Sutherland was the one voice that could match and exceed Pavarotti, and it was she that caused Pavarotti to reach inside himself to give even more than anyone thought possible. Together, these two were sublime.
+Dennis Smalley Yes, but you can barely hear it, as the great Sutherland tends to drown out her tenors with her unparalleled top notes. They are certainly the greatest soprano/tenor coupling in history.
Pavarotti said in an interview that Sutherland taught him how to breathe. He said on some nights you feel great, but the next night you don't feel 100 percent - and Sutherland's tips on breathing helped him be consistent on nights not feeling best. You can see this in this video. Look at both of them during 0:39 to 0:41. They both are putting out serious volume, yet both look so effortless. Then, check out Sutherland during the final high note starting at 0:43 to 0:45. Again, effortless look as she brings the house down. This is when you know someone is world class, when what is difficult or requires strain or extreme effort to most is like riding a bicycle to a true master. Sutherland's breathing and range make the finale seem like a walk in the park for her. In the latter half of the note she actually looks like she's inhaling instead of exhaling - fascinating. LP as usual gears up to belt out the final note. His face is more animated than JS, yet he is in total command and on exact point. What a stunning duo.
@@consonantsandvowels1 I had read that also, it was said that his enunciation was perfect and always flawless, whereas, she was difficult to understand, Someone said, I cant make out her words, maybe if she sang in English. They said, she is singing in English. But that voice, there is no mistaking that quality.
It’s interesting that you perceive the effect of inhaling……you’re close to the mark. While she didn’t inhale during high notes, or any other notes, she placed the highest notes at the top of her hard palate, and let them resonate in her head. She often said that she felt the high notes coming out of the back of her head. She only seemed to use that technique for notes above high-C. The high-Cs themselves seemed so effortless that she simply covered them the way she did in her middle-range notes.
I only saw them together in the theater once - in Il Trovatore. But I saw each many times separately. Golden Age voices for each, but together it was like fireworks and volcanoes!
I couldn't get it off my mind when I heard it on the radio while driving a car. Sutherland was so devastating. I imagine listening on an analog system would be another gem.
The best thing about Dame Joan is that she ALWAYS knew where the cut off was: right on the down beat of the end of the line. She led by example with everyone who sang with her. Well done.
This is ridiculous. You seem not to know the older singers. Sutherlands sounds weak and not clear. Pavarotti is a nice leggero. What about Corelli and Nilsson, Tebaldi & Del Monaco, Flagstad & Melchior, Caruso & Ponselle. All much much better than these two.
@@vitabella6481 Ok - I’m not questioning your claim in general, since I believe you have longer history as an opera listener. I’m only in my twenties, and even though I have a classical background, I’m not exactly an expert in opera field yet. But saying Sutherland sounds weak and not clear makes you look like an arrogant smart-ass. You are indirectly claiming that you know better than all those critics who praised Sutherland one of the greatest. And the way you are belittling others here - oh please. Any listener who is a tiny bit musical and has a good ear, can spot the difference between Sutherland and a mediocre/nice soprano. Her voice and skills were on a whole another level.
...just Spectacular, and somehow heartbreaking as it seems only yesterday when one was always able to look forward to the next televised concert by these two with or with out the equally great marilyn horne... and now...
such an insanely fabulous duo. I always marvel how the plump, rich, darkish shades of Sutherland's voice and the sunny brightness of Pavarotti's combined in the most exquisite way
Aquí las dos mejores voces de todos los tiempos dos grandes Cantantes que crearon una escuela y forma de abordar la emisión y los sonidos al cantar opera ella voz de gran extensión y un color único abordo papeles y compositores con gran estilo y belleza desempolvando coloraturas y pasajes de muy alto nivel vocal el único porque sabía llegar al público voz preciosa y con una coloratura linda y absoluta también desempolvó partituras y pasajes que no se habían cantado en fin voces únicas con inigualable belleza que supieron cantar con mucha excelencia y gusto desde Madrid mis agradecimiento por este vídeo es toda una clase magistral de canto
Sorry, Scott. Top teeth? Teeth give neither resonance nor frequency (pitch) to anything including the human voice. However, I must join you in admiration of Pavarotti! I have listened to recordings of other tenors, and in this role in particular Pavarotti outshines them all. (The pity was, according to Richard Bonynge, that Pavarotti never learned to read music. I say 'who cares'? What matters is the voice -- the sound the audience hears. And here we have it captured for posterity in both audio and video.)
