I was in the chorus in San Francisco for both the 72 and 82 performances. That D was absolutely HUGE. ON stage with all the others it was hard to hear, but one night I skipped out into the house (in the highest balcony) and it was absolutely mind boggling how huge and magnificent that note was. The audience went absolutely crazy each and every performance.
I saw her next to last "Norma" in Detroit and that voice could not be properly reproduced in recordings. It filled the whole space, One heard it through the whole space from stage to rafters and the back of the house. Maybe on day recording engineers can reproduce that experience.
So astounding not only for her incredible virtuosity, but her vocal longevity! What other soprano of modern times could sustain a role like Norma for so many years!
@@marcallen4532 When I originally heard that Horne discouraged Fleming from doing Norma, that really bothered me! I always thought she would have made a terrific Norma! But now we'll never know! 😢
I saw Sutherland in Detroit for one of the Normas. Even in 1989 and towards the end of her long career, that High D was Yuuuuge! Right before she launched into it, she kinda planted her one foot as if to get leverage. I don't remember hearing anything else besides that D! Amazing!
Emo Furfori That foot-plant was always in Sutherland's arsenal! When you saw her shift her leg and loosen her body, you knew a colossal high note was coming. She had said in interviews that it relaxed her body to prepare for the highest notes. And Hampson, in a master class, told students that rocking back on one leg gets the spine and body balanced for high notes.
I was at the next to the last one in Detroit. I remember that step back as well, and then a sort of easy arm swing with a strong but enthusiastic fist. You could see her gather her spiritual strength. I loved her Pollione duet also.
Certainly the top D was one of her best notes. I particularly remember their gleaming quality in Lucia di Lammermoor in her final London performances 1985.
@@jiwanhawk It filled the theater. "Huge" isn't all that the voice was. It filled the space from stage to back if the theater, from seats to the ceiling. Recordings have never been able to reproduce SPACE. Her voice inhabited the entirety of the space of the theater.
Vancouver Opera kept that brick red cloak from her first Norma production ( I was in the audience opening night) and years later I got to put it on. It didn't give me a high D! :)
I heard Sutherland sing many times, starting when I was 7 years old, the last when I was 24 (in 1987). I saw her many times through the 70s. While I missed her science fiction period in the 60s (and the recordings tell as much of the tale as they can as most who heard her then say that you just don't know what it was like to hear her live then from the recordings) in the 70s what was notable was that the voice was not just large, it was everywhere. It was sitting on your shoulder. It sounded like it came out of her mouth, her ears, and the back of her head. I think Anna Netrebko summed it up best when it came to Sutherland's Norma: "I was recently in the Met store, I came in there, and somebody was singing Norma just perfect! I cannot say any bad word about this singing. I said, who is this? Joan Sutherland.” . . . . "I don’t know how she’s singing. It’s just like flute playing. Perfect sound, beautiful, everything is free. I think this is a voice, one in a century like that.”
Anna Netrebko is probably my least favorite singer. I would prefer to hear singers who actually sang with Sutherland talk about her....Ms. Horne for example.
@@baritonebynightI used to hang out with “Marilyn” Horne and her daughter in the 80s. We used to play trivial pursuit. She had nothing but amazing things to say as well but as awful as Netrebko is, at least she can acknowledge greatness.
I'm here on behalf of La Superba, Montserrat Caballé, and the 1984 London recording with La Stupenda and Luciano Pavarotti. Thank you very much for this recording. I did not know she performed it as late as 1989 in Detroit. Very classy acknowledgement at the end of the video.
Many people thought she should retired earlier (SHE wanted to), and I agree, but if she had, I would never have experience her alive. I am glad she didn't.
@@marcallen4532 I don't think she should have retired earlier....she went out on her terms. She was singing the most difficult repertoire up until 1989. By 1990 she was singing very little ...and I'm guessing that she didn't want to do it anymore by then. The only person she had to compete with was her younger self.
@@baritonebynight I know someone who was with her after her last performance. Supposedly she turned to him and smiled and said "I never have to open my fucking mouth again if I don't want to."
Her Eb's and E's could be great but D6 was her note. The higher notes became less outstanding as she aged but the D's got bigger and more beautiful. Her high D's in Anna Bolena at around 60 were not to be believed. Sutherland's voice, always big, got bigger as she aged. I think her best note overall was a D in Maria Stuarda in a Concert for Darwin at age 45. It was simply massive with many lower overtones mixed in. People who saw her live said there were many more overtones in her voice that recordings were never able to pick up. Sutherland said that her voice switched at B5 from being forward to shooting right out of the roof of her roof of her mouth into the back of her heard. You can hear how they sound different.
