I don’t understand why people in the Opera world are SO quick to be negative. Eva Marton was an incredible Turandot. I’ve listened to recordings, seen the videos. People, there can be many singers who are good, even great in a particular role in as many different ways as there are people. In my opinion, Eva Marton was a great Turandot.
That night in the Frau that she mentions was one of catisclismsic success for Marton. People were astounded by her singing dumbfounded that they had never heard of her . The cathartic and seismic reception for her at curtain was unbelivable . You could see her bow saying OH MY God!!! Indeed!
I saw one of the Frau ohne Schatten performances at the Met with Nilsson and Marton. They were both great, and it’s true, Eva nearly walked away with the show because she was great. But Turandot? I thought her voice was all wrong. She sang everything in the mask, including high-Cs, never switched to head voice. Her voice was ruined in a short time. She could only sing loud.
Well I think Eva Martin has Turandot voice. But I agree that she didn’t handle the dramatic lines very well. Gwyneth Jones is a much better Turandot. Marton’s voice deteriorated quickly in her later career. I love her rendition of Vissi D’arte when she’s younger (sung in Hungarian). She sounds beautiful and nothing like how she sounded like in the 1990s.
@@ey8767 My wife and I saw Jones as Turandot, and we met her backstage afterward. Yes, she was a great Turandot, albeit with her usual intonation problems. At any rate, a lovely, rather petite, soft-spoken woman opened her dressing room door. She was delightful, and we spoke about her recent Elektra performances. When we left, my baffled wife asked, “Was that the same woman who just obliterated the chorus and orchestra?!”
She tells the same story about Nilsson passing on the role of Brünnhilde to her in a performance where she was Sieglinde. Seems unlikely to me that both accounts are factual. Rasponi’s book of interviews is filled with self-aggrandizing stories like this. Divas have a creative approach to reality.
Basically, by celebrating Nilsson’s generosity, she’s paying herself the greatest compliment of all: that she was legitimately Nilsson’s successor… I am not familiar with Marton’s Turandot, but I do know her Brünnhilde and I am not shaken by her performance. Light years from Nilsson.
Never heard such a story about Brunhilde/Siegliende. Particularly because Nilsson and Marton never sang Wagner together. Fake opera facts. Why, my dear?
@@davidcosta4241 Opera is larger than life - in every sense. (Correction- used to be.) Today’s singers are too unaccomplished to attempt adding fiction to their non-existent ‘grandezza’.
@@davidcosta4241 They never sang Wagner together but they did sing "DIE FRAU OHNE SCHATTEN" and this is the second time I hear about Nilsson's suggesting that Marton should sing TURANDOT. The Wagner anecdote is untrue but not the Strauss one
As I said, opera is full of famous singer tales of dubious veracity. One can only remark on what one has read. Glad for the encyclopedic minds of others.
Well, Nilsson was terribly inaccurate 😅. Marton had a collapsed nasal voice. Her lower register was way too throaty, her middle collapsed, nasal, thick and woofy. Her upper register was as thick, squeezed, apart from from these aspects, her inexistent legato and huge wobble was always too obvious 😮
@@Xelth4 Well, Callas was trained in the old belcanto technique, she had a wonderful technique, unfortunately her voice deteriorated by health issues, and sudden weight loss.
@@AllenFigueredo5 Weight loss myth is just that a myth. She was far slender and smaller in her Greek student days and the voice, by all accounts, was still aplomb. Her voice deteriorated due to health issues that would continue to eat away at her diaphragmatic support, which is the crux of true bel canto singing.
Wonderful story. 2 gloriously gifted sopranos.
I don’t understand why people in the Opera world are SO quick to be negative. Eva Marton was an incredible Turandot. I’ve listened to recordings, seen the videos. People, there can be many singers who are good, even great in a particular role in as many different ways as there are people. In my opinion, Eva Marton was a great Turandot.
marton was a terrible turandot. Nilsson, Eva Turner, Ghena Dimitrova were great turandots
That night in the Frau that she mentions was one of catisclismsic success for Marton. People were astounded by her singing dumbfounded that they had never heard of her . The cathartic and seismic reception for her at curtain was unbelivable . You could see her bow saying OH MY God!!!
