Scotto always knew what she had to do to interpret an aria. I don´t mind that her singing wasn´t flawless, what matters is the intensity of her interpretations. And there are many that are unforgettable. Goosebumps again here :-)
Just a ghostly pallid face in the dark, a perfect look depth, one raised eyebrow and two hands: this is acting. Renata Scotto's rendition lies in precision, intention, elegance and intimacy. And the warm voice is still there. Brava! Loved it. Many thx!
Disagree. Acting and dramatic intention is fine but the voice is in bad shape. All that pushed chest voice from what is basically a lyric soprano is frightening. And the voice is already wobbling in the middle. The vibrato is too wide for her type of voice and all that scooping to arrive at only an f or g (done to carry vocal weight up) shouldn't be happening. Anything above the staff is sung in falsetto. Too much sining in the wrong repertoire. Better to be a great Scotto than a poor Callas wannabe. Such a shame and waste of a wonderful talent and voice.
This role is wrong repertoire for most sopranos, except for the so called dramatic coloraturas, which are extremely rare anyway. Pure dramatic sopranos can also cope well with it. Anything less is almost always condemned to fail. Renata Scotto is one of the sopranos that had a very long career because she was indeed very careful with her repertoire, never exceeding her true limits. In the mid 80's, after 30 years of career her voice shows signs of decline, but it is at the peak of maturity and expression abilities (her singing of the last act of Traviata of that time is of the best i've heard). I am amazed with her vocal range here and with her pianissimi. Would never expect her to be Callas, she is just a lyric soprano, but she is still impressive.
@@jimbuxton2187 You are right, sorry, what i meant is that a pure lyric soprano is not suitable for this role, not that this type of voice is inferior to the others. The fact that she succeeds to interpret this role with her voice type is amazing!
Rest in Peace, Renata! I attended many of your performances at the MET, but a standout was your 'Manon Lescaut' with Domingo. The intensity of the final scene was such that that you could barely emotionally disengage for the curtain calls. An extraordinary artist.
I can't believe what I just heard from Scotto! Absolutely transcendental...the voice, the acting, the control, the breathing!!! The greatest sleepwalking scene I've ever heard.
@@arambarsamian6312 You probably noticed her very cool reaction to the fairly thunderous applause after the aria? There's a reason for that! It's because she knew that was the same audience that had booed her at the Met (I think in Norma?) earlier that season.
Grant Youngblood That was in 1981. I’ve heard the recording. It’s just bone-chilling. Horrible, horrible moment. But after that the rest of the performance was “in-your-face” good! She sang some stunning pianissimi! Yes, I wondered myself if her reaction was “Yeah. I can sing. And I am a real artist. You philistines!” Ha! But in reality, I am sure it was just a matter of slowly getting out of the character she had just inhabited so fully. She just blows my mind. Incredible artist.
Aram Barsamian I saw Scotto many many times in the theater. Sometimes her voice wasn’t up to the task, but most times she created characters through voice and acting that were mind-blowing. Boheme (loved her Mimi, not so much Musetta), Trittico (astonishing, especially Angelica), Luisa Miller, Macbeth, Butterfly (I never liked this opera, and yet I wept for Scotto’s character), Don Carlo, Clemenza di Tito. Her Norma wasn’t so good. But a great artist, if somewhat controversial.
La grande leçon de chant et d'interprétation d'une immense artiste à la carrière si accomplie. Que cet extrait soit, pour les jeunes artistes, un encouragement à travailler avec intensité, endurance et humilité .
I sang in chorus at Ravinia Festival for two performances of complete opera and I sat right behind her. She had entire phrases written up and down her arm in black magic marker...LOL...I still do the same!. She sounded great but she muffed her high D in both performances....not sure why....still, an amazing artist and better than most performers today.
This is my favorite Scotto role. I am EXTREMELY fortunate to have seen the early 80's Metropolitan Opera, Peter Hall production with Levine, and Scotto. Possibly the most memorable live performance of my lifetime. I saw it in Atlanta on the tour in 1983. It was BY FAR the best Macbeth production imaginable. I detest the garbage being dumped on the opera world today by so-called directors and complicit "artists." Scotto is an artist. There was integrity in opera in those days that is rare now.
Scotto was an Artist to her toenails! People can bad mouth her all they want but when she was good she ranked amongst the very greatest! She mezmerizes and levitates here! No one does it better!
La Scotto è stata uno straordinario soprano leggero tendente al lirico, però le incursioni in un repertorio sempre più spinto ,ma non adatto ai suoi mezzi ,le sciuparono la voce che diventò stridula ed oscillante nella seconda parte della sua lunga carriera.L’interprete era ricercata ed emozionante ma il desiderio di primeggiare e dimostrare di essere sempre la prima della classe rendevano a volte le performance un po’ stucchevoli e esagerate nella linea stilistica e nell’ espressione !
Renata Scotto MERAVIGLIOSA CREATURA!!! Ho avuto la fortuna di ammirarla molte volte dal vivo all Arena di Verona nei favolosi anni 60...INCREDIBILE USIGNOLO. GRAZIE
A master singer , she knew how to create the drama , the aura, an actress singer , just a few of them , Callas , Gencer, Verrett. From the first note to last one , all of them are important to create the arch, Diva by all meanings , no doubt
She’s amazing here. Don’t know what people are talking about. It’s big for her but it’s not a dramatic soprano role (referencing 20th century singers as evidence won’t work sorry) and she’s more accurate and far more nuanced than many of the big voiced screamers that do it.
