I don't LOVE this as much as her TRAVIATA, which was phenomenal and didn't, smartly, copy any Callas nuances. NOBODY ever talks about her Violetta. HERE, it's the conducting that brings a romantically paced motherly Queen to her Aria. I like it, there are a few off key, I heard 2, notes, NOT Renata Tebaldi off key, but are there. In the demanding world of LIVE performance, THIS rendition is standing ovation quality. It's beautiful feminine glamour. If you want to hear BEVERLY perfection, go to ROBERTO DEVERAUX. I saw her in I think...1970 at CITY OPERA of New York. The ovations were endless, and EARNED!!! GREAT POST LOHENGRIN!!!
@@LohengrinO HAHAHA!!! Yes, it's a blessing in disguise!!! It happened to me at Renata Scotto performances at the Metropolitan, I can recall a Francesca de Rimini, when others heard fire trucks speeding down Broadway, I heard a radiant and perfect Callaesque Scotto.
@@MrQbenDanny ahahahahahah Ignorance is Bliss, but truly her "off keys" here, that Stefano also mentions, go far beyond my pitch sense, I hear it flawless here... her costume in the photo though omg, Im gonna wear it tomorrow at work!
@@LohengrinO HAHAHA LOL!!! YES!!! PERFECT for "Social Distancing", particularly at the super market in the express line. I wonder where it is, it's really OUTRAGEOUS, beautiful. Not that crap they wrapped Diana Damrau (I think), in, that she looked like a Mexican burrito.
The tempo of the first aria was too frantic, despite the speed she articulated each note with precision! I was a chorister at Opera co of Boston (Sarah Caldwell era) She sang Faust, Traviata and Lucia while I was there - after Marguerita’s aria she came off stage and said “I’m going to remodel my kitchen with this performance”! She had a sense of humor and was very accessible! Love her!
And between those two exquisite and effortlessly tossed-off arias she wrote and addressed her holiday cards. That's our practical, professional Beverly!
Magnificent. Every time I watch a video of this glorious lady singing, just one thought comes to my mind: the joy of singing. That expression in her face enjoying so much what she was doing. Unforgettable.
Sills was the consummate professional as well as the complete master of her voice and repertoire and an actor of great skill. In addition to astounding audiences, she also brought people to opera who would have told you that the 'hated' opera. She brought the characters she played alive and made them real. A story she told about this role was about the last time she sang it. She had told her agent to demand an outrageous price thinking that the company wouldn't take her up on it. They did. She sang it and shortly thereafter dropped the role. Her 'fastest voice in the west' brought a clarity to the music that was and still is rare.
Amazing! I never heard her sing this role onstage, but I saw every role from the Three Queens forward. I loathed opera until I saw Sills on Johnny Carson; then it clicked!
She famously said she hated the role. And also fun fact: this wasn't easy for her. In all the performances she did she said she probably hit all the high F's in just one or two performances.
she had also said Norma is nothing compared to the Queen of the Night, thank God Zinka Milanov replied to her: Norma is easy the way YOU sing it dear :D
I heard her in an interview where she mentions that she was happy with only a few of the extreme high notes of her Queen of the Night performances out of the many that she sang. I don't know if this recording posted here is among those that she was satisfied with, but by my judgment I think she was spot on, every note.
@@handelviola That's an excellent point.... ... I was once told that our voices are not for us to listen to, but for the people who are listening to us.
She might have a little problem with pitch, but I don't think this matters really. Live arias capture every nuance, which listened to over and over again (who doesn't listen to Beverley more than once) shines a torch on problems for some people. For me what matters is her incisive tone that equals the orchestra volume and her equality across a massive range. Love her!!
It's not a big voice but the mystery of her singing is you can hear her very clearly over an orchestra. It's so even across her range and perfectly placed; and such perplexing agility you can't figure out how she got from one note to the other so quickly.
I sang onstage with her (in the chorus) more than any other singer of her generation when I was young- with the exception of Sutherland. Beverly's was not a 'small' voice- but it was not a tuba, I'll grant you that. It just isn't fair to say her voice was not 'big.' You never DIDN'T hear her, that's for sure.
