I love Carol Vaness! I saw her Violetta in San Francisco and it was incredible! I’ve also seen her NORMA (also in San Francisco) and Elettra in Idomeneo and The Countess in Figaro both at The Met which proved to me that she was one of the best Mozart interpreters of the 80s/90s. BRAVA!
Carol Vaness turns out to have been the best in this role I got to see in performance. S.F. Saw Sills only on TV. The others come in a distant second for my taste. Thanks for posting it. Maybe it will be "discovered." 🤩🤩🤩
I was lucky to hear her Traviata at Covent Garden under Solti no less. I thought vocally she was almost ideal. Maybe a bit too healthy looking to be ideal dramatically but hey no one is absolutely perfect! She wasn't far off though. A great singer who should have been more famous I think.
One of the best singing actors of her generation but heavier repertoire took a toll on the voice. Mozart was where she shone. Her recording of Fiordigli under Haitink for EMI is simply stunning (the crowning note in the Act One trio is unmatched on record). One of the best Toscas on record too, but it was roles like that which proved far too heavy. Here the highest reaches of Violetta sound too strained. Perfectly nice to hear it without the E-flat, which Verdi did not write.
I'm in agreement with you, Matthew.. Her voice was always best suited for Mozart.. When she started to sing Puccini and Verdi, it wasn't the same.. I saw her sing Tosca at the Met and it was wrong for her.. Actually, I walked out of the performance after the Te Deum.. The whole cast was wrong.. It's OK if you can't song Verdi and Puccini.. Not everyone is suited vocally and tempermentally to sing their music..
And i feel free to notice that i don´t agree with your opinion about her vocal achievements with Puccini and Verdi, dear Iris and Matthew. She was stunning with Mozart, no need to discuss that. But her lucrative career extended over 30 years, that´s for an opera singer really considerable. Of course there were single days with effort and strained notes, that´s human. But when i listen to all these videos here, concerts or recordings with Verdi and Puccini, i´ve got always the same impression: the opulent voice suits to the well selected parts, built on a secure fundament from top to bottom. The concert in front of the Swedish Royals in her prime with the big arias or duets of Elvira or Amelia were show pieces of excellent Verdi singing, for example. And: my goodness, for how many years she was singing Tosca all over the world in this level, maybe my first choice between all those famous sopranos. A voice which isn´t really suitable to this repertory physically and with the temperament would be totally destroyed after short time. Her long career was always healthy. Some vocal tribute with the time but in the limits. I´m a huge fan of hers.
I knew her in college, when she was still singing mezzo repertoire. First time I heard her was singing O Don Fatale. It was remarkable! Her vocal instructor immediately switched her to soprano. One semester later was her first Tosca (in English of course, since it was a college profuction). Again, she was magnificent. Not long after that, she also sang the role of Cleopatra (again, at the college), in Samuel Barber's Antony and Cleopatra, and again was phenomenal! We all knew she was headed for something big. But my point is, right from the start she was singing big roles with no difficulty whatsoever! I truly don't believe that her repertoire caused any vocal decline. I think it was just the same as everyone else. Just the many years of singing. What a marvelous career!
@@alfredoloyola921 Actually this isn't "come scritto". If it were, she shouldn't sing the high A-flat either, but take it down an octave. The original ending is in fact quite an anticlimax.
I heard her live. She should be much more famous. A spinto who can sing the coloratura demands of "Sempre libera". Her Tosca is also great.
Omg!!! She is fantastic!!!!
I love Carol Vaness! I saw her Violetta in San Francisco and it was incredible! I’ve also seen her NORMA (also in San Francisco) and Elettra in Idomeneo and The Countess in Figaro both at The Met which proved to me that she was one of the best Mozart interpreters of the 80s/90s. BRAVA!
Incredible! I'm so lucky to be taking her class at IU right now! She's the sweetest too! :)
I studied with her teacher at CSUN. She is a tremendous singer and even better person.
really nice to understand the words in the "Sempre Libera"
Carol Vaness turns out to have been the best in this role I got to see in performance. S.F. Saw Sills only on TV. The others come in a distant second for my taste. Thanks for posting it. Maybe it will be "discovered." 🤩🤩🤩
I remember hearing her at NYCO in the 80s singing a variety of roles!