I am sure hard surfaces of the mouth has some effect...just listen to someone who has lost a tooth speaking...BUT i doubt it has serious resonant capacity.
The reason why singers lift the top lips on high notes is because it helps cause the tilt of the larynx, which thins out the cords and helps the high notes come out easier.
Amazing how Pavarotti uses the 'mask' and every resonating chamber in his head to maximise the volume and intensity of the final high D flat. Breathtaking stuff.
With all the comments about technique, I’m surprised no one mentioned Sutherland’s ascending scale at 0:31. That’s much more difficult than high notes, and singers practice for years to get it right.
@@vitabella6481 Nonsense. They did what they did exceptionally-oh where are the Caruso Ponselle recordings? Corelli was a god, but a heavier voice, Nilsson from another planet, IMO other than a few roles MDM was too loud, with a more constricted top
It's a fucking high Db ...at carnegie hall... with the most famous soprano of the 20th century...come on guys That is so much harder for the tenor than the soprano
I wonder if Joan sutherland was singing a bit less, they are such great partners...and joan has a HUGE voice, but you can hear pavarotti just as clear as Joan. I wonder if they worked together to ensure that their volume is the same. Joan's husband had mentioned in an interview before that Pavarotti wanted this voice to be turned up in recordings...heheh. Regardless Pavarotti is my favorite tenor. I live to listen to him.
Pavarotti è stato un grande tenore fino alla fine degli anni 70. Negli 80 è iniziato il declino, alla fine degli 80 era il fantasma di sé stesso. La Sutherland è semplicemente inarrivabile.
Mauricio Sángari In several interviews, however, Sutherland commented on her high-note technique - she placed them in her hard palate and said they resonated right out the top of her head!
Good observation. They are. Once Pavarotti, at Glyndebourne, asked her about her technique. She told him, (politely no doubt) to clench his anal sphincter & abdominal muscles to stabilise the diaphragm. This gave Pav much more power. So the sound really did come "out from her guts"!
Was reading through the comments from the Bing Gala in '72 and saw a lot of people saying Pavarotti's voice was bigger than Sutherland' s. Well they've obviously never seen this. Her final note completely obliterates that of Pavarotti. But they were probably the greatest opera duo in my opinion.
Technically, the higher frequencies are going to "sound" louder than the lower ones. That being said, it did seem Sutherland's vocal presence here simply obliterated everything else.
@@vitabella6481 Gilda is a fifteen year old girl. Dame Joan is aware of that, and adjusts her sound accordingly. Here, this is what she sound like when she opened the voice: ruclips.net/video/3G1awxqygFM/видео.html
Obliterating sounds rather childish. How old are you btw? just curious. Regardless, what you speak of is a "vocal bias" you basically hear what you want to hear. ;-)
The last word is "Ad-di-o" so I'm not sure either was singing the actual "OH" vowel? Still it is more possible for a male voice to sing an OH on a high Db than a soprano. Most soprano vowels go to AH above an Ab or so...
@@shamsarefin5204 Don't think I've ever heard Julie Andrews called a coloratura? She's a lyric soprano at best? She doesn't sing any coloratura repertoire... A couple of melismas don't make one a coloratura
@@toddgraber3675 what are you talking about???!!! she was a seasoned child prodigy...singing the Polonaise from Mignon with the F above high C night after night live, Rigoletto, and so on. She was titled the youngest primma donna in the UK. She was even awarded the Kennedy Center Award for her role in singing along side the late great Pavarotti, she also sang with Domingo many times, along with Merry Widow, sang Operettas with Gorgio Tozzi from the Met both live and on records and I can go on and on. She was singing those cadenzas like no tomorrow, with incredible laser like precision. she sang for HRM at the London Hippodrome, Palladium, she was to go to Italy right before when Broadway offered her a lot of money and then Hollywood took her away. She was one of the few singers who was able to bring the Italian style of Legato singing into the English language on big screen. Maybe Mario Lanza and Kathryn Grayson was one of the few others, but those singers were before her time. Just because you have not heard her beyond singing a High B-flat in Poppins, the Sound of Music and Victor Victoria doesnt mean she cant or hasnt done beyond that.
