Joan Sutherland was the one soprano who I thought was the total Violetta from a purely vocal standpoint. There were others more sensitive and more theatrically viable, but IMO no other soprano had the perfect vocal technical arsenal combined with the vocal weight to make this role really aurally exciting. Callas before 1953 comes close, and of course she surpasses Sutherland theatrically, but the Sutherland voice has so much opulence, thrust and "take-off" that I find hers the most vocally exciting and satisfying.
La he visto en el teatro Colón de Buenos Aires en 1969, con Cioni y McNeal, dirigiendo Bonynge, una maravilla, el gran teatro quedó pequeño con el agudo final del "Sempre libera" Bravísima!!🌹
A very, very great Violetta. It would be hard to find another soprano with the voice, technique and pathos, to sing a better one. Callas had her own magic in this role, a bit hammy as it were, but certainly great. This was one of Joan's favorite role and she gives it everything --- as she did all her long life and career. I miss her terribly. We have no one today who can sing like this --- not even close.
que cantante y artista......................tan grandiosa......................es que no existen palabras para definir este canto ...........esta interpretacion...............y todo.........en todo...........de ella y de lo que la rodea....................es una pasada......los japoneses en aquellos años debieron quedar locos de gusto.....................
What a GREAT document this is! I had to listen to it again. I love Cornel MacNeil and Joan Sutherland's voice just pours out! MacNeil had such an excellent baritone voice - rich and full all the way to the top. Joan's "Sempre Libera" is a virtuoso tour de force! This opera is so FULL of GLORIOUS music! Especially the duets! Verdi was so inspired when he wrote this particular opera. I adore the "Dite alle giovane" especially. Thank you so much for posting this! The duets between Sutherland and MacNeil gave me chills.
Amazing performance. Sutherland's voice sounds very fresh, lush and bright here in many parts of the opera considering the year of the performance (1975, her late prime). Though her coloratura and top notes are great (the High E flat in the cabaletta wasn't her best, though), I was particularly amazed at the quality of her more lyrical singing "Amami, Alfredo" and "Ah fors'è lui", a truly dense wall of sound under the command of excellent musicianship and great technique, with none of the exaggeration (excessive rubati, a lot of portamenti and so on) that we often hear in other Violettas. Her acting is quite affecting especially in the later acts and is truly moving in the finale, but without histrionic excesses nor prima donna "dramatic" antics. I found no reason to complain about her acting here. I like myself a more overt theatrical expression, but I can also appreciate a more restrained but committed and touching interpretation, too.
We are fortunate to have this recording of Joan Sutherland in a role that she loved. I find her engaged in the drama and story and her voice here is lucious. I too am a great fan of Beverly Sills , but I won't and can't let that blind me to the greatness of Dame Joan here. They both had their special place in the operatic world and left us with very different approaches to the role of Violetta. We are so lucky to have witnessed this and I for one just love to sit back and luxuriate in a performance like this.
Fantastic! I saw Dame Joan in quite a few operas and recitals, but never in Traviata. So this is a real treat. I saw Beverly Sills as Violetta around this time, and while she had much greater insight into the role, Sutherland really was the last word in vocal perfection.
No question that Dame Joan is arguably the greatest soprano of the 2nd half of the 20th Century........ able to reach the heights that even Callas was often not able to do in her relatively short career. I literally revere Dame Joan.
Truly a Golden Age singer . WE were so fortunate to have heard her all through the years ! Miss her ! Today all the Violetta's are jumping all over the stage in order to hide their lack of vocal technique - At the Met, 2 seasons ago , Violetta was throwing pillows all around and jumping on a bed - It was a disaster ! By the time she got to the end so could not hit the e flat !
Watching Joan Sutherland is such a fascinating spectacle. And she is really stupendous - the trills are perfect , not just shakes , the 13 stacatti are perfect at the end of "Sempre Libera" she has the most elastic, perfect legato - which ISN'T easy either. I love the way she has the warm quality of a Dramatic or Spinto- plus the precision agility of a Coloratura. SUCH an interesting voice with a superior technique - all the way up to the high Eflat (though here it was slightly "tight"). Still - she really was something extraordinary. Her voice just pours out! Thank you for posting this!
