tebaldi simply owns this aria - no other version i have heard to date can match her recorded performances either in artistry or in vocal power and beauty
@@aaronmeece8658 I just listened to four different performances of Leontyne Price, it was sort of a dark woofy sound that lacked clarity, not at all Italianate
Guys, it is really crazy I do not know why, but when I hear Leyla's voices, I can figure out what the stories are about. She is not only a great singer also acting whit her voice.
If we are faithfull to the original score, I have to applause Steber!!! Wonderful stamima and brightness. In the traditional ending sure we have winners in Tebaldi, Cerquetti, Callas! For me Caballe push too much her voice, the high note of Nilsson is a Natural Wonder but the fraseggio of the italian sound is too alien. Ponselle was one of the greatest Leonoras but the recording is acoustic and cut the size and beauty of her voice 😖 And, yes, I also miss Leontyne Price here 😊
I agree with you. I actually prefer the traditional ending to the written ending; it seems more dramatically affective than jumping from the F to the B-flat. Nilsson's voice never sounded idiomatic in the Italian repertoire. As you say, it was just too alien. Even her Turandot never really worked for me. Callas's recording was done right near the end of her massive weight loss, and though she still had some of the vocal heft of her heavier days, the voice was slimmer and she was starting to deal with the widening of the vibrato that came along with this massive change in her physique, but her interpretation of the aria is truly heartbreaking. I have yet to hear someone sing "Alvaro io t'amo" with the same explosion of emotion on the word "t'amo."
I wondered the same thing. She was more famous than some of her contemporaries, including for the role of Leonora. I would rate her middle of the pack with these great sopranos; I really think Tebaldi, Milanov, and Ponselle are better in this role and aria.
Aprile Millo è stata molto amica di Renata Tebaldi, che le ha dato numerosi consigli . Non faceva lezione. La Tebaldi non ha mai avuto allieve ne’ ha mai insegnato.
Poi aprile Millo è l’ultima grande voce da lirico -spinto, proprio come la Tebaldi . Sono voci sempre più rare. Perché non vengono individuate e vengono rovinate in genere verso un esclusivo repertorio drammatico.
I think the Tebaldi is the Scala recording of the aria. The entire piece shows her in spectacular voice. ‘Che grandezza’. It’s a clear sweeping of the field for her. (Despite the strange tempo I’d put Boninsegna next.)
There is an obvious winner here. But a shout out to Steber too. I'm not sure how she would've fared in the whole role, but she is always exciting. For some reason, the image of a whip always comes to my mind when I hear her high notes.
@@alexeyizmirliev64 la Callas qui e l'ultima...questa opera non è cosa sua...poi basta mettere la Callas dappertutto non ha cantato tutto meglio delle altre anzi .. le vedove callasiane le peggiori...
@@alexeyizmirliev64 Ma Maria è Zinka chi sono ? Ma perchè non portate rispetto a tutti gli artisti e la smettete di chiamarle come se fossero vostre amiche di classe ...che nerviii
@@davideferrari5702sante parole! Per le vedove della Callas ogni rutto di Maria è un’opera d’arte. Una grandissima artista per carità ma l’idealizzare fino a questo punto è ridicolo.
Tebaldi is the weakest. Clearly her top was disintegrating already. Within a few years she couldn't even sustain high notes. Sad. Love Renata, but she had a very weak technique.
@@Sutherland2OOOHHHH YEsssss Tebaldi precisely had weak technique of course Sutherland2 ! , that's why she sang opera for 30 years and her voice never wobbled and she retired with her voice: firm and well placed forward and with all the dynamics until her last concert Tebaldi is the only one in this video, whoever's voice does not change in the upper register, all the others change their voices on top, Milanov's top has nothing to do with her middle, the top is clear. Maria Callas the same and added to that it is strident, Gencer's voice directly is totally frayed in top on forte, Dimitrova has defective vibrato, Caballe her voice loses quality in top en forte her high note is clear in color and unpleasant. Tebaldi is the only one whose voice does not change her on top, Tebaldi Bflat is perfect, well supported and with unwavering vibrato, she simply does not have irregular vibrations in her high notes
In spite of the recording limitations, the greatest female singer who ever lived to be recorded is Rosa Ponselle. No one can ever match that seamless, lush, glorious voice with technique and artistry to match. No one.
