Interestingly this gives an indication of how her voice sounded in the theatre. It enveloped one as if coming from several different directions. The 1980 London Lucrezia Borgia was astonishing to hear and she acted it pretty well too. I think the critics’ sniping was pure jealousy. The 1985 Lucias miraculous.
Sutherland made her North American debut in this role in The Vancouver International Festival of 1958. Bruno Walter was here conducting concerts and said she was the finest Donna Anna he ever heard.
As noted below by others, this is a great performance of this very difficult scena. The diction is elegant and the music is spectacularly interpreted. The precision of intonation and the emotive impact are wonderful. Also, this is Sutherland at 52 singing as though she were 20 years younger. Thank you for this posting.
This was, I believe, from a live from Lincoln Center telecast on a Tuesday night, and was an altogether spectacular performance by Southerland that I have never forgotten. By this stage in her career, her voice had acquired a heroic quality which enabled her to taken on and conquer such heavier roles as Esclarmonde without any loss of vocal agility and retaining her extraordinary upper register as always...a true vocal paragon...
@photo161: Yes, this was a Live from Lincoln Center the year the pathetic MET fired her, over their error, and it was nearly fours before she returned as Lucia in 1982. Enough to make anyone mad. This video also preserved the Eugene Berman 1957 production. The Don Giovanni was James Morris. The MET should release this and Leontyne Price’s final Aida on DVD. They would sell out, but no, they’re too stupid!! 😵💫
I read once that Nilsson thought Donna Anna was a nice warm up for Turandot! I can hear Joan’s here, although her’s recorded six years prior! Stupendous thrust!
At the beginning of this, I like the way Bonynge takes the four orchestral chords slowly, as Donna Anna gradually realizes with whom she was just speaking. Most conductors just rush them as if they mean nothing particularly. All the great sopranos of Bellini and Donizetti's time sang Donna Anna in the 19th C., the role being a progenitor of the great dramatic coloratura heroines of those composers.
I think her first recorded Donna Anna was before she became a super star in a 1959 Recording with the then more famous Elisabeth Schwarzkoft as Donna Elvira and Eberhard Wachter as the Don. IMHO, her performances later in her career were more formidable as the voice became darker and more dramatic with age. It's amazing that she was still able to sing the most difficult roles nearly up to the end.
Her voice sounds so huge and dramatic here! The appoggiaturas are a little distracting, but in the end this performance is so satisfying! Sing La Stupenda!!
@@galanis38 , siamo nel Settecento e si abbelliva qualunque cosa e molto. Mozart era un compositore come tutti gli altri, considerato come tutti gli altri, ne piu' e ne meno. Questa mania che Mozart e' intoccabile. Anche Cherubini e Spontini, venuti dopo, si abbellivano con cadenze e abbellimenti!!
@@galanis38 The old adage used to go "overembellish when you can not do it the right way the first two times...," and boy does she ham it up here. Typical Mush mouth Stupenda.
What a Fantastic Performance of Don Giovanni on Live from the Met, which first ever aired as part of PBS' Festival '78 Membership Pledge Drive on most PBS stations including my local station: KPBS San Diego, Circa Thursday March 16th, 1978!! Join the Celebration on Public TV!! Festival '78!!
Tecnica a parte, ha un volume vocale fuori dal normale. Io non l'ho mai sentita dal vivo (son purtroppo troppo giovane) ma scommetto che una voce così si sente pulita anche in ultima fila.
I attended one of the performances in this series. Extraordinary cast, although Tourangeau had a minor mishap and wouldn’t take a curtain call. But people were actually complaining because they expected Sutherland to display her highest notes! They obviously didn’t know that, while Donna Anna has some fearsome coloratura, there are no notes above Bb.
I've heard similar reports of complaints in some of her recitals...people expecting high E's or F's I guess...LOL. The idea of Sutherland interpolating high Ebs into Mozart's music for kicks is ridiculous.
@@deadwalke9588 Many singers take liberties with music, Sutherland was not alone by any stretch. In the Bel Canto tradition interpolating notes and embellishing the vocal line was common practice, and the composers expected it. It has nothing to do with a lack of respect.
@@joshuamcpherson007 That's only applicable in repertoire that is ASSOCIATED with said composers (i.e. Bellini, Donizetti, Rossini, and some light appoggiatura for Mozart.) What Joan Sutherland does is grossly overembellish on everything she sings; to further corroborate the point, she evens overly embellish in the Miserere from Verdi's Trovatore., a piece that does not require any additional high notes, as a mere substitute for the lack of heterogeneity in the voice.
OperaMyWorld Your such a kind man my friend. We thank you for your generosity para siempre amigo. Arnold & Linda Montoya Butkavich Bourbon Amaral in other words 3rd generation American Hienz 57 blah blah blah 🙈🙉🙊😊💏🌍🌎🌏
The entire video used to be on YT but it disappeared a few years ago. The Met has a habit of having pulled off of YT entire performances form their opera company.
