I've never been much of a Sutherland fan, but I did hear her in 1974 as Lucia. She had the most amazing voice I've heard live. I was near the back of the house, but she sounded like she was sitting next to me - but without sounding "loud." And if you haven't checked out the clip of Troyanos and Caballe in this same duet, do yourself a favor and go there now.
kay gee: There is no need to check out anyone else when LA STUPENDA is singing. That doesn’t mean I don’t have the Callas (several!), Caballe, Scotto or Sills recordings but Sutherland’s two studio and several videos more than suffice.
The first part of the duet is very difficult - and they blended quite well...and Joan was quite ill when they filmed this....Troyanos had a powerful voice!
Spettacolare,sublime, non esiste più queste voci queste artiste,devote alla loro professione con ,anima, passione e grande professionalità. Solo così si può rimanere nella storia👑👑👑👑👑👑👏👏👏regine del bel canto
Me encanta ver como siempre que dos grandes cantan juntas o en su caso juntos, están disfrutando con enorme complicidad, algo que sólo se consigue con cuando se tiene la seguridad que da la perfección máxima y rl dominiontotal de su arte.
This is in F as Bellini wrote it. Gruberova and Scotto also sing it in this key - Troyanos was one of the few mezzos (listen to that stunning top C at the end of the duet!!) that could cope with the high key Verrett managed it without problems and Horne's early recordings were in F too, but she was later forced to transpose down as the voice dropped. Callas and Caballe (and all the rest) always sang this in Eb.
There are many that try to sing this, but none can match this performance. Aurally and visually stunning. Thx so much for posting. And for me, there can only be one Norma , Dame Joan.
My god trojanos i Adore her since i have heard her the first time,but listen to the live Performance of Callas ,simionato,del Monaco, you are going to dy ,heaven on hell Akon operadeseased
De esta hermosa versión es inolvidable el mo-mento en que ADALGISA (Troyanos)le relata que ha sido seducida,el rostro de NORMA(Sutherland)quien recuerda su propio momento de abandono es de una belleza única.
It's in F. It's in Eb in the score. Sutherland always took it up, forcing mezzi partners to do the same. Troyanos is a great singer. It is wrong to compare singers to one another, such as Troyanos and Horne. Their voices work very different ways, and are centered differently.
No it is in F in Bellini's score. Sutherland sang it in F when the Adalgisa could. Sutherland/Horne started off in F (Vancouver and the Decca recording) but there are 2 recordings on YT (Avery Fisher Hall and a Studio Telecast) where Sutherland and Horne sing it in Eb.
I do agree with you about Ms Sutherland's voice. I never heard her live but have heard that, although she fared well in her studio recordings, one had to hear her voice live to appreciate the sheer size of it. I still think that she is amazing. Troyanos is untouchable in almost everything she does. However, I'm not sure that the voices blend as well as others that I've heard. I would have loved to hear Cerquetti and Troyanos together in Norma.
I heard Sutherland live in recital. Her voice was huge. It filled the 2500 seat auditorium that it was performed in. I was in the last row of the top balcony. And the volume of her voice was incredible. It was in the early 1980's. And her voice was still fresh and beautiful.
just read your response (belatedly) Babs22h, and around the time i wrote the comment Sutherland had a fall at her house in Switzerland and broke her legs, hence 'hope her legs are alright' best wishes gas
Yes. This is a whole step higher than the normal version. I can't tell whether they sang it that way or whether it's a synching issue (like playing a tape too fast). Since it's just a whole step, it wouldn't be too much faster than the normal speed.
Mezzo is like "Oh thank god I made it, this is almost killed me. That women on my left is too good I should avoid to be her partner next time." at 7:16 LOOOOOL
A wonderful performance. But the Canadian Opera must have been saving on the light bill. As Rudolf Bing once said about Karajan's production of Die Walkure at the Met, after seven lighting rehearsals, "I could have gotten the stage that dark in one rehearsal!"
Crazy, man. Deaf person. Caballe's voice was built on its fundament, and remained hooked to it all of her career. She sang with energy until 1973, after which the mechanism began to sag. She'd been singing professionally 17 years by then, and was 40. Refer to Rasponi's "The Last Prima Donnas." Unanimously, the highest-ranking professional singers vote Caballe's technique prodigious, and name her the last great soprano.
Please stop comparing your glowing memories of a young Callas to Sutheland in the latter portion of her career. It is certainly not fair. Maria was great, not doubt, but her voice was failing by her mid-thirties. She was dead at an age when Dame Joan was still very busy with her career. What would the Norma of Callas sound like after age 50? Very, very sad.....and thats the truth.
Callas was like a bright comet streaking across the night sky. She burned brilliant and dazzling for a few years, but her career was over too soon. Sutherland sang brilliantly for many years, but eventually her voice declined as well. My favorite Norma is Callas, but I like Sutherland as well. And Caballe was great in the role.