The most clear articulation and unmatched tonal quality here belongs to Leyla Gencer, her "Son giunta" from 1957 performance is out of this world. All the presented sopranos are fantastic but in this piece I would prefer Tebaldi and Gencer, of course. This mix gives also Idea how perception of the singing/portraying the role has changed other the time, nothing like this is happening anymore unfortunately.
@@lutandomhlalase4416 I listen and enjoy her performances immensely. They are totally different singers and Gencer's agility and maneuverability makes her superior for me, she always adds a lot of intricate nuances. Leyla does not posses same squilo though, Renata Tebaldi had been gifted.
@@iraklijanashia5567 Gencer has an amazing voice and technique that allows such flawless maneuverability. But for this specific aria she lacks a great deal of squill as her head voice is similar to Price's. Tebaldi just perfect this aria and the role of Leonora in its entirety.
Interesting choices. Interesting exclusions. I don’t need these posts to tell me who was best or better in this role and this post won’t change that reality for me either!
Como puede oírse, prácticamente ninguna de las sopranos aquí seleccionadas cumplen realmente con lo escrito por Verdi en la partitura, que pide cerrar el aria ascendiendo, sin interrupción, del Fa en "-zio" al Sib en la sílaba "-ne". En su lugar casi todas eligen la opción más fácil, que consiste en lanzar en pronunciar las tres "maledizione", respirar y atacar el Sib con un "maledizioooonnn" más sencillo de cantar. Las únicas que cumplen "comme il faut" son la Dimitrova y Steber, sobre todo la primera, pues el "-ne" final está perfectamente pronunciado y lo ataca de manera limpia y directa. La Steber, sin embargo, parece que accede a la nota con un pequeño portamento (aunque no se oye bien). En cualquier caso, ¡bravo por ellas!
Qui si analizza solo l'aria ,ma cantare tutta l'opera specialmente in teatro è ben altra cosa ,La Tebaldi è sicuramente una Leonora di Vargas da manuale, personalmente amo anche la Cerquetti ,la Gencer e la Callas ,delle "giovani "direi che Aprile Millo è notevolissima .
Ну, вообще-то, версия Leontine Price - важна, на мой взгляд. И действительно жаль , что ее записи здесь нет. Из представленных: 1 - Renata Tebaldi, несомненно. Причем, оставила всех соревнующихся далеко позади. Слушала тут ее запись 56 г. и 58 г. с Corelli. Потрясающe. 2 - Zinka Milanov. Традиционно, довольно статично, но очень сильно. 3 - наверное все-таки Anita Cerquetti. Явный громадный талант, к сожалению не развившийся в полной мере. 4 - Eleanor Steber ( очень яркое исполнение), 5 - Birgit Nilsson (просто потому что это - Nilsson, большая актриса.. хотя это и не ее роль) 7- Maria Callas. Среднее вокальное исполнение, но ее фирменный сильный актерский темперамент и энергетика - завораживают. 8 - Virginia Zeani. Очень хорошо. 9 - Leila Gencer. Тоже неплохо, добротное такое исполнение. 10 - Ghena Dinitrova. Хорошее исполнение. И еще чрезвычайно понравилась Celestina Boninsegna, несмотря на странный темп и довольно необычную интерпретацию. Отдала бы ей тоже 3 позицию, наряду с Анитой. Пленительный голос ❤
Nice, good job But I suppose you've forgotten two good singers. The first is Angela Gheorghiu. Her Pace, mio Dio is very expressive and her jump by a quart in the arid final is seamless and gorgeous. The second one is Anna Netrebko
Le ho ascoltate di nuovo tutte e sono tutte all'altezza a parte la Muzio che fa compassione. Ponselle e Boninsegna modeste anch'esse ma forse dipende dalla scadente registrazione di allora. Callas e Nilsson deludono e la Caballe brilla solo nell'acuto. Nei difficili stacchi fra i 5 o 4 "maledizione" la più centrata mi sembra la TEBALDI con il prorompente acuto finale. La migliore ?
