Verdi was such a genius to be able to combine the voices of his characters and their conflicting emotions musically in this brilliant way. Even Victor Hugo had to admit Verdi's stunning accomplishment. The singers and the stagecraft here are reminiscent of the 19th century in the best way; we might be watching Mario, Patti, Alboni and Cotogni. They are all singing and acting in the traditional style and it works marvelously. Gedda was one of the most versatile singers I know. I never saw him as the Duke, but I saw him many times in "Faust" and more than once as Arrigo in "Vespri Sicilliani" with Caballé, Milnes and Díaz. He practically blew the roof off the Met with his high Bs in "Giorno del pianto" and then floated up to a high D natural. An incredibly resourceful singer and an infectious comedian in "The Bartered Bride" and "Die Fledermaus."
The role of Gilda was decisive in career "bel canto" transformation of Dame Joan between 1955 and 1959. Here she is a pure instrument where the others are voices...Magnificent.
Obviously, you're not an opera singer. I am, and I think Sutherland stole the show. Gedda was pushing his voice. Sutherland was effortless and soaring.
This is fantastic! She sounds (and looks) beautiful here. Love the campy old telecasts, I've never seen this film before. Only filmed version I've seen with her was the 1987 Sydney one, and Isola Jones' bodice did most of the heavy lifting in that performance...
Absofreakinglutely!!!! We got the biggest kick outta that My voice teacher, this little, older Italian lady, was Scandalized!!! "Every time she breathes, the look like they will Pop Out!" 😎😎😎
It takes a pretty spectacular pair of bazooms to upstage Sutherland and Pavarotti, even past their prime! To be fair to Isola though, she also sang fantastically. And I agree about the lip synching - most of her bell telephone hour and Ed Sullivan broadcasts she seems to be singing live... Hard to tell for sure though.
@@nathandavis3002 She was Awesome!!! Tons of chest voice (forgive the pun)! "Ah! ah! rido ben di core, che tai baie costan POCO" .....the quality/quantity of sound on Poco - soooo freakin Awesome! 😎😎😎
Joan will always remain my favorite, regardless of some flaws, she actually looks good as well! Gedda is another favorite - not as familiar with Miller (impressed though), and Gobbi’s always great! Love it!
Partnered (exquisitely) in the quartet by Nicolai Gedda, Tito Gobbi, and Mildred Miller. Interestingly, none of the four did these roles many times in New York, where Bell Telephone Hour was taped.
Tito Gobbi looks like Robert Dudley, 1st Earl ofLeicester, Elizabeth I’s purported lover. Also, Tito looks like Robert Hardy, the actor who played Leicester in the Elizabeth R series. The singing is such a pleasure to listen to. All the voices blend beautifully in the quartet. The echo effect in Caro Nome is distracting, but her voice is just lovely as a very young and innocent Gilda.
SUTHERLAND ES EL ESTADO SUBLIME.........................................ALUCINANTE........................DE OTRO MUNDO..........................SIEMPRE......................
La sorpresa è Gedda ...che era esploso per il repertorio italiano in Sonnambola e Puritani con la Callas....quindi abilissimo in questi ruoli dove il musicista deve superare il cantante...ho avuto la Fortuna di ascoltare la Gruberova con Pavarotti/E Kraus...anche con la Devia...che bel omaggio comunque ad una Signora che nel mondo Anglosassone ha fatto da perno alla fama del bel canto...come la Gruberova in quello slavo/ teutonico... SIA BENEDETTO LEI E IL TUBO...CHE RENDE Conosciute queste tracce luminose...chapeau!
I wish Joan could have worn her hair down more..she looks beautiful here.. Her birthday is coming up..I'm doing a tribute concert in Perth /Western Australia..so loving all the vids you are posting LohengrinO
Once Hugo, after listening to Rigoletto, said about this brilliant quartet with a feeling of slight envy, that if he could make four people speak at the same time in a dramatic play, but at the same time the feelings and moods of all the characters were heard by the public, then the playwright could achieve the same success. I think genial writer was wrong. Geat music and great singers only can do that.