@@shamsarefin5204 I've obviously hit a nerve with you and your adolation of Julie Andrews? I, too, love the lady and her contribution to stage and film but she was not a coloratura soprano. Lots of sopranos can sing above high B including Mariah Carie but that doesn't make them coloraturas. And even though Leontyne Price and Kiri TeKanawa could sing some of that repertoire, I doubt they would have classified themselves as coloraturas either. Lyric with some coloratura capabilities? maybe...
Sutherland was the one voice that could match and exceed Pavarotti, and it was she that caused Pavarotti to reach inside himself to give even more than anyone thought possible. Together, these two were sublime.
L0
Exactly...you can see Pavarotti matching himself up
well, she didn't 'exceed' him on that occasion, as well as she unquestionably did sing.
Really? She sounds like she has marbles inside her mouth. I don't understand the appeal at all.
@@ebenezeradjierteh2498àà
Sutherland and Pavarotti = glorious singing
@TheWiseMonkey8888 Sutherland always was a respectfull coleague and a kind person. I DON'T UNDERSTAND YOU!!! Have you nothing better to say?
These two---the top male and female of the opera world----Beyond beautiful and brilliant
perfection....the best operatic partnership ever....on that form at least.
John Mills definately
That was AMAZING! They dont make 'em like that anymore...!
Callas and Di Stefano, Del Monaco and Tebaldi, Price and Corelli, Bjorling and Merrill. All imo better than these two, great though they are.
King and Qeen! Bravissimo!!!
Wow, that was a great high C#
+Dennis Smalley Yes, but you can barely hear it, as the great Sutherland tends to drown out her tenors with her unparalleled top notes. They are certainly the greatest soprano/tenor coupling in history.
Suth Pav Yes but Pavarotti was always able to make himself heard, even with Sutherland.
Actually it was a High D flat.....
Dennis Smalley This excerpt is in Db per the score. Addio ah AH (Db, Bb, Ab, F - but they interpolate a Db instead of the F).
D, my brother
Joan voice is gigantic, it's rare to listen to dramatic coloratura soprano
Pavarotti! For ever!!!
Pavarotti said in an interview that Sutherland taught him how to breathe. He said on some nights you feel great, but the next night you don't feel 100 percent - and Sutherland's tips on breathing helped him be consistent on nights not feeling best. You can see this in this video. Look at both of them during 0:39 to 0:41. They both are putting out serious volume, yet both look so effortless. Then, check out Sutherland during the final high note starting at 0:43 to 0:45. Again, effortless look as she brings the house down. This is when you know someone is world class, when what is difficult or requires strain or extreme effort to most is like riding a bicycle to a true master. Sutherland's breathing and range make the finale seem like a walk in the park for her. In the latter half of the note she actually looks like she's inhaling instead of exhaling - fascinating. LP as usual gears up to belt out the final note. His face is more animated than JS, yet he is in total command and on exact point. What a stunning duo.
I agree!
Wow, great insights!
I think Pavarotti has the harder job here. He’s not in falsetto.
@@consonantsandvowels1 I had read that also, it was said that his enunciation was perfect and always flawless, whereas, she was difficult to understand, Someone said, I cant make out her words, maybe if she sang in English. They said, she is singing in English. But that voice, there is no mistaking that quality.
It’s interesting that you perceive the effect of inhaling……you’re close to the mark. While she didn’t inhale during high notes, or any other notes, she placed the highest notes at the top of her hard palate, and let them resonate in her head. She often said that she felt the high notes coming out of the back of her head. She only seemed to use that technique for notes above high-C. The high-Cs themselves seemed so effortless that she simply covered them the way she did in her middle-range notes.
They seem to be having a lot of fun up there.
I only saw them together in the theater once - in Il Trovatore. But I saw each many times separately. Golden Age voices for each, but together it was like fireworks and volcanoes!
Pavarotti what a master
The best Tenor ever!
Las dos voces más perfectas del Siglo!!!
I couldn't get it off my mind when I heard it on the radio while driving a car. Sutherland was so devastating. I imagine listening on an analog system would be another gem.
+Yong Kyung Lee This is from a legendary joint recital that is available on DVD. The entire concert was on Ytube until someone deleted it.