Excellent description of the Sutherland Voice! Just to be naughty though, she looks at 29:19 like she's thinking, "maybe this Eb isn't such a great idea!"
la traviata...................aparte de ser una opera...........fantastica...........muestra.....................la verdad.........................de como se puede estar siendo........una joya.........y como la joya puede perder su brillo.....aunque jamas desaparescera...........el encanto..............del alma humana................la gente buena............pase lo que pase sera querida hasta la muerte................si es que existe eso................que desconosco........................
I love Alexander. Sutherland was so good both at singing and acting. Her first act dress was a wonder. I wished she had transposed Sempre Libera down a half tone but other than that her singing was magnificent. The Eb was the only less than perfect note all evening. Those high C's in Sempre Libera were unbelievable.
Sutherland is astonishingly goos as Violetta-to be able to switch from Sonnambula and Puritani as well as Violetta. She sings it to the manner born! Brava La Stupenda!
la parte española..........por parte del coreografo o escenografo...quedo de diez....................se me ponen los pelos de punta.............precioso de verdad...............
John Alexander, possibly the most underrated tenor of the second half of the 20th Century giving an absolutely superb performance here...outstanding in every way. Sutherland is in marvelous form in this, one of her greatest roles.
HER VOICE HER VOICE IT'S ALL ABOUT HER VOICE, MAN ^^.........but frankly i've never seen a Violetta that BIG AND HEALTHY on stage though, hehehh........
I’m pretty sure she said in many interviews that Norma was her favorite role. But she also loved Violetta very much because she was a real woman. As for Esclarmonde, she said that it was one of her favorite recordings, but it wasn’t a character she particularly identified with.
Just watched the opera sung by Anna Netrebko and couldn’t finish it. Netrebko doesn’t even come close to Sutherland. Sorry, Mme Netrebko😬 Where did all the exceptional opera singers have gone? Why don’t we have a Elisabeth Schwarzkopf or Callas anymore? What happened?
Indeed. This performance was broadcast only as high light on Japan National Broadcasting Company(NHK). But I was not aware of entire programme having been preserved. Thanks a lot.
japon en ese momento vivio lo mas grande....................operisticamente hablando..........................eso no se escucha dos veces.............a no ser que hayas ido detras de ella por todos los teatros del mundo........................
Alexander is the weak link, not suitable to the role. His voice lacks charm, sweetness, youth, more like Giorgio's brother. He blurrs the decortions in the Brindisi, as most do. Love the orchestral details here, though!
I was never a fan of John Alexander. The nasality is extreme. Dame Joan is simply too large for this role. Cornell Macneil is the only real "voice" in this production.
This is terrible, the voice sure is there but all the rest is dreadful ! Really, the dramatic interpretation is zero and she sings like playing je ne sais quoi... The contact with the role is below zero...
One stupid idiot making stupid, idiotic comments. It's fine if you don't like an artist, but how you can you expect to be taken seriously. Having seen Joan Sutherland many times, it was always a knock experience. Still, each to their own!
Gustavo Jiménez It’s true! Sometimes I wasn’t quite sure what language she was singing - her English was particularly awful. But with a voice like that, who cares?! Dame Joan’s voice was a technical miracle.
Eduardo Braivein Where did you get the misguided idea that I don’t accept her? I have seen her on the stage at least eight times, and have most every album she recorded. If you’ve read my comments above, you’ll know I’m a big fan. So please don’t put words in my mouth, or make stupid pronouncements.
@@eduardobraivein8496 No one owes you anything. I can't speak about Italian, but I heard Sutherland singing the Russian romance “Nightingale” and she just killed him, it was so bad that I didn’t care what her voice was, it was impossible to listen. Maybe Italians feel the same way.