This performance alone justifies why Scotto deserved to be called ' reigning prima donna of the Met' as Sills so graciously describes her. She is mesmerizing and the piano high notes extraordinary . I always greatly admired Scotto the artist but struggled to listen to her upper register which was too metallic for my taste. Here she is just perfect - a great soprano at the top of her career . Everything is there voice, words, intention, style - a triumph!
Hi Lissandra, I wonder how Scotto would have described her own voice because most music books simply say Italian Soprano and Singing Actress. They avoid placing her in a category. Her first great international success was as Amina in La Sonnambula which is a Bel Canto coloratura soprano role, although at the age of 18 /19 she had sung Violetta and Cio Cio San in Italy prior to this. She focused on Bellini and Donizetti Bel Canto for a number of years , but then began to add heavier Verdi roles and some Verismo - Mascagni, Giordano etc. Even though her voice grew a little in size and darkened I am not sure we could call her a Spinto soprano. I would say she developed into a heavier lyric soprano voice which could take on dramatic qualities through clever use of her dark timbre and nuances.
@@Tenortalker ...Perfect conclusion of Scottos voice. Started as a lyric coloratura grew into a lyric and became a full lyric soprano, but pushed herself into spinto roles...
I said to myself: Scotto? In Macbeth? In the mid-80s? OMG this will be baaaad... I pressed "play" preparing not to like this. She won me over the second she opened her mouth and sang the first line! What an artist!!!
Almost the same.. but i still find all what i hate with her.... but it is less bad than earlier performances or recording. But she will never be able to sing with free singing not thinking of what she will do with every single notes it will be awfull. In that way the work is great but this is only work not art. And the last sentence is terrible.......
The voice lacks the free overtones as Scotto always had a wiry focused tight squeezed sound. She works effectively to connect the text, notes and the legato and experience however. It is what it is. It’s hardly groundbreaking and extremely careful. She was a great artist.
Extraordinary. Scotto is a remarkable actress. Check out the clip of her final scene from Suor Angelica. Her singing in it isn’t easy on the ears, but the total performance is incredible.
Maravillosa Renata! Los papeles fuertes siempre los interpreto muy bien en algunas arias de conciertos. Debemos admitir que muchas arias con orquestaciones mas densas excedian el volumen que podia resistir la maestra. Sin embargo su interpretacion emocional es bastante interesante, una interpretacion que recomiendo mucho en el mismo sentido emocional pero con una voz mas adecuada para todo el rol es la de Shirley Varrett.
Die Stimme der Scotto ist wie ein guter Wein: Sie wurde mit den Jahren immer voller, tiefer und ausdrucksstärker. Diese Interpretation der Lady Macbeth ist eine der besten, die ich gehört habe.
Excellent effort here. Heard her in concert during that period and was so disappointed because, in person, unless she was singing forte, you could not even hear her over the orchestra.
Non esiste paragone fra la Scotto e la Netrebko... la Lady é un soprano drammatico d'agilità con punte di spinto e note da Falcon...la Netrebko é un lirico con temperamento da soubrette. Il suo gusto é perfetto e supportato dal buon senso.
scaricoergosum Sì ma era una professionista eccellente con una tecnica di prim'ordine specie nelle agilità. Non parliamo poi della qualità timbrica della voce... Oggi la Netrebko gode di una grancassa pubblicitaria pompata ed é il prezzemolo dei soprani... ai tempi della Scotto e delle sue grandi colleghe, avrebbe cantato in ruoli secondari...
seconda ad altre....?...lei Affronta una Lady...molto intima e ci mette il meglio con Levine che la asseconda....in Concerto non è Facile....io amo...ascoltare l 'artista e non faccio paragoni ...esce vincente....in un aria..difficile da porre in atto....a freddo .Chapeau ...Ci sono poi Ruoli...che in carriera arrivano al momento sbagliato...qui siamo in un Galà...che personalmente non amo...ma rimane una curiosità intellettuale...
Caro Giulio Rossi,..sapesse le battaglie fatte con i melomani che vanno a teatro con lo spartito...e negli orecchi i dischi truccati...il palcoscenico lirico... non è Solo acuti e qualche stecca...ma un milione di altre cose...un grande abbraccio
@@carmeloserafin5101 La ringrazio del Suo contatto. Posso finalmente scambiare il mio pensiero con un melomane non preconcetto come lo sono molti. Ho sempre avuto una grandissima ammirazione per Renata Scotto perchè la ritengo una cantante con tantissimi pregi. Nel canto la nitidezza del fraseggio, l'accento sempre pertinente, la dizione, la bellezza vocale, il controllo del fiato, l'espressività, tutte doti non affatto comuni. La trovo inarrivabile in Gilda e Violetta, Giselda e Isabella nel roberto il Diavolo, Amina e Lucia, Norina e Adina. davvero unica! la voce allora era perfetta. Ovviamente col cambio di repertorio ha dovuto scurire la sua vocalità. Anche se qualche acuto non sempre può essere smagliante, bisogna guardare la vocalità complessiva del personaggio, soprattutto deve farti arrivare forti emozioni con l'interpretazione, cosa che la Scotto ha saputo fare per ogni suo personaggio. Mi sono un po' dilungato, ma sento che lei può capire il mio punto di vista. Sarò sempre lieto di confrontarmi con il suo punto di visto. Grazie!
ebbi modo di conoscerla; poichè Roberto Negri fece con lei delle Master Class per nuovi cantanti lirici...e si stava preparando per lo Strauss di Palermo dove si surclassò....una donna che sapeva benissimo quali fossero i suoi limiti...ma la sua arte li colmava con l'intelligente uso dei fiati...e dei rubati....l'unica volta che ebbi modo di ascoltarla fu con Abbado nel Requiem di Verdi con Abbado a Roma per la Rai...quel Recordare ,jesu Pie...con la Horne è da antologia...e il Libera me domine...un vero capolavoro di equilibrio stilistico...tenendo presente è un'anima che prega e invoca la Salvezza eterna... ,,,non una eroina condannata dal destino.Cose belle a lei.....scrivo solo se ho delle..Cose da dire ...ma con civetteria vedo i miei commenti da profano , spesso messi in evidenza...anche il suo adesso...
