Fascinating! Thank you for sharing. I knew some and discovered new ones (including the one who adds the staccato high-F# in the cadenza). Some sopranos sing the High-E Forte which I think is not musical (but I guess it’s hard to sing softly in the stratosphere). The one I love the most in this selection is Deborah Cook, even if the voice was tiny and maybe not entirely suited for the role of Gilda. Out of this selection Roberta Peters is the one who impressed me the most. She sustained a soft, floating sweet High-E for ever and even adds a diminuedo.
@@oliviero.m750 Mesple had the most amazing voice but it only showed its true amazing glory in very special repertoire. I wish I could get a cd of her Strauss waltzes. Totally Amazing! Her Hamlet mad scene and her Doll song are totally singularity unsurpassed .
The Co(e)rtese didn't like the pitch 😂 Thank you for this very interesting video. I have the chance to hear Vidal and Claycomb doing this on stage. The high E was the best note of the evening for Vidal and Claycomb had a strange infra-vibrato but hearing this was a big joy 😁
Your welcome -- I'm curious about your term "Infra-vibrato" for Claycomb -- very interesting image. I've never heard her live (darn!) but I think I sense what you are saying -- a rapid vibrato that also has some additional overtones to it on high. Is that right?
Good job on the scavenger hunt. And yes, I agree on Claycomb, she is exquisite in this piece with a final E that just seems to slowly evaporate into the ether. (And when she does the cadenza lying down on her back, it's not only an impressive feat but integrates the cadenza into the story, almost like a subtle sexual awakening). I saw a production recently in Seattle with Madison Leonard doing a superb job as Gilda -- it was an updated production and the director staged Caro nome with her going into her bedroom and hugging the pillow on her bed, like a high school girl swooning over a new crush. It was so good.
@@songbirdwatcher I also quite enjoy Mady Mesplé's version sung in French with high E: ruclips.net/video/pkCsmxDpaeI/видео.html&ab_channel=ioSonoCallas
The Bess Arlene clip is from my first ever taped recording of an opera It was from Tampa, FL and Vern Shinall and Jerome Lo Monaco were the other leads. As you know..."Caro Nome" was often transposed down to the key of Eb (Bidu Sayao in the Met b'cast...Nadine Connor in Mexico)..and so did Maria Callas in Mexico. She sings a high Eb at the end of the aria; if she sings an "E"...then the recording is pitched wrong. Thanks for this wonderful compliation and Happy Valentine's Day.
Hi Ron -- I got Arlene in trade about 20 years ago from our mutual friend. The notes say "Nov 1, 1969, San Carlo Opera, St. Petersburg." with the other cast members you mentioned. I'm just going to assume any "bootlegs" I have from Florida were probably recorded by you and will thank you now for this one, and all the others! I've never heard of Caro nome being transposed down, though now that you mention it I can hear it in the Callas performance. Why -- just so she can take the high note at the end? I do have Nadine Conner doing it in the original key, I just checked (I don't know the source) and there is a Sayao on YT from 1945 that seems to be the correct key, although the cadenza seems to be quite flat. Honestly my ears and pitch pipe are getting a little overworked!
@@songbirdwatcher The date and name of the opera company are correct; however, it took place at McKay Auditorium in Tampa, FL. It is well documented that Callas sang the aria in Eb. It's in the program notes from the old BJR records. Listen again to the Met b'dcst with Warren/Bjoerling/Sayao. Transposition (very easy) comes right after "Addio" which is in Db...so the key change is hardly noticeable. Also the Sarah Coburn Lakme Bell Song is mine too. I was actively taping in FL from 1969 thru 1978 (when I moved to NYC). I got Ms Hoch's and Ms Rolandi's "Caro Nome" recordings from the divas themselves.