@@moirbasso7051 You just can't win on the internet. Even when you think you're paying a compliment, someone it seems will think you're putting someone down. Oh well... time to meditate.
Ce qui est incroyable et unique chez Berverly Sills,c'est cette lumière solaire qui irradie son chant. Je n'ai jamais entendu l'allegro du premier air de la Reine de la Nuit chanté avec une telle fougue et une telle ardeur, même si c'est chanté en anglais ... c'était l'usage au NY city opéra, et bien peu importe, c'est unique !
That costume- In my opinion she had one of the best costumes for the role as Queen of the Night. For this category she would be at the top with Cristina Deutekom. Her 1971 Die Zauberflöte dress/ costume very well represented the role. Jeanette Scovotti wore the same dress as Deutekom aswell
She also said that the two arias had become all about the high Fs. All the audience remembered is whether you hit all 5 of them or not. "Beverly [was] also quick to sense which roles are unsuitable for her. Of the Queen of the Night in Mozart’s The Magic Flute, she says: “I threw out that broad very quickly. I realized she wasn’t for me when I found I could address 250 Christmas cards in my dressing room between her first act aria and her second act aria.”
I heard her sing "Semele" on the radio some years ago (a performance from the early 1970s. She was a revelation. I get why she is so celebrated. I've also enjoyed her performances in "Giulio Cesar" and "Tales of Hoffman" and "The golden cockerel." I recently gave away most of my opera CDs, but I kept all of the Sills performances. There are some things you don't part with for anything
Heard her many times in NY, and while a great voice, there was something about her on-stage enthusiasm and personality that carried through everything. Not for nothing was her nickname "Bubbles."
... E. Beverly Sill dotata di una grande voce e di un forte virtuosismo!! Ti ringrazio caro Lohengrin0 di aver posto questo stupendo brano!! 👏👏👏👋👋👋Elsa
@@mvaurelio ahahhahaha well... Im famous for my cuts... my Great Operatic Mother, Maria Callas, considered the ENTIRE Gioconda Opera boring besides Suicidio... I think very much alike... often I choose to go DIRECTLY to the Juice of the aria... if you love Beverly listen to this: ruclips.net/video/5BXist62Qp0/видео.html one of my best Posts of Beverly
My favorite 'Queen' is Christina Deutekom... Could a kind word be said for her some time?.. Christina started out here career with the 'Queen'- What a way to start out a career. (Also sang the same repertoire as Callas.)
the Queen of Gargles!!! horrifying singer... if Bartoli was bad when she started the huhahuhahuahua out of inability to support her vocal line, Deutekom was gargly from the start... I have made one post of Deutekom because of the rarity of the specific masterpiece being interpreted by any other Diva... after that she belongs to the category of singers whose singing technique I consider so disasterous that it is offending to the serious listener, I will never post... (along with Gencer, Zeani etc) Her F6s in her Der holler are indeed spectacular but a spectacular F6 cannot make a singer great (thats why there are so many spectacular Queens of the Night who were mediocrities as singers in general)
Pardon my ignorance, I had never listened to Ms Deutekom's Queen. Wow. Thank you-your comment let me enjoy an amazing performance. The video I watched on RUclips was in German-with the music and lyrics rolling underneath. It was cool to see the notes as you heard them and my husband was excited since he had never read the full lyrics in German so we ended up playing it more than once. Cheers, friend, you started us off on a nice quiet Friday at home playing good music and, probably, watching stupid funny animal videos.
Beautifully sung! Wonderful agility plus a pulpy, rich tone- which is quite rare for a Queen. I think that’s the performance where she said she got all the F’s right. By the way, what do you think of Hallstein’s Queen of the Night?
@@LohengrinO Indeed, it’s like breathing to her. I like the radiant quality she gives to the role. Also, do you happen to have her rendition of Mia Speranza Adorata, by any chance? I’m dying to her delivery of it, but can’t find it anywhere...