Indeed!
QUE DIVINA MARTON!! ESO HACEN LAS GRANDES ARTISTAS, PASAR SU ARTE A FUTURAS GENERACIONES. LOVE HER. TRULY INSPIRATIONAL.
💕🙏🏽 Amazing 😍
❤❤❤❤❤❤❤❤
beautiful lipgloss! Which brand and shade is it?
I saw one of the Frau ohne Schatten performances at the Met with Nilsson and Marton. They were both great, and it’s true, Eva nearly walked away with the show because she was great. But Turandot? I thought her voice was all wrong. She sang everything in the mask, including high-Cs, never switched to head voice. Her voice was ruined in a short time. She could only sing loud.
Well I think Eva Martin has Turandot voice. But I agree that she didn’t handle the dramatic lines very well. Gwyneth Jones is a much better Turandot. Marton’s voice deteriorated quickly in her later career. I love her rendition of Vissi D’arte when she’s younger (sung in Hungarian). She sounds beautiful and nothing like how she sounded like in the 1990s.
@@ey8767 My wife and I saw Jones as Turandot, and we met her backstage afterward. Yes, she was a great Turandot, albeit with her usual intonation problems. At any rate, a lovely, rather petite, soft-spoken woman opened her dressing room door. She was delightful, and we spoke about her recent Elektra performances. When we left, my baffled wife asked, “Was that the same woman who just obliterated the chorus and orchestra?!”
Marton was a terrible Turandot. What the hell is she talking about?
Ma e' matto???
Bullshit.
She tells the same story about Nilsson passing on the role of Brünnhilde to her in a performance where she was Sieglinde. Seems unlikely to me that both accounts are factual. Rasponi’s book of interviews is filled with self-aggrandizing stories like this. Divas have a creative approach to reality.
Basically, by celebrating Nilsson’s generosity, she’s paying herself the greatest compliment of all: that she was legitimately Nilsson’s successor…
I am not familiar with Marton’s Turandot, but I do know her Brünnhilde and I am not shaken by her performance. Light years from Nilsson.
Never heard such a story about Brunhilde/Siegliende. Particularly because Nilsson and Marton never sang Wagner together. Fake opera facts. Why, my dear?
@@davidcosta4241 Opera is larger than life - in every sense. (Correction- used to be.) Today’s singers are too unaccomplished to attempt adding fiction to their non-existent ‘grandezza’.
@@davidcosta4241 They never sang Wagner together but they did sing "DIE FRAU OHNE SCHATTEN" and this is the second time I hear about Nilsson's suggesting that Marton should sing TURANDOT.
The Wagner anecdote is untrue but not the Strauss one
As I said, opera is full of famous singer tales of dubious veracity. One can only remark on what one has read. Glad for the encyclopedic minds of others.
Well, Nilsson was terribly inaccurate 😅. Marton had a collapsed nasal voice. Her lower register was way too throaty, her middle collapsed, nasal, thick and woofy. Her upper register was as thick, squeezed, apart from from these aspects, her inexistent legato and huge wobble was always too obvious 😮
what about maria callas' vocal technique?
@@Xelth4 Well, Callas was trained in the old belcanto technique, she had a wonderful technique, unfortunately her voice deteriorated by health issues, and sudden weight loss.
@@AllenFigueredo5 Weight loss myth is just that a myth. She was far slender and smaller in her Greek student days and the voice, by all accounts, was still aplomb. Her voice deteriorated due to health issues that would continue to eat away at her diaphragmatic support, which is the crux of true bel canto singing.
@@AllenFigueredo5 I think it sounded in some high notes like she was driving on the rims, don't think it was solid technique through-and-through.
@@AllenFigueredo5 who had better vocal technique than prime callas?
Sorry Eva, but you are so full of it!!!!