I never get tired of watching this video, pure amazement
When he sings the final note he looks like my pet hamster who I named Pavarotti. That is hilarious. These two were fabulous together!!
kkkkkkkkkk
addio addio garifullona
Thordur Hogna LOLs I look like your bitch lmfao nice try but I’m a top so...
But not even hard to her. She could probably put on mascara while singing that note, lol.
Of course, in the finale note the voice of Pavarotti is totally covered by Sutherland =)
The best thing about Dame Joan is that she ALWAYS knew where the cut off was: right on the down beat of the end of the line. She led by example with everyone who sang with her. Well done.
MAGNIFICENT !!!
What they did was beyond brilliant; no other soprano/tenor combo, before of after them, ever sounded better.
This is ridiculous. You seem not to know the older singers. Sutherlands sounds weak and not clear. Pavarotti is a nice leggero. What about Corelli and Nilsson, Tebaldi & Del Monaco, Flagstad & Melchior, Caruso & Ponselle. All much much better than these two.
@@vitabella6481 Not a chance in hell they were better, and I've heard enough recordings to know what I'm talking about.
Yes Nillson was a fantastic Gilda and who can forget Flagsteads Lucia or Tebaldis Puritani. Sutherland sucks.
@@vitabella6481 Ok - I’m not questioning your claim in general, since I believe you have longer history as an opera listener. I’m only in my twenties, and even though I have a classical background, I’m not exactly an expert in opera field yet. But saying Sutherland sounds weak and not clear makes you look like an arrogant smart-ass. You are indirectly claiming that you know better than all those critics who praised Sutherland one of the greatest. And the way you are belittling others here - oh please. Any listener who is a tiny bit musical and has a good ear, can spot the difference between Sutherland and a mediocre/nice soprano. Her voice and skills were on a whole another level.
@@Auxxsr1 😂🙏
ESTAMOS EM 2019 E EU NAO CONSIGO PARA DE ESCUTAR ,CANTEM NO CÉU ANJOS DE LUZ
...just Spectacular, and somehow heartbreaking as it seems only yesterday when one was always able to look forward to the next televised concert by these two with or with out the equally great marilyn horne... and now...
Yes.. It was just a short while ago, wasn’t it. Where is operatic singing on TV anymore.
We had genius in our midst and never thought it would end..
NAILED IT!!!
que maravilla ver ese vídeo de "Luciano junto a Joan" que magníficas voces es todo un placer escucharlos excelente.
Quien te parece mejor,,cecilia bartoli o joan s.
Las dos voces mas bellas que han existido!!!!!
Dios, si un dia me voy de este mundo, que sea con este minuto diez de pura belleza incomparable de pedacito de cielo!
Epic "Mic drop" moment!....BAM~! That's how it's done ~!
Impresionante!!!
emocion escuchar esos agudos tan perfectos y cubiertos !! que no te saturan el oido ! son la perfección ! Do# INCREIBLEEEE !!!
such an insanely fabulous duo. I always marvel how the plump, rich, darkish shades of Sutherland's voice and the sunny brightness of Pavarotti's combined in the most exquisite way
SUPERB!!!!!!!!
I migliori ;)
Aquí las dos mejores voces de todos los tiempos dos grandes Cantantes que crearon una escuela y forma de abordar la emisión y los sonidos al cantar opera ella voz de gran extensión y un color único abordo papeles y compositores con gran estilo y belleza desempolvando coloraturas y pasajes de muy alto nivel vocal el único porque sabía llegar al público voz preciosa y con una coloratura linda y absoluta también desempolvó partituras y pasajes que no se habían cantado en fin voces únicas con inigualable belleza que supieron cantar con mucha excelencia y gusto desde Madrid mis agradecimiento por este vídeo es toda una clase magistral de canto
Both were exceptional and thrilling . Respect
DOS DE LOS GRANDES!!!
Pfffff....this times are losed forewer, none could replace those two "lighthouse" of belcanto.
precioso duo
OUTRAGEOUS!!!
Meraviglia
Un do diesis uscito dal fazzoletto😊😊grande Luciano💗
Do#
@@alejo25081973 credo che sia un Re bemolle....
Neither would be out done on the high note! 😂 I can’t be bothered 😂 Hands down, the best to ever do it.
