Sutherland’s Voice was HUGEEEE!!! Anyone else saying the opposite had not probably heard her live!! So judging a voice without having heard her Voice in-house is just an idiot! Viva Stupenda!!!!
People can say what they want about the High E-Flat before the end of In Mia Man Alfin Tu Sei, but I enjoy it. I interpret it as Norma's fury at Pollione reaching its apex near the end of the opera before confessing to her own wrongdoings as well as her last act of desperation of wanting Pollione to be back with her and their children. Yes, Joan Sutherland is my favorite when it comes to this high note, but Cristina Deutekom's beats Sutherland's High E-Flat in volume, size, vocal depth, and tonal richness.
@@crazyorganist1609 I understand your argument. No doubt that Joan Sutherland had the size and the incision coupled with that elegant nobility. However, Cristina Deutekom had a more complete technique throughout the registers.
Yes, it was a great E-flat. And yes, I worked on stage with her, so I have first-hand experience to speak. These videos are very well done, as well. But her [Joan's] production suffers, primarily her diction, and her lack of chest voice. The old TIO and Floria Tosca channels made this quite clear. What a listening public needs is analysis and education, not just great clips. And it's annoying that certain people's doxxing threats and implicit blackmail-like actions, keep taking these channels down. It's like an opera plot, but real- and perverse.
@@DiomedesDioscuro I don't know, but there are people out there who really, REALLY hated those channels. It was a literal hate attack, or at least the Floria Tosca channel said as much...
@@DiomedesDioscuro Thanks, but I've got better things to do. Until audiences (and the culture) realize how much garbage is passed off as 'art' there's not much one can do.
That E flat takes away from the climactic duet but the High D makes more sense at the end of the first act but alas there wasnt anything worth talking about her Norma and only memorable thing was her loud and not big high notes
@Barone Vitellio Scarpia Check out her Beatrice in 1961... She was very loud there. Her voice was pretty damn good... till it wasn't. Her husband destroyed it. Went from being a very promising and decent instrument to the mess we had later on.
Sutherland’s Voice was HUGEEEE!!! Anyone else saying the opposite had not probably heard her live!! So judging a voice without having heard her Voice in-house is just an idiot! Viva Stupenda!!!!
She was indeed divine
People can say what they want about the High E-Flat before the end of In Mia Man Alfin Tu Sei, but I enjoy it. I interpret it as Norma's fury at Pollione reaching its apex near the end of the opera before confessing to her own wrongdoings as well as her last act of desperation of wanting Pollione to be back with her and their children. Yes, Joan Sutherland is my favorite when it comes to this high note, but Cristina Deutekom's beats Sutherland's High E-Flat in volume, size, vocal depth, and tonal richness.
It doesn't. Sutherland had the larger voice Deutkom could never compete with Sutherland for vocal power
@@crazyorganist1609 I understand your argument. No doubt that Joan Sutherland had the size and the incision coupled with that elegant nobility. However, Cristina Deutekom had a more complete technique throughout the registers.
besides the huge final Eb her voice was incredibly big and thick on all the previous notes above the staff
I've heard her high Bs live and can assure you, it filled the largest auditoriums easily and WITHOUT any amplification!
Brava Sutherland!
I was at her very first Norma performance - with John Alexander and Horne.
La Stupenda!!!
Yes, Sutherland is magical, but John Alexsander is too.
Virginia Zeani was beyond Sutherland
No she wasn't
2:14
To some people here "thinking X" is enough to make X a fact.
Let's just throw away logic and give our "thought" based on RUclips videos
Very pretty and melodius singing for a furius betrated woman,,especialy Norma...
Yes, it was a great E-flat. And yes, I worked on stage with her, so I have first-hand experience to speak. These videos are very well done, as well. But her [Joan's] production suffers, primarily her diction, and her lack of chest voice. The old TIO and Floria Tosca channels made this quite clear. What a listening public needs is analysis and education, not just great clips. And it's annoying that certain people's doxxing threats and implicit blackmail-like actions, keep taking these channels down. It's like an opera plot, but real- and perverse.
Oh! Who took those channels down, why and how?
@@DiomedesDioscuro I don't know, but there are people out there who really, REALLY hated those channels. It was a literal hate attack, or at least the Floria Tosca channel said as much...
@@moirbasso7051 We really need to troll as many bad singers videos as we can.
@@DiomedesDioscuro Thanks, but I've got better things to do. Until audiences (and the culture) realize how much garbage is passed off as 'art' there's not much one can do.
@@moirbasso7051 Telling them so is exactly what I'm telling you to do...
Sutherland reads the score all wrong, it's annoying and subpar.
What a shame!
That E flat takes away from the climactic duet but the High D makes more sense at the end of the first act but alas there wasnt anything worth talking about her Norma and only memorable thing was her loud and not big high notes
@Barone Vitellio Scarpia Check out her Beatrice in 1961... She was very loud there. Her voice was pretty damn good... till it wasn't. Her husband destroyed it. Went from being a very promising and decent instrument to the mess we had later on.
@Barone Vitellio Scarpia did you ever hear her in the theatre? (serious question to a serious person - this is not an attack!!)
@@KajiVocals "Promising and decent"...lol.
@@joshuamcpherson007 Yes. She had a chance to become an absolutely perfect voice.
Sutherland no era una buena norma y desfiguraba el rol. Con agudos no escritos y trinos sin profundidad dramática. Norma Callas y después Caballé.
A usted le parece que ese agudo final no tiene profundidad dramática?