Joan Sutherland was the one soprano who I thought was the total Violetta from a purely vocal standpoint. There were others more sensitive and more theatrically viable, but IMO no other soprano had the perfect vocal technical arsenal combined with the vocal weight to make this role really aurally exciting. Callas before 1953 comes close, and of course she surpasses Sutherland theatrically, but the Sutherland voice has so much opulence, thrust and "take-off" that I find hers the most vocally exciting and satisfying.
Joan Sutherland has always been my favorite. She really gave all and I am so very grateful. Viva La Stupenda!
Спасибо Евгений!
La he visto en el teatro Colón de Buenos Aires en 1969, con Cioni y McNeal, dirigiendo Bonynge, una maravilla, el gran teatro quedó pequeño con el agudo final del "Sempre libera"
Bravísima!!🌹
A very, very great Violetta. It would be hard to find another soprano with the voice, technique and pathos, to sing a better one. Callas had her own magic in this role, a bit hammy as it were, but certainly great. This was one of Joan's favorite role and she gives it everything --- as she did all her long life and career. I miss her terribly. We have no one today who can sing like this --- not even close.
que cantante y artista......................tan grandiosa......................es que no existen palabras para definir este canto ...........esta interpretacion...............y todo.........en todo...........de ella y de lo que la rodea....................es una pasada......los japoneses en aquellos años debieron quedar locos de gusto.....................
What a GREAT document this is! I had to listen to it again. I love Cornel MacNeil and Joan Sutherland's voice just pours out! MacNeil had such an excellent baritone voice - rich and full all the way to the top. Joan's "Sempre Libera" is a virtuoso tour de force! This opera is so FULL of GLORIOUS music! Especially the duets! Verdi was so inspired when he wrote this particular opera. I adore the "Dite alle giovane" especially.
Thank you so much for posting this! The duets between Sutherland and MacNeil gave me chills.
Amazing performance. Sutherland's voice sounds very fresh, lush and bright here in many parts of the opera considering the year of the performance (1975, her late prime). Though her coloratura and top notes are great (the High E flat in the cabaletta wasn't her best, though), I was particularly amazed at the quality of her more lyrical singing "Amami, Alfredo" and "Ah fors'è lui", a truly dense wall of sound under the command of excellent musicianship and great technique, with none of the exaggeration (excessive rubati, a lot of portamenti and so on) that we often hear in other Violettas.
Her acting is quite affecting especially in the later acts and is truly moving in the finale, but without histrionic excesses nor prima donna "dramatic" antics. I found no reason to complain about her acting here. I like myself a more overt theatrical expression, but I can also appreciate a more restrained but committed and touching interpretation, too.
какие мастера! какая школа! какая культура пения! сейчас уже так мало кто поет
We are fortunate to have this recording of Joan Sutherland in a role that she loved. I find her engaged in the drama and story and her voice here is lucious. I too am a great fan of Beverly Sills , but I won't and can't let that blind me to the greatness of Dame Joan here. They both had their special place in the operatic world and left us with very different approaches to the role of Violetta. We are so lucky to have witnessed this and I for one just love to sit back and luxuriate in a performance like this.
Goodness What a treat…Thank you so much for posting this performance.
Fantastic! I saw Dame Joan in quite a few operas and recitals, but never in Traviata. So this is a real treat. I saw Beverly Sills as Violetta around this time, and while she had much greater insight into the role, Sutherland really was the last word in vocal perfection.
I agree with you about Sills and Sutherland. I'm really glad they videotaped this!
was sutherlands voice huge and exactly how tall was she?
theodore braden yes, 187 cm of voice
theodore braden I have read that she was 5’9”. Yes, her voice seemed to project without any effort.
@@wotan10950 thats what ive heard to but she seems to dwarf everybody
Les costumes et les décors sont d'une laideur incroyable. Les perruques de Joan, mon dieu...
Elle a toujours eu un goût désastreux, la pauvre.
je trouve Alexander incroyable, quelle voix, elle donne une impression de solidité incroyable et ce timbre exotique est étonnant.
