Many opera lovers [and critics] still think that Sutherland's recorded Donna Anna is the greatest ever. Interesting that here she goes back, late in her career, to another one of Mozart's true dramatic soprano roles and literally creates a tornado of sound and fury perfectly capturing the crazed anger of this character. WOW!!!
She's amazing in both part. One of my big regrets is that her Countess in "Le nozze di Figaro" was never preserved. Or can you imagine what she could have done with Fiordiligi? :D
We (the audience) had sat through several hours of beautiful but fairly static opera seria for this, so by the time she came on everyone was hanging out for vocal thrills - and as you can hear, she didn't disappoint! Blew the place apart. Vintage Sutherland and soooooo exciting to hear live. In an interview she said she liked the role because it gave her lots of time in her dressing room to do needlepoint!!
David Butler ....agreed......it was sensational.....the temperature rose immediately in the auditorium. And rightly so. Opera Seria can often be like listening to a loop, but this was Electra-fying
Beverly Sills didn't like Queen of the Night because of all of the long down time between arias. She stayed in her dressing room addressing all her Christmas cards.
The amount of resonance she produces is nothing short of superhuman! It pours out like an ocean wave, with complex harmonics and overtones. Truly she is unique. There will never be anyone who sings like her.
Absolutely thrilling! For the record, in Mozart’s era, it was customary for singers to add appoggiaturas and other ornaments. A lot of people freak out when they hear interpolations, but it was standard practice when these pieces were first performed.
Alla fine dell'aria, se hai la voce e l'impeto della Sutherland, puoi interpolazione tutto. Ma in quest'aria poche lo potrebbero fare a parte Maria Callas e la Sutherland...forse la Leontyne Price.
@@Dan474834 it would have been completely normal in that times to add high notes and all sorts of weird ornamentations, sometimes even Arias from other operas or even composers. Mozart wasn’t delusional, he knew his vocal parts would be changed.
The thing that would make me like Mozart more is if there were more dramatic high notes. It's usually so restrained. I like the singers to have a chance to show off. Call me shallow
@@nwdixieboy, Mozart e' sobrio come tutti gli altri compositori di allora, Paisiello, Cimarosa ecc. Mozart non era considerato un genio come oggi, tant'e' che oltre al Don Giovanni non si rappresentava altro. Tutti i cantanti variavao e aggiungevano com'era nel gusto e nello stile di oggi. Mozart si esegue in maniera monotona.
@@Dan474834 It fits with the character .....and unless you are an expert on the ouija board.....I trust Dame Joan to interpret Mozart more than I would trust you.
OMG ! How did she ever do that tossing around all thoses notes like a big festival of sparkling stars ! La Stupenda is the Best ! We Shall All miss you sooo much . RIP
Yes, most sopranos try to turn this into a "ha ha ha" passage in order to achieve the fast articulation of the notes while approximating the pitch. Joan needs no such trickery - the articulation is perfect and clearly what Mozart intended.
Every role she sings seems to be vocally written for her. Lucrezia Borgia, Maria Stuarda, Alcina, Amina, Lucia. Even here, although Mozart is not really his repertoire, it seems like a perfect Electra.
And this was at 53 years of age, ladies and gentlemen! I did not know she ever sang this role. The interpolated high note -- so Joan -- is something no one else ever tries in this role. (I heard Niska, Behrens and Vaness in the role -- Behrens was the maddest.) But hey: Lucia, Linda, Elvira, Esclarmonde -- she always knew what to do with a loony dame.
here's something else you didn't know... during that season of Idomeneo, both the lead tenor and his understudy got so sick there was no Idomeneo to sing the role. Solution? The opera company got Traviata out of storage with about three days' notice and did that instead - for one night, with Sutherland singing Violetta. Then three days later she was back doing Elettra again. I can tell you, that was one exciting Traviata!!
Have you heard her "Turandot," or her "Santo di Patria" recording from the early 60s? There's nothing ever recorded to compare to her fiery brilliance on that one aria.
@@Eiswirth1 Very familiar with both recordings and they are not hurting for fire but this recording is in another league in terms of being in the character and situation.
On no other occasion have I heard Sutherland sing with such involvement, conviction, power, and grandeur. What a shame she couldn't inject some of this into her Norma.
