Ruth Ann has been my idol since high school (1991 to 1995)! I intended to go to school for vocal performance music and singing opera. It never happened because I could not pass Theory! I do sing what's many semi-professional choirs, Church choirs, and I am looking in my community to find more professional opportunities to sing solo pieces. I'm certainly past my Prime! Out of all the opera singers I listened to in high school, I and my teachers found my voice to be the closest to Ruth Ann's in tone, timbre, range, melisma, vibrato, tessitura, and phrasing. She was who I chose to emulate. Although my dream career never happened, I will always be a huge fan of hers. Which leads to my fan story with her her which is horrific! I'm not quite sure what the year was I believe it was around 2002-2004 when Ruth Ann sang Rosina's part in the Barber of Seville. One of my friends from the semi-professional play I was in got us seats and kept egging me on that I needed to try to spend like her! LOL! I was such a dork superfan I bright two CDs of hers, and two books which had chapters written about her. I thought that maybe there was a chance I would meet her and wanted to be prepared. After the performance my friend dragged me back to the Green Room. I really don't remember what I said but it was enough to make her back up away from me quickly and throw her husband between her and I. She did sign my books and CDs. My friend was laughing at me the entire time. I was literally so Starstruck I scared her. I feel like I went to the dentist and had novocaine and was knocked out and tried to make sense talking to somebody. It just happened to be that I was talking to you my idol! That is one of the things I wish I could go back in time and fix! Anyhow, enough of my rambling I hope that anyone that is actually reading this got a chuckle out of it.
Swenson really smooths over her entire range here. How even and balanced she was. Someone complained she was of a crop of sopranos that "cover" their tone, but after many, many years of hearing and studying, I can say confidently that if there's any covering, it's very minimal, at least here. This beats most of what one hears today, which is riddled with out of tune singing and too quick or too slow vibrato. Vibrato singing, which calls attention to their damn vibrato and not the tone.
Swenson was unhappy with Metropolitan's General Manager Peter Gelb's apparent decision not to use her as much as his predecessor Joseph Volpe had. Swenson stated: "It’s hurtful. I’m a New Yorker. I’ve sung here for many, many years. I’ve had great success. I’ve never let them down. It’s so stressful to get up onstage and realize that the top guy doesn’t like you, and there’s nothing I can do about it. Nothing." Peter Gelb is an imbecile. She is a great artist.
This is the most beautiful version on internet
and ever captured on record-especially the trill at 7:29
@@operadog2000 Yes sound really effortless 🥰
Very natural very charming singer
Ruth Ann has been my idol since high school (1991 to 1995)!
I intended to go to school for vocal performance music and singing opera. It never happened because I could not pass Theory! I do sing what's many semi-professional choirs, Church choirs, and I am looking in my community to find more professional opportunities to sing solo pieces. I'm certainly past my Prime!
Out of all the opera singers I listened to in high school, I and my teachers found my voice to be the closest to Ruth Ann's in tone, timbre, range, melisma, vibrato, tessitura, and phrasing.
She was who I chose to emulate. Although my dream career never happened, I will always be a huge fan of hers. Which leads to my fan story with her her which is horrific!
I'm not quite sure what the year was I believe it was around 2002-2004 when Ruth Ann sang Rosina's part in the Barber of Seville. One of my friends from the semi-professional play I was in got us seats and kept egging me on that I needed to try to spend like her! LOL! I was such a dork superfan I bright two CDs of hers, and two books which had chapters written about her.
I thought that maybe there was a chance I would meet her and wanted to be prepared. After the performance my friend dragged me back to the Green Room. I really don't remember what I said but it was enough to make her back up away from me quickly and throw her husband between her and I. She did sign my books and CDs. My friend was laughing at me the entire time. I was literally so Starstruck I scared her. I feel like I went to the dentist and had novocaine and was knocked out and tried to make sense talking to somebody. It just happened to be that I was talking to you my idol! That is one of the things I wish I could go back in time and fix!
Anyhow, enough of my rambling I hope that anyone that is actually reading this got a chuckle out of it.
The way she pings those notes right on the tone. No sliding, just precision and perfect intonation. Masterful!
Some well-known sopranos nowadays should listen to this... What a shame, she deserved a greater career. Thanks for uploading !
Nadine sierra… take note! This is how it’s done!
@@Juancantor76 Ruth Ann Swenson has a bigger, better supported tone
@@dougronald561 and better technique, as well as beauty of tone! Overall, a much more polished and prepared artist and musician!
She did have a great career! I saw her several times at the Met.
@@Juancantor76 Exactly!
She was truly one of the best. Too bad that she did not have a long career.
I heard her foray into full lyric soprano when she did Liu at the Met. She was wonderful! I also saw her Lucia, Barber of Seville....
The best I have ever this cavatina sung!!! What a fabulous technique!
I was there in Golden gate park and witnessed this woman singing to perfection ❤love her! The best ever
Golden voice and knows to use so well! Bravíssima ❤❤❤❤❤💯
Her trills are great and the precision she uses to hit the high notes is wonderful.
Positively Golden
Good title for a CD🤣🤣
Swenson really smooths over her entire range here. How even and balanced she was. Someone complained she was of a crop of sopranos that "cover" their tone, but after many, many years of hearing and studying, I can say confidently that if there's any covering, it's very minimal, at least here. This beats most of what one hears today, which is riddled with out of tune singing and too quick or too slow vibrato. Vibrato singing, which calls attention to their damn vibrato and not the tone.
Swenson was unhappy with Metropolitan's General Manager Peter Gelb's apparent decision not to use her as much as his predecessor Joseph Volpe had. Swenson stated: "It’s hurtful. I’m a New Yorker. I’ve sung here for many, many years. I’ve had great success. I’ve never let them down. It’s so stressful to get up onstage and realize that the top guy doesn’t like you, and there’s nothing I can do about it. Nothing." Peter Gelb is an imbecile. She is a great artist.