No question that Dame Joan is arguably the greatest soprano of the 2nd half of the 20th Century........ able to reach the heights that even Callas was often not able to do in her relatively short career. I literally revere Dame Joan.
Lovely Dame Joan Sutherland as Violetta Valerie.
La Traviata is Verdi's most opulent opus and his most famous.
magnifica joan sutherland................es de locura su canto interpretativo........es totalmente......abbssoluta................
Eres CORRECTO! ELLA ES LA ULTIMA!😊
maravillosa............................
Truly a Golden Age singer . WE were so fortunate to have heard her all through the years ! Miss her ! Today all the Violetta's are jumping all over the stage in order to hide their lack of vocal technique - At the Met, 2 seasons ago , Violetta was throwing pillows all around and jumping on a bed - It was a disaster ! By the time she got to the end so could not hit the e flat !
Watching Joan Sutherland is such a fascinating spectacle.
And she is really stupendous - the trills are perfect , not just shakes , the 13 stacatti are perfect at the end of "Sempre Libera" she has the most elastic, perfect legato - which ISN'T easy either. I love the way she has the warm quality of a Dramatic or Spinto- plus the precision agility of a Coloratura. SUCH an interesting voice with a superior technique - all the way up to the high Eflat (though here it was slightly "tight"). Still - she really was something extraordinary. Her voice just pours out!
Thank you for posting this!
Excellent description of the Sutherland Voice! Just to be naughty though, she looks at 29:19 like she's thinking, "maybe this Eb isn't such a great idea!"
@@wotan10950 I agree....but still it was quite great!😉
My God, this is perfection! ❤️
la traviata...................aparte de ser una opera...........fantastica...........muestra.....................la verdad.........................de como se puede estar siendo........una joya.........y como la joya puede perder su brillo.....aunque jamas desaparescera...........el encanto..............del alma humana................la gente buena............pase lo que pase sera querida hasta la muerte................si es que existe eso................que desconosco........................
joan sutherland..............................la reina del canto operistico...........................for ever...................
I love Alexander. Sutherland was so good both at singing and acting. Her first act dress was a wonder. I wished she had transposed Sempre Libera down a half tone but other than that her singing was magnificent. The Eb was the only less than perfect note all evening. Those high C's in Sempre Libera were unbelievable.
この方のこえのだしかた、等、本当に美しく、何時間 聞いても少しも疲れず、ただ、心、取られっぱなし。滅多に出会えない凄い歌手様。
Glorious! Oh to have seen this in person!
Sutherland is astonishingly goos as Violetta-to be able to switch from Sonnambula and Puritani as well as Violetta. She sings it to the manner born! Brava La Stupenda!
la parte española..........por parte del coreografo o escenografo...quedo de diez....................se me ponen los pelos de punta.............precioso de verdad...............
John Alexander, possibly the most underrated tenor of the second half of the 20th Century giving an absolutely superb performance here...outstanding in every way. Sutherland is in marvelous form in this, one of her greatest roles.
eoselan7 True! I saw him quite a few times, but mostly at the New York City Opera. And a few times with Beverly Sills, who I think was an old friend.
Couldn’t agree with you more - as good as any of them
She was a legend
She really was STUPENDOUS wasn't she?
HER VOICE HER VOICE IT'S ALL ABOUT HER VOICE, MAN ^^.........but frankly i've never seen a Violetta that BIG AND HEALTHY on stage though, hehehh........
It was Dame Joan's favorite role.
And Esclarmonde
I’m pretty sure she said in many interviews that Norma was her favorite role. But she also loved Violetta very much because she was a real woman. As for Esclarmonde, she said that it was one of her favorite recordings, but it wasn’t a character she particularly identified with.
Dave Glo She only sang it three times in her career.
She told me that her favourite role was probably Norma but that she loved all the roles.
las obras operisticas.....mas alucinantes.......son solo de la grandisima joan sutherland...............y richard ..........bonynge............
Just watched the opera sung by Anna Netrebko and couldn’t finish it.