These comments are so ridiculous that the writer is totally disqualified. They betray an unfamiliarity with singing style and technique so absolute they create a mini-farce here. A Met Norma from January of 1973 shows Caballe the grand mistress of this role in all recorded history. Sutherland, after 1959, assimilated Zeffirelli's conception of Lucia into absolutely everything she ever did for the next 30 years, most of it severely hampering style, and causing her singing to droop eternally.
+jmiller05 That's not true, of course! The duet is written in this key (I believe it's F), and Sutherland sang it when her mezzo partner could match it. If the mezzo had trouble at the top, the duet was transposed down. And most singers perform it in the transposed lower key.
Eternas!
My goodness!
What a beautiful blend of voices!
Troyanos is an excellent Adalgisa. I keep watching it again and again... Thank you so much for posting.
Absolutely wonderful!
No hay más mezzo's como la Troyanos.... Fue única!!!!
I've never been much of a Sutherland fan, but I did hear her in 1974 as Lucia. She had the most amazing voice I've heard live. I was near the back of the house, but she sounded like she was sitting next to me - but without sounding "loud." And if you haven't checked out the clip of Troyanos and Caballe in this same duet, do yourself a favor and go there now.
kay gee: There is no need to check out anyone else when LA STUPENDA is singing. That doesn’t mean I don’t have the Callas (several!), Caballe, Scotto or Sills recordings but Sutherland’s two studio and several videos more than suffice.
Oh my oh my oh my!!!!!!!!!! Heaven on earth!
Troyanos sounds amazing, as usual. Left us way too soon! I recall reading Sutherland was not feeling well..still she shines!
Wonderful! Never heard Troyanos before. Great, strong voice!
WOW! Go on Tatiana!!
Absolutely genius, absolute perfection!❤️❤️
Credo che nessuna come la Troyanos( buon anima) Uno non si stanca di sentirla...fin'oggi !!!!!!
The first part of the duet is very difficult - and they blended quite well...and Joan was quite ill when they filmed this....Troyanos had a powerful voice!
Spettacolare,sublime, non esiste più queste voci queste artiste,devote alla loro professione con ,anima, passione e grande professionalità. Solo così si può rimanere nella storia👑👑👑👑👑👑👏👏👏regine del bel canto
i like it very much .This version is one of the rarest i have ever heard cause you can hear both of the voices in their vocal extesntion ,braveee
I.was.in.Toronto.to.see.this.fabulous.performance.3.times.I.will.bever.forget.
quel merveilleux partage .... quel talent.
Troyanos owns this role - the ideal Adalgisa!!
Horne was brilliant in the role.
Everybody owns it - y’all don’t realize that every opera fan says that about whoever they like?
@@SymphonyBrahms I agree with you! Horne is my favorite Adalgisa Tatiana is great too! Her staccati are as wonderful! Her bolero is great! 👍
Perfection!!!
Me encanta ver como siempre que dos grandes cantan juntas o en su caso juntos, están disfrutando con enorme complicidad, algo que sólo se consigue con cuando se tiene la seguridad que da la perfección máxima y rl dominiontotal de su arte.
Due mostri sacri!❤
Wonderfull !🌷
diese Stimmen ein Wahnsinn, ein Traum
This is in F as Bellini wrote it. Gruberova and Scotto also sing it in this key - Troyanos was one of the few mezzos (listen to that stunning top C at the end of the duet!!) that could cope with the high key Verrett managed it without problems and Horne's early recordings were in F too, but she was later forced to transpose down as the voice dropped. Callas and Caballe (and all the rest) always sang this in Eb.
What stunning top C ,you can only hear Sutherland.
I wouldn't care to hear Gruberova or Scotto sing this role. Or even accept a free ticket. No thank you.
Troyanos is one of the true artists of the 20th century. Sutherland is...well, Sutherland.
There are many that try to sing this, but none can match this performance. Aurally and visually stunning. Thx so much for posting. And for me, there can only be one Norma , Dame Joan.
awesome, just awesome
It really doesn't get much better than this. Thanx so much for posting.
Una coppia ECCELSA! ❤
My god trojanos i Adore her since i have heard her the first time,but listen to the live Performance of Callas ,simionato,del Monaco, you are going to dy ,heaven on hell
Akon operadeseased
thank you ??? ❤🇱🇨
De esta hermosa versión es inolvidable el mo-mento en que ADALGISA (Troyanos)le relata que ha sido seducida,el rostro de NORMA(Sutherland)quien recuerda su propio momento de abandono es de una belleza única.
It's in F. It's in Eb in the score. Sutherland always took it up, forcing mezzi partners to do the same. Troyanos is a great singer. It is wrong to compare singers to one another, such as Troyanos and Horne. Their voices work very different ways, and are centered differently.