Amazing!!!! Bravissima!
friking Goddess!!!
Divine Vaness , always perfect
Maravillosa!!
I was lucky to hear her Traviata at Covent Garden under Solti no less. I thought vocally she was almost ideal. Maybe a bit too healthy looking to be ideal dramatically but hey no one is absolutely perfect! She wasn't far off though. A great singer who should have been more famous I think.
Lovely! Who cares if she doesn’t sing the high Eb.
I just watched a comparison of sopranos to hit a high note and she was best next to La Callas,secondo me
Any commenter that talks about sopranos "hitting" notes is kind of hard to take seriously...
One of the best singing actors of her generation but heavier repertoire took a toll on the voice. Mozart was where she shone. Her recording of Fiordigli under Haitink for EMI is simply stunning (the crowning note in the Act One trio is unmatched on record). One of the best Toscas on record too, but it was roles like that which proved far too heavy. Here the highest reaches of Violetta sound too strained. Perfectly nice to hear it without the E-flat, which Verdi did not write.
I'm in agreement with you, Matthew.. Her voice was always best suited for Mozart.. When she started to sing Puccini and Verdi, it wasn't the same.. I saw her sing Tosca at the Met and it was wrong for her.. Actually, I walked out of the performance after the Te Deum.. The whole cast was wrong.. It's OK if you can't song Verdi and Puccini.. Not everyone is suited vocally and tempermentally to sing their music..
And i feel free to notice that i don´t agree with your opinion about her vocal achievements with Puccini and Verdi, dear Iris and Matthew. She was stunning with Mozart, no need to discuss that. But her lucrative career extended over 30 years, that´s for an opera singer really considerable. Of course there were single days with effort and strained notes, that´s human. But when i listen to all these videos here, concerts or recordings with Verdi and Puccini, i´ve got always the same impression:
the opulent voice suits to the well selected parts, built on a secure fundament from top to bottom. The concert in front of the Swedish Royals in her prime with the big arias or duets of Elvira or Amelia were show pieces of excellent Verdi singing, for example. And:
my goodness, for how many years she was singing Tosca all over the world in this level, maybe my first choice between all those famous sopranos. A voice which isn´t really suitable to this repertory physically and with the temperament would be totally destroyed after short time. Her long career was always healthy. Some vocal tribute with the time but in the limits.
I´m a huge fan of hers.
Even better than that recording of Fiordiligi was seeing her live at the Met sing Fiordiligi! Truly one o my top experiences at the Met
I knew her in college, when she was still singing mezzo repertoire. First time I heard her was singing O Don Fatale. It was remarkable! Her vocal instructor immediately switched her to soprano. One semester later was her first Tosca (in English of course, since it was a college profuction). Again, she was magnificent. Not long after that, she also sang the role of Cleopatra (again, at the college), in Samuel Barber's Antony and Cleopatra, and again was phenomenal! We all knew she was headed for something big. But my point is, right from the start she was singing big roles with no difficulty whatsoever! I truly don't believe that her repertoire caused any vocal decline. I think it was just the same as everyone else. Just the many years of singing. What a marvelous career!
Art Danks I AGREE HER VOICE WAS SO LYRIC SPINTO. AND SO BEAUTIFUL. Arnold Bourbon Amaral
LIsten to CLARA PETRELLA
Petrella in. Traviata?a lived performance? She did not recorded. Traviata as far as I know.
OMG I KNOW she had the E-flat!!!!!!!!! Do disappointing without it. However, bella voce!!!!
The. Eflat is not written by. Verdi!! Is tradition. Don't expect every soprano to sing. Eflat is not
Written in the score!!! Come scritto!!!!!!
@@alfredoloyola921 Actually this isn't "come scritto". If it were, she shouldn't sing the high A-flat either, but take it down an octave. The original ending is in fact quite an anticlimax.