@@carmeloserafin5101 Davvero stupenda quella Messa da Requiem diretta da Abbado. Grazie per averla ricordata. Se in futuro avrò modo di leggerla sarà per me un piacere, visto la sua competenza e conoscenza della grande Artista. Un cordiale saluto e buon proseguimento per il suo futuro. E tante emozioni con la Musica.
@@fabriziogarzi9892 è una cosa comune in tante, anche la Callas è stata una cometa per lo stesso motivo, si è distrutta malgrado il suo strumento poderoso.
@@80Mrmirko , la Callas non e' stata una cometa, canto' dal 1938 al 1965 ed i risultati sono assai differenti. La Scotto era presuntuosa e basta. la Callas era la Callas e sono le altre che vogliono esserlo. E'stata una grande artista di cui non s'è visto l'eguale ne prima e ne dopo. Non basta avere "la bella voce", ci vuole un cervello e lo ha dimostrato ampiamente. Aveva una voce anomala che gli ha permesso di poter toccare qualunque repertorio ed era una musicista al pari di Bernstein, Karajan, Rubinstein e che veniva trattata da loro come una pari e non come una cantante e basta. Shirley Verrett decise di fare la cantante dopo aver visto al Met due recite di Norma e Tosca. Lo disse alla radio. La Storia è Storia. E gli anni di carriera pochi o tanti per una vera artista non contano, contano i risultati. Tutti i direttori d'orchestra che hanno lavorato con lei ne parlano estasiati, quando parlano di altre le parole sono poche. Se tutti avrebbero voluto dirigerla o averla in scena in un loro spettacolo qualche motivo ci sara' stato pure. Poi se non ti piace la Callas e' un altro discorso...di belle voci ce ne sono tante ma l'effetto è differente.
@@fabriziogarzi9892 certamente perché gli strumenti della Callas erano superiori. Il processo è il medesimo, fottersi la voce per cantare tutto! Non do neanche troppa colpa alla Callas la sua insicurezza e anche un pelo di arroganza è stata utilizzata da magnati del marketing come elsa Maxwell e lei ha ceduto. Peccato la Callas ben seguita e consigliata avrebbe avuto una carriera di 30 anni!
infatti!!! già con quella faccia minacciosa quando spunta non si può guardare.... e poi sanno tutti come fece a fare al MET tutto quello che ha voluto...... non era il suo repertorio....
@@allanrizzetti1449, non credo faccia oramai piu' testo...interpretazioni capitali non se ne sono viste. Se non sei una vera "grande" poco resta ed e' inutile atteggiarsi e sopratutto insistere per farsi ricordare come tutti ricordano la Callas e forse cancellarne il ricordo. Ci vuole ben altro. Ciao.
@@fabriziogarzi9396 io ho fatto un giorno masterclass con lei, diversi anni fa. Ti dico soltanto che era di una arroganza spaventosa. Il giorno dopo siamo andati tutti via. Queste cose non le raccontano... alla Scala quando faceva Lucia, nessuno dice che erano quasi sempre i booh alla fine della pazzia. La chiamavano il gatto, a causa degli acuti stridenti
Astonishing. I saw her do the full role with Bruson in London. Such a pity the philistine audience ruined the end of the beautiful play out by applauding bars too early!!😡
Callas had retired and was dead many years by the time Scotto performed this! I as a fan of live opera in the Opera House was glad to have other great singing actresses like Scotto and Verrett around to carry on the tradition. Callas was not singing in the 80's , she was dead!
You must HATE Callas then. Scotto here doesn't have much of a wobble as it progresses. She does in the beginning though. She has great pitch, supreme dynamics and easy production.
That wobble was earned over three decades (at this point in 1984) of singing at the world’s biggest and greatest opera houses. It probably is a result of singing roles too heavy/dramatic for her voice, but at least it’s not like the Met singers today many of whom show up with huge wobbles in their 30s. Should you doubt her world class talent, listen to some of her recording from the 60s. And you could never doubt Scotto’s artistic commitment-where do you see that today? Maybe Lisette Oropesa. And she’s the unique and maybe only exception.
She was a great artist. I went to many performances convinced she had no business singing the role. Lady Macbeth was one of them but you know? She carried it off and was magnificent. With her Elisabetta in DC was not a cypher. She was a living, breathing woman. The only real miss steps were the Norma and Gioconda. The Norma came too late and the Gioconda never should have been. It is as close to a Wagnerian role in length and stamina needed that you get in Italian opera. It is the heaviest role in the Italian rep and was not for her.
@@fabriziogarzi9396 forse le profetesse promisero il torno austro-ungarico? Quando la innalzano a paladina del canto italiano e della DIZIONE addirittura mi cadono le braccia e non solo... Con tutte le Signore del canto che sono passate dal Novecento...
I'm surprised how many actually like this. It's horrible! As was most of what she did in the latter part of her career! She destroyed her once beautiful voice (1967 and earlier) by taking on roles that were far too heavy for her, trying to be another Callas!