Although I got to see her in the theater on quite a few occasions, she sang some operas in Australia that she didn't repeat anywhere else: Idomeneo, Suor Angelica, Carmelites. Lucky Australians!
@@highbaritone she did Otello both in London in 1957 and in Vienna in 1959. But I agree - you were lucky!!!! I live in Denmark and didn't begin to listen to opera until 1991 when I was 15, so I missed out on ever hearing Sutherland in the flesh.
It’s interesting when I see some reactions to a negative comment, I can’t find the original comment. Any way I saw this production and, well she was amazing. We were all blown away, fans and non fans. We were all speechless. That is the sound that could have been her Turandot live.
There used to be an actual video of her performance. I'm sad to see it's gone. That was solid proof that she could ACT. It was for lack of a better word... stupendous!
For a dull ?? singer she sure sounds rather involved and stupendous. Alex the Barbaro aria fromGriselda/Montezuma highlights was removed some time ago and I want it back also. Regards-John
For eternity this role/aria will belong to only two sopranos. Joan Sutherland and Edda Moser. They are the only two dramatic coloratura sopranos who could sing this role with conviction and a hair raising element. They are fantastic.
hey! het spijt me dat ik je zo laat terugschrijft. Het is niet precies dat ik van haar stijl niet houd...werkelijk vind ik ze een grote zangeres en kunstenares, maar je hebt gelijk:ander materiaal en andere tijden, alleen is het jammer dat veel zangeressen (meest "oude") kenden niet duidelijk-correcte Mozart/Händel enz. zingen, omdat hun Verdi/Donizzetti bijna prima was, en dat vind ik iets negatiefs voor een kunstenaar. Mozart kunt je niet met Donizetti vergelijken...totaal verschillende stijl.
ah, er zijn erg veel andere sopraans, die met hoger noten durven, maar als je DAT met Mozart maken wilt...het is toch een grote vergissing, ik zal je wat zeggen...Sutherland was een grote, uitstekende sopraan maar haar Mozart was verschrikkelijk, veel professinele zangers zo zeggen, en dat denk ik ook. Wat jammer, het was misschien de ergste Elektra, die ik gehord heb.
I would like to hear ANY Italian soprano who could sing the tessitura of this fiendish aria, put out the ocean of raging tone Sutherland puts out, sing it with both accuracy and passion, and yet somehow pleases your expert ear for diction. Non esiste, caro!
Sutherland is nooit een echte Mozart sopraan geweest, ze gaf dat zelf ook toe. Haar vroege Donna Anna, en de Mozart aria's in de jaren 60/70...zeker stijlvol. Madame Herz....niet te versmaden! :) Sutherland, zou ook The Entfuhrung gedaan hebben. Dat was vast een succes geweest, zij als Constansa. Ik ben van mening dat je haar niet mag en kan vergelijken met de zangeressen van deze tijd Harteros enz. Ander matriaal en andere tijden. Toch bedankt voor je eerlijke mening.
musica tiranna55....gli abbellimenti..gli acuti finali...c'eri al tempo di Mozart? Mozart non credo si scandalizzasse, era prassi comune anche nel Settecento e oggi si sono inventati che non era cosi. Anche la pasta all'amatriciana non prevede il peperoncino ma solo il pepe...eppure tutti ce lo mettono. L'illustre musicologo Giovanni Carli Ballola spiego' che si variava anche Cherubini e sopratutto Spontini, ed erano felicissimi. La puntatura finale della Joan, di che ti preoccupi, lo ha sempre fatto.Il teatro e' teatro. Mi preoccupano invece "le altre", che non fanno ne' questo e ne quello' e si trincerano dietro la filologia che ammazza qualunque fantasia...forse pure la tua.
Non centra nulla con quella che dovrebbe essere la vocalità mozartiana. Sempre in ritardo e non si capisce nulla di quello che dice, peggio del solito. Indiscutibile voce ancor più indiscutibile artista ma Mozart non è questo. E tacciamo dell'acuto finale.
Edi Dario, ci insegni lei quale e' lo stile di Mozart e il perche' il Do acuto non va bene e le altre cose che non le stanno bene così ci faremo una cultura in proposito.