Verdi is truly something to sing. A marathon of sorts. Evenso, bravo.
phenomenal
Hermosísimo!😭😍
They would've made such a beautiful couple:(
Flawless and effortless
Nobody please waste your time trying to top this!
Extraordinario !!!
Bravissima!
Épico!!!!!
Such a pure success in opera signing craftmanship.
Perfect!!!
WUNDERBAR!
Sehr schön!
RIP both
I loved the way Pavarotti was able to get those very top notes out by utilizing the resonance from his top teeth. Outstanding.
Sorry, Scott. Top teeth? Teeth give neither resonance nor frequency (pitch) to anything including the human voice. However, I must join you in admiration of Pavarotti! I have listened to recordings of other tenors, and in this role in particular Pavarotti outshines them all.
(The pity was, according to Richard Bonynge, that Pavarotti never learned to read music. I say 'who cares'? What matters is the voice -- the sound the audience hears. And here we have it captured for posterity in both audio and video.)
@@skyhunk r/woooosh
I am sure hard surfaces of the mouth has some effect...just listen to someone who has lost a tooth speaking...BUT i doubt it has serious resonant capacity.
@@skyhunk okay but have u heard someone speaking who is toothless? they have a pffft pffffft kinda sound. LOL
The reason why singers lift the top lips on high notes is because it helps cause the tilt of the larynx, which thins out the cords and helps the high notes come out easier.
No one’s like them ❤
a joy! thanks:)
Amazing how Pavarotti uses the 'mask' and every resonating chamber in his head to maximise the volume and intensity of the final high D flat. Breathtaking stuff.
With all the comments about technique, I’m surprised no one mentioned Sutherland’s ascending scale at 0:31. That’s much more difficult than high notes, and singers practice for years to get it right.
Very nice!
How did the stage hold up all that talent?
good engineering.
Sutherland and Pavarotti were magnificent,but please remember another glorious partnership,Nilsson and Corelli.
Corelli is in another universe in comparison with Pavarotti.
Or Tebaldi & del Monaco, Caruso & Ponselle there were many who let these two look small and weak.
@@vitabella6481 Nonsense. They did what they did exceptionally-oh where are the Caruso Ponselle recordings? Corelli was a god, but a heavier voice, Nilsson from another planet, IMO other than a few roles MDM was too loud, with a more constricted top
I LOVED Nilsson’s Gilda and Corelli’s Duke 🤣
Bravi!!!
Immensi
Impresionante
Big high D-flats for Joan and Luciano to thunder out here!
so gooood!
Bravi,bravi!!!
💕💕💕💕💕💕💕💕💕💕💕💕💕💕
The best diaphragms in the business! Together. Mamma mia!
Bravi !
It's a fucking high Db ...at carnegie hall... with the most famous soprano of the 20th century...come on guys That is so much harder for the tenor than the soprano
LOL...well yes, Pavarotti has run out of notes by Db, but Sutherland still has a few in her pocket.
Inigualáveis.
Oh the Climax!
Reproducción n-73, que alguien me venga a quitar el celular plis. 😅😅😅😅 March 2024! 😊
Wow!!!
0:38 EPIC MOMENT
Incredible Dame Sutherland. Her high notes cover completely his voice.
It seems like she’s even holding back a bit
Wspaniale ,congratulations 🌜🐈🐦🎉🔥🔥🦜💞💞🔥🎉🐦🌴🎼🎶🌼🥀🔥
que pasada
Bravo
凄い！ハイD！！
I wonder if Joan sutherland was singing a bit less, they are such great partners...and joan has a HUGE voice, but you can hear pavarotti just as clear as Joan. I wonder if they worked together to ensure that their volume is the same. Joan's husband had mentioned in an interview before that Pavarotti wanted this voice to be turned up in recordings...heheh. Regardless Pavarotti is my favorite tenor. I live to listen to him.
체샾!!!! 좋아
Luciano goes full Super Saiyan
when people say Pav had a smaller voice than Sutherland...i mean they arent artificially amplified here...so they are of equal volume...
did the audience know what they just experienced ?
Muhammad Ali knock out!!!
They should both feel honored to perform with each other... wait...
Grandissima La Stupenda
Non male pavarotti qua..
Pavarotti è stato un grande tenore fino alla fine degli anni 70. Negli 80 è iniziato il declino, alla fine degli 80 era il fantasma di sé stesso. La Sutherland è semplicemente inarrivabile.