Scotto was more than voice she was the total experience ! She was willing to sacrifice beauty for drama but she managed to do some pretty amazing singing too!
Scotto's early voice was sweet and beautiful. She was technically a very good singer and remained a very technically good singer, however she often sacrificed pretty tone and sweetness for drama and theater and yes she did venture into very heavy rep that stressed her voice but God what an exciting creature she was and what an interesting career she had! It was worth it the sacrifice! She was The Met's Reigning Prima Donna instead of just another pretty voice on the Roster!
Vergogna ,signor!!!....... ma chi si credeva essere ?come si e permessa ,cantare tutte queste cose ? Comme mai nessuno non gli ha sbattuto la faccia in muro ? Chi l aiutava?Aveva un marito potente? Ma sai....sempre..le scelte di Levine....sempre con tanta....obbiettivita......Urli & gridi....Nei masterclass a Bastille non mostrava nulla.... E....il Walter divento ...Abigaille
Such a musical and intelligent artist, but her ambition was greater than her voice. Her voice was always too light for this role, and I see her trying too hard to be artistic rather than just becoming Lady Macbeth. I can practically see the gears turning in her head. Her Desdemona, however, is supreme, and it's as heavy a role as she should have ever sung.
Scotto always knew what she had to do to interpret an aria. I don´t mind that her singing wasn´t flawless, what matters is the intensity of her interpretations. And there are many that are unforgettable. Goosebumps again here :-)
i know I'm kinda randomly asking but do anyone know of a good place to stream newly released movies online ?
Troll .All three accounts Trenton Dash ,Ismael Wyatt ,Juan Cassius created on May 21st, 2021
Absofreakinglutely!!!
love her!
Just a ghostly pallid face in the dark, a perfect look depth, one raised eyebrow and two hands: this is acting.
Renata Scotto's rendition lies in precision, intention, elegance and intimacy.
And the warm voice is still there.
Brava! Loved it.
Many thx!
Precision, Intention, Elegance, Intimacy - thank you, Fredzblak, it's Renata Scotto in four simple words, and it's always there, in varying degrees
Disagree. Acting and dramatic intention is fine but the voice is in bad shape. All that pushed chest voice from what is basically a lyric soprano is frightening. And the voice is already wobbling in the middle. The vibrato is too wide for her type of voice and all that scooping to arrive at only an f or g (done to carry vocal weight up) shouldn't be happening. Anything above the staff is sung in falsetto. Too much sining in the wrong repertoire. Better to be a great Scotto than a poor Callas wannabe. Such a shame and waste of a wonderful talent and voice.
This role is wrong repertoire for most sopranos, except for the so called dramatic coloraturas, which are extremely rare anyway. Pure dramatic sopranos can also cope well with it. Anything less is almost always condemned to fail. Renata Scotto is one of the sopranos that had a very long career because she was indeed very careful with her repertoire, never exceeding her true limits. In the mid 80's, after 30 years of career her voice shows signs of decline, but it is at the peak of maturity and expression abilities (her singing of the last act of Traviata of that time is of the best i've heard). I am amazed with her vocal range here and with her pianissimi. Would never expect her to be Callas, she is just a lyric soprano, but she is still impressive.
@@aiolosgr ...."just a lyric" ! Just a dramatic, just a spinto.....no voice classification need ever be minimalized. EVER!
@@jimbuxton2187 You are right, sorry, what i meant is that a pure lyric soprano is not suitable for this role, not that this type of voice is inferior to the others. The fact that she succeeds to interpret this role with her voice type is amazing!
Presence, interpretation and voice. Ladies and Gentlemen, Mrs. Scotto in a stoning performance. And this is after 30 years of singing. Bravissima!
Amazing!
Zashorigin
Purtroppo capisci poche cose quando si tratta della lirica...
il vecchio
Molto molto brava bellissimo il do finale addirittura filato. Molto brava.
@@lucianoc.6956 ...it was a high Db
Saw this when it first aired. Never forgot it! Bless CZcams for bringing back memorable performances from the memory!
Rest in Peace, Renata! I attended many of your performances at the MET, but a standout was your 'Manon Lescaut' with Domingo. The intensity of the final scene was such that that you could barely emotionally disengage for the curtain calls. An extraordinary artist.
Amazing singer, a great interpreter of every role she sang. Amazing voice.👏👏👏👏
I can't believe what I just heard from Scotto! Absolutely transcendental...the voice, the acting, the control, the breathing!!! The greatest sleepwalking scene I've ever heard.
And Maria Callas, but different.
If you listen to Callas´1952 performance then you can say ´´The greatest sleepwaking scene I´ve ever heard´´ :-)
@@judithbereczky4114 , la Callas e' la Callas ed e' la Callas ineguagliabile sempre e la Scotto e' artefatta al limite del ridicolo.
@@paullewis2413 , concordo assolutamente...anche negli anni successivi.
@@fabriziogarzi9892
....shhhhhh
Miss Scotto is ready for her close-up Mr. DeMille...
I remember when this was broadcast live... A spectacular performance!! Thank you for posting!!
Grant Youngblood Grant! I agree! Spectacular!
@@arambarsamian6312 You probably noticed her very cool reaction to the fairly thunderous applause after the aria? There's a reason for that! It's because she knew that was the same audience that had booed her at the Met (I think in Norma?) earlier that season.