Vini Soaris Finally the true identity is revealed. We will notify the proper authorities per usual my friend. ADIO Arnold AKA OLD MAN RIVER 🚣. I can say no mas. BASTA!!!
It’s sad that the Met never released this on DVD but I remember the telecast very well. But this also came on the heels of the cancellation of the Rossini and Lehar projects because she decided against the Mozart (Abduction). It was all very sad and tackless action by the Met.
Grab your right ear with your right hand, your left ear with your left, and yank your head out of your azz...You'll find your hearing magically restored to normal...Good luck...
@@crazyorganist1609 Than you have to do something about your ears. She was one of the best soprano's in the world but she went on singing far and far to long.
Interestingly this gives an indication of how her voice sounded in the theatre. It enveloped one as if coming from several different directions. The 1980 London Lucrezia Borgia was astonishing to hear and she acted it pretty well too. I think the critics’ sniping was pure jealousy. The 1985 Lucias miraculous.
Sutherland made her North American debut in this role in The Vancouver International Festival of 1958. Bruno Walter was here conducting concerts and said she was the finest Donna Anna he ever heard.
This voice is so damn big!!!
Between the dress and the hair, it's a good thing the Met is one of the world's biggest opera stages
As noted below by others, this is a great performance of this very difficult scena. The diction is elegant and the music is spectacularly interpreted. The precision of intonation and the emotive impact are wonderful. Also, this is Sutherland at 52 singing as though she were 20 years younger. Thank you for this posting.
Here is a Donna Anna not to be tangled with in both voice and person.
I’ve never listened to her in this opera. The diction is really firm and crisply articulated here! This is just fantastic!!!
You should listen to her early recording with Giulini. She's great there!
@@DiomedesDioscuro I agree! That whole recording is simply wonderful, a great cast!
@@kbhprinsesse I generally quite dislike Schwartzkopf, without exception. 😁
So what? This is Sutherland.
@@liedersanger1---Why disillusion the moron. You know, morons are people too.
This was, I believe, from a live from Lincoln Center telecast on a Tuesday night, and was an altogether spectacular performance by Southerland that I have never forgotten. By this stage in her career, her voice had acquired a heroic quality which enabled her to taken on and conquer such heavier roles as Esclarmonde without any loss of vocal agility and retaining her extraordinary upper register as always...a true vocal paragon...
Maybe she was discovering her real repertoire... not lightening her voice to sound like a bird as she did before
@photo161: Yes, this was a Live from Lincoln Center the year the pathetic MET fired her, over their error, and it was nearly fours before she returned as Lucia in 1982. Enough to make anyone mad. This video also preserved the Eugene Berman 1957 production. The Don Giovanni was James Morris. The MET should release this and Leontyne Price’s final Aida on DVD. They would sell out, but no, they’re too stupid!! 😵💫
This is the benchmark. Stunning.
I read once that Nilsson thought Donna Anna was a nice warm up for Turandot! I can hear Joan’s here, although her’s recorded six years prior! Stupendous thrust!
Wonderful. Plus the appogiaturas!
A few too many appogiaturas, I feel, but, ok...
My all time favorite Donna Anna! Brava La Stupenda!
Amazing diction
At the beginning of this, I like the way Bonynge takes the four orchestral chords slowly, as Donna Anna gradually realizes with whom she was just speaking. Most conductors just rush them as if they mean nothing particularly. All the great sopranos of Bellini and Donizetti's time sang Donna Anna in the 19th C., the role being a progenitor of the great dramatic coloratura heroines of those composers.
I was there. Memories Oh Memories
How wonderful......
I think her first recorded Donna Anna was before she became a super star in a 1959 Recording with the then more famous Elisabeth Schwarzkoft as Donna Elvira and Eberhard Wachter as the Don. IMHO, her performances later in her career were more formidable as the voice became darker and more dramatic with age. It's amazing that she was still able to sing the most difficult roles nearly up to the end.
It was after the Lucias. Her first full opera recording.
Yes, I think you're right about the timing. I have that CD Eberhard Wächter is the Don and the silky Luigi Alva is the tenor, one of opera's most
most underappreciated roles. He handle Il mio tesoro marvelously.
Unbelievably FANTASTIC!
Her voice sounds so huge and dramatic here! The appoggiaturas are a little distracting, but in the end this performance is so satisfying! Sing La Stupenda!!
The appoggiaturas are distrcting? They are historically absolutely correct!
@@pianoronald Not necessarily absolutely correct when over-applied.
@@galanis38 , siamo nel Settecento e si abbelliva qualunque cosa e molto. Mozart era un compositore come tutti gli altri, considerato come tutti gli altri, ne piu' e ne meno. Questa mania che Mozart e' intoccabile. Anche Cherubini e Spontini, venuti dopo, si abbellivano con cadenze e abbellimenti!!