@@ThomasDawkins88 Pavarotti could not read music. It is a huge bone of contention between him and Bonynge at the end. But no, he could not read a note of music.
This is quite fascinating from many perspectives. It shows the size, consistency, flexibility and longevity of Sutherland's voice, after all in the Detroit one she is 63. While, as some say, others might have been more dramatic physically or stylistically, this is the ultimate soprano role and Sutherland mastered every musical aspect of it. However, one of the most fun things to hear is the one where Cossotto is singing the Adalgisa and sings an interpolated [badly] high note right before Sutherland's D. Cossotto had one of the largest mezzo voice of the 20th century and she simply disappears once Sutherland goes up to the D. No one usually dared attempt to upstage her vocally and in this instance she demonstrates why.
It would be even a beautiful high B that Cossotto sang, but musically is SO odd!... Cossotto was an amazing singer and performer, but she suffered of HUGE ego and bitchiness.
She did the same thing to Callas at those painful Paris Normas. Held the C 4 beats longer than Callas, so cruel too-knowing the bad shape Callas’ voice was in!
It was always a shock to hear her live . As wonderful as the recordings are, it is impossible to capture the amplitude and depth of her voice. I probably heard her 20 times and was never adequately prepared!!
What the hell did Cossotto think she was doing in the Buenos Aires version??? That high B clashed with the orchestra harmony. She spent her whole career trying to upstage other singers. And she repeatedly stepped out of character to smile and bow to the audience. I saw her do it after Azucena's 'Stride la vampa'. Ridiculous!
Thank you for pointing that out. I've always wondered what the hell Cossotto was doing; it's horrendous. Sutherland still manages to effortlessly outsing that bitch.
Yeah but Sutherland annihilated Cossotto all the same!! And all of Callas's fans hate Cossotto for the Paris Norma where she outsang Maria ....Cossotto and her husband, Ivo Vinco, practically spent their entire careers trying to refute that one......
Cossotto did that to EVERY Norma she sang with: Callas, Gencer, Sutherland....Didn't matter - and harmonically it's totally WRONG. The worst example of course was the Paris Norma with Callas who was already in failing vocal form. It was atrocious. And for years, Cossotto and her husband/apologist, Ivo Vinco, tried to explain that she was only trying to "help" Callas by supporting her. Not only was her insistence on trying to outsing the Norma tasteless and tacky, it was also musically WRONG!
I have to grin at Cossotto's hutzba. I'm sure the Bonynge's did. Now if she'd done the same to Callas it would have been a mortal sin. But, of course Cossotto had more voice than Callas.
I read somewhere that Sutherland genuinely didn't notice, even though others said that Cossotto tried to outstage/-sing her in Buenos Aires. (Apparently the only time she felt upstaged by a colleague was by Raina Kabaivanska in "Beatrice di Tenda" at La Scala in 1961)
una voz misteriosa.........MISTERIOSA TOTALLLLLLLLLLLLLLLLLL.................PERO VERDADERA...AUTENTICA,....................QUE HACE CORRER RIOS DE TINTA.........................EL PODER SONORO..................CASI INCOMPRENSIBLE...................DE TANTA BELLEZA...................HARMONICA.................
ese dominio de la fuerza vocal..es indescriptiblemente alucinante.............................hoy dia......en el 2022..........no existe semejante poder..........................aunque tengamos mas milones de habitantes.....................este poder........no ha podido ser igualado.........................en algun sentido.................esta mujer...............era de otro mundo.......................
una voz llena de atmosfera .......................totalmente fuera de todo contexto cantor..............ni en el barroco...........ni en el preromanticismo.ni en el romanticismo.........ni el neoclasisismo voval..........y mucho menos en el modernismo y lo contemporaneo....................ella tenia un aurea vocal.....imposible de catalogar....a todas sus edades de canto.....desde las finuras llenas de harmonicos imposibles....hasta el progresivo oscurecimiento de la voz.............que aumentaba aun asi y todo el encanto.............del pasado..............paralelo al encanto de su presente...........maduro.........una pasada de voz..........que todabia tengo en estudio................esa osadia...vocal...........de una exquisitez.................indescriptible...hasta el ultimo dia en el que se retiro...............VIVA LA GRANDISIMA JOAN SUTHERLAND..................