@@Sutherland2 Yes there are many live recorded performances of many singers. Those are not recordings made by those singers. They are recordings made of those singers. So Joan and Nicolai did not record together since they were on different labels. Not surprisingly, I'd forgotten about L'Oracolo. An opera I've never heard and probably never will.
A very interesting observation, that these three never recorded together. I do have a recording of Sutherland and Gedda singing "Puritani" together, but that's not in a studio and so it doesn't count. Sutherland and Gobbi performed a scene from "Tosca" on TV, but that's not in a recording studio either. Record companies were very proprietary in those days.
@@Perrosiutico Yes it was unfortunate that so relatively few studio recordings were made when there were so many great voices. Corelli only recording with Callas for one complete opera and with Tebaldi only for one album of duets. But there are a lot of live recordings available even if the sound isn't always very good.
@@Sutherland2 Curious, I actually liked the opera much more than I'd expected and thought some parts of it are very good, particularly the scene where the girl mourns her lover who is murdered on the street (Sutherland rocks singing it).
Gilda (Joan Sutherland) is brought by her father to a low-class and dangerous neighborhood for his daughter to see who the Duke of Mantua that deceived and seduced her as a "good boy" really is. Hidden with her father, who already knows the true evil and vain character of the Duke because he works for him as a jester, she sees that he's nothing but a cheap seducer of any woman he sees and thinks is attractive (Maddalena, who he is flirting and having fun with in this scene, is the sister of a professional killer and herself a pretty low-level criminal), and she realizes she's been lied to and bought a fantasy all this time, the Duke is actually a piece of shit.
Люблю Ріголетто від перших ноток і до Ріголеттової високої нотки останньої миті, як це робить (робив) МакНейл.. Гоббі люблю страх як. Але ж бо тяжко заховати в мішок високу прекрасноголосу Джоан - Джільду..
Obviously, you're not an opera singer. I am, and I think Sutherland stole the show. Gedda was pushing his voice. Sutherland was effortless and soaring.
@@tonyventura4605 Ooo you’re an opera singer, I guess I have to cede the argument now. 😂 Do you understand how cringy and obnoxious that is? I guarantee you’re just like Miranda Sings.
Dame J - superb. I have always been profoundly conflicted about Gedda. His musicality shines: he always seems to be doing just the right thing that the music and the plot demand; he is always securely on the note (even the stupid top d-somethings in the Postillon aria); he's sensitive to what's going on around him. And yet, and yet... Brilliant Faust (at least in the recording: I did see a video of him much later that was a bit of a struggle to listen to). But I always sense an "acid" edge - a bit too bright, a bit too shrill, perhaps, that Italian tenors in the same repertoire don't have and their warmer tone sits better with the music. No great shock, I suppose: the Italian repertoire was mostly written for Italians to perform. Gedda was half Swedish, half Russian and it's interesting to listen to Russian singers: the (my word) 'acid' tone is there, but the music is markedly different, too and it works for them. Björling was, of course, all Swedish with a "silvery" tone that perhaps sits between Gedda and the Italians but seems to work better in Italian opera. Profoundly conflicted: I love Gedda's work but almost always prefer other renditions. To be fair, it's much the same with Heddle Nash. Sorry for this over-long ramble.
Gedda is the best in this quartetto in every sense - it's absolutely clear for everybody! His vocal phenomenon is even more unusual, that the same one in case with Joan: by his vocal constitution he is practically the same like she is! But for a TENOR voice to have such a high spinto along with such a perfectionism is absolutely unique!! As an international treasure he is the only one: he speaks and sings 14 languages !!!
There's barely any "production" at all, and thank god, for that. It is a very simple situation: two people flirting inside and two people watching and commenting from outside. At least there was no "director's concept" or anything distracting; just superb singing and adherence to the composer and librettists wishes. I did not notice anything that was "ugly" or "irrational" or even "modern," except the simplicity of the performance.