Avercene oggi dei soprani come queste Attrici Meravigliose. Chi è la migliore può dire solo questo intenditore sensibile chi ha sentito le loro voci durante le loro recite dal vivo . Il resto è del fumo . Più di 65 anni sto ripetendo la frase che una registrazione sovente è una illusione dolce 🍭… Bellissime voci . Grazie ! il vecchio
@@EmilyGloeggler7984 Più di 70 % di questi soprani li avevo sentito dal vivo. E tu piccolino chi hai sentito dal vivo ? Te lo dico io, la Netrebko… no comment il vecchio
Very few sadly have fully balanced integrated registers :/ only really muzio and ponselle. Tebaldi wins for most impressive sonority however, but the rest didn’t have uniformity through their range, having an awkward girare or screamed high note
Ponselle last note is the worst in the selection, Cerquetti could not opne much on top. Tebaldi has the best last note. (Aprile Millo is not a spinto but a fake spinto, her voice was small)
Well BUST MY BUTTONS!! 🐦🐦⬛🌷🌷💞 Ha! Ha! 🐦🐦⬛🌷🌷💞 I have to take a Scat Nap from this MALIDICIONE! MALIDICIONE! MALIDICIONE! My GOODNESS! Ha ha! What the Hell! Who created all this MADNESS .... 🌷🌷🌷🌷🌷🌷 I am ROLLING on the FLOOR .... The last time I ended up on the floor was in the middle of SHIRLEY BASSEY la Bamba! 🐦🐕🐦⬛🌷🌷💞🙃🤪 MALIDICIONE🤪🙃 crazy crazy crazy
Leonora MUST sound young! She is unmarried and has no children. Females who sound close before or behind the menopause I cannot accept in this role. They sound like their own old mothers and aunts. Callas, Gencer and Dimitrova sound like grandmothers.
@@DiomedesDioscuro Then you like old mothers in the parts of young girls. Butterfly and Manon f.ex. are 15 years in the first act! I will not hear their old mothers or grandmothers in this roles.
...TEBALDI, see her in live recording black and white. Best ever!
tebaldi simply owns this aria - no other version i have heard to date can match her recorded performances either in artistry or in vocal power and beauty
Leontyne Price?
@@aaronmeece8658 I just listened to four different performances of Leontyne Price, it was sort of a dark woofy sound that lacked clarity, not at all Italianate
Tebaldi, Tebaldi, Caballé/Milanov ❤
Tebaldi, Callas and Nilsson
Guys, it is really crazy I do not know why, but when I hear Leyla's voices, I can figure out what the stories are about. She is not only a great singer also acting whit her voice.
If we are faithfull to the original score, I have to applause Steber!!! Wonderful stamima and brightness. In the traditional ending sure we have winners in Tebaldi, Cerquetti, Callas! For me Caballe push too much her voice, the high note of Nilsson is a Natural Wonder but the fraseggio of the italian sound is too alien. Ponselle was one of the greatest Leonoras but the recording is acoustic and cut the size and beauty of her voice 😖 And, yes, I also miss Leontyne Price here 😊
I agree with you. I actually prefer the traditional ending to the written ending; it seems more dramatically affective than jumping from the F to the B-flat. Nilsson's voice never sounded idiomatic in the Italian repertoire. As you say, it was just too alien. Even her Turandot never really worked for me. Callas's recording was done right near the end of her massive weight loss, and though she still had some of the vocal heft of her heavier days, the voice was slimmer and she was starting to deal with the widening of the vibrato that came along with this massive change in her physique, but her interpretation of the aria is truly heartbreaking. I have yet to hear someone sing "Alvaro io t'amo" with the same explosion of emotion on the word "t'amo."