@@jiwanhawk She was truly amazing! I had the good fortune of seeing her in a live performance of Lucia di Lammermoor, in 1974 (San Diego Opera). She was magnificent!!
impresionante................las actuaciones............de las sopranos y las mezzos......en su actuar ante ella.............esta .....simple que unas y otras tienen su personalidad...pero terinan sabiendo cual es su papel.....
@@marcallen4532 : Cossotto was a crude singer, loud and obnoxious. She wasn’t much of a musician to rewrite the opera in a poor attempt to show off. So believe what you want but she ruined the finale and the work of Sutherland and Charles Craig. The bitch should have been fired, THAT’S what I believe. And I’m right!!
@@marcallen4532 Having sung with a conductor who worked with Cossotto, she didn't sing that note to compliment the action...she was engaging in attention seeking behavior which she was known for. Great singer, but not a good colleague.
why take the subway with anyone else when with La Stupenda you can fly the Concorde!? 1978 in Sydney is my favorite, the D is radiant and infinite 5:36
It's incredible that Sutherland blows away the great Pavarotti and Horne at 7:32! I saw them all many times, but never at the same time, and only Suth/Pav once in Trovatore.
Its interesting to hear Ms. Horne describe singing with Dame Joan. "It was never about trying to out do each other...it was about making incredible music that other people can't sing.
compare the '63 at 0.31 to the '89 at 8.57... 26 years later the voice is heavier, maybe a little flat - but that D is still rock solid! What a technique!
@davidplazamarin8803 I adore Caballe. She's in my "top 4" of singers (i.e. Callas, Sutherland, Caballe and Sills). But I've never been that impressed with her Norma, (or Sills' Norma either, for that matter). But she was definitely a phenomenal voice and performer.
Misschien klein detail dat ik er nooit iets over hoor of lees maar waarom kan zij niet voor de hoge D zoals 2a3 andere sopranen en zoals t staat geschreven en slaat zij dat over , te moeilijk?
UN SENTIDO DEL TIEMPO...................VOCAL............PARA LANZAR EN EL MOMENTO EXACTO EL RAYO LASER..HASTA DEJARNOS EXTENUADOS..............Y ASI DURANTE MAS DE 40 AÑOS...............Y POR ESO HOY DIA SIGUE DANDO QUE HABLAR..DE TODO ESE AMOR VOCAL QUE TENIA....ESA PASION.EXTREMA.................DE UNA MUJER.............EXTRAORDINARIA..........CON UN SENTIDO DEL HUMOR MAGNIFICO EN LA VIDA PRIVADA......Y DRAMATISMO FLUCTUANTE EN SUS REPRESENTACIONES ARTISTICAS....SIN PARANGON..................
So the last one is a hair under pitch and a little shorter; big deal. It's one thing to keep a role in your repertoire for 26 years, but quite another for that role to be as demanding as Norma!
I love Sutherland .... not a big fan of Norma though. Franco Corelli was the best Polione... And why did that cow, Cossotto, ruin it in Buenos Aires! What a hideous sound she made.
@@brunoantony3218 I would say just the opposite, that her high Ds seem added in with no purpose. The only point of it is to show off at the climactic moment. But in the end it’s not even necessary anyway.
@@scottjohnson4850 Sutherland encouraged Caballe to sing "Norma," Montserrat replied, :but I don't have the high notes! Joan replied, "You don't need them, they're not in the score!"
True! I am sure that there were performances at the end in which she still had the D right on pitch, but at that age, after decades of Ds and Ebs, she really didn't want to have to sing up there anymore. I am sure she would make a funny face if she listened to the Detroit one, but the tone is at least huge and grand. After all those perfect high notes, I think she was entitled to a flat one or two at the end. These were, after all, right at the end of her career and, unlike some present day divas, she didn't go on singing the role for years in this advanced condition!
I attended all three Detroit NORMAs and I thought the second performance best overall. I recently read an interview from the director of those performances, John Pascoe, who indicated that Dame Joan was suffering from the flu or similar illness and it obviously affected her singing. Instead of canceling, she performed. It is true that when you’ve been sing the most difficult operatic role for soprano over 25 or 26 years there will be alterations. But Joan Sutherland never took vocal options or rewrote the role to remove the most difficult parts of the score in order to say she ‘sang it.’ The Detroit run was glorious and she was as her nickname indicated. STUPENDOUS.
@@MrMin316 She sang Huguenots in 1990 in Sydney as her final full opera - although the Queen's role is shorter there were no sour notes. There is a full recording and video of it.