"Modern producton"? Huh? I wonder when you were born, because this video is from 1967. "Modern production"? What's an old production then, those from the 19th century? Btw It's just a TV studio, not an opera performance in an actual theater, and this scene in particular requires basically nothing but some walls and chairs (it's supposed to be set in a very modest, low-class home in a peripherical neighborhood, after all).
Verdi was such a genius to be able to combine the voices of his characters and their conflicting emotions musically in this brilliant way. Even Victor Hugo had to admit Verdi's stunning accomplishment. The singers and the stagecraft here are reminiscent of the 19th century in the best way; we might be watching Mario, Patti, Alboni and Cotogni. They are all singing and acting in the traditional style and it works marvelously. Gedda was one of the most versatile singers I know. I never saw him as the Duke, but I saw him many times in "Faust" and more than once as Arrigo in "Vespri Sicilliani" with Caballé, Milnes and Díaz. He practically blew the roof off the Met with his high Bs in "Giorno del pianto" and then floated up to a high D natural. An incredibly resourceful singer and an infectious comedian in "The Bartered Bride" and "Die Fledermaus."
How fortunate for you to have heard so many outstanding performances! Thank you for sharing your expertise!
Sublime Dame Joan in great company !!!!
Sutherland looks DIVINE! & back when no one could outsing her, too.
What a cast of great artist. Pure joy to listen and watch!!i mean, Gobbi, Gedda, Miller and Sutherland. ❤️❤️
Dame Joan really looked gorgeous here… and the cast is outstanding! We are once again indebted to you Lohengrin O!
Joan Sutherland foi uma grandiosíssima cantora... Maravilhosa...
The role of Gilda was decisive in career "bel canto" transformation of Dame Joan between 1955 and 1959. Here she is a pure instrument where the others are voices...Magnificent.
And, fantastic quartet by Verdi sung by the best Quartet. But certainly dame Joan is extraordinarily beauty.
Goose bumbs.
Obviously, you're not an opera singer. I am, and I think Sutherland stole the show. Gedda was pushing his voice. Sutherland was effortless and soaring.
This is fantastic! She sounds (and looks) beautiful here. Love the campy old telecasts, I've never seen this film before. Only filmed version I've seen with her was the 1987 Sydney one, and Isola Jones' bodice did most of the heavy lifting in that performance...
...and I think she sings live here because sometimes in the campy telecasts they lip synched which is something ALL operatic singers do horribly
Absofreakinglutely!!!!
We got the biggest kick outta that
My voice teacher, this little, older Italian lady, was Scandalized!!!
"Every time she breathes, the look like they will Pop Out!"
😎😎😎
It takes a pretty spectacular pair of bazooms to upstage Sutherland and Pavarotti, even past their prime! To be fair to Isola though, she also sang fantastically. And I agree about the lip synching - most of her bell telephone hour and Ed Sullivan broadcasts she seems to be singing live... Hard to tell for sure though.
In some of Anna Moffo's (delightful) telecasts I sometimes wonder if she was singing along to the same music!
@@nathandavis3002
She was Awesome!!! Tons of chest voice (forgive the pun)!
"Ah! ah! rido ben di core,
che tai baie costan POCO"
.....the quality/quantity of sound on Poco - soooo freakin Awesome!
😎😎😎
As usual, breathtaking 100%. Loved the quartett as well. Vocally it's a wonder for all the singers.
Joan will always remain my favorite, regardless of some flaws, she actually looks good as well! Gedda is another favorite - not as familiar with Miller (impressed though), and Gobbi’s always great! Love it!
Wow Sutherland looks beautiful here
Partnered (exquisitely) in the quartet by Nicolai Gedda, Tito Gobbi, and Mildred Miller. Interestingly, none of the four did these roles many times in New York, where Bell Telephone Hour was taped.
Caresses for the ears... and for the soul... ⭐️⭐️⭐️
Thank you for sharing this delight! 🙏🍀
Wow what a cast!
Bravissimi, MAGNIFIQUE 👏👏👏🤩💥👍
Dame Joan. The one and only.