Thanks for this. So much fun, and an introduction to many singers I'd never listened to. Technically, Futral is nearly flawless, but my favorite is Cook, although there's something appealing about Bak's more aggressive approach. And I love Tirelli's wild ride. There are a few who make dreadful musical choices, but it's almost more fun to listen to those. My awards: Pitchiest overall (thought so many have trouble with that E): Tie: Bess Arlene (which is too bad, because her interpretation is beautiful) and Lani Misenas, who loses more than a quarter-step at one point Most likely to be used as a Bugs Bunny or Marx Brothers soundtrack: Lydia Cortese And award for best hat goes to Mimi Coertse
Yeah, there are some pitch issues. And Cortese and Tirelli are from old "private" recital discs, definitely more aspirational than professional. Coertse's hat is a fashion statement -- did you notice she is standing next to a statue bust of herself? I'd say it's at best a rough likeness, and has quite the bust for a bust!
I understand your position on posting things that aren't on RUclips or non famous singers, yes the one I'm about to suggest is a studio recording, but the artist never sang Gilda on stage and was associated full lyric soprano, spinto and dramatic soprano repertoire, not to mention that was in her 50s when it was recorded and the was Leontyne Price!
Apparently, Callas' last note there is an E-flat as she transposed the aria down a half-step. I just checked it on RUclips. I will say I was so surprised that Price took that high E, when she is not even a coloratura and at the later stage in her career. Quite fun!
@@songbirdwatcher The 440 Hz tuning fork was recommended as early as 1949 and standardized at the London International Conference in 1953. Many theaters used it well before 1949. However, all theaters changed the tuning fork (432/435 Hz before 1949) only little by little. It was sometimes modified more lower in agreement with the maestro when the soloists requested it. Callas (she wasn't the only one) often resorted to a lower tuning fork, especially at the end of her career.
Thanks for the broader information on tuning which is great to keep in mind. I assume from your channel title you are a Callas expert, which is good because I definitely am not! I want to be sure I understand what I think you are saying here: are you proposing that Callas did not transpose this aria down, but that the entire work was performed tuned to a lower pitch standard (perhaps even lower than 432 in this case, as a semi-tone lower would make it closer to 415 Hz)? I guess listening to other selections from the performance would reveal that, and possibly other performances from this venue/orchestra in this period?
@@mortenhjelt823 Well, it is nearly always sung by a coloratura soprano, it has become standard repertoire for coloraturas, and many interpolate high Es. So I think it is a true coloratura aria.
I haven't finished listening to them all so far yet, but why are these sopranos torturing themselves? Lol. Quite a few of them cannot stay in tune on that sustained E. And thats not at all to dimish their talents! It is stupidly difficult and vibrato up there can easily morph the pitch. Glad that its not a popular choice these days-- good riddance!
Such a good point! I suppose sometimes a singer's perceptions of their abilities "in extremis" is not aligned with reality. The only justification to take the High E variant is if it can be floated and diminished (seemingly effortlessly) in the same spirit of Verdi's "dim." and "morendo" markings over the long trill. Which very very few sopranos can do. But, that said, I hope it's sort of fun to hear some of them try, eh?
@@songbirdwatcher Yes! I still love to hear all of the different voices and some less common interpolations. Now that I've listened to them all, I can say that some certainly pull it off quite beautifully. Its one of those things though where when its bad... its really bad. Which is so unfortunate to hear considering the "bad" ones are still otherwise lovely performances! So tragic to spoil things though when that high E doesnt work out. Love these explorations into coloratura rep though. Definitely my fav opera channel! 🥰
Fascinating! Thank you for sharing. I knew some and discovered new ones (including the one who adds the staccato high-F# in the cadenza). Some sopranos sing the High-E Forte which I think is not musical (but I guess it’s hard to sing softly in the stratosphere). The one I love the most in this selection is Deborah Cook, even if the voice was tiny and maybe not entirely suited for the role of Gilda. Out of this selection Roberta Peters is the one who impressed me the most. She sustained a soft, floating sweet High-E for ever and even adds a diminuedo.
Mady Mesple also floated the high E
@@jimbuxton2187 agreed. I adore Mady Mesplé!!!
@@oliviero.m750 Mesple had the most amazing voice but it only showed its true amazing glory in very special repertoire. I wish I could get a cd of her Strauss waltzes. Totally Amazing! Her Hamlet mad scene and her Doll song are totally singularity unsurpassed .
Love it. Thanks for sharing these fabulous sopranos.
Your voice is so soothing!