❤❤❤❤❤❤😊😊😊
And where is Leontyne Price?!?!?! For my money, hers was the best “Pace, Pace” I ever heard.
I wondered the same thing. She was more famous than some of her contemporaries, including for the role of Leonora. I would rate her middle of the pack with these great sopranos; I really think Tebaldi, Milanov, and Ponselle are better in this role and aria.
Interestingly, Caballe actually sang this passage as written, in one of her recordings,
TEBALDI !! And to my surprise, Millo was outstanding too. I saw her onstage several times, it's sad that her prime years didn't last long.
Aprile Millo è stata molto amica di Renata Tebaldi, che le ha dato numerosi consigli . Non faceva lezione. La Tebaldi non ha mai avuto allieve ne’ ha mai insegnato.
Poi aprile Millo è l’ultima grande voce da lirico -spinto, proprio come la Tebaldi . Sono voci sempre più rare. Perché non vengono individuate e vengono rovinate in genere verso un esclusivo repertorio drammatico.
Для меня 1 Tebaldi 2 Nilsson 3 Callas.
R. Tebaldi просто невероятная!
Even if Tebaldi is my favorite in this role, many of the others are really outstanding, wonderful Leonoras.
I think the Tebaldi is the Scala recording of the aria. The entire piece shows her in spectacular voice. ‘Che grandezza’. It’s a clear sweeping of the field for her. (Despite the strange tempo I’d put Boninsegna next.)
Tebaldi.
Tebaldi does come out on top here great acuti. Nillson and Cerquetti were also great.
Tebaldi, Tebaldi and Tebaldi.
I would also add Tebaldi. She could sing the telephone directory and I would pay good money to hear her.
@@jamesryan6008
Il miglior acuto finale è della Tebaldi
There is an obvious winner here. But a shout out to Steber too. I'm not sure how she would've fared in the whole role, but she is always exciting. For some reason, the image of a whip always comes to my mind when I hear her high notes.
Qui la Tebaldi e la migliore...
Definitavamente Renata Tebaldi.
La Zinka e bravissima, ma Maria e sopra di tutti!
@@alexeyizmirliev64 la Callas qui e l'ultima...questa opera non è cosa sua...poi basta mettere la Callas dappertutto non ha cantato tutto meglio delle altre anzi .. le vedove callasiane le peggiori...
@@davideferrari5702 Absolute true!
@@alexeyizmirliev64 Ma Maria è Zinka chi sono ? Ma perchè non portate rispetto a tutti gli artisti e la smettete di chiamarle come se fossero vostre amiche di classe ...che nerviii
@@davideferrari5702sante parole! Per le vedove della Callas ogni rutto di Maria è un’opera d’arte. Una grandissima artista per carità ma l’idealizzare fino a questo punto è ridicolo.
Miss Tebaldi is unbeatable!. So much greatness and squillo in all her register, it's a true miracle
Tebaldi is the weakest. Clearly her top was disintegrating already. Within a few years she couldn't even sustain high notes. Sad. Love Renata, but she had a very weak technique.
@@Sutherland2 To much forward singing and pushing, loud for sure!
@@Sutherland2OOOHHHH YEsssss Tebaldi precisely had weak technique of course Sutherland2 ! , that's why she sang opera for 30 years and her voice never wobbled and she retired with her voice: firm and well placed forward and with all the dynamics until her last concert Tebaldi is the only one in this video, whoever's voice does not change in the upper register, all the others change their voices on top, Milanov's top has nothing to do with her middle, the top is clear. Maria Callas the same and added to that it is strident, Gencer's voice directly is totally frayed in top on forte, Dimitrova has defective vibrato, Caballe her voice loses quality in top en forte her high note is clear in color and unpleasant.