In an interview she said how she hated being casted for this role because of how little she was on stage and also she said once in a TV performance or a representation that was casted by TV the director requested her please to hit the Fs X'D
I'm as big a fan of Beverly Sills as anyone here and although I do love her coloratura which was always perfect in my book this role of the Queen of the Night doesn't suit her as a person! She played romantic bel canto heroines (Lucia, Anna Bolena, Violetta) which always did suit her. In real life as on stage she was mostly a lovely kind lady. The Queen in the Magic Flute is a power hungry evil ruthless creature. The more in-character sopranos singing this are Edda Moser and Rita Shane. But this is very rare and hard to find as Sills did not like this character herself and only sang it a few times. I love the photo here showing Sills in such a magnificent costume one of the great things about singing/playing the Queen is the great costumes!!!
@@LohengrinO very true, and apparently Mozart's sister-in-law, Josepha Hofer (the first Queen of the Night), was a caricature of a singer. She had the high notes (just like her more famous sister, Aloyse Lange), but nothing else.
Phenomenal agility and lovely timbre. Not quite fond of the Fs, though: the first one (O Zittre Nicht) is flat, the others are better in terms of pitch but not exactly effortless.
Wonderful, worthy of admiration certainly. I think her voice is too sweet for this though, to be entirely honest. I don't get AS MUCH dramatic fire as I might prefer. Have you heard rita shane's rendition of this? If so thoughts?
highest note Julia has sung is an Eb6... her voice is very well supported in the contralto register, if she also has an F6... Marina though has sung it very well: ruclips.net/video/sBgZwOCx4LU/видео.html
@@LohengrinO I agree on all points. I just wonder if the challenge of those arias will be too much for Julia to ignore. Maybe using them for encores or one of her many Russian recitals. I get a large charge out of her performance of Laudate Dominum - it's from a Christmas or New Years recital/concert in Moscow. It's fairly obvious that everyone, including Julia and the conductor, had been taking advantage of the celebratory beverages!🍾 Nontheless, it was a delightful performance!✨ Following your lead, I delved into Oropesa: *WOW!!* What a gem! I rate her crystal opal, for the many clear colours of her voice🌈 It's amazing that an artist of her caliber actually takes the time to communicate with her audience. Those of us in the theatre world would call her a trouper, because she knows who pays her bills! Thanks for the introduction! Stay safe and healthy, my friend, and pray for the USA🌹 Blessings . . .🌊✨👁️💙👁️✨🐬
@@oliviero.m750 Dark voice, dramatic rendition, a few trills. About the rest... I don't know. But today have we such voices, to sing these operatic arias? Or these voices are a far remembering? 🙄👋
Beverly Sills's hatred of the role of the Queen of the Night has been well-documented. Not that I can blame her for hating the role, considering the fact that it's one of the most difficult roles ever written for soprano.
Elle chante bien la Reine de la Nuit ,et fait toutes les notes avec facilité . Cependant ,je la préfère totalement dans Haendel où elle est souveraine et inégalable .Elle n'a pas sa place dans le répertoire Mozartien qui est l'apanage de chanteuses d'esprit Germanique .Haendel et Mozart sont des musiques très différentes dans le répertoire d'opéra .Souvent les germaniques chantent très mal Haendel car elles en saisissent très mal l'esprit et le confondent avec Bach .
¿En inglés? ¿En serio? Mozart se tiene que estar revolviendo en su tumba cada vez que oye sus óperas traducidas a idiomas en que nunca se pretendió que fueran cantadas. Este despropósito lingüístico supera al Don Giovanni en alemán que representaban en Berlín en los años 60, que tenían la fea costumbre en la Deutsche Oper de hacer casi todo en alemán al margen del idioma original.
.....egregi Melomani....la smettete di fare confronti....in teatro Non le mancava niente...il costume poi le dava un qualcosa di ultraterreno..è una regina non un mitra ....sempre all'altezza della situazione..la Sills fa la sua Regina della Notte..e le regala in leggerezza tutto quello che Sa del belcanto italiano...che per Mozart è necessario per non diventare delle"trombette"...la scelta stilistica poi dipende da molte cose ...Costume, direttore, acustica del Teatro spesso ...sorda; e a volte scelte di regia?; da uccidere molti Pitonesse ?..con la mania di massacrare il filo logico che il melodramma deve mantenere per non andare nella caricatura...ecc ecc
I don't LOVE this as much as her TRAVIATA, which was phenomenal and didn't, smartly, copy any Callas nuances. NOBODY ever talks about her Violetta.