Grant Youngblood That was in 1981. I’ve heard the recording. It’s just bone-chilling. Horrible, horrible moment. But after that the rest of the performance was “in-your-face” good! She sang some stunning pianissimi! Yes, I wondered myself if her reaction was “Yeah. I can sing. And I am a real artist. You philistines!” Ha! But in reality, I am sure it was just a matter of slowly getting out of the character she had just inhabited so fully. She just blows my mind. Incredible artist.
Aram Barsamian I saw Scotto many many times in the theater. Sometimes her voice wasn’t up to the task, but most times she created characters through voice and acting that were mind-blowing. Boheme (loved her Mimi, not so much Musetta), Trittico (astonishing, especially Angelica), Luisa Miller, Macbeth, Butterfly (I never liked this opera, and yet I wept for Scotto’s character), Don Carlo, Clemenza di Tito. Her Norma wasn’t so good. But a great artist, if somewhat controversial.
@@wotan10950 I only saw her live in concerts, alas! I also saw her do masterclasses. An amazing artist!
La grande leçon de chant et d'interprétation d'une immense artiste à la carrière si accomplie. Que cet extrait soit, pour les jeunes artistes, un encouragement à travailler avec intensité, endurance et humilité .
Fabulous control and beautiful pianissimo.
I sang in chorus at Ravinia Festival for two performances of complete opera and I sat right behind her. She had entire phrases written up and down her arm in black magic marker...LOL...I still do the same!. She sounded great but she muffed her high D in both performances....not sure why....still, an amazing artist and better than most performers today.
This is my favorite Scotto role. I am EXTREMELY fortunate to have seen the early 80's Metropolitan Opera, Peter Hall production with Levine, and Scotto. Possibly the most memorable live performance of my lifetime. I saw it in Atlanta on the tour in 1983. It was BY FAR the best Macbeth production imaginable. I detest the garbage being dumped on the opera world today by so-called directors and complicit "artists." Scotto is an artist. There was integrity in opera in those days that is rare now.
RIP Renata ❤
WOW... I have fear... this Lady Macbeth scares! Great acting.
Lenildo7 I was fascinated by her and at the same time felt an impulse to stop watching because she was actually scary to me. Impressive
Scotto was an Artist to her toenails! People can bad mouth her all they want but when she was good she ranked amongst the very greatest! She mezmerizes and levitates here! No one does it better!
Grande artista! Chapeau
La Scotto è stata uno straordinario soprano leggero tendente al lirico, però le incursioni in un repertorio sempre più spinto ,ma non adatto ai suoi mezzi ,le sciuparono la voce che diventò stridula ed oscillante nella seconda parte della sua lunga carriera.L’interprete era ricercata ed emozionante ma il desiderio di primeggiare e dimostrare di essere sempre la prima della classe rendevano a volte le performance un po’ stucchevoli e esagerate nella linea stilistica e nell’ espressione !
Renata Scotto MERAVIGLIOSA CREATURA!!! Ho avuto la fortuna di ammirarla molte volte dal vivo all Arena di Verona nei favolosi anni 60...INCREDIBILE USIGNOLO.
GRAZIE
A master singer , she knew how to create the drama , the aura, an actress singer , just a few of them , Callas , Gencer, Verrett. From the first note to last one , all of them are important to create the arch, Diva by all meanings , no doubt
Most inspiring artist - great Renata Scotto !
小弟不敢胡亂下評語，但只想說 Ms Scotto 的演唱，無論是聲質、聲控、感情、唱功等可說近乎完美。聽來十分享受。謝謝！
Tai hao le! (Agree 100%)😊
Arte Grande! Teatro Puro
Goosebumps
Qué intérprete maravillosa!!!!!
GRANDISSIMA 😭
She was mesmerizing and thrilling in this scene. I've never seen anyone combine voice and character so completely as Lady Macbeth.
👏👏👏👏 me too...
That means you have never heard/seen Shirley Verrett: czcams.com/video/SsvqSDg4als/video.html
Ole Nielson Madame Verrett was untouchable as Lady Macbeth. Correction: is untouchable.
MARIA CALLAS!
She’s amazing here. Don’t know what people are talking about. It’s big for her but it’s not a dramatic soprano role (referencing 20th century singers as evidence won’t work sorry) and she’s more accurate and far more nuanced than many of the big voiced screamers that do it.
beautiful....thank you...:):)
Amazing!
MAGNIFICA
This performance alone justifies why Scotto deserved to be called ' reigning prima donna of the Met' as Sills so graciously describes her. She is mesmerizing and the piano high notes extraordinary . I always greatly admired Scotto the artist but struggled to listen to her upper register which was too metallic for my taste. Here she is just perfect - a great soprano at the top of her career . Everything is there voice, words, intention, style - a triumph!
Don't know much about Scotto but is she a lyric or spinto?
Hi Lissandra, I wonder how Scotto would have described her own voice because most music books simply say Italian Soprano and Singing Actress. They avoid placing her in a category. Her first great international success was as Amina in La Sonnambula which is a Bel Canto coloratura soprano role, although at the age of 18 /19 she had sung Violetta and Cio Cio San in Italy prior to this.
She focused on Bellini and Donizetti Bel Canto for a number of years , but then began to add heavier Verdi roles and some Verismo - Mascagni, Giordano etc.
Even though her voice grew a little in size and darkened I am not sure we could call her a Spinto soprano. I would say she developed into a heavier lyric soprano voice which could take on dramatic qualities through clever use of her dark timbre and nuances.
Tenortalker I would say her voice is assoluta soprano
@@Tenortalker ...Perfect conclusion of Scottos voice. Started as a lyric coloratura grew into a lyric and became a full lyric soprano, but pushed herself into spinto roles...
Outstanding performance by Madame Scotto.