Tebaldi is the only one whose voice does not change her on top, Tebaldi Bflat is perfect, well supported and with unwavering vibrato, she simply does not have irregular vibrations in her high notes
Tebaldi, la migliore..
In spite of the recording limitations, the greatest female singer who ever lived to be recorded is Rosa Ponselle. No one can ever match that seamless, lush, glorious voice with technique and artistry to match. No one.
Tebaldi spettacolare, and then i choose la divina Muzio.
The most clear articulation and unmatched tonal quality here belongs to Leyla Gencer, her "Son giunta" from 1957 performance is out of this world. All the presented sopranos are fantastic but in this piece I would prefer Tebaldi and Gencer, of course. This mix gives also Idea how perception of the singing/portraying the role has changed other the time, nothing like this is happening anymore unfortunately.
Try Tebaldi's son giunta
@@lutandomhlalase4416 I listen and enjoy her performances immensely. They are totally different singers and Gencer's agility and maneuverability makes her superior for me, she always adds a lot of intricate nuances. Leyla does not posses same squilo though, Renata Tebaldi had been gifted.
@@iraklijanashia5567 Gencer has an amazing voice and technique that allows such flawless maneuverability. But for this specific aria she lacks a great deal of squill as her head voice is similar to Price's. Tebaldi just perfect this aria and the role of Leonora in its entirety.
Adore Leyla Gencer!!!! Zinka Milanov🥰, Claudia Muzio😍 But in this cuts for me Ghena Dimitrova and Celestina Boninsegna - bests/beasts😁
EVER!!! And don't you forget it! Where are the versions by Yma Sumac and Florence Foster Jenkins?
Florence Foster Jenkins recorded THAT? While she was at it, why didn't she record "Casta Diva"? Lol
I think I'll go for Tebaldi.
Leontyne Price is missing, for me, one of the very best in that role.
Yes, unfortunately I miss some artists :(
@Noack Somewhere
Because lyric soprano and role is written for at least a spinto.
@Noack Somewhere lo mismo con Milanov, Caballé e incluso Steber.
@Noack Somewhere
Very woofy yes.
@Noack Somewhere Only small to someone who never heard her live. Don't believe everything you read from so called "no-it-alls"
Tebaldi! Perfetta . Milanov… brava!
Interesting choices. Interesting exclusions. I don’t need these posts to tell me who was best or better in this role and this post won’t change that reality for me either!
You forgot in absolute to Leontyne Price, the most grant dramatic soprano of siglo XX
Leontyne non è un drammatico. È uno spinto.
Da grande estimatore della Callas devo purtroppo dire che non è tra le migliori,
Como puede oírse, prácticamente ninguna de las sopranos aquí seleccionadas cumplen realmente con lo escrito por Verdi en la partitura, que pide cerrar el aria ascendiendo, sin interrupción, del Fa en "-zio" al Sib en la sílaba "-ne". En su lugar casi todas eligen la opción más fácil, que consiste en lanzar en pronunciar las tres "maledizione", respirar y atacar el Sib con un "maledizioooonnn" más sencillo de cantar. Las únicas que cumplen "comme il faut" son la Dimitrova y Steber, sobre todo la primera, pues el "-ne" final está perfectamente pronunciado y lo ataca de manera limpia y directa. La Steber, sin embargo, parece que accede a la nota con un pequeño portamento (aunque no se oye bien). En cualquier caso, ¡bravo por ellas!
OMG!! I was waiting for this🤩🤩
thank you for this incredible post 👏 👏 👏 👏 👏
leyla and tebaldi
Qui si analizza solo l'aria ,ma cantare tutta l'opera specialmente in teatro è ben altra cosa ,La Tebaldi è sicuramente una Leonora di Vargas da manuale, personalmente amo anche la Cerquetti ,la Gencer e la Callas ,delle "giovani "direi che Aprile Millo è notevolissima .