Still amazed by her technique...she doesn't move a muscle of her face or neck....you can actually feel the sound coming out from her guts...
Mauricio Sángari In several interviews, however, Sutherland commented on her high-note technique - she placed them in her hard palate and said they resonated right out the top of her head!
Good observation. They are. Once Pavarotti, at Glyndebourne, asked her about her technique. She told him, (politely no doubt) to clench his anal sphincter & abdominal muscles to stabilise the diaphragm. This gave Pav much more power. So the sound really did come "out from her guts"!
Sutherland and Bonynge, in particular, couldn’t stand Pavarotti’s greatness.
GRANDIOSI NON AGGIUNGO ALTRO
Where and when was this performance?😁
Was reading through the comments from the Bing Gala in '72 and saw a lot of people saying Pavarotti's voice was bigger than Sutherland' s. Well they've obviously never seen this. Her final note completely obliterates that of Pavarotti. But they were probably the greatest opera duo in my opinion.
Technically, the higher frequencies are going to "sound" louder than the lower ones. That being said, it did seem Sutherland's vocal presence here simply obliterated everything else.
She sounds weaker than he, the top note is small. Sorry but what is with ypur ears?
@@vitabella6481 Gilda is a fifteen year old girl. Dame Joan is aware of that, and adjusts her sound accordingly. Here, this is what she sound like when she opened the voice: ruclips.net/video/3G1awxqygFM/видео.html
What recording are you listening too????
Obliterating sounds rather childish. How old are you btw? just curious. Regardless, what you speak of is a "vocal bias" you basically hear what you want to hear. ;-)
Do you happen to have a full video of this concert?
Thank you.
I believe Ytube has the whole concert in a video from 1979 of Joan and Luciano Avery Fisher Hall. It is a full, very impressive video.
When was this? What year?
Love it - what more could one say about this . Joan has the edge on him though .
Great performance.
Modern sopranos should listen to this and hear a proper Bel Canto technique in action
donde puedo hallar la partitura?
Google. Digiti : "Petrucci Music Library - free Public Domain ". (Anche se credo che nel frattempo abbia già risolto...)
Holy fuck....
Also I like Pavarotti's diction here, on the finale note, he says the "Ah" "Maa" while Joan says "Oh" Ah"
The last word is "Ad-di-o" so I'm not sure either was singing the actual "OH" vowel? Still it is more possible for a male voice to sing an OH on a high Db than a soprano. Most soprano vowels go to AH above an Ab or so...
@@toddgraber3675 not all, Julie Andrews a coloratura, sings a clean "O" on a high A and its pretty clean attack and sound.
@@shamsarefin5204 Don't think I've ever heard Julie Andrews called a coloratura? She's a lyric soprano at best? She doesn't sing any coloratura repertoire... A couple of melismas don't make one a coloratura
@@toddgraber3675 what are you talking about???!!! she was a seasoned child prodigy...singing the Polonaise from Mignon with the F above high C night after night live, Rigoletto, and so on. She was titled the youngest primma donna in the UK. She was even awarded the Kennedy Center Award for her role in singing along side the late great Pavarotti, she also sang with Domingo many times, along with Merry Widow, sang Operettas with Gorgio Tozzi from the Met both live and on records and I can go on and on. She was singing those cadenzas like no tomorrow, with incredible laser like precision. she sang for HRM at the London Hippodrome, Palladium, she was to go to Italy right before when Broadway offered her a lot of money and then Hollywood took her away. She was one of the few singers who was able to bring the Italian style of Legato singing into the English language on big screen. Maybe Mario Lanza and Kathryn Grayson was one of the few others, but those singers were before her time. Just because you have not heard her beyond singing a High B-flat in Poppins, the Sound of Music and Victor Victoria doesnt mean she cant or hasnt done beyond that.
@@shamsarefin5204 I've obviously hit a nerve with you and your adolation of Julie Andrews? I, too, love the lady and her contribution to stage and film but she was not a coloratura soprano. Lots of sopranos can sing above high B including Mariah Carie but that doesn't make them coloraturas. And even though Leontyne Price and Kiri TeKanawa could sing some of that repertoire, I doubt they would have classified themselves as coloraturas either. Lyric with some coloratura capabilities? maybe...