Netrebko doesn’t even come close to Sutherland.
Sorry, Mme Netrebko😬
Where did all the exceptional opera singers have gone?
Why don’t we have a Elisabeth Schwarzkopf or Callas anymore? What happened?
There will NEVER be anyone like her.
El milagro del bel canto!!!!
Her vocal demonstration is astonishing, the acting is perfect and fitted to the stage where modern acting do not fit.
29:04 Who came up with that silliness?
❤❤❤
Was this a Met tour to Japan?
Indeed. This performance was broadcast only as high light on Japan National Broadcasting Company(NHK). But I was not aware of entire programme having been preserved. Thanks a lot.
Too bad the performance with Robert Merrill wasn't the one video-taped. What a missed opportunity.
Sutherland is brilliant. Disappointed Ramiro omitted ‘O mio rinorso’, but he sings well.
The tenor (Alfredo) is John Alexander
Wow, where can I buy it?
Oh Dio !!!!!
29:02 💖
japon en ese momento vivio lo mas grande....................operisticamente hablando..........................eso no se escucha dos veces.............a no ser que hayas ido detras de ella por todos los teatros del mundo........................
para mi mejor que la de prichard.........
Peccato che non si capisca una sola parola di quello che il tenore canta. In che lingua canta?
Christ alive amazing singing but who let her go stage looking like that.
An entire final act gone! That is blasphemy!
?? what do you mean?
@@vocalisse there is s final act look it up
@@Disneylover2023 the upload is in two parts! you'll the third act by searching "Traviata Tokyo 75 02
Definitely not a Sutherland fan, but really surprised to find her pretty good in this Violetta.
This is not even her best
29:03
Eine schreckliche Violetta, die Rolle passt doch überhaupt nicht zu ihr.
She was far too old for the part.
At 29:28... terrible
take a pill...
eoselan7 that reminds me Callas liked pills and special vitamin injections before the show. Sutherland sang natural.
Alexander is the weak link, not suitable to the role. His voice lacks charm, sweetness, youth,
more like Giorgio's brother. He blurrs the decortions in the Brindisi, as most do. Love the orchestral details here, though!
I was never a fan of John Alexander. The nasality is extreme. Dame Joan is simply too large for this role. Cornell Macneil is the only real "voice" in this production.
Joan is perfect as Violetta.
Not a good fit for either one of them. Dame Joan is much better in great Coloratura roles etc. Arnold Bourbon Amaral
This is terrible, the voice sure is there but all the rest is dreadful ! Really, the dramatic interpretation is zero and she sings like playing je ne sais quoi... The contact with the role is below zero...
One stupid idiot making stupid, idiotic comments. It's fine if you don't like an artist, but how you can you expect to be taken seriously. Having seen Joan Sutherland many times, it was always a knock experience. Still, each to their own!
Once in a century voice and you’re complaining about dramatic interpretation.. wtf 😅
she never managed to improve her pronunciation in languages....but it just never matter as she was GREAT!!!! thank you dame Southerland!
Gustavo Jiménez It’s true! Sometimes I wasn’t quite sure what language she was singing - her English was particularly awful. But with a voice like that, who cares?! Dame Joan’s voice was a technical miracle.
Dave Glo You must accept Sutherland as she is ie with all her accomplishments and blemishes. Period.
Eduardo Braivein Where did you get the misguided idea that I don’t accept her? I have seen her on the stage at least eight times, and have most every album she recorded. If you’ve read my comments above, you’ll know I’m a big fan. So please don’t put words in my mouth, or make stupid pronouncements.
Dave Glo Of course I realise that you "accept" Sutherland. Maybe I didn't express myself correctly but that doesn't mean you have to insult me.
@@eduardobraivein8496
No one owes you anything. I can't speak about Italian, but I heard Sutherland singing the Russian romance “Nightingale” and she just killed him, it was so bad that I didn’t care what her voice was, it was impossible to listen. Maybe Italians feel the same way.
This tenor is horrible.