Thanks. I did a few corporate voice overs years ago, so I can turn on my "radio/DJ" voice when I do narration. LOL
Beverly Hoch also added the high E in her performance as Gilda at Arizona Opera. Thrilling!!
Good to know. I don't have that or see it on RUclips yet.
@@songbirdwatcher Gianna Rolandi also took the high E in her first professional job upon graduating from Curtis.
@@ronsdivas I loved Gianna Rolandi. Rip.
@@jimbuxton2187 A great lady and friend...and an amazing coloratura!! May she rest in peace...never to be forgotten.
Bess Arlene and Valerie Bak totality amazed me!
The Co(e)rtese didn't like the pitch 😂
Thank you for this very interesting video. I have the chance to hear Vidal and Claycomb doing this on stage. The high E was the best note of the evening for Vidal and Claycomb had a strange infra-vibrato but hearing this was a big joy 😁
Your welcome -- I'm curious about your term "Infra-vibrato" for Claycomb -- very interesting image. I've never heard her live (darn!) but I think I sense what you are saying -- a rapid vibrato that also has some additional overtones to it on high. Is that right?
Found them! (But don't want to spoil it for others 😉) My personal favorite in this aria has to be Laura Claycomb.
Good job on the scavenger hunt. And yes, I agree on Claycomb, she is exquisite in this piece with a final E that just seems to slowly evaporate into the ether. (And when she does the cadenza lying down on her back, it's not only an impressive feat but integrates the cadenza into the story, almost like a subtle sexual awakening). I saw a production recently in Seattle with Madison Leonard doing a superb job as Gilda -- it was an updated production and the director staged Caro nome with her going into her bedroom and hugging the pillow on her bed, like a high school girl swooning over a new crush. It was so good.
@@songbirdwatcher I've seen excerpts from that production on YT! Madison Leonard is wonderful!
@@songbirdwatcher I also quite enjoy Mady Mesplé's version sung in French with high E: ruclips.net/video/pkCsmxDpaeI/видео.html&ab_channel=ioSonoCallas
You can also find Ghyslaine Raphanel on YT with that high E
I will add her to the addendum!
Ilse Hollweg puts the top E in the most appropriate place in the whole aria.
Nice colletion, tnx. Futral and Vidal are known, and Vidal is great here.
The Bess Arlene clip is from my first ever taped recording of an opera It was from Tampa, FL and Vern Shinall and Jerome Lo Monaco were the other leads. As you know..."Caro Nome" was often transposed down to the key of Eb (Bidu Sayao in the Met b'cast...Nadine Connor in Mexico)..and so did Maria Callas in Mexico. She sings a high Eb at the end of the aria; if she sings an "E"...then the recording is pitched wrong.
Thanks for this wonderful compliation and Happy Valentine's Day.
Hi Ron -- I got Arlene in trade about 20 years ago from our mutual friend. The notes say "Nov 1, 1969, San Carlo Opera, St. Petersburg." with the other cast members you mentioned. I'm just going to assume any "bootlegs" I have from Florida were probably recorded by you and will thank you now for this one, and all the others!
I've never heard of Caro nome being transposed down, though now that you mention it I can hear it in the Callas performance. Why -- just so she can take the high note at the end? I do have Nadine Conner doing it in the original key, I just checked (I don't know the source) and there is a Sayao on YT from 1945 that seems to be the correct key, although the cadenza seems to be quite flat. Honestly my ears and pitch pipe are getting a little overworked!
@@songbirdwatcher The date and name of the opera company are correct; however, it took place at McKay Auditorium in Tampa, FL. It is well documented that Callas sang the aria in Eb. It's in the program notes from the old BJR records. Listen again to the Met b'dcst with Warren/Bjoerling/Sayao. Transposition (very easy) comes right after "Addio" which is in Db...so the key change is hardly noticeable. Also the Sarah Coburn Lakme Bell Song is mine too. I was actively taping in FL from 1969 thru 1978 (when I moved to NYC). I got Ms Hoch's and Ms Rolandi's "Caro Nome" recordings from the divas themselves.
@@ronsdivas .... you are amazing!
Thanks for this. So much fun, and an introduction to many singers I'd never listened to. Technically, Futral is nearly flawless, but my favorite is Cook, although there's something appealing about Bak's more aggressive approach. And I love Tirelli's wild ride.