Superbe casting. Merci🥰
Tito Gobbi looks like Robert Dudley, 1st Earl ofLeicester, Elizabeth I’s purported lover. Also, Tito looks like Robert Hardy, the actor who played Leicester in the Elizabeth R series.
The singing is such a pleasure to listen to. All the voices blend beautifully in the quartet.
The echo effect in Caro Nome is distracting, but her voice is just lovely as a very young and innocent Gilda.
Soothing and calming voices
Fantastic cast!
The best Gilda ever!
SUTHERLAND ES EL ESTADO SUBLIME.........................................ALUCINANTE........................DE OTRO MUNDO..........................SIEMPRE......................
La sorpresa è Gedda ...che era esploso per il repertorio italiano in Sonnambola e Puritani con la Callas....quindi abilissimo in questi ruoli dove il musicista deve superare il cantante...ho avuto la Fortuna di ascoltare la Gruberova con Pavarotti/E Kraus...anche con la Devia...che bel omaggio comunque ad una Signora che nel mondo Anglosassone ha fatto da perno alla fama del bel canto...come la Gruberova in quello slavo/ teutonico... SIA BENEDETTO LEI E IL TUBO...CHE RENDE Conosciute queste tracce luminose...chapeau!
I'm here for Gedda. What an amazing voice!
he covers up everybody
I wish Joan could have worn her hair down more..she looks beautiful here.. Her birthday is coming up..I'm doing a tribute concert in Perth /Western Australia..so loving all the vids you are posting LohengrinO
she was uniquely Gorgeous when she was young (almost in all my posts of hers I try to use photos that show how Beautiful she was in her early years)
Fabulous quatuor !!
Absolutely Amazing!
Thank you for posting
😎😎😎
...and s he looks so beautiful here and Gedda looks so mischievous
When singers could sing.
Once Hugo, after listening to Rigoletto, said about this brilliant quartet with a feeling of slight envy, that if he could make four people speak at the same time in a dramatic play, but at the same time the feelings and moods of all the characters were heard by the public, then the playwright could achieve the same success.
I think genial writer was wrong. Geat music and great singers only can do that.
This is great to see. Especially since neither Sutherland, Gedda or Gobbi ever recorded with one another.
@@Sutherland2 Yes there are many live recorded performances of many singers. Those are not recordings made by those singers. They are recordings made of those singers. So Joan and Nicolai did not record together since they were on different labels. Not surprisingly, I'd forgotten about L'Oracolo. An opera I've never heard and probably never will.
A very interesting observation, that these three never recorded together. I do have a recording of Sutherland and Gedda singing "Puritani" together, but that's not in a studio and so it doesn't count. Sutherland and Gobbi performed a scene from "Tosca" on TV, but that's not in a recording studio either. Record companies were very proprietary in those days.
@@Perrosiutico Yes it was unfortunate that so relatively few studio recordings were made when there were so many great voices. Corelli only recording with Callas for one complete opera and with Tebaldi only for one album of duets. But there are a lot of live recordings available even if the sound isn't always very good.
@@Sutherland2 Curious, I actually liked the opera much more than I'd expected and thought some parts of it are very good, particularly the scene where the girl mourns her lover who is murdered on the street (Sutherland rocks singing it).
👏👏👏👏👏👏👏
A Roma direbbero: Gedda s’è magnato tutti.
Joan = Gilda. Flawless, effortless singing from La (divine) Stupenda.
Gedda was fantastic in this as usual!!! Doesn't he look like the Wizard of Oz in this clip though????
❤️❤️❤️
Вот это высший класс!
Gedda divine!
tito gobbi the star here
Was this recorded on the London label ?
👏🏼👏🏼👏🏼👏🏼
Gedda singing his "favourite" role 😅
he hated Duca?
@@LohengrinO I can't say for sure that he hated it but there is that famous clip of his ending of "La Donna e Mobile" going awry!
I love this! Medicine to my soul to hear. Does anyone know what’s actually going down in this scene?
