The singing here is absolutely above and beyond what any other singer on Earth has ever accomplished. How some people miss that part and focus on the diction is beyond me. I understand her when I listen to her and read the libretto. Well - lol - we're all entitled to our own opinion! 😊
@@Sutherland2 well obviously in that case Toscanini? Callas was, and is, famous for her commitment to the words and putting the words across within a flawless belcanto line.
@@celloguy Sutherland worked very hard on her diction, which was very clear at the beginning and during her final years. Your criticism is so old, silly and tired, as if you're stuck in 1962 and can't get out. Yes, Toscanini! He thought Callas' diction wasn't good enough. Yet she was one of the greatest singers ever. Sutherland, too.
@@Sutherland2 it’s not silly, it’s old because it’s true. She may have worked hard at it, but she was never able to sing with clear diction. She even said this herself, so she was aware of her own flaw.
I really love Sutherland's voice and sometimes I really love her singing. Not here. What I really miss is what's happening in the drama. The incredibly touching cantilena that starts at 9.16 is completely ruined by the ludicrous interpolated high note plus descending scale. The phrase becomes ugly and instead of being about the strength that comes from faith in the face of imminent death it's simply about vocal display.
The singing here is absolutely above and beyond what any other singer on Earth has ever accomplished.
How some people miss that part and focus on the diction is beyond me.
I understand her when I listen to her and read the libretto.
Well - lol - we're all entitled to our own opinion! 😊
This is a very quirky opinion
@@celloguy Toscanini had a chance to work with Callas, but he dismissed her for "bad diction." So who's quirky?
@@Sutherland2 well obviously in that case Toscanini? Callas was, and is, famous for her commitment to the words and putting the words across within a flawless belcanto line.
@@celloguy Sutherland worked very hard on her diction, which was very clear at the beginning and during her final years. Your criticism is so old, silly and tired, as if you're stuck in 1962 and can't get out. Yes, Toscanini! He thought Callas' diction wasn't good enough. Yet she was one of the greatest singers ever. Sutherland, too.
@@Sutherland2 it’s not silly, it’s old because it’s true. She may have worked hard at it, but she was never able to sing with clear diction. She even said this herself, so she was aware of her own flaw.
This is it. My goodness, what extraordinary musicianship
Solo cerrar los ojos y escuchar con el alma... ❣️
Glorious.
Sutherland's singing is beyond any other soprano's capability. Without question the greatest voice God ever gave a human being.
I agree 100%
@@MrStpendouslvforjo 200%
400%
Wonderful.
Divina
Sicuramente è nel coro degli angeli
Strepitosa Dame Joan
Is the tenor Stuart Burrows? He sounds excellent.
I really love Sutherland's voice and sometimes I really love her singing. Not here. What I really miss is what's happening in the drama. The incredibly touching cantilena that starts at 9.16 is completely ruined by the ludicrous interpolated high note plus descending scale. The phrase becomes ugly and instead of being about the strength that comes from faith in the face of imminent death it's simply about vocal display.
Tra lei e il tenore fanno a gara per non fare capire niente di quello che cantano.
E chi, a parte te e qualche altro pedante, se ne frega della dizione davanti a una voce e una tecnica nonpareil?