Such ferocious focus and ice-cold intensity she maintains throughout. Powerful performance art.
I said to myself: Scotto? In Macbeth? In the mid-80s? OMG this will be baaaad... I pressed "play" preparing not to like this. She won me over the second she opened her mouth and sang the first line! What an artist!!!
Almost the same.. but i still find all what i hate with her.... but it is less bad than earlier performances or recording. But she will never be able to sing with free singing not thinking of what she will do with every single notes it will be awfull. In that way the work is great but this is only work not art. And the last sentence is terrible.......
The voice lacks the free overtones as Scotto always had a wiry focused tight squeezed sound. She works effectively to connect the text, notes and the legato and experience however. It is what it is. It’s hardly groundbreaking and extremely careful. She was a great artist.
Extraordinary. Scotto is a remarkable actress. Check out the clip of her final scene from Suor Angelica. Her singing in it isn’t easy on the ears, but the total performance is incredible.
Talk about heartbreak.
Oh finalmente 🤩😮🤤😋
Descanse em Paz🙏
Fabulosa Voz!
Verdadeira Diva do BelCanto!
Che dono incredibile, che performance stratosferica, meravigliosa e sublime artista
stellar !!!
The High C# (or Dflat)? was excellent - and the low voice was great
Very excellent !!!!! Naturally placed without a single push !!!!!
Everything in between was pretty stupendous also because she breathes life into the music.
She is AMAZING
The two supporting singers are quite very nice. Does anyone know what their names are?
Sills says at the beginning
Loretta di Franco and Richard Vernon. They were character singers at the Met.
This info belongs above.
Anche un alito in terapia intensiva mi ascoltare i di questa SIGNORA
Maravillosa Renata! Los papeles fuertes siempre los interpreto muy bien en algunas arias de conciertos. Debemos admitir que muchas arias con orquestaciones mas densas excedian el volumen que podia resistir la maestra. Sin embargo su interpretacion emocional es bastante interesante, una interpretacion que recomiendo mucho en el mismo sentido emocional pero con una voz mas adecuada para todo el rol es la de Shirley Varrett.
Dio, come grida. Completamente fuori repertorio. Inascoltabile!
can you post it all????
Grandissima la migliore a saper leggere ed intuire lo spartito
Leyla Dame, a saper leggere lo spartito direi anche il contrario.
Qui è meglio della Callas...
@@davideferrari5702, si, certo. Basta che si chiamano Renata...
@@fabriziogarzi9396 mi aspettavo esattamente questa risposta... Lei è uno spasso... 🤣
@@davideferrari5702, e siccome l'andava cercando io gliel'ho data!
Fantastica
Bravaaaaaaaaaa !!
Die Stimme der Scotto ist wie ein guter Wein: Sie wurde mit den Jahren immer voller, tiefer und ausdrucksstärker. Diese Interpretation der Lady Macbeth ist eine der besten, die ich gehört habe.
the artistry, the science of Renata Scotto: she knows better than anyone else the sense of what she sings
Excellent effort here. Heard her in concert during that period and was so disappointed because, in person, unless she was singing forte, you could not even hear her over the orchestra.
Just effort.
@@Nangis123 lol…..I agree fully!
I also remember that telecast. I just saw Netrebko at the MET HD performance and really prefer the Scotto rendition.
Non esiste paragone fra la Scotto e la Netrebko... la Lady é un soprano drammatico d'agilità con punte di spinto e note da Falcon...la Netrebko é un lirico con temperamento da soubrette. Il suo gusto é perfetto e supportato dal buon senso.
+numetutelare ma in ogni caso, neanche la Sig.ra Scotto era un soprano drammatico d'agilità
scaricoergosum Sì ma era una professionista eccellente con una tecnica di prim'ordine specie nelle agilità. Non parliamo poi della qualità timbrica della voce... Oggi la Netrebko gode di una grancassa pubblicitaria pompata ed é il prezzemolo dei soprani... ai tempi della Scotto e delle sue grandi colleghe, avrebbe cantato in ruoli secondari...
Well you can't use netrebko as a measuring stick. She's a waste
I'm sorry you had to sit through that 😂
Great job Renata!
Just great!
진짜 최고다
La classe. La purezza. 🌟🌟🌟🌟🌟🎼👏🙏🎶✌️
Bravissima
Magnificent
announced by Sills!!! to flip for!!!
seconda ad altre....?...lei Affronta una Lady...molto intima e ci mette il meglio con Levine che la asseconda....in Concerto non è Facile....io amo...ascoltare l 'artista e non faccio paragoni ...esce vincente....in un aria..difficile da porre in atto....a freddo .Chapeau ...Ci sono poi Ruoli...che in carriera arrivano al momento sbagliato...qui siamo in un Galà...che personalmente non amo...ma rimane una curiosità intellettuale...
condivido pienamente le sue osservazioni. Scotto esce alla grande dalla difficile prova.