HERE, it's the conducting that brings a romantically paced motherly Queen to her Aria. I like it, there are a few off key, I heard 2, notes, NOT Renata Tebaldi off key, but are there. In the demanding world of LIVE performance, THIS rendition is standing ovation quality. It's beautiful feminine glamour. If you want to hear BEVERLY perfection, go to ROBERTO DEVERAUX. I saw her in I think...1970 at CITY OPERA of New York. The ovations were endless, and EARNED!!!
GREAT POST LOHENGRIN!!!
thank God I cannot hear the off key notes... ahahaha the less you understand, the better
@@LohengrinO HAHAHA!!! Yes, it's a blessing in disguise!!! It happened to me at Renata Scotto performances at the Metropolitan, I can recall a Francesca de Rimini, when others heard fire trucks speeding down Broadway, I heard a radiant and perfect Callaesque Scotto.
@@MrQbenDanny ahahahahahah Ignorance is Bliss, but truly her "off keys" here, that Stefano also mentions, go far beyond my pitch sense, I hear it flawless here... her costume in the photo though omg, Im gonna wear it tomorrow at work!
@@LohengrinO HAHAHA LOL!!! YES!!! PERFECT for "Social Distancing", particularly at the super market in the express line. I wonder where it is, it's really OUTRAGEOUS, beautiful. Not that crap they wrapped Diana Damrau (I think), in, that she looked like a Mexican burrito.
Agreed on the Traviata. And the Devereux. Also I think I heard those two off notes. But I love her anyway.
The tempo of the first aria was too frantic, despite the speed she articulated each note with precision! I was a chorister at Opera co of Boston (Sarah Caldwell era) She sang Faust, Traviata and Lucia while I was there - after Marguerita’s aria she came off stage and said “I’m going to remodel my kitchen with this performance”! She had a sense of humor and was very accessible! Love her!
Beverly took this role frankly for the cash -- she could ask for an outrageous sum and it really helped her family out.
But don't we all work for cash? Mostly to help out our families.
And between those two exquisite and effortlessly tossed-off arias she wrote and addressed her holiday cards. That's our practical, professional Beverly!
You just cannot get past how brilliant she was!!!!!!!!!!!!!!!
Magnificent. Every time I watch a video of this glorious lady singing, just one thought comes to my mind: the joy of singing. That expression in her face enjoying so much what she was doing. Unforgettable.
The ease and fluidity is astounding as the notes are just tossed off with such great abandon. The staccati are amazing.
Sills was the consummate professional as well as the complete master of her voice and repertoire and an actor of great skill. In addition to astounding audiences, she also brought people to opera who would have told you that the 'hated' opera. She brought the characters she played alive and made them real. A story she told about this role was about the last time she sang it. She had told her agent to demand an outrageous price thinking that the company wouldn't take her up on it. They did. She sang it and shortly thereafter dropped the role. Her 'fastest voice in the west' brought a clarity to the music that was and still is rare.
I never heard her before, but just read her book. And she sounds incredible!
Imagine singing like an angel while sweltering under a 40-pound headdress and costume, with gobs of makeup and lights.
Amazing! I never heard her sing this role onstage, but I saw every role from the Three Queens forward. I loathed opera until I saw Sills on Johnny Carson; then it clicked!
She never really liked to sing this role.
She accepted to sing it because she had enough time to write her mail between the two arias!
Witty woman!
***holiday cards
Is magnificent, I believe her voice is perfect and almost noone can keep the tune so perfectly...
She famously said she hated the role. And also fun fact: this wasn't easy for her. In all the performances she did she said she probably hit all the high F's in just one or two performances.
she had also said Norma is nothing compared to the Queen of the Night, thank God Zinka Milanov replied to her: Norma is easy the way YOU sing it dear :D
I heard her in an interview where she mentions that she was happy with only a few of the extreme high notes of her Queen of the Night performances out of the many that she sang. I don't know if this recording posted here is among those that she was satisfied with, but by my judgment I think she was spot on, every note.
mine as well
What she hears in her head while singing is completely different than what people hears.
@@handelviola That's an excellent point....
... I was once told that our voices are not for us to listen to, but for the people who are listening to us.