There are a few who make dreadful musical choices, but it's almost more fun to listen to those. My awards:
Pitchiest overall (thought so many have trouble with that E): Tie: Bess Arlene (which is too bad, because her interpretation is beautiful) and Lani Misenas, who loses more than a quarter-step at one point
Most likely to be used as a Bugs Bunny or Marx Brothers soundtrack: Lydia Cortese
And award for best hat goes to Mimi Coertse
Yeah, there are some pitch issues. And Cortese and Tirelli are from old "private" recital discs, definitely more aspirational than professional. Coertse's hat is a fashion statement -- did you notice she is standing next to a statue bust of herself? I'd say it's at best a rough likeness, and has quite the bust for a bust!
@@songbirdwatcher I did not see the bust. A+ for art direction. Except to me it looks like Mercedes McCambridge in Johnny Guitar. With large breasts.
@@songbirdwatcher😅
I understand your position on posting things that aren't on RUclips or non famous singers, yes the one I'm about to suggest is a studio recording, but the artist never sang Gilda on stage and was associated full lyric soprano, spinto and dramatic soprano repertoire, not to mention that was in her 50s when it was recorded and the was Leontyne Price!
Yes. I remember how far my jaw dropped when I first heard Price take that high E - so unexpected!
ruclips.net/video/nz5R1M-NCAE/видео.html
maria callas added one high e in mexico city and leontyne price too :)
Apparently, Callas' last note there is an E-flat as she transposed the aria down a half-step. I just checked it on RUclips. I will say I was so surprised that Price took that high E, when she is not even a coloratura and at the later stage in her career. Quite fun!
@@songbirdwatcher leontyne price added a high e in the end of caro nome :)
@@songbirdwatcher
The 440 Hz tuning fork was recommended as early as 1949 and standardized at the London International Conference in 1953. Many theaters used it well before 1949. However, all theaters changed the tuning fork (432/435 Hz before 1949) only little by little. It was sometimes modified more lower in agreement with the maestro when the soloists requested it. Callas (she wasn't the only one) often resorted to a lower tuning fork, especially at the end of her career.
Thanks for the broader information on tuning which is great to keep in mind. I assume from your channel title you are a Callas expert, which is good because I definitely am not! I want to be sure I understand what I think you are saying here: are you proposing that Callas did not transpose this aria down, but that the entire work was performed tuned to a lower pitch standard (perhaps even lower than 432 in this case, as a semi-tone lower would make it closer to 415 Hz)? I guess listening to other selections from the performance would reveal that, and possibly other performances from this venue/orchestra in this period?
I guess this settles the discussion on whether "Caro nome" is a true coloratura aria or not.
How do you think?
@@mortenhjelt823 Well, it is nearly always sung by a coloratura soprano, it has become standard repertoire for coloraturas, and many interpolate high Es. So I think it is a true coloratura aria.
One more addition: Niza de Castro Tank.
Excellent compilation, but Petia Ivanova, Hjordis Schymberg, Stanislava Sorckova, Teresa Tirelli and Elizabeth Vidal were better.
I haven't finished listening to them all so far yet, but why are these sopranos torturing themselves? Lol. Quite a few of them cannot stay in tune on that sustained E. And thats not at all to dimish their talents! It is stupidly difficult and vibrato up there can easily morph the pitch. Glad that its not a popular choice these days-- good riddance!
Such a good point! I suppose sometimes a singer's perceptions of their abilities "in extremis" is not aligned with reality. The only justification to take the High E variant is if it can be floated and diminished (seemingly effortlessly) in the same spirit of Verdi's "dim." and "morendo" markings over the long trill. Which very very few sopranos can do. But, that said, I hope it's sort of fun to hear some of them try, eh?
@@songbirdwatcher Yes! I still love to hear all of the different voices and some less common interpolations. Now that I've listened to them all, I can say that some certainly pull it off quite beautifully. Its one of those things though where when its bad... its really bad. Which is so unfortunate to hear considering the "bad" ones are still otherwise lovely performances! So tragic to spoil things though when that high E doesnt work out. Love these explorations into coloratura rep though. Definitely my fav opera channel! 🥰