Lol what adalgisa is holding B’s under Joan’s D? She’s like IM ALSO HERE HI 😂 At least D’s the 5th scale degree so with the 1/5/1/5/1 etc. it makes sense, but singing a B is the ultimate attention grab lol
The pictures reveal one very interesting aspect. The final Normal here was treated as though it was a Baroque opera by the director and costumer. This completely negates the change in opera that the three great bel canto composers were attempting. They wanted the story to be the focus with the emotions of the characters to be specific to them not, as in Baroque opera representations of single overriding emotional states. The way Sutherland is costumed [and it you look at archival photos, the other characters as well, this seems to be a Baroque opera or simply a concert performance. However, it is neither it is a staged performance. What a shame that even Sutherland, at the time of this performance, the greatest living exponent of Norma had to give in to the uninformed and unmusical preferences of the stage director and the costumer. pathetic in terms of respect for opera as drama. This is not Sutherland's fault as it has become the norm for outsiders to opera to overtake and devalue the most important aspects of the opera [drama in music] for all kinds of weird stagings that often actually contradict the music and libretto.
Cossotto was a voice.Not an artist. Observe how indifferrent & unmusical she is in Samson et Dalila with G.Chauvet. They are both vocally perfect ,but so boring ,because of their lack of expression & phrasing(what she's doing here is totally ridiculous)
I was in the chorus in San Francisco for both the 72 and 82 performances. That D was absolutely HUGE. ON stage with all the others it was hard to hear, but one night I skipped out into the house (in the highest balcony) and it was absolutely mind boggling how huge and magnificent that note was. The audience went absolutely crazy each and every performance.
I saw her next to last "Norma" in Detroit and that voice could not be properly reproduced in recordings. It filled the whole space, One heard it through the whole space from stage to rafters and the back of the house. Maybe on day recording engineers can reproduce that experience.
So astounding not only for her incredible virtuosity, but her vocal longevity! What other soprano of modern times could sustain a role like Norma for so many years!
Renee Fleming once suggested to Marilyn Horne that she was thinking about tackling "Norma." Jacky said nothin and just slowly shook her head.
@@marcallen4532 yeah yeah.......well you probably know that Jenny Lind was a celebrated Norma right. Sutherland was the exception to EVERY rule.
@@marcallen4532 When I originally heard that Horne discouraged Fleming from doing Norma, that really bothered me! I always thought she would have made a terrific Norma! But now we'll never know! 😢
I saw Sutherland in Detroit for one of the Normas. Even in 1989 and towards the end of her long career, that High D was Yuuuuge!
Right before she launched into it, she kinda planted her one foot as if to get leverage. I don't remember hearing anything else besides that D! Amazing!
Emo Furfori That foot-plant was always in Sutherland's arsenal! When you saw her shift her leg and loosen her body, you knew a colossal high note was coming. She had said in interviews that it relaxed her body to prepare for the highest notes. And Hampson, in a master class, told students that rocking back on one leg gets the spine and body balanced for high notes.
I was at the next to the last one in Detroit. I remember that step back as well, and then a sort of easy arm swing with a strong but enthusiastic fist. You could see her gather her spiritual strength. I loved her Pollione duet also.
A trick: watch series at Flixzone. I've been using it for watching all kinds of movies during the lockdown.
@Marcus Kylen Yup, been watching on Flixzone} for months myself :)
@Marcus Kylen Definitely, have been watching on Flixzone} for years myself =)
I had never heard the 1989 High D. - Fascinating voice!
Woooow in Norma you can tell how big was the sound in that zone of the voice, no pushing, perfect.
Callas does not do pushing either@@jiwanhawk
Certainly the top D was one of her best notes. I particularly remember their gleaming quality in Lucia di Lammermoor in her final London performances 1985.
I saw Joan as Norma in the 60s in Philadelphia - great all around. That D amazed the 4 of us who were there. What a great role.
Woooow really? How was her voice in stage? Is that huge as everybody says?
@@jiwanhawk Yes, it was -- really HUGE!!
@@jiwanhawk It filled the theater. "Huge" isn't all that the voice was. It filled the space from stage to back if the theater, from seats to the ceiling. Recordings have never been able to reproduce SPACE. Her voice inhabited the entirety of the space of the theater.
That high D from 1963 was MAMMOTH!
All the live recordings have a palpable zest and this excitement that the '64 recording (that I cherish) lack.
Vancouver Opera kept that brick red cloak from her first Norma production ( I was in the audience opening night) and years later I got to put it on. It didn't give me a high D! :)
I wish her master class where talks about her plinth was required watching for students. It served her very well!
Hello, what's plinth?