She might have a little problem with pitch, but I don't think this matters really. Live arias capture every nuance, which listened to over and over again (who doesn't listen to Beverley more than once) shines a torch on problems for some people. For me what matters is her incisive tone that equals the orchestra volume and her equality across a massive range. Love her!!
I think very few people can truly spot pitch problems here... imperceptible
Utterly amazing !!! Magnificent !!!!
It's not a big voice but the mystery of her singing is you can hear her very clearly over an orchestra. It's so even across her range and perfectly placed; and such perplexing agility you can't figure out how she got from one note to the other so quickly.
With a good technique one doesnt need to bellow like a foghorn to be heard. Bev was the real deal through and through!
@@manolis.799 Bubbles WORD UP!!! And thanks for the memories Rudolf Bing MISERABLE SUCKER FISH 😬. Per usual Arnold
I sang onstage with her (in the chorus) more than any other singer of her generation when I was young- with the exception of Sutherland. Beverly's was not a 'small' voice- but it was not a tuba, I'll grant you that. It just isn't fair to say her voice was not 'big.' You never DIDN'T hear her, that's for sure.
Moirbasso youre very lucky sir
@@moirbasso7051 You just can't win on the internet. Even when you think you're paying a compliment, someone it seems will think you're putting someone down. Oh well... time to meditate.
Ce qui est incroyable et unique chez Berverly Sills,c'est cette lumière solaire qui irradie son chant. Je n'ai jamais entendu l'allegro du premier air de la Reine de la Nuit chanté avec une telle fougue et une telle ardeur, même si c'est chanté en anglais ... c'était l'usage au NY city opéra, et bien peu importe, c'est unique !
The Queen of Opera.
That costume-
In my opinion she had one of the best costumes for the role as Queen of the Night.
For this category she would be at the top with Cristina Deutekom.
Her 1971 Die Zauberflöte dress/ costume very well represented the role.
Jeanette Scovotti wore the same dress as Deutekom aswell
She said once when she discovered she could write fifty Christmas cards between the two areas that role wasn’t for her.
ahahahahahhahahahahahahahahha
yep lollll
She also said that the two arias had become all about the high Fs. All the audience remembered is whether you hit all 5 of them or not.
"Beverly [was] also quick to sense which roles are unsuitable for her. Of the Queen of the Night in Mozart’s The Magic Flute, she says: “I threw out that broad very quickly. I realized she wasn’t for me when I found I could address 250 Christmas cards in my dressing room between her first act aria and her second act aria.”
Flawless, effortless, brilliant!
I heard her sing "Semele" on the radio some years ago (a performance from the early 1970s. She was a revelation. I get why she is so celebrated. I've also enjoyed her performances in "Giulio Cesar" and "Tales of Hoffman" and "The golden cockerel." I recently gave away most of my opera CDs, but I kept all of the Sills performances. There are some things you don't part with for anything
Heard her many times in NY, and while a great voice, there was something about her on-stage enthusiasm and personality that carried through everything. Not for nothing was her nickname "Bubbles."
YES !!!!!!!
... E. Beverly Sill dotata di una grande voce e di un forte virtuosismo!! Ti ringrazio caro Lohengrin0 di aver posto questo stupendo brano!! 👏👏👏👋👋👋Elsa
See ruclips.net/video/qbo0lmjy-3c/видео.html
Bravo Beverly😘😘😘😘
First time earing this piece in English, and the people applauding in the middle of it.... raaahhhh !!!
Anyway, nice interpretation 😸
Thanks
not in the middle... the first part is the end of her first aria... (Im kinda bored of all that blabla till the coloratura strikes in the first aria)
@@mvaurelio ahahhahaha well... Im famous for my cuts... my Great Operatic Mother, Maria Callas, considered the ENTIRE Gioconda Opera boring besides Suicidio... I think very much alike... often I choose to go DIRECTLY to the Juice of the aria... if you love Beverly listen to this: ruclips.net/video/5BXist62Qp0/видео.html one of my best Posts of Beverly
Voice of Heaven 💛
As sweet and rounded as a baritone, only three octaves higher. Superb singer.
