Thanks so much for this. Her reticence was a hindrance in some ways in terms of her becoming a bigger "star" but that never mattered to me in the slightest. I admired her stringent standards, her dedication to the art. I appreciated that she didn't try to sing everything, like some of her contemporaries. Because of the age at which I encountered her in NYC, she was my path into bel canto. I saw all her Met performances, her very first Norma in Chicago. Much, much later, I saw her Pat Nixon at Chatelet. She never expected more of other artists and companies than she demanded of herself. She is a gem., a genuine artist.
An interesting profile. This brought back memories of hearing her fairly early in her international career in London in Semiramide, Lucia and Puritani (the last her best for me) and a few recitals in the 1980s. I also attended the dress rehearsal for "Candide" with Leonad Bernstein in London in which she sang an impressive Cunegonde. She continued Sutherland's work in reviving many bel canto rarities and was always a fine performer. The voice was in the Sutherland mold, but not quite as large and though she had excellent coloratura she lacked a real trill. The voice was beautiful but without having a unique sound I always thought. She was a fine musician. Noteworthy that she was looking forward to a time when she would not be singing.
Cant believe she retired so early...in CT. I wish she made some appearances...or give masterclasses. I even tried to get in touch with her at Yale, at no avail.
To me she is unique and not like Sutherland, her interpretation are much more refined and her french too, perfect in diction in both italian and french.
I attended a recital in which she chose not to stay on stage that long after a standing ovation. On the other hand, they all say they are going to stop, but easier said than not sung. The beautiful line is what matters to me, and she often excelled. Sadly, there seems to be something she did not sing. Psalm 68: 4 "Sing unto God, sing praises to his name."
One of the great coloraturas that history will remember and singers aspire to be like!
Thanks so much for this. Her reticence was a hindrance in some ways in terms of her becoming a bigger "star" but that never mattered to me in the slightest. I admired her stringent standards, her dedication to the art. I appreciated that she didn't try to sing everything, like some of her contemporaries. Because of the age at which I encountered her in NYC, she was my path into bel canto. I saw all her Met performances, her very first Norma in Chicago. Much, much later, I saw her Pat Nixon at Chatelet. She never expected more of other artists and companies than she demanded of herself. She is a gem., a genuine artist.
Agreed she gave stunning balanced beautiful and true coloratura essays. She also did not ruin herself like so many of her generation.
She is so lovely. I wish I could have seen her in some of her Bel Canto roles.
Vocally she came closest to sutherland than anyone else i have ever heard.
Fantastic
Wonderful thank you
I wish she had a greater scope in all kinds of songs..she was no less than Joan Sutherland in terms of voice I think.
THE best. 💕💓💕💓💕👏👏👏👏
Is this the insane Zambello Lucia? Always wanted to get a glimpse haha
An interesting profile. This brought back memories of hearing her fairly early in her international career in London in Semiramide, Lucia and Puritani (the last her best for me) and a few recitals in the 1980s. I also attended the dress rehearsal for "Candide" with Leonad Bernstein in London in which she sang an impressive Cunegonde. She continued Sutherland's work in reviving many bel canto rarities and was always a fine performer. The voice was in the Sutherland mold, but not quite as large and though she had excellent coloratura she lacked a real trill. The voice was beautiful but without having a unique sound I always thought. She was a fine musician. Noteworthy that she was looking forward to a time when she would not be singing.
Cant believe she retired so early...in CT. I wish she made some appearances...or give masterclasses. I even tried to get in touch with her at Yale, at no avail.
To me she is unique and not like Sutherland, her interpretation are much more refined and her french too, perfect in diction in both italian and french.
I attended a recital in which she chose not to stay on stage that long after a standing ovation. On the other hand, they all say they are going to stop, but easier said than not sung. The beautiful line is what matters to me, and she often excelled. Sadly, there seems to be something she did not sing. Psalm 68: 4 "Sing unto God, sing praises to his name."