND THE CORNERS SUCCESSFULLY😂 METAPHORICALLY, JUST AS EILEEN FARRELL DID. SHE WAS A GIANT OF A VOCALIST; HER TECHNIQUE IS UNBELIEVABLE. AND ALSO VERY RELATABLE.@@pamelaray6032
Uh t
Unbeatable italian old school technique. Everything is so even. Beautiful development of the chest register. Thanks for this superb post.
She doesn't have an Italian technique, neither of those you mentioned had it. They're still great singers but do not sound Italian like tebaldi or gigli. They don't have the squillo. Here, farell sounds beautiful but her high forte notes sound a bit blocked
Ana H It is a real pity indeed. Nobody takes the time to develop anymore. The theaters, the impresarios, the singers and the audiences are in a hurry to consume and be consumed. Today, the whole approach to opera has to do a lot more with MTV and pop culture.
@@frankfurter6561 all of Farrell's vowels are pure and 'lined up' throughout the compass. Lovely resonant instrument.
But she didn't sang chest notes. That's a coordinated chest voice. Callas sang real chest voice in this aria. Take the difference,.
Bottom line. She was eilleen was fabulous@@FelipeViannaNutriUFRJ
Stunning and especially as I didn't think any singer could allow me to momentarily forget the incredible versions we have of Maria Callas. Passionate, beautiful, just fabulous singing!
Οnly momentarily???
Callas was far from the only singer and very far from the best! Mustt we always compare her to whoever sings /
@@paragod333 People who love Callas have the same right to compare her to other great singers, as you do to knock her! It goes both ways.
I have listened to most of the greatest sopranos that have majestically sung this difficult aria. I must say that Maestra Farrell has sung the definitive version of this aria from every single angle of analysis. Her vocal technique is truly flawless and impeccable, she is truly a dramatic soprano in vocal classification and her heartfelt interpretation of this aria is of the utmost perfection indeed. Maestra Farrell is a true glory of the operatic art form. AND…….. she was a “Fitzgerald” singing jazz. Maestra Farrell was a once in a century vocal genius.
I had never heard of Mrs Farrel, then one afternoon in the car I heard her sing Verdi. I was stupefied by her voice, so unbelievably beautiful, clear and stirring, natural, forceful yet never forced - I cried because of so much purity and sincerity, so much giving! Thank you, thank you so much.
Nessie Ness...I loved reading your comment! I grew up listening to Eileen Farrell on records (I'm 66 years old), and have always loved her voice. So it was really awesome to hear how her voice affected you the first time you heard her! She has many times brought tears to my eyes as well, just from the sheer size, beauty and opulence of her voice!
Well put!
Me ha gustado muchísimo la voz y la interpretación. Brava.
What I love is the expressive care she lavishes on the vocal line. You can really believe Gioconda is a distraught woman , but one who is deeply in love also. She sings and phrases from inside the words and music. Wonderful Eileen Farrell.
una lettura divina...e molto spirituale di un Dolore detto con grande dominio del Dire drammatico ...evitando il verismo da ring....il finale vale una poesia...che bel regalo ...grazie...j'adore....che Duo.....!!!!e che orchestra...
Top notch performance by this great soprano. Another great post, thanks
Heaven and Earth. Profound in its complete perfection. Top to bottom, her voice was balanced and utterly thrilling. Then you've got Lenny on the podium with the Philharmonic???? Fuhgettaboutit!
Dana Fripp I just love your comment. Exactly what I was thinking! Fuhgettaboutit!
Amen
Dana Fripp..you hit the nail right on the head! Besides being such a magnificently huge and beautiful voice, the real phenomenon is how extremely well balanced the sound is throughout her range! That is so rare, especially for a voice of this size.
Awesome voice in phenomenal performance. One of my favorite, like Mrs. Sylvia Gesty's and Mrs. Cristina Deutekom's performance.
I must say this was SPACTACULARLY AMAZING! A beautiful rendition in tone and interpretation. Vulnerable and dramatic at the same time....
Wow! This is fantastic! I have never seen it. Video recordings of the great Farrell are too rare. Thank you for sharing this with us!
This is truly magnificent.
Imagine such a.thing being on t.v. today!