Caro Giulio Rossi,..sapesse le battaglie fatte con i melomani che vanno a teatro con lo spartito...e negli orecchi i dischi truccati...il palcoscenico lirico... non è Solo acuti e qualche stecca...ma un milione di altre cose...un grande abbraccio
@@carmeloserafin5101 La ringrazio del Suo contatto. Posso finalmente scambiare il mio pensiero con un melomane non preconcetto come lo sono molti. Ho sempre avuto una grandissima ammirazione per Renata Scotto perchè la ritengo una cantante con tantissimi pregi. Nel canto la nitidezza del fraseggio, l'accento sempre pertinente, la dizione, la bellezza vocale, il controllo del fiato, l'espressività, tutte doti non affatto comuni. La trovo inarrivabile in Gilda e Violetta, Giselda e Isabella nel roberto il Diavolo, Amina e Lucia, Norina e Adina. davvero unica! la voce allora era perfetta. Ovviamente col cambio di repertorio ha dovuto scurire la sua vocalità. Anche se qualche acuto non sempre può essere smagliante, bisogna guardare la vocalità complessiva del personaggio, soprattutto deve farti arrivare forti emozioni con l'interpretazione, cosa che la Scotto ha saputo fare per ogni suo personaggio. Mi sono un po' dilungato, ma sento che lei può capire il mio punto di vista. Sarò sempre lieto di confrontarmi con il suo punto di visto. Grazie!
ebbi modo di conoscerla; poichè Roberto Negri fece con lei delle Master Class per nuovi cantanti lirici...e si stava preparando per lo Strauss di Palermo dove si surclassò....una donna che sapeva benissimo quali fossero i suoi limiti...ma la sua arte li colmava con l'intelligente uso dei fiati...e dei rubati....l'unica volta che ebbi modo di ascoltarla fu con Abbado nel Requiem di Verdi con Abbado a Roma per la Rai...quel Recordare ,jesu Pie...con la Horne è da antologia...e il Libera me domine...un vero capolavoro di equilibrio stilistico...tenendo presente è un'anima che prega e invoca la Salvezza eterna... ,,,non una eroina condannata dal destino.Cose belle a lei.....scrivo solo se ho delle..Cose da dire ...ma con civetteria vedo i miei commenti da profano , spesso messi in evidenza...anche il suo adesso...
@@carmeloserafin5101 Davvero stupenda quella Messa da Requiem diretta da Abbado. Grazie per averla ricordata. Se in futuro avrò modo di leggerla sarà per me un piacere, visto la sua competenza e conoscenza della grande Artista. Un cordiale saluto e buon proseguimento per il suo futuro. E tante emozioni con la Musica.
Grande voce e grande interprete.
IMPRESIONANTE
Come fottersi la voce uscendo dal proprio repertorio.
Mirko...la presunzione.
@@fabriziogarzi9892 è una cosa comune in tante, anche la Callas è stata una cometa per lo stesso motivo, si è distrutta malgrado il suo strumento poderoso.
@@80Mrmirko , la Callas non e' stata una cometa, canto' dal 1938 al 1965 ed i risultati sono assai differenti. La Scotto era presuntuosa e basta. la Callas era la Callas e sono le altre che vogliono esserlo. E'stata una grande artista di cui non s'è visto l'eguale ne prima e ne dopo. Non basta avere "la bella voce", ci vuole un cervello e lo ha dimostrato ampiamente. Aveva una voce anomala che gli ha permesso di poter toccare qualunque repertorio ed era una musicista al pari di Bernstein, Karajan, Rubinstein e che veniva trattata da loro come una pari e non come una cantante e basta. Shirley Verrett decise di fare la cantante dopo aver visto al Met due recite di Norma e Tosca. Lo disse alla radio. La Storia è Storia. E gli anni di carriera pochi o tanti per una vera artista non contano, contano i risultati. Tutti i direttori d'orchestra che hanno lavorato con lei ne parlano estasiati, quando parlano di altre le parole sono poche. Se tutti avrebbero voluto dirigerla o averla in scena in un loro spettacolo qualche motivo ci sara' stato pure. Poi se non ti piace la Callas e' un altro discorso...di belle voci ce ne sono tante ma l'effetto è differente.
@@fabriziogarzi9892 certamente perché gli strumenti della Callas erano superiori. Il processo è il medesimo, fottersi la voce per cantare tutto! Non do neanche troppa colpa alla Callas la sua insicurezza e anche un pelo di arroganza è stata utilizzata da magnati del marketing come elsa Maxwell e lei ha ceduto. Peccato la Callas ben seguita e consigliata avrebbe avuto una carriera di 30 anni!
@@80Mrmirko, i cantanti sono tutti arroganti perché insicuri. Pensi che la Tebaldi fosse un gingillo? Un angioletto delicato?
Ma la Scotto non ha sempre parlato di "parola scolpita"? Mah ....
Chissà a chi si riferiva?
A un pezzo di pietra!
infatti!!! già con quella faccia minacciosa quando spunta non si può guardare.... e poi sanno tutti come fece a fare al MET tutto quello che ha voluto...... non era il suo repertorio....
@@fabriziomariagarzi5534 OSCENA
@@allanrizzetti1449, non credo faccia oramai piu' testo...interpretazioni capitali non se ne sono viste. Se non sei una vera "grande" poco resta ed e' inutile atteggiarsi e sopratutto insistere per farsi ricordare come tutti ricordano la Callas e forse cancellarne il ricordo. Ci vuole ben altro. Ciao.
@@fabriziogarzi9396 io ho fatto un giorno masterclass con lei, diversi anni fa. Ti dico soltanto che era di una arroganza spaventosa. Il giorno dopo siamo andati tutti via. Queste cose non le raccontano... alla Scala quando faceva Lucia, nessuno dice che erano quasi sempre i booh alla fine della pazzia. La chiamavano il gatto, a causa degli acuti stridenti
What an amazing ability
Grandísima interprete
Io l'adoro!!!!
assolutamente fantastica
Scary for the wrong reasons.
Lady Macbeth was asleep anyway...
The voice not dark enough..but well done
Grande Scotto!!!
non solo canta e interpreta, ma cesella ogni frase, ogni parola.