Diction: well in this aria it doesn't matter as much as in some, but I thought she did rather well in that department. Vowels: her vowels are wonderful - she just doesn't always use the printed ones, but uses the best ones for her voice - and I don't mind a bit. Register: not sure what your point is, there, except that her lowest notes are not as strong as the middle or top, but they are perfectly acceptable in the context of this demanding aria. In sum, this is the best I've heard this aria sung: those who have the power for the vengeance and blood and thunder often come to grief on those downward staccatos. You have to be able to do justice to Donna Anna, the Queen of the Night and Fiordiligi to sing this aria.
@Dragan Vidic: All you do is go from CZcams video to CZcams video disrespectfully criticizing world-class singers when you, yourself, are a nobody. Just get off of CZcams already. Everyone has grown very tired of your nasty, ridiculous antics.
Jose Costa I’ve heard this live a few times and this is the speed I have heard before. I guess I was just unlucky to hear them all wrong. Thank you for your post.
@@highbaritone, mi dispiace per te...la Joan e' una furia travolgente. Meglio di così non l'ha cantata nessuna e ci sta bene anche il Do finale acuto alla faccia dei mozartiani e degli stupidi filologi. Ho visto spesso in teatro la Sutherland e chi non l'ha vista e sentita dal vivo non puo' dire nulla.
Many opera lovers [and critics] still think that Sutherland's recorded Donna Anna is the greatest ever. Interesting that here she goes back, late in her career, to another one of Mozart's true dramatic soprano roles and literally creates a tornado of sound and fury perfectly capturing the crazed anger of this character. WOW!!!
She's amazing in both part. One of my big regrets is that her Countess in "Le nozze di Figaro" was never preserved. Or can you imagine what she could have done with Fiordiligi? :D
We (the audience) had sat through several hours of beautiful but fairly static opera seria for this, so by the time she came on everyone was hanging out for vocal thrills - and as you can hear, she didn't disappoint! Blew the place apart. Vintage Sutherland and soooooo exciting to hear live. In an interview she said she liked the role because it gave her lots of time in her dressing room to do needlepoint!!
lololol. Thank you for your remembrance. What a performance. Brava Joan!
David Butler ....agreed......it was sensational.....the temperature rose immediately in the auditorium. And rightly so. Opera Seria can often be like listening to a loop, but this was Electra-fying
Beverly Sills didn't like Queen of the Night because of all of the long down time between arias. She stayed in her dressing room addressing all her Christmas cards.
That's so typical of her, saying something like that :D
ABSOLUTELY SUPERB! a big Dramatic sound with that gleaming high C! Who could be better? I love you Dame Joan!!!!!!
I can't imagine how could the walls of the room stand after this...
The amount of resonance she produces is nothing short of superhuman! It pours out like an ocean wave, with complex harmonics and overtones. Truly she is unique. There will never be anyone who sings like her.
Yeah... its good...
Breathtakingly effective. Chills.
Absolutely thrilling! For the record, in Mozart’s era, it was customary for singers to add appoggiaturas and other ornaments. A lot of people freak out when they hear interpolations, but it was standard practice when these pieces were first performed.
Thank you for pointing that out. Many people are so pressed about that high c 😂
@@zalba5710 , io sarei preoccupato del contrario. Interpolazione e quel Do acuto ci stanno benissimo.
Alla fine dell'aria, se hai la voce e l'impeto della Sutherland, puoi interpolazione tutto. Ma in quest'aria poche lo potrebbero fare a parte Maria Callas e la Sutherland...forse la Leontyne Price.
Fabulous singing. Thank you for posting this.
Wooouw, hail our Queen!!!!
I love this sooooo much.
Especially the last high note..no other soprano DARES...she does!!!!
BRAVA.
Mozart sure wrote some killers. Another phenomenal execution by the great Dame.
this shows Joan's true power powering over the whole orcherstra
And who else could wear that amazing costume and headdress with authority? NO ONE!!!
Mai avrei immaginato che Joan Sutherland avrebbe dato una tale interpretazione vocale e drammatica! Straordinaria!
I don't normally like adding high notes to Mozart's arias but it actually does fit here very well and Joan's high Cs are simply gorgeous.
That’s not what Mozart wrote and it detracts from the dramatic effect he was going after here in my opinion.