I heard Sutherland sing many times, starting when I was 7 years old, the last when I was 24 (in 1987). I saw her many times through the 70s. While I missed her science fiction period in the 60s (and the recordings tell as much of the tale as they can as most who heard her then say that you just don't know what it was like to hear her live then from the recordings) in the 70s what was notable was that the voice was not just large, it was everywhere. It was sitting on your shoulder. It sounded like it came out of her mouth, her ears, and the back of her head. I think Anna Netrebko summed it up best when it came to Sutherland's Norma: "I was recently in the Met store, I came in there, and somebody was singing Norma just perfect! I cannot say any bad word about this singing. I said, who is this? Joan Sutherland.” . . . . "I don’t know how she’s singing. It’s just like flute playing. Perfect sound, beautiful, everything is free. I think this is a voice, one in a century like that.”
Anna Netrebko is probably my least favorite singer. I would prefer to hear singers who actually sang with Sutherland talk about her....Ms. Horne for example.
....lol...."her science fiction period " !!!!! 🤣🤣🤣🤣... you made my day!
@@baritonebynight 100% agree with everything you said!
@@baritonebynightI used to hang out with “Marilyn” Horne and her daughter in the 80s. We used to play trivial pursuit. She had nothing but amazing things to say as well but as awful as Netrebko is, at least she can acknowledge greatness.
I'm here on behalf of La Superba, Montserrat Caballé, and the 1984 London recording with La Stupenda and Luciano Pavarotti. Thank you very much for this recording. I did not know she performed it as late as 1989 in Detroit. Very classy acknowledgement at the end of the video.
Many people thought she should retired earlier (SHE wanted to), and I agree, but if she had, I would never have experience her alive. I am glad she didn't.
@@marcallen4532 I don't think she should have retired earlier....she went out on her terms. She was singing the most difficult repertoire up until 1989. By 1990 she was singing very little ...and I'm guessing that she didn't want to do it anymore by then. The only person she had to compete with was her younger self.
@@baritonebynight I know someone who was with her after her last performance. Supposedly she turned to him and smiled and said "I never have to open my fucking mouth again if I don't want to."
Her Eb's and E's could be great but D6 was her note. The higher notes became less outstanding as she aged but the D's got bigger and more beautiful. Her high D's in Anna Bolena at around 60 were not to be believed. Sutherland's voice, always big, got bigger as she aged. I think her best note overall was a D in Maria Stuarda in a Concert for Darwin at age 45. It was simply massive with many lower overtones mixed in. People who saw her live said there were many more overtones in her voice that recordings were never able to pick up. Sutherland said that her voice switched at B5 from being forward to shooting right out of the roof of her roof of her mouth into the back of her heard. You can hear how they sound different.
Yes, I agree with you about her Maria Stuarda high note from the Darwin concert. Perfection!
Love how Pavarotti is turning the pages as if he can read music!
People can follow a score even if they cannot read it.
@Knappa22 Pavarotti was usually okay with music, but he often had trouble remembering text, so he was probably reading that.
@@ThomasDawkins88 Pavarotti could not read music. It is a huge bone of contention between him and Bonynge at the end. But no, he could not read a note of music.
She was astonishing. Just great singing and humility!
She was amazing. Fantastica!!!!!
This is quite fascinating from many perspectives. It shows the size, consistency, flexibility and longevity of Sutherland's voice, after all in the Detroit one she is 63. While, as some say, others might have been more dramatic physically or stylistically, this is the ultimate soprano role and Sutherland mastered every musical aspect of it. However, one of the most fun things to hear is the one where Cossotto is singing the Adalgisa and sings an interpolated [badly] high note right before Sutherland's D. Cossotto had one of the largest mezzo voice of the 20th century and she simply disappears once Sutherland goes up to the D. No one usually dared attempt to upstage her vocally and in this instance she demonstrates why.
It would be even a beautiful high B that Cossotto sang, but musically is SO odd!... Cossotto was an amazing singer and performer, but she suffered of HUGE ego and bitchiness.
@@stefanodepeppo I sang for a conductor who conducted Cossotto. He said nothing good about her attitude.
She did the same thing to Callas at those painful Paris Normas. Held the C 4 beats longer than Callas, so cruel too-knowing the bad shape Callas’ voice was in!
I LOVED Cossoto's deviation I don't know why Bellini didn't think of it,
@@marcallen4532 Because it's disgusting.
Her final Norma was in 1994!!!! NO ONE HAS EVER SUNG THAT ROLE FOR 31 YEARS, GOD IN HEAVEN!!❤❤❤❤❤❤
Not hardly She retired at the end of 1990.
