I'm shrieking with delight- Baltsa is simply a frightening force of nature! Zamperi's going down, but now without a fight, and Baltsa totally ripping her a new one. This is TRULY the catfight to end all catfights, and i love how these two ladies sing the living hell out of their parts. Delicious!!!
Wow! This was excellent! Baltsa is at her fire-breathing peak! Check out her baleful glare as she stalks round Zampieri at 2:49, then sings 'Va, lo chiedi, o sciagurata' like a goddess. This is a reminder that, in Schiller's play, Elizabeth is the more interesting character: she develops emotionally over the course of the play, while Mary is more a victim. Zampieri's voice has never been to my taste, but she gets points for her ability to encompass the role's demands. She is far preferable to Gruberova on the live Philips set, also with Baltsa. Gruberova's weak middle and lack of a chest register disappoint: her 'Figlia impura di Bolena sounds like a boy soprano. Wish this whole video were available.
Bravi! Rarely does opera get this good. Baltsa and Zampieri are phenomenal For all you who don't know Zampieri....her voice may take some getting used to, but it sure is unique.
I really like the Zampieri/Sinopoli Macbetto! Baltsa is unstoppable... perfect for this role. Could you imagine living in the flat next to her... the sound is immense!
The Philips recording under Patané has 3 acts as well and is musically more or less identical with Fischer's take here. Don't know Ceccato's recording well, but it has also 3 acts. I haven't seen Stuarda in 2 acts until fairly recently in Venice 2009, Trieste 2010 had 3 acts again. Anyway, I hope I didn't sound too harsh. I've attended a couple of performances from that run with Zampieri and Baltsa and remember them as absolutely mesmerizing. To each his own, I guess...
Very interesting Ceccato has recorded it (although I'm not really surprised,) I will definitely look into that. I lived in Trenton, MI about 18 miles south of Detroit, from 1969 onward, with uinterruptions. Aldo Ceccato was one of my teachers from 73-75. It was he who helped coach me for Lucia. (As the commentor above mentioned, I think Baltsa is a "force of nature" here; she is by far the best.)
My score follows one of the manuscripts at the Conservatorio S. Pietro a Majella in Naples and lists 3 acts. I've seen another, which counts 4 parts, and Wiklund's critical edition for Ricordi has 2 acts. But whatever version you might have conducted since the 1970's, the Wiener Staatsoper mounted in 1986 a production based on Armando Gatto's revision from 1981in 3 acts. That is what Adam Fischer has conducted, the video excerpt shows the end of act 2, and the description above is correct.
You're wrong, it *is* the conclusion of Act Two. And Baltsa and Zampieri might not be well known where you live, but they certainly are here in Europe, 25 years later or not.
Mine shows scenes as "act II" without break from act I. I have never seen performed as 3, much less 4 acts; following that division of course you are correct. The musical arrangement here is a bit different from mine as well (which follows Wiklund,) subsequent editors insert some phrases that aren't present in this; a few measures here and a few there. The only time I heard Fischer live was on Lucia; he also had some oddities in that arrangement. Perhaps he prefers the "path less traveled?"
I want to murder the prompter. This performance shows Baltsa at the top of her powers and why she was such an electrifying presence on stage. The Met never saw this side of Baltsa but the other major operatic capitals did and it demonstrated why she was snapped up by all the major recording companies during her peak.
Act 2 ends with Maria's head on the block... this is Act 1. I've conducted this work since the 1970's. Check the score or, far easier, bring up another performance here in RUclips (such as Mariella Devia, which is excellent.)
Anybody know what is meant to be in the ceiling of this staging? It looks a little bit like a sparkly cave ... This is the same staging as the Plowright/Baker ENO run, right?
Those straight note from Zampieri are simply horrendous. Im sorry to express like that butI can´t avoid to fel that way. Whenever she adds vibrato is actually a beautiful sound. I don´t understand how she became so well known but whatever.