Sempre LEYLA GENCER❤
Odio que separen el último "maledizione" o hagan otra cosa. Las únicas que no lo hacen son Boninsegna y Tetrazzini (aunque no aparece en este video).
Ну, вообще-то, версия Leontine Price - важна, на мой взгляд.
И действительно жаль , что ее записи здесь нет.
Из представленных:
1 - Renata Tebaldi, несомненно. Причем, оставила всех соревнующихся далеко позади.
Слушала тут ее запись 56 г. и 58 г. с Corelli. Потрясающe.
2 - Zinka Milanov. Традиционно, довольно статично, но очень сильно.
3 - наверное все-таки Anita Cerquetti. Явный громадный талант, к сожалению не развившийся в полной мере.
4 - Eleanor Steber ( очень яркое исполнение),
5 - Birgit Nilsson (просто потому что это - Nilsson, большая актриса.. хотя это и не ее роль)
7- Maria Callas. Среднее вокальное исполнение, но ее фирменный сильный актерский темперамент и энергетика - завораживают.
8 - Virginia Zeani. Очень хорошо.
9 - Leila Gencer. Тоже неплохо, добротное такое исполнение.
10 - Ghena Dinitrova. Хорошее исполнение.
И еще чрезвычайно понравилась Celestina Boninsegna, несмотря на странный темп и довольно необычную интерпретацию. Отдала бы ей тоже 3 позицию, наряду с Анитой.
Пленительный голос ❤
Nice, good job
But I suppose you've forgotten two good singers. The first is Angela Gheorghiu. Her Pace, mio Dio is very expressive and her jump by a quart in the arid final is
seamless and gorgeous. The second one is Anna Netrebko
Netrebko’s renditions are awful.
@@aaronmeece8658 really? Yor're kidding
@@aaronmeece8658 really? you shold be kidding, shouldn't you?
Le ho ascoltate di nuovo tutte e sono tutte all'altezza a parte la Muzio che fa compassione. Ponselle e Boninsegna modeste anch'esse ma forse dipende dalla scadente registrazione di allora.
Callas e Nilsson deludono e la Caballe brilla solo nell'acuto.
Nei difficili stacchi fra i 5 o 4 "maledizione" la più centrata mi sembra la TEBALDI con il prorompente acuto finale. La migliore ?
Avercene oggi dei soprani come queste Attrici Meravigliose.
Chi è la migliore può dire solo questo intenditore sensibile chi ha sentito le loro voci durante le loro recite dal vivo .
Il resto è del fumo .
Più di 65 anni sto ripetendo la frase che una registrazione sovente è una illusione dolce 🍭…
Bellissime voci .
Grazie !
il vecchio
@@EmilyGloeggler7984
Più di 70 % di questi soprani li avevo sentito dal vivo.
E tu piccolino chi hai sentito dal vivo ?
Te lo dico io, la Netrebko…
no comment
il vecchio
Tebaldi se lleva el premio mayor en este rol y no hablemos de esa bomba de estruendo que es el Bb4. Perfetta
Aquí Tebaldi gana a la Diva Callas.
1. Callas 2. Nilsson 3. Ryssanek. Again, too bad Eileen Farrell was omitted. She would be #2.
Tebaldi. She had such a glorious, stentorian voice.
Tebaldi
Tebaldi -Steber
Leyla Gencer your acute is fantástic!
Gencer acute is always ugly, Gencer voice frays , disarms in the forte
@@ginopietracupa4305listem Suicídio Gioconda from Leyla Gencer, is wonderful strong Voice!
The “maledizione” of Callas are just thrilling and perfect diction.
Well, I'm Italian, like you, I guess... And what I hear is "maledizionü." Her voice is wobbling on Bflat, anyway.
Con tan pocas notas valoramos el final de un aria pero no todo. Tampoco sabemos si es su mejor interpretación.