@@williammaddox3339 last Norma was 1994 sorry!
@@maxcornise-qh2jk She last sang in public on 12/31/90 in Die Fledermaus London ROH.
Fuck i would have given my right one just to see her live!!
I hate to rub it in, but she was much greater than recordings can reproduce.
It was always a shock to hear her live . As wonderful as the recordings are, it is impossible to capture the amplitude and depth of her voice. I probably heard her 20 times and was never adequately prepared!!
Thank you so much, very interesting.
She sings for the Angels now.
@burtcollins239: C’mon, please tell us something we don’t know!
What the hell did Cossotto think she was doing in the Buenos Aires version??? That high B clashed with the orchestra harmony. She spent her whole career trying to upstage other singers. And she repeatedly stepped out of character to smile and bow to the audience. I saw her do it after Azucena's 'Stride la vampa'. Ridiculous!
Thank you for pointing that out. I've always wondered what the hell Cossotto was doing; it's horrendous. Sutherland still manages to effortlessly outsing that bitch.
Yeah but Sutherland annihilated Cossotto all the same!!
And all of Callas's fans hate Cossotto for the Paris Norma where she outsang Maria ....Cossotto and her husband, Ivo Vinco, practically spent their entire careers trying to refute that one......
Cossotto did that to EVERY Norma she sang with: Callas, Gencer, Sutherland....Didn't matter - and harmonically it's totally WRONG.
The worst example of course was the Paris Norma with Callas who was already in failing vocal form. It was atrocious. And for years, Cossotto and her husband/apologist, Ivo Vinco, tried to explain that she was only trying to "help" Callas by supporting her. Not only was her insistence on trying to outsing the Norma tasteless and tacky, it was also musically WRONG!
I have to grin at Cossotto's hutzba. I'm sure the Bonynge's did. Now if she'd done the same to Callas it would have been a mortal sin. But, of course Cossotto had more voice than Callas.
I read somewhere that Sutherland genuinely didn't notice, even though others said that Cossotto tried to outstage/-sing her in Buenos Aires. (Apparently the only time she felt upstaged by a colleague was by Raina Kabaivanska in "Beatrice di Tenda" at La Scala in 1961)
una voz misteriosa.........MISTERIOSA TOTALLLLLLLLLLLLLLLLLL.................PERO VERDADERA...AUTENTICA,....................QUE HACE CORRER RIOS DE TINTA.........................EL PODER SONORO..................CASI INCOMPRENSIBLE...................DE TANTA BELLEZA...................HARMONICA.................
ese dominio de la fuerza vocal..es indescriptiblemente alucinante.............................hoy dia......en el 2022..........no existe semejante poder..........................aunque tengamos mas milones de habitantes.....................este poder........no ha podido ser igualado.........................en algun sentido.................esta mujer...............era de otro mundo.......................
una voz llena de atmosfera .......................totalmente fuera de todo contexto cantor..............ni en el barroco...........ni en el preromanticismo.ni en el romanticismo.........ni el neoclasisismo voval..........y mucho menos en el modernismo y lo contemporaneo....................ella tenia un aurea vocal.....imposible de catalogar....a todas sus edades de canto.....desde las finuras llenas de harmonicos imposibles....hasta el progresivo oscurecimiento de la voz.............que aumentaba aun asi y todo el encanto.............del pasado..............paralelo al encanto de su presente...........maduro.........una pasada de voz..........que todabia tengo en estudio................esa osadia...vocal...........de una exquisitez.................indescriptible...hasta el ultimo dia en el que se retiro...............VIVA LA GRANDISIMA JOAN SUTHERLAND..................
Una voz única en la existencia, técnicamente casi perfecta, que daría por haberla escuchado en vivo.
@@jiwanhawk She was truly amazing! I had the good fortune of seeing her in a live performance of Lucia di Lammermoor, in 1974 (San Diego Opera). She was magnificent!!
ME ENCANTA ESTA LOCURA CANTANDO.......................ES DEMENCIAL...................ABSOLUTAMENTE.........................INCREIBLE.................
impresionante................las actuaciones............de las sopranos y las mezzos......en su actuar ante ella.............esta .....simple que unas y otras tienen su personalidad...pero terinan sabiendo cual es su papel.....
In the Buenos Aires sequence the harmony between the voices is thrilling. So dissonant and haunting.
Oops! Cossotto’s crude interpolated note obscures Sutherland’s note, which Bellini meant to dominate.
@@liedersanger1 I disagree. Cossotto''s derivation was sublime to me. I'd like to believe that Bellini would appove.