She isn´t a choir singer and that isn´t the case here. Singing opera without vibrato in duets or ensembles????... you have to be kidding. Hello??... this is opera, not some sacred piece from a baroque composer. I can tell you´re a choir singer and obviously not an opera choir´s singer. In case you didn´t realized opera is a different style. In my opinion, her voice sounds better when it vibrates.
It's fairly enjoyable, but shows so clearly the difference between an "OK" opera and a performance of real artistry. There are many details that aren't good, both staging and music; Adam Fischer is capable of much better than this. The singers aren't well kown (especially 25 years later,) and for reason-- none is a particularly great talent. (By the way, this is the conclusion of the First act, not the Second.)
I'm shrieking with delight- Baltsa is simply a frightening force of nature! Zamperi's going down, but now without a fight, and Baltsa totally ripping her a new one. This is TRULY the catfight to end all catfights, and i love how these two ladies sing the living hell out of their parts. Delicious!!!
Jerry Hadley sounds fantastic. RIP!
Baltsa, crazy Baltsa...oops, Elisabeth. She rocks. Difficult to follow her fury and vocal hablities. 💖💖💖💖
Wow! This was excellent! Baltsa is at her fire-breathing peak! Check out her baleful glare as she stalks round Zampieri at 2:49, then sings 'Va, lo chiedi, o sciagurata' like a goddess. This is a reminder that, in Schiller's play, Elizabeth is the more interesting character: she develops emotionally over the course of the play, while Mary is more a victim. Zampieri's voice has never been to my taste, but she gets points for her ability to encompass the role's demands. She is far preferable to Gruberova on the live Philips set, also with Baltsa. Gruberova's weak middle and lack of a chest register disappoint: her 'Figlia impura di Bolena sounds like a boy soprano. Wish this whole video were available.
it is no duetto, it is a duell.
thank´s for this sensationell posting
Bravi!
Rarely does opera get this good.
Baltsa and Zampieri are phenomenal
For all you who don't know Zampieri....her voice may take some getting used to, but it sure is unique.
Very exciting! Love Zampieri though she is little off vocally but how she acts!
Baltsa is pure magic here.
I really like the Zampieri/Sinopoli Macbetto! Baltsa is unstoppable... perfect for this role. Could you imagine living in the flat next to her... the sound is immense!
Excellent Jerry Hadley
wonderful voices
Oh. to have seen this live!! two top girls singing the pants out of these roles. Wonderful!
Ms. Zampieri's voice is best described as an "acquired taste". :-)
7:34 Oh my god, look at Baltsa's GLARE as she goes in for the kill! ice cold shivers running down my spine.
I love Mara
So do I
Zampieri spaventosa
@Dymension
there is no problem with zampieri.
either you love her or not.
i love her
The Philips recording under Patané has 3 acts as well and is musically more or less identical with Fischer's take here. Don't know Ceccato's recording well, but it has also 3 acts. I haven't seen Stuarda in 2 acts until fairly recently in Venice 2009, Trieste 2010 had 3 acts again. Anyway, I hope I didn't sound too harsh. I've attended a couple of performances from that run with Zampieri and Baltsa and remember them as absolutely mesmerizing. To each his own, I guess...
Very interesting Ceccato has recorded it (although I'm not really surprised,) I will definitely look into that. I lived in Trenton, MI about 18 miles south of Detroit, from 1969 onward, with uinterruptions. Aldo Ceccato was one of my teachers from 73-75. It was he who helped coach me for Lucia. (As the commentor above mentioned, I think Baltsa is a "force of nature" here; she is by far the best.)
My score follows one of the manuscripts at the Conservatorio S. Pietro a Majella in Naples and lists 3 acts. I've seen another, which counts 4 parts, and Wiklund's critical edition for Ricordi has 2 acts. But whatever version you might have conducted since the 1970's, the Wiener Staatsoper mounted in 1986 a production based on Armando Gatto's revision from 1981in 3 acts. That is what Adam Fischer has conducted, the video excerpt shows the end of act 2, and the description above is correct.
