Splendide,voilà une actrice autant qu'une chanteuse, qui "sent "ce qu'elle chante et fait passer un réel frisson dans l'auditoire ! bravo madame , bravo!
Spine-tingling acting and expressiveness at 'Via, ti dico, o maledetta!' and 'Tanto sangue immaginar.' This is how power lust Lady Macbeth should go mad!
swearty203 Yes, I love her interpretation of that lines too. I love how she says:"chi poteva in quel vegliardo tanto sangue immaginar?"(who would have thought that that old man(Duncan) had so much blood!) She managed to express Lady Macbeth's folly and sense of guilt to perfection!
swearty203 Renato Bruson, a italian baritone, who sang Macbeth with her in Treviso, said that she was his best partner he had in this role and said that her interpretation of the scene astonished him, he said in an interview: "I had never seen something like that before, her acting was so convincing, she really looked like a sleepwalker, she took the candle, she knelt on the floor and sang! At the end of the performance, I let her go receive the applauses before me, because I feel Lady Macbeth is the real main character of the opera and because Gencer had deserved that!" Renato Bruson(translated from Italian)
Différent de Callas , fort heureusement! et peut-être la meilleure Lady Macbeth de ces dernières décennies.... interprétation habitée, expressive et timbre d'une chaleur exceptionnelle
My favorite is Callas, who's ambition sounds frightening in the earlier arias, and her sleep walking, especially as recorded in 1958, is a masterpiece of a mind unhinged by guilt. She still sounds a noblewoman, but a mad one. I am not as crazy about her 1952 sleepwalking scene, as deSabata's tempo was far too fast and didn't give her time to do what she did in 1958 at a more leisurely tempo. Verret and Gencer are right up there as well. I too have never found Verrett's final scene as riveting as either of the other two ladies.
vi assicuro che alla Fenice allora c'era il Grande pubblico e non solo quella sera non ci fu Callas che tenesse...era un'artista a tutto Tondo che lasciò un giovane melomane affascinato ...e innamorato di questa figura ...poi la conobbi nella vita.Un carissimo ricordo anche come Insegnante della Scala con Roberto Negri.La moglie di Roberto le fu molto amica ...quando si ammalò.
ok she didn't sing the high dflat. This is opera singing! The expression, the different colors of the voice and drama that she captures in this scene is just great!! She really does sound like Lady Macbeth going mad!
@sezgin86 Yes you are right this is the Venice/Fenice '68 performance. You can tell coz (aside fron the more dramatic sound, as you point out) she doesnt sing the Db at the end. She does in all her other Macbeths available on pirate recordings
En una entrevista Gencer dijo que su tecnica era como Toti dal Monte, y que para cantar tuvo que cambiarla por ésta y parecerse a la manera de cantar de Callas, y el precio que pagó por eso ha sido alto. Igualmente ha conseguidos grandes resultados
I agree entirely. She is terrific, not only sleepwalking but stark mad with suppressed guilt! I don't mind at all the "ossia" at the end and the little accidents in ensemble, this is the real thing!
Cualquier cosa grabada por Gencer tiene interés; pero esta Lady de 1969 (creo), ya no es la Lady del 61 con Taddei. Lamentablemente, esta del 69 se ha difundido más.
To be 100% accurate: the passage is as Verdi wrote it, except Ms. Gencer omits the highest note in the final phrase. IMO, that note isn't missed after such a stunning performance. Ms. Gencer's Lady Macbeth is a revelation, the greatest I've heard (OK, next to MC).
Pfft. She's sung higher than a measly D-flat. Bizarre that she didn't attempt it here. Otherwise quite beautiful, apart from singing a bit too outwardly.
Interpretazione un po' anomala... Strano... Non lo direi se non la conoscessi nella favolosa e mistica interpretazione del 14 gennaio 1960 al Teatro Massimo di Palermo. Più che una scena di sonnambulismo, sembra una scappata coatta da una camicia di forza difettosa da un manicomio colabrodo... Sembra una psicopatica... È vero che, a quanto spiegano le letterature psichiatriche questi fenomeni sarebbero dei meccanismi 'border-line' (o mi sbaglio?...) ma, secondo me, quello da mandare al manicomio era proprio il concertatore! Chissà cosa aveva in mente... Chissà chi era... Nessuna informazione nella presentazione di questo post...
Gencer's intense glottal attacks sometimes disrupted and distorted her tonal qualities. She is singing a bit 'outwardly' and open-toned as someone commented.
DIVINA CREATURA!!!ho avuto la fortuna di poterla ammirare diverse volte all Arena di Verona nei favolosu anni 60!!!
Grazie della registrazionel
Bravíssima.Bravíssima.
It's amazing how Verdi was able to give the impression of Lady Macbeth's madness through the use of rythm.
Gencer is extraordinary.
Amazing singer and artist !!! Wow, love Miss. Gencer !!!
👏👏👏👏 Grazie !
Splendide,voilà une actrice autant qu'une chanteuse, qui "sent "ce qu'elle chante et fait passer un réel frisson dans l'auditoire ! bravo madame , bravo!
Mükemmel ötesi
ALTRO CHE CALLAS DEI POVERI!!!!! UNA VERA LADY!!!!!
çocukluğumun unutulmaz sesi...
Spine-tingling acting and expressiveness at 'Via, ti dico, o maledetta!' and 'Tanto sangue immaginar.'