Superb and, sadly, underrated
This birds good too ruclips.net/video/qbo0lmjy-3c/видео.html
Bellisimo instrumento, gran virtuosa
Is this the performance, in her own Words, in which she sang her perfect queen of the night? She said she never nailed all the high fs
My favorite 'Queen' is Christina Deutekom...
Could a kind word be said for her some time?..
Christina started out here career with the 'Queen'-
What a way to start out a career.
(Also sang the same repertoire as Callas.)
the Queen of Gargles!!! horrifying singer... if Bartoli was bad when she started the huhahuhahuahua out of inability to support her vocal line, Deutekom was gargly from the start... I have made one post of Deutekom because of the rarity of the specific masterpiece being interpreted by any other Diva... after that she belongs to the category of singers whose singing technique I consider so disasterous that it is offending to the serious listener, I will never post... (along with Gencer, Zeani etc) Her F6s in her Der holler are indeed spectacular but a spectacular F6 cannot make a singer great (thats why there are so many spectacular Queens of the Night who were mediocrities as singers in general)
Pardon my ignorance, I had never listened to Ms Deutekom's Queen. Wow. Thank you-your comment let me enjoy an amazing performance. The video I watched on RUclips was in German-with the music and lyrics rolling underneath. It was cool to see the notes as you heard them and my husband was excited since he had never read the full lyrics in German so we ended up playing it more than once. Cheers, friend, you started us off on a nice quiet Friday at home playing good music and, probably, watching stupid funny animal videos.
Beautifully sung! Wonderful agility plus a pulpy, rich tone- which is quite rare for a Queen. I think that’s the performance where she said she got all the F’s right. By the way, what do you think of Hallstein’s Queen of the Night?
too easy for Hallstein to sing
@@LohengrinO Indeed, it’s like breathing to her. I like the radiant quality she gives to the role. Also, do you happen to have her rendition of Mia Speranza Adorata, by any chance? I’m dying to her delivery of it, but can’t find it anywhere...
fabulous!
flawless is the word!
In an interview she said how she hated being casted for this role because of how little she was on stage and also she said once in a TV performance or a representation that was casted by TV the director requested her please to hit the Fs X'D
cast
Ma che trillooooo ❤️❤️❤️❤️
DIVINA!!!!!
I'm as big a fan of Beverly Sills as anyone here and although I do love her coloratura which was always perfect in my book this role of the Queen of the Night doesn't suit her as a person! She played romantic bel canto heroines (Lucia, Anna Bolena, Violetta) which always did suit her. In real life as on stage she was mostly a lovely kind lady. The Queen in the Magic Flute is a power hungry evil ruthless creature. The more in-character sopranos singing this are Edda Moser and Rita Shane. But this is very rare and hard to find as Sills did not like this character herself and only sang it a few times. I love the photo here showing Sills in such a magnificent costume one of the great things about singing/playing the Queen is the great costumes!!!
Queen of the Night is a coloratura caricature... Mozart had one of the finest senses of humor... Beverly is perfect for the role
@@LohengrinO Agreed. It's called acting....
@@LohengrinO very true, and apparently Mozart's sister-in-law, Josepha Hofer (the first Queen of the Night), was a caricature of a singer. She had the high notes (just like her more famous sister, Aloyse Lange), but nothing else.
There no other , nor will there ever be.
Voice is too light for the aria. I want a bigger and a darker voice to sing this. It's
Eccellente...
NOT A DOZEN SINGERS COULD DO THIS. I MISS U SO
Wow...
Καταπληκτική ερμηνεία.
Ευχαριστώ, φίλε μου.
Great!
👏🏼👏🏼👏🏼👏🏼
Phenomenal agility and lovely timbre. Not quite fond of the Fs, though: the first one (O Zittre Nicht) is flat, the others are better in terms of pitch but not exactly effortless.
they sounded flawless to my poor ears
@@LohengrinO to mine too !!!
@@LohengrinO Cursed are they t'were born with flawless pitch!!👹
@@brookeggleston9314 🤣
Disrespectful and WRONG.
BRAVISSIMA !!
Wonderful, worthy of admiration certainly. I think her voice is too sweet for this though, to be entirely honest. I don't get AS MUCH dramatic fire as I might prefer. Have you heard rita shane's rendition of this? If so thoughts?