One of the greatest of all times. Her her with the NY Philharmonic sing the Liberstod in Central Park. Magnificent.
her suicidio!!is great!!is her
own interpreration of this
famous area!!but in her voice
it became her own,nobody
esle,but her own,in that pure
natural dramatic soprano
voice!!glorious!!amazing!!
She's the best i've heard in this aria! Many thanks
Try Ghena Dimitrova. Both were fantastic!
Up till now, my favorite Suicidio was Callas. But this is amazing!! (I still wish she had used more in her chest voice like Callas did. Not to imitate Callas, but just seems to suit the drama better.)
@@artdanks Agreed.
Strength and beauty throughout the range - so lovely.
Greatness by all sides: Farrell, Bernstein and an excellent orchestra!
Brava! A voice pouring out of vocal folds that God Herself has blessed! Superb!
Wonderful voice from
top to bottom and very expressive. Brava!
Thanks so much for this treasure, kadoguy! She was in her prime here!
Incredible singing.
A marvellous performance - emotional verity allied to a wonderful musical line and vocal control.
BERNSTEIN??? What an amazing duo!
Beautiful! Thank you for posting!
Che brava! Questa è davvero l' interpretazione più espressiva che abbia ascoltato finora di quest'aria. Perfetta e incisiva anche la mimica. Altre voci saranno più belle, più vibranti, ma questa è veramente la più aderente alla vera emozione del personaggio, la più intelligente, la più toccante.
Se mi permetti, lá você della Farrel há una timbrinca magnifica, molto piu Bella di callas, caballe, tebaldi, etc...I vibrati di queste ultime non sono stile, sono la naturale conseguenza del fatto Che non erano soprani drammatici e le corde sugli acuti vibrano da sole... Se ti ascolti la Farrel cantare ruoli piu leggeri o música da camera sentirai ancor meglio lá bellezza del suo timbro. Lo stesso dico per Anita Cerquetti di cui ti consiglio Questa stessa ária... E Che, su pezzi piu lirici, riusciva a essere igualmente credibile. Purtroppo il percorso dei soprani lirici spinti é sempre lo stesso. Le loro corde sono piu sottili. Per riuscire a accedere a ruoli drammatici il loro percorso técnico porta a delle modifiche fisiologiche Che non permettono loro di tornare in dietro... E Che "fottono" (scusa la parola) lá loro você naturalmente lírica nel giro di 5/10 anni. Cosa Che non succede a chi, per sua fortuna, nasce con una você dal volume naturale evidente. Farrel poi ricopriva con una stessa agilita e omogeneita ruoli di mezzo e di soprano. É l única, Che io sappia, a poter cantare con credibilita l ária di Dalila daí bassi all acuto finale, anche se purtroppo lo há fatto solo per doppiare una attrice in un film in una versione ridotta dell ária
@@carlabruscolini9877 Sono d’accordo. La grandezza di quest’artista a mio parere però non dipende solo dalla categoria di appartenenza (altri soprani autenticamente drammatici non la eguagliano in alcun modo) ma è frutto anche di capacità di fraseggiatrice e di interprete e di altre qualità più impalpabili, che messe insieme compongono un unicum straordinario. Cerquetti effettivamente ha voce diversa, più brillante e tersa, più lirica, ma è anche eccellente in questo ruolo (tra l’altro è una delle mie cantanti preferite).. Come mimica non so, non l’ho mai vista, solo ascoltata... La Farrell anche in questo senso mi ha colpita notevolmente.
Signora Carla, ho sempre pensato la stessa cosa ma non sapevo che ciò dipendesse dal volume delle corde vocali. La ringrazio per la sua esauriente spiegazione. Averne di commenti come il suo!@@carlabruscolini9877
This was actually the first collaboration of Farrell and Bernstein.
Great dramatic voice!!! Brava maestra 😃
Guauuu..., excelente línea de canto, magnífica respiración y dramatismo.
They had voices then!!!!!!
My my my…she is great…and what a musician was Lenny….
Behold ‘old-school ‘ correct vocal production. Sadly missing for the most part now.
Not to speak about the handsome orchestradirector. WOW!
Yeah, Bernstein was pretty good looking.
Super" Outstanding"
Chapeau...
Linda! Maravilhosa!
Quelle Voix ! ..
A truly great performance, although it probably would have been more effective with more chest voice for the lowest tones. Flagstad also didn't use chest voice much and there is the long time debate about chest voice: Is it good to use it, or not? Still, Farrell was an amazing soprano and nobody can come within miles of what she did!