Goospimpels and instant tears.
No it is in F in Bellini's score. Sutherland sang it in F when the Adalgisa could. Sutherland/Horne started off in F (Vancouver and the Decca recording) but there are 2 recordings on YT (Avery Fisher Hall and a Studio Telecast) where Sutherland and Horne sing it in Eb.
Couldn't have said it better.
I do agree with you about Ms Sutherland's voice. I never heard her live but have heard that, although she fared well in her studio recordings, one had to hear her voice live to appreciate the sheer size of it. I still think that she is amazing. Troyanos is untouchable in almost everything she does. However, I'm not sure that the voices blend as well as others that I've heard. I would have loved to hear Cerquetti and Troyanos together in Norma.
I heard Sutherland live in recital. Her voice was huge. It filled the 2500 seat auditorium that it was performed in. I was in the last row of the top balcony. And the volume of her voice was incredible. It was in the early 1980's. And her voice was still fresh and beautiful.
@fairlytaleofnewyork I agree with you, thank you for sending my way
just read your response (belatedly) Babs22h, and around the time i wrote the comment Sutherland had a fall at her house in Switzerland and broke her legs, hence 'hope her legs are alright'
best wishes
gas
Yes. This is a whole step higher than the normal version. I can't tell whether they sang it that way or whether it's a synching issue (like playing a tape too fast). Since it's just a whole step, it wouldn't be too much faster than the normal speed.
No, this is the "version" the composer wrote (in F). Others sing it transposed in Eb
Mezzo is like "Oh thank god I made it, this is almost killed me. That women on my left is too good I should avoid to be her partner next time." at 7:16 LOOOOOL
they both amazing, this is just a joke, nothing disrespect to any of them
A wonderful performance. But the Canadian Opera must have been saving on the light bill. As Rudolf Bing once said about Karajan's production of Die Walkure at the Met, after seven lighting rehearsals, "I could have gotten the stage that dark in one rehearsal!"
Crazy, man. Deaf person. Caballe's voice was built on its fundament, and remained hooked to it all of her career. She sang with energy until 1973, after which the mechanism began to sag. She'd been singing professionally 17 years by then, and was 40. Refer to Rasponi's "The Last Prima Donnas." Unanimously, the highest-ranking professional singers vote Caballe's technique prodigious, and name her the last great soprano.
6:44
im here for nat TOO!
This is the way was originally written, one tone up.
Music is played and sung one tone higher than when it was first performed!
Yeah Joanie often sang in original keys
@@xavieralberto1176 No, he meant this is in F as written and most singers transpose it down to Eb
love cabs(andDJ) but it did all go south noticeably
Reinheit.
The high notes was held too long at the end. Look at Troyanos roll her eyes once it's over.
I agree entirely toricaballe. Singing the notes is not enough in opera.
Please stop comparing your glowing memories of a young Callas to Sutheland in the latter portion of her career. It is certainly not fair. Maria was great, not doubt, but her voice was failing by her mid-thirties. She was dead at an age when Dame Joan was still very busy with her career. What would the Norma of Callas sound like after age 50? Very, very sad.....and thats the truth.
Callas was like a bright comet streaking across the night sky. She burned brilliant and dazzling for a few years, but her career was over too soon. Sutherland sang brilliantly for many years, but eventually her voice declined as well. My favorite Norma is Callas, but I like Sutherland as well. And Caballe was great in the role.
I agree completely
poor love hope her legs are alright
two wonderful singers but unfotunately the voices dont blend together as S with horne or callas/simionato,or even sutherland with caballe
These comments are so ridiculous that the writer is totally disqualified. They betray an unfamiliarity with singing style and technique so absolute they create a mini-farce here. A Met Norma from January of 1973 shows Caballe the grand mistress of this role in all recorded history. Sutherland, after 1959, assimilated Zeffirelli's conception of Lucia into absolutely everything she ever did for the next 30 years, most of it severely hampering style, and causing her singing to droop eternally.
Callas was the greatest Norma in all history. Sutherland was great and so was Caballe.
I love Tatiana Toryanos, but I found this rendition somewhat lacking in energy.
This is good, however Jeniffer Larmore and Carol Vaness rendition of this aria is better.
Siegmund54
I doubt that they can better two legends like Sutherland and Troyanos.
Typical Sutherland trick- transposing upwards.
+jmiller05 That's not true, of course! The duet is written in this key (I believe it's F), and Sutherland sang it when her mezzo partner could match it. If the mezzo had trouble at the top, the duet was transposed down. And most singers perform it in the transposed lower key.
jmiller05 If it fits her better then why not.
OMG Sutherland's appareance is absolutely nightmarish here. The Rocky Horror Picture Show. 🥴 (The voice is not much better btw)