Yes Beverly's voice was suited for joy, as Callas was for anger. But her voice could also plumb sorrow equally well.
Perfect way of describing it
To be honest i like Luciana Serra on this arias...
Damn, the role in English, especially the second aria, doesn't really have as much impact as in German.
Wanna bet Julia tries on the role, just for the challenge!?!
highest note Julia has sung is an Eb6... her voice is very well supported in the contralto register, if she also has an F6... Marina though has sung it very well: ruclips.net/video/sBgZwOCx4LU/видео.html
@@LohengrinO I agree on all points. I just wonder if the challenge of those arias will be too much for Julia to ignore. Maybe using them for encores or one of her many Russian recitals. I get a large charge out of her performance of Laudate Dominum - it's from a Christmas or New Years recital/concert in Moscow. It's fairly obvious that everyone, including Julia and the conductor, had been taking advantage of the celebratory beverages!🍾 Nontheless, it was a delightful performance!✨
Following your lead, I delved into Oropesa: *WOW!!* What a gem! I rate her crystal opal, for the many clear colours of her voice🌈 It's amazing that an artist of her caliber actually takes the time to communicate with her audience. Those of us in the theatre world would call her a trouper, because she knows who pays her bills! Thanks for the introduction!
Stay safe and healthy, my friend, and pray for the USA🌹
Blessings . . .🌊✨👁️💙👁️✨🐬
@@brookeggleston9314 I pmed u in your fb account
@@LohengrinO 🌹
@@brookeggleston9314 beautifully written. 👍❤️🇺🇸🇦🇺
Why isn't it in German?
Diana Damrau does this better than all others, however, if there had been no Sills, there would not have been Damrau! It all comes together!
Damrau is pretty bad as queen of the night actually... no real Agility in the voice, dry F6s without dimension and resonance
Not a competition.
Good, but I prefer Lucia Popp
Luciana Serra for me
@@oliviero.m750 Dark voice, dramatic rendition, a few trills. About the rest... I don't know. But today have we such voices, to sing these operatic arias? Or these voices are a far remembering? 🙄👋
Beverly Sills's hatred of the role of the Queen of the Night has been well-documented. Not that I can blame her for hating the role, considering the fact that it's one of the most difficult roles ever written for soprano.
Zerbinetta and Brunhilde would like a word.
Elle chante bien la Reine de la Nuit ,et fait toutes les notes avec facilité . Cependant ,je la préfère totalement dans Haendel où elle est souveraine et inégalable .Elle n'a pas sa place dans le répertoire Mozartien qui est l'apanage de chanteuses d'esprit Germanique .Haendel et Mozart sont des musiques très différentes dans le répertoire d'opéra .Souvent les germaniques chantent très mal Haendel car elles en saisissent très mal l'esprit et le confondent avec Bach .
¿En inglés? ¿En serio? Mozart se tiene que estar revolviendo en su tumba cada vez que oye sus óperas traducidas a idiomas en que nunca se pretendió que fueran cantadas. Este despropósito lingüístico supera al Don Giovanni en alemán que representaban en Berlín en los años 60, que tenían la fea costumbre en la Deutsche Oper de hacer casi todo en alemán al margen del idioma original.
Compare to Ms. Damrau (possibly the best coloratura actress) whose intonation is flawless: ruclips.net/video/YuBeBjqKSGQ/видео.html
.....egregi Melomani....la smettete di fare confronti....in teatro Non le mancava niente...il costume poi le dava un qualcosa di ultraterreno..è una regina non un mitra ....sempre all'altezza della situazione..la Sills fa la sua Regina della Notte..e le regala in leggerezza tutto quello che Sa del belcanto italiano...che per Mozart è necessario per non diventare delle"trombette"...la scelta stilistica poi dipende da molte cose ...Costume, direttore, acustica del Teatro spesso ...sorda; e a volte scelte di regia?; da uccidere molti Pitonesse ?..con la mania di massacrare il filo logico che il melodramma deve mantenere per non andare nella caricatura...ecc ecc
Sills, uno dei maggiori soprani mai esistiti e interprete eccelsa.