Gilda (Joan Sutherland) is brought by her father to a low-class and dangerous neighborhood for his daughter to see who the Duke of Mantua that deceived and seduced her as a "good boy" really is. Hidden with her father, who already knows the true evil and vain character of the Duke because he works for him as a jester, she sees that he's nothing but a cheap seducer of any woman he sees and thinks is attractive (Maddalena, who he is flirting and having fun with in this scene, is the sister of a professional killer and herself a pretty low-level criminal), and she realizes she's been lied to and bought a fantasy all this time, the Duke is actually a piece of shit.
@@Homoclassicus thank you 🌸☺️🙏🏼
How about Gedda ? He sounds FANTASTIC !!
Люблю Ріголетто від перших ноток і до Ріголеттової високої нотки останньої миті, як це робить (робив) МакНейл.. Гоббі люблю страх як. Але ж бо тяжко заховати в мішок високу прекрасноголосу Джоан - Джільду..
Who is this Mezzo? I see and hear Nicholai Gedda.
He covers EVERYBODY besides dame Joan's top register :p
Mildred Miller
Dame Joan? I actually think Gedda steals this by a mile.
Obviously, you're not an opera singer. I am, and I think Sutherland stole the show. Gedda was pushing his voice. Sutherland was effortless and soaring.
@@tonyventura4605 Ooo you’re an opera singer, I guess I have to cede the argument now. 😂
Do you understand how cringy and obnoxious that is? I guarantee you’re just like Miranda Sings.
Dame J - superb.
I have always been profoundly conflicted about Gedda. His musicality shines: he always seems to be doing just the right thing that the music and the plot demand; he is always securely on the note (even the stupid top d-somethings in the Postillon aria); he's sensitive to what's going on around him. And yet, and yet...
Brilliant Faust (at least in the recording: I did see a video of him much later that was a bit of a struggle to listen to). But I always sense an "acid" edge - a bit too bright, a bit too shrill, perhaps, that Italian tenors in the same repertoire don't have and their warmer tone sits better with the music. No great shock, I suppose: the Italian repertoire was mostly written for Italians to perform.
Gedda was half Swedish, half Russian and it's interesting to listen to Russian singers: the (my word) 'acid' tone is there, but the music is markedly different, too and it works for them. Björling was, of course, all Swedish with a "silvery" tone that perhaps sits between Gedda and the Italians but seems to work better in Italian opera.
Profoundly conflicted: I love Gedda's work but almost always prefer other renditions. To be fair, it's much the same with Heddle Nash.
Sorry for this over-long ramble.
Вы оперный расист
Gedda is the best in this quartetto in every sense - it's absolutely clear for everybody! His vocal phenomenon is even more unusual, that the same one in case with Joan: by his vocal constitution he is practically the same like she is! But for a TENOR voice to have such a high spinto along with such a perfectionism is absolutely unique!! As an international treasure he is the only one: he speaks and sings 14 languages !!!
Gedda was great here. But Sutherland is the greatest bel canto singer of the last Century. She could have outsang him if she wanted to.
m
She is great, no doubt. But, the others aren't chopped liver. To say she totally overshadows them is merely hyperbole.
You are semi deaf ignorant. They are just fantastic, specially Gedda
a typical "modern" production; ugly and irrational but beautifully sung by a glamourous quartet
There's barely any "production" at all, and thank god, for that. It is a very simple situation: two people flirting inside and two people watching and commenting from outside. At least there was no "director's concept" or anything distracting; just superb singing and adherence to the composer and librettists wishes. I did not notice anything that was "ugly" or "irrational" or even "modern," except the simplicity of the performance.
"Modern producton"? Huh? I wonder when you were born, because this video is from 1967. "Modern production"? What's an old production then, those from the 19th century? Btw It's just a TV studio, not an opera performance in an actual theater, and this scene in particular requires basically nothing but some walls and chairs (it's supposed to be set in a very modest, low-class home in a peripherical neighborhood, after all).
Gedda makes the crap tenors of our day sound even crappier.