@@galanis38 The old adage used to go "overembellish when you can not do it the right way the first two times...," and boy does she ham it up here. Typical Mush mouth Stupenda.
This is spectacular.
Amazing Joan!
Divina
Goosebumps...
What a Fantastic Performance of Don Giovanni on Live from the Met, which first ever aired as part of PBS' Festival '78 Membership Pledge Drive on most PBS stations including my local station: KPBS San Diego, Circa Thursday March 16th, 1978!! Join the Celebration on Public TV!! Festival '78!!
Tecnica a parte, ha un volume vocale fuori dal normale. Io non l'ho mai sentita dal vivo (son purtroppo troppo giovane) ma scommetto che una voce così si sente pulita anche in ultima fila.
Io l'ho ascoltata dal vivo tante volte. Aveva una voce enorme.
I attended one of the performances in this series. Extraordinary cast, although Tourangeau had a minor mishap and wouldn’t take a curtain call. But people were actually complaining because they expected Sutherland to display her highest notes! They obviously didn’t know that, while Donna Anna has some fearsome coloratura, there are no notes above Bb.
There's one B-natural in the final sextet, but it's very short. :)
I've heard similar reports of complaints in some of her recitals...people expecting high E's or F's I guess...LOL. The idea of Sutherland interpolating high Ebs into Mozart's music for kicks is ridiculous.
@@joshuamcpherson007 Not really as she didn't really care to respect the composers enough for her NOT to do such a thing.
@@deadwalke9588 Many singers take liberties with music, Sutherland was not alone by any stretch. In the Bel Canto tradition interpolating notes and embellishing the vocal line was common practice, and the composers expected it. It has nothing to do with a lack of respect.
@@joshuamcpherson007 That's only applicable in repertoire that is ASSOCIATED with said composers (i.e. Bellini, Donizetti, Rossini, and some light appoggiatura for Mozart.)
What Joan Sutherland does is grossly overembellish on everything she sings; to further corroborate the point, she evens overly embellish in the Miserere from Verdi's Trovatore., a piece that does not require any additional high notes, as a mere substitute for the lack of heterogeneity in the voice.
Thank you so much!! I wonder if you have the broadcast from the MET in good mono or stereo sound! It should exist!! I’m looking for it!
OperaMyWorld Your such a kind man my friend. We thank you for your generosity para siempre amigo. Arnold & Linda Montoya Butkavich Bourbon Amaral in other words 3rd generation American Hienz 57 blah blah blah 🙈🙉🙊😊💏🌍🌎🌏
The entire video used to be on YT but it disappeared a few years ago. The Met has a habit of having pulled off of YT entire performances form their opera company.
It's on the Metropolitan Opera On Demand platform.
I take it back-Joan is still incomparable...(made a mistake)..
In a couple of months,I'm going to see this in Prague, in the same theatre in which it debuted in 1787.
gracias por el aporte Estupendo !!!!!!!!
Powerful and beautiful sung. The tenor is Werner Krenn?
John Brecknock.
Vini Soaris Finally the true identity is revealed. We will notify the proper authorities per usual my friend. ADIO Arnold AKA OLD MAN RIVER 🚣. I can say no mas. BASTA!!!
First time I see her singing Mozart.
Could someone tell me the name of this wonderful tenor?
John Brecknock.
Голосок століття.
There are some weird words in the recitative.
This is not Mozart but maybe donizetti
Do you have the full performance?
Yep :)
It’s sad that the Met never released this on DVD but I remember the telecast very well. But this also came on the heels of the cancellation of the Rossini and Lehar projects because she decided against the Mozart (Abduction). It was all very sad and tackless action by the Met.
@@johnpickford4222 I also saw the telecast. The young James Morris was a wonderful Giovanni.
@@JoanSutherlandFan The PBS telecast had English subtitles on screen. Is this video from a DVD release?
2:27 3:18
Excellent, but I prefer her earlier recordings.
Bella voce, ma la dizione non è mai stata il suo forte.
Edda Moser is dramatically better-has a comparable voice.
Ritchel Willis and Edda Moser did this so.mutch nicer.
Top notes awful.
Grab your right ear with your right hand, your left ear with your left, and yank your head out of your azz...You'll find your hearing magically restored to normal...Good luck...
Her top notes are sparkling as always. You sir are a philistine
@@crazyorganist1609 Than you have to do something about your ears. She was one of the best soprano's in the world but she went on singing far and far to long.
The problem is that this aria is a vocal cords killer. Everyone singing it seems that they’re yelling. Actually, you are...
@@jeanpierredevos3137 Nope...she sang incredibly well up until the end. Then problem is that you are a crusty queen.