Marilyn Horne - Don Carlo - O Don Fatale
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- čas přidán 21. 02. 2013
- Marilyn Horne wrote in her book "The song continues" : "My next role at the Metropolitan was as Princess Eboli in verdi's Don Carlo. Look, I never said I was above reproach. On opening night, February 5, 1979, the verdict was: Verdi, si: Horne, no. My "Veil Song" was well received but I took it on the chin principally because I had committed the unpardonable operatic sin - I had transposed Eboli's big third act aria, "O don fatale", down a minor third. Why? Because I no longer was comfortable singing in what had become the "accepted" key. Furthermore, I remembered that my dear old coach Fritz Zweig had told me that the composer himself sanctioned a transposition. Verdi transposed down a full tone and a half. Moreover, until the 1950s "O don fatale" was sung in the lower key at the Metropolitan. Honestly, I wish some of my critics had taken the trouble to do the kind of research I did in preparing my roles. Oh well, as an American poet once wrote, Between me and my critics, I leave you decide"."
- Hudba
I LOVE her voice!
Marylin Horne, a wise singer with a warm and deep voice! Great times with Caballé in Semiramide in Aix !!! ❤❤
FASCINATING!
Giustissime parole ! Si poteva limitare a Rossini ma Verdi ... poteva lasciarlo perdere !
better to do it beautifully in a lower key then scream it in a higher one. History relates great singers transposing at will, it's not what key it's in it's how Beautifully it is sung! Casta Diva is almost ALWAYS transposed down a whole step and no one complains about it! I'm sure Callas could have easily done it in G but chose the transposition in F!
You call that "beautiful?"
Beautiful? Don't you mean masky and nasal?
@@operazine ....for HER it was. In the higher key it would have been horrific!
@The Scalla NEVER lower and retract the tongue....NEVER. The tongue should be down in front and touching the bottom teeth and very HIGH in the back to keep more space.... all the while soft and loose.....
@The Scalla .... and blowing too much air through the vocal cords, too low a tongue, jaw tension, tongue tension., too low a chest, neck too far forward and.....SINGING TOO BIG! Keeping the tongue high and loose in the back lifts the tongue out of the pharyngeal space. Flattening the tongue causes tension and it recedes farther into the pharyngeal space. ( it has to go somewhere...) if the tongue isn't down in front and high and forward in the back... it can only go back into the throat.
Unfortunately, the melodies just sound dull in this key and she still has trouble with pitch and breath support even in this mercilessly transposed version…
Oh dear, I don't think this is Jackie at her best.
i liked her a lot
I am a huge admirer of Miss Horne, and as far as I'm concerned she can sing in whatever key she wants, but in this case it's her research that is faulty. Verdi didn't provide or sanction an alternative key for "O don fatale" (though something of the kind happened with the character's other aria). In the early 20th century, when Eboli (like other Verdi mezzo roles) was sung by old-style contraltos, they accommodated this aria to their voices by singing it a minor third down. And this was not some ongoing tradition at the Met, as she implies: the opera was done for 14 performances in the early 1920s and then dropped until 1950.
+DelGuy03 I do agree with you 100% I was in that performance and came out very dissapointed. THis is one of the highlight of DON CARLO and for her to transport it down a third was unforgivable. I am a great admirer of her work as a bel canto mezzo she was.
Great
Why is it so low?
transposed so that she could sing it
Verdi l'ha scritta così ! Se si vogliono mascherare le proprie carenze vocali meglio sarebbe canatre un altro ruolo. In Italia l'avrebbero sicuramente contestata e con piene ragione
In the theatre her belting and panther mezzo sound projected incredibly well and had a very distinct quality. Her coloratura (when not too high) was fun and rather clear done with great bravura and fleet. Yeah… it was throaty but that is part of opera singing. Yes it was nasal a bit that too happens in Italian and French a lot. Horne did not overload the sound with woofiness of head tone like sooo many mezzos all sounding like teapots of moans. She had strong deep chest tones and a lot of flexibility and diction. Upstairs it was always a bit gadfly.. but there it is. This transposition choice is very personal. The melody does not move or open very well in this low key. It was all transposed to hide her vocal weakness. Her work in Verdi was serviceable and beyond Ulrica lacking. It happens.