@@marcallen4532 : Cossotto was a crude singer, loud and obnoxious. She wasn’t much of a musician to rewrite the opera in a poor attempt to show off. So believe what you want but she ruined the finale and the work of Sutherland and Charles Craig. The bitch should have been fired, THAT’S what I believe. And I’m right!!
@@liedersanger1 All I can think when I hear it is "what the f is she doing? Is she lost?"
@@marcallen4532 Having sung with a conductor who worked with Cossotto, she didn't sing that note to compliment the action...she was engaging in attention seeking behavior which she was known for. Great singer, but not a good colleague.
why take the subway with anyone else when with La Stupenda you can fly the Concorde!? 1978 in Sydney is my favorite, the D is radiant and infinite 5:36
Wow!
It's incredible that Sutherland blows away the great Pavarotti and Horne at 7:32! I saw them all many times, but never at the same time, and only Suth/Pav once in Trovatore.
pavarotti almost never had a chance in front of her, you need a decent spinto to compete against sutherland.
Its interesting to hear Ms. Horne describe singing with Dame Joan. "It was never about trying to out do each other...it was about making incredible music that other people can't sing.
compare the '63 at 0.31 to the '89 at 8.57... 26 years later the voice is heavier, maybe a little flat - but that D is still rock solid! What a technique!
Not flat to my ears
The note wasn't flat, the tape was just played a bit slower
No other soprano has ever thrilled an audience as much as Sutherland; she was the best and always will be.
Suth Pav Maybe in singing this note but for me not much more than that
Yes, high notes were almost her only virtue, and she kept them to the end.
Callas un Aida Palacio de Bellas Artes un México for example?
@@3uHo4ka the Best exposer of Bel canto
Callas thrilled audiences. So did Caballe.
LA PROFUNDIDAD DE SUS AGUAS ES MAYOR QUE SU ALCANCE VOCAL..........................CANTANDO...........
She clobbered Cossotto in the 1969 Norma!
Good.
es un rayo vocalllllllllllllllllllllllllllll
Please tell me you have the complete video of Sutherland Pavarotti and horne in 1981!
Bravissima!!!!!'
How wonderful Joan was, can anyone tell me what Franco Corelli thought of her, I would love to know.
a todas sus edades cantoras.......hasta el dia que se retiro........................
The incomparable Joan Sutherland.
testament to all the "nay-sayers" that Sutherland was
brilliant
Wonderfol❤
She always did have a thrilling High D but unfortunately High notes are only 1/4 of Norma. Still, she’s one of the better ones
I agree. For me there were only ever 2 Normas. Sutherland and Callas.
@@artdanks4846 ...I agree.....everybody else seems to have a lot of problems with the role.
@@artdanks4846amo, adoro a sutherland, por supuesto a Callas, pero en esa lista debe estar Caballé por derecho.
@davidplazamarin8803 I adore Caballe. She's in my "top 4" of singers (i.e. Callas, Sutherland, Caballe and Sills). But I've never been that impressed with her Norma, (or Sills' Norma either, for that matter). But she was definitely a phenomenal voice and performer.
@@artdanks4846 czcams.com/video/t352QSwni9U/video.htmlsi=oK0OsinlwpbyLZU0
joan sutherland the greatest divaaa everrrrr
Misschien klein detail dat ik er nooit iets over hoor of lees maar waarom kan zij niet voor de hoge D zoals 2a3 andere sopranen en zoals t staat geschreven en slaat zij dat over , te moeilijk?
LO APLASTA TODO.............................
UN SENTIDO DEL TIEMPO...................VOCAL............PARA LANZAR EN EL MOMENTO EXACTO EL RAYO LASER..HASTA DEJARNOS EXTENUADOS..............Y ASI DURANTE MAS DE 40 AÑOS...............Y POR ESO HOY DIA SIGUE DANDO QUE HABLAR..DE TODO ESE AMOR VOCAL QUE TENIA....ESA PASION.EXTREMA.................DE UNA MUJER.............EXTRAORDINARIA..........CON UN SENTIDO DEL HUMOR MAGNIFICO EN LA VIDA PRIVADA......Y DRAMATISMO FLUCTUANTE EN SUS REPRESENTACIONES ARTISTICAS....SIN PARANGON..................
High Ds in Norma...?
Quien es la Mezzo del 69 En Buenos Aires?? Cossotto???
Fiorenza Cossotto.
The one and only.
My favorite is Buenos Aires when Cossotto tries to compete on the last note. It's comedy. Sorry dear, nobody can hear you.
