I agree - I believe the woman she studied with in the mid/late 70s when she was trying to get her voice back (Beverly Johnson I believe?) said that she thought Anna’s vocal problems were related to overwork and singing in the wrong fach. If I’m remembering the old NYT article properly, Beverly’s opinion was that Moffo’s voice was more of a straightforward lyric soprano and less of a lyric coloratura and that the very high repertoire wasn’t suited to her after all.
@@matthewbrown17 I would agree with that assessment...a lyric soprano with a great top extension. Anna's Bb and high C were lovely and exciting, but she knew she could go higher, and couldn't resist. The occasional high D or Eb probably would have done no harm, but she went to the well too often. There was an element of strain in the high E and F for sure.
@@joshuamcpherson007 if you lis😮ten to her young recordings the high notes were free and open...after about 1958 they were pinched. She just sang too much and had jet lag and wore herself out. Lily pons was very careful about singing too much...after her own vocal crisis
@@jimbuxton2187 I think her high Bb and C were fine going into the 60's. But the excursions beyond were producing a thinner and more shrill sound over time...which should have served as a warning. This clip illustrates how lovely the Bb still was in the early 60's...the Bb @ 2:30. ruclips.net/video/CiWW-HEKFj0/видео.htmlsi=5P0q7F3bdU5Pq0pQ The low, grooved tongue also reveals her correct technical approach and comfort on the note.
Love her. The range and the timbre of her voice, is something you don't hear much.
Moffo's high F in her time was fabulous.
I love Anna Moffo, and her utterly unique timbre, but with high C's this beautiful, who needs the F? It just strains the voice.
I agree - I believe the woman she studied with in the mid/late 70s when she was trying to get her voice back (Beverly Johnson I believe?) said that she thought Anna’s vocal problems were related to overwork and singing in the wrong fach. If I’m remembering the old NYT article properly, Beverly’s opinion was that Moffo’s voice was more of a straightforward lyric soprano and less of a lyric coloratura and that the very high repertoire wasn’t suited to her after all.
@@matthewbrown17 I would agree with that assessment...a lyric soprano with a great top extension. Anna's Bb and high C were lovely and exciting, but she knew she could go higher, and couldn't resist. The occasional high D or Eb probably would have done no harm, but she went to the well too often. There was an element of strain in the high E and F for sure.
@@joshuamcpherson007 if you lis😮ten to her young recordings the high notes were free and open...after about 1958 they were pinched. She just sang too much and had jet lag and wore herself out. Lily pons was very careful about singing too much...after her own vocal crisis
@@jimbuxton2187 I think her high Bb and C were fine going into the 60's. But the excursions beyond were producing a thinner and more shrill sound over time...which should have served as a warning. This clip illustrates how lovely the Bb still was in the early 60's...the Bb @ 2:30. ruclips.net/video/CiWW-HEKFj0/видео.htmlsi=5P0q7F3bdU5Pq0pQ The low, grooved tongue also reveals her correct technical approach and comfort on the note.
To me she is a liric soprano with higher notes
What beautiful singing from an especially beautiful lady!
Sie ist großartig, danke Dir dafür. :)
Hahahaha!!!!!!!! Thanks so much! It made my day!!!!!!!!
Goddess!!!!! There is no better!
I heard her at Alice Tully Hall in summer 1975 or 1976. This must be from 1970...
fab stuff
La voix a souffert mais l'aplomb demeure et la femme est radieuse... Ainsi du contre-fa!