What a performance!Thank you for Mara Zampieri.I love her..Can we find a DVD somewhere ?
Greet dramatic performance, pity that zampieri is Out of pitch in the beginning
You're wrong, it *is* the conclusion of Act Two. And Baltsa and Zampieri might not be well known where you live, but they certainly are here in Europe, 25 years later or not.
Mine shows scenes as "act II" without break from act I. I have never seen performed as 3, much less 4 acts; following that division of course you are correct. The musical arrangement here is a bit different from mine as well (which follows Wiklund,) subsequent editors insert some phrases that aren't present in this; a few measures here and a few there. The only time I heard Fischer live was on Lucia; he also had some oddities in that arrangement. Perhaps he prefers the "path less traveled?"
Gotta love Baltsa. Zampieri's voice is unique but lacks a healthy vibrato and Bel Canto schooling.
quelle puissance dramatique des deux interprétes féminines
I want to murder the prompter. This performance shows Baltsa at the top of her powers and why she was such an electrifying presence on stage. The Met never saw this side of Baltsa but the other major operatic capitals did and it demonstrated why she was snapped up by all the major recording companies during her peak.
Act 2 ends with Maria's head on the block... this is Act 1. I've conducted this work since the 1970's. Check the score or, far easier, bring up another performance here in RUclips (such as Mariella Devia, which is excellent.)
Do you have the entire performance on video?
BRAVO MESDAMES!!!
it must be the heaven to see such a performance
on time in life, and then let me die.
i think i´m to late
Well, actually Zampieri was most impressive. I remember Baltsa deeply curtseying to her at the curtain call, which brought the house down.
Anybody know what is meant to be in the ceiling of this staging? It looks a little bit like a sparkly cave ... This is the same staging as the Plowright/Baker ENO run, right?
'operasingers' has posted a lot of zampieri material recently that I haven't seen available on video before.... You sell it, I'll buy it!!
Truly amazing! Thou I'm not a big fan of Baltsa, Zampieri and Hadley (RIP) did a GREAT job.
do you have more?
Si ha l'impressione di assistere ad una vera guerra di dame
Those straight note from Zampieri are simply horrendous. Im sorry to express like that butI can´t avoid to fel that way. Whenever she adds vibrato is actually a beautiful sound. I don´t understand how she became so well known but whatever.
Both pale beside the magic of Gencer and Verret in these roles, although Baltsa is the better of the two here!
Poor Baltsa, always had mediocre partners as Maria. Gruberova was awful in the acting and Zampieri is horrible vocally.
Totally agree...Baltsa desearves better partners. But Gruberova us much better that Zampieri.
0.50: Prompter: (Morta al mondo)!
but this is an opera and she should be able to sing the role, otherwise she should leave it!
Awful isn't it? Straight toned, fluttery vibrato when it does come in and flat.
She isn´t a choir singer and that isn´t the case here. Singing opera without vibrato in duets or ensembles????... you have to be kidding. Hello??... this is opera, not some sacred piece from a baroque composer. I can tell you´re a choir singer and obviously not an opera choir´s singer. In case you didn´t realized opera is a different style.
In my opinion, her voice sounds better when it vibrates.
Agnes Baltsa meravigliosa, Zampieri pessima!!! ma chi l'ha fatta cantare questa???
i dont like the soprano, Agnes is much better
It's fairly enjoyable, but shows so clearly the difference between an "OK" opera and a performance of real artistry. There are many details that aren't good, both staging and music; Adam Fischer is capable of much better than this. The singers aren't well kown (especially 25 years later,) and for reason-- none is a particularly great talent. (By the way, this is the conclusion of the First act, not the Second.)
I ABSOLUTELY LOVE AGNES BALTSA AS ELISABETTA! But that soprano is really ugly...she takes it all down, Gruberova was millions of times better!