Tebaldi #1, then Nilsson, and Steber for me.
Boninsegna!
Lastima que no hay Maria Caniglia, asì mismo Leontyne, Molnar-Talaijć, Antonietta Stella... 😢😅
Callas, tebaldi, zeani, cerquetti, souliotis were the best
MONTSERRAT forever the best ❤
Steber! Brava! Come scritto!
Ponselle also.
Unfortunately, Ponselle’s 1923 acoustical recording, rather than her far superior electrical remake, was used in this otherwise excellent compilation.
Antonietta Stella, Leontyne Price and Raina Kabaivanska.
Ponselle!
Very few sadly have fully balanced integrated registers :/ only really muzio and ponselle. Tebaldi wins for most impressive sonority however, but the rest didn’t have uniformity through their range, having an awkward girare or screamed high note
Ponselle, Cerquetti, Boninsegna & Nilsson (dramatics) have the best sung last note.
Tebaldi and Millo (spintos) were good too.
Ponselle last note is the worst in the selection, Cerquetti could not opne much on top. Tebaldi has the best last note. (Aprile Millo is not a spinto but a fake spinto, her voice was small)
Steber had a good Bb here as well
@@ginopietracupa4305 Can you explain why did you said Aprille Millo is fake spinto?
@@ginopietracupa4305
Check your ears or learn more about voices and recordings.
@@draganvidic2039 All I say is true. Ponselle high notes do NOT vibrate well, are white. Cerquetti the same and Aprile Millo is simply a bad singer
❤❤❤😊😊😊❤❤😂
Well BUST MY BUTTONS!!
🐦🐦⬛🌷🌷💞
Ha! Ha!
🐦🐦⬛🌷🌷💞
I have to take a Scat Nap from this MALIDICIONE!
MALIDICIONE!
MALIDICIONE!
My GOODNESS!
Ha ha!
What the Hell!
Who created all this MADNESS ....
🌷🌷🌷🌷🌷🌷
I am ROLLING on the FLOOR ....
The last time I ended up on the floor was in the middle of SHIRLEY BASSEY la Bamba!
🐦🐕🐦⬛🌷🌷💞🙃🤪
MALIDICIONE🤪🙃 crazy crazy crazy
Dusolina Giannini is missing. 😢
You can link below the video if you wish.
I can forget some artists :(
@@opera.turkiye here my friend
ruclips.net/video/COsYN-idzkg/видео.html
Maledizioue (Caballé)
She does know how to invent things 😊but adorable and one of the greatest nevertheless
And Ponselle: Maledezione
un grande problema della Caballè ...perdere le lettere per strada
The best one is missing here. Caniglia: ruclips.net/video/VnpmqyMSPis/видео.htmlsi=Eo7BvNXxtdKL9JDW&t=254
Callas, Boninsegna and TETRAZZINI. A half of sopranos from the list are singing with falsetto
La Sultana...!!!
CALLAS AL DO
SOPRA DI TUTTE, POI RENATA.
So few sing it as written
your contributions are always worth viewing, it is always interesting to hear different singers interpretations
No price
ZINKA MILANOV - THE BEST !
She was really a superb Leonora
CABALLE, bien sûr
1 Callas, da pelle d'oca
2 Tebaldi
3 Zeani
Leonora MUST sound young!
She is unmarried and has no children.
Females who sound close before or behind the menopause I cannot accept in this role.
They sound like their own old mothers and aunts.
Callas, Gencer and Dimitrova sound like grandmothers.
I don't really think they do.
@@DiomedesDioscuro
Then you like old mothers in the parts of young girls.
Butterfly and Manon f.ex. are 15 years in the first act!
I will not hear their old mothers or grandmothers in this roles.
La Bonisegna sbaglia tutto!
Hahahaha you made me laugh. Best comment 😂
La sultana poi la cerquetti e infine te aldi