Well said, she herself said that Verdi wasn't for her and that she was much more comfortable at the lower roles of Rossini.
Se abbassasse la lingua nel registro di falsetto-testa (scuola di Garcia) sarebbe cosa gradita al belcanto. Bella voce.
Ovviamente non lo sai, ma Verdi stesso l´ha fatto cosi. Fino agli anni 50 si cantava in questo tono. Allora, lei l´ha fatto come si faceva prima. Cmq, penso che il tono dove si canta normalmente e troppo alto per mezzo, in questo tono non mi piace neanche.
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no
Assurdo ! ABBASSATA DI UNA TERZA (UN TONO E MEZZO) !!!!!!! RIDICOLOUS : TRANSPOSED ONE TONE AND A HALF !!!!!
I don't buy it. If Olga Borodina and Ewa Podles and others who are truly closer to contralto can sing this aria in its original key and excel in it, then Horne shouldn't have had to transpose it a step and a half down. If she couldn't handle the traditional key, then don't take the role.
Have you read her explanation at all?
Horne was also a contralto.
Then "don't buy it" --- your opinion doesn't change the reality, or this historical accuracy
No....she started as a soprano and then transitioned into mezzo.
@@davidmuller9938 No.
I knew about this transposed performance but never heard it. My it is terrible
Pas bien Marilyn. Eboli n'est pas pour toi !
Horne was never a dramatic voice. She is forcing against the orchestration, and she simply didn't have the high notes to sing this, hence the terrible, drama-less transposition.
Her voice was that of a lyric soprano!
It sounds awful - (I am not referring to Horne's performance - just the transposition) - all the harmonies are off and the change in the instrumentation sounds dreadful.
Well, Horne’s performance is worse.
terribile
nasal voice
Total disaster
Never liked Horne. This just confirms that opinion. Nasal, very nasal. I much prefer Verrett, Bumbry, Obraztsova, Simionato, Nicolai, Stignani, and especially Dominguez in this role.
She doesn’t sing nasally. You clearly don’t understand the vocal apparatus
@@danielhughes441 She does, you clearly don’t understand chiaroscuro
@@xxsaruman82xx87 She does not. You clearly don't understand SINGING.
Sorry... but better leave the role in peace. If she couldn't sing it the way it was written then why bother? ... it just doesn't sound right. She even sounds bad, tired, stressed. Sorry... but too big shoes. Sorry... but this is Bad, Bad, Bad!!!
Didn't Callas transpose Casta diva, in one of her most acclaimed roles? Should we ask why she bothered?
You mean she sang it the way that it was initially performed?
SSBMsounds You mean Callas?
DiomedesDioscuro Yes
SSBMsounds I don't understand your answer, I'm sorry. I mean that, as far as I know, Callas used to sing Casta diva a tone below the score.
Oh, her fast vibrato is irritating here as is her ingolata. Not her finest performance.
She sounds troublesome and fake over-colored into the middle to low tunes for the aria, too much unnaturally forced darker than what the role needs showing the actual true colors of her when reaching the higher tunes of the same. I kinda think she could have attempted to do the role into a more proper soprano-like way than lowering into contralto-like type and she would have done a great Eboli performance neverthless, after all the original Eboli wasn´t so much dramatic darker mezzo but a more lyrical-like type or dramatic-soprano mix-up with mezzo as Falcon voices were so much fond used back then in middle 19th centhury on France as Don Carlo was actually done in French language with French singers, so she was kinda higher and lightier as a more like soprano-mezzo than the lower contralto-type which was also being developing at the same time on Italy into other Verdi works which needed those voices.