This is how power lust Lady Macbeth should go mad!
swearty203 Yes, I love her interpretation of that lines too. I love how she says:"chi poteva in quel vegliardo tanto sangue immaginar?"(who would have thought that that old man(Duncan) had so much blood!) She managed to express Lady Macbeth's folly and sense of guilt to perfection!
swearty203 Renato Bruson, a italian baritone, who sang Macbeth with her in Treviso, said that she was his best partner he had in this role and said that her interpretation of the scene astonished him, he said in an interview: "I had never seen something like that before, her acting was so convincing, she really looked like a sleepwalker, she took the candle, she knelt on the floor and sang! At the end of the performance, I let her go receive the applauses before me, because I feel Lady Macbeth is the real main character of the opera and because Gencer had deserved that!" Renato Bruson(translated from Italian)
They are so different, but both exquisite in this
Différent de Callas , fort heureusement! et peut-être la meilleure Lady Macbeth de ces dernières décennies.... interprétation habitée, expressive et timbre d'une chaleur exceptionnelle
Sublime... Better than Callas and many more... genuine, authentic and supreme in technique...
This is really a mad scene, and she truly sounds mad, as if she had gone crazy from guilt.
My favorite is Callas, who's ambition sounds frightening in the earlier arias, and her sleep walking, especially as recorded in 1958, is a masterpiece of a mind unhinged by guilt. She still sounds a noblewoman, but a mad one. I am not as crazy about her 1952 sleepwalking scene, as deSabata's tempo was far too fast and didn't give her time to do what she did in 1958 at a more leisurely tempo. Verret and Gencer are right up there as well. I too have never found Verrett's final scene as riveting as either of the other two ladies.
You're right, IMO. Lady Macbeth does indeed go crazy from guilt. Ms. Gencer outdoes herself in this role.
BRAVAAAAAAAAAAAAAAAA!!!!!!!!!!!
Straordinaria
Ne harika bir yorum👏👏👏💐💐💐💐💐💐💐💐💐💐💐
Is this by any chance from her 1960 Palermo performance? TRULY A STUNNING LADY MACBETH! Such a superb, DEEPLY INSIGHTFUL interpretation!
vi assicuro che alla Fenice allora c'era il Grande pubblico e non solo quella sera non ci fu Callas che tenesse...era un'artista a tutto Tondo che lasciò un giovane melomane affascinato ...e innamorato di questa figura ...poi la conobbi nella vita.Un carissimo ricordo anche come Insegnante della Scala con Roberto Negri.La moglie di Roberto le fu molto amica ...quando si ammalò.
ok she didn't sing the high dflat. This is opera singing! The expression, the different colors of the voice and drama that she captures in this scene is just great!! She really does sound like Lady Macbeth going mad!
L'avenan defefinita una regina
@sezgin86 Yes you are right this is the Venice/Fenice '68 performance. You can tell coz (aside fron the more dramatic sound, as you point out) she doesnt sing the Db at the end. She does in all her other Macbeths available on pirate recordings
En una entrevista Gencer dijo que su tecnica era como Toti dal Monte, y que para cantar tuvo que cambiarla por ésta y parecerse a la manera de cantar de Callas, y el precio que pagó por eso ha sido alto. Igualmente ha conseguidos grandes resultados
Creepy fabulous singing, so much pain and madness within the sense of guilt. Terrifying!!!
I agree entirely. She is terrific, not only sleepwalking but stark mad with suppressed guilt! I don't mind at all the "ossia" at the end and the little accidents in ensemble, this is the real thing!
@corellithebest This must be an edited version of 1968 Fenice Macbeth. The voice here is more dramatic, strong but not as agile as the young Gencer.
❤️🇱🇨!!!
@chengducat Different from who? Do you mean Callas?
@sezgin86 Greetings, Yes, I meant Callas here; no doubt a very superfluous remark. Gencer is in fact very different from any other.
Cualquier cosa grabada por Gencer tiene interés; pero esta Lady de 1969 (creo), ya no es la Lady del 61 con Taddei. Lamentablemente, esta del 69 se ha difundido más.
Assurément Verdi eut proclamé: "c'est elle!" (et tans pis pour le ré bémol)
transposed down the final passage- otherwise outstanding
To be 100% accurate: the passage is as Verdi wrote it, except Ms. Gencer omits the highest note in the final phrase. IMO, that note isn't missed after such a stunning performance. Ms. Gencer's Lady Macbeth is a revelation, the greatest I've heard (OK, next to MC).
The D flat in pianissimo? Desappeared?
She doesn't appear to have the high notes of Callas. Bt still a glorious singer.
@@Operacrazed in her young years, Gencer had wonderful high notes, up to high E flat (listen to her Lucia, Puritani or Gilda)
0:18, vi ti dico
0:36, tremi tu
Molto sentita come interpretazione... Anche troppo, forse. È pur sempre nel sonnambulismo, non in guerra.
Pfft. She's sung higher than a measly D-flat. Bizarre that she didn't attempt it here. Otherwise quite beautiful, apart from singing a bit too outwardly.
The tempo is tooooo fast. It is the SLEEPwalking sceen.
Magnifique, mais... Il manque le contre-ré bémol final... Dommage...
Interpretazione un po' anomala... Strano... Non lo direi se non la conoscessi nella favolosa e mistica interpretazione del 14 gennaio 1960 al Teatro Massimo di Palermo. Più che una scena di sonnambulismo, sembra una scappata coatta da una camicia di forza difettosa da un manicomio colabrodo... Sembra una psicopatica... È vero che, a quanto spiegano le letterature psichiatriche questi fenomeni sarebbero dei meccanismi 'border-line' (o mi sbaglio?...) ma, secondo me, quello da mandare al manicomio era proprio il concertatore! Chissà cosa aveva in mente... Chissà chi era... Nessuna informazione nella presentazione di questo post...
Gencer's intense glottal attacks sometimes disrupted and distorted her tonal qualities. She is singing a bit 'outwardly' and open-toned as someone commented.
Awful, exaggerated. It should still be SUNG!