@@Dan474834 it would have been completely normal in that times to add high notes and all sorts of weird ornamentations, sometimes even Arias from other operas or even composers. Mozart wasn’t delusional, he knew his vocal parts would be changed.
The thing that would make me like Mozart more is if there were more dramatic high notes. It's usually so restrained. I like the singers to have a chance to show off. Call me shallow
@@nwdixieboy, Mozart e' sobrio come tutti gli altri compositori di allora, Paisiello, Cimarosa ecc. Mozart non era considerato un genio come oggi, tant'e' che oltre al Don Giovanni non si rappresentava altro. Tutti i cantanti variavao e aggiungevano com'era nel gusto e nello stile di oggi. Mozart si esegue in maniera monotona.
@@Dan474834 It fits with the character .....and unless you are an expert on the ouija board.....I trust Dame Joan to interpret Mozart more than I would trust you.
Wonderful Joan. This is the aria that she born to sing. She attacks literally with her powerful voice and the high note a la Joan :) Joan lover
OMG ! How did she ever do that tossing around all thoses notes like a big festival of sparkling stars ! La Stupenda is the Best ! We Shall All miss you sooo much . RIP
I saw this performance in 1979. Sensational.
The Queen. The final staccato is crazy !!!!!!
Yes, most sopranos try to turn this into a "ha ha ha" passage in order to achieve the fast articulation of the notes while approximating the pitch. Joan needs no such trickery - the articulation is perfect and clearly what Mozart intended.
Joan is on fire with this! So amazing!
Oh, the frightening ferocity of La Stupenda!!!
FLAWLESS!!!!!!!!!!!
It's amazing that such a large voice can do so much. The earth must have shook. I didn't know she sang this role. Thanks for the post.
Che dire?
Immensa,fantastica.
Unica
Incredibile!
La Stupenda Joan Sutherland. I envy those who saw her in person.
The greatest singer of any age, past, present, and future..............
Every role she sings seems to be vocally written for her. Lucrezia Borgia, Maria Stuarda, Alcina, Amina, Lucia.
Even here, although Mozart is not really his repertoire, it seems like a perfect Electra.
And this was at 53 years of age, ladies and gentlemen!
I did not know she ever sang this role.
The interpolated high note -- so Joan -- is something no one else ever tries in this role.
(I heard Niska, Behrens and Vaness in the role -- Behrens was the maddest.)
But hey: Lucia, Linda, Elvira, Esclarmonde -- she always knew what to do with a loony dame.
here's something else you didn't know... during that season of Idomeneo, both the lead tenor and his understudy got so sick there was no Idomeneo to sing the role. Solution? The opera company got Traviata out of storage with about three days' notice and did that instead - for one night, with Sutherland singing Violetta. Then three days later she was back doing Elettra again. I can tell you, that was one exciting Traviata!!
David Butler TY FOR SHARING! DAME JOAN LA STUPENDA!ARNOLD BOURBON AMARAL
@@janewsome78 Interpolations and variations were common in Mozart’s time.
A true rarity from her repertoire. I never knew she sang this aria, let alone the entire role! This is spectacular!
I have never heard this much fire in Sutherland's singing, not even as Norma. I did not think she had this in her.
Have you heard her "Turandot," or her "Santo di Patria" recording from the early 60s? There's nothing ever recorded to compare to her fiery brilliance on that one aria.
@@Eiswirth1 Or her Esclarmonde. She sounded so natural and comfortable in dramatic roles, using the powerful voice she repressed in others.
@@Eiswirth1 Very familiar with both recordings and they are not hurting for fire but this recording is in another league in terms of being in the character and situation.
Simply superb, no other words for it.
En effet la plus grande, incontestablement.
On no other occasion have I heard Sutherland sing with such involvement, conviction, power, and grandeur. What a shame she couldn't inject some of this into her Norma.
LOL a nobody giving advice to a world class singer.
Although I got to see her in the theater on quite a few occasions, she sang some operas in Australia that she didn't repeat anywhere else: Idomeneo, Suor Angelica, Carmelites. Lucky Australians!
She did the Carmelites in London in 1958 and the same role.
Oh, I don't know how I missed that performance. Perhaps because I was a baby.
