It's amazing we have this document, as I believe it was meant to be for Tebaldi. Olivero here is too closely miked - her voice in the theater was much less grainy. I heard her SF Tosca in 1978 and she had everything, straight up to the high C's in Acts 2 and 3. The control of the voice was astonishing with a palette of dynamics that were breathtaking. Also amazing diction. I met someone who had heard her sing ADRIANNA and he said she literally turned BLUE in the death scene. Total commitment with a voice that even in its prime was not beautiful or smooth. To many who never experienced her live, I can imagine that she sounds over the top - almost like a parody ala La Gran Scena. But she hearkened back to singers like Bruna Rasa and Burzio, who left their blood on the stage. As to del Monaco, he is well past it here and is reduced to stentorian, nasal singing that is most unpleasant. It had been a great career, but age and a devastating injury due to a car crash really caught up with him by time of this recording. (1969).
I will never understand all the fuss over Olivero. She wobbled like a slinky and her voice had one color -- gray. But, ah…Del Monaco! And Fedora is a pretty darn good opera.
Such disdain suggests that you may be tone deaf Magda Olivero is simply one of the greatest voices of her era Utterly inhabited by the character, the precise situation of the drama, a sublime pure and elevated voice free to express modulations of feeling with consummate artistry Such extraordinary chemistry between the two characters in this recording reveal her ability to live a rôle completely Alas, there are too few recordings of this greatest of singers who sang beautifully to the very end of her life at the age 104 (last public performance aged 99!) - such was her mastery of healthy vocal technique She had a true relationship with God, and her Roman Catholic sensibility is in part what confers a quality of grace and spiritual elevation to her voice There is a rare humility about her Your remark is simply bewildering Pointless to seek to justify Chacun son goût ! De gustibus non est disputandum
I have to agree. The constant and tiresome reliance on glottal stops and the pushing of tone for dramatic effect make me long for the era when taste came before trial.
@@constantquestioning4010Mio nonno il baritono Mino Cavallo canto Traviata sia con la Olivero che con la Margherita Carosio . Ne parlava in maniera superlativa. Alla fine degli anni 30. Se non sbaglio Lei smise per diversi anni un po' per la guerra ed un po' per seguire figli e famiglia.a senza dubbio e ' stata una leggenda del 900
Interpreti meravigliosi!!!
Che cosa estremamente meravigliosa!
Sublime! Divino!
Magnificent! Thanks for uploading this.
😊magnifica representacion. los dos. monaco se sale, es demasiado
y que delicadeza la de magda olivero
Merveilleux et inégalable Mario Del Monaco !!!
Voix unique et splendide !!!
C'est le plus grand ténor du monde.
Magda artista Divina!
EXQUISITOS
Che meraviglia …
It's amazing we have this document, as I believe it was meant to be for Tebaldi. Olivero here is too closely miked - her voice in the theater was much less grainy. I heard her SF Tosca in 1978 and she had everything, straight up to the high C's in Acts 2 and 3. The control of the voice was astonishing with a palette of dynamics that were breathtaking. Also amazing diction. I met someone who had heard her sing ADRIANNA and he said she literally turned BLUE in the death scene. Total commitment with a voice that even in its prime was not beautiful or smooth. To many who never experienced her live, I can imagine that she sounds over the top - almost like a parody ala La Gran Scena. But she hearkened back to singers like Bruna Rasa and Burzio, who left their blood on the stage. As to del Monaco, he is well past it here and is reduced to stentorian, nasal singing that is most unpleasant. It had been a great career, but age and a devastating injury due to a car crash really caught up with him by time of this recording. (1969).
Superlativa la OLivero,Del Monaco canta sempre da inc@zzato con la sua voce fenom3nale.
Magda straordinaria!
What year? 1965?
I will never understand all the fuss over Olivero. She wobbled like a slinky and her voice had one color -- gray. But, ah…Del Monaco! And Fedora is a pretty darn good opera.
Such disdain suggests that you may be tone deaf
Magda Olivero is simply one of the greatest voices of her era
Utterly inhabited by the character, the precise situation of the drama,
a sublime pure and elevated voice free to express modulations of feeling with consummate artistry
Such extraordinary chemistry between the two characters in this recording reveal her ability to live a rôle completely
Alas, there are too few recordings of this greatest of singers who sang beautifully to the very end of her life at the age 104 (last public performance aged 99!) - such was her mastery of healthy vocal technique
She had a true relationship with God, and her Roman Catholic sensibility is in part what confers a quality of grace and spiritual elevation to her voice
There is a rare humility about her
Your remark is simply bewildering
Pointless to seek to justify
Chacun son goût !
De gustibus non est disputandum
Ha ragione
I have to agree. The constant and tiresome reliance on glottal stops and the pushing of tone for dramatic effect make me long for the era when taste came before trial.
@@constantquestioning4010Mio nonno il baritono Mino Cavallo canto Traviata sia con la Olivero che con la Margherita Carosio . Ne parlava in maniera superlativa. Alla fine degli anni 30. Se non sbaglio Lei smise per diversi anni un po' per la guerra ed un po' per seguire figli e famiglia.a senza dubbio e ' stata una leggenda del 900
Ultima opera vista con Mario a Roma❤❤❤❤❤