As a side note, I used to watch Rarrell, Mariln Horne and Carol Burnett in an excerpt called "The Three Little Pigs" from Carol Burnett's variety show but somebody has taken in down...(CBS, most likely...)
Development of chest voice is essential for vocal health, but it also needs to be coordinated with the rest of the voice so that the voice doesn’t sound disjointed. Farrell’s was certainly developed (as was Flagstad’s). It’s just she didn’t ‘press down’ on it like Callas and late Tebaldi in the context of this aria. But Farrell’s voice was also better coordinated than Callas’s and late Tebaldi’s.
If you want to hear Farrell sing in her chest voice with gusto, check out her jazz recordings!
@@ER1CwC Thank you for that insightful, intelligent response!!!
Wow!
There are a whole lot of arias in the realm of opera where she is my first listening choice.
Great.
Gorgeous!!🤩🤩🤩🤩🤩🤩🤩🤩
I love her, wow
perfect THAT VOICE
Wow.
Brava Brava Brava 👏🏻👏🏻👏🏻👏🏻👏🏻♥️
Omg incredible
Una cantanta poliedrica accompagnata da un direttore poliedrico...stratosferici.
for another version, listen to Giannina Arangi-Lombardi!
Ah,great!!!!!!!
That gown! OMG! Did the designer clear out the bows at the after Christmas sale at Woolworth's?
well, gioconda's plot is quite a mess and it's a hard opera to stage well... specially the scene when she goes to stab laura, sees the rosary, and immediately switches 180 degrees to trying to save laura... it's more convoluted than trovatore...
Here's a link to another Milanese Nightingale: ruclips.net/video/tBLaXfb7KcI/видео.html
@@kadoguy she's an impostor!
I love the legato!!! But I wish she wouldn’t shy away from chest so much
She knew what was good for her.
@@paragod333 You’d never guess as much from the scary raucous belting chest voice of her pop records.
Farrell was a great voice but also a good actress and intense performer . She deserved a lot more than what she got at The Met! Milanov had nothing on her in this role !
Female opera singers of today are very good but they’re not like this lady what are technique
Great--but how I wish she would have used chest voice on those low notes--now that would have been thrilling!
Mary Valletta Keith ,it was very clever for her not to do so.She was thinking of her vocal future.If you constantly hammer in your chestvoice,the vocal passagios get bigger and bigger,and your vibrato in the upper voice larger and larger.Maintaining your hight is key to the future of a career.Callas never put on the breaks and was washed up at age 45.But the money was already in the bank i guess😂😂😂
You have no taste. She uses enough chest!
emmy starlight is correct. p[lus you end up with no middle voice.
@@emmystarlight the use of chest is inly opening up the throat and using less falsetto headache sound down there. It does not ruin the voice. Callas had a vocal decline because she trained her entire sound on one body then literally lost half her body and she was not able to maintain the roundness and support she once had. This diminished year after year and until she hit the change of life and the voice was that of a mezzo practically. There was a marked difference in her support after she lost all that flesh.
Pushing chest voice was not in her repertoire. She was not showy or unmusical.
What a ringing and easy B-flat! This is some great singing, although I was a bit disappointed in her low register, I can tell hers is under-develop.
chosentenore B Natural
Bnatural.
First of all, it's a B natural...very different.
It is obvious that it is a choice for her not to pound the chest to register as so many Sopranos do. I like a nice big chest voice but hers is obviously they're like the eye of a hurricane behind the immense storm. It is obviously an artistic choice
Really?her middle and low register
Is glorious!!a truly dramatic soprano from top to bottom!!
+chosentenore Saying that from this example that Eileen Farell had an under developed chest register, is a bit like saying that Giacomo Lauri Volpi had an under developed head register & possessed no squillo! She had an extremely sonorous, almost baritonal strength to her lower voice. No voice with under developed registers, especially the lower register, will ever unlock & gain full access to its dramatic potential. Which is why most dramatic tenors tend to be light baritones with an extensive upper register, & dramatic sopranos tend to be mezzos with an extensive top.
Eugenia Burzio is better
LOL
@@paragod333 ascoltati la Burzio prima di scivere cagate
Why is she singing that soft? Low notes are far from being as strong as they should. Not my cup of tea.
Phenomenal Singer!!!!