I don't think there has ever been a more gleaming voice in opera. The voice is silvery and shiny without ever becoming thin; it is and always remains gargantuan in size. And apart from the actual voice, Leonie's legato is astounding for such a colossal voice - every phrase is meticulously smooth and flowing... Never a break in the vocal line or phrase. Miraculous
I was locked in a huge rehearsal studio with her singing a run through with piano of her whole part of Herodias. Voice was HUGE. Later I found out that HUGE voice was actually only her marking voice because she would mark everything on key. A few days later, in the actual performance she opened up and the voice was maybe 3 times bigger. I also remember that after the marking rehearsal, the Salome turned to me and said “that’s the difference between a real voice and a normal voice like mine”
Lohengrin O the Salome never mentioned the size of the voice but did note her amazement at the perfect placement and the resonance of Rysanek’s voice. She also commented that you could hear that placement in Rysanek’s speaking voice as well. It’s probably something certain people are born with. I’ve watched many Nilsson interviews and her speaking voice seems similarly placed.
@@LohengrinOWell, notmal voices don't project well past a moderately sized orchestra. Not at all if playing Strauss or Wagner. They have mics in opera houses now for a reason.
What a performance, I would die. Im not familiar with this opera and didnt catch most of it, and leonies voice still had me glued to my speakers. I'm fixing to go on a aegyptische helena frenzy right now
If Rysanek had learned to sing in tune more often, she would've been night on unbeatable. A naturally dramatic voice that truly came alive in a high tessitura (her Turandot is also fabulous). Her voice reminds of me a bit of Varnay, with the explosive upper register of a Gwyneth Jones.
And where does one find this Turandot? I know only of a studio recording of the big aria, though, early in her career, she sang a complete run in San Francisco, only to be discouraged from singing the role, ostensibly because her voice was too beautiful.
BRAVO!!! BRAVISSIMO!!! VIVA LA RYSANEK!!! I'm not a fan, but, there's a beautiful feminine glamour beating heart in this performance and that photo which encapsulates the role's soul. I have her recording of Macbeth which is "Callas-light ", but holds her own dignity, and enjoyed tremendously. The same day I bought La RYSANEK'S Macbeth, I remember seeing recordings of GENCER, in NORMA and Macbeth in a clearance bin at 80% off, EXACTLY where they belonged.
…at no point does she “blast”… hers is a gorgeous, enormous , and incredibly controlled dramatic soprano voice in beautiful performance here…I’m really happy to hear this!…(Who’s the tenor, by the way… He’s no slouch here, either…)…
This voice was truly great! And not only cause it was dramatic! The voice is very vibrant and has many under and over tones!
I don't think there has ever been a more gleaming voice in opera. The voice is silvery and shiny without ever becoming thin; it is and always remains gargantuan in size. And apart from the actual voice, Leonie's legato is astounding for such a colossal voice - every phrase is meticulously smooth and flowing... Never a break in the vocal line or phrase. Miraculous
I was locked in a huge rehearsal studio with her singing a run through with piano of her whole part of Herodias. Voice was HUGE. Later I found out that HUGE voice was actually only her marking voice because she would mark everything on key. A few days later, in the actual performance she opened up and the voice was maybe 3 times bigger. I also remember that after the marking rehearsal, the Salome turned to me and said “that’s the difference between a real voice and a normal voice like mine”
so the operatic artists consider Real Voices only the truly BIG voices
@@LohengrinO But remember that Rysanek's voice was not only big... It was brilliant, expressive, beautiful, a silver spear of a voice...
Lohengrin O the Salome never mentioned the size of the voice but did note her amazement at the perfect placement and the resonance of Rysanek’s voice. She also commented that you could hear that placement in Rysanek’s speaking voice as well. It’s probably something certain people are born with. I’ve watched many Nilsson interviews and her speaking voice seems similarly placed.
@@LohengrinOWell, notmal voices don't project well past a moderately sized orchestra. Not at all if playing Strauss or Wagner. They have mics in opera houses now for a reason.
@@babydrane in all opera houses? dear God... do we know who sings with real voice and who with mic?
The one and only. Such ease and the soaring power of those colossal high notes, volcanic, an ocean of sound unparalleled, overtaking the universe.
She sang off key sometimes but they were the best off key notes I’ve ever heard! She was unforgettable.
Exactly. Her off-pitch notes were often more thrilling than her on-pitch notes. Certain more thrilling than most other singers "on-pitch" deliveries.
Breathtaking!
What a voluptuous quality.....
Good thing this opera channel still allow us to coment. :D
Anyway, very exciting singing! Thanks
... Really beautiful!! Thanks dear Lohengrin0... Elsa 👏👏👏👏👏
What a performance, I would die. Im not familiar with this opera and didnt catch most of it, and leonies voice still had me glued to my speakers. I'm fixing to go on a aegyptische helena frenzy right now
If you read the libretto, Aithra is like Dr. Phil to Helena and Menelaus.
If Rysanek had learned to sing in tune more often, she would've been night on unbeatable. A naturally dramatic voice that truly came alive in a high tessitura (her Turandot is also fabulous). Her voice reminds of me a bit of Varnay, with the explosive upper register of a Gwyneth Jones.
extremely wide ranged voices are very difficult to be put into tune... it is always easier to sing a bit whatever
And where does one find this Turandot? I know only of a studio recording of the big aria, though, early in her career, she sang a complete run in San Francisco, only to be discouraged from singing the role, ostensibly because her voice was too beautiful.
BRAVO!!! BRAVISSIMO!!!
VIVA LA RYSANEK!!!
I'm not a fan, but, there's a beautiful feminine glamour beating heart in this performance and that photo which encapsulates the role's soul. I have her recording of Macbeth which is "Callas-light ", but holds her own dignity, and enjoyed tremendously. The same day I bought La RYSANEK'S Macbeth, I remember seeing recordings of GENCER, in NORMA and Macbeth in a clearance bin at 80% off, EXACTLY where they belonged.
ahahhahahahahha
…at no point does she “blast”… hers is a gorgeous, enormous , and incredibly controlled dramatic soprano voice in beautiful performance here…I’m really happy to hear this!…(Who’s the tenor, by the way… He’s no slouch here, either…)…
Thank you. How very pretty.
UNGLAUBLICH ! ! !
Do you know what year this is from?
1956
Who's the tenor?
This sounds strongly like Jon Vickers, if I had to guess.
Bernd Aldenhoff
Helena doesn't sing any high D's in the role (Aithra does). Helena has one C# here, at the end of Zweite Brautnacht. Leonie is superb.