Appunto quello che NON bisogna fare nell'opera lirica.
Astonishing. I saw her do the full role with Bruson in London. Such a pity the philistine audience ruined the end of the beautiful play out by applauding bars too early!!😡
BRAVA!!
GRANDE PEPPINO!!!!
Grande!
Brava!
Ci ha lasciato oggi. Requiescat in pace.
Thank heavens for Maria Callas!
Callas had retired and was dead many years by the time Scotto performed this! I as a fan of live opera in the Opera House was glad to have other great singing actresses like Scotto and Verrett around to carry on the tradition. Callas was not singing in the 80's , she was dead!
@@joemiller6975 Agree 100%. The Callas Worshippers really need psychiatric treatment.
OoOoOoOoOo...that terrible wobble. A wreck.
You must HATE Callas then. Scotto here doesn't have much of a wobble as it progresses. She does in the beginning though. She has great pitch, supreme dynamics and easy production.
a Total wreck!
That wobble was earned over three decades (at this point in 1984) of singing at the world’s biggest and greatest opera houses. It probably is a result of singing roles too heavy/dramatic for her voice, but at least it’s not like the Met singers today many of whom show up with huge wobbles in their 30s. Should you doubt her world class talent, listen to some of her recording from the 60s. And you could never doubt Scotto’s artistic commitment-where do you see that today? Maybe Lisette Oropesa. And she’s the unique and maybe only exception.
i came into this not liking her all that much, the wobbles and metallic sounds ... But this is really VERY
good
She was a great artist. I went to many performances convinced she had no business singing the role. Lady Macbeth was one of them but you know? She carried it off and was magnificent. With her Elisabetta in DC was not a cypher. She was a living, breathing woman. The only real miss steps were the Norma and Gioconda. The Norma came too late and the Gioconda never should have been. It is as close to a Wagnerian role in length and stamina needed that you get in Italian opera. It is the heaviest role in the Italian rep and was not for her.
+++ !!!
si, mi chiamano Mimì...
è semplicemente inascoltabile.
Assolutamente d'accordo! Fuori ruolo, non si può ascoltare, questa è una Lady impossibile!!!
Ma neanche Mimì morente miagolava così
@@Tkimba2 , miao.
@@fabriziogarzi9892 czcams.com/video/QNyR6rsGDyg/video.html
❤❤❤❤❤❤❤❤❤❤❤❤❤❤❤❤❤❤❤❤❤❤❤❤❤❤❤❤❤❤❤❤❤❤❤❤❤❤❤❤❤❤❤❤❤❤❤❤❤❤❤❤❤❤❤❤❤❤❤❤❤❤❤❤❤❤❤❤❤❤❤❤❤❤❤❤❤❤❤❤❤❤❤❤❤❤❤❤❤❤❤❤❤❤❤❤❤❤❤
Ammazza che schifo...
E poi è italiana o cosa? Che pronuncia era questa? Serbo?...
, no caro, serbo croato.
@@fabriziogarzi9396 forse le profetesse promisero il torno austro-ungarico?
Quando la innalzano a paladina del canto italiano e della DIZIONE addirittura mi cadono le braccia e non solo...
Con tutte le Signore del canto che sono passate dal Novecento...
I'm surprised how many actually like this. It's horrible! As was most of what she did in the latter part of her career! She destroyed her once beautiful voice (1967 and earlier) by taking on roles that were far too heavy for her, trying to be another Callas!
Her voice doesn't look destroyed to me.
Scotto was more than voice she was the total experience ! She was willing to sacrifice beauty for drama but she managed to do some pretty amazing singing too!
Scotto's early voice was sweet and beautiful. She was technically a very good singer and remained a very technically good singer, however she often sacrificed pretty tone and sweetness for drama and theater and yes she did venture into very heavy rep that stressed her voice but God what an exciting creature she was and what an interesting career she had! It was worth it the sacrifice! She was The Met's Reigning Prima Donna instead of just another pretty voice on the Roster!
Vergogna ,signor!!!....... ma chi si credeva essere ?come si e permessa ,cantare tutte queste cose ? Comme mai nessuno non gli ha sbattuto la faccia in muro ? Chi l aiutava?Aveva un marito potente? Ma sai....sempre..le scelte di Levine....sempre con tanta....obbiettivita......Urli & gridi....Nei masterclass a Bastille non mostrava nulla.... E....il Walter divento ...Abigaille
Almeno c'è qualcuno con un po' di criterio! 🙏
I prefer Verrett's version better
molto male
Such a musical and intelligent artist, but her ambition was greater than her voice. Her voice was always too light for this role, and I see her trying too hard to be artistic rather than just becoming Lady Macbeth. I can practically see the gears turning in her head. Her Desdemona, however, is supreme, and it's as heavy a role as she should have ever sung.
Then fucking turn the video off.
Difficile...elle le fait mais ce n’est pas très beau
What a disaster! She isn't even really singing. Her voice in 99% just screaming through her nose at this point. This is ratchet.
Sie haben die Rolle der Lady nicht verstanden. Stimmführung und Ausdruck der Scotto sind bei diesem Auftritt einzigartig und unerreicht.
Lots of singing in the mask to avoid her voice spreading. Acceptable but her high notes still have to much vibrato even when sung softly.
Read Verdi's description of what he wanted for the sound of Lady MacBeth's voice! Scotto researched her roles thoroughly and she nailed this part!
@@joemiller6975 Maria Callas was the best example how this aria should be sing...
Don't like Scotto in Lady Macbeth
Renatina, tutte ste faccette....manco nel cellulare ci stanno.