So the last one is a hair under pitch and a little shorter; big deal. It's one thing to keep a role in your repertoire for 26 years, but quite another for that role to be as demanding as Norma!
I know! A role like Norma in her repertoire for 26 years! Absolutely amazing!!!
un volcan sonoro.........................
I love Sutherland .... not a big fan of Norma though. Franco Corelli was the best Polione... And why did that cow, Cossotto, ruin it in Buenos Aires! What a hideous sound she made.
Where is Cossotto? Can't find her
Countess Dracula.
@@jiwanhawk Buenos Aires 1969
Hahahahah don't hate cossotto, she had a HUGE voice and a great singer.
Why does she never sing the high D at the climax with the chorus? Little disappointed
Silliest and most unmusical comment here.
@@brunoantony3218 I would say just the opposite, that her high Ds seem added in with no purpose. The only point of it is to show off at the climactic moment. But in the end it’s not even necessary anyway.
Yes, indeed her D6s were HUGEEE, and i mean HUGE. But their position in the score make no musical sense. Still thrilling nevertheless
Well....when you are hired to sing the title role of Norma you can do it the way you want to.
@@scottjohnson4850 Sutherland encouraged Caballe to sing "Norma," Montserrat replied, :but I don't have the high notes!
Joan replied, "You don't need them, they're not in the score!"
I love how Pavarotti looks at Sutherland so relaxed, then looks at Horne's score and start singing rapidly xD
Not sure what language you are trying to speak.
@@baritonebynight English.
@@Un_Gordo_De_Derecha Keep trying
@@baritonebynight It really took you 2 months to answer that coment?
I saw Joan many times but never with a flat final note as in the Detroit!
She was aged 64!
True! I am sure that there were performances at the end in which she still had the D right on pitch, but at that age, after decades of Ds and Ebs, she really didn't want to have to sing up there anymore. I am sure she would make a funny face if she listened to the Detroit one, but the tone is at least huge and grand. After all those perfect high notes, I think she was entitled to a flat one or two at the end. These were, after all, right at the end of her career and, unlike some present day divas, she didn't go on singing the role for years in this advanced condition!
I attended all three Detroit NORMAs and I thought the second performance best overall. I recently read an interview from the director of those performances, John Pascoe, who indicated that Dame Joan was suffering from the flu or similar illness and it obviously affected her singing. Instead of canceling, she performed. It is true that when you’ve been sing the most difficult operatic role for soprano over 25 or 26 years there will be alterations. But Joan Sutherland never took vocal options or rewrote the role to remove the most difficult parts of the score in order to say she ‘sang it.’ The Detroit run was glorious and she was as her nickname indicated. STUPENDOUS.
@@MrMin316 She sang Huguenots in 1990 in Sydney as her final full opera - although the Queen's role is shorter there were no sour notes. There is a full recording and video of it.
Lol what adalgisa is holding B’s under Joan’s D? She’s like IM ALSO HERE HI 😂 At least D’s the 5th scale degree so with the 1/5/1/5/1 etc. it makes sense, but singing a B is the ultimate attention grab lol
Meinsind Diewälder that would be Fiorenza Cossotto
@@harpguy18 A.K.A. Countess Dracula.
She was the perfect voice for the nuclear age.
The pictures reveal one very interesting aspect. The final Normal here was treated as though it was a Baroque opera by the director and costumer. This completely negates the change in opera that the three great bel canto composers were attempting. They wanted the story to be the focus with the emotions of the characters to be specific to them not, as in Baroque opera representations of single overriding emotional states. The way Sutherland is costumed [and it you look at archival photos, the other characters as well, this seems to be a Baroque opera or simply a concert performance. However, it is neither it is a staged performance. What a shame that even Sutherland, at the time of this performance, the greatest living exponent of Norma had to give in to the uninformed and unmusical preferences of the stage director and the costumer. pathetic in terms of respect for opera as drama. This is not Sutherland's fault as it has become the norm for outsiders to opera to overtake and devalue the most important aspects of the opera [drama in music] for all kinds of weird stagings that often actually contradict the music and libretto.
I agree with your point, but is was an beautiful production..
@wilsonwatt Thank you for saying this!! I sooo agree with you about opera directors today!!
Cossotto was a voice.Not an artist.
Observe how indifferrent & unmusical she is in Samson et Dalila with G.Chauvet.
They are both vocally perfect ,but so boring ,because of their lack of expression & phrasing(what she's doing here is totally ridiculous)
And a HUUUUGE voice!