Yes weren’t we lucky. Otello as well. Borgia in the Concert hall was another great night out.
@@highbaritone she did Otello both in London in 1957 and in Vienna in 1959. But I agree - you were lucky!!!! I live in Denmark and didn't begin to listen to opera until 1991 when I was 15, so I missed out on ever hearing Sutherland in the flesh.
One of the all-time best examples of how to totally smash an aria to pieces!
Doug Barker, you must be a Mozart purist ! Do you prefer the Barbara Bonney style ?
And how would you know this?
I took that as a compliment!
I can't imagine what on earth you mean.
It’s interesting when I see some reactions to a negative comment, I can’t find the original comment. Any way I saw this production and, well she was amazing. We were all blown away, fans and non fans. We were all speechless.
That is the sound that could have been her Turandot live.
Now THAT was unchained
That was brilliant, powerful , I never knew she had it in her.
Wagnerian Mozart!
The likeliness of her we will not see soon. Bravaaa Joan.
Brividi e commozione per un'artista sconvolgente ed unica.
There used to be an actual video of her performance. I'm sad to see it's gone. That was solid proof that she could ACT. It was for lack of a better word... stupendous!
I want that video :'( where can I find it ?
Wow
If you ever find this video... YOU MUUST TELL US! MUST! I'd kill to actually see her perform this piece
She's spectacular! Brava!!!!
A vocal AND interpretative marvel, despite what some detractors may say (with which degree of sincerity?)
For a dull ?? singer she sure sounds rather involved and stupendous.
Alex the Barbaro aria fromGriselda/Montezuma highlights was removed some time ago and I want it back also.
Regards-John
Magnificent!
Barbara Northwood HELLO BARBARA! I JUST FIND THIS FANTASTIC! DAME JOAN SO EVIL! ARNOLD BOURBON AMARAL
spettacolare, meravigliosa
For eternity this role/aria will belong to only two sopranos. Joan Sutherland and Edda Moser. They are the only two dramatic coloratura sopranos who could sing this role with conviction and a hair raising element. They are fantastic.
Wow!
Amazing!
GREAT WORK ON THIS VIDEO
Fabulous performance !
@joserico282
true dat, it seems like mozart when writing for sopranos was like "hmm, I wonder if they could do this?"
Bravissima!
Bravo!
brava..rip JoAN
Great!
The best Elettra!!!
does someone has this full recording? haven´t been able to find it anywhere on the internet.
L'acuto conclusivo ci sta benissimo! Chi se ne frega della filologia!
Manrico hai ragione, completamente .... ma siamo già nel 1979
Cantou muito, só que a D"Oreste da Ahnnuska é imbatível...
🎵🎶🎼💖💖💖🎹🎶🎵
What is the final note?
A high C
hey! het spijt me dat ik je zo laat terugschrijft. Het is niet precies dat ik van haar stijl niet houd...werkelijk vind ik ze een grote zangeres en kunstenares, maar je hebt gelijk:ander materiaal en andere tijden, alleen is het jammer dat veel zangeressen (meest "oude") kenden niet duidelijk-correcte Mozart/Händel enz. zingen, omdat hun Verdi/Donizzetti bijna prima was, en dat vind ik iets negatiefs voor een kunstenaar. Mozart kunt je niet met Donizetti vergelijken...totaal verschillende stijl.
#dramaticoloraturasoprano
non potrei essere più d'accordo con te, alla fine uno che non è sordo!
Peccato non si capisca quasi una parola.Il fraseggio,questo sconosciuto.
Cecilia Federico già...
@@alebrove , anche dalla Devia non capisci una parola.
@@fabriziogarzi9892 io la capisco benissimo.
@@alebrove , ti riferisci a Sutherland o a Devia?
ah, er zijn erg veel andere sopraans, die met hoger noten durven, maar als je DAT met Mozart maken wilt...het is toch een grote vergissing, ik zal je wat zeggen...Sutherland was een grote, uitstekende sopraan maar haar Mozart was verschrikkelijk, veel professinele zangers zo zeggen, en dat denk ik ook. Wat jammer, het was misschien de ergste Elektra, die ik gehord heb.
Straordinaria vocalità, stile molto personale........ma qualcuno di voi sa dirmi in che lingua ha cantato Dame Joan? Grazie.
Italiano, in realtà😆. E se si conosce il libretto, la sua dizione non risulta essere poi pessima.
I would like to hear ANY Italian soprano who could sing the tessitura of this fiendish aria, put out the ocean of raging tone Sutherland puts out, sing it with both accuracy and passion, and yet somehow pleases your expert ear for diction. Non esiste, caro!
Sutherland is nooit een echte Mozart sopraan geweest, ze gaf dat zelf ook toe.
Haar vroege Donna Anna, en de Mozart aria's in de jaren 60/70...zeker stijlvol.
Madame Herz....niet te versmaden! :)
Sutherland, zou ook The Entfuhrung gedaan hebben. Dat was vast een succes geweest, zij als Constansa.
Ik ben van mening dat je haar niet mag en kan vergelijken met de zangeressen van deze tijd Harteros enz.
Ander matriaal en andere tijden.
Toch bedankt voor je eerlijke mening.
Definitive. E basta.
I had no idea that Sutherland was capable of drama like this she always strikes me as such a boring singer.
ma perchè fare puntature????? mozart non tollerava acuti finali in chiusura.....quello stile è venuto dopo. !!!!!!
Get a life!!!!
Mack He has good point!
musica tiranna55....gli abbellimenti..gli acuti finali...c'eri al tempo di Mozart? Mozart non credo si scandalizzasse, era prassi comune anche nel Settecento e oggi si sono inventati che non era cosi. Anche la pasta all'amatriciana non prevede il peperoncino ma solo il pepe...eppure tutti ce lo mettono. L'illustre musicologo Giovanni Carli Ballola spiego' che si variava anche Cherubini e sopratutto Spontini, ed erano felicissimi. La puntatura finale della Joan, di che ti preoccupi, lo ha sempre fatto.Il teatro e' teatro. Mi preoccupano invece "le altre", che non fanno ne' questo e ne quello' e si trincerano dietro la filologia che ammazza qualunque fantasia...forse pure la tua.
Non centra nulla con quella che dovrebbe essere la vocalità mozartiana. Sempre in ritardo e non si capisce nulla di quello che dice, peggio del solito.
Indiscutibile voce ancor più indiscutibile artista ma Mozart non è questo.
E tacciamo dell'acuto finale.
Edi Dario, ci insegni lei quale e' lo stile di Mozart e il perche' il Do acuto non va bene e le altre cose che non le stanno bene così ci faremo una cultura in proposito.
She’s got bad diction, vowels and no low register.
Dragan Vidic For all that you say, she was one of the greatest singers ever. Can you do better?
Diction: well in this aria it doesn't matter as much as in some, but I thought she did rather well in that department.
Vowels: her vowels are wonderful - she just doesn't always use the printed ones, but uses the best ones for her voice - and I don't mind a bit.
Register: not sure what your point is, there, except that her lowest notes are not as strong as the middle or top, but they are perfectly acceptable in the context of this demanding aria.
In sum, this is the best I've heard this aria sung: those who have the power for the vengeance and blood and thunder often come to grief on those downward staccatos. You have to be able to do justice to Donna Anna, the Queen of the Night and Fiordiligi to sing this aria.
@Dragan Vidic: All you do is go from CZcams video to CZcams video disrespectfully criticizing world-class singers when you, yourself, are a nobody. Just get off of CZcams already. Everyone has grown very tired of your nasty, ridiculous antics.
2751mid obviously gets some satisfaction. Like road rage.
You've got bad grammar and don't have Sutherland's talent. So there.
The faster you run the better, but that is in racing not in music. All wrong in here....awful.
Jose Costa I’ve heard this live a few times and this is the speed I have heard before. I guess I was just unlucky to hear them all wrong. Thank you for your post.
@@highbaritone, mi dispiace per te...la Joan e' una furia travolgente. Meglio di così non l'ha cantata nessuna e ci sta bene anche il Do finale acuto alla faccia dei mozartiani e degli stupidi filologi. Ho visto spesso in teatro la Sutherland e chi non l'ha vista e sentita dal vivo non puo' dire nulla.
@@fabriziogarzi9892he is